Category: CD QuickTakes (Page 78 of 149)

Lisa Donnelly: We Had a Thing

Although Lisa Donnelly is but unknown at this point, there’s something uncannily familiar about her solo debut. Having fronted the L.A. outfit A.M. Pacific and after mining the Hollywood club circuit, it’s only natural that she should exude the air of a veteran, and indeed the confidence and ease with which she delivers her material belies any hint of relative inexperience. If anything, Donnelly may be too ambitious; We Had a Thing suggests she may be trying to cover too much ground for a first outing. And in fact, with songs that run the gamut from ethereal ballads to propulsive hip-hop, it’s hard to get a handle on Donnelly’s true essence. Try Sarah McLachlan meets Madonna. She even throws some sitar into the mix with the song “Blue,” suggesting a psychedelic spin that quickly turns into a meditative mode. Still, the most telling track on the album – both literally and figuratively – is the leadoff tune “Laugh,” an intriguing narrative about a dinner party encounter with a psychic who preps her for the future. Being that she’s a bit derivative, it’s difficult to read Donnelly’s chances for success based on this album alone. Still, it suggests there’s plenty of potential for ongoing endeavors.
(BT Media 2009)

Lisa Donnelly MySpace page

Straw Dogs: Love and Then Hope

Seattle’s Straw Dogs tackle just about every sound they can handle on this album’s 14 tracks. The disc’s opener “Lie Awake” is fair enough, but everything takes off in earnest for the second tune, “Could You,” featuring a fairly knotty arrangement that pays off at the choruses. The band teeters between semi-precious songs like “Serious Love” and “Fire Outside,” and more muscular workouts such as “Fallow” and “Down My Hall.” There’s twang a-plenty in these creations, and the group isn’t afraid to wear its love for Americana on its sleeve. It runs a bit long as some of the songs start blending into one another after a while, but what’s here is strong enough for a good overall impression. Had they trimmed away four songs from the disc, they may have had an instant classic. But there’s nothing wrong with the occasional flawed masterpiece. (Crafty Records)

Straw Dogs MySpace page

Schleusolz: Running Out of Time

Back some years ago, the members of Devo thought it would be interesting to re-record a collection of their favorites in easy listening styles and release the whole damn thing as the E-Z Listening Disc. The sound they conjured on that release is the closest thing I can compare this album by Schleusolz to. It’s cheesy as hell, and the Casio-like quality of the drums on some of the tracks will have you loving or hating it, perhaps both at the same time. But what you have here is 16 tracks of instrumental goofiness that defies explanation – and perhaps even good taste. Yet it’s all fun. “Make My Heart Go Boom” rocks in ways it absolutely shouldn’t. “Detroit Teenage Riot” sounds like some leftover early ’80s synth nightmare. “Neo-Liberal Coffee Bar” could almost make Kraftwerk blush. That’s actually fitting, since these guys hail from the same country. Whatever this stuff is, it’s definitely worth hearing. Yes, it may induce a headache, but then where would we be without such classic, mind-bending albums as Trout Mask Replica? In a far worse place, my friends. Weirdly brilliant. (self-released)

Schleusolz MySpace page

Scripts ‘N Screwz: The New Noise

If there’s one thing you’d expect from an East St. Louis rap duo, it’s the ability to convincingly go dark, and on their full-length debut, The New Noise, Scripts ‘N Screwz deliver: for nearly an hour, the album envelops the listener in a grim, seedy wall of unforgiving sound that effectively frames their stark, socio-politically oriented rhymes. It’s distinctly inner-city stuff, with anger to spare, but it’s also a work of deep thought – and the probing lyrics are well matched by the steadily shifting production, which shifts from the dense, flashy barrage of tracks like “Brick” to the pared-down menace of “Eyes Wide Shut.” Scripts ‘N Screwz claim OutKast as a major influence, but don’t go into The New Noise expecting the freewheeling, genre-hopscotching whimsy that typifies OutKast’s albums; where releases like Aquameni and Stankonia tried to bring the street to the FM dial, Noise sits on the stoop and dares you to come to it. It isn’t always a happy journey, but it’s an unmistakably worthwhile one – if you like your hip-hop lyrically conscious and a little off the beaten path, this is Noise you need to hear. (The V.E. Company 2009)

Scripts ‘N Screwz MySpace page

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

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