Category: Electronica (Page 26 of 34)

Woven: Designer Codes

August 22, 2008 / James B. Eldred

Listening to Woven can be extremely annoying, and not just because their lead signer can’t sing (although that plays a large factor in it). Woven is so annoying because each of their records are textbook examples of how to squander potential. They’ve shown promise ever since their 2001 EP debut EPrime to become a great electronic act, maybe even a mainstream version of Aphex Twin. However, instead of embracing their inner glitch, the group continues to try and combine their natural talent for breakbeats and killer loops with generic, utterly boring alt-rock straight out of the late-’90s post-grunge handbook. Much of the blame for the band’s failure to successfully merge the two decidedly very different genres should be placed on singer Ory Hodis. There hasn’t been a signer this bad in a band this good since Einar’s days with Bjork in the Sugarcubes. Hodis seems to have two styles, whisper sing/speak and falsetto yelling/whining, and he can’t pull off either. Songs on Designer Codes are completely ruined by him. “Perception Whore” and “Inhale” are awesome IDM-inspired bits of insanity, kind of like Radiohead’s Kid A with some balls. But the second Hodis opens his mouth and unleashes his inner sensitive alt-rock bitch, the songs are totally ruined. Hodis should shut his mouth and Woven should either recruit a new lead singer or seriously consider reinventing themselves as an instrumental act, since that is one area they need no help in.

Woven MySpace page

Alternative, CD QuickTakes, CD Reviews, Electronica

Computer Vs. Banjo: Computer vs. Banjo

August 15, 2008 / James B. Eldred

King Kong vs. Godzilla, Alien vs. Predator, Freddy vs. Jason. These are the eternal battles that have captured the imagination of the American public. Now you can add Computer vs. Banjo to that list of epic duels. The computer half of this musical duel is Johnny Mann of the little-heard Nashville funk band Gran Torino. The banjo is represented by Beau Stapleton, formerly of the slightly successful southern jam band Blue Merle. To be honest though, there isn’t much in the way of “vs” on the duo’s self-titled debut. Much of the album is simply a low-fi electronic album, songs like “Low” and “Outer Space” have nary a country influence in them. On the flip side, country ballads “San Joaquin” and “2Heavy2Hold” don’t have much a computer presence to them. When the two do team up, the result is more like a Grandaddy album than something that you would expect from a name like Computer Vs. Banjo. Where’s the 21st century version of “Dueling Banjos”? What about a hardcore rave anthem with some line dancing influence thrown in for good measure? This is a good album, but there’s a lot of untapped potential here. Hopefully Mann and Stapleton will really embrace their novel concept on their next album and truly give us a battle between the technological majesty of electronic music and the down-home charm of classic country. (Diagram 2008)

Computer vs. Banjo MySpace Page

Alternative, CD QuickTakes, CD Reviews, Country, Electronica

ism: Urgency

August 1, 2008 / David Medsker

The band’s name is a reference to the many ‘isms’ that they feel are tearing at the fabric of society (racism, terrorism, etc.), but we see the band’s name as an acronym: It’s Sub-par Muse. Lead singer and songwriter Andre Mistier is clearly a big fan of Matthew Bellamy & co – a quick glance at the band’s top friends on their MySpace page confirms this – and the band’s sophomore effort, Urgency, feels like one long mash note to the UK power trio. There is no questioning the band’s talents as musicians, and lead single “Sacred Cows,” with its Morello-esque octave-jumping guitar riff, could pass for a leftover track from the Black Holes and Revelations sessions. The problem is the band’s slavish devotion to replicating Muse’s style. The title track alone is three Muse songs rolled into one, combining the music from “Time Is Running Out” with the lyrics from “Apocalypse Please” and “Butterflies and Hurricanes” (“If you’re wondering what you’re made of, now’s the time to see / Bring on Apocalypse”). Oh, and their bass player uses a lot of effects pedals, just like a certain Muse bassist. These guys could be dangerous once they find their identity, but for now, they’re just a group of highly skilled copycats. (STM Records)

ism MySpace page

Alternative, CD QuickTakes, CD Reviews, Electronica, Rock

Paper Route: Are We All Forgotten EP

July 18, 2008 / David Medsker

The most shocking thing about Are We All Forgotten, the perky little EP from the Nashville quartet Paper Route, is the label that’s daring to release it. Apparently, Universal Motown didn’t get the memo that, as Eminem once bluntly put it, nobody listen to techno. Their “mistake,” as it were, is our gain, because this is one nifty collection of ambient electronic pop. The title song is the clear standout, armed with a skittery drum track and more jangly guitar than that entire La’s album. Lead singer Chad Howat’s tenor has a bit of Carl Newman to it at times, notably on “Empty House,” and the band is keen to balance the earnestness of the lyrics with plenty of ‘hoo hoos’ and ‘ha has.’ Gorgeous stuff. Looking forward to the full-length album. (Low Altitude/Universal Motown)

Paper Route MySpace page

CD QuickTakes, CD Reviews, Electronica, Pop

Global Noize: Global Noize

July 11, 2008 / James B. Eldred

Global Noize is collaborative project between turnbalist DJ Logic and Grammy Award-winning jazz composer/keyboardist Jason Miles, and joining them throughout their self-titled debut are about a dozen or so other musicians. Some of the more notable contributors include Living Colour guitarist Vernon Reid, Blues Traveler’s John Popper, singer Me’Shell Ndegeocello and legendary trumpeter Herb Alpert. In addition to those somewhat prominent names, jazz musicians Karl Denson, Billy Martin, Cyro Baptista and Christian Scott show up, as does Parliament/Funkadelic’s Bernie Worrell. That’s a lot of great musicians from a ton of genres; and they bill themselves as “the nexus of jazz, funk, world music and electronica,” so it’s really too bad that they sound like nothing more than a third-rate jazz act experimenting with a turntable and a sampler. This isn’t a record that has one foot in jazz while dabbling in other genres; it has both feet firmly planted in jazz while the occasional pinky toe dips into electronic music or rock for a second before quickly retreating back to the safe, soothing waters of modern jazz. If you’re looking for a successful blend of jazz and electronic music (two genres of music that go surprisingly well together) check out Sqaurepusher’s Ultravisitor or At the Center by Meat Beat Manifesto. This is nothing more than waiting room music with mediocre backbeats tacked on. (Shanachie 2008)

Global Noize MySpace page

CD QuickTakes, CD Reviews, Electronica, Jazz