Category: Pop (Page 82 of 216)

The artist formerly known as Cat Stevens might sue Coldplay

Yusuf Islam (a.k.a. Cat Stevens) says that Coldplay’s “Viva La Vida” sounds an awful lot like one of his songs, “Foreigner Suite.” So much so that he might actually sue the band.

“The song definitely sounds like it,” he said of his song. “It has such logical chords and the melody has to be what it is…”

Asked during a telephone interview from London whether he would pursue the issue legally, Islam, 60, said “it depends on how well Satriani does.”

U.S. guitarist Joe Satriani has sued Coldplay, accusing the British band of copyright infringement. He claims substantial original portions of his song “If I Could Fly” are recycled in “Viva La Vida” and is seeking damages.

I’m not familiar with the song that Islam is referring to. Does anyone think he has a point, or is he reaching at straws?

Patrick Pleau: Hype-Moi

The power pop community is still abuzz over Catnip Dynamite, the second proper solo album from Jellyfish co-founder Roger Joseph Manning Jr., which makes one wonder what they will do when they hear Hype-Moi, the new album by Montreal multi-instrumentalist (and Manning sound-alike) Patrick Pleau. Our guess is that more than a few heads will explode, because Hype-Moi is the French equivalent of Catnip Dynamite, only…better? An argument could certainly be made in Pleau’s favor, considering his tendency to let the music do the talking and to know when enough is enough. The songs are huge, mind you – swirling, psychedelic jangle guitars, triple-decker harmonies, hyper-treated keyboard effects and Moogs abound – but compared to the absurdly over-the-topness of Catnip, Pleau is the model of restraint. The irony of ironies is that Hype-Moi sounds like a long-lost collaboration between Manning and French ambient synth popsters Air (particularly “L’écran Bleu De La Mort”), who have worked together on multiple occasions but have never put a meeting of the minds to tape quite like the one Pleau does on their behalf. You don’t need to speak French to appreciate the beauty of this record. (Orange Music 2009)

Writer’s Note: I don’t speak a word of French, so I cannot comment on Pleau’s lyrical prowess. Based on the complexity of these melodies and arrangements, though, I am pretty sure that he is not a moon/June guy, nor is he talking about date rape, incest or murder. At least I hope he isn’t.

Patrick Pleau MySpace page

Super 700: Lovebites

You’d be hard pressed to find another album released this year that embraces the idea of melodramatic pop quite like German septet Super 700’s Lovebites. Fronted by the siren-like Ibadet Ramadani, who has a Liz Fraser beautiful-but-unintelligible thing going with her vocals, Lovebites sounds like the unofficial soundtrack to a love story between a vampire and the Portuguese princess who loves him. It’s haunting and Gothic, but also grounded in rock dynamics, calling to mind the late, great Boston band Tribe unleashing their inner Siouxsie Sioux. “Second in Line” is the album’s showstopping moment, a hypnotic mini-epic that someone needs to send to Motels singer Martha Davis, stat. The strange thing about Lovebites, however, is that as captivating as the songs are while they’re playing, several of them are forgotten almost as soon as they’re over, as if they’re equipped with a memory charm. Undeniably beautiful stuff, but we just wish the moment would linger a little bit longer. (Motor Music 2009)

Super 700 MySpace page

Manchester Orchestra: Back With A Vengeance

Manchester Orchestra

April 21 marked the release of the second LP from Atlanta, Georgia rockers Manchester Orchestra. After four previous releases, Mean Everything to Nothing is a breath of fresh indie-rock air thanks much in part to producer Joe Chiccarelli (The Shins, The Raconteurs, My Morning Jacket).
In place of their usual brand of mellow indie-pop, Manchester Orchestra has compiled a cohesive collection of tunes that echo the likes of Nirvana and Weezer. There’s a new grunge twist on Nothing unlike any of the band’s previous releases. It’s the perfect addition to the Manchester Orchestra catalog, and has the potential to be the band’s most commercial success. The Boston Globe talked about the album’s strong points saying,

“[Mean Everything to Nothing] is like a sonic form of whiplash: lullaby-like intros progress into fist-pumping choruses, pensive piano arrangements are followed by gritty guitar riffs, and front man Andy Hull’s vocals shift from folksy Conor Oberst-like warbling on power ballads (“I Can Feel a Hot One”) to breathless emo-wailing on anthems like “I’ve Got Friends.”

