Archive for July, 2010


(photo by David Chiu)

Alexa Wilding
Rockwood Music Hall
July 27, 2010
Review by David Chiu

Alexa Wilding’s sound definitely goes against what passes off as pop music these days, which is quite refreshing. In fact, this budding New York artist’s acoustic-dominated, introspective music certainly would have fit it quite well with the Lilith Fair over 10 years (and perhaps even this year’s festival incarnation, too).

Wilding’s sound has several characteristics: it’s dreamy, atmospheric, lyrical and expressive—qualities that were on full display at her showcase at Rockwood Music Hall this past Tuesday. (She’ll be performing again at the same Lower East Side venue on Aug.18).

Accompanied by another guitarist, Wilding performed songs from her new self-titled EP. Her finger picking style on the acoustic and movements (which kind of reminded of Joni Mitchell) really showed that she was one with the music as she ran down some strong tunes from the EP: “Light,” “Black Diamond,” “2 AM,” and the atmospheric “Bridges.” While the music is certainly gentle, there’s also sometimes a moody edge that is further evoked by her wistful, expressive voice.

Given the quality of her performance at Rockwood Tuesday night, (not to mention a winning and charming personality) as well as the music from her EP, Wilding is certainly a first-rate emerging artist.

(photo by Stacey Mark)

Nicole Simone: Young Chanteuse of Sultry, Retro Pop
By David Chiu

Listening to Nicole Simone’s music is like watching an old surrealistic, foreign movie: it has a distinctive Euro, fatalistic noir-ish quality to it. In fact, this young artist’s old-timey sound is more in tuned with her  influences Marilyn Monroe and Tom Waits than her modern-day peers. Simone is a credit or an exception to trends, rather bravely following her own muse by embracing this cool, sophisticated retro sound.

The Los Angeles-based Simone recently released her debut self-titled EP, featuring the sultry and appropriately-titled song “Melt.” She even enlisted her friend, actor/musician Jason Schwartzman to play on the tune “The Wedding Song.” The heat and feel of the torchy songs are further augmented by Simone’s breathy vocals.

Simone will be playing on Aug. 2 opening for Ferraby Lionheart at the Bootleg Theater in Los Angeles. Prior to the appearance, NewBeats had the opportunity to talk to Simone about her career music, especially why this particular old-fashioned music. View full article »

Natalie, meet George

Natalie Merchant
Town Hall,NYC
Jul. 16, 2010
Review by David Chiu

Natalie Merchant made a very poetic return to performing on stage after a seven-year hiatus–literally.

Her latest work, Leave Your Sleep, takes poetry written by others (such as Edward Lear, Gerard Manley Hopkins and e.e. cummings) and reinterprets them as songs with Merchant composing the music.

Half of the set performed at Town Hall on Friday, the second of a two-night stand, were devoted to a selection of songs from Leave Your Sleep. Accompanied by a large ensemble of musicians that included woodwind players, a banjo player and a fiddler, Merchant introduced each selection by describing the poem and the poet before launching into the song (There was an image of the poet projected on the screen). View full article »


Black Sabbath
Classic Albums: Paranoid
Eagle Vision
by David Chiu

Black Sabbath: Paranoid is the latest installment of the fine Classic Albums documentary series, which spotlights on the story behind a classic rock album. And certainly Paranoid is a worthy subject for discussion being that it remains one of the most–if not the–influential heavy metal albums of all time. Featuring recent interviews with the original members of Sabbath–Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward–and associates, journalists and admirers (among them Black Flag’s Henry Rollins), the documentary focuses on the making of the album and the stories behind the songs. Given the reputation of Sabbath as purveyors of stoner metal and the dark arts, it’s sometimes easy to forget the message of Paranoid, part of which is a provocative protest against the Vietnam war (“War Pigs”) and drugs (“Hand of Doom”). And underneath the slabs of thunderous metal (“Paranoid”) reveal a quieter side of the band, as in the case of the trippy ballad “Planet Caravan.” It puts into perspective how outsider this band was compared to their contemporaries, which probably explains why Sabbath is legendary. As the album turns 40 this year, this excellent documentary gives the appreciation and due that Paranoid deserves–of course, Sabbath’s loyal fan and supporters already knew this.

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