Interlude: NW

This review appears in Wireless Bollinger.

Terminal 5 is not for the faint of heart. Formerly known as the notorious nightclub Exit, the 3000 person capacity and triple-floor structure make for a venue that’s as imposing as it is uncomfortable. But in the oft-fragmented mosaic that is New York, it’s now a hub for bands that are less of the up-and-coming sort and more geared to those that have arrived. Native band Blonde Redhead fit the bill, having released their seventh album, 23, and toured throughout the last year in support of it, with this gig perhaps the culmination of the current cycle. Last May, the group packed the Apple store in SoHo, leaving the spillover crowd waiting outside in a block long sprawl. They proceeded to sell out spacious Webster Hall, returning in August to McCarren Pool in Brooklyn, and subsequently filled Terminal 5 to capacity.

The School of Seven Bells

Openers School of Seven Bells joined Blonde Redhead on their September trek, which took them everywhere along the East Coast excluding New York. The quartet is Benjamin Curtis, formerly of Secret Machines, Alejandra and Claudia Deheza, formerly of On!Air!Library! and James Elliott, who has recorded under the pseudonym Ateleia. The result was a spacey mixture of each member’s expertise. Curtis’ psychedelic-flecked band provided a template for pseudo-pop songs while Elliott’s electronic leanings were physically pronounced as he perched over a synthesizer. Meanwhile, the sisters’ haunting vocals dueled, and though their words were obscured, the strong melodies and pop sensibilities overcame any lyrical uncertainties.

MySpace: School of Seven Bells

The Raveonettes

In an inspired transition, the house soundsystem played Autechre’s "Dael" to kick off the intermission, the song’s mechanical snarl a natural follow-up to the avant-garde quartet. But the minimalism didn’t last, as the sweeping fuzz of the Raveonettes overcame any thoughts of laptops. Bassist Sharin Foo and guitarist Sune Rose Wagner’s entwined voices created an immersive wall of sound, both monotonous and euphoric. A compact three-piece kit was deftly handled by the duo’s tour drummer, while the guitars wailed. Towards the end of the set, the band focused on material from their most recent album, Lust, Lust, Lust; single ‘Dead Sound’ defying its title, bringing a lively groove and almost pretty vocals. Closer "Aly, Walk with Me" was a noisier, but equally effective outburst, with the house lights blazing alongside the instruments.

The Raveonettes play at the Bowery Ballroom on March 26th. Here's a remix and original of "Dead Sound," as well as their Black Session, recorded on August 28th, 2003. If you'd like the whole set, please use the Mediafire link below.

MP3: The Raveonettes - Dead Sound
MP3: The Raveonettes - Dead Sound (Peter Holmstrom and Jeremy Sherrer Remix)

1. Intro
2. Attack of the Ghost Riders
3. Evil LA Girls
4. Veronica Fever
5. Let's Rave On
6. Noisy Summer
7. Chain Gang of Love
8. That Great Love Sound
9. My Tornado
10. Wanna Dance
11. Do You Believe Her
12. Untamed Girls
13. Heartbreak Stroll
14. Cops On Our Tail
15. NY Was Great
16. Beat City

Entire Set: Mediafire
MySpace: The Raveonettes
Official Site: The Raveonettes

Blonde Redhead

When Blonde Redhead’s solemn, prerecorded introduction came on, the usual expectant cheer rose up from the crowd. What was more impressive was how the trio mesmerized the crowd for the next hour-and-a-half. Kazu Makino began the set far stage right, seated at a keyboard, with drummer Simone Pace in the center and his twin brother and guitarist Amedeo on the other side. The size of the stage meant each member was an island, but there was willful detachment. Over the course of the first few songs, none of them spoke a word, preferring quite wisely not to dilute their distinct aesthetic. A quiet, piano-driven piece began the set, with Makino’s high-pitched vocals the clear centerpiece of the song, and arguably of the band. Amedeo Pace assumed singing duties on the next song, while Makino switched over to guitar, the juggling of instruments continuing throughout the night.

