Category: Pop (Page 82 of 216)

Spain Colored Orange: Sneaky Like a Villain

They hail from Houston, but there’s nothing about Spain Colored Orange’s sound that will make you think of oilmen and longhorns; instead, their debut full-length effort, Sneaky Like a Villain, suggests a rainbow-colored collision between 10cc and late-period Tears for Fears, with perhaps a dash of Jellyfish thrown in. Pop fans, in other words, will find this album seriously addictive; from the moment you hear the bright, brassy overtones and sugary sweet melody of “Who Am I?” you’ll know you’re in for a treat. The set’s biggest flaw, really, is that the band isn’t content to stick with those sounds — Sneaky falters when it drifts into more ambitious territory, such as songs like “I Remember It Was Christmas Time,” whose compositional depth, though admirable, comes as something of an annoyance after the glorious melodic highs of songs like “Hide” and “Cheap Thrills.” Both sides of the band’s personality mesh perfectly, though, on “Uh Oh, Trouble,” a sprawling, vaguely “Tusk”-like epic that offers five minutes of twists and turns without forgetting the hooks. It’s clearly just an opening statement from the band, but it’s a strong one; by the time the record struts off your speakers with the kids’ chorus and trumpets that close out “The Birds and the Bees,” you’ll be ready to start it up all over again. (Shout It Out Loud 2009)

Spain Colored Orange MySpace page

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.

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