Monday, February 27, 2006
CD Review: ZZ Top
ZZ Top
Tres Hombres
Fandango!
Warner Bros.
By David Chiu
Before MTV, the synthesizers, the cheap sunglasses, the cool car, and the famous long beards, ZZ Top was one blistering Texas blues band. On the earlier albums from the ‘70s, one could hear the chops that would take them beyond the bar circuit although it would be a while before they’d finally hit the arenas in the ‘80s. Yet listening to both those early records, Tres Hombres and Fandango!, both of which were recently reissued, it is kind of refreshing to hear some pure blues rock without the sometimes slick technological trappings of the later recordings.
Tres Hombres (1973) could be considered the group’s breakthrough thanks to “La Grange” a song about the best little whorehouse in Texas called the Chicken Shack (with the immortal “haw, haw, haw” line). The song’s ingredients of blues, rock, and boogie can be found on the album’s other tracks including “Precious and Grace” and the smokin’ “Move Me Down the Line.” The other classic cuts on the album is the riff-heavy “Waitin’ for the Bus” and the portentous “Jesus Just Left Chicago.” The dark-horse winner is one of the group’s rare ballad, “Hot, Blue and Righteous.” Latter-day ZZ Top fans weaned on Eliminator and Afterburner will find something appealing on the record. (Bonus cuts here are live versions of “Waitin’…,” “Jesus…,” and “La Grange”).
Fandango! is basically what ZZ Top fans already know: that the group is a definitely a great live act. Half of the album is a live recording from New Orleans in 1975 and they mainly consist of barnstorming cuts from Backdoor Medley to a blistering take on Elvis’ “Jailhouse Rock.” The other half of the album are studio cuts, including the border radio station paen “Heard It on the X,” the introspective “Blue Jean Blues” (with some fine guitar playing by Billy Gibbons), and the famous “Tush,” the guys’ admiration for the female derriere; that galloping rocker has by now probably been played in many a bar and juke joint. (The additional tracks on this reissue are “Heard It…”, “Jailhouse…” and ”Tush.”
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# posted by NewBeats @ 6:02 PM
Sunday, February 26, 2006
CD Review:Steve Wynn and the Miracle 3
Steve Wynn and the Miracle 3
tick...tick...tick
Down There
by David Chiu
Age hasn't mellowed singer and guitarist Steve Wynn. In fact, the former front man of the great '80s alternative band Dream Syndicate, outrocks guys half his age. On his latest album "tick...tick...tick" with his combo the Miracle 3, Wynn unleashes another set of guitar-driven rock and introspective lyrics of detachment. The opening "Wired" sets the tone of the album with its brash and abrasive sound, followed by noisy and punkish rockers including "Wild Mercury" and the pummeling "Killing Me." A few somber tunes, "The Deep End" and "Your Secret" provide a breather, but I stress few. The ecstatic "Bruises" may be the album's poppiest tune, recalling at times vintage Bruce, while the organ parts on "All the Squares Go Home" adds a kitschy '60s garage rock feel. Wynn wears continues to wear his influences proudly (i.e. VU) but his great guitar playing, cool vocals, and sometimes bleak outlook are entirely his own. Accompanied by a great band, Wynn, who has been rocking since the post-punk era, is at his best form.
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# posted by NewBeats @ 4:39 PM
Saturday, February 25, 2006
CD Review: Josh Rouse
Josh Rouse
Subtitulo
Bedroom Classics/Nettwerk
by David Chiu
Living and recording in Spain has done Rouse good. On his new album Subtitulo there is a bit of a Latin influence on a few tracks: "The Man Who..." a fractured Valentine which features a duet with Paz Suay, who designed the album cover; the infectious, feel-good "Summertime";and "Wonderful," where Rouse is definitely on the bossa nova/Jobim tip. American fans need not feel alientated by such influences as Rouse's introspective folkish pop is ever present on "Quiet Town," the upbeat "It Looks Like Love" (the album's stand out track) and the perfect car song "Givin' Up," a song about rejuvenation. Coming off from the brilliant Nashville album, Rouse ups the ante with magnificent results on this latest one.
