Category: Electronica (Page 24 of 34)

Morel: The Death of the Paperboy

November 28, 2008 / James B. Eldred

Morel is an acclaimed remix artist who as worked with Pink, Depeche Mode, Cyndi Lauper and about a dozen or so other platinum artists. He’s also well known in house music circles for his club singles and his work with the dance music duo Deep Dish. But his career as a solo artist has been noticeably less successful, and The Death of the Paperboy probably isn’t going to change that. Too much of this album has Morel going away from his strengths, and experimenting with ballads and rock-driven pop songs. It occasionally works; “Anymore, Anymore” sounds like some fabulous combination of Erasure and Oasis, and the upbeat “Flawed” sounds like Hot Fuss-era Killers with a dozen or more synthesizers plugged in, but for the most part it all straddles the line into either generic dance music or down-tempo electronic pop. But let’s be honest, Morel makes music predominately for (gay) club play, and there are a few songs here that work great in that regard. But if that doesn’t interest you, then there is no reason to even glance at The Death of the Paperboy. (Outsider Music 2008)

Morel’s MySpace Page

CD QuickTakes, CD Reviews, Dance, Electronica, Pop

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ohGr: Devil in My Details

November 21, 2008 / James B. Eldred

When he’s not busy freaking people out with industrial explosions in Skinny Puppy, starring in rock operas with Paris Hilton (“Repo! The Genetic Opera”) or doing heroin, Nivek Orge (or Kevin Orgre when he’s feeling less dyslexic) is the frontman of ohGr. Unlike the ultra-abrasive sound of Skinny Puppy, ohGr has traditionally been slightly more accessible than that group of industrial pioneers. Welt, their first album, incorporated electro and even some synth-pop into the mix, while the ingeniously named follow-up Sunny PsyOp did the same. But on their third album, Devil in My Details, there’s nary a synth riff or electro beat to be found. This is nearly as industrial and frightening as a Skinny Puppy record, which is weird considering that this is the first release by ohGr since Skinny Puppy got back together, maybe Orge can’t turn the industrial side of him off now that’s it’s been turned back on. It’s also not nearly as good as either of those two records or anything Skinny Puppy’s done since their reunion, losing steam quickly after the first two strong tracks (“Shhh” and “Eyecandy”). There are a lot of ideas on Devil in My Details; Ogre goes off on rants about government conspiracies, the evils of eating meat and other assorted topics, but there isn’t a lot of music. For hardcore fans of Ogre and his assorted side-projects only. (Synthetic Symphony 2008)

ohGr MySpace Page

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Taxi Doll: Here and Now

November 14, 2008 / James B. Eldred

Taxi Doll combine rock music (and a hot female lead singer) with electronica in a way that may draw comparisons to Garbage. In fact they describe themselves as “Garbage meets Blondie.” However, the reality is that they are more like Garbage minus Blondie in that they have much of the electronic sound and high production quality of Garbage, but forgot to add the edgy attitude and dark side that Shirley Manson and company are so well known for. Not only does the band lack attitude on their debut album Here and Now, they are also lacking anything that remotely resembles something close to memorable, good or bad. This album is the sound of “blah”, sonic beige wallpaper, utterly forgettable and harmless. It lacks the punch of better electronic pop music like Robyn and also lacks the ear-splitting awfulness of over-produced debacles like Katy Perry. If you hate pop music you’re not going to be driven crazy by Taxi Doll, and if you like pop music there’s nothing you’ll go crazy over. Taxi Doll is a suitable name, because this is a group that has about as much emotion and depth as a plastic Barbie doll. (Antidote 2008)

Taxi Doll MySpace Page

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Kyle Andrews: Real Blasty

November 14, 2008 / Lee Zimmerman

Kyle Andrews spins a sound that’s decidedly left of center, a sonic surge marked by giddy melodies, techno-tinged rhythms and an effusive enthusiasm that freely tugs at the parameters. Recorded, produced and played almost entirely under his own aegis, Real Blasty, Andrews’ sophomore set, delivers on all its name implies, an all-out, go-for-broke, no-holds-barred slab of indie invention. Opening track “Sushi” ups the ante from the get-go, an ebullient shout-out that provides perfect incentive for a dalliance on the dance floor. That breathless, kinetic pace is sustained throughout, but it’s especially pervasive on songs like “Polar Bear,” “Tennessee Torture Dream” and “Put Your Hands Up,” the latter a standout by virtue of its elated call to arms. There are occasional moments of reflection as well – the appropriately dubbed “Take it to Heart” being the most notable – but overall, it’s Andrews’ insistent approach that leaves the most emphatic impression, a dizzying collision of rock, racket and weirdness. Next time around Andrews may want to consider reigning himself in, at least to allow his listeners to catch a collective breath. Suffice it to say, Real Blasty is positively explosive.

Kyle Andrews MySpace page

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pH10: Well Connected

November 7, 2008 / James B. Eldred

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