With guitar squalls, the band justified those early Sonic Youth comparisons, but they were far more distinct. Makino’s chilling keen cut through all of the noise, and she played while seemingly oblivious to her surroundings, utterly consumed by the music. The one early exception was when she and Pace would unite towards the center of the stage, trading guitar lines and, in a particularly memorable moment, she grasped his arm.



When the band finally acknowledged the crowd, it seemed almost by accident. Amedeo’s earpiece had gone askew, and as the room waited for the technical issue to be resolved, Makino leaned exclaimed, “He looks so helpless!” Makino would later elaborate on the origin of the cryptic track "SW," saying that the letters stood for Stevie Wonder, whom the song reminded them of even if “no one else thinks so.” These were somewhat unexpected revelations, but they spurred on an already adoring crowd.


The undeniable highlight of the performance was "23," its electronic shoegaze texture transformed into a more aggressive live incarnation. Prior to the song, Makino would invite a guitarist onstage, first joking, “I don’t know who that is,” and later introducing him as Paul – as in Paul Banks from fellow New York band Interpol. Despite the two guitar assault, Makino’s ethereal voice rose above the mix, a spectacular combination. With such a momentous conclusion to the main set, the encore was more of a formality, although the appearance of "Dr. Strangeluv" echoed the grandeur of "23." A few more experimental pieces followed, and the night came to a satisfying end.


MP3: Blonde Redhead - 23
MySpace: Blonde Redhead
Official Site: Blonde Redhead

Interlude: Back In Time

Things are a bit garbled as far as chronology now, but I'll try to resolve that. Eleven days ago, following what was almost a two month hiatus, I finally made it back out to a show. I had seen Au Revoir Simone a couple times before, and they seemed a fine way to ease myself back into the groove, particularly at the always great Bowery Ballroom. Thankfully, I was unfamiliar with the openers, which always makes it a little more exciting. Many thanks to Jen Appel from Press Here Publicity for making it possible.

Bell

Russian-born Olga Bell opened the night to a packed floor. The late start time (9:30 on a Friday night) didn't hurt, but I was pleasantly surprised by the large turnout. While her recorded music is much in the singer-songwriter vein, quiet piano with the addition of some electronic elements, her live set was far more impressive. The wise addition of a bassist, guitar player and drummer turned those bedroom songs into louder, more ambitious compositions. While Bell would describe one part as a "snore song," even that developed into something more. The most memorable part was, inevitably, her two-headed cover of "Videotape" and "The Eraser," by Radiohead and Thom Yorke respectively. I thought the second half was more interesting, with the clanking percussion, Bell's "Doing me in" buildup, and the stuttering piano. With a "debut EP in the cooker" according to her MySpace, hopefully we'll hear more from her in the future. Bell plays at Cake Shop with Takka Takka on February 1st.


MP3: Bell - Videotape / The Eraser (Live)
MySpace: Bell

April March

This I was not expecting. When a decent looking quartet stepped out (all of them wearing pink on one part of their person), I prepared myself for fun, head-nodding indie rock. When they were joined by a singer, who then proceeded to sing in French, I was stunned. Surely an up-and-coming group would hesitate to sing in a foreign language? Turns out April March (née Elinor Blake) was most active in the 90's, and this was her first show in New York in four years. She was definitely not your typical Bowery resident, but the backup band played with an enthusiasm that made them seem right at home. But I thought her vocals were a bit stiff, and while they aren't really comparable to anything around these days, I'm more inclined towards an Emilie Simon or Stereolab. April March said she had a new album finished, and she's looking for a label to release it on.


MySpace: April March
Official Site: April March

Au Revoir Simone

During the intermission, one of my neighbors observed that there were "many dudes here." Au Revoir Simone would seem to appeal to the gentler sex, but perhaps the guys were hoping for a dance party, which unfortunately never quite materialized. The trio is always impeccable when it comes to harmonies and interestingly little keyboard sounds, but there comes a point where you want a little more at a concert. When the "dance" portion of their set finally came around, it was capped at two songs. As with their South Street Seaport appearance, I was left wanting more. Thankfully, they did play "Night Majestic" this time around, but "Stars," remained absent. While quite good on record, they need to do more live if they want to get people more excited. At least the show ended on a high note, when the trio was joined by members of the openers, which makes me wonder if it would hurt to add a live drummer or guitarist to the mix.