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# posted by NewBeats @ 5:29 PM
CD Review: The Lashes
The Lashes
Get It
By David Chiu
Red Ink/Columbia
The thing that sets the Lashes apart from the other alt-rock bands is the number of personnel: there are six members in this group, including two guitarists and a keyboardist. Yet the music on the debut, Get It, for the most part is very streamlined power pop that could have been played by a trio. Comparisons to the Killers are inevitable, but the group has a very theatrical bent that borders on Queen and Ben Folds. This scruffy band delivers the hooks if not the looks, although Ben Clark is quite noticeable as a charismatic singer.
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# posted by NewBeats @ 12:15 PM
CD Review: The Chieftains
The Chieftains
The Essential Chieftains
RCAVictor/Legacy
By David Chiu
The Essential Chieftains covers all of the bases on the legendary Irish folk band’s 40-year career, drawing on the group’s own music for one disc, and its famous, latter-day collaborations with guest artists on the other. As musical ambassadors for the Emerald Isle, The Chieftains has done much to bring folk music to the world while being receptive to other musical influences.
The first disc showcases the ensemble’s dazzling musicianship, led by Paddy Moloney on Uilleann pipes and the others members playing fiddle, tin whistle, accordinan ,and bodhran (the foot-stepping “Lots of Drops of Brandy,” “The Munster Cloak,” which almost sounds like a classical composition); the collection also contains the group’s popular hit, the cinematic- and stately-sounding “The Women of Ireland,” (which is from the Stanley Kubrick film Barry Lyndon).
The second disc consists of duets with what can be considered a who’s who of respected artists: Elvis Costello, Nanci Griffith, Linda Ronstadt and Los Lobos, Sting, Kate and Anna McGarrigle, the Corrs, and Jackson Browne (The standouts here include “The Foggy Dew” and “Shenadoah” with fellow Irish Sinead O’Connor and Van Morrison, respectively).
One doesn’t have to be Irish to appreciate the spirited and elegant traditional music that has been the hallmark of the Chieftains’ career.
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# posted by NewBeats @ 12:11 PM
CD Review: Wolfmother
Wolfmother
Dimensions
Modular
By David Chiu
This new band wears its influences on its sleeves, but one thing is certain…the group wave the indie rock banner. Wolfmother seems to wear evoke shades of Zeppelin, Sabbath, and Yes, with a little bit of Kasabian for a modern contemporary edge. It is not to say that Wolfmother is a derivative-feeding band. One can really immerse him or herself into the tumultuous sounds on this EP: the title track is where guitarist Andrew Stockdale really channels the spirit of Ozzy; “Mind’s Eye” features keyboard work that seems so 1970s Rick Wakeman/Yes; while “Love Train” (not the O’Jays classic) evoke the hard funk of Zep’s “Trampled Underfoot.” “The Earth’s Rotation Around the Sun” conclude the EP as an instrumental that fortunately unlike those ‘70s prog bands doesn’t end up sounding indulgent…short and to the point. This band’s music strikes a delicate balance that will appease art and indie rock fans (This EP also contains videos for “Dimension” and “Mind’s Eye”).
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# posted by NewBeats @ 12:08 PM
CD Review: We Are Scientists
We Are Scientists
With Love and Squalor
Virgin
By David Chiu
The fast pace of this music by this New York-based trio never takes a left-turn: it is consistently hammers it home with pummeling rhythms and Keith Murray’s anguished vocals and careening guitar lines (think Gang of Four and Franz Ferdinand with respects to the latter). The songs on We Are Scientists latest record does recall the early ‘80s post-punk movement with its direct and punkish minimalism and angst-ridden lyrics (“It’s a Hit,” “Can’t Lose”). This band definitely falls in the same league of the Killers and Franz. There is not one lull on the record—With Love and Squalor rocks with abandon.
