Category: Dance (Page 22 of 26)

Del Marquis: Litter to Society EP

Anyone seriously jonesing for new Scissor Sisters material would be wise to check out Litter to Society, the new EP from SS guitarist Del Marquis. Sporting five new tracks and “shadow” versions (think dub mixes) of three of those songs, Marquis unleashes his inner Shriekback – or is it Underneath the Radar-era Underworld? – on the title track, which merges a lyric not far removed from Diana Ross’ “Upside Down” with a bubbly but sinister electro beat. Fans of Marquis’ day job, meanwhile, will gobble up the day-glo “Any Kind of Love,” which could pass for a lost Belouis Some track. Shriekback? Belouis Some? Those are some seriously dated and specific ’80s references, yes, but it’s hard to argue with where Marquis finds his muse when the results are this entertaining. (self-released 2009)

Del Marquis MySpace page

Julien-K: Death to Analog

Julien-K is a side project by two of the guys from Orgy, but don’t ask which two because it doesn’t really matter. They’re better than Orgy, but lowered expectations should not be a pass, and hoping something is better than Orgy is about as low as expectations get. This is synth-pop-influenced electronic music, but it has more in common with Linkin Park or even ’90s industrial-dance like Stabbing Westward than the ’80s synth-pop that the group is obviously trying to emulate. That makes sense, since Chester Bennington of Linkin Park has worked with the duo before with his side-project Dead by Sunrise. Chester makes a guest appearance on Death to Analog, dropping some backing vocals on the single “Kick the Bass,” and his emo whine is the least annoying part of the instantly forgettable excursion into ’80s pastiche. The amount of ’80s music that Julien-K rip off is truly staggering, adding only some slightly more aggro synthesizers to the mix; imagine the Pet Shop boys by way of KMFDM. Their obsession with the synth-pop of the past turns into downright theft with “Disease,” which blatantly steals portions of “West End Girls” without apology. The Handsome Furs had to pay New Order because their song “All We Want Baby, Is Everything” sounded too much like “Temptation”; precedent has been sent, the members of Julien-K should be forced to hand over their synthesizers as payment to the Pet Shop Boys. It would not only serve as restitution for the theft, it would also mean Julien-K wouldn’t be able to record new music for at least a short period of time, making everyone a winner. Even worse than that uncredited rip-off is the credited one, as the duo cover Romeo Void’s “Never Say Never,” which for some reason is spelled out in txt-speak as “Nvr Say Nvr.” But haphazard vowel removal is the least of the song’s problems, which removes the original’s classic saxophone solo with an oppressive synth riff while the singer tries to go the creepy, throaty whisper route with the vocals, presumably to make the song sound more aggressive and threatening. But there’s no way to make “I might like you better if we slept together” sound scary. Death to Analog just isn’t bad, it’s insulting, and on second thought it might actually be worse than Orgy. (Metropolis 2009)

Julien-K MySpace Page

USS Make Smoothies, Impress Crowd In Austin

USS

Canadian rock duo USS (Ubiquitous Synergy Seeker) brought their high energy rock to RedGorilla Music Fest Wednesday, complete with techno inspired beats and homemade smoothies (they made them on stage), giving everyone a taste of what it would be like if Nirvana went to a rave.

It’s true there are thousands, probably millions of independent bands in the US alone. They record in their basements or garages, tour on meager merch sales, and survive purely on adrenaline. Most of them will never make a dent in the mainstream rock market, but every now and then a band comes along that possesses enough talent and drive (the combination is key) to take them straight to the top. Case and point: USS.

You may not be familiar with USS yet, but these guys have been enjoying great success in Canada thanks to heavy radio rotation and a never-ending desire to create something completely unique. With the help of their trusty MacBooks, USS has been creating Nirvana inspired indie-rock laced with infectious beats and energy to boot, for years. Now, with intuition to guide them, USS is embarking on the ride of their life: the release of their upcoming album, and an exciting tour to follow.

