Recording review, Ozric Tentacles, Technicians of the Sacred (2015)

Contemplate the infinite through electronica and progressive guitar shred

^4.5/5.0

It’s a short attention span musical world,where the emphasis is usually on tight pop expressions. But while mere gestures are enough to satisfy most consumers, there are still some genres that need the maneuvering room of a full album to develop their ideas. In the four years since Paper Monkeys came out, space rock stalwarts Ozric Tentacles apparently had so many inviting trails to explore that even that was too confining . Their latest release, Technicians of the Sacred, sprawls out over two full CDs. Despite the obvious excess, there's not much in the way of fluff: while the songs take their time to find their target trancelike moods, they never fall into monotony. Longtime fans will find plenty of familiar ground, but the emphasis is on electronica punctuated by Ed Wynn’s shred-tastic guitar.

Disc 1 leads off with “The High Pass”, which takes an eight and a half minute nomadic trek through many of the sonic environments that the Ozrics enjoy the most: underwater dives, expansive vistas, evocative action zones, and spelunking trips deep down into the heart of the machine. The dynamic flow accommodates both incremental transitions and freefall plunges that reset the context. The tune wanders from chill electronic grooves to mind-warpingly intense prog-rock guitar, but the anxious rhythm and pensive funk bass line remain more or less constant. The restless electro energy may form the foundation, but there are plenty of distractions that provide ear-catching details that vie for the listener's attention, from blooming synth melodies that shift and grow to a robotic interlude that would be perfect for popping.

The music that follows could be soundtrack excerpts from a randomized set of dreamscapes. The Krautrock infused “Far Memory” seems fit for an underwater world, full of echo and frequency shifted shimmers, while the electro-pop “Changa Masala” has an infectious syncopated rhythm that suggests sleepwalking through a Bollywood set as it melts away into space. The imagination can run wild in these intriguing snow-globe worlds. The band dives into each with enthusiasm and little worry for how the songs might evolve. So a cheery electronic piece like “Zingbong” might start with an uptempo New Age feel, propelled by a busy gamelan synth run and terse bass line, but the Ozrics are content to let a Zappa-esque guitar periodically warp the piece into an off-kilter jumble, knowing that they can always nonchalantly slip back into the clarity of the main riff.

The second half of the album gives freer rein to the band’s progressive rock side, with plenty of energetic guitar mutation and distortion. This disc begins with my favorite track on the album, “Epiphlioy”. The Beats Antique style world-tronica groove is built on a galloping Middle Eastern dervish rhythm that’s intricately tied to a synthesized sonic palette. Like the evocative pieces on the first CD, the song suggests a series of images: a tense chase with an undercurrent of excitement, a visit to a nomadic camp in the desert, a spaced-out psychedelic trip in the middle of an oasis. It’s easy to get lost in the drawn out narrative of the piece, but the exotic tone, along with the touchstone rhythm guitar part, provide grounding enough for the extensive 12 minute sojourn.

By the time we reach the final cut, “Zenlike Creature”, it’s been a long disorienting trip. We’re ready for the centering focus of looped interlocking patterns, but even here, the meditative flow gives way to a more progressive groove. The track see-saws from thoughtful to assertive, eventually picking up an Alan Parsons style momentum. Despite the dynamic give and take, though, there is still a kind of imperturbability at the root of the song. It's as though the band is saying, "Ignore the illusion (māyā) and just settle into the moment." The macrocosm of Technicians of the Sacred reflects this message as well. It never delivers a clear mythology or answers. Instead, it just offers a hypnotic zone to contemplate the infinite. Or not, as you see fit.

What's cool? Hot and cold electronic pop from Coeds and Tei Shi

Mirror images and musical reflections

Browsing through virtual piles of music this week, I found myself trapped between two extremes. Even though both of these tunes are rooted in electronic pop and feature strong female singers, they reflect radically different sensibilities. One runs hot with retro synthpop passion, packed with noisy energy. The other is a chill blend of polished pop vocals and precise sequencing.



Coeds' new single "Sensitive Boys" kicks off with Ryan Kailath's tight synth riff and a solid drum machine loop and quickly captures the retro new wave synthpop of Men Without Hat's "Safety Dance" along with some Billy Idol edge. Merideth Muñoz doesn't sneer like Idol, but she can summon a post-punk Blondie-style glee on lines like, "New chicks/ The same tricks/ Six six six." The production on her voice is just a little saturated, so she sounds like she's ready to rip right through the speaker. Her knowing tone fits the lyrical theme as she chastises all of the sensitive boys who will never be the kind of player that she is: "Who said anything about love?" Coeds fill the track with percussive bits and pieces, which makes it as danceable as it is catchy.



Tei Shi is every bit as memorable with "Go Slow", but instead of overtly pumping the track full of energy, she lets it simmer with repressed tension. The verses are buttoned down, with a sparse electro-pop groove behind Shi's breathy vocal. The brief bridge opens up into a freer expression when she loosens her control and sings, "Baby, won't you reach out to me." Almost immediately, though, she bottles it back up. The production is exquisitely choreographed, balancing the movement of rhythm and bass into a give-and-take dance of advance and retreat. It's clear that every sound is carefully chosen and placed. That precision is in turn complemented by the dreamy softness of the vocal line.

I love listening to these tracks together, where the heat and life of Coeds can contrast with delicate crafting of Tei Shi's music. Either one sounds great alone, but together they mirror one another. It's a dichotomy where both sides are right. 

Recording review - Kate Pierson, Guitars and Microphones (2015)

A long time coming, but real and in-the-moment 

^4.25/5.0

It's not that hard to see why Kate Pierson has finally made her first solo album. While her voice has always been a central part of the B-52s, their party atmosphere doesn't easily accommodate more serious feelings or deeper expression. The real surprise is that, despite numerous guest appearances with artists like Iggy Pop or REM, it's taken her nearly 40 years to get to this point. Fortunately, Guitars and Microphones is a confident step forward, facing hard situations, regret, and loss with strength, depth, and resilience. But fans shouldn't expect this to be a downer; these songs are anchored in a contemporary aesthetic that buoys the mood.

