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The Perfects: Future Automatic
The Perfects: Future Automatic
Electro-Rock bands have always blurred the edges between guitar rock and dance type synthesized sounds. Back in the 80′s you had bands like Duran Duran and The Cure. Into the 90′s there were Nine Inch Nails and Garbage. Today we have The Killers and Muse. You get the idea. The Perfects fall very much into that line except that they sound like hybrid of the modern sound and the classic one from the 80′s.
Right from the start of Future Automatic, Ric Peters’ voice made me think of Duran Duran and The Cure. There’s a bit of that whiny aspect to it that seemed to define those singers. And the heavy bass coupled with light guitar brought on those early melodies of the genre. But there is also a fresher crisp to the songs.
While the music does have a repetitive quality to it, it doesn’t seem as simple as the early 80′s bands did. There are more complex twists and turns throughout the songs that the more complex listener of today’s music, what with teens knowing all about computers and other technology, that are demanded by a forward looking audience.
There’s plenty of fodder here for remixes, which the band probably won’t mind. Its one of the advantages of the genre since it gets plenty of exposure from other artists tweaking the tracks a bit. Overall, Future Automatic is a nice album. At seven tracks it seems short, something easily consumed in half an hour. It does give you an idea as to who The Perfects are. The album is a bit dark in mood for my tastes. I’m more of an uptempo, airy melody fan myself. Future Automatic seems lower on the spectrum. Be sure to give them a listen. I’m sure there’s tons of fans in hiding that will be glad to discover The Perfects if they haven’t already.
Rating: 6.1/10
MP3: The Perfects “The Hidden”
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Little Fish: Baffled and Beat
Little Fish: Baffled and Beat
Successful duets like The White Stripes, The Black Keys, Local H, and Eagles of Death Metal all have that ability to make loud, energy driven rock while keeping the mood intimate. Little Fish follow that fold with their May 11th debut Baffled and Beat. Lead singer, songwriter, and guitar player Juju knows how to front a band and take center stage. Its a bit remarkable, too, because she was more into sports when younger. But thankfully, the music itch caught up to her. And drummer Nez brings a variety of Rock influences and loads of talent on his part as well. Together, they sound like a duet monster with all the best parts of those other duets I’ve mentioned.
Juju’s voice reminds me of a mix between Cher and Grace Slick of Jefferson Airplane, all balled up in the energy we’ve come to know from Gwen Stefani. And that energy comes through excellently on tracks like “Am I Crazy?” and “Whiplash”. But where punk acts would flourish mostly on that energy, Juju shows that she can put together a complete song from music to lyrics to vocals.
Most notably, “Heroin Dance” sounds like a Led Zeppelin song. Juju really shines lyrically here right from the start with lines like “Rising blue smoke in the golden air where the promises you held have gone”. And from there she tells a story through metaphor that borders on the folksy/mystical almost myth-like work that Led Zeppelin was known for.
For the most part the only other accompaniment Little Fish use is a Hammond organ. But on “Luck’s Run Out” Juju sets aside the guitar for a piano. She does a great job mixing things up, sounding more like Fiona Apple than just a Rock singer. She’s clearly no pop singer, and unfortunately in the music business that’s where women tend to find their places as forerunners. Juju’s got that Janis Jopplin-like intensity where she’s clearly not afraid to mix it up in the heavily male rock genre.
Make no mistake, I do have a soft spot for duets that I can’t really explain. But that aside, Little Fish are very good and that’s just proven on Baffled and Beat. Its more exciting because this is their debut album. I can only imagine what is to come. I highly recommend this album for anyone who likes rock of any kind. You won’t be disappointed.
Rating: 9.6/10
MP3: Little Fish “Am I Crazy?”
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Ashlyne Huff: Ashlyne Huff
Ashlyne Huff: Ashlyne Huff
Back on May 11th, Ashlyne Huff released her debut self titled album. On the front cover of the album is a picture of Ashlyne. She’s quite the looker. And on the back you can get a small glimpse of her fine legs, one of the perks of being a dancer. Its not until you listen to the album that you get the real sense of Miss Huff’s multiple talents.
With only six tracks to the album it makes it difficult to judge how good of a songwriter she is. I mean, what if five of the songs are brilliant but another four she could have added wouldn’t have been?
So, for her lasting impact I’d like to see some more original work.
What you can get a sense of is Ashlyne’s talented voice. She describes her sound as a mix between Pink and Kelly Clarkson. I find it a bit of a cop-out to settle for any comparisons. Naturally, she’s pop based in her musical writing, but perhaps only for the moment. So you could have switched out Pink and Clarkson for just about any other two female pop stars.
