Archive for May, 2010


CD Review: MGMT


MGMT
Congratulations
Columbia
by David Chiu

Speaking of eclectic, the latest album by the Brooklyn group certainly runs all over the place, but in a good way. The music on Congratulations goes in different directions, but yet still remains satisfyingly cohesive too. The best representation of that would be “Siberian Breaks,” the longest song on the album at about 12 minutes, where it begins as a ballad, then becomes a Phil Spector/Wall of a Sound moment, then morphs into a ’70s bland soft rock tune before veering into somewhat New Age territory. Electronic textures grace some of the songs such as the sexy, Gary Numan-meets-Prince-meets-Beach Boys track “Flash Delirium,” and the haunting “Someone’s Missing”; the rest of the album includes the twee-like “It’s Working”; a grandiose ballad called “I Found a Whistle”; and the whimsical “Brian Eno,” a tribute to the legendary producer/musician. MGMT’s Congratulations is quirky in one sense and exquisite in the other.

CD Review: Gogol Bordello


Gogol Bordello
Trans-Continental Hustle
Columbia
by David Chiu

I saw Gogol Bordello at the Tibet concert at Carnegie Hall this past February and I was pretty impressed by their performance. This band’s brand of gypsy punk was as passionate as it was danceable and rocking. The same feeling could be found on the band’s latest album, Trans-Continental Hustle, which is produced by Rick Rubin. Yes the music has a predominantly Eastern European folk-meets-rock feel, but there are moments where one can hear traces of Middle Eastern, ska and Afro-Cuban influences. With frontman Eugene Hutz’s thick accent, the songs are filled with fervor, passion and urgency: the opening track “Pala Tute” sets the tone with its heavy guitar strumming and violin as well as a danceable beat; the rest of the music is very celebratory-sounding. “Immigraniada (We Comin’ Rougher)” is perhaps the heaviest song with a punk/anarchistic attitude, while that is offset by the tender and souful ballad “Sun Is On My Side.” Eclectic doesn’t merely describe Trans-Continetal Hustle.

(photo by Scott Irvine)

by David Chiu

It’s not often that one comes across a pop musical act whose performers are conjoined twins, especially ones whose musical styles border on cabaret, vaudeville, Tin Pan Alley, folk and ‘80s pop. This is especially true of twin sister act Evelyn Evelyn, the latest project spearheaded by musicians Amanda Palmer and Jason Webley. Touted as “the only conjoined twin singer-songwriter duo in the world” by their press reps, and versed in playing instruments from the ukulele to the accordion, Evelyn Evelyn may have emerged as one of 2010’s most interesting and intriguing artists.

Based out of Walla Walla Washington, the twins, Lyn and Eva Neville, both 24, have just released their self-titled album this past spring and are currently on tour. According to their press bio, the twin sisters have traveled the greater part of North America performing with ‘Dillard & Fullerton’s Illusive Traveling Show.’” Later the twins caught the attention of Palmer and Webley, who aided them in the making of the record.

The autobiographical ‘Evelyn Evelyn’ album definitely has a heavy theatrical bent musically, which is reflected on the trilogy of songs “The Tragic Events of September” as well as the title track and “Have You Seen My Sister Evelyn,” whereas other songs deviate from that style such as a folk cover of Joy Division’s “Love Will Tear Us Apart” and the wild ‘80s arena rock tribute “My Space.” And while the lyrics are certainly about the sisters’ close relationship (figuratively and literally), they also provide social commentary, whether it’s about marketing exploitation and pop culture. Yet there are also moments of whimsy and humor like on the child-like sing along “Elephant Elephant.”