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# posted by NewBeats @ 12:04 PM
DVD: Rush
Rush
R30
Anthem/Zoe Vision
By David Chiu
These days, Rush is the last of a dying breed in a scene dominated by indie bands that frown virtuosic musicianship and progressive rock excess. For the latter, Rush has been certainly guilty of those things as one of the preeminent stadium rock bands. But before you label them dinosaurs, it is worth checking out R30, a a 2-DVD set of a recent concert during their 30th anniversary tour. Although the members are older and a little bit on the heavy side physically, (though bassist/vocalist Geddy Lee looks ageless), the band can still kick it from the earlier bombastic stuff (the R30 Overture containing “Finding My Way,” “Anthem,” and “Hemispheres”; through classic fare such as “The Spirit of Radio,” “Tom Sawyer” and “Limelight”; to recent works like “Roll the Bones,” “Subdivisions,” and “Dreamline.” Not one of the guys seem to have lost a step in his playing: Lee’s high-pitched vocals, guitarist Alex Lifeson can still deliver those lightning speed licks, and drummer Neil Peart’s adroit precision. And at least give the group credit for having a sense of humor—the stage visuals include actor/comedian Jerry Stiller, wearing a Rush T-shirt, introducing the band on video screen, and a laudry machine in the background. The other DVD contains interviews with the band and archival performances throughout the 30 years. This probably won’t win over the critics, so it’s strictly for die-hards.
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# posted by NewBeats @ 11:54 AM
Book Review: Belle and Sebastian
Belle and Sebastian: Just a Modern Rock StoryBy Paul Whitelaw
Published by St. Martin’s Press
Review by David Chiu
Apparently, even a group that has been only together for ten years and is more of a cult alternative (twee) band, albeit a wildly popular one since the Smiths, could warrant a biography. Paul Whitelaw, a music writer, has done so by covering his fellow Glaswegians, Belle and Sebastian. In 300 pages, he tells the story of the modest group beginning with its visionary singer and driving force Stuart Murdoch. Certainly the author benefits from the cooperation by the current and former members of the band, who offered interviews. Whitelaw goes into depth with a chapter devoted to the making and release of each album from the debut Tigermilk to the recent Dear Catastrophe Waitress (the book was published a few months before the new Belle and Sebastian album The Life Pursuit, which was released this February). Belle and Sebastian fans will enjoy reading the detailed descriptions of the behind-the-scenes stories (which will probably disappoint those seeking any trashy gossip, although there is the sometimes tense moments that face any band mentioned here, and Belle and Sebastian is no exception). Whitelaw treats his subjects with both objectivity and admiration. A complete and exhaustive discography closes out a wonderful and painstaking detailed look at a band that has been a popular best-kept secret amongst its die-hard following.
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# posted by NewBeats @ 11:45 AM
CD Review: Talking Heads
Talking Heads
Speaking In Tongues
Little Creatures
Sire/Warner Bros./Rhino
By David Chiu
Talking Heads’s album catalog got a major boost in sonic quality, not to mention packaging, thanks to the recent Rhino reissue program. It is befitting of a band whose longstanding reputation was built on intricate and innovative sounds and striking visuals.
Two of their mid ‘80s albums benefited from the upgrade. Like its predecessor Remain in Light, Speaking in Tongues (1983) is one of their most ambitious albums. At that time, the four piece band—vocalist/guitarist David Byrne, drummer Chris Frantz, bassist Tina Weymouth, and guitarist/keyboardist Jerry Harrison—expanded into a larger ensemble that included Parliament keyboardist Bernie Worrell, singer Nona Hendryx, guitarist Alex Weir, and percussionist Steve Scales. The additional personnel expanded the group’s minimalist sound that became more complex and polyrhythmic. Aside from that, Speaking was one hot funk and dance record epitomized by the opening “Burning Down the House,” “Girlfriend Is Better,” and echoes of Cab Calloway’s “Minnie the Moocher” on “Swamp.” The album’s best track “This is the Place (Naïve Melody)” is also one of the group’s loveliest ballads.
After coming off a popular tour that resulted in the now-classic Stop Making Sense film, the core lineup returned to basics on Little Creatures (1985). Dispensing with the techno and heavy percussion flourishes from Speaking, Little Creatures is the group’s accessible record with several immediately recognizable tunes: the whimsical “And She Was,” the parental commentary “Stay Up Late,” the hard funk of “Television Man,” and the eccentric “Road to Nowhere.” Even if the record didn’t sound as adventurous as the previous ones before it, Little Creatures is a pleasant pop album.
