Beck seemed to take a message from the words flashing on the Pitchfork Fest’s video screens as the previous act, Giorgio Moroder, finished his set: “HOT STUFF.” Beck and his backing musicians practically bounded onto the stage, immediately allaying any fears that this was going to be a morose and mellow set. Even though Beck’s latest album “Morning Phase” is filled with the sad bastard variety of Beck music, he apparently decided not to start off his show by moaning about isolation. Instead, he delivered something more like a greatest-hits set, starting off with “Devil’s Haircut” and gleefully tossing in “Loser” halfway through the show. By the time he finally got around to playing some of those new downbeat numbers, he’d earned the right to moan a little bit—and he sounded almost majestic doing it. And then it was back to more of the hot stuff. (Robert Loerzel)
The album opens with its own thing, like if Britpop could boogie. Coming from Josh Chicoine, current artistic director and co-founder of CIMMfest, the music is a natural extension of all his previous work. Sabers play pop-rock with an adventurous edge. Sure, it’s pretty and pop-tinged, but so were The M’s, Chicoine’s previous outlet, a group with harmonies so sweet that they won over a whole new audience via an appearance on the big-budget video game MLB2K7, right alongside The Stooges, Nirvana and 311. But “Sic Semper Sabers” is its own thing. The track “Money Eddie” cloaks its charming verses in a sinister swirl of synth and bombastic beats, somewhere between The Beta Band and The Flaming Lips. On “Remedy,” all the flourishes of orchestral instrumentation shine bright courtesy of Max Crawford’s wonderful horn section lifting a wilting refrain to a summer simmer. “Ever Eyeing” has a beautiful build-up where Chicoine’s falsetto meets a handclap crescendo; while “Puppet” has the type of mocking melody that a taunting toddler would issue. Take your pick, Sabers’ debut is full of playful, impactful, well… hits! Okay, maybe not if measured by units sold, but in some alternate version of America (maybe even the one in your own backyard) Josh Chicoine is making compelling music to widespread acclaim. Read the rest of this entry »
On their third release, the Vancouver-based trio formed by vocalist Silvana Kane, guitarist/producer Adam Popowitz and bassist Toby Peter seem to be taking the music into a deeper, more psychedelic direction without completely losing touch with their Latin, Middle Eastern and electronic roots. The songs are still framed by near-whispered vocals and nylon-guitar-framed textures alongside multi-tracked instruments and vocals sung mostly in Spanish, but the trio seems to have found a more organic approach to their sound. Read the rest of this entry »
On his most diverse release to date, Uruguayan singer-songwriter Jorge Drexler—best known Stateside for being the sole composer to date to win an Oscar for a non-English song—goes into various musical styles to convey his message. The title song mixes electronic and folk elements with a syncopated beat and a catchy chorus, while “Bolivia” blends forró and cumbia. A berimbau (a Brazilian instrument commonly used in capoeira meets) leads the beat.