The opening track “Heart of Gold” is a straight out electronic pop song. Its catchy, to say the least, but clearly not her most powerful performance. Interestingly, Huff is from LA but hails from Nashville originally. So it was no surprise to hear a bit of that country influence on this track. But, she doesn’t stand to be labeled as country-pop.
“Trippin’ it Up” is more or less a dance track with guitars. Its got a very movable beat, and I wouldn’t be surprised to hear more of a traditional dance mix of it coming at some point. I also find that her voice sounds more natural on this track than “Heart of Gold”. I don’t know if she was having more fun here, or if she was forcing out the vocals more on “Heart of Gold”. Still, she shows she can make a fun dance track while singing about more serious topics than just partying.
“Sweet Nothing” slows things down with what I consider to be a very good ballad-type song. The acoustic guitar allows for Ashlyne to show off her voice. And she does it quite well. Its funny to hear that she didn’t always like to sing considering how talented she is at it.
The one sore spot for me on the album was “Comeback”. I wasn’t crazy about the idea of a relationship being compared to a comeback. But on top of that it just was the weakest song on the album. And that’s what leaves me wondering if she just ran out steam. A few more tracks would have settled that question, but she’s certainly capable of writing good songs. And who knows how she’ll grow as a writer and singer. Or what influences will unfold in her future songs. The certainty is that she has the goods to be around for a long time. Her success is wholely determined on how committed she’ll be to trying to break through a genre that’s filled with lots of talented, pretty women all ready. I can say at least she’s being herself and not going for the Lady Gaga approach. Its a testament to all young women that you should be comfortable with who you are, and proud of it at the same time. Ashlyne Huff is going places, like a stage near you soon. So be sure to check her out.
Rating: 7.8/10
MP3: Ashlyne Huff “Trippin’ it Up”
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Scratoa!: Live en San Anton
Scratoa!: Live en San Anton
Scratoa! is the co-op of Marc Nguyen Tan (the dj known as Colder) and Guillaume Ollendorff. “Live en San Anton” was recorded back in April of 2008 in Alicente, Spain. The album took three days to record and was the result of improvisation.
Now when I hear improvisation, I tend to think of jam bands and jazz ensembles. You know, the type of acts that will play a song differently just about every single night. The song remains recognizable, but its not chained to how it was written.
“Live en San Anton” isn’t exactly music. Scratoa! is to the music industry what Jackson Pollock was to art. I’m not saying there isn’t any merit to the work at wall. No, its far from undesigned even though at times it sounds like it. They clearly had a purpose with what they were going for. But just like a Pollock painting, you find certain sounds or noises that you like, but you can’t admit to know what the artists were getting at. What emotions they were trying to invoke.
At times, computer altered grunts make me feel like I’m listening to some type of digital jungle where the gorillas are just beyond the vegetation, so watch your step. At other times the album reminds me of the story of the Buddhist Monk who was invited to listen to a symphonic performance. When asked what his favorite part was, he said the very beginning. The warm up where everyone was simply tuning their instruments. The notes came out warm and unforced, and the same can be said here.
I enjoy a warm up as much as the next Monk, but a 30 minute album filled with that type of child-like banging on pots and pans seems too much for me. I’m not exactly sure what to make of it. I can’t see this album turning into a hit on the charts. I’m not even sure what Killer Pimp was thinking when they decided to release the album.
Tan is unrecognizable here when compared to his work as Colder. Perhaps that’s what he was going for. And Ollendorff must know his way around a laptop and electronics, so why they settled for this type of improvisation, I can’t say. All I know is, I didn’t enjoy it at all. It was too experimental for my taste. I struggle to consider it music, even though it is when you can call two sticks being hit together music. But in the end, I was looking for more substance. Something you can really peel layer by layer as opposed to staring at colorful swiggles as they hang above your fire place. Everyone will tell you its really fascinating and they like looking at it, but they’re probably being nice.
Rating:: 0.8/10
MP3: Scratoa! “II”
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Philip Stevenson: Starless
Philip Stevenson: Starless
With the fast paced World Cup tournament taking a break, and New England’s death-like grip known as heat and humidity releasing for a few moments, I decided to jump back into reviewing albums. Just know this, I’m cranky from lack of sleep and so this may not be the best time. Apologies aside, its time to get down to business.
