Category: CD QuickTakes (Page 36 of 149)

Rocky Votolato: True Devotion

February 19, 2010 /


RIYL: Steve Earle, Rogue Wave, Damien Rice

When you’re at the bottom of a well, looking up, your surroundings are likely to be cold, damp, dreary and bleak. As Seattle-based singer/songwriter Rocky Votolato battled his own demons, namely depression and near suicide, that’s probably how things felt to him at the time. But in pulling himself from that proverbial well, he found writing songs to be therapeutic, and in the process he’s delivered to us some of his finest material yet. True Devotion is trademark Votolato vocally and melodically, but this effort is a more stripped-down record, almost solely acoustic. It’s a set of songs that have Votolato brimming with hope while at the same time dealing with his issues head on – and the best part is that he has a way of using his quirky melodies and chord structures to create a mood that reflects both his lyrics and his rainy day Seattle surroundings. He also has the vocal tone to stand up to an acoustic album. Rocky is good at belting it out and rocking a bit as he does on “Red River,” but he really shines on the simply arranged, darker material, the best of which are “Lucky Clover Coin” and “What Waited for Me.” (Barsuk 2010)

Rocky Votolato MySpace Page

Alternative, CD QuickTakes, CD Reviews, Rock

Veil Veil Vanish: Change in the Neon Light

February 18, 2010 /


RIYL: Pom Pom Diary, The Sounds, White Lies

Metaphor time. Take a chocolate cake, for instance. Even a bad one has some tasty bits, and a good one is always a treat, no matter how many times you’ve had it before. Sure you can feel like you’ve OD’d on too much chocolate, but give it a little time, and you’ll be back for more.

A lot of rock music genres are the same way. The musical elements that define them as a genre or style are the same elements that become quite familiar and overused, both appealing and repetitive all at once. The heavily ’80s-influenced post punk revival of the past decade fits this description to a “T”, as does the debut album by Veil Veil Vanish, Change in the Neon Light. Only seconds in, it is obvious where the San Fran quartet got their recipe; it is all Cure, spiced with Echo & the Bunnymen, sprinkled with early U2 and iced with Gene Loves Jezebel. There is nothing subtle here, and one could argue it is derivative, but that is only on the surface. Take one big bite and you’ll find that Change in the Neon Light is one helluva good chocolate cake.

The atmospheric qualities of the entire album are shimmering and driving, an album full of layered guitars and danceable percussion. The opening title track and final song “Wilderness” perfectly bookend the darkly emotive mood that fills the album. Keven Tecon’s vocals are plaintive but never whiny, while Robert Marzio deserves MVP accolades for signature drums that carry every song forward relentlessly. The album never lets up. From beginning to end there is not a weak track, and it really hits its stride in the second half with “Secondhand Daylight,” where Amy Rosenoff’s bass line and Cameron Ray’s guitars play off each other expressively, and “Detachment,” which serves up Siouxsie Sioux-like power. “It’s no fun if it doesn’t leave a mark,” they sing, and this album proves the point.

Veil Veil Vanish (a name just ridiculous enough to stick) is a surprisingly strong as a band on this debut, and it bodes well for the future. They haven’t drastically changed the recipe in creating Change in the Neon Light, but they definitely know how to cook. Their debut sets a high bar for the next course. Recommended. (Metropolis Records 2010)

