// Category Archive for: Music Reviews

Erland & The Carnival, Nightingale

By Less Lee Moore

“A musical and melancholy sound” is not just a lyric from “Nightingale,” the title track from Erland & The Carnival‘s latest album, but also a perfect description of the band. They weave both musical references and literary allusions into their distinctive melodies, creating an evocative, intoxicating musical tapestry that is lush and extraordinary.
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The Discreet Charm of the Bourgeoisie: Sleep It Off and Doll In The Box by Cristina

By Chelsea Spear

Picture it: the Lower East Side, early 1980s. ZE Records had become the hot indie label, renowned for their tweaking of the nascent disco and no wave genres. The label incubated up-and-coming talent like James Chance and Kid Creole and the Coconuts, and helped spur the Waitresses on to trivia-question status with both of their hits.

While all of these artists have remained in the spotlight, one of the most interesting and peculiar talents got lost in the shuffle: Cristina. This one-named wunderkind of Brechtian disco pastiches, Lieber and Stoller covers and later, an album worthy of comparison with Marianne Faithfull’s Broken English, all but disappeared after her second album, Sleep It Off, barely got released in the States. A few years ago, the reformed ZE reissued Cristina’s discography. How does it stand up, after thirty years?
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Zoobombs, La Vie En Jupon

By Matt Keeley

Most of the Japanese bands I listen to seem to draw their inspiration from the late ’70s. Shonen Knife are heavily influenced by The Ramones and the Buzzcocks, while POLYSICS draw from DEVO, XTC and M. The Zoobombs on the other hand, while also influenced by the ’70s, draw inspiration from the earlier part of that decade. Their new collection, La Vie En Jupon, is much closer to Black Sabbath than punk. And, as far as Sabbath goes, they are less “Paranoid” and more “Electric Funeral.”
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Thomas Dolby, Oceanea EP

By Jemiah Jefferson

Those expecting a return to the bleepy electro-funk of the early releases of Thomas Dolby will likely be disappointed with the Oceanea EP; its sound tends more to the supperclub-jazz singer-songcraft reminiscent of Dolby’s early track, “I Scare Myself.” Those willing to listen more closely, however, will be rewarded by Spanish rhythms, nuanced piano, and storytelling lyrics that make each song like a snapshot from a complex relationship.
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Scala & Kolacny Brothers, S/T

By Christian Lipski

The Stone Age was followed by the Bronze Age, which was followed by the Iron Age. With every new movie that Hollywood releases, with every mashup video on YouTube or “greatest hits” tour by a reunited band, it becomes more and more clear that we are currently living in the Age of the Remake. This is not always the sign of a lack of ideas, fortunately. Often it’s a way to make people look at something in a whole new light.

Listeners may recognize Scala & Kolacny Brothers from the movie The Social Network, which featured their haunting cover of the Radiohead song “Creep.” Their new self-titled CD is their debut in the US, and they obviously hope to capitalize on the film’s great success here.
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Black Joe Lewis & The Honeybears, Scandalous

By Paul Casey

The first thing to be said about Black Joe Lewis & The Honeybears‘ second LP, Scandalous, is how decent it sounds. The production by Jim Eno emphasizes the rough edges built into these tales of betrayal, sadness, and unusual sexual requests. Joe Lewis’s voice, while not terribly distinctive, has enough energy to keep things flowing. His Honeybears also manage to keep things rocking along, with a solid horn section.

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Heidecker & Wood, Starting From Nowhere

By Matt Keeley

Anyone familiar with Pusswhip Banggang—the band which started as a sketch on Tim & Eric Awesome Show, Great Job! and later became a real band in Tim & Eric live shows—should not be surprised by the ’70s vibe of Starting From Nowhere, the debut album from Tim Heidecker and Davin Wood (who is also a member of Pusswhip).
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Siriusmo, Mosaik

By Emily Carney

In the last decade and a half, electronic dance music has been hijacked by French artists, the most famous of whom are likely Daft Punk. “French touch” music—originally associated with funked-up 1970s guitar flourishes, synth swoops, and thumping beats—morphed into something wholly futuristic sounding (for example, “Derezzed” from Daft Punk’s soundtrack to Tron: Legacy, and Digitalism’s “Zdarlight,” which was also a paean to Cassius’ producer Philippe Zdar). Although Digitalism originated in Germany, in many cases that country’s contributions to electronic music tended to be overlooked while French touch music took over everything.
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Floating Action, Desert Etiquette

By Less Lee Moore

Although the name Floating Action is derived from a vintage Gretsch drum pedal, it’s perfect metaphor for multi-instrumentalist singer/songwriter Seth Kauffman’s latest release. Desert Etiquette‘s ten twangy, trebly tunes are like sugar crystals floating on a stream of golden honey, dewdrops sparkling in the sunrise of a chilly spring morning, or the embers flaring from a campfire in the clearing of the dark, snowy forest. Everything is as natural and comfortable as being outdoors.
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Frank Sinatra: Best of Vegas

By Emily Carney

Frank Sinatra’s unique brand of machismo and swagger may seem obsolete in 2011. However, his vocal influence is still very much felt; Austrian electro lounge crooner Louie Austen has been known to mix some old Sinatra classics into his current sets. Although big band music has lost its cult luster in the last few years (remember the “swing” revival in 1999, and the Tony Bennett popularity explosion of the mid-1990s?), Frank Sinatra’s voice and legend elevates him far above mere novelty status.
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