Pop icon Sia Furler bears some credit for this; she helped inspire Pierson to make the album, she contributed several songs, and she acted as the executive producer. Pierson’s new wave foundation has been infused with a lot more electro-pop beats and production and that seems to reflect Sia's influence. It’s not too much of a stretch, though, because Pierson's distinctive voice neatly slides into this polished setting, with some of these tracks, like “Bottoms Up” or “Time Wave Zero”,  rivaling Katy Perry and other diva youngsters for bouncy, danceable fun. More importantly, her trademark spunk and personal experience give the material weight and demonstrate that she hasn't surrendered her character or sold out for a desperate shot at relevance.

Guitars and Microphones leads with that sass on “Throw Down the Roses”, where Pierson pumps up the infectious groove with poised attitude, refusing to be a mere follower. Girl Power is nothing new, but she sells it with the perfect amount of poisonous sneer and tight lyrical turns, "I don't ever do rocker boys like you/ I'm an artist, too/ I'm a show stopper." A couple of songs later, though, the autobiographical feel of the title track trades some of that pride for a more ambivalent mood. Pierson free associates memories of sweet youth and loss, with the raw edges of her voice conveying her mixed emotions over a synth-driven new wave melody that recalls Dale Bozzio and Missing Persons. The music is smooth, but those occasional crumbling notes in her voice imbue the piece with an essential realness.

That depth continues on “Wolves”, one of the most impressive songs on the album that moves even further away from her B-52s past. The lush production matches the poetic lyrics about love and freedom. There’s a touch of Disney musical magic in the epic beauty of the tune, with Pierson's aching sincerity adding the right poignant note on lines like “We all love to play/ We play at love then run away.” This and the somber “Pulls You Under” represent a much more nuanced character than we've heard in the past.

Where those songs are fairly direct, Guitars and Microphones also features a number of more oblique tunes. “Bring Your Arms”, for example, is full of cool imagery (“And we are running with a light bulb”) that never gelled until she provided the back story in an interview. But even without the context, the dreamy intensity and urgency make their own kind of compelling sense. It’s worth remembering that plenty of B-52s songs were built on flimsy lyrical conceits that just sounded right, like “Rock Lobster”.

The only sour note on the album has been with the first single, “Mister Sister”, which stirred up a controversy with some members of the trans community. Pierson has made it clear that her intention was to continue the same kind of supportive attitude that her band has often expressed for alternative lifestyles and anyone who feels like an outsider. Unfortunately, not everyone has received it in that spirit. While I am certainly not qualified to tell anyone how they should feel about the tune, I can empathize with Pierson’s surprise at the backlash. The song itself serves as the cleanest bridge between her quirky B-52s roots and her desire to show more emotional depth on this solo project. With or without it, she's definitely achieved that goal on Guitars and Microphones.

Recording review - Berlin, Animal (2013)

Welcome the sexy beast into the electro-dance machine

“Feel the fire/ Feel my love inside you/ It’s so right.” From the opening motorik drive and Terri Nunn’s seductive vocal, Berlin’s 1982 hit “Sex (I’m a…)” tapped into a host of repressed fantasies and helped sell New Wave flavored synthpop to the American masses. Now, 31 years later, the band is even more overt on the title track for Animal: “Looking up my little dress/ Does it make you want to take me now?” Instead of Krautrock influences, this intro is inspired by a Nine Inch Nails, synthed-out rock sound. The new album continues Berlin’s evolution—actually, it shows how Nunn has developed. The band fell apart after their commercial peak, Top Gun’s “Take My Breath Away”, and she resurrected the band name in 1998. This is the third album since then, with an eight year gap after the last one, 4Play (2005).

The band’s early hits like “Metro” and “No More Words” didn't hide their danceable roots. This latest incarnation of Berlin takes that a step further, embracing electronic dance music by appropriating throbbing bass grinds, glitchy breakdowns and escalating synth whines. “Animal” throws down its club-friendly gauntlet with all of this and more. The last track, “Animal (Remix)”, doubles down and takes the song and all of its raw sexual energy deeper into the machine. The album works so well because Nunn found the perfect resource for tapping into that electronic vein, producer John King (The Dust Brothers). He brings continuity to the album without robbing the tracks of individuality.

Regardless of the trappings of beeps and beats, it’s still easy to hear the soul of Berlin’s original sound. More than Nunn’s voice alone, it’s there in the structure of the songs, the New Wave melodies and provocative darkness. Take the catchy “Break the Chains” for example. It’s reminiscent of the band’s older material, but it’s been dressed up for contemporary tastes with some bubbly synth and a beat-heavy electropop groove. The lyrics alternately seduce and cajole: surrender to the physicality of the rhythm and break loose from the bondage of guilt and self-judgment.

Nunn doesn't shy away from the band’s more standard pop moments either. “It’s The Way” is a thoughtful love song that finds common ground with “Take My Breath Away”, showing that she still has sweet vocal tone and diva chops. A few songs later, on “Blame the World”, she pushes her voice into this power ballad inspired by her damaged relationship with her father. Her emotional delivery shows that she’s built on her earlier skills and, if anything, her singing has improved in the intervening decades. Near the end of the album, Nunn gets soulful on a paean to her single mother, “Mom”. The track starts out with a solid piano accompaniment along with some light synth comping. Subtle touches of electronica slip in and out, but never distract from the earnest love of the song.

In their heyday, Berlin stood out for a unique blend of sharp lyrics, challenging attitude and pop sensibility. Danceable rhythms found common ground with edgy writing, tempered by Nunn’s captivating persona and the band’s slick production. Ultimately, none of that has changed. EDM has superseded synthpop, but they’re drawing from the same well. Nunn’s expressive voice, which could shift from vulnerable innocence to wicked temptation, once carried the band. Animal shows that she’s still every bit the earnest child and sexy beast.