MP3: Au Revoir Simone - Through The Backyards
MP3: Au Revoir Simone - Fallen Snow
Official Site: Au Revoir Simone

Sustain, Release: Chris Walla's Field Manual

This review appears in this week's Wireless Bollinger.

Chris Walla’s Field Manual has had a long gestation. The album was originally set for release a year ago, but Walla’s production of Tegan and Sara’s The Con pushed it back a whole 12 months. Then, United States Customs confiscated Walla’s hard drive at the Canadian border, further complicating the process. The scenario is especially bizarre considering the context of Walla’s role as guitarist in the generally benign Death Cab for Cutie and, for the most part, Field Manual is not much of a departure from Walla’s main project. Two of its tracks are even reportedly castoffs from Plans, the band’s last album and major label debut.

The album’s original title, It’s Unsustainable, suggested that, despite the obvious Death Cab pedigree, Walla’s solo affair would be more than just love songs. However, the album only partially delivers on such promise; opener "Two Fifty" alluding to the current state of world affairs: “All hail an imminent collapse,” the rest of the album returning to more familiar, romantic territory. And when the former title track rolls around, it’s toothless. “It’s not unsustainable,” Walla breathes, softly killing any hopes for political content – it’s decidedly unclear why border agents would detain something so devoid of controversy.

While uniformly pleasant, Field Manual isn’t compelling. The album sways from delicate dream pop to more a raucous, guitar-driven style within the first two tracks, but despite the eclecticism, it still feels like a retread and as such Walla’s back catalogue is an obstacle that he never really clears. The woozy parts of the album immediately bring to mind the warmer parts of Plans, while the louder moments recall old, cathartic Death Cab. A comparison between Ben Gibbard and Walla’s vocals seems lazy, but is inevitable when both style and subject matter are so similar. "Geometry & C" has an opening guitar riff that could be a doppelganger for Death Cab single "Crooked Teeth," while the “Da dee dum” refrain is suspiciously akin to Gibbard’s vocalizations of choice.

Likeness aside, Walla demonstrates his gift for production, and the album has a generous share of hooks. His earnest songwriting is a good fit for the music, which is subsequently easy on the ears; "Sing Again" repeats the title until it approaches an anthem, demonstrating a pop sensibility that simply works – while not revolutionary, it is well constructed. But compared to the idiosyncrasies of, say, the Decemberists, whom Walla has also produced, it’s a tame record as a whole – the remarkable lack of tension making the experience soothing and frustrating at the same time.

The solo project is ideally a bold step, in which a musician breaks the confines of his day job and embarks on a journey of individualism. Unfortunately, this wasn’t what Chris Walla has achieved and even as this record gathers momentum, many ears anticipate the looming May arrival of Death Cab’s next album. While Field Manual should sate those fans’ desires for the next few months, the less enthusiastic recipients will probably wish for a bigger leap elsewhere.

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MP3: Chris Walla - Sing Again
MySpace: Chris Walla
Official Site: Chris Walla / Hall of Justice

Foundations: Kate Nash at London Calling

I spent Friday afternoon finally giving Kate Nash's much buzzed about Made of Bricks a fair listen. Too often, initial lazy comparisons will distort my conception of an artist. When Kate was dismissed as a Joanna Newsom knock-off in some forgotten comment form (perhaps I confused her with Kate Bush), I backed off. The more common Lily Allen or Regina Spektor tags gave me a reason to investigate, and you'll probably find something to like in Made of Bricks if you're a fan of either. But these comparisons are useful only to a certain degree. Generally, my enjoyment of music is based on a solely on immediate content, instead of ranking it with similar voices. With that in mind, the album's breakout single is "Foundations," and I love it. The catchy chorus is one big reason, and it's refreshing how she approaches the same old love song lyrically. There may or may not be a full review treatment coming up, but suffice to say it's recommended.