Philip Stevenson’s latest release Starless feels a bit like the title says. He has a bit of bluesy, alternative rock sound which may not be most popular these days. That’s not to say it doesn’t sound good. The problem is that nothing about the album makes it stand out. And it is more disappointing because the first four tracks do a good job of getting your attention.
The opening track “Anatomy” immediately had me thinking of Urge Overkill. Not necessarily musically, but vocally. Stevenson’s low singing has that extremely forced tinge to it, as though he were trying to sound deeper than he was.
Then on “Deuteronomy” I had a blast from my past. I couldn’t help but hear the similarities to Nirvana’s “About a Girl”, and even took a small break to have a quick listen to Bleach. This song could have made it easily onto that album, if only Nirvana had used saxophones and organs. But an organ would be pretty difficult to lift over your head and smash onto the stage. Still, the guitar parts sound a lot like “About a Girl” and there’s nothing wrong with that.
“Fix Me” is a ballad that is both warm and cold. Again, musically I enjoyed it particularly as one of the tracks where the guitars don’t drown out his vocals. But then, his voice starts to put me to sleep. I’m not saying Stevenson isn’t a better singer than me, I’m just wondering if he should be singing.
“I’m a Boy” is the standout track on the album. The uptempo blues song gives some life an album that starts to feel bogged down from this point out. Its still difficult to hear what he’s singing, but at lest musically they remind me of Cake when they take a crack at blues.
Still, the production continually puts emphasis on the guitars over the vocals. And maybe that’s their way of trying to cover up Stevenson’s vocals. Starless is packed with a lot to listen with 11 full songs and 3 instrumental breaks. Yet, nothing about the album really makes it jump out. I feel as though I could hear similar music at a local bar or club by a local band. That doesn’t mean its not productive, I just don’t know that there is a large audience for it. So, in a way the title makes sense. A mediocre sound is a lot like a sky without a star. Its still there, but it gets boring fast.
Rating: 4.1/10
MP3:Philip Stevenson “Deuteronomy”
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Michael Leonhart & The Avramina 7: Seahorse and The Storyteller
Michael Leonhart & The Avramina 7: Seahorse and The Storyteller
Michael Leonhart was only 17 when he received his first Grammy. You can bet that he got the attention of lots of people in the industry. Now he’s out with the debut album, Seahorse & The Storyteller, with his act Michael Leonhart & The Avramina 7. Experienced is what you can call these musicians, but in the interest of time I won’t get into the names and their credentials. Instead, I’ll jump right into the music.
The sound of the band is one of experimental jazz. The horns are given free range to play in a improvisational way. The drums and other percussion instruments tend to have a hip hop feel to them. The whole of the music sounds like a mix of jazz, funk, and that psych-rock of the 60’s.
Tracks like “Seahorse and the Storyteller”, and “Have You Met Martina?” carry that jazzy funk feel to them. But they’re fresher, perhaps with the addition of lyrics that remind me of those mythological type stories that bands like Wolfmother write. The horns in the latter track particularly remind me of the style Cake uses when writing.
“Scopolamine” brings to mind a James Brown type sound, particularly on the sax. Overall, this song made me realize how their music is similar to Beck. They put a lot of sounds together mixing genres. Then, for vocals, its not so much that they sing as speak with vocal fluctuations. It makes for an interesting combination blurring the borders of conventional music.
They branch out a bit on tracks “Jaipur” and “Madhouse Mumbai”. The former switches to African drum beats while doing a bit of a Combustible Edison impression. The latter adds a hint of Indian music to the regular formula of jazz-like experimentation.
Overall, the album is an interesting listen. It gives a fresh take on music in an industry overflowing with copy cats. The formula seems awfully repetitive at times, but this music works well enough on its own. It should present plenty of fodder for anyone looking to make remixes and mash ups. Still, with the creative force of a 17 year-old Grammy winner, the album is worth a few listens at least. The jazz-like improvisation will give you tons of things to find with each and every listen. Perhaps you’re not looking to work so hard when listening music. But if you are interested in dissecting things until you’ve found everything there is, this album will be a great challenge. I’m not saying its “Where’s Waldo”, don’t get me wrong. There is merit in this here Seahorse & the Storyteller.
Rating: 6.3/10
MP3: Michael Leonhart & The Avramina 7 “Scopolamine”
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Gloria Cycles: Campsite Discotheque
Gloria Cycles: Campsite Discotheque
Brighton, U.K.’s Gloria Cycles released their debut album back in April. Campsite Discotheque is a great introduction to Gloria Cycles. The band has that pop rock sound we’ve come to know from British rock bands. But they have their own take on it.