(This review first appeared on Spectrum Culture)

Recording review - Soft Metals, Lenses (2013)

Emotionless electro-pop goes retro

I remember Terri Nunn’s breathy voice. Full of seduction, she made Berlin one of my favorite bands for a while. Later, Julee Cruise’s ethereal vocals on “Falling”, from David Lynch’s “Twin Peaks,” would help create the mood of dreamy paralysis that permeated that show. Electro-pop has come to rely on the trope of the fragile nightingale, burying her under lacquered coats of reverb as she adds analog soul to the mix. These women usually have fine voices, but all too often, the music lacks the depth to carry them. Sure, there are still standouts like Niki Randa on Flying Lotus’ “Hunger” or Sarah Kinlaw of Softspot, but too many other projects just go through the motions.

Soft Metals creates the same pairing of synthesizers and songbirds on Lenses, but misses the mark on both sides. Even though their moody, minimalist electro-pop favors dance-friendly disco beats, it feels lackluster. Rather than provide a contrast, Patricia Hall’s delivery is often lethargic and wooden. It’s a shame, because she has great vocal tone, but it rarely finds direction. Hall and her partner, Ian Hicks, strive for a purist electronic sound, stripped down to 1980s tech. This aesthetic has potential, but the band can’t build up much enthusiasm. As a result, the album sounds like it’s angling for a new Blade Runner soundtrack, but it’s better suited for the background of a softcore Cinemax movie from their target decade.

“When I Look Into Your Eyes” offers a promising synth-pop start. Hall’s voice has a hint of dread, but is largely emotionless. Wisps of Fairlight-style synth sparkle are the only color against the repetition of the backing loop. I can almost envision the matching movie scene of a voyeur watching a woman through her blinds. Hall’s flat effect vocals play to his obsession, but even her sighs sound perfunctory.

It’s not until the second half of Lenses that the band summons any energy. The instrumental “Hourglass” builds a heady trance groove and sets it against a relentless disco beat. The pure circle of notes from the start of the song remain at the center, but the accompaniment varies from synth-pop to shimmery electro-pop, piquing more interest than the first four songs together. A couple of songs later, “In The Air” launches with nervous percolation. Hall’s dreamy vocals finally find a reasonable counter-balance in clockwork pace of the music. The rhythm is mechanical, but there’s a welcome spark of engagement.

Soft Metals saves their best for last. The album closes with an extended instrumental that finally opens a new front on the band’s sound. “Interobserver” begins with a low-fi synth loop, full of intrigue and narrative tension. The buzzing echoes that wash through the loop evoke unsettling imagery. I imagine a snow-filled, silent video of alien beings bent on some unknown task. The music captures a sense of distance, but the wandering phase shift holds us rapt. The song barely attempts resolution, condescending to close with a quickening swirl of sound and even quicker fade. Unfortunately, “Interobserver” is an outlier compared to the rest of Lenses. While it proves to be a wonderful diversion, it begs the question of what might have been. If the band could pair this kind of evocative sound with Hall’s singing, they’d have something unique and powerful. Instead, they seem satisfied to settle for electronic ennui.

(This review first appeared on Spectrum Culture)

Recording review: Pacific UV, After the Dream You Are Awake (2013)

Soft-focused electro-pop

Do you have a tightly-wound, Type A personality and need to take your OCD down a notch? Or are you naturally mellow, just looking to pad out your cozy den with another bit of fuzzy warmth? Perhaps you’re chemically altered and you don’t want to harsh your buzz. Rejoice, Pacific UV’s After the Dream You Are Awake may be just the chill pill you’re looking for. Their dreamy electro-pop is devoid of hard edges or sharp corners. The songs seem to drift in from the hazy distance at a zombie pace — the old-school slow kind, not the frantic ones. There’s little sense of anxiety, only an opiated dissociation that drains away all urgency.

On “I Think It’s Coming”, vocalist Laura Solomon’s cautiously gentle singing suggests late night confidences and heavy confessions. Rather than distance, her detachment imbues the lyrics with deep intensity:

I don’t believe in what I can’t see
The way you climb right into me
Let’s not pretend this is the end
Just be still, it’s about to begin 

 Sonic details collect as the tune unfolds with languid grace. Like a slow motion explosion, each isolated part finds its position in space. The song evolves into the shadow of a powerful, painful memory, one that was packed away for later perusal. With the insulation of time, the specifics can be pulled out and examined through a coating of gauzy reverb. “I think it goes without saying/ I think it goes/ Watch it go” – tumultuous loss has been polished down to a core truth that transcends the emotional impact.

Pacific UV’s electro-pop side bubbles through more strongly on tracks like “American Lovers”. Unlike “I Think It’s Coming”, there’s no sense of trauma, just a hopeful promise. The dance-friendly arrangement features a fanning shimmer of synths, organic highlights of guitar, and Clay Jordan’s whispery voice. This love song gets its dreamy vibe from the cottony swaddle of echo as Jordan draws a preordained line of connection, “In a distant time and place, under moonlight cold and clear / With an ever-changing face, I will always meet you here.”

Despite the sedated flow of After the Dream You Are Awake, two songs offer a touch of surprise. One is the band’s cover of Billy Idol’s 1983 hit “Eyes Without a Face”, which updates the original’s synth-pop with more modern electronic sounds. Maintaining Pacific UV’s penchant for soft-focus, they edit Idol’s lyrics slightly to remove the sneering tag, “Got no human grace, your eyes without a face,” from the chorus and they leave the rocking bridge out altogether. By contrast, “Russians” throbs with a nervous, hypnotic oscillation. Jordan and Solomon retain detached on the verses, but the expressive chorus breaks the monotone and opens into expansive trippiness. This gap in their façade is a pleasant change, offering a memorable landmark in the play list.

Reflective but not soporific, the prevailing mellow groove on this album succeeds because it ornaments itself with fascinating electronica, subtle lyrics, and a varying palette of songs. The title speaks of waking after the dream, but these songs suggests that dreamtime should linger a while longer. This is music best saved for the after-party or when its calming center is just what the doctor ordered.

