Category: Pop (Page 66 of 216)

Steel Panther: Feel the Steel


RIYL: Spinal Tap, Poison, songs about loose women

The emergence of hair metal parody band Steel Panther in today’s musical climate is enough to cause the space/time continuum to collapse on itself. “The Wrestler” showed us that there is an entire generation of people who love hair metal in a non-ironic way (unlike, say, Ellen Page’s character in “Whip It,” who wears her mother’s Stryper T-shirt as a joke), which means that a talented hair metal band has a legitimate shot at scoring a left-field hit.

So what to make, then, of a hair metal band 20 years past the genre’s sell-by date, sporting chops to the heavens…but a juvenile lyrical streak that borders on contempt? That is the conundrum that surrounds Feel the Steel, the new album by Steel Panther, the artists formerly known as Danger Kitty and Metal Skool. There is no question that they can play, and their knockoffs of more legitimate (but no less cheesy) hair metal songs are spot-on (expect Jon Bon Jovi’s lawyers to sue for the royalties to “Party All Day” in 3…2…1…). But hot damn, does the joke get old quickly, and they can kiss any chance of appealing to the fairer sex goodbye with tale after tale of misogyny. If the object of singer Michael Starr’s desire isn’t a hooker (“Asian Hooker”), she’s a stripper (“Stripper Girl”), or fat (“Fat Girl”), a small-town piece of ass (“Girl from Oklahoma”), or just plain ugly (“Turn Off the Lights”). Starr knows no fidelity (“Community Property,” “Eatin’ Ain’t Cheatin'”), dedicates a chorus to the phrase “two in the pink and one in the stink” (“The Shocker”), and finishes the “More Than Words” knockoff “Girl from Oklahoma” with the words “Yeah, suck it, bitch.” Wow.

Steel_Panther_02

All right, we get what they’re doing here. The original wave of hair metal was littered with songs about underage girls, partying, and partying with underage girls, and Steel Panther is simply taking a Zen approach to it all by also addressing the cheating, the drugs, and the sharing of STDs that those guys chose not to sing about. Ha ha, very cute. The problem is that it loses its impact roughly halfway through the album, and the talk of blowing loads, lube, and mimicking blowjob sounds distracts from the band’s better qualities, namely Starr’s ability to impersonate nearly every singer from the hair metal era. (His David Lee Roth is the best, for the record.) Our suggestion: trim the number of songs about, um, trim in half, and focus on other topics, like what a drag it is to have Satan for a master – there is surely a parallel between being one of Satan’s minions and being a teenager with an overbearing dad – or even better, sing about something so far over the heads of most metal acts (quantum physics, for example) that the songs can stand on their own, rather than in the shadows of their predecessors.

Feel the Steel is good for a laugh, but there isn’t anything here that you – or even Steel Panther – will be playing ten years from now. It is purely an of-the-moment guilty pleasure, though it could have been so much more. Pity. (Island 2009)

Steel Panther MySpace page
Click to buy Feel the Steel from Amazon

Ramona Falls: Intuit


RIYL: Badly Drawn Boy, Menomena, Bon Iver

Intuit lives up to its name in many ways. The debut by Ramona Falls, a solo project of Menomena’s Brent Knopf, is a masterful work that needs to be absorbed indirectly, because while a first listen quickly demonstrates its Alternative/Indie Rock pedigree, it escapes any easy comparisons and is tricky to grasp. That isn’t to say it is inaccessible. Far from it. The first three tracks are powerful songs that are intensely hooky. “I Say Fever” is especially rocking, with a classic soft-hard juxtaposition of stanza and refrain. Yet they are all completely different and keep the listener guessing. Such cognitive dissonance can often backfire, causing a loss of cohesion and thus disinterest, but on Intuit it works like a charm. When the stark and insistent drum line of “I Say Fever” fades, the muted piano beat of “Clover” picks up and spins you into a more a wistful bent. “If I’m dreaming you, and you’re dreaming me, why don’t we choose a different story?” Knopf asks, lyrically personal and emotional without ever stooping to clichés.

