Category: CD QuickTakes (Page 110 of 149)

Nikka Costa: Pebble to a Pearl

November 7, 2008 /

She’s a young soul singer who has worked with Mark Ronson and just happens to be Caucasian, but her name isn’t Amy Winehouse – and actually, Nikka Costa has been at this longer than her beehived tabloid-queen counterpart: her Virgin debut, 2001’s Everybody’s Got Their Something, featured some of the same old-school/new-school production that Ronson brought to Winehouse’s 2007 breakthrough, which has to grate on Costa a little, especially given that she’s now in her mid 30s, and has been delivering consistently entertaining music for close to a decade now with very little to show for it. If she’s bothered, though, it doesn’t show here: Pebble to a Pearl is her best effort to date. Not coincidentally, it’s also her Stax debut – free from the Top 40 pressures of her Virgin contract, Costa abandons any attempts to sound modern, focusing instead on classic grooves (supplied by Winehouse’s favorite backing band, the Daptones) to go with her earthy, supple vocals. It’s a match made in heaven – or Muscle Shoals, which is close enough for soul fans jonesing for new music with a timeless vibe. By embracing her retro side, Costa foregoes the inclusion of anything as nouveau-funky as her debut’s “Like a Feather,” and by deliberately imitating her new label’s classic sound, she invites unfavorable comparisons with artists she can’t come close to matching, but this set is much more Pearl than Pebble. (Stax 2008)

Nikka Costa MySpace page

CD QuickTakes, CD Reviews, Soul

pH10: Well Connected

November 7, 2008 /

pH10 is pretty much just Robert Betts, who was previously in a group called LD50, which is science-speak for the median lethal dose of a toxic substance or radiation. pH is how the acidity or alkalinity of a solution is measured, and pH10 is has the alkalinity of soap. So if names are anything to go by, pH10 is probably a lot less abrasive than LD50 was. Maybe not though, since pH10’s debut Well Connected is a collection of hardcore drum ‘n’ bass/jungle tracks with bass lines so loud they’ll knock your neighbor’s fillings out. Betts knows what he’s doing here, and when pH10 sticks to basic drum ‘n’ bass, they can do no wrong. “Space Baby,” “Yiggplant” and “Serious Delirium” all rely almost solely on killer beats and rhythms, keeping the vocals relegated to the occasional sample. It’s dated and not exactly original, other acts have been doing this (and doing it better) since the early ’90s, but that doesn’t make it any less entertaining and energetic. Things only go sour when the occasional MC shows up to rap over the already perfect beats. The worst of the bunch is Pete Miser, who on “BK United” proclaims he is so good that “even masturbating to me you can’t come close.” What the hell does that even mean? (Never mind, we don’t want to know.) Betts takes a step back stylistically on that tune too, trying an old-school rap style that just doesn’t work. Regardless, when ph10 sticks to the beats and bass they can’t lose, and thankfully that’s most of the album. This is a solid pick up for any DnB fan. (Helmutplex 2008)

pH10 MySpace Page

CD QuickTakes, CD Reviews, Dance, Electronica

Rebecca Pidgeon: Behind the Velvet Curtain

November 7, 2008 /

Rebecca Pidgeon’s first album in three years portrays more of her sensual, seductive style, one that reflects a Sunday morning sound and a somewhat overcast aura that dissipates only on occasion. Pidgeon, who’s also gained fame for her acting portfolio and the fact she’s married to playwright David Mamet, supplies the soundtrack for the film “Redbelt,” much of which extracted for Behind the Velvet Curtain, but any thematic thread is difficult to discern. In fact, the album is so uniformly low-key that any change in tempo or tone becomes practically non-existent. To her credit, she’s recruited an impressive roster of musicians to back her up – producer/bassist Larry Klein, guitarist Dean Parks, steel guitar player Greg Leisz among them – but Pidgeon’s wispy, willowy sway finds the proceedings rarely rising above a whisper (think Norah Jones at her most nocturnal). The only time Pidgeon and company gather any modicum of am upbeat tick is when they turn up the tempo on, appropriately, “That’s Life, That’s Hollywood” and a somewhat spunky cover of the Beach Boys’ “Wouldn’t It Be Nice.” Otherwise, consider this a rather drowsy digression. (Hot Milk Records)

Rebecca Pidgeon website

CD QuickTakes, CD Reviews, Emo, Pop

The Happy Hollows: Imaginary EP

October 31, 2008 /

This quirky Pixies-esque trio from L.A.’s Silver Lake scene is definitely one to watch. Their magnetic personality is a combination of the Dischord-influenced D.C. rhythm section of bassist Charlie Mahoney and drummer Chris Hernandez, and the zany Bay area vibe of singer/guitarist/songwriter Sarah Negahdari. Imaginary improves upon the Happy Hollows’ quickly-recorded 2006 debut EP, Bunnies and Bombs, by bringing them much closer to capturing their live energy. Two songs in particular stand out for having become highlights of the band’s live sets – “Lieutenant,” with its unconventional structure, multiple parts and Eddie Van Halen-style guitar theatrics, makes the case for Negahdari as a rising new guitar hero. “Colors,” meanwhile, is remarkable for completely different reasons: it’s unbelievably simple, just a recitation of the names of – you guessed it – colors, by Negahdari and Mahoney over a repeating progression, with a giddy breakdown in the middle. It works even better live, watching Mahoney and Negahdari jumping and shouting the colors during the breakdown, and seeing Negahdari toss her tambourine before jumping back into the rhythm without missing a beat. But the energy, passion, and unfiltered fun of the band comes through on the whole of Imaginary loud and clear. Best of all – it costs next to nothing. (Heart 2008)

The Happy Hollows MySpace page

Alternative, CD QuickTakes, CD Reviews

The Reel Banditos: Indochina

October 31, 2008 /

Dig it: an all-instrumental groove-out with a theme about ‘Nam, maaaan. And believe me when I say that it being all-instrumental is this disc’s saving grace when it comes to the source of inspiration. After all, this could have turned into a heavy-handed, politically bent bad trip, and well, ‘Nam’s been done to death in both all seriousness and taking knocks in comedic circles. So sit back and dig the grooves of “Saigon ’67,” which features some groovy percussion, and a cool, toked-out vibe. “Huey” filrts with wah-wah guitars and ’70s Zappa-esque frippery and goes down well. “Jungle Warfare” is laden with heartbeats and a spooky dank ambiance that makes you feel as if you are there. Then there’s the crunchy “Poisoned Sky” which puts R.E.M.’s “Orange Crush” into its pithy place. By the time you make it to “The Fall of Saigon,” you’ll be ripped and spent. Why can’t more artists who feel the need to crank out conceptual chunder follow the Reel Banditos’ lead and just keep their pens quiet and their instruments cranked? Ya got me, but this is one of those left field oddities worth a good listen. (self-released)

Reel Banditos’ MySpace page

CD QuickTakes, CD Reviews, Instrumental, Pop, Rock

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