Category: Melodramatic (Page 8 of 12)

Steal This Song: Gazpacho, “Winter Is Never”

The problem with a band reaching the upper reaches of the rock star food chain is that inferior bands begin to imitate them. And the band that has inspired the largest number of shitty copycats of late, sadly, is one of this writer’s favorites.

Muse_14 edit

Yep, Muse.

The thing about Muse is that their approach is a lot simpler than it appears. The song, by and large, comes first, whereas the band’s copycats see the flashy solos, the lightning-fast drum fills, and the busy bass lines and instantly forget about writing and concentrate on playing. Big, big mistake. Without a tune, that stuff is just masturbation.

Which brings us to Gazpacho, which seems an odd name for a group of Norwegians, but then again we suppose that everything is served cold there. (This moment of cultural insensitivity brought to you by Jack Daniel’s.) This is the first Muse-y band we’ve heard since “Knights of Cydonia” that seems to understand the order of things. They can play, and they make sure that you know they can play, but it’s not their endgame. And, in the case of “Winter Is Never,” the haunting ballad that closes their new album Tick Tock, the song comes first, second and third. David Gray is probably gnashing his teeth over this one, as this could pass for a White Ladder outtake, with a few Buckley-isms from lead singer Jan Henrik Ohme in the second chorus. Gorgeous stuff, and best of all, it’s free! The download link is below.

Groepsportret Gazpacho

In the meantime, those who felt a tad disappointed by Muse’s new album The Resistance would be wise to check out Tick Tock. It won’t make anyone burn their copies of Black Holes and Revelations, but for a mere $6.23 to download, it’s a steal. Dig in.

Gazpacho – Winter Is Never

Gazpacho MySpace page
Click to buy Tick Tock from Amazon

Original Motion Picture Soundtrack: The Twilight Saga: New Moon


RIYL: Vampires, werewolves, everlasting love

Say this for soundtrack supervisor extraordinaire Alexandra Patsavas: with the soundtrack to “New Moon,” the second installment in Stephenie Meyer’s “Twilight” series, she leaves nothing in the bag, as it were. With a lineup chock full of megastars and indie darlings, New Moon is the most ambitious soundtrack to come down the pipe in a while. It’s also decidedly more grown-up than its predecessor, forsaking teen angst poster children Paramore and Linkin Park for the moody stylings of Bon Iver (teamed up with St. Vincent here), Sea Wolf, and Grizzly Bear. Muse is the only returning act – expect them to appear on the soundtrack for every “Twilight” movie, as Meyer is a devout fan – and it’s a doozy, as “I Belong to You,” from their latest album The Resistance, is punched up and, more imporantly, edited down (no piano break, woo hoo!). Thom Yorke delivers the wonderfully minimalist electro brooder “Hearing Damage,” and Patsavas scores a massive coup by securing the first new song by OK Go in four years, the endearingly oddball “Shooting the Moon.”

THE TWILIGHT SAGA: NEW MOON

The biggest problem with the soundtrack is the sequencing. It will surely make sense in context with the movie, but as a straight-through listen sans visuals, it’s awfully up and down. All quibbling aside, New Moon is far better than anyone had a right to expect it to be, growing up along with its audience. Bravo, Alex. (Chop Shop/Atlantic 2009)

Twilight: New Moon MySpace page
Click to buy New Moon from Amazon

Vic Chesnutt: Skitter on Take-Off


RIYL: Bob Dylan, Neil Young, Daniel Johnston

Documenting a solo concert in San Francisco, Vic Chesnutt revisits his roots and goes back to basics with this stark example of shadowy introspection. Accompanying himself with mostly a subdued strum of his acoustic guitar and the incidental input of the enigmatic Jonathan Richman on guitar and harmonium and drummer/percussionist Tommy Larkin, he meanders through a troubling set of dark and dire melodies. Yet, despite this turgid set-up, Chesnutt populates his rumbling, meandering narratives with oddball hi-jinks, from the bizarre homage entitled “Dick Cheney” to the roll call of weirdos delineated in “Worst Friend” (“Your friend likes to get peed on in sexual situations… Your friend dresses up like Little Bo Peep… Your friend claims to have taken a dump in the White House…”). Likewise, the palpable anger that ripples through “My New Life” affirms the depth of these ominous overtones and moots any connection with the crowd. Quirky yet austere, Skitter on Take-Off provides what’s best described as an intimidating encounter. (Vapor Records 2009)

Vic Chesnutt web page

Hope Sandoval & the Warm Inventions: Through the Devil Softly


RIYL: Galaxy 500, The Innocence Mission, The Sundays

Call it music for insomniacs. Or anyone else that needs to catch up on their sleep. The second solo album by Hope Sandoval, late of ethereal ingénues Mazzy Star, not only maintains the same hazy drift and downcast drone of her former colleagues, but actually manages to take whatever minimal energy they mustered down another notch. Hushed and lethargic, Sandoval conveys a haunting, unhurried sound that’s immersed in spectral surroundings, contemplative musings and the occasional ominous overtones. Given their narcotic and nocturnal sensibilities, Sandoval and company seem hard-pressed to make a more emphatic impression, and even those songs that pass for sensual dreamscapes barely register beyond any cerebral set-ups.

Hope Sandoval Devil

Consequently, willowy offerings like “Blanchard,” “For the Rest of Your Life” and “Sets the Blaze” are more celestial than sublime, not exactly the type of thing that makes a lingering impression once the haze is lifted. So forget any notion of a sing-along. There’s not much of the Devil in these details. (Nettwerk 2009)

Hope Sandoval MySpace page

Erin McKeown: Hundreds of Lions


RIYL: Joni Mitchell, Norah Jones, Ricki Lee Jones

Over the course of her career, Erin McKeown has consistently demonstrated an ability to transcend typical singer/songwriter fare with music that’s rich in both imagery and imagination. Unlike those contemporaries who dwell strictly on circumspect, McKeown creates a sound that’s unfailingly vibrant and revealing.

Erin_McKeown_01

Happily then, Hundreds of Lions proves no exception. After McKeown’s last album, Sing You Sinners, found her retracing jazz standards, it might be imagined she’s mow channeling Kurt Weill in her own suggestive sort of way. Presented with a theatrical flair, these songs give the impression that someday they might be Broadway-bound. Offering a mix of whimsy and panache, producer Sam Kassirer utilizes clarinets, flutes, sax, cello, violin and viola to enhance the jaunty, jovial feel. In fact, “Santa Cruz,” “All The Time You Missed,” “The Rascal” and “The Foxes” come across as so exceedingly infectious, they make repeated listens almost seem mandatory. Even in the more pensive moments – “You Sailor” being the most obvious example – McKeown remains completely captivating, a songstress whose skill and finesse finds her at the peak of her prowess. (Righteous Babe 2009)

Erin McKeown MySpace page

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