Category: Pop (Page 58 of 216)

Seen Your Video: OK Go, “WTF”

November 20, 2009 /

You have to feel a little bit bad for OK Go. Ever since they made the one-take, dancing-on-treadmills instant classic video for “Here It Goes Again,” the fifth (!) single from their 2005 album Oh No, they raised the level of expectations for their subsequent music videos impossibly high. You can’t help but wonder if the reason they have taken so long to record a follow-up album is because they were having a hard time coming up with an idea for the album’s first video.

We’re kidding, of course, but still, we’re willing to bet they went through over a hundred treatments before settling on the one for “WTF,” the first single from their upcoming album Of the Blue Colour of the Sky. The press release quotes singer Damian Kulash saying that “there is a lot of Purple Rain on this record,” a statement that we found dubious, to say the least. After all, Trent Reznor once said that Nine Inch Nails were making a Prince record, and the end result was The Fragile. Not quite a Prince record.

But as it turns out, OK Go did channel Prince, though we’d say it’s more Parade than Purple Rain. (Kulash’s falsetto is pure “Kiss.”) Armed with a Yes-like time signature (5/4, for those keeping score at home), “WTF” is one of the band’s best songs yet, and the video is an eye-popper. Using what we believe is referred to in the drug world as the tracer effect, the clips shows the band members walking around a white set, using giant wands to change the colors in the background. The clip looks like it was shot in one take as well, though we’re guessing there are a couple of cuts spliced in there. Either way, it’s a brilliant clip, in a my-head-hurts kind of way.


WTF?

OK Go | MySpace Music Videos

Alternative, Artists, Pop, Rock, Seen Your Video, Videos

Lady Gaga: The Fame Monster

November 20, 2009 /


RIYL: La Roux, Madonna, Christina Aguilera

‘Tis the season for unbelievably crass record company cash-ins, and Interscope is solidly in the spirit, shoving this eight-song batch of leftovers from Lady Gaga’s The Fame just in time to be stuffed into the stockings of dance-obsessed music lovers everywhere. Given its bottom line-oriented origins, and the disposable nature of this style of pop music in general, there’s no conceivable reason for The Fame Monster to work any better than your average strike-while-the-iron-is-hot compilation, but as Gomer Pyle would say: Surprise, surprise! If these are Lady Gaga’s table scraps, it’s a little frightening to imagine what she might have on tap for her next full-length affair. The Fame Monster comes on strong with “Bad Romance,” with a towering wall of synths and soulful vocals that suggest what might have happened if Jim Steinman and Bonnie Tyler had been born 30 years later; from there, Gaga touches on ABBA-esque pop (“Alejandro”) and torch balladry (“Speechless”), has a diva summit with Beyonce (“Telephone”), and throws a wicked S&M dance party (“Teeth”). At a dizzying 35 minutes, Monster concludes just when it feels like it’s really getting warmed up, but there’s nothing wrong with leaving ‘em wanting more, right? The closest thing to an eight-sided single you’re going to hear all year, The Fame Monster proves art and commerce really can get along sometimes. (Interscope 2009)

Lady Gaga MySpace page

CD QuickTakes, CD Reviews, Dance, Pop

Rihanna: Rated R

November 20, 2009 /


RIYL: Keri Hilson, Amerie, Jordin Sparks

Lest you think Rihanna meant to make some kind of cute alliterative play by naming her fourth album Rated R, she quickly disabuses any such notions by getting down to business with a collection every bit as inappropriate for young ears as its title would suggest. “I’m such a fuckin’ lady,” she purrs in the second track, “Wait Your Turn,” and from there it’s off to war. When last we heard from Rihanna, she was urging us to stand under her umbrella; this time out, she’s more focused on letting us know how hard she is, bragging about licking her gun because “revenge is sweet,” and barking “Get it up … is you big enough?” The music reflects this lyrical left turn; the arrangements are braced with metallic, tricked-out beats, cold, buzzing synths, and stacks of raw electric guitars (that’s Slash you hear on the ridiculous “Rockstar 101,” which finds her boasting, “Rocking this club / Got my middle finger up / I don’t give a fuck”).