These editions are featured in the Dual Disc format featuring both the CD audio and DVD 5.1 surround versions. Both discs contain bonus tracks (a skeletal version of Road to Nowhere on Creatures) and the group’s classic videos (the hilarious “Burning Down the House”—key moment: the kid climbing on Byrne’s back, and the innovative “And She Was”).
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# posted by NewBeats @ 11:41 AM
CD Review: Daniel Powter
Daniel Powter
Daniel Powter
Warner Bros.
By David Chiu
It would be too easy to pigeonhole Daniel Powter along with the likes of Gavin DeGraw, Jason Mraz, or Train’s Pat Monahan in the soul boy genre, or in the sensitive guy mode of a James Blunt. Powter’s latest album definitely evokes that old school Elton John vibe, especially story-song tracks like “Jimmy Gets High,” “Bad Day” and “Song 6.” Powter isn’t mired in piano-laced balladry—he can kick it up a notch on the upfront and direct “Suspect” and turn in a neo-hip hop performance in “Lie to Me.” Powter has a distinct high voice that’s earthy and charismatic, and it also doesn’t hurt to have Mitchell Froom as co-producer, ensuring a crafted result. It won’t be long now when Powter’s songs will be prominently featured on a TV or movie soundtrack…the songs are that identifiable and hook-filled.
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# posted by NewBeats @ 11:35 AM
CD Review: Devics
Devics
Push the Heart
Filter US Recordings
By David Chiu
The ethereal, delicate-as-paper music from this Los Angeles-based outfit takes me back to 1994 around the time of Mazzy Star, except Devics seem to be more steeped in American Gothic than the Paisley Underground scene. Push the Heart is quite beautiful as it sounds fatalistic—the opening track “Lie to Me” is one indicator of the band’s philosophy. The sweet vocals of Sara Lov seem to clash with the funereal color of the record (courtesy of multinstrumentalist Dustin O’Halloran, although they all add up to a pleasant and haunting pop record.
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Push the Heart
Filter US Recordings
By David Chiu
The ethereal, delicate-as-paper music from this Los Angeles-based outfit takes me back to 1994 around the time of Mazzy Star, except Devics seem to be more steeped in American Gothic than the Paisley Underground scene. Push the Heart is quite beautiful as it sounds fatalistic—the opening track “Lie to Me” is one indicator of the band’s philosophy. The sweet vocals of Sara Lov seem to clash with the funereal color of the record (courtesy of multinstrumentalist Dustin O’Halloran, although they all add up to a pleasant and haunting pop record.
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# posted by NewBeats @ 11:34 AM
CD Review: Jenny Lewis with the Watson Twins
Jenny Lewis with the Watson Twins
Rabbit Fur Coat
Team Love
By David Chiu
Americana music doesn’t get this earthier and deep than on the solo record of Rilo Kiley’s Jenny Lewis. With the in-synch vocal harmonies of the Watson twins behind her, Lewis crafts a gorgeous blend of country, folk, Southern Gothic (the waltz-like “Born Secular”), and gospel/hymnal music (“Run Devil Run”). “Happy” recalls vintage Patsy Cline, while the upbeat and sly “The Charging Sky” is something Lucinda Williams could have covered. One of the standouts, “Rise Up with Fists,” is the type of track that has crossover appeal. Lewis takes on the lead vocals on a relatively faithful cover of the Traveling Wilburys’s “Handle With Care” with Bright Eyes' Conor Oberst and Death Cab For Cutie's Ben Gibbard. The key ingredient is Lewis’ rich vocals that can be buoyant in one instance and hauntingly mesmerizing the next.