(This review first appeared on Spectrum Culture)

Recording review - Dragonette, Bodyparts (2012)

Imperfect pop but some cool stuff on the edges

Perfect pop is all about plasticity. That's why so many pop acts are almost interchangeable. Every now and then a fresh flavor catches the market and creates a new star, but other acts soon coopt the pattern and restore balance to the pop arms race. Many bands last for a while and then either fade into obscurity or transform themselves into a unique voice.

Dragonette are not the perfect pop band, though they seem to aim for that. The electro pop grooves on Bodyparts hit a good balance of dance-oriented beats and cool electronica, while singer Martina Sorbara's vocals are sweetened to teen idol smoothness on many of the tracks. But they miss the pop ideal because they never quite manage to mold themselves into a pure image. They toy with expressive synth pop, sassy rock, and emotional pop along with their dancier pop moments. This makes it hard to know how to take them

This weakness is a sign that Dragonette may achieve greater artistic impact with a longer career. But it makes Bodyparts a mixed bag. They undercut the overall super pop vibe with too many edges. At the same time, the polished smoothness makes it harder to trust their credibility. It's never quite clear whether they even take themselves seriously.

Bodyparts opens with a bubbly synth pop sound on Run Run Run. Sorbara's vocal is scrubbed clean except for a touch of echo and chorus. She sounds like a mix of retro acts like Teri Nunn crossed with a more modern Gwen Stefani. The arrangement fits the style, with shimmery keyboards, the obligatory arpeggiated synth, and a solid kick-heavy beat. It's catchy, setting a good pop mood.

Unfortunately, the next track, Live In This City, shatters that vibe. It's still poppy, but reaches for old school rock 'n' roll, with a swirl of Pat Benetar or the Runaways channeled into bubble gum pop. The lyrics are full of braggadocio:

Me and my gang and some blind bandit
We wind up around the summer, roll it over to Can'da
Just so you know, that queen with the face that you call My Little Pony
We basically invented this place, that's why it's standing room only
Standing room only!

I love the spunky attitude and the wacky video. But these first two songs together make it hard to figure out what Dragonette is trying to do.

My other favorite track also stands out from the mix. My Legs sets up a moody electro pop groove. The song picks a cool progressive house feel as it builds into the chorus. The lyrical concept is clever, with Sorbara blaming her body for leading her astray:

Awake, I don't know how I got there
A number written on my arm in marker
Ten bucks spent, I'm feelin' better
Five phone calls for me to fill in the picture
...
I can't stop my legs
My legs go out late dancing
I try to wash my face
My lips say "Put on makeup"
Can't stay home cause my body's 
Got itself all dressed up
And I'm the one who pays for it 
Tomorrow when I wake up.

The tension builds with the saw chord synth gouging chunks out of the groove. Dragonette channels a bit of Deadmau5 here to good effect.

Don't get me wrong, the pure pop side of the band on songs like Lay Low, Rocket Ship, or Riot is decent, too. They offer great dance beats, slick production, and catchy hooks. If Bodyparts had stayed in this mode, it would have been satisfying session of sweet distraction. On the other hand, the energy and attitude of Live In This City and My Legs are blunted by the simpler dance grooves on the rest of the album. Those two songs have a strong pop vibe, but they have more spice than the other tracks. It sounds like the band can't quite settle on a sound or they're just trying to capitalize on their success with Martin Solveig on his song Hello.

 With a little effort and some playlist editing, this is a solvable problem. In the meantime, I'll be interested to see which direction Dragonette chooses.

Recording review - Kinky, Sueño De La Maquina (2012)

Organic extends the mechanical: dreams of the machine with soul

Kinky's music comes from a remote borderland that doesn't even register arbitrary lines. The Mexican band's five members use live instruments to build on an electronic foundation. Their sound is a grab bag of electronica, rock and roll, Latin beats, and club-friendly mixes. Their predominantly Spanish lyrics regularly incorporate English phrases. But despite their mash-up aesthetic, Kinky isn't playing esoteric mind games, they're just channeling the sound they want.

The band recently released their fifth album, Sueño De La Maquina. Each track has a unique blend of elements, but the high energy jams offer a consistent mix of dance-happy grooves and interesting arrangements. The opening track Inmovil is a veritable smorgasbord all on its own. It starts with a moody synth-pop progression. The cool, laid back groove is relaxing and inviting. The vocals capture a sense of inevitability and acceptance.

Then...BOOM! Two minutes in, the track transforms into a dance club funk groove. The slinky bass riff twistss and throbs as subtle percussion fills crowd into the corners of the song. The chorus raises the stakes by kicking in a heady electro-pop vibe. After hitting the verse-chorus a couple of times, the band wraps up the song with a glitch heavy breakdown. This is a great introduction to the album; these transitions exemplify Kinky's genre hopping sound.

A couple of track later, they surprise me again on Negro Día. The track lays down a loop of grungy guitar noodle, then provides a heavy, programmed beat to hold it. The saw wave, zipper bass is wicked thick. The dreamy female chorus vocals have a hazy layer of echo. Mala Rodríguez's rap flow slides through the breakdown verse grooves. The track is a great mix of tension and release.

Kinky seems to delight in defying expectations. Their intense electronic base often sounds more organic as they rely less on looping than playing. They contrast that by processing their analog instruments sounds into something more machinelike, like Negro Día's guitar line.

My favorite track is Alma de Neón. The trippy groove of Despues Del After finishes and evaporates directly into the sinister grind of Alma de Neón, which is accented with a touch of Clash-like ska chank. The mainline of the track lays a ponderous club-beat electronica vibe. But the overall feel slides into something harder edged than electro pop: powerful electro-rock. Then the breakdown lays down a crazy quilt mix of glitch and Latin acoustic strings before diving back into the big beat.

I enjoy the mash-up aspect of Sueño De La Maquina, but the album's real strength is the balance of organic and mechanical. Kinky may dream of the machine, but it's a machine with soul.