USS’s set at RedGorilla Music Festival last Wednesday was an experience in and of itself. Their energy, above everything else was intense. They ran around stage shouting lyrics in perfect harmony, and spitting energy with their wicked rhymes. To top off the night, USS took the audience on a strangely entertaining ride when they proceeded to make homemade smoothies on stage, while singing. Ash would sing a line, pick up a banana, rub it all over his face and then sing another line. He’d do some more rubbing and then place the banana into the blender and pick up a strawberry. After some more singing and eccentric expressions, he would rub the strawberry all over his face, sing some more and then throw it into the blender with the other fruits. The set ended with the two drinking the smoothies and acting surprised as to how they wound up with smoothies in their hands. It was borderline train wreck, but it was brilliant, and the music was so spot on live it was incredibly entertaining. I laughed my head off, danced my heart out, and still have their melodies stuck in my head. USS puts on such a great set it’s a wonder they haven’t been around longer.

For USS, the journey to the top of the Canadian charts was surprisingly organic. It began with Ash’s desire for something he had never heard before. After swapping his electric guitar for a new MacBook—the first computer he had ever used in his life, mind you—Ashley Boo-Schultz paired up with pal and turntable master the Human Kebab. The evolution of the duo’s thoughts and desires came to fruition in the bass-heavy sound that can be heard on the band’s new record Questamation that is currently on iTunes, and will hit stores soon.

Interestingly enough USS has recorded, produced, marketed, promoted, and distributed their music without any help from a label. They’ve also been fortunate enough to grow a significant following without falling victim to mainstream media, bypassing the hoops of fire most new artists are forced to jump through to secure radio play. Instead, USS’s music has spoken for itself. The synth-pop and grunge-inspired rock that defines them has risen above the masses of indie music as some of the freshest, most promising tunes on the radio. Here’s to USS and their incredibly unique brand of indie-rock. If you missed this band at RedGorilla you should be ashamed of yourself. Trust me—you want to get to know USS, they’re coming your way. It’s only a matter of time before they’re dominating radio and tour circuit here in the states, and when they do all I can say is “I told you so!”

Kylie Minogue: Boombox: The Remix Album

It physically pains us that Kylie Minogue isn’t big in America. Heaven knows that we’ve embraced singers with thinner voices and weaker tunes, not to mention there are few pop stars on the planet as awesomely hot as the Divine Miss K. Capitol thought they had lightning in a bottle when “Can’t Get You Out of My Head” exploded, but once “Love at First Sight” scratched and clawed its way to #23, they learned the same lesson that Geffen learned a decade before: in radio terms, Kylie’s not a girlfriend – she’s a one-night stand. With the release of Boombox: The Remix Album, it appears that Capitol (who shuffled the contract off to hipster indie Astralwerks) is fulfilling their obligation to releasing Minogue’s records, and the choice is a curious one. On the one hand, compiling the remixes will rope in her gay club-going fans, but will they be satisfied with edited versions of the mixes? Astralwerks better hope so, because the mixes on Boombox are not going to play to mainstream dance popsters. The mash-up of “Can’t Get You Out of My Head” with New Order’s “Blue Monday” is cute, and the Chemical Brothers add a nice dose of sleaze to “Slow,” but the majority of the mixes are relentless, thumpa-thumpa-thumpa dub-style mixes (“Wow,” in particular, is hacked to bits). If we had our way, Boombox would use single edits, with a bonus disc of full-length remixes. With any luck, a more commercial-friendly version of Boombox is in the works. (Astralwerks)

Kylie Minogue MySpace page

Daniel Lenz: Stuck in a Dream

There’s something tasty about Daniel Lenz’s electronica forays. It might be that it echoes some of the more carefree aspects of Information Society back in the early ‘90s, but then again the 15 tracks here sound like a lot of the stuff that was coming out back then – for better and for worse. The good news is that there’s a lot to enjoy here if you’re of the dancefloor crowd. The bad news is that like a lot of the other stuff in that genre, this album can wear a little thin before it’s all over. Still, solid tracks like “I Do It Again,” “This and That,” and “Time to Rock” are the kinds of things that would work amazingly well in some summer blockbuster action movie or even a video game. A few too many vocalists spoil the groove here and there, but overall Lenz is a lot better at doing this thing than many other similar-minded artists. (self-released)

Daniel Lenz MySpace page

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