As for Palmer and Webley, the folks behind Evelyn Evelyn, their relationship goes back to circa 2000 when the two met as street performers in Australia, says Webley. “At the time I was starting a collaboration project, trying to write a handful of songs with different musician friends around the world. Amanda agreed to take a stab with me, which I am very grateful for. Evelyn Evelyn and our friendship grew out of that process. “

NewBeats recently had a chance to speak via e-mail with Palmer and Webley on behalf of the twins, about the origins of the project, the music, and the sisters’ future plans. View full article »

CD Review: David Bowie

David Bowie
David Bowie: Deluxe Edition
Deram/UME
By David Chiu

David Bowie a mod rocker? If you go back to the very beginning of his career—before he became glam rock icon Ziggy Stardust—the young David Jones recorded music between 1967 and 1968 that was more in the vein of theatrical-sounding English pop. That brief output of that period is collected in his debut album, which is now reissued as part of UME”s Deluxe Edition series. While the music is more pop-oriented (almost more rooted in Broadway or London’s West End) compared to the legendary music he would put out post Space Oddity and beyond, it’s not embarrassing—the songs are certainly of their time. In fact some of the story-songs on David Bowie are quite catchy such as “Love You Till Tuesday,” “There Is a Happy Land” and “When I Live My Dream,” an elegant ballad that featured Bowie’s strongest singing at that point. If you listen closely, there are clues and hints of the familiar Bowie sound that would come in time:  the quirky “We Are Hungry Men” and the Brecht/Weill-sounding “Little Bombardier.” There’s even a macabre tale in “Please Mr. Gravedigger” complete with the sound of rain and sneezing. This reissue contains both the stereo and mono versions of the original album; the second disc features tracks not on David Bowie such as singles, and previously unreleased tracks. A few of the edgier tracks can be found on disc 2 like R&B-ish “The Gospel According to Tony Day” and the soul funk of “Heat of the Morning” (There’s also some uncharacteristic tracks including “The Laughing Gnome” (with its Alvin and the Chipmunks-inspired backing vocals), and “Did You Ever Have a Dream,” which could have been a Mama and the Papa song.) While David Bowie would appeal more to the die-hard fans to round out their collection, it is still a somewhat fascinating and curious look of how far the Thin White Duke would come in his career.


Iggy and the Stooges
Raw Power: Legacy Edition
Columbia/Legacy
By David Chiu

Imagine if you were listening to this album back in 1973 in the era of the Guess Who, Bread and Three Dog Night. For the casual listener, Raw Power by Iggy and the Stooges was probably un-listenable and might have led to a heart attack; for the passionate rock fan tired of bland pop, it was a godsend of spiritual proportions. In hindsight, this album was so revolutionary and prophetic as punk would really blow up. Nearly forty years on, the record still pounds track after track: the bone crunching “Search and Destroy”; the wildly exuberant “Your Pretty Face Is Going to Hell”; and the exhilarating title track. And not to be outdone, even the stylistic divergence with the trippy, folkish “Gimme Danger” and the lusty blues of “I Need Somebody” still punches. Accompanied by a taut rhythm section of brothers Ron and Scott Asheton, Iggy Pop delivers on every track his usual vocal bravado bathed in angst, sex and desperation; James Williamson’s guitar playing pierces you with its angular riffs and dazzling runs. Much has been made about the quality of David Bowie’s mix on Raw Power (which is preserved here in this latest reissue), but it’s exactly the crude presentation that gives the album its identity—this is music that was supposed to be rough and intense, not polished and slick.

As an added treat, this reissue also contains a previously unreleased 1973 Atlanta concert referred to as “Georgia Peaches.” Like the sound quality of the Raw Power album, the show was recorded somewhat roughly, but it definitely provides a glimpse of what an electrifying band the Stooges were from that period. In addition to performing songs from Raw Power, the show also contains some heavy, urgent rockers such as the suggestively titled “Cock in My Pocket” and “Head On.” Pop was not only explosive in his singing but also toward some members of the audience in his in-between songs banter. The reissue also contains two additional unreleased studio recordings: the aforementioned “Head On” and the funky “Doojiman.”

Here is a brand new Sarah McLachlan song, “Loving You Is Easy,” from the upcoming record “The Laws of Illusion,” out on June 10. Take a listen!

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