Rihanna_06

It’s a curious blend, really, because as aggressive as Rated R wants to be – and often is, craptastic ballads like “Stupid in Love” and “Te Amo” notwithstanding – Rihanna can never get past her steel-plated drone of a voice long enough to really make it work. More than anything, she just sounds bored, whether she’s declaring herself a “gangsta 4 life” or strolling her way through a duet with will.i.am. This doesn’t blunt the impact of Rated R’s best moments, like the thudding “Hard” and softcore porn of “Rude Boy”; taken in total, it can even function as a sort of meta statement on the emotional disconnect between mainstream culture and its young consumers. In a pop climate where lack of emotion is the norm, Rihanna’s bloodless art makes perfect sense. Still, after a while, it’s impossible not to wish for some good old-fashioned passion. Remember when R&B had soul? (Def Jam 2009)

Rihanna MySpace page

CD QuickTakes, CD Reviews, Pop, R&B

Morningwood: Diamonds & Studs

November 19, 2009 /


RIYL: Pat Benatar, Garbage, Paramore

The manner in which success has eluded New York’s Morningwood (previously a quartet, now a duo) is frankly surprising. Their songs are armed to the teeth with punchy guitar riffs, and singer Chantal Claret is an absolute belter, a larger than life personality with an oversized libido to match. (Think Pat Benatar, only this time you actually have a shot at getting her in bed.) After a one-album stay with Capitol, Morningwood has elected to go the self-released route with their sophomore effort Diamonds & Studs (though MTV is assisting with the distribution), and unlike most self-made affairs, this album sounds damn good. Indeed, it’s a modern-day production with an old-school mix job, lacking the overcompression that makes most contemporary albums sound like complete and utter shit. Much like the band’s debut, a few songs stand head and shoulders above the others, namely “Sugarbaby,” which out-Paramore’s Paramore. “How You Know It’s Love,” which jumps from shuffle beat to four-on-the-floor rocker in the chorus, playfully cribs from the band’s “Nth Degree,” and the drum-heavy “That’s My Tune” has ‘club smash’ written all over it.

Strangely, as pleasant as the album sounds while it’s playing, much of it leaves no footprint once it’s gone. Case in point: “Three’s a Crowd.” Fabulous while you’re listening to it, but an hour later, it’s hard to remember how it goes. Morningwood is still putting the pieces together, but there are far worse bands that are out-selling them. Pity. (Morningwood Inc. 2009)

Morningwood MySpace page
Click to buy Diamonds & Studs from Amazon

Alternative, Artists, CD QuickTakes, CD Reviews, Pop, Rock

Jay Farrar & Benjamin Gibbard: One Fast Move or I’m Gone: Kerouac’s Big Sur

November 19, 2009 /


RIYL: Neil Young, Greg Laswell, Hem

It’s fitting that this modest film based on the life of one of America’s most iconic authors would garner a soundtrack composed and performed by two of today’s most compelling alternative musicians, Jay Farrar and Benjamin Gibbard. Jack Kerouac, of course, helped define the underground subculture of the late ‘50s and early ‘60s with his novel “On the Road,” influencing a generation of displaced and rebellious individuals who dared defy the norms of a placid society. While they may not be quite so influential, Farrar and Gibbard’s efforts with Son Volt and Death Cab for Cutie, respectively, have nevertheless had a lingering impact on other artists who have ventured away from the tried and true and immersed themselves in similarly adventurous realms.

Arousing both literary and musical interests, One Fast Move or I’m Gone: Kerouac’s Big Sur documents its subject’s subsequent retreat from a culture he helped create, a period when he hid himself away at poet Lawrence Ferlinghetti’s cabin in Big Sur in an attempt to cope with his doubts and depression. Using Kerouac’s own words, interspersed with commentary from surviving contemporaries and such avowed devotees as Patti Smith, Tom Waits and Robert Hunter, the film explores his shattered psyche and sad circumstance that led to the author’s eventual downward spiral.

In that context, Farrar and Gibbard weave a lilting musical tapestry, one that emphasizes low-lit harmonies, a predominance of acoustic guitars, gentle melodies and a sweep of pedal steel. The 12 songs create a weary ambiance that fits the film’s somber pastiche; fitting midway between the somber sensitivities that characterize Farrar’s usual demeanor and the more effusive sounds that characterize Gibbard’s Death Cab duties, songs such as “California Zephyr,” “Low Life Kingdom” and “These Roads Don’t Move” give the soundtrack an amiable sway and an unobtrusive appeal. Kerouac may furnish the narrative, but Farrar and Gibbard help manipulate the mood while providing the score with its easy appeal.

After one look and a single listen, Gone is not easily forgotten.

One Fast Move webpage

Americana, Artists, CD QuickTakes, CD Reviews, Folk, Pop, Rock

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