Here's Kate at the London Calling Festival at the Paradiso, Amsterdam, recorded on March 30th, 2007. There's also a profile of her in the New York Times. Enjoy.

1. The Sh*t Song
2. Stiching Leggings
3. Caroline's a Victim
4. Birds
5. We Get On
6. Merry Happy
7. The Nicest Thing
8. Foundations

Entire set: Mediafire
MySpace: Kate Nash
Official Site: Kate Nash

Swear To Blog

I don't get out to many movies. The usual nocturnal experience is less of the sit-down, popcorn devouring type and more the stand-up, ear-shredding type. But last week, I was fortunate enough to experience both. The film was Juno, and it was great. Granted, my decision to see it was built off the uniformly positive reviews and numerous recommendations from friends, but the gushing isn't unfounded. It's well-written, charming flick, with excellent characters, first and foremost the title character, played by Ellen Page. The dialogue is a constant stream of one-liners, more wholesome but no less hilarious than last theater outing I had, Superbad. Michael Cera also appears, with his role as the well-intentioned Paulie Bleeker, Juno's love interest and perfect foil.

Go see it (again).

Juno's soundtrack is another excellent fit. Indie-approved Sonic Youth, Cat Power and Belle and Sebastian are nice additions, but the heart of the album is Kimya Dawson's peculiar, but wholly appropriate singing. It's not really aligned with my usual fare, but it's hard to think of a more perfect complement to what takes place on screen. Kimya plays another free (but undoubtedly packed) in-store tonight at Soundfix, and the Village Voice offered their entertaining take last week. Ellen Page also spoke with Pitchfork a while back.

MP3: Michael Cera & Ellen Page - Anyone Else But You
Official Site: Juno

Interview: Xiu Xiu

This feature appears in this week's Wireless Bollinger.

The 1998 film, Xiu Xiu: The Sent Down Girl, details the gloomy story of its title character, a fifteen year old girl who struggles in the wake of the Chinese Cultural Revolution.

The film’s intense plot is a fitting match for its nominal successor Xiu Xiu, a band that’s endured its share of difficulties since its inception in 2000. On January 29th, Xiu Xiu releases its sixth studio album, Women as Lovers, the latest stop in a decade long journey for frontman and founding member Jamie Stewart.

On the latest album Stewart is joined by cousin Caralee McElroy, who has been in the band since 2004, and drummer Ches Smith, who toured with the group in support of their last full length, The Air Force. Although Stewart described the recording process as “pretty similar to what we’ve always done,” again set in his home studio, it has been the addition of Smith that has bolstered and diversified the project. While Stewart remains the primary source of lyrics, his bandmates have a greater input and as a result Xiu Xiu resembles more of a traditional band rather than just Stewart’s project.

Growing up in Los Angeles, Stewart’s childhood had a strong impact on his eventual career. His father, Mike Stewart, was involved in music business, as was his uncle. “I think initially it was a family thing,” says Stewart, but like most teenagers the appeal set in: “I was too freaked out to do drugs.” He credits his dad for improving his perception of music, allowing him to distinguish between good and poor quality. This trait would prove especially useful for Stewart who found himself caught in the epicenter of a regrettable musical genre in the 1980s.

“The worst hair metal was the most popular, but I never got interested in it,” says Stewart, who describes his tastes as “Muddy Waters and David Byrne instead of Poison and Def Leopard.” Stewart also cites Otis Redding, Prince and Duran Duran as influences, his current tastes being equally eclectic, ranging from free jazz to techno. Bauhaus was also influential, although Stewart admits, “They really freaked me out, but set me on the path into art-rock.”

However, the impact wasn’t immediate, as Stewart became a preschool teacher after his 19th birthday, later working as a social worker and eventually finding a place at a record store. After Stewart collaborated with Cory McCullock in previous bands, the two would form Xiu Xiu, later adding Lauren Andrews and Yvonne Chen to the tour lineup. Meanwhile, Stewart remained in his day job, taking breaks to tour when needed.

“I’d tell huge lies to my bosses why I needed a month off,” says Stewart.