The album isn’t perfect. It slows down and gets a bit too diffuse by the end, but Knopf’s plaintive voice washes through tracks that sway between the richly textured and almost Talk Talk-like minimalism. Some will argue this comparison, but there is a similarity in experience in listening to Ramona Falls and to a great Decemberists album. Not that they sound anything alike – there is no Old English folk ballad quality on Intuit, but as with Colin and company, Knopf creates complex songs that are aurally catchy but challenging both intellectually and structurally. Intuit is both smart and passionate and extremely, intuitively rewarding. (Barsuk 2009)

Ramona Falls MySpace page

Wax Tailor: In the Mood for Life


RIYL: Avalanches, DJ Spooky, Portishead

Anyone jonesing for another Avalanches album – and really, who isn’t? – would do well to pick up the latest effort by Wax Tailor, the nom de guerre of French turntablist Jean-Christophe Le Saoût. In the Mood for Life careens between cut & paste pastiche (unofficial “Frontier Psychiatrist” sequel “Sit and Listen,” the rhyme-stealing “B-Boy on Wax”) and downbeat trip-hop (“Dragon Chasers,” “Dry Your Eyes”), with a few straight-up hip-hop tracks like “Until Heaven Stops the Rain” and “This Train” and the ’60s girl pop splendor of “Leave It” sprinkled in for good measure. The old-school rhyme flow is welcome – though the rhymes in “Say Yes” are painful – and while he’s strolling down Memory Lane, Le Saoût makes the mistake of peppering the album with the dreaded ‘skit’ tracks, tiny bridge bits from one track to another that, for the most part, would be just fine tacked on to the beginning of the following track. But we’re splitting hairs: In the Mood for Life, for all its styles, has a singular vision that ties everything together, making this much more than a ‘DJ desperately trying to be all things to all people’ affair. Thank heaven for small miracles. (Le Plan 2009)

Wax Tailor MySpace page
Click to buy In the Mood for Life from Amazon

Richard Hawley: Truelove’s Gutter


RIYL: Roy Orbison, Scott Walker, Nick Cave

Death, taxes…Richard Hawley. The onetime Longpig is not only good for an album of new material every two years, but he’s good for a good album of new material every two years. Hawley went widescreen on 2007’s Lady’s Bridge, but opts for a more stripped-down approach on Truelove’s Gutter, his latest. The songs, as per usual, are the kind of ghostly ballads that would haunt an abandoned ’50s dancehall, which Hawley spices up with the use of a singing saw and a waterphone. (Yes, we had to look up the latter instrument, too.) He’s not in a hurry this time, either – the shortest songs clock in at four and a half minutes, and two of them hit both sides of the ten-minute mark. Amazingly, the epic tracks, “Remorse Code” and “Don’t You Cry,” are two of the album’s finest, breezing by in seemingly half the time. “Soldier On,” meanwhile, could serve as the new textbook definition of “quiet storm.”

Hawley himself surely knows that his success in the UK is a blessing and not a right – his music is blissfully out of time with its surroundings. Don’t be surprised, though, if Truelove’s Gutter ends up burying us all. (Mute 2009)

Richard Hawley MySpace page
Click to buy Truelove’s Gutter from Amazon

The Clientele: Bonfires on the Heath

In an era where slacker sensibilities and low-gazing attitudes seem to dominate the musical mainstream, the Clientele’s preoccupation with lush, radiant textures and elaborate, ethereal arrangements consistently go against the norm. Vocalist/guitarist/musical mastermind Alasdair MacLean’s aversion to bombastic singers and self-serving guitar solos finds thoughts morphed into action via the collision of horns, harmonies and soft-swaying melodies that adorn Bonfires on the Heath, the latest extravaganza from this Hampshire band. The group conjures up a number of obvious influences – Love, the Zombies, Galaxie 500 and the Felt – but given their seamless delivery and breezy, shimmering style, it would sell them short to merely attribute their sound to appropriating that of their predecessors. “I Wonder Who We Are,” “Bonfires on the Heath” and “Jennifer & Julia” purvey a genteel charm and a soothing, sensual ambiance that seizes attention even on first encounter. And while the scattershot shuffle of “Sketch” almost seems disruptive in the midst of these mellow soundscapes, a song such as “Never Anyone but You” shows their ability to make a seamless transition from meditative reflection to gently compelling refrains. Varying the tempos between a samba and a sway, this rich mélange provides an allure all its own. (Merge 2009)

The Clientele MySpace page

« Older posts Newer posts »