Monday, July 21, 2008
Interview: Mutlu
Philadelphia singer-songwriter Mutlu is releasing his full-length debut album tomorrow. Read my interview that originally appeared in New York Press.
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# posted by NewBeats @ 8:13 AM
CD Review: Radiohead
Radiohead
The Best of
Capitol
By David Chiu
Who would have envisioned that back in 1993 that Radiohead would go on to become one of today’s most popular and important bands—remember they emerged around the same time as alt-groups like Sponge and Candlebox. It started off with the catchy mope-anthem “Creep,” relegating them at the time as being perhaps one-hit wonders. But they proved many people wrong. This collection, spotlighting their tenure with Capitol/EMI, documents the amazing evolution of the band after that one hit from the wonderful soulful tracks from 1995’s The Bends (“Fake Plastic Trees,” “High and Dry”). But it was the art rock of 1997’s OK Computer that really elevated the band thanks to tracks like “Karma Police” and “Paranoid Android.” Since then, through albums Kid A, Amnesiac, and Hail to the Thief. Radiohead has continued to challenge by embracing electronic textures while still composing songs with emotional depth (“Everything In Its Right Place,” “2+2=5”). The Best Of only covers just a facet of the band, thus you’ll be better served by getting Radiohead’s entire catalog. But on its own terms, this set is satisfactory for those who haven’t been keeping track with alternative rock for the last 15 years—it’s worth it.
Radiohead's "High and Dry":
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# posted by NewBeats @ 8:11 AM
Sunday, July 20, 2008
CD Review: Sonic Youth
Sonic Youth
Hits Are for Squares
Starbucks Entertainment
By David Chiu
Ironically distributed by Starbucks, whose more known for playing lighter music in its stores, Hits Are for Squares contain tracks specially selected by musicians, artists and celebrities (Radiohead, Beck, Juno screenwriter Diablo Cody, Chloe Sevigny, and others). The 16-track collection includes some of the NYC group’s best-known tracks such as “100%,” “Kool Thing,” “Sugar Kane,” and the haunting cover of the Carpenters’ “Superstar.” Added on is a new track, Slow Revolution, an elegant, gorgeous, if moody, song, which gives an incentive for the fans who already have the other albums to get this. For those new to the band and just want a sampling, it’s over an hour’s worth of beautiful, dissonant noise.
Sonic Youth's "Bull in the Heather":
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# posted by NewBeats @ 9:42 AM
CD Review: Elton John
Elton John
Elton John—Deluxe Edition
Tumbleweed Connection—Deluxe Edition
Mercury/Rocket/UME
By David Chiu
Elton John has recorded many albums throughout his career, but his best ones clearly were from the early to mid ‘70s, particularly his self-titled album and Tumbleweed Connection.Both now have been given the deluxe treatment with a generous amount of previously unreleased bonus tracks.
John’s second album, simply titled Elton John, was his first album to be released in the U.S. With strings provided by Paul Buckmaster lending an orchestral feel to the album, Elton John embraces the styles that would make John a versatile composer with lyricist Bernie Taupin: soul (“Border Song”), rock (the feel-good sounding “Take Me to the Pilot”), and melodramatic pop balladry (“Sixty Years On,” “The Greatest Discovery”) Elton John’s popular track is of course, “Your Song,” which has gone to become the Rocket Man’s most beloved signature tune--although been played many times, the melodies and the message of the song doesn’t get old and still remains poignant. Tumbleweed Connection makes a stylistic shift towards country-soul music (something he touched earlier on with “No Shoe Strings on Louise” from Elton John). Tracks like the lowdown Ballad of a Well-Known Gun, the gospel-ish “Amoreena,” and “Son of Your Father” convey that pastoral feeling;
Elton John performing "Border Song":
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# posted by NewBeats @ 9:38 AM
Monday, July 14, 2008
DVD Review: Genesis
Genesis
When in Rome 2007
Atlantic/Rhino
By David Chiu
Recorded from a free show in Rome during its the band reunion concert last year, this 2- DVD set features the commercially successful Genesis lineup of Tony Banks, Mike Rutherford and Phil Collins augmented by drummer Chester Thompson and guitarist Daryl Stuermer. The music performed draws on the two phases of the band—the progressive art rock led by former singer Peter Gabriel, and the accessible pop hits fronted by Collins. Visually the show is dazzling with its massive staging and screen as a backdrop and the direction by David Mallet is first rate. Performance-wise the band sounded really good and tight—anchored by the great Banks on keyboards— somewhat of an accomplishment considering the 15-year-gap between tours by this lineup. Ironically the band sounded better on the older songs than the more familiar later hits, especially tracks like “The Carpet Crawlers,” “Firth of Fifth,” “The Cage,” and especially the brilliant instrumental “Los Endos” (preceded by a long drum solo by Collins and Thompson) But for the most part Genesis can still deliver the goods, and so does this package: in addition to the full concert, there’s an extra disc containing a tour documentary, and some amusing backstage moments that are available as extras.
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# posted by NewBeats @ 5:05 AM
CD Review: The Ting Tings
The Ting Tings
We Started Nothing
Columbia
By David Chiu
Call it melodic and whimsical British punky pop. That’s what dominates the sound on this British duo’s debut We Started Nothing. For the most part it’s made up of funky lo-fi dance tunes, particularly “Shut Up and Let Me Go,” “Be The One,” and “That’s Not My Name. Yet a simple ditty such as the waltz-like “Traffic Light” and the pretty intro to “We Walk” add to the record’s occasional left turns. Vocalist Katie White has sass and attitude in her delivery—she sings like a disciple of Deborah Harry and Missing Persons’ Dale Bozzio. It’s not a distinctive album but overall We Started Nothing is still infectiously upbeat.
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# posted by NewBeats @ 4:58 AM
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