Veil Veil Vanish MySpace page

Alternative, CD QuickTakes, CD Reviews, Gothic, Pop, Rock

Was (Not Was): Pick of the Litter 1980-2010

February 18, 2010 /


RIYL: Tom Tom Club, Kid Creole & the Coconuts, the Boneshakers

In a perfect world, Was (Not Was) would be celebrating its 30th anniversary with something other than a vault-polishing compilation on a label known for reissuing old K-Tel records and The Best of the Five Man Electrical Band – but then, this is a band that has always reveled in the odd and inappropriate, so it’s only fitting that the band is celebrating its most recent milestone by giving us Pick of the Litter 1980-2010. It isn’t as good as a new album, but as far as reheated leftovers go, Litter ain’t bad, either in terms of breadth (19 tracks, culled from across the band’s entire catalog) or selection (five non-album mixes, including the 12” version of “Wheel Me Out” and the 7” version of “Out Come the Freaks”). Was (Not Was) has also never received a proper anthology, so this set actually fills a need for that small subset of the population that has warped enough taste to appreciate the band’s cracked dance music, but has somehow never bought any of its albums. A microscopic market, maybe, but Pick of the Litter still hangs together better than it has any right to, considering it contains vocal performances from Mel Torme, Leonard Cohen, Kim Basinger, and Ozzy Osbourne – and still makes plenty of room for the peerless Sir Harry Bowens and Sweet Pea Atkinson, whose dash of grit was always the cornerstone of the band’s appeal. Novelty tracks aside, Was (Not Was) helped keep soul music alive in the ‘80s. If you’ve ever wanted to know more about those “Walk the Dinosaur” guys, here’s the perfect place to start learning. (Micro Werks 2010)

Was (Not Was) MySpace page

CD QuickTakes, CD Reviews, Rock, Soul

April Smith and the Great Picture Show: Songs for a Sinking Ship

February 17, 2010 /


RIYL: KT Tunstall, Squirrel Nut Zippers, Liza Minnelli

Sometimes great singers try a bit too hard to prove that they’re great. April Smith is not one of those singers. The arrangements on her latest and most impressive album Songs for a Sinking Ship fit her sultry voice like a glove and her songwriting is both playful and intellectual. April Smith is clearly capable of controlling the whole circus when it comes to vocal acrobatics but possesses the restraint to allow each song to shine as bright as her ability.

After numerous listens, I’ve yet to find a track that I didn’t thoroughly enjoy. A standout track on Songs for a Sinking Ship is “Wow and Flutter” which combines semi-dark theatrics with a refrain that could have found a home on a Ratt record. Odd, I know, but it totally works. Additionally, the closer “Stop Wondering” is easily the most delightful “fuck you” to a former lover ever recorded.

April_Smith_02

Aside from her glowing talent behind the mic and the pen, she’s clearly figured out the business side of things as well. She used kickstarter.com and her ever-growing fan base (acquired from near constant touring over the past few years) to fund this release. We always hear stories of bands collecting cash online to fund their latest projects but many of those bands were once privileged enough to receive that initial “major label” push. April did it her way from the start and we can only hope that in the years to come she will be recognized as the fearless trailblazer that she is.

There are no gimmicks on Songs for a Sinking Ship. Only great writing and performing which is a very welcome change of pace from your typical release. You’re going to want to sing along with April Smith but you had better stretch out before attempting it or you will most certainly hurt yourself. (Little Roscoe 2010)

April Smith and The Great Picture Show | Official Website
Click to buy Songs for a Sinking Ship from Amazon

Adult Contemporary, Alternative, Big Band, CD QuickTakes, CD Reviews, Indie Labels, Pop, Vocal

Sambassadeur: European

February 16, 2010 /


RIYL: The Cranberries, Club 8, The Clientele

Think of European, the third album by Swedish popsters Sambassadeur, like nine women walking in and out of the room that you’re sitting in. Each one of them is lovely, the kind of girl you’d love to take home to Mom. But that first girl…she’s breathtaking, to the point where she haunts your thoughts long after she’s gone, while the other women are forgotten as soon as they’ve left. This is a beautiful record, tastefully adorned with strings, chimes, gently plucked acoustic guitars, and the sweetly heartbreaking vocals of Anna Persson, who recalls Dolores O’Riordan but without the braying. “I Can Try” is pure early ’90s indie pop, and “Sandy Dunes” is blue-eyed Motown a la Texas’ “Black Eyed Boy.” The production is crisp, and the performances are competent without being overly fancy.

sambassadeur 7153

So why does it leave so small a footprint? Because the songs all have to follow the piano and string-kissed “Stranded,” far and away the best track here. Pretty as the rest of European may be, it’s too slight to hold up against that killer opening track. It sounds awfully good while it’s playing, but it doesn’t leave much of a lasting impression. (Labrador 2010)

Sambassadeur MySpace page
Click to buy European from Amazon

CD QuickTakes, CD Reviews, Melodramatic, Pop

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