In 2002, Xiu Xiu began touring continuously, albeit no longer with Chen and McCullock – however the latter would assume production duties for subsequent albums. Despite the losses, Stewart realized that he was financially able to rely on touring, finally becoming a musician full time. And while fatigue from the tour grind was unavoidable, he continues to make the most of it.

“I actually really like touring in the United States, the scenery gets to be a drag, but the place is set up for traveling,” says Stewart. The longevity of Xiu Xiu has also allowed the band to tour throughout the world, and while not all countries have miles of asphalt efficiency, Stewart says, “The good food in Italy is always worth the perilous drive.” While he admits that he still prefers recording at home, it’s clear that touring is an essential part of the project.

The constant traveling also brought about a unique artistic opportunity. Tour manager David Horvitz, an accomplished photographer, documented the journey with film that fans submitted in self-addressed envelopes, which were later returned. Stewart describes the experiment as something that grew exponentially, from 30 to 60 to 400 hundred applicants, and the band released a book commemorating the Polaroid Project in November 2007.

Although Xiu Xiu’s fanbase is clearly dedicated, the thorny issue of illegal filesharing is something the band has to endure. “I feel really mixed about it. Downloading something for free is stealing from a store or a merch table. It’s inherently disrespectful,” says Stewart. On the other hand, the accessibility of the internet has created fans of Xiu Xiu in areas of the world where albums wouldn’t necessarily be available in physical form. “We played at Guadalajara and Serbia, which wouldn’t have happened unless someone had ripped us off,” says Stewart.

A more benign type of sharing occurred on the extended play Tu Mi Piaci (Italian for “I like you”), which included Xiu Xiu covers of the aforementioned Bauhaus, as well everyone from This Mortal Coil to the Pussycat Dolls. The record Remixes & Covered returned the favor by compiling tracks of other artists interpreting Xiu Xiu songs.

With so much going on, it’s understandable that Stewart is reluctant to attempt to categorize Xiu Xiu’s music. “I think it is a bad idea to be analytical,” he says, preferring to wait until the band goes on a “five year hiatus” to be retrospective. With the new album about to be released and a spring tour planned shortly thereafter, such a break seems unlikely. And with such a diverse batch of musical styles and subject matter, such an effort would probably be inconclusive at best.

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MP3: Xiu Xiu - I Do What I Want, When I Want
MySpace: Xiu Xiu
Official Site: Xiu Xiu

Paris Four Hundred: St. Vincent's Marry Me

This review appears in this week's Wireless Bollinger.

St. Vincent is Annie Clark, a singer-songwriter who has played on stage as part of the Polyphonic Spree and Sufjan Stevens’ Illinoisemakers. Such connections make a solo album seem almost inevitable in a side-project saturated scene, but Clark’s Marry Me is an album that’s distinctly hers.

Opener "Now, Now" glides smoothly with Clark’s assured delivery, but eventually approaches a cacophony. Guitar squalls combine with a backup chorus that insists, “You don’t mean that/Say you’re sorry.” "Jesus Saves, I Spend" continues these contributions, with the voices offering a steady “Bom bom bom” backbone. Clarke offsets the repetition by intoning such eloquent lines as, “I’m sitting and sculpting/Menageries of saints.”

"Your Lips Are Red" is a more intense track, with more frantic guitar lines and Clark’s dreamy delivery wavering towards something a bit sharper. Meanwhile, the album’s title track is elegantly simple, with Clark singing, “Marry me John/I’ll be so good to you,” amidst handclaps. "Paris Is Burning" uses an imagined tragedy for a more personal crisis, as Clark sings of slipping “poison in your ear.” While the second half doesn’t quite match the first in distinctness, taken as a whole, this is a very impressive album.

Marry Me is dramatic in the best way, using enough theatrical elements to keep the listener interested, while still keeping the spotlight on Clark. The instrumentation is varied, as are the moods. The tension between straightforward, almost naïve romanticism and more insidious, occasionally alarming, sentiments is fascinating. Clark’s songwriting is as unique as it is versatile, as she’s equally comfortable describing fanciful scenes or deeply personal moments. The result is far more complex than many of Clark’s fellow singers.