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# posted by NewBeats @ 11:27 AM
CD Review: Train
Train
For Me, It’s You
Columbia
By David Chiu
Even if it doesn’t offer any surprises, and despite a line-up change, Train’s latest bag of rock, pop, and soul still has carry that likeability factor. Like listening to classic Elton John or Stevie Wonder, the group’s new record in three years delivers the familiar hooks-- augmented with Pat Monahan’s impassioned singing: the narrative of “Cab” evokes the loneliness of the big city; the neo-soul of the title track; All I Ever Wanted is a tender-hearted track; and “If I Can’t Change Your Mind” and “All I Hear” might be the hardest-rocking songs this band has performed that I can recall. The fact that yeah the music sounds too radio friendly. But in this case for this upbeat-sounding and earthy record, is that necessarily a bad thing?
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# posted by NewBeats @ 11:22 AM
CD Review: What's Shakin'/Great Lost Elektra Singles
Various Artists
What’s Shakin’Elektra/Collector’s Music
Various Artists
Great Lost Elektra Singles, Vol. 1
Elektra/Collector’s Music
By David Chiu
For those who love rock and roll ‘60s esoterica, dig into these latest collections from the Elektra Record vaults. They contain songs that have not appeared on artists’ albums and could be considered “lost,” especially in the case of the Elektra singles disc.
What’s Shakin’ (originally released in 1966) was a sampler of Elektra rock acts at the time before the Doors and Love would join the roster. One might have not known that the Lovin’ Spoonful recorded four tracks for Elektra (including “Almost Grown”, “Searchin’”) before jumping over to Kama Sutra and achieved their greater successes. There are also the rare tracks from Al Kooper (the bluesy pop of “Can’t Keep from Crying Sometime,” before Blood Sweat and Tears) and the Paul Butterfield Blues Band (Lovin’ Cup, “Off the Wall”). The highlight here are three tracks from Eric Clapton and the Powerhouse (which also included Jack Bruce and Steve Winwood) that preceded Clapton’s tenure with Cream: “I Want to Know,” “Crossroads (a departure from the famed Cream rendition), and “Steppin’ Out.” Fans of those aforementioned acts can finally add something rare and lost to their collections.
The same can be said of this new compilation of Elektra singles recorded between 1965 and 1970—somewhat of anomaly given the legendary’s label initial concentration on the album market exclusively. Like What’s Shakin’, this one offers some surprises: the Beefeaters, whose members would later morph into the Byrds (“Don’t Be Long, “Please Let Me Love You”), and the Stalk-Forrest Group, who would gain wider recognition as hard rock purveyors Blue Oyster Cult. Other artists who grace the collection include Judy Collins ( a cover of Bob Dylan’s “I’ll Keep It with Mine”—everybody was covering the Bard at the time), the Paul Butterfield Blues Band, the late folk rock protest hero Phil Ochs (“I Ain’t Marching Anymore”), and the (still) unknown act Eclection. This one is definitely for completists and admirers of that crazy era.
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# posted by NewBeats @ 11:17 AM
CD Review: The Films and Magnet
The Films
EP
Filter U.S. Recordings
Magnet
The Tourniquet
Filter U.S. Recordings
By David Chiu
Two promising bands are emerging onto the scene, albeit their approach and direction is slightly dissimilar.
Although it is hard to judge a band on the basis of just three songs on this EP, the Films is likeable bunch. Their direct, angstful rock approach can be akin to that of the Strokes, but they also have a very melodic and bouncy pop sheen reminiscent of the Kinks and the La’s (key track: “Come On”). You’re kinda caught up in the music, and then it’s over like that! Let’s hope the full-length album is like the rest of this.
On the other hand, Magnet is a different but no less melodic group compared to the Films. The music on this full-length album is moody, atmospheric, and ornate like that coming out of a music box (Jon Brion’s works comes to mind). Here’s are some of the highlights: “The Pacemaker” is dreamy, seductive pop; “All You Ask” has a theatrical, Tin Pan Alley bent, while Deadlock carry that air of fatalistic resignation, and “Miss Her So” is a hazy sounding track. Only “Fall at Your Feet” provides the rare rocker, and a hopeful one at that too. Think of Magnet’s sound as upbeat and appealing, even if the music can be somber.
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EP
Filter U.S. Recordings
Magnet
The Tourniquet
Filter U.S. Recordings
By David Chiu
Two promising bands are emerging onto the scene, albeit their approach and direction is slightly dissimilar.