Legendary Brazilian singer Caetano Veloso makes a cameo appearance toward two verses in Spanish with a melody that goes against the song’s entire form. “La Luna de Rasquí” is an upbeat tune with Afro-Caribbean elements that is sure to get you moving. “Universos Paralelos” is arguably the most inventive track–it begins with an easygoing samba-like feel and the vocals of Chilean rapper Ana Tijoux (who seems to be all over Latin pop lately) comes almost out of nowhere to give her bit on the topic of star-crossed lovers. Read the rest of this entry »
With plenty of nods to Pavement and other nineties alt-rock greats, the Massachusetts four-piece Speedy Ortiz stakes out its own territory on the merit of its whip-smart lyrics and eschewing of self-seriousness. The band self-identifies as part of the “snack rock” genre, and the quartet’s LiveJournal (the very existence of which is a bit offbeat) documents their life on the road with each post featuring a “pup of the day.” Put together, this might be the perfect setup for an eye-roll, if not for Sadie Dupuis’ knack for poetic songwriting and Speedy Ortiz’s gleefully wandering arrangements heavy on distortion but anchored by catchy, knotty hooks. Read the rest of this entry »
Thirteen concurrent thoughts that afflict the bystander of a bus advertisement featuring this year’s Riot Fest lineup: I had no idea The Replacements got back together. Can you imagine how many kids will be singing along to Fall Out Boy and Blink-182? Can you imagine how many of their parents will be singing along to the Violent Femmes? Even without Kim Deal, I don’t think I can see the Pixies enough. What I wouldn’t do to see Debbie Harry duet with Danzig. It’s possible that Guided By Voices have written enough songs for at least one to appeal to every single person on the planet. Flavor Flav of Public Enemy may be the greatest reality television star who ever lived. One of the two Black Flag reunion bands is playing, and so is X, making this one of the best punk shows of the year. If you substitute Brand New and Taking Back Sunday in their place, the same can be said about emo. In fact, local pop punk bands popular in the 1990s are so well represented by the likes of Screeching Weasel, Smoking Popes, The Broadways and The Lawrence Arms, as to lend the festival an air of well-honed sophistication. Read the rest of this entry »
Those who expected this compilation to feature the likes of Marisa Monte, Gal Costa or even newer names like Bebel Gilberto or Cibelle will be disappointed at first—this release contains none of their songs. Instead, we are presented with few names ever heard Stateside save for Luisa Maita or Mart’nalia, who have regularly toured in the US. The disc opens with Italy-based Nossa Alma Canta’s “Bossanova,” a tune that remembers the Brazilian movement that swept the world with the help of Stan Getz and Charlie Byrd. The tune name recalls many familiar hits like “Wave,” “Desafinado” while playing snippets of familiar tunes via instrumental interludes. Read the rest of this entry »
In 2008, British soul singer Alice Russell caught the attention of critics and fans alike with her catchy “Got The Hunger” the lead single from her US debut, “Pot of Gold” (Six Degrees, 2008). She seemed to tag along with her country’s embrace of young female singers like the late Amy Winehouse and Adele, who capture the essence of American soul and use it in their own way—apparently drawing more inspiration from Motown than more current stuff made here.
On her new record, “To Dust,” Russell goes further by incorporating gospel sounds and more organic instrumentation instead of the previous disc’s predominantly electronic sounds. For instance, “A to Z,” is a powerful guitar-driven tune with smart vocals and a very catchy groove. Read the rest of this entry »
Brooklyn-based Chicha Libre started out playing covers of obscure psychedelic songs from Peru, and on this four-song EP they come full circle with a collection of inventive takes on pop tunes reimagined into the chichi format, starting with a very personal take on the “Simpsons” that expands on the TV version by adding some improvisation and a more danceable beat. They recreate Love’s classically inspired “Alone Again Or,” as a song innovated by featuring a mariachi band in the middle section, something quite uncommon in the late sixties. They also pay tribute with “Guns of Brixton” and also include “Chicha Rica,” a song that I could not trace but I am sure comes from bandleader Olivier Conan’s treasure trove. Read the rest of this entry »
“American Idol” might have brought us talent like Kelly Clarkson, Carrie Underwood and then-unappreciated Jennifer Hudson, but there were many other promising artists who ended up vanishing even if they did well on the show. While some flamed out soon and wound up playing minor parts in off-Broadway shows, some used the exposure to create a niche audience and build a solid career once the cameras were turned off.
An example of this is Ohio-born Crystal Bowersox, who was runner-up during the show’s ninth season (defeated by Chicago’s Lee DeWyze) in 2010. Signed to Jive Records that year, she released “Farmer’s Daughter,” and despite positive reviews and reasonable sales, she was dropped after RCA disbanded her label. She has since signed with indie label Shanachie Records (which also includes Ruben Studdard—another “Idol” veteran—in its roster) and is in the works to put out her sophomore album “All That For This” under the production of Los Lobos’ Steve Berlin. Read the rest of this entry »