Despite the complexity of its songs, Marry Me is never unwieldy. Those that enjoy the work purely as a collection of appealing, if unconventional, pop songs can’t go wrong. Clark’s voice is deft, shifting from an airy swoon to a darker whisper, sometimes within the same song. While the music ranges from mechanized percussion to orchestral embellishments, her vocals bind the eclectic elements into a mesmerizing experience.

Success in today’s industry can seem incredibly arbitrary. Even the most tenuous connections can elevate an unknown into prominence through vague name recognition. Clark’s association with relatively successful groups was clearly beneficial to her own career, but upon hearing the album it’s apparent that her past experiences have served as a foundation of a sound that’s been meticulously developed. The Polyphonic Spree’s inflated membership comes to mind when one considers how much stuff is going on throughout Marry Me. And Sufjan Stevens’ ability to meld his own life with the events of disparate places has also clearly been passed on to Clark.

Although such comparisons are inevitable at this stage of her career, if Clark maintains the high quality of Marry Me on future work, it’s just as likely that she’ll be the benchmark for up-and-coming artists. Until then, her debut album will be a template for how to branch out, while still staying attached to your roots.

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MP3: St. Vincent - Now, Now

MP3: St. Vincent - Marry Me

MySpace: St. Vincent

Official Site: St. Vincent

The New Year

Happy New Year! The hibernation is finally over. A proper look back at 2007, while a bit belated, is coming up. For now, enjoy some tunes that are, if nothing else, timely.

MP3: Asobi Seksu - New Years

MP3: Azure Ray - The New Year

MP3: Death Cab for Cutie - The New Year

MP3: Maria Taylor - Leap Year

Two Receivers: Dean & Britta's Back Numbers

This review appears in this week's Wireless Bollinger.

Britta Phillips and Dean Wareham have been making dreamy music for a decade, and they sound like veterans on Back Numbers. Drawing upon their experiences in Galaxie 500 (Wareham), Belltower (Phillips) and Luna (both), as well as their first outing as a duo in L'Avventura, the duo offers polished pop at a comfortably unhurried pace. The album is predominately built around digital percussion and guitar washes, with Phillips and Wareham’s restrained, somewhat world-weary voices leading to a consistently mellow sound. That isn’t to say that the album is a snoozer, more that it creates a mood and rarely breaks it.

This formula isn’t going to appeal to everyone. During the band’s performance at the Bowery Ballroom during the CMJ Music Marathon, portions of the crowd were noticeably restless but there were just as many enthusiastic fans. Of course, the term enthusiastic is relative – in this case it was just a matter of clapping a little harder during breaks – and Dean & Britta aren’t likely to attract excessive displays of adoration in the Morrissey vein. Rather, a feeling of strong-but-subtle affection is probably the best they can hope for.

It’s not just that the music is introspective rather than anthemic, or simply soft instead of loud, although that does have an effect in a live setting. Rather, the group seeks to portray themselves in a detached manner, evident from the precise photographs in the packaging to the somewhat impersonal songwriting. Although the tracks that make up Back Numbers are clearly love songs, they’re washed out, favouring mood over direct meaning. It’s an approach that will have its detractors crying aloof, while supporters might hail them as dream pop’s answer to Serge Gainsbourg and Jane Birkin, with a pedigree to match. Fittingly, Back Numbers features a number of covers, and perhaps it’s because they’re singing other people’s words that some of the intensity is lost and the detachment amplified.

This isn’t to say they aren’t good, as Phillips provides some of the album’s more sublime moments. Lee Hazelwood’s "You Turned My Head Around" is one of these, containing the loudest dynamic on the album as Phillips breaks out of her well practiced purr in the rousing refrain, “And baaaaaby!” accompanied by a synth squelch. Unfortunately, this energy is quickly reeled in by overdubbing and more composed standard verses, but it’s gratifying because of its volume and the hope that around the corner there lies more dynamic shifts like it. Wareham’s nasal delivery is more of an acquired taste as it tilts between spoken lines and more melodic turns. Often, it’s most effective when it provides a backdrop, chipping in the backup vocal or playing off of Phillips’, as in the duet "Say Goodnight."

