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| Posted: 16 Apr 2009 02:20 PM PDT Pop-grime muppet Lady Sovereign is back with her second album after a few years away and out of the limelight. Off of Def Jam, Sov may have decided that she no longer wants to conquer America (though she’s on tour in May, and to be honest she may have never wanted to in the first place; I think it was all Jay-Z’s idea. Never a good idea to try and conquer America, just ask Damon Albarn). Recent interviews have found her in a reflective and self-critical mood — she’s all grown up! Well, maybe not. Jigsaw is out on her own imprint, Midget Records (get it?), which she’s apparently running out of her bedroom, with a bit of help from EMI. The record’s got some of what you’d expect of a pop record in 2009 — bouncy beats and digital sounds that bop along nicely. But the production is a little more complex and grimey, as are the lyrics. “Let’s be Mates” starts things off amusingly enough, while “So Human” showcases the gentler side of Sov, and even has her singing! The tune is from the Cure and that may be one reason why this is the best track on the album. But Sov’s lyrics are great too; she shows an endearing vulnerability that goes nicely with the slightly sad synth, and the feeling-bad-sometimes-is-OK sentiment is easy to relate to and refreshingly different on an album like this. “Jigsaw” continues the openness, a song about the complexities that can lead to bad decisions that don’t necessarily come from bad intent (this is from Lady Sovereign!). Surprises continue on “Pennies” where she raps about saving all the money she’s making and how she won’t go down during the recession, while “Food Play” finds her in a more lascivious mood, rapping about food and getting… dirty. Well, she is a 23 year old woman; the ponytail’s gone, so why not? Don’t be too put-off though — Sov’s sexy song comes across a bit like a Flight of the Conchords’ one, unless you share her fantasies of being covered in porridge — then it’s business time. Not a flash-in-the-pan then, this Lady. She might not be a millions-selling star in the US as Def Jam or the majors would’ve liked, but the album has unexpected depth, and Sov hasn’t abandoned her UK dance and grime roots to achieve that. Growing up, but setting her own agenda, and perhaps coming out with the first recession-era rap. Not bad really. Tracklisting: Lady Sovereign: website | myspace  Related Posts |
| Camera Obscura - My Maudlin Career Posted: 16 Apr 2009 01:34 PM PDT Camera Obscura has produced consistently quality music over the past decade through all four albums, including My Maudlin Career. Their latest is different than the other three albums and this record is a lot happier. The lead singer, Tracyanne Campbell, sings of a troubled period of time in her life: the ending of relationships and love affairs and the commencing of new ones. In this album, she attempts to reiterate her feelings through lyrics. In the song "French Navy", two individuals stumble across one another in a dusty library by fate. Unlike many of Campbell's other songs, this cut is about the first encounters of two lovers instead of the bitter ending of a relationship. With a hopeful outlook on the relationship, she is let down in the end by a break up. "James" is a grief-stricken song about a love affair that didn't work out as planned, causing an altercation between the two involved and leading to a falling out. The track is melancholic with genuine feeling that strikes a cord with anyone who has felt the aftereffects of a broken relationship. My Maudlin Career is one of their most nostalgic to date. Camera Obscura is able to play with ease when it comes to the masked sadness that surrounds the feeling of love. My Maudlin Career is available on April 21, 2009. Tracklisting: Camera Obscura: website | myspace | @ Central Presbyterian Church [asa][/asa] Related Posts |
| Ladytron/The Faint @ Webster Hall Posted: 16 Apr 2009 11:40 AM PDT The Faint and Ladytron are currently on a co-headlining US tour. They played two dates at Webster Hall, alternating the headlining slot. I caught Friday night's show where Ladytron headlined, and I have to say, when you compare the energy levels of each band's set, it seems clear that The Faint should be holding that headlining slot. I enjoy Ladytron, but after getting pumped up and shaking my ass to The Faint's set, that whole disaffected head bob thing didn't work out so well. Okay, maybe I wiggled my butt a little during "Seventeen". I have little critique for this show. Both bands put it out there, with sets spanning their sizable catalogs. Todd Fink is a spaz in the best way possible. The vocal duo of Helen Marnie and Mira Aroyo continues to be endlessly sexy and fairly mysterious. Nothing new here. It was a Good Show. I danced, I snapped photos, I watched from the balcony as a girl beat the living hell out of her significant other wholly undisturbed by security (he sported some facial blood once security finally did show up to escort them out), and my girlfriend and I got rubbed up on from behind—and almost got into an altercation with—a total creepster [read: old] in a leather jacket. It was an eventful evening. Photographic evidence as follows:
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| Blind Pilot @ The Mercury Lounge, NYC Posted: 16 Apr 2009 08:36 AM PDT Selling out The Mercury Lounge in New York City on your first national tour? Not too shabby for a couple of eco-friendly boys from Oregon who just a little while ago were touring the West Coast on their bicycles, busking for anyone and everyone who would listen. Blind Pilot brought a little Portland-inspired acoustic indie to New York in support of their latest release, 3 Rounds And A Sound, and the locals welcomed them wholeheartedly. Who would’ve thought New Yorkers could be so warm and fuzzy? It’s always exciting to catch an up-and-coming band on tour for their first release. It’s usually about spreading the musical love, minus overinflated egos or unnecessary pretense. It’s even more of a live treat when you particularly dig the band, believe in their tunes, and find their debut to be nothing short of stellar and a clear sign of the musical greatness that is to come. Lead singer and acoustic guitarist Israel Nebeker, with his boy-next-door sweetness and incredible humility, greeted the crowd and thanked everyone for spending their evening listening to their unique brand of melodic indie pop. I met up with him post-show and engaged in several minutes of genuine conversation about the thrill of selling out a venue and the likely prospect of having to play a larger one next time they’re in New York and I could just sense his gratitude for fan feedback and how sincerely happy he was to just be here sharing his music with us. I know what you’re thinking, “Yeah, so what?” But I guess you’re a jaded East Coaster when a person’s niceness actually feels a little disorienting! Blind Pilot’s on-stage set-up reminded the crowd that it’s not just a two-person show anymore (Israel and co-founding drummer Ryan Dobrowski); in fact, they came prepared with a musical entourage that included a miniature string section, a trumpet player, and a banjo-playing female vocalist to assist with duets and backup vocals. And in case you’re wondering, it wasn’t just for fluff’s sake or to add any kind of indie cred. These musical additions provided a sophisticated texture to their songs and a lot more on-stage excitement for the crowd. They kicked off their set with a well-received new track entitled “White Apple” that the crowd happily noshed on, but then navigated right into 3 Rounds territory, playing each and every song. The crowd sang along, clapped, cheered, all while Israel remarked on the musical love in the room. There was very little stage banter because tonight was all about the music. And oh what great music it was. “One Red Thread,” one of my personal favorites and the most Shins-like on the album, sounded even more wonderful live with those muted drum taps and Israel’s gentle strumming that gently guide you to a softer place. But perhaps my favorite moment of the set was during their mellow title track, "Three Rounds And A Sound", because the addition of banjo and a female vocalist was such a pleasant surprise. Who knew a song with banjo plucks, acoustic guitar, and a mariachi-style trumpet line could sound so utterly romantic? Her strong alto vocals with Israel's soft delivery fit together so seamlessly that I almost wished the album version featured this as a duet and not just the male vocal. Don’t get me wrong, because the original version is awesome in its own right. It’s just that this song delivered fantastic on-stage male-female musical chemistry and was certainly the most memorable part of their set for me. To please the crowd even more, they threw in another new track at the end of their set called “We Are The Tide” that's a tad more upbeat than anything off their debut and features lots of percussion and toe-tapping goodness. Israel got every fan in the house in on a 30-second clap-a-long to close out the song during the percussion solo at the end. It's safe to say it will likely be a surefire highlight on their sophomore release. He then saluted the crowd and said "Thanks for coming out, see you guys next time." There wasn’t an encore and it seemed like the crowd refused to go home and/or believe that was it for several minutes. What the hell, guys!? Ahh, it’s okay. I’ve learned that “Goodbye” isn’t so hard to say when you know when “Hello” will be again. And for New Yorkers, this would mean June 6, 2009 at the ever-acoustically pleasing Bowery Ballroom. Mark your calendars because this is one flight you don’t want to miss. Set list:        Blind Pilot: myspace | website  Photos by: Mona Sheikh Related Posts |
| Beirut @ Electric Factory, Philadelphia Posted: 16 Apr 2009 06:45 AM PDT As a long time Beirut fan, I was overjoyed to hear they’d be playing Philadelphia as one of only a few stops in the US this Spring, especially since this would be my first time seeing them. I was even more excited to introduce my boyfriend to the band by taking him along to a show that people had traveled from all over to come see. Considering that Beirut had played at Old City’s tiny The Khyber last time they stopped though Philly, it was amazing to witness the transition to one of the city’s larger venues in the Electric Factory. The venue was fairly crowded as opener Sharon Van Etten got the show started. Alone on stage with her acoustic guitar, Van Etten seemed slightly nervous and was very shy, but displayed her beautiful vocals over mellow acoustic riffs, preparing the crowd for the main event. The crowd went wild once Beirut walked onto the stage and never once let up, shouting in foreign languages (most commonly French, and then others that sounded Eastern European) to front man Zachary Condon, who responded in kind, drawing even more raucous replies. Once they began playing, Condon and company had a slew of instruments to choose from including the flugelhorn, upright bass, trumpet, accordion, ukulele, and xylophone among many more. In the wake of their new double EP release March of the Zapotec/Holland, the fellas played songs from it in addition to smattering of others from their other releases. The audience was more than into the upbeat Eastern European inspired and Latin influenced tunes, dancing along and pumping their fists in the air along with the beats. Lilting trumpets and a jaunty accordion provided a delightful soundtrack to get a Friday night started right and the crowd refused to let it end, coercing Condon into playing two encores before the venue turned on the lights and insisted the crowd disperse. Beirut is most certainly a band to see live, as their live show blows away their recorded work — this coming from someone calling The Flying Cup Club a top album in 2007. If you’re in or around California, head to Coachella to catch Beirut’s as of now only remaining scheduled performance in the United States.                 Related Posts |
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