Most of the time I think of Hot Hot Heat when listening to the album. Perhaps not lyrically, but definitely with the energy and style of guitar play. Tracks like “Chancer” and “Chewed Up” have that high impact pop guitar that the Heat have come to be known for. “Chancer” was even featured in a Samsung commercial that you might be familiar with. Check out their Myspace page for the Samsung spot as well as some of their videos.
They mix it up on the rest of the album, however. “Religious” was picked to be featured in the British Rom-Com flick “My Last Five Girlfriends”. The track starts off with some slow guitar strumming letting you know that it’s a love song. When the tempo kicks up it reminds me a bit of Iggy Pop’s “Lust for Love”, if you took the rave-type partying aspect out of the song and made it about a girl.
They also take advantage of having a female in the band that can sing. She has a warm voice and could quite well be the lead singer. On the tracks “Bag” and “Diplomatic Dining Tables” she resembles British singer Adele.
Overall, Campsite Discotheque has loads of energy and is a great listen. They offer many different looks at what they can do. And even when they tone the energy down, its only so you can catch your breath. Not so you fall asleep. The band sure seem to be busy lately. Hopefully they can turn their success overseas into success here Stateside. I see no reason why not. They’re no one trick ponies.
Rating: 7.3/10
MP3: Gloria Cycles “Chancer”
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Blackmarket: St. Vincent Decor
Blackmarket: St. Vincent Decor
Arizona was going to be the doorway through which John McCain was to become President of the United States of America. We all know how that adventure ended. What we don’t know is how the adventure will pan out for his fellow Arizonians(?) Blackmarket. The trio come from The Grand Canyon state with their second album St. Vincent Décor. They’ve all ready been out touring and do have some success, but the question is, how big can they get?
Coming from the Southwest you’d think there would be a heavy influence of Latin music by way of Mexico. But let’s not forget, America is a big melting pot so there are other types of Americans in the state. Blackmarket put together an Indie rock sound that borders on garage band. They’re first single “Tongue Twister Typo” mixes heavy drums with grunge style riffs all while working in a poppy melody.
More often than not, I found myself hearing early rock influence or at least undertones in their music. Tracks like “Blue Lemon” could easily be worked into a Beach Boys song if you had more harmonies on the vocals. But the track also shows lead singer and guitarist Daryl Lamont’s exceptional play. Pulling out the acoustic guitar, its easy to see that Lamont’s got loads of talent. But he is no one song wonder when it comes to going unplugged. On the track “Catch & Release” he goes all out plucking with the cunning technique of a Sushi chef. I mean, you can’t make a mistake down to the centimeter and pull off playing the way he does. It’d stick out like a sore thumb and out you quick.
Overall, after listening to St. Vincent Décor I couldn’t help but feel an essence of late 90’s rock. These songs could have played on the radio back in the day. But that’s not to say their outdated. They have a freshness and originality to them that can be enjoyed on their own merit. Its amazing to see that this is only their second album. It sounds as though they’ve been playing for years. Hopefully these Arizona boys can take over the world, without that crazy Electoral College to get in the way.
Rating: 8.3/10
MP3: Blackmarket “Blue Lemon”
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Ron Contour & Factor: Saffron
Ron Contour & Factor: Saffron
When I think of Canadian rappers, I mostly think of Buck 65. Its not that there aren’t other Canadian rappers. Its mostly the Buck has made his trade in rap while creating his own identity. His flows don’t make him sound forced, or contrived. He is who he is and that works. For Canadian rapper Ron Contour, I can’t say the same thing.
Contour, who is first cousins with fellow-Canadian rapper Moka Only (according to his press release), doesn’t come of sounding as legitimate. Its not that he’s straight out trying to be Jay-Z, or Lil Wayne, or insert your favorite mainstream American rapper here. But he does seem to mix his quirky lyrics that border on the non-sequitur with that element that dominates mainstream rap, bravado. On the hand he can rap “Ron make pancakes/ Ron make fans/ make Ron some damn crepes/ got new black drapes coming” (“Check it Out”). Then he can spit “Now I’m back/ like the oppo-site/ of your chest/ Everything Ron droppa/ better than your shitty rappa” (“Prairie Wind”).
And it doesn’t stop there. Contour can easily throw in some sexual references as well. Take his quick line about “good pussy, eatin’ it up” thrown in the middle of “Diner”. It seems to come from nowhere as though its thrown in at the last second just let us know that Contour is a player. I’m not going to say that he inundates the album with such lines, because he doesn’t. But they seem to take away from his strengths, which are the more quirky ways he puts rhymes together.