But Wareham gets in the last word on closer "Our Love Will Still Be There," which provides a glimpse into the timelessness that the duo seeks to create. “I’ll even love you if the world stops spinning ‘round,” he croons, and you’re inclined to believe him.

Phillips and Wareham epitomize longevity, and it’s admirable that they continue to make music after all these years. But their career has been based on a niche, as they seek to perfect an elusive brand of pop. Back Numbers isn’t a bad effort in the ongoing experiment, and it won’t disappoint the longtime fan, but it is unlikely to win over those that were previously uninterested.

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MP3: Dean & Britta - Singer Sing
MySpace: Dean & Britta
Official Site: Dean & Britta

Reprise: The Pipettes' We Are The Pipettes

This review appears in this week's Wireless Bollinger.

For the uninitiated, The Pipettes might appear to be singing and dancing in the wrong decade – the group was even founded as an experiment by Robert Barry with the intention of reviving the 1960s girl group sound. Even the structure of The Pipettes defies contemporary standings, with three nicknamed girls – Rosay, Gwenno and RiotBecki – backed by an anonymous male band named the Cassette. Although this setup suggests insidious manufactured pop, many independent-minded publications have embraced, even championed, the group.

The key might just be those pop songs that make up their debut album, We Are The Pipettes. Although none of them run more than a few minutes, and most are about either “love or dancing,” as the group admitted themselves at a recent gig at New York’s Blender Theater, the execution is very appealing. Even without seeing the trio’s choreographed dance moves, there’s remarkable harmonizing throughout the album. Having three singers allows for both big, sweeping choruses and traded verses within a song, techniques the group use to great effect.

"We Are the Pipettes" serves as the group’s theme song, as the girls sing self-introductions. The line “We’re the prettiest girls you’ve ever met,” is subjective, but their confidence is backed by impressive vocals. Likewise “Pull Shapes” is a triumphant indicator for the rest of the album: “I just wanna move/I don’t care what this song’s about,” a fitting mantra when it’s unclear what the title means. These clearly self-deprecatory lyrics and the girl’s general bubblehead enthusiasm embellish the album’s bright, upbeat quality, courtesy of the Cassette’s lively drums and guitars – punctuated on this particular track by a violin.

Although the next track, "Why Did You Stay," doesn’t break the two minute mark, it slows things down, with Rosay taking over lead vocals. About halfway through, after the some back-and-forth lines, the other girls insist, “But he was so sweet.” The music disappears momentarily as Rosay replies, “Well, I’ll had just about enough of sweet.” It’s never established who “he” was, but again, the specifics are secondary to the dialogue, a back-and-forth style that works throughout the album. The latter characters, a schoolmate named "Judy" and a scholarly fellow who “knows all about the movement of the planets/But he don’t know how to move me” on "ABC" are rudimentary sketches. Combined with the brevity of the songs, it’s clear that the Pipettes won’t win people over with lyrics alone, but they don’t have to when they’re so relentlessly hooky.

Perhaps the most risqué of the tracks is the bluntly titled "Sex," but the girls make wonderfully tangential reference to the topic, quoting a guy that promises conversation but “Let’s stop with all the talking/Because there’s no need for any talking for what we’re about to do,” later making his case worse by saying, “Now please don’t take this the wrong way/But my ears are getting sore.” These conversational verses are complemented with the breathless chorus, “Just rest your pretty head,” and this two-pronged approach is hard to resist.

Overall, We Are The Pipettes will please those who appreciate female-fronted pop. Even those that aren’t enamored with the genre may find something to appreciate. The Pipettes aren’t in a band just because of their looks, and there’s real musical merit to their album, each girl demonstrating talent with their vocals. While it’s easy to dismiss something so apparently contrived, those that look beyond their prejudices will find something that’s quite authentic.

--

Some international versions of the album ship with these two bonus tracks, and the entire record sounds a bit different than the original UK version. It's definitely an incentive to give it another spin or hear it for the first time.

