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Various Artists: Twenty First Century Twenty First Year

It may have seemed like just another example of dilettantism from a major star during the late ‘80s – a time when Amnesty International tours were all the rage and the Top 40 was stuffed with globetrotting music from Sting, Paul Simon, and Peter Gabriel – but 21 years later, David Byrne’s Luaka Bop is not only still around, it’s an inspirational example for anyone hoping to establish a boutique label. Known primarily as an outlet for releases from Byrne-approved “world music” artists like Zap Mama, Luaka Bop has actually been a more eclectic imprint than most people have given it credit for, something highlighted in the label’s new anniversary compilation, Twenty First Century Twenty First Year. You get the expected stuff – like Byrne’s tastes, the set skews toward South American and Afro-Caribbean grooves, offering booty-shaking cuts from Moreno +2, and Los Amigos Invisibles and some fine Shuggie Otis – but Twenty First is also careful to remind you that the label has provided a home for artists as diverse as Geggy Tah and Jim White. It all adds up to a solid hour of eclectic music that, like the label itself, is more interested in showing you a good time than proving how hip it is. And it succeeds, too – with the exception of Geggy Tah’s “Whoever You Are,” which should be locked in a lead-lined vault and fired into space, these tracks will make a fine addition to your next barbecue playlist, and it’s a fine introduction to the label in the bargain. (Luaka Bop 2009)

Luaka Bop MySpace page

Empire of the Sun: Walking on a Dream

Ripping off ’80s artists can work, but you have to choose wisely. Go for Depeche Mode or New Order, leave Kajagoogoo alone. Empire of the Sun’s debut album Walking on a Dream has been out for a bit now, and It is frequently being compared to MGMT’s breakout debut Oracular Spectacular. The comparisons, however, aren’t justified. While MGMT is a psychedelic band with a synth-pop side, Empire of the Sun are firmly synth-pop and electro-pop to the hilt, with a sound ripped straight from 1984. Whether or not that’s a good thing can be debated. Sure, they work as a throwback retro act, and songs like the ultra-catchy title track and “Half Mast” are well-made simplistic pop-dance numbers, but once you dig past the obvious singles, there isn’t much to Walking on a Dream. The second-half of the album has some touches of experimentation, such as the “Delta Boy” with its Flaming Lips freak-out vibe, and “Country,” which has a strange easy listening feel, but its mostly just boring and kind of monotonous. By the time that the closer “Without You” comes up, the duo from Australia have more than worn out their welcome. Still, the highlights are great; hopefully they can craft something a bit more consistent next time. (EMI 2009)

Empire Of The Sun Myspace Page

Radio Moscow: Brain Cycles

On Brain Cycles, Radio Moscow’s sophomore release, there’s an eight-minute jam called “No Good Woman,” in which there is a three-minute drum solo complete with headphone-porn stereo effects. The audacity of said drum solo is matched immediately by a one-minute unaccompanied guitar solo that closes out the track, with equally ludicrous stereo-shifting effects thrown in for no good reason. If that sounds awesome to you, then you should probably just buy Brian Cycles (as well as Radio Moscow’s 2007 debut) right now. If not, well, then you have no soul. Radio Moscow is a blues-rock band with some heavy psychedelic influences. They’re carved from the same stone as Hendrix, Stevie Ray Vaughan and the Allman Brothers. Subtle as a punch in the face, their musicianship is without question; guitar solos run amok as drums fly at you in all directions, while Parker Griggs bemoans about womanly woes and many other of life’s common ills. It’s not original in the least, but sure as hell sounds good. These boys from Iowa know what they are doing, and Brain Cycles is sure to cause all but the most jaded blues rock fan to drop his head in awe and cry out “goddamn” at least once. This isn’t Wolfmother-style emulation of a classic rock sound – this is the real deal. (Alive 2009)

Radio Moscow’s MySpace page

Sin Fang Bous: Clangour

Everything is weirder in Iceland, that’s a scientific fact. Their pop singers are weirder (Bjork) their rock groups are weirder (Sigur Ros), and if Sin Fang Bous is any indication, their singer-songwriters are weirder as well. Sin Fang Bous is actually Sindri Mar Sigfusson, the lead singer of Seabear. If you’ve heard Seabear, that won’t really prepare you for Sin Fang Bous, since the former is indie pop and this is decidedly…different. The music on Clangour runs between glitched-out electronica to quiet acoustic rock, all facing a common bond in Bous’ off-kilter and utterly charming songwriting. One-of-a-kind romantic verses like “I will be the lumberjack and you will be the trees” populate left-of-center odes like “Clangour and Flutes.” Decipher that one? How about “Sinkership,” which has Bous proclaiming, “I’m coming down, I see eyes in the mirror / An old rhino sweeps in rolled up flames”? Give me a ring when you figure that one out, but even if you can’t they still work, as the dreamy electronic vibe of Clangour accompanies the out-of-this-world lyrics. High speed loops of bleeps and bloops are layered behind simplistic acoustic guitar strumming, creating a Bob Dylan-meets-Beta Band vibe. It’s not wacky or sample-filled like Beck, but very deliberate and low-fi. This isn’t dance music, and calling it “electronic” might even be a misnomer; this is acoustic singer-songwriter stuff that happens to be plugged in to a few computers and a drum machine, and it’s pretty amazing. (Morr Music 2009)

Sin Fan Bous’ MySpace page

Depeche Mode: The Dark Progression

A definite step above the other unauthorized biographies in Sexy Intellectual’s catalog but not yet on par with the Classic Albums series, this look at the metamorphosis of Depeche Mode from cult electronic act to one of the biggest bands in the world makes one hell of an argument for the band as a worthy inductee into the Rock & Roll Hall of Fame. Featuring interviews with several of the band’s producers (Gareth Jones, Dave Bascombe, Daniel Miller) and electronic peers (Thomas Dolby, Gary Numan, OMD’s Andy McCluskey), the documentary focuses on the band’s rather gutsy decision to explore darker territory, beginning with 1986’s Black Celebration and ending with 1993’s Songs of Faith and Devotion, by which time the band was topping the US charts. The claim that the documentary features interviews with the band members is a tad dishonest, as they merely include clips from the short films that Mute assembled for the reissues of the band’s catalog in 2006 (and only one clip per member at that). They also gloss over the reasons behind Alan Wilder’s departure from the band, a move from which the band has only recently begun to recover. However, there is enough here that will thrill fans of the band in particular and of electronic music in general. Who knew that Andrew Fletcher was a fan of heavy metal? (Sexy Intellectual 2009)

Click here to buy Depeche Mode: The Dark Progression

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