Concert review - Ramona Falls with Deer or a Doe, Dan Craig

20 June 2012 (Hi-Dive, Denver CO)

Three good bands made the trip down from Ft. Collins worthwhile. I was especially interested in finding out how Ramona Falls layered sound would translate to a club like the Hi-Dive. It turns out the Brent Knopf's sister lives in the area and there was a strong contingent of local fans at the show. A good crowd makes a good show even better.

Dan Craig

Local opener Dan Craig brought his new band out for their maiden voyage. They were all well rehearsed, though, as the setlist flowed smoothly and the arrangements sounded casual but tight.

They didn't burn much of their 22 minute set on patter and Craig's vocals tended towards a sleepy, introspective sound. Despite these shoegazer qualities, the band was engaged and comfortable. Although their sound centered on a psychedelic garage rock feel, the band never fell into a rut of meandering jams or sonic repetition.

The opening song had the simple psych vibe of Staus Quo's Pictures of Matchstick Men. Within a couple of songs, the sound had shifted to a folky, down tempo rock that sounded like late night radio, talking-to-the-walls music.

The playing was understated, but precise. The best moments were little unexpected gems, like the low feedback moan lurking behind a quieter song moment or the tightly twinned bass and lead guitar lines of the final song.

Deer or the Doe

This Portland band is touring with Ramona Falls. Their indie rock groove had all the right elements: a solid, serious bass and drum foundation, vocals pushed out with a restrained intensity, great guitar textures, and a smattering of keyboard fill.

The chemistry between guitarist Aaron Miller and Cassie Neth showed in their vocals and staging. Miller stood sideways, facing Neth more than the audience. His jerky movements, awkward tension, and focus made him interesting to watch.

Neth, on the other hand stayed more buried in the music. Eyes shut, she seemed intent on hitting her parts perfectly. Her vocals were more assertive than her stage persona as she gave several of the songs an early Liz Phair vibe. The moments when the loosened control and danced along were the most endearing

Aside from Miller's sharp movements, the band stayed fairly static and self absorbed. The second guitarist wrapped himself around his guitar, while the bass and drums were more workmanlike: craftsmen casually building a strong rhythmic wall.

Ramona Falls

Listening to Ramona Falls recent album, Prophet (review), it's clear that the band spends a tremendous effort to create the perfect layering of subtle elements at the balance between pop and electro-prog. The sound shifts between lighter pop and heavier tones, but the sonic details are Brent Knopf's stock in trade.

Ramona Falls' transition from the studio to the stage was effective. The band members pulled double or triple duty, trading between instruments in the fairly intricate arrangements. But playing in a club forced a sacrifice of studio clarity and tonal depth. The band took that into account and seized the upside of the trade off to give the songs a heavier edge and deeper emotional investment.

I was glad that Ramona Falls preserved Prophet's sense of dynamics. The light percussive guitar on Russia backed Knopf's dreamy vocals, but the song built beyond the recorded version as drums emphasized a monster tom pounding. Ramona Falls' music has always conveyed the emotion of the lyrics better than Knopf's calm vocals and that was still true, but his physical response to the music countered any detachment. With each punch, Knopf pulled into himself then loosened to move the song forward.

The band hit most of the tracks from Prophet, opening the set with Bodies of Water. But they also played some favorite older tunes like Russia and Clover. At one point, drummer Paul Alcott announced, "This next song is arguably the best song we're going to play tonight," before the band launched into I Say Fever. With the music video projected behind the band, they evoked the same mix of sentimentality and tension. In addition to his keyboard work, Knopf strapped on a guitar to raise the necessary chaos to climax the song.

In all, the bigger arrangements favored the band's post-rock side. Songs like Sqorm blossomed into velvety darkness as the booming floor tom and heavy bass dominated the chorus. The visceral punch contrasted with Knopf's clearly enunciated vocals.

That balance between rational and emotional is the fulcrum point of Ramona Falls' recorded music. Even with a sharper edge, their set maintained that aesthetic.

More photos on my Flickr.

Recording review - Ramona Falls, Prophet (2012)

Smooth pop and darker electro-prog on a knife edge

Ramona Falls' new album, Prophet, presents a contrasting study of light and shadow. The brighter pop elements strongly evoke Death Cab For Cutie's directness, but with a stronger electro pop bent. In this spirit, ex-Menomena member Brent Knopf offers his lyrics unadorned by emotional baggage, despite their emotional content. As he sings on Bodies of Water, "I have to, have to, have to let go of total control." Maybe that surrender drops the stakes a little. Knopf's detachment also gives the poppier moments a bit of retro synth pop feel.

Balancing the smoother pop surfaces, Ramona Falls brings in an electronically enhanced post rock worthy of Muse. This perspective is more like Knopf's earlier work and it underlies the stronger moments on Prophet.

Brevony provides a shining example. The opening piano fades in, its orderly repetition asserting a calm surface. At the same time, though, a tense bass line sabotages the sense of comfort. The no nonsense vocals come in to maintain order: "So, saddle up, we've got miles to go..." But frayed tatters of guitar show how tenuous the hold is. The break hits with a sucker punch beat and harsh bass grind, but the vocals assert their control again. The pressure builds until the discordant shards of guitars finally rip loose and strip away the facade to reveal the inner tension and turmoil.

The moment fades and the surface returns. The opening piano line drops the energy to cross cut into the soft beginning of Proof, the next track:

Are we friends?
Are we more?
There's no proof

Pensive tracks like Divide By Zero and Sqworm add more depth to balance the pop tunes with great dynamics, layers of subtle sonic elements, and electro-prog aesthetics. But which sound is figure and which is ground? Even the pop oriented tracks are full of shiny detail and lush additions. It will be interesting to see where Knopf takes Ramona Falls beyond Prophet and which way he'll lean.

