Category: Rock (Page 104 of 241)

Company of Thieves: Ordinary Riches

If Edie Brickell was a little more of a rocker – and had a strong literary fetish – she might sound like Genevieve Schatz, lead singer of Chicago’s Company of Thieves. By dint of steady touring and strong Windy City support, the band managed to turn its 2007 debut, Ordinary Riches, into a DIY success – one which Wind-Up is now seeking to take national with its licensing deal for the record, a deal that includes heavy promotion on iTunes and the talk show circuit, as well as a string of dates opening for labelmates Thriving Ivory. Whether the big push is a result of the label’s belief in the band or simply a function of a typically weak first-quarter release schedule, it’s still a remarkably lucky break for Company of Thieves; the band’s music is enjoyable enough, but nowhere near as colorful as you might expect, given their penchant for quoting Oscar Wilde. Ordinary Riches contains elements of rock, blues, and folk, but major chunks of the record sound like nothing so much as a band marking time until a musical identity drops in its lap. Given enough opportunities, they may actually find one – songs like the closer, “Under the Umbrella,” hint at a sound that could rebuild the bridge between old-school AOR and Top 40 – but in the meantime, this is a fairly Ordinary debut. (Wind-Up 2009)

Company of Thieves MySpace page

Ume: Sunshower EP

Ume (pronounced…I have no clue) (Editor’s note: it’s pronounced Ooh-may) is an Austin-based alt-rock trio led by the impressive, alliteratively-named Lauren Langner Larson. She’s not full-on riot-grrl, but Larson has an edge to her voice, with a growling undertone constantly on the threat of bubbling over and taking control throughout their latest EP Sunshower. Her screams on the opening “East of Hercules” have echoes of Brody from the Distillers and Joan Jett; throaty, guttural and utterly powerful. What really makes her, and by extension Ume as a whole, stand out is Larson’s ability to go back and forth between her punk-rock growls and a more dominant melodic singing voice that wouldn’t be out of place on a Top 40 pop record. The music behind the bipolar vocals isn’t half bad either, and is equally manic in a Pixies loud-quiet-loud kind of way, but they do the loud parts better than the quiet ones. When they keep it mellow too long they suffer, and the full-on ballad title track sinks before it takes off because there’s no power or emotion to carry it. The other slow track on the album, “The Means,” works better because the restrained first half builds to an explosive second half where Larson is once again able to showcase her quality vocal chops. Ume released a full-length record back in 2005, and this far-too-short EP is evidence that they’re ready for another. (Hulga 2009)

Ume MySpace Page

Various Artists: He’s Just Not That Into You: Original Motion Picture Soundtrack

If a dude admits that he likes a chick flick, he might lose certain privileges, like, you know, the privilege to not be hassled by his buddies. But soundtracks are another story, because sometimes they surprise us with songs we actually like or even ones we have listened to and purchased on our own before. As for “He’s Just Not That Into You,” which is the chick flick of chick flick titles, there are some songs on its soundtrack that will let you guys keep your street cred and then some, such as My Morning Jacket’s “I’m Amazed,” the Black Crowes’ “By Your Side” and the Replacements’ “Can’t Hardly Wait.” But even the estrogen-heavy stuff isn’t bad – Tristan Prettyman’s “Madly” and Erin McCarley’s “Love, Save The Empty” are catchy and worth a download, and make up for the sappy James Morrison tune (“You Make It Real”) or the over-played Human League hit, “Don’t You Want Me.” But the kicker? Scarlett Johansson’s “Last Goodbye” is the closer, and it is so not bad at all – there’s no surprise she has a sexy voice, but it’s her delivery and the beauty of the song itself that will surprise the most skeptical of you all. (Warner Bros.)

Movie Website

Eric Hutchinson: Sounds Like This

Sometimes a record company, you know, steps in it. Because breaking new artists these days has become practically foreign to major labels, it sometimes takes a stroke of luck, or in the case of pop singer and songwriter Eric Hutchinson, the stroke of a buddy’s computer keyboard. Hutchinson, whose infectious, R&B-laced pop runs in the same musical circles as Gavin DeGraw and Maroon 5, was signed to Maverick Records before parent company Warner Brothers closed Maverick’s doors, leaving this talented dude with a sparkling product and no label to pimp it. But not to worry, he kept touring and then found overnight success when a high school buddy e-mailed a link to Eric’s music to celebrity gossip dude Perez Hilton. Just like that, Hutchinson went from no-name to peaking at #5 on the iTunes album chart, making him the highest charting unsigned act in the digital age. It’s no fluke, either. Sounds Like This, originally released on Hutchinson’s aptly titled Let’s Break Records, is just dripping with hooks, especially on the incredibly upbeat and soulful “You Don’t Have to Believe Me” and on “Rock & Roll,” the kind of track Jason Mraz wishes he could write. But even when Hutchinson brings down the volume, as he does on “Food Chain,” he can’t help but put you in a good mood. (Warner Bros./Let’s Break)

Eric Hutchinson MySpace Page

Little Man: Of Mind and Matter

I admit that when I first saw the cover art for this disc I was prepared for some sort of bad hippie holdover bullshit from the past. But upon hearing the music, it’s obvious that Little Man has his head squarely in classic glam, pop, bubblegum, and just plain old great rock and roll. “Tarots and Arrows” sounds like a lost “Nuggets” classic, while “Everyone on the Floor” hits on a super Beatles/Raspberries groove. “Talisman” finds Little Man putting on his best T. Rex hat and is actually better than most of the classic tracks from Electric Warrior. On “Get it to Ground,” we finally have a true successor to early ‘70s Bowie that sounds impeccable – both a tribute, but also its own wonderful entity. “Not Quite So High” is good solid rock an “Together on the Long Way Around” hits upon the greatness of Spacehog. That Little Man can do all of these things while making it sound his own is nothing short of spectacular. This is one of those albums you’ll love upon first listen and keep listening to over and over. Absolutely essential. (self-released)

Little Man MySpace page

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