There’s really nothing to criticize about Nothing. The substance is there, more so even than the majority of Top 40 releases dominating the radio. The growth that’s evident on Nothing successfully bridges the gap between Manchester Orchestra’s early years, and the bright future they are sure to have thanks to the transformation. Bottom line, Mean Everything to Nothing is what indie-rock should sound like today so have a listen. You can even preview tracks on Manchester Orchestra’s MySpace here.

Silversun Pickups, Swoon

Silversun Pickups, Swoon

From Los Angeles rockers, Silversun Pickups comes Swoon, a purely alternative follow-up to their 2006 release Carnavas. This record runs long, most songs reaching past the four-minute mark, and although most critics agree that it’s a decent sophomore effort, they also agree a certain intensity is unfortunately absent from the record.

Without giving too much away, Rolling Stone wrote, “[this] band still has some growing to do, but it knows how to have fun with fuzz and where to find the beauty in noise.” I would argue that growth is a given, especially for a young band in today’s industry; without forward movement even the best of them fade into the background. With Swoon, however, the evolution is audible.

Silversun Pickups’ first record was constructed around a mellower, almost overly emotional sound that has been roughed up and built upon on Swoon. Although the Smashing Pumpkins influences are still quite audible, the added edge of Swoon alone proves this band is anything but a one-trick-pony. The LA Times elaborated on Silversun Pickups evolution saying Swoon, “chose not to go bigger but deeper…[and] the band keeps careful control over its humming, hissing distortion effects.” The Times goes on to compare the Silversun Pickups to Fleetwod Mac guitarist and songwriter Lindsey Buckingham, saying Swoon,

“suggests a more apropos reference in late-’70s Lindsey Buckingham…challenging fans with subversive new rhythms and ideas with the otherwise comfortable pop package…the Silversun Pickups just do it louder.”

The originality is there, separating Silversun Pickups from the barrage of wanna-be rock bands that just can’t get it together. Swoon is fun, and easy to listen to, and that’s more than can be said about half the music on the charts right now. SputnikMusic.com wrote, “what makes Swoon such an enjoyable album to listen to is its youthful exuberance. Though Silversun Pickups tackle the ‘difficult second album’ in a relatively serious manner, Swoon’s prevailing mood is nonchalant and confident.”

The overall feel of Swoon is definitely confident, but Blender.com makes another observation, writing, “SSPU salute misery as a kind of ideal, the opposite of love, but just as beautiful.” The heavier emotions that come through on Swoon are present in the opener, “There’s No Secrets This Year” and subsequent tracks such as “Draining” and the brooding “Catch and Release.” And while singer Brian Aubert’s delicate tenor is a bit out of place next to layers of guitars, the Silversun Pickups manage to make it work more often than not.

Not everyone is keen on Swoon, however. Spin.com called the record, “a trip best made with headphones”—a comment that could be taken either way—and Pitchfork.com wrote,

Swoon ultimately delivers the exact same results as its predecessor mostly because it’s written in nearly the exact same way. The problem all along for the Silversun Pickups isn’t that they sound too much like the Smashing Pumpkins. They just sound way too much like themselves”

While I would argue that Swoon displays just enough growth to differentiate it from previous releases, SlantMagazine.com trashed the record writing, “the Pickups have released an album with only two or three tracks to justify its existence” and goes on to write, “

“Brian Aubert’s unaccomplished vocals are another liability. His androgynous tenor sounds consistently strained, and though he clearly wants to write anthems, he lacks the range to deliver a compelling hook.”

SlantMagazine.com goes on to write,

“even [Swoon’s] best tracks tempt one’s finger toward the skip button, and the truly aimless fair that makes up the majority of the record will try the patience of even those listeners sympathetic to the band’s sound.”

Fortunately the bashing stops there. Silversun Pickups may not be on the top of everyone’s Top 10 list, but the fact of the matter is that, with Swoon, the band has created a worthwhile follow-up to their 2006 debut. Critics may not be able to see past Aubert’s softer tenor, or the layers of embellishments of Swoon, but the substance is there. Swoon is a thoughtful compilation of alternative rock tracks with an indie-edge that has Silversun Pickups written all over it. It’s the perfect sophomore record for a young band from Los Angeles, CA and only time will tell how far it will take them.

For more information on the Silversun Pickups check out the bands website, MySpace, or Facebook. And don’t miss the Silversun Pickups coming soon to a city near you!

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