Category: CD QuickTakes (Page 76 of 149)

Butterfly Boucher: Scary Fragile

June 19, 2009 /

The story of Nashville-by-way of Australia’s Butterfly Boucher is an all too common one these days. Her debut on A&M Records, Flutterby, was well-received by fans and she later had a song placed on a critical scene of “Grey’s Anatomy.” But A&M couldn’t figure out how to maximize her potential, and didn’t really try hard to do so, so Boucher was granted her freedom, which she embraced with the vigor of someone who wanders the desert to find an oasis. Her new album, Scary Fragile, on her own imprint, Situation Operation (she is managed by alt-pop powerhouse label Nettwerk Music), reflects the last few years of trying to make music for the right reasons. This woman can write songs really well, and it’s just mind-boggling that labels can give up on talent like her’s so quickly. Boucher sings in an endearing Australian accent and her voice is unique and easy to pinpoint – and she’s hip without being hipster, melodic without being predictable. The album kicks off with “I Found Out,” which is clearly an anthem of liberation that flat-out rocks. And on a mostly solid sophomore effort, the other standouts are “Gun For a Tongue,” which may remind you of Luscious Jackson; the summer rock feel of “Keeper” and the haunting beauty of “Bitter Song,” which is the same track used by “Grey’s Anatomy.” (LABEL: Situation Operation)

Butterfly Boucher MySpace Page

Alternative, CD QuickTakes, CD Reviews, Pop, Power Pop, Rock, Rock Babes

Tiny Masters of Today: Skeletons

June 12, 2009 /

If you can get past the subliminal screams of “Hipster band! Hipster band!” as you’re listening to Skeletons, the sophomore effort from Brooklyn teenagers Tiny Masters of Today, it’s easy to see why they’ve earned the love of David Bowie, the Yeah Yeah Yeahs and (cough) Kimya Dawson. They make simple but crazy catchy DIY alt-pop, all fuzzed out guitars and dispassionate vocals (but well sung for teenagers), with tunes that would give the Breeders and the Strokes pause. Indeed, “Ghost Star” is catchier than anything the Breeders or Strokes have sent to radio in ages, and “Big Stick” has the kind of drum track that the Beastie Boys will surely sample for their next record. The biggest problem with Tiny Masters of Today is that while they do what they do really well, they’re not exactly versatile. Sure, they incorporate indie rock, hip hop elements, and other borough-friendly sounds, but the album feels longer than it is, even at 26 minutes. Still, you can see the makings of a band that will one day be worthy of the hipster buzz they’re already getting. It will be interesting to see what they do when they reach their twenties. (Mute 2009)

Tiny Masters of Today MySpace page

Alternative, Artists, CD QuickTakes, CD Reviews, Pop, Rock

Ryan Bingham & the Dead Horses: Roadhouse Sun

June 12, 2009 /

Ordinarily, any album with the words “dead,” “horses,” and “roadhouse” on its cover would be a ripe candidate for outright dismissal on the grounds of crippling cliché addiction, but there’s an exception to prove every rule, and Ryan Bingham’s latest, Roadhouse Sun – credited to Bingham and the Dead Horses – is a helluva lot more enjoyable than its cover might suggest. For starters, Bingham has beefed up his arrangements and strengthened his grooves since 2007’s Mescalito; where his last album lacked the spiky, hallucinogenic thrills promised by its title, this batch of songs is just as hot and grimy as you’d hope for. Only 28, Bingham is already a grizzled veteran of the rodeo circuit and the itinerant life – miles of hard living that surface in each of Roadhouse’s 12 tracks, which range from the raging, slow-burning opener “Day Is Done” to the sprightlier, Nashville-flavored “Country Roads” and all stops in between. While lacking anything you’ll probably identify as an instant classic, Roadhouse comes at you with its chin jutted out and a pack of cigs rolled into its sleeve, and has the chops to justify the swagger; it’s a yellow-eyed, dust-covered reprobate of a record, steeped in Faces-style rock and soaked in bourbon. It doesn’t stand shoulder-to-shoulder with the best of Bingham’s influences, but if the leap he’s made between his first two releases is any indication, he’s well on his way to making a definitive statement. In the meantime, just crank this mother and knock a few down. (Lost Highway 2009)

Ryan Bingham MySpace page

Americana, CD QuickTakes, CD Reviews, Rock

Various Artists: Twenty First Century Twenty First Year

June 12, 2009 /

It may have seemed like just another example of dilettantism from a major star during the late ‘80s – a time when Amnesty International tours were all the rage and the Top 40 was stuffed with globetrotting music from Sting, Paul Simon, and Peter Gabriel – but 21 years later, David Byrne’s Luaka Bop is not only still around, it’s an inspirational example for anyone hoping to establish a boutique label. Known primarily as an outlet for releases from Byrne-approved “world music” artists like Zap Mama, Luaka Bop has actually been a more eclectic imprint than most people have given it credit for, something highlighted in the label’s new anniversary compilation, Twenty First Century Twenty First Year. You get the expected stuff – like Byrne’s tastes, the set skews toward South American and Afro-Caribbean grooves, offering booty-shaking cuts from Moreno +2, and Los Amigos Invisibles and some fine Shuggie Otis – but Twenty First is also careful to remind you that the label has provided a home for artists as diverse as Geggy Tah and Jim White. It all adds up to a solid hour of eclectic music that, like the label itself, is more interested in showing you a good time than proving how hip it is. And it succeeds, too – with the exception of Geggy Tah’s “Whoever You Are,” which should be locked in a lead-lined vault and fired into space, these tracks will make a fine addition to your next barbecue playlist, and it’s a fine introduction to the label in the bargain. (Luaka Bop 2009)

Luaka Bop MySpace page

Adult Contemporary, CD QuickTakes, CD Reviews, Folk, Latin, Pop, Rock

Empire of the Sun: Walking on a Dream

June 12, 2009 /

Ripping off ’80s artists can work, but you have to choose wisely. Go for Depeche Mode or New Order, leave Kajagoogoo alone. Empire of the Sun’s debut album Walking on a Dream has been out for a bit now, and It is frequently being compared to MGMT’s breakout debut Oracular Spectacular. The comparisons, however, aren’t justified. While MGMT is a psychedelic band with a synth-pop side, Empire of the Sun are firmly synth-pop and electro-pop to the hilt, with a sound ripped straight from 1984. Whether or not that’s a good thing can be debated. Sure, they work as a throwback retro act, and songs like the ultra-catchy title track and “Half Mast” are well-made simplistic pop-dance numbers, but once you dig past the obvious singles, there isn’t much to Walking on a Dream. The second-half of the album has some touches of experimentation, such as the “Delta Boy” with its Flaming Lips freak-out vibe, and “Country,” which has a strange easy listening feel, but its mostly just boring and kind of monotonous. By the time that the closer “Without You” comes up, the duo from Australia have more than worn out their welcome. Still, the highlights are great; hopefully they can craft something a bit more consistent next time. (EMI 2009)

Empire Of The Sun Myspace Page

Alternative, CD QuickTakes, CD Reviews, Dance, Electronica

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