CD review - Ducky, The Whether EP (2012)

Unsettled and unsettling, Ducky's electronica evokes darkness and tension

Moody is not a strong enough word. Like soundtracks to David Lynchian film clips, the songs on The Whether sound like they're under glass. A thick layer separates the music from mundane reality. Nothing is quite as it's supposed to be. Unsettled and unsettling, Ducky's production digs its way under your skin. Her lazy vocals are nice, but the loops and processing are phenomenal.

The standout track is the eerie I Want to Die. Cut up vocal samples and looped background create a horrorshow tension. It's an uncomfortable thrill. Ducky's languid vocals sound detached, yet threatening.

Wake up, start the day
Anger lives inside of me
Tempt me, no I won't
Cause beauty lives inside your bones

A mild dubstep throb adds a psychotic distance...or is it a drugged disconnect? It seems like it should be emotionally charged, but the production drains that engagement leaving a sense of tension and a memory that's never quite grasped.

Ducky's electronic palette is smeared with lazy beats, club sparkles, and electro pop dreaminess, but her muse leads her into a darker headspace. Masochism, soul, and surrender all find a home here.

Drop by thewhetherep.com to see her video interpretations of the tracks or download
Overdose, whose groove is anchored by the looped sound of a retro AM radio as sampled vocalizations ping pong in the background.

February Singles

Three very different flavors this month.

Santigold - Disparate Youth (from Master of My Make Believe, due 1 May)


Santigold has offered a couple of tastes from the eagerly awaiting Master of My Make Believe. The latest, Disparate Youth, sets its electro pop hook quickly, but has plenty of nice edges to keep it interesting. Her casual vocals give the track a reflective vibe that fits the trancy repetitive keyboards. The light dusting of chank beat keys are a nod to Jamaica, where she did some of the recording.

Zambri - ICBYS (from House of Baasa, due 10 April)

ICBYS (I Can Believe You Said) sets a frenetic pace. Zambri has crossed Missing Persons style synth pop with David Bowie's Scary Monsters and packed it with a dance friendly beat. The duo's manic vocals move beyond quirky to take on a disturbed quality that meshes well with the thick sound, full of noisy artifacts.

Download the track at Stereogum.

Spanish Prisoners - Know No Violence (from Gold Fools)

Spanish Prisoners - Know No Violence (official music video) from Spanish Prisoners on Vimeo.

Pretty dream pop guitar sets a relaxed mood for Know No Violence. Autumn Stein's dancing late in the video is the perfect expression of the subtle joy infusing this track. The sweet falsetto vocals hint at pretty secrets with a wistful tone. I'm looking forward to listening to Gold Fools to see if Spanish Prisoners can deliver on their self described genre of "tremolo-haze headphone symphonies". Gold Fools is available for "name your price" at their Bandcamp page.

Wait with me, forget your silence
You and I will know no violence...

CD review - We Have Band, Ternion (2012)

Electro pop fits headphones as well as the dance floor

We Have Band's debut, WHB (review here), was an intriguing mix of retro synth pop and modern dance rock with an electro pop shine. Their follow up album, Ternion, still melds old school and contemporary elements, but We Have Band has honed their danceable electronic sound, expanding on earlier tracks like Divisive.

Ternion may not be as guitar focused or trippy as WHB, but it's still a richly intriguing album. The driving beats give these songs a lot of energy and the album has a very interesting flow. The opener, After All, has an insistent dance groove which collapses into the dreamy relief of Pressure On. The transition is like a high dive into a relaxed underwater world. The thoughtful electro dream pop vibe is layered with whispers and hidden secrets. We Have Band subvert the song a bit near the end by moving it into a darker space, hinting at vague dangers. But it's just part of the reverie's progression.

WHB continues to mine '80s synth pop for inspiration, hinting at New Order, Psychedelic Furs, and some of Fine Young Cannibals' soul vocals. But the retro vibe just adds flavor to the electro pop grooves that keep Ternion firmly in dance space. By mixing and matching along this continuum, the band gives each track a distinctive feel.

Take Watertight, with its springy electronic start. That intro is quickly subsumed by the edgy punch of fuzzed guitars and feedback. The dynamic shifts between noisy drive and sparser moments add depth, but the underlying beat is relentless.

That contrasts with the heavier new wave vibe of Tired of Running. The steady beat is familiar, but the flanged vocals and subtle sonic textures create a moody tension. A bit like the Who's Eminence Front meets Another Brick in the Wall at the disco, the track couples repetitive intensity with a taut restlessness. I really enjoy how We Have Band's music is just as natural for headphones as the dance floor.

CD review - Pink Skull, Psychic Welfare (2011)

Electro-pop grooves offer dance and dissonance

Julian Grefe and Justin Geller's Pink Skull follows a pattern of expansion with each of their album releases. Their last release, Endless Bummer added a band and they've added a couple more members for their latest album, Psychic Welfare.

The album is full of spacy, electronic grooves that toy with disco, techno, and house, but the foundation is a danceable electro-pop. Grefe adds his detached vocals to several of the songs, which is a shift from Pink Skull's earlier albums. When it clicks, like the distant, grey-eyed soul of Ayatollah, it's great. Overall, though, his voice left me longing for someone more dynamic to contrast with the steady beats.

There are several interesting songs scattered through the thirteen tracks, but several are shorter interludes. The shortest of these prove distracting, such as the free jazz sax of Two Bills. The longest interlude, the trancey Late Night Eggs, has some interesting ideas that deserve some longer attention.

Fitting with some of Psychic Welfare's themes of decay and ruin, the flow between the tracks doesn't aim for smoothness. On the other hand, the strong pop aesthetic on several of the songs adds its own contrast to the album's message. This leads to moments like Hot Bubblegum, which seems to parody disco, giving it a synth pop treatment. Verse lyrics seem to offer an assessment of society, but the chorus reduces it all to "Hot bubblegum, it's all over me."

The most listenable track is the blissful, tripping vibe of Mu. It takes a mild trance groove insto a stronger dance-space by merging in a synth pop bass line. This is the sort of direction that Late Night Eggs could have traveled. The steady beat and easy breaks all contribute to the smooth sound. Billy Dufala's embedded sax solo is a tasteful touch.