As for production, Factor makes some very good beats. “Diner” is a straight hip hop track focusing on good drum beats and bass, with a small sampling of guitar. It leaves the track open to showcasing Ron and his lyrics. But Factor can take things elsewhere. On “Confused Nougat” Factor turns a rock track into a rap beat. Then he turns “Prairie Wind” into something out of a Western flick with horns, and that whistling sound you hear when they show the cowboy out on the plains. Or on “Wondrous” where he samples a woman singing “Wondrous things to be seen and be done. All I could think of was” at which point Ron takes over. The track has a light drums, bass guitar, and light sampled sounds that help to set the mood. Overall, Factor does a great job.
One blip that throws the album off is “Shoe Box”. The track features Def 3, who easily outshines Ron Contour. He sings a bit on the track, but even his flow comes off more powerful than Ron’s. It leaves me wanting to hear more of Def 3. His voice and style are just more polished, for lack of a better term.
Still Saffron isn’t without its worth. Ron has skills even if he appears to be forcing his voice rather than letting it develop on its own. He’ll never be on of those rappers that comes from the inner city streets and can get away without sounding thuggish. I’m not sure that’s what he’s going for, but he sounds like it a lot. Saffron dropped back on April 6th through Fake Four Inc. and Side Road Records.
Rating: 5.7/10
MP3: Ron Contour & Factor “Diner”
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Putumayo Presents Latin Party
Putumayo Presents Latin Party
April 6th, Putumayo World Music released another of its music compilations. Putumayo Presents Latin Party is just that, a collection of Latin party music from acts that represent varied locations such as Cuba, Puerto Rico, Peru, Columbia, Mexico, the US, Jamaica, and even France and the UK. It serves as a great introduction to Latin Party music describing to you the acts as well as the songs. It certainly is a great jumping off point for anyone who is interested in learning more about Latin music. But it also incorporates acts that fuse genres.
The Quantic Soul Orchestra is the brainchild of British musician and DJ Will Holland. The Quantic Soul Orchestra’s contribution is “Regi Bugalo”. Bugalu, or Boogaloo here in the States, is a fusion of African-American R&B, Soul, Mambo and Son Montuno. Holland adds a distinctively non-Latin bass and guitar combination to a more Latin sound. The beginning could serve as an intro to any American or European dance track. The two main parts of the song are a Trumpet played by Regi Boyce, which carries the Latin flair, and the sax, played by Regi Johnson, which has a Jazzy feel to it. The horns trade shots playing one after another. Its delightful to the ears, and makes you want to move.
Meanwhile, A.B. Quintanilla III & Kumbia Kings feature a sound that infuses Mexican-style cumbia with American styles such as R&B, Hip Hop, Pop, and Dance. Their track “Mi Gente” features fellow Mexican-American act Ozomatli. The rhythm, percussion, and horns all have that Mexican feel to them. And the high pitched yelping, for lack of a better description, at the beginning and throughout are staples of Mexican music. If you’ve heard it before, you know what I mean. The singing is more indicative of R&B though the lyrics are all in Spanish. Some rock style guitar solos followed by a trumpet solo continue to show the multiple influences of the band.
The compilation also displays Latin styles of music and how they differ from one region to another. Cumbia is a style of music and dance that originated on the Caribbean coast of Colombia. Colombian act Fruko y Orquestra share their cumbia “Cumbia del Caribe”. The track has a strong, smooth trumpet sound. The cowbell and percussion is particularly nice and reminds me of the Beastie Boys track “Son of Neckbone”. But the kicker has to be the sweet interplay of the saxes with the trumpets. They play off each other, almost calling for the other and getting an immediate response.
Raul Paz’s “Buena Suerte” is a Cumbia with a Cuban twist. The horns are very much similar to that of “Cumbia del Caribe”, but Paz’s track utilizes the accordion, and what can be called more of a hip hop beat on the percussion. The standout of the whole song is the guitar plucking that really adds something Cuban to the style of music. The guitar parts easily steal the song for me, and they come in at the most opportune times.
No matter what you’re interest in Latin music is, Latin Party will have something for you. Or perhaps you just like to dance. There’s plenty in the album to discover, along with info on the acts and songs in the liner notes. There’s even a recipe for Scallop Ceviche and Cleriquot, which is a Argentine version of the white sangria. Putumayo Presents Latin Party is a great intro to Latin music from around the world. Its bound to keep your party moving.
Rating: 7.0/10
MP3: Raul Paz “Buena Suerte”
Buy: Insound
