Category: Rock (Page 93 of 241)

Solomon’s Seal: The Sea, The Sea

U.S. based British band Minibar has been a fixture on the Los Angeles indie pop scene for the last decade, but yet Minibar has managed to stay under most everyone’s radar. Those who know the band know the slightly smoky and brooding vocals of front man Simon Petty, who is also one heck of a songwriter, and now he gets to prove that point with his debut solo effort, The Sea, The Sea under the moniker Solomon’s Seal. Petty’s obsession with the Smiths is documented in the press materials, and he’s also said to be influenced by the late, great Nick Drake. One thing going for Petty right off the bat is that he doesn’t feel compelled to fake a British accent like other alt-popsters. His vocals bring the songs effortlessly to life – and the songs themselves, with their beautifully sparse production and arrangements, are simply wonderful. The haunting instrumental “Solomon’s Suite” is an odd opener, but then right from the soothing piano and smooth vocals of “A Trick of the Light,” Petty’s artistry just shines. Other standouts are “Sleeping in the Car,” which sounds like a Glen Phillips-Joseph Arthur hybrid, the pretty guitar/vocal of “I Built a Fire,” and the romping, Peter Gabriel-esque “A Part of the River.” (Unshackled 2009)

Solomon’s Seal MySpace Page

Greycoats: Setting Fire to the Great Unknown

We love to see publicists promote records released in the previous year because they believe in them, mainly because it takes us back to a time when record labels had more patience with their artists, and would take the time to groom them, drum up some geniune buzz for a band rather than fabricate fake buzz, etc. (We’re well aware that those days weren’t as innocent as we might think, but they’re our memories, and we’re sticking to ’em.) We’ll see how this old-school approach works for Setting Fire to the Great Unknown, the debut album by Minneapolis quartet Greycoats. Their bio boasts comparisons to Arcade Fire, Radiohead and Sigur Ros, but a better point of entry might be a more guitar-oriented Keane. “Goodbye, Sweet Youth, Goodbye” sports a soaring chorus that the boys from Battle would kill for, and singer Jon Reine has nicked a few tricks from Tom Chaplin’s playbook in terms of vocal phrasing. It’s gorgeous stuff – Thom Yorke will surely mutter obscenities under his breath when he hears “An Echo in the Dark” – and, in an ideal world, the band is only a soundtrack or “Grey’s Anatomy” moment away from vaulting to the next level. (Greycoats 2008)

Greycoats MySpace page

A Fine Mess makes for enjoyable pop.

Kate Voegele, A Fine Mess

Kate Voegeles’s sophomore record, A Fine Mess is a direct reflection of the emotional roller coaster the 22-year-old singer-songwriter has been through in the last year. Thanks to producer Mike Elizondo (Fiona Apple, Rilo Kiley), Voegele’s second record trades a more feminine, piano pop for a grittier guitar-driven sound that acts as a perfect counterpoint to her delicate vocals. A Fine Mess comes complete with the usual relationship-inspired anthems, but is reinforced by tracks like, “Sweet Silver Lining” where the singer finds hope in the darkest of misfortunes, and “Angel” where Voegele attempts to dispel any “good girl” notions listeners may have about her.

Luckily for Vogele, A Fine Mess is a lot more put together than its title would imply. Entertainment Weekly gave Voegele’s second attempt at pop-stardom a B- suggesting listener’s check out her first single, “99 Times,” where she verbally attacks a friend who is full of lies and excuses. Amazon.com also praised Voegele saying, A Fine Mess is,

“brimming with optimism, first time independence and the wisdom that comes from one too many broken hearts. [Its] the continuation of a road Voegele was destined to travel, and, like every milestone in her career thus far, she navigates it with gusto.”

Unfortunately, not everyone is a fan of A Fine Mess. People.com gave Mess two stars, claiming, there’s too much competition in today’s pop market for Voegele to stand out. Ranking her behind Katy Perry, KT Tunstall, Kate Nash and Kate Walsh, People.com wrote, “while there’s little to distinguish [Voegele’s] brand of chick pop, the One Tree Hill actress at least plays well to the CW crowd” (Kate also doubles as Mia on the CW’s One Tree Hill). It’s true, in comparison Voegele falls short of major players like Perry, but in her defense, A Fine Mess is exactly what it’s supposed to be: sugary pop virtually void of complexity that is easy to relate to, and fun to listen to. It may not be a number one record, but there’s nothing disappointing about it. So, if you were a fan of Voegele’s debut, Don’t Look Away or your iPod is chocked full of Marie Digby, Michelle Branch, or Vanessa Carlton-esque pop give A Fine Mess a listen.

White Rabbits: It’s Frightening

It is increasingly difficult to stand out in the overcrowded pop scene these days, but leave it to Missouri transplants White Rabbits (they’ve since relocated to Brooklyn, much like fellow Midesterners Locksley) to take a trick from .38 Special’s playbook and turn it on its ear: two drummers! The similarities end there, though; It’s Frightening, the second long-player from the White Rabbits, takes those two drummers – think Adam and the Ants, not the Doobie Brothers – and frames them with singer Stephen Patterson’s barroom piano and some sparse guitar work to create the kind of angular pop that you’d expect from the bands on the other side of the pond. Britt Daniel’s presence here as producer is no surprise, as the band’s “They Done Wrong/We Done Wrong” sounds like a lost Spoon track, and Single of the Year candidate “Percussion Gun,” armed to the teeth with handclaps and double-decker harmonies, is delightfully quirky and insanely catchy. That unusual approach to their drum tracks could prove to be an albatross – ask Guster about that one – but for the moment, all is quite well with the White Rabbits. (TBD 2009)

White Rabbits MySpace page

twodoggarage: A Gross Display of Penmanship

Here’s the setup: the folks at RPM Challenge dared bands and solo artists to write, record and deliver a finished album in one month. Any number of things could happen under that kind of deadline: pigs could fly, songwriters could lose lots of sleep, and the biggest risk of all – the music could suck. One of the people who took the RPM bait was SoCal based twodoggarage, led by singer and songwriter Alex Kimmell. The band’s debut, Pinboy, was chock full of catchy pop tunes that brought Kimmell out of left field and onto our radar. This one, A Gross Display of Penmanship, with its diverse and interestingly arranged songs, is arguably even better. And further, the more you listen, the more it should grow on even the most skeptical of critics. Kimmell shows versatility galore with catchy ditties like “Something Real” and “Enough,” flowing mid-tempo Glen Phillips-esque tracks such as “Gradually Disappearing” and “Lift Me Up, Carry Me Down.” He even gets truly experimental on super-cool electronic instrumental “Circles” as well as on the rap-infused “The Runner” and spoken-word-meets-fuzz-box title track. Sure, the recording quality is at times bedroom-ish, but Kimmell makes the best of it, as well as the most of his time putting an album together on the fly. (self-released 2009)

twodoggarage MySpace Page

« Older posts Newer posts »