Although it is hard to judge a band on the basis of just three songs on this EP, the Films is likeable bunch. Their direct, angstful rock approach can be akin to that of the Strokes, but they also have a very melodic and bouncy pop sheen reminiscent of the Kinks and the La’s (key track: “Come On”). You’re kinda caught up in the music, and then it’s over like that! Let’s hope the full-length album is like the rest of this.
On the other hand, Magnet is a different but no less melodic group compared to the Films. The music on this full-length album is moody, atmospheric, and ornate like that coming out of a music box (Jon Brion’s works comes to mind). Here’s are some of the highlights: “The Pacemaker” is dreamy, seductive pop; “All You Ask” has a theatrical, Tin Pan Alley bent, while Deadlock carry that air of fatalistic resignation, and “Miss Her So” is a hazy sounding track. Only “Fall at Your Feet” provides the rare rocker, and a hopeful one at that too. Think of Magnet’s sound as upbeat and appealing, even if the music can be somber.
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# posted by NewBeats @ 11:14 AM
CD Review: The Strokes
The Strokes
First Impression of Earth
RCA
By David Chiu
Having gotten the anticipated second album out of their way, the Strokes return with a magnificent third album of loose New York rock and roll. Having been compared to the likes of Television early on in their careers, the Strokes have now since forged their own path and rocking harder and more convincingly than their peers at this point. First Impression of Earth offers the proof and how far they’ve come: the hard hitting “Vision of Division” and “Fear of Sleep”; the danceable ditty “On the Other Side”; the shimmering guitar rock of “Killing Lies”; and the fractured Valentine of “Razorblade.” The band rocks hard behind frontman and Julian Casablancas’, whose jaded and yearning lyrics seems evoke the record’s wry sarcasm and restlessness. Music in 2006 is off to a good start with this album.
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# posted by NewBeats @ 11:10 AM
CD Review: Original Irish Tenors
Various Artists
Original Irish Tenors: The Legendary Voices of Celtic Song
Columbia/Legacy
By David Chiu
There was several great Irish tenors way before the recent popularity of The Irish Tenors. This compilation celebrate the popular interpreters of traditional Irish music, including Dennis Day (“St. Patrick’s Day,” “How Can You Buy Kilarney”), Phil Regan (“When Irish Eyes Are Smiling,” the lovely “Come Back to Erin”), Frank Parker (the perennial staple “Danny Boy”), and Christopher Lynch (“Just a Little Bit Of Heaven”). To a new generation, it may be surprising to see the name Morton Downey as one of the singers on this collection (he was the father of the controversial talk show host), but he delivered such as in his stirring performance on “That’s How You Spell Ireland.” Naturally this would not be much of a compilation of great Irish tenors without the great John McCormack—he was to Irish music as Elvis was to rock and roll. Even the hiss and crackle of McCormack’s recordings, dating back to the ‘20s, doesn’t take away from this legend’s impassioned vocal delivery (“The Wearing of the Green,” “Mother Machree”).
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# posted by NewBeats @ 11:07 AM
CD Review: Morningwood
Morningwood
Morningwood
Capitol
By David Chiu
The name is a dead giveaway of what the band is about. While the music is not exactly original, Morningwood’s aggressive punk and electro pop does catch on thanks to its charismatic lead singer Chantal Claret. She could totally rip a song to shreds (“Televisor, Nu Rock) and seduce the listener as a sexy femme fatale (the disco-fied “Nth Degree” and “Ride the Lights”)—a cross between Deborah Harry and Missing Person’s Dale Bozzio. The album’s climax (pun intended) is “Take Off Your Clothes,” which not surprisingly encourages such action at the band’s shows (“Babysitter” is a close second in the album’s sexiest and naughtiest song category). One can’t accuse the band of being dull—there’s nary a slow number in the bunch. Although the hooks sound familiar from other bands before them, Morningwood has both energy and New York attitude that are infectious. It sinks in deep sometimes—like the band’s double entendres, you can read what you want from that line.
