Category: Electronica (Page 25 of 34)

Mr. Meeble: Never Trust the Chinese

Downtempo is a tricky sub-genre of electronic music. Everyone wants to be Massive Attack or the Orb and deliver the end-all-be-all of post-club chill out. But if you take it too chill and relaxing, then the next thing you know you’re Dirty Vegas, or even worse, easy listening or New Age. It’s a fine line. On their offensively-named debut Never Trust the Chinese, Mr. Meeble tread that line like a tightrope, showing signs of sedative brilliance before tripping and falling off into the safety net of “Days Go By” derivatives. It opens great, through; “Raindrops” is a pretty out-there cover of “Raindrops Keep Falling On My Head” that combines the ’70s cheese fest with occasional interludes of cut-up glitched vocals and an even more out-of-place rapping coda. It’s not exactly perfect, but it’s certainly unique. Other tracks, like the overly aggressive “A Ton Of Bricks” (apt name: it hits you like one) are jarring and obvious attempts for mainstream appeal that come off as soulless and empty.

All of Never Trust the Chinese is like this, going back and forth between the experimental and boring, the edgy and safe. This is a band of two minds, so much so that they even split up a song to demonstrate them both. “Everything Is Good (Part 1)” is an album highlight, a mostly instrumental sonic soundscape that engulfs you. But second part blows it all to hell by removing much of what made the first part so good and replacing them with dry, vapid and tone-deaf vocals. Never Trust the Chinese has all the trappings of a debut album by a band who has not yet found their sound. These guys need to throw a desire for a Top 40 fanbase to the wind and stick to the fringe, because they’ll definitely thrive there. (Absolute Motion 2008)

Mr. Meeble MySpace Page

Knox Bronson: Pop Down the Years

Touted as “electronic music for the mind and body,” Knox Bronson’s Pop Down the Years features nine tracks of varying pop alchemy. The opening cut “Hey Little Earthgirl” sounds like the same sort of thing Freezepop has been doing for a few years now, with its vocoder-soaked vocals and cutesy-pie melody. On the other hand, “Old Man Cold Man” sounds like a hellish marriage of Leonard Cohen and something from the mind of Ed Wood. Indeed, how seriously are we to take these tunes when something like “3 Secends before Maia Smiled” sounds like some random New Age electronic CD got spun in a blender with Taco? “Take Me Down” sounds like a creepy old man coming on to a much younger girl, and those synthesized farts and burbles in the mix don’t help at all, nor do lyrics like “Making love all day on a sacred afternoon.” In fact, that creepy old guy persona imbues much of the work here, making the album more than a little uncomfortable. I’m sure that was unintentional, but it doesn’t make the listening any easier. (Tangerine Sky Interactive)

Knox Bronson MySpace page

House of Badger: Death Birds

House of Badger describes themselves as a pop/electronica/experimental band, and as vague as that categorization is, it actually sounds about right. This is a weird band that writes weird songs and performs using weird instruments. However, they still have one foot (barely) in the pop realm; they’re the Talking Heads by way of Portland, Oregon. I mentioned the weird instruments, right? In addition to guitar and keyboards, singer Amanda Kelly also plays mandolin and Turkish saz (another plucked string instrument – thanks Wikipedia). Bass player Charlie Gallipeau rocks out old-school electronic sounds thanks to his Moog and theremin skills, while drummer Liam McNamara puts down his sticks on occasion to play the guiro as well as “the pans,” which I can only assume is a pan flute. How an unsigned indie-rock band can afford all these instruments is a mystery, but they certainly know how to use their unique instrumental capabilities to craft beautifully odd pop songs. “Vultures” and “Away” combine stark riffs with subtle ambient electronic effects to stunning effect, while the more upbeat “You Give Yourself Away” and “Into the Sun” crank up the rock and focus on the spectacular voice of Amanda Kelly, who has the ethereal quality of Siouxsie Sioux with the power of Amanda Palmer from the Dresden Dolls. Clocking in at only 30 minutes with seven songs, the only fault of Death Birds is that it leaves you wanting much more. (Self Released 2008)


House of Badger MySpace Page

Wunderbugg: Written in Flesh

On Written in Flesh Wunderbugg has created an electronic mix of impressive proportions. A little electroclash here, a smidgen of ambient there, some dance and house beats sprinkled throughout. “3 Molecules Away” opens the album on a fuzzy, jagged note where the sublime mixes with the crunch of synths whirring away. “Infected with Hope” sounds like its title might suggest; an ethereal space-age sort of breezy groove with a bit of a dark undertone running down the middle. “Heartworm” approaches the New Age side of the yard, and “Overdose No. 5” features raging beats that would please any of those 140-BPM-and-higher fans. Like many electronic-based groups, Wunderbugg’s repertoire doesn’t come off entirely clean over the course of this album, but what’s good here is very solid, indeed. It just seems a little faceless at times. (Self-released)

Wunderbugg MySpace page

The Submarines: Honeysuckle Weeks

Crafting good songs is not as easy as it looks. But crafting mostly happy, upbeat songs that just scream to be placed on film and TV is another level of difficulty altogether. That is, unless you are the Submarines. The male/female duo’s second album, Honeysuckle Weeks, already sounds like a movie soundtrack – and the music is bouncy electro-pop with solid arrangements and melodies that are unique and compelling at the same time. There is also a nice balance of vocals between lead singer Blake Hazard with the harmonies of John Dragonetti. If you can imagine this, think modern iPod commercial fare such as Orba Squara meets ‘80s new wave icons such as Siouxsie and the Banshees or anything from “Sixteen Candles.” Tracks like “The Thorny Ticket” or “The Wake Up Song” are as catchy as anything ever recorded, the latter showcasing the duo’s lush harmonies. But these two know how to get down and dirty too, as they do on the dark and haunting “1940” and “The Fern Beard.” And “Brightest Hour,” with Hazard’s dreamy vocals and sparse piano key hits, is a movie trailer away from bigger things for this duo. (LABEL: Nettwerk)

The Submarines MySpace page

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