The single, Bee Nose (Put Yr Face On), begins with a dirty keyboard chord progression that sounds like King Crimson's early work.

Pink Skull - Bee Nose (Put Yr Face On) from RVNG Intl. on Vimeo.

Then, the electro-beat groove kicks in. This sets up a satisfying contrast between the lo-fi elements and the ringing synth lead line. By the end, the fidelity seems to decay, leading to a trippy ending.

Despite the dance beats, Psychic Welfare is more geared for home listening. On its own merits, it's a fairly decent album. The obvious improvement would have been a more coherent track flow. That might have hurt Pink Skull's artistic theme, but it would have given the album more head space.

CD review - Cassettes Won't Listen, EVINSPACEY (2011)

Electronic artist/producer Jason Drake, AKA Cassettes Won't Listen, elicited exactly the response he was looking for to promote his new album. After announcing that the new project's title would reference a famous actor's name, he was immediately hit with a cease and desist order. Net result: a new title: EVINSPACEY.

So, a great actor's reputation is somehow protected and Cassettes Won't Listen gets the desired PR. None of this makes any practical sense: the music isn't controversial and doesn't seem to directly reference Kevin Spacey (unless the line in Runtime was added after the court order: "You hide behind your fame, I stand behind my name, a blanket secret just to call you out"). This whole episode has less foundation than Drake's last cease and desist, a mashup of Ludacris and Guns N' Roses (Ludacris Democracy).

But enough hype, the bottom line is always the music. EVINSPACEY explores a rich melding of modern electro pop and retro synth wave grooves. Cassettes Won't Listen updates the old school electronic sound of Gary Numan, Kraftwork, and even Missing Persons, by balancing them against tight electro pop beats and more modern electronic elements like glitch and dub step. The songs vary in feel from the bobbing electro funk beat of Friendly Fire to the indie rock/synth wave groove of The Night Shines to a glitch step influenced The Echoes.

EVINSPACEY's first single, Perfect Day, bridges indie rock and electro pop. The bouncy rhythm and repetitive vocal line of the chorus fall together sweetly. The verses take the poppiest elements of the Flaming Lips and distill them into dreamy pop beauty. Repeated listening reveals subtle little touches: occasional back masked drum beats, tight high hat cymbal work, and low synth line meandering along the bottom of the track. The light feel of the track is a stark counterpoint to the video.

My favorite track, Stuck, hits a similar electro indie rock sound on the verses, but the other song section shifts into a hypnotic, trancy feel. The rhythm is complex and syncopated but the beat of the bass line sways more loosely.

The Night Shines is the best example of the hybrid electro synth wave sound. The staccato keyboard chop and low effect vocals set a moody tension. The sweeping LFO synth parts in the background and the emphasized beat in the chorus are more modern touches.

EVINSPACEY is full of great electronic grooves and a fresh feel to the mix. Like a shot of lime vodka, it's a riff on a classic idea. Try a taste and see if it works for you.

CD review - Reptar, Oblangle Fizz Y'all (2011)

By all accounts, Reptar puts on a great live show. Oblangle Fizz Y'all certainly adds to that impression. A party mood permeates the five track EP, with chaos and pop swirled together. In interviews, the band has a calculated goofiness which also shoots through the EP like Silly String. This is Reptar's strength and Achilles heel. They're quirky and funny, but not joky. That silliness would liven up a concert and doesn't wear out its welcome on a short EP, but it's less clear that a full length album would work. The quirkiness might wear thin.

Even though Reptar comes out of Athens, GA, they're more B-52s than REM. The music is a strange hybrid of boom boxy indie electro pop. On the first track, Blastoff, Reptar starts with a vaguely world beat influenced sound, but the main groove is more like J Geils Band. The overlapping background vocals continue the global pop sound underneath, but the bouncy indie pop fun of the foreground drives the track. The break slides into a stronger electro pop sound with intertwined guitars and keys. This jam section fades back into a reprise of the vocals with waves of synth wash.

Stuck in My ID keeps up the electro pop influence, but the flavor is completely different. It's a lot like a rework of Missing Person's Destination Unknown with the Edge grafting on a guitar line. It slides into more of a pop sound that feels like Talking Heads or Tom Tom Club.

Things slow down with Context Clues, which hits more of an Animal Collective vibe. The track is built on a loop orchestrated with ambient sounds. The complex base underlies a sweeping flow as layers accumulate with each repetition. By Rainbounce and Phonetics, the odd vocal delivery is not quite as interesting. The affected accent on Phonetics is particularly distracting. Fortunately, the music is still strong.

Oblangle Fizz Y'all is due to release next month. Reptar has also released a few other songs on 7" singles, including Cannabis Canyons and Houseboat Babies. They're touring with Art Brut right now and they'll be at Lollapalooza, so maybe you'll get a chance to see if the show lives up to the hype. I'm guessing they'll play an entertaining set.

CD review - Architecture in Helsinki, Moment Bends (2011)

Architecture in Helsinki continues to mature, moving further away from their more eclectic beginnings. On Moment Bends, the band throws themselves wholeheartedly into heavily dance oriented pop. The smooth mix of instruments include traditional pop guitar and bass, but electronic sounds dominate the tracks. The pop vibe is almost manic, but the lyrics occasionally add depth.

Between the disco dance beats and almost familiar riffs, the songs have a kind of retro veneer. Here's a bit of Katrina and the Waves, there's a touch of Bangles. It's not so overt as homage or rip off; it's more of a mindset.

There's a run of funk oriented songs in the middle of the album that provided my favorite bit of flow. That Beep, released earlier as a single, has a stripped down girly pop funk groove. This leads into a stiffer, sparse electro-funk groove on Denial Style, which sounds a bit like parts of Prince's Black Album. At first, Everything's Blue seems to break the mold, with an electronic intro cadenza. But then the funky, Michael Jackson inspired R&B pop kicks in.