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# posted by NewBeats @ 11:03 AM
CD Review: Crosby, Stills & Nash
Crosby, Stills & Nash
Crosby, Stills & Nash
Atlantic/Rhino
By David Chiu
This 1969 debut by three guys who previously came from successful bands (Stephen Stills, Graham Nash, and David Crosby from Buffalo Springfield, the Hollies, and the Byrds respectively) has always been the quintessential CSN album (not counting Déjà Vu, technically, which was made with Neil Young). It showcased the distinct qualities that made the trio connect with the counterculture generation: thoughtful lyrics that were incisive (but never mean-spirited) as they were introspective, and the trademark vocal harmonies. In some respects Crosby Stills & Nash could be regarded a greatest hits album in itself with “Suite: Judy Blue Eyes” (inspired by Judy Collins), the upbeat “Marrakesh Express,” “Guinevere,” and “Wooden Ships” (co-written with Jefferson Airplane’s Paul Kantner), which have long been staples of the trio’s repertoire. The chemistry was immediate off the bat from this album—many other super groups after CSN have been mixed bags. This expanded edition includes four bonus tracks including a cover of Fred Neil’s “Everybody’s Talkin’” and a demo of the classic “Teach Your Children Well,” which sounds different from the final version that is on Deja Vu.
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# posted by NewBeats @ 10:59 AM
CD Review: Half-Handed Cloud
Half-Handed Cloud
Halos and Lassos
Asthmatic Kitty
By David Chiu
It is no surprise upon hearing Half-Handed Cloud’s album that there is a Sufjan Stevens connection. Aside from the eclectic instrumentation (Halos and Lassos is dominated by a keyboard sound as if lifted from a Casio) and obtuse lyrics that the two acts share, they are also both on the same record label, and Half-Handed Cloud’s John Ringhofer has been a touring player with Stevens. Remarkably, there are 19 songs on the album, which only clocks in just less than 30 minutes, which gives new meaning to the term filler-free. The casual listener may not know what the abstract lyrics are about, but who cares. Halos and Lassos is a charming, poppy album—it sounds like a polished demo tape made in someone’s garage, which gives the record its distinct and quirky character.
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# posted by NewBeats @ 10:54 AM
CD Review: Richard Butler
Richard Butler
Richard Butler
Koch
By David Chiu
For those expecting Richard Butler’s solo album to sound anything like his work in the Psychedelic Furs, or even Love Spit Love for that matter, the only thing that is recognizable are his familiar raspy voice and lyrics. Richard Butler is not an excursion into post-punk ’80s nostalgia of The Psychedelic Furs or Talk Talk Talk; this new album is bathed in atmosphere and electronics, courtesy of producer Jon Carin (Pink Floyd). That’s not a bad thing of course—this is Butler’s most personal work and the sonic backdrop lends itself to the songs such as “Good Days Bad Days,” “Breathe,” the folkish “Sentimental Airlines,” and “Milk” (the songs would make great use for a movie or TV soundtrack) For the most part, Richard Butler is quite heartfelt lyrically and musically, if somber— worlds away from the sometimes biting wit and irony of his past works. Diehards can leave their expectations for the next Furs album. This one, however, is solid.
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# posted by NewBeats @ 10:50 AM
CD Review: Isobel Campbell
Isobel Campbell and Mark Lanegan
Ballad of the Broken Seas
V2
If you had to put a visual representation to this unlikely collaboration of former Belle and Sebastian cellist/vocalist Isobel Campbell and ex-Screaming Tree singer Mark Lanegan, it would be like “Beauty and the Beast.” Yet the juxtaposition of Campbell’s ethereal voice and Lanegan’s weary, brow-beaten singing match perfectly well on this collaborative project. Ballad of the Broken Seas evoke a lush, country folk-inspired feel that recalls Serge Gainsbourg and Nancy Sinatra & Lee Hazelwood, even if the lyrics and the music are bleak and melancholic, particularly the title track. Certain tracks like the pretty instrumental “It’s Hard to Kill a Bad Thing,” the poppish “Honey Child What Can I Do?” stand out as well as a randy cover of Hank Williams “Ramblin' Man” (complete with the sound of an actual whip). The album may be Campbell’s baby (she produced and wrote most of the album’s material) but Lanegan’s hold his own through his dark yet magnetic performance.
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