Category: CD Reviews (Page 130 of 399)

Rain Machine: Rain Machine


RIYL: TV on the Radio, Animal Collective, Akron/Family

Enter the mind of Kyp Malone with Rain Machine, the new solo project of the booming-voiced TV on the Radio guitarist and co-frontman. The album cover bursts with bright colors and naked girls, leading the listener to believe there is a Dionysian sort of feast within. And is there ever, with Malone cutting loose with claps, whistles and bells throughout the album’s seemingly massive length.

The god of ritual madness and ecstasy would surely appreciate the content, with Malone sparing no appropriateness to sing about being a “Desperate Bitch,” or having “the fattest cock or the sweetest pussy.” Indulgence abounds on Rain Machine, in ways good and bad – of the 10 tracks, six of them hover above the five-minute mark, meaning there are some eye-rolling, “Okay, this song could be over,” moments. Then there’s the joyousness of “Give Blood” and “Hold You Holy.” The second half of the album transitions from the cacophony of paeans to love and politics into quiet, lightly strummed desperation. That does just fine for “Driftwood Heart” and “Desperate Bitch” but after “Free Ride” and “Leave The Lights On,” you keep hoping he’ll get back to being rambunctious. The closing track, “Winter Songs,” gets there at times, but at 10 minutes long, it’s hard to get more than five minutes in.

Malone’s mind is an intense place, but worth the journey. As for how listenable it is, those inclined towards extravagance may find something to appreciate here, but those whose motto is “everything in moderation,” would do best to look elsewhere. (Anti, 2009)

Rain Machine MySpace page

Steal This Song: General Elektriks, “Take Back the Instant”

Somewhere in California, Beck is throwing stuff across the room, pissed that he didn’t come up with this first.

The project of French expatriate Hervé “RV” Salters, General Elektriks is minimalist blue-eyed funk filtered through a microphone and a bevy of vintage synthesizers. RV seems particularly fond of the Clavinet (think “Superstition,” “Trampled Underfoot”), which makes sense considering it’s arguably the funkiest instrument ever created. Adding the horns for the last verse is a nice touch, too.

general elektriks

Wow, look at that shirt and tie combo. All right, so the guy might be color blind. But when it comes to music, color blindness is never a bad thing. It-it’s time to get, it-it’s time to get funky, kids.

General Elektriks – Take Back the Instant

General Elektriks MySpace page

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

George Benson: Songs and Stories


RIYL: Anything that’s smooth jazz

When you have ten Grammys, it can’t be easy to keep making award-winning music, but George Benson may do just that with his latest, Songs and Stories. Admitting that he keeps things fresh by focusing on the basics, a.k.a., songs and the stories that make up those songs, Benson dug into the material of some of his favorite songwriters, including James Taylor, Smokey Robinson, Bill Withers and Donnie Hathaway – and even had some other tracks specifically written for this project. Then what Benson brings to the table is what he does best: play the guitar like a tasty madman and deliver soulful and pitch-perfect vocals. Some of the highlights are the Al Jarreau-ish “Show Me the Love” which was written by project producer Marcus Miller as well as Toto’s David Lukather and David Paich; the bluesy “Come In from the Cold,” written by Marc Broussard, Radney Foster and Justin Tocket; and a take on Christopher Cross’ “Sailing” that will remind you of Benson’s “Breezin’” days. And of course Benson does a terrific job on the opening track, James Taylor’s “Don’t Let Me Be Lonely Tonight,” which sounds like it could and should be a ubiquitous smooth jazz staple. George doesn’t ever disappoint, and he surely doesn’t here. (Concord 2009)

George Benson website

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