Everything's Blue shows off Architecture in Helsinki's breadth of vision. The MJ style vocals of the initial verse fall away when the chorus slides into a short pop groove like Toto's Africa. The shift between these two sections is large but adeptly handled. The brief guitar pop bridge adds yet another flavor to this mix. The way these sections stream together is smooth and effortless.

The big single, Contact High, locks into the dance beat driven pop groove. The sparse electronic riffs and falsetto vocals create a fun feel for the verses. The catchy chorus bounces into indie pop. It's enjoyable fluff, but ultimately a bit sterile compared to some of the other tracks.

By contrast, W.O.W. ("Walking on water") offers beautiful pop perfection. I love the Kellie Sutherland's expressive vocals. With a touch of Enya layering, the R&B pop is simple and pretty. Sutherland's voice seems looser and richer than Cameron Bird's more heavily processed vocals.

Fans of the band's earliest work may grouse about the stripped down electro pop of Moment Bends, but it's an obvious refinement of the shimmery pop of songs like Do The Whirlwind (from 2005's In Case We Die). While Architecture in Helsinki has pared away much of their quirky instrumentation, the songs are catchy with some gems scattered about. Pick your favorite energy drink and groove along to the beat.

CD review - Tahiti 80, Solitary Bizness (2010)

French band Tahiti 80 comes from the fuzzy borderlands of electro pop. They have all the standard electronic sounds, but their aesthetic emphasizes a retro pop flavor. The 5 tracks on the Solitary Bizness EP shows off some of their pop explorations. Throughout the album, though, the vocals are clean and breezy and the beats are light and steady.

The title cut lays a sing-song indie pop vocal over an electronic bass line. There's some layering, but nothing extreme. Instead, the focus is on the clear vocals and light touch harmonies. The basic electro pop groove takes on some boop/beep synthesizer sounds, especially in the dreamy instrumental end section.

Crack Up is poppy and bouncy. The heavily syncopated beat is driven with percussion sounds, giving this a cheerful feel, albeit full of nervous energy. It's a bit reminiscent of Devo, but much less ironic. This contrasts with A Night in the City, which has a stripped down verse and shimmery disco pop chorus. The verse features a Leonard Cohen style delivery, setting up a loosely structured story. Eventually the verse and chorus come together in an overlapped ending.

Keys to the City is back to Tahiti 80's core sound. It's got a retro feeling pop vocal that dates back to Bob Welch and backing synthesizers. It's simple, light, and poppy. The ending slides into a stronger synth pop groove.

Finally, Cool Down surprises with an acoustic guitar groove. The simple arrangement of the guitar and bass sets a mood, but it starts unraveling, with glitchy elements and other sounds creeping in. Eventually, it falls into an electronic dub groove. This and the title track were my two favorite cuts on the EP.

Solitary Bizness is a nice little diversion. It's a prelude for Tahiti 80's upcoming album, The Past, the Present & the Possible (due out in February 2011). For now, accent some ginger ale with some fresh ginger and listen along.

CD review - Shy Child, Liquid Love (2010)

Pete Cafarella (synth) and Nate Smith (drums) formed Shy Child to fuse progressive rock and electronic music. Their earlier albums maintained a strong rock aesthetic that anchored their electronic focus. Liquid Love has tossed that by the wayside to focus on a modern disco/electro funk/electronic pop sound. The arrangements are beat heavy and very busy. The layers of keyboards include shimmery arpeggios and choppy stabs. The falsetto vocals are relatively detached. The lyrics still aim higher than a lot of electronic dance bands, with some interesting lines and ideas. It's not bad, but it's nowhere near as interesting as their earlier work.

Late last year, Shy Child released Criss Cross to generate interest in Liquid Love. I wish the whole album were in this vein. The groove is somewhere between Kraftwerk and electro funk. There's a tight arpeggiatated synth that mutates occasionally over a grinding bass synthesizer line. Moody keyboard fills drop in and out. The whole track is crowded and trippy. The dynamics build up some strong transitions, so the seven plus minutes pass by quickly. This track compares favorably with some of LCD Soundsystem's songs. The only questionable decision is the chunk of phone interview audio inserted at the breakdown.

The other stand out track is Dark Destiny, which is a slower, synth pop ballad. It's a simple progression, with an encouraging vibe. Coming at the end of the album, it's like an arm around your shoulders looking back to better times and offering hope for the future.

I'll just nurse this bottle of Pilsner Urquell and see what the future brings...

CD review - Stars in Coma, And The Cloud Withdrew From The Sky (2010)

This new release from Stars in Coma is mostly a collection of material from 2008. The Swedish group is primarily a vehicle for André Brorsson's artistic vision, although there is a full touring band. Kingem Records has put together a nice little CDR package for this album.

Even as a collection of bits and pieces, And The Cloud Withdrew From The Sky has a coherency that seems to capture Brorsson's aesthetic during this period. Like an ellipse, it has two focal points. One is the electronic/dance/disco vibe, which often adds an old school sensibility. The first couple of songs, In Your Prison and Arcane Abstractions, hone in on this disco pop feel. The other musical focus is a kind of emotionally cathartic expressiveness. For example, on Golden Sight, Golden View, around the 3:00 mark, the song takes on a sort of progressive jam like My Morning Jacket or the Flaming Lips. One of my favorite songs, Am I Hermetical?, sets a dreamy, electronic mood. The vocals float easily over a bed of shimmery arpeggios. The melody gives it a slightly retro indie pop vibe, but the electronic layering adds a slightly psychedelic feel.

These two directions don't tear And the Cloud... apart, though. Instead, the boundary of this elliptical album holds them together under a veneer of indie pop.

I've already mentioned Am I Hermetical? as a great track. NYE, released as a single, is another strong song. It's firmly tied to that second focal point, with rich layers of guitar, keys, and a steady processional drum part. This might show my bias towards more of the expressive side of the album. Even so, the electronic elements are a necessary part of the sound.

A snapshot in history. A "self-archeology". A melding of styles to create an interesting album. Give Stars in Coma a listen, maybe with a glass of vodka and lime in hand.