Category: Pop (Page 112 of 216)

It wasn’t all that long ago that successful American female songwriters were a rarity – when Ann Ronell scored a hit with “Willow Weep for Me” in 1932, she broke a barrier that still remained mostly untested at the dawn of the rock era – but that certainly isn’t the case in the 21st century; by the time Ronell passed away in the early ‘90s, the novelty of a woman writing her own music had long since worn off, and these days, we’ve got a veritable glut of singer/songwriters offering the female perspective. All of which is sort of a shame for Anya Singleton, really – after all, if she weren’t one of a crowded pack, her debut full-length, The Other Side, probably wouldn’t sound so tired. Singleton has a great set of pipes, a solid band, and a terrific producer in Rob Arthur, but these 11 songs – most of them falling squarely into the “tastefully mid-tempo” sweet spot favored by baristas and soundtrack supervisors – don’t do a whole lot to distinguish her from any one of the two or three dozen other performers you can find plying their wares in any random bar or club on any given night of the week. The best thing about the album is undeniably her voice – from here on out, she’d do well to either attend some songwriting seminars or just stick to interpreting other people’s material. (Hybrid Music Productions 2008)

Anya Singleton MySpace page

Ever wondered what it might sound like if Natalie Merchant fronted Evanescence? Yeah, us neither, but Sony’s betting we’re in the minority – and they might just be right, judging from the way soundtrack supervisors at MTV have taken to Mandi Perkins’ music, featuring the corseted Canadian’s melodramatic pop songs on shows such as “The Hills” and “The Real World.” One listen to Perkins’ major-label debut, Alice in No Man’s Land, is enough to let you know that she’s a perfect fit for the network’s teen-focused reality programming – the songs are larger than life and embarrassingly serious, just like the problems faced and emotions expressed by the shows’ stars. Of course, Perkins can only write what she knows – and give her credit, because the girl can really sing – but all the bombast gets pretty numbing after a while; you can’t listen to the whole record in a single sitting without feeling like you’re being beaten over the head with the overwhelming significance of it all. Her music isn’t without promise, but next time out, Perkins would do well to explore her dynamic range a little more. It might not get her music on MTV, but a little subtlety never hurt anybody. (Sony BMG/Victor 2008)

Mandi Perkins MySpace page

They may have arrived to the new-new wave party a little late, but RadioRadio still managed to build up a bit of steam after releasing its debut CD, Watch ‘Em All Come Runnin’, in 2006 – only to watch it all evaporate in a puff of frustration after three fifths of the band quit unexpectedly, leaving vocalist Greg Hosterman and bassist Paul Cristiano to sort out the pieces. RadioRadio’s still here, as evidenced by the new EP Alarm 1 Alarm 2 — but whether that strikes you as a good or a bad thing will depend heavily on your tolerance for dudes in skinny ties who do their damndest to evoke the early ‘80s work of well-coiffed Britpop heroes like Bowie, despite being, you know, American. The music’s still the thing, of course; it doesn’t really matter that these four Brixton-worshiping guys actually hail from Tulsa, just as it isn’t a crime for an Oklahoma band to name one of its songs “BBC.” No, the problem with RadioRadio is that its music is slavishly derivative, and the extremely limited thrill provided by like-minded bands such as the Killers wore off a long time ago. The songs have plenty of energy, and Hosterman sings as well as any Thompson Twins cover band frontman, but what’s the point? Just listen to the band’s inspirations. You already know the songs by heart. (Comprono 2008)

RadioRadio MySpace page