Category: CD QuickTakes (Page 68 of 149)
Our first impression of Red, the new album by Norwegian electro rockers Datarock, was that we just found the next Soulwax, swiping the guitar line from “Sweet Child o’ Mine” and the vocal intro to Prince’s “Let’s Go Crazy” for a galloping, dialogue-driven song “The Blog.” What follows is more in line with LCD Soundsystem which, blogosphere fanatics be damned, is not a good thing. Jumpy drum tracks, cascading synth lines, fey vocals, angular guitar fills…you’ve heard everything here before, by two different generations of bands. “True Stories” is one giant Talking Heads slurpfest, from the lyrics – which are nothing but Talking Heads song titles – to the music, which sounds like the Heads crossed with their spinoff band the Tom Tom Club. “Molly,” God love ’em, is a love letter to Molly Ringwald. (“Sixteen Candles! The Breakfast Club!”) There are some strong musical ideas here; the instrumental “In the Red” is a keeper, and the down-tempo album closer “New Days Dawn” suggests that the band’s true strengths are more in line with the Pernice Brothers and Richard Hawley than with Shiny Toy Guns. The lyrics, however, are so desperate for attention – look at us, we’re talking about the ’80s! – that the urge to dance is quickly repressed by the urge to punch something. Ditch the data, guys, and set yourselves free.
(Nettwerk 2009)
Formerly the voice of the internationally successful band K’s Choice, Belgian-born Sarah Bettens has made only modest progress in her efforts to garner wider solo recognition on this side of the Atlantic. Her last effort, Shine, showed she had the potential; with songs that veered from quiet contemplation to full-throttle rockers – aided and abetted by a bittersweet vocal informed by wistful reflection – Shine’s songs appeared immediately engaging. Think Carole King’s effusive optimism tempered by the guarded desire of Jewel and Fiona Apple.
This time around, Bettens takes a more sinewy route, adapting an approach that finds her keeping company with classic torch singers like Nina Simone, Ella Fitzgerald and other divas of a barroom variety. Bettens recorded several of these songs before a live audience, and judging by an audible audience response, she was well received. She ups the familiarity factor by covering a pair of standards – “Cry Me a River” and “I Can’t Make You Love Me” – but even her originals strike an immediate connection courtesy of her sultry, seductive vocals and unobtrusive piano-based arrangements. In fact, Bettens’ voice oozes emotion and the quiet nocturnal settings suggest that the introspection suits her well. Never Say Goodbye may not represent the grand hello she needs to increase her following, but it does affirm the fact she’s clearly arrived.
A.A. Bondy’s penchant for creating melodious tomes belies his aggressive origins as point man in the hardcore Southern grunge outfit Verbena. While the group racked up numerous Nirvana comparisons – and even enticed Dave Grohl to produce their major label debut – it was fortuitous that the band eventually opted to go their separate ways. That allowed Bondy time and motivation to regroup and, in fact, refocus his direction. His first solo outing, American Hearts, turned some heads, but When the Devil’s Loose will likely be the one to draw the most attention, thanks to a cache of hollow-eyed balladry, supple melodies and a sublime sense of songcraft. The album gets off to a slow start – mellow, laconic, sad and subdued — but as it progresses, the pace picks up, and with it, the hooks become better defined. “On the Moon” betrays a hint of antebellum ambiance, almost as if it came from the pen of Stephen Foster. “I Can See the Pines Are Dancing” and “The Mercy Wheel” are quietly compelling, an underlying determination punctuating the restive posture. Admittedly, When the Devil’s Loose takes further listens to fully appreciate its subtlety and nuance, but any time invested ultimately becomes time well spent. (Fat Possum 2009)
Like many classic couples before them – Marvin and Tammi, Johnny and June, Gram and Emmylou – Sam Brooker and Ruby Amanfu make music that affirms their mutual affection. Nevertheless, this pair navigates a wide divide, from the seductive soul of “Too Much” and “Ain’t Love Something” to the rootsier realms of “The Suitcase Song” and “Need Me Less.” While most of the songs dabble in softer hues, the supple arrangements – a hint of violins on “Heaven’s My Home,” a bit of brass on the aforementioned “Too Much” – vary the shadings and add to the allure. Although The Here and the Now marks the duo’s debut, one of its entries – “Heaven’s My Home” – garnered a Grammy nod and was also selected for the soundtrack to “The Secret Life of Bees.” If The Here and the Now is any indication, Sam & Ruby have a promising future.
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