MP3: The Pipettes - Really That Bad
MP3: The Pipettes - Your Love For Me (Demo)
MySpace: The Pipettes
Official Site: The Pipettes

Minimal Dance Party

Enjoy.

1. Ellen Allien - Sehnsucht
2. Booka Shade - In White Rooms (Neo Remix)
3. Aphex Twin - Heliosphan
4. Boards of Canada - Telephasic Workshop
5. Four Tet - She Moves She
6. Maurizio - M4
7. Autechre - Dael
8. Monolake - Ice
9. Trentemøller - Take Me Into Your Skin

Entire Mix: MediaFire

Interlude: Tweecore

It was another Friday night at the Bowery Ballroom, and possibly my last concert in a concert-filled year. Things have winded down over the last few weeks, and with finals looming, that's probably for the best. Los Campesinos! was one of my discoveries over the summer, and after being unable to get into their Mercury Lounge show, it was really nice to see this date at the end of the year. I had the pleasure of interviewing the band right before things kicked off, and look for a feature soon. The openers were, as is often the case, unknown to me, but that's hardly a bad thing. Tom Vu was also there.

Johnny Foreigner

Birmingham, England trio Johnny Foreigner began things with a bang. Complementing ragged guitar and bass with yelps, the band played like a more concentrated Los Campes!, although perhaps without the pop sensibilities. Admitting that they didn't have material for a full forty minute set, the band bantered good natured with the crowd, talking poorly (but jokingly, we hope) of their hometown and kidding that the next song was a "power ballad)." The problem is, nothing in their catalog really resembles anything like that, and I'd like to see the band get a little more accessible without losing their characteristic chaos.

MySpace: Johnny Foreigner

The Spinto Band

Delaware's the Spinto Band brought cheery - perhaps too cheery - power pop, saturated with sing-song choruses in which anywhere from two to four members sang. Despite the twinkly guitars, there was usually a solid undercurrent of drum and bass, given their vaguely twee sound a decent backbone. It was satisfying at first, but the samey songs got a bit tiresome. Unfortunately, their stage presence only exacerbated the experience. They talked nonsense about replacing words that rhymed with "spray" with "spray," and quite unnecessarily demonstrated how to do so. Not really the city to demonstrate this in, I'm afraid, and the rest of the crowd seemed pretty nonplussed. I'm pretty sure there's much fun to be had with this group, as evidenced by the big cheer went up during one of their songs, but I think I'll stick to the albums.


MySpace: The Spinto Band
Official Site: The Spinto Band

Los Campesinos!

The seven member strong Los Campesinos! filled the stage, and their songs filled the venue. Prior to the show, I was a bit worried that they wouldn't have enough material, and while the set lasted less than an hour, I think we all left feeling satisfied. Los Campes! have a sound that won't appeal to everyone; I wouldn't blame you if it just isn't your thing. But the band brings such a great enthusiasm to the stage, and that their songs, energetic to begin with, before as infectious as ever. There was a sizable crowd to the left that was really getting into it, not really moshing, but just hopping up and down. Ever so often I'd glance over, and there would always be at least a few people in motion, growing in number if the song was particularly lively.


Without diminishing the irreplaceable atmosphere of a live concert, I think that the crowd's reaction is as great a testament as any to the power of the internet. Correlating online buzz with a packed crowd isn't terribly unique; much of the venue selection is based on this calculation. But it's incredible that a band would go from MySpace to playing in front of crowds around the world in such a short time, and to their credit, they're all clearly very grateful for it. Singer Gareth was extremely humble and thankful, but his timidity in between songs didn't affect his energy, as he moved about the stage and eventually went into the audience. Harriet's violin playing was especially nice, as on record, giving their cacophony the perfect highlight. She also sang with keyboardist Aleks, providing some pretty harmonies that softened Gareth's more accented delivery. They've got a great dynamic, and I'm sure they'll be back next year to bigger and more excited crowds.


MP3: Los Campesinos! - Don't Tell Me To Do The Math(s)
MP3: Los Campesinos! - We Throw Parties, You Throw Knives
MySpace: Los Campesinos!
Official Site: Los Campesinos!