Frankel
Lullaby for the Passerby
2007 | Self-Released
Wilco, Elliott Smith, and hints of the Flaming Lips shine through on Frankel’s debut album, Lullaby for the Passerby. Michael Orendy has spent the last couple of years perfecting his acoustic driven songs by adding a palette of psychedelic effects, samples and symphonic keys that add a welcoming feel to the songs and never overtake the anchored acoustic root. The vocals and melodies are all intact, but it’s these clever flushes of sound that give the album it’s originality and spark. “Tooth Decay” is the first song that immediately catches your ear, sounding way different and darker than the acoustic guitar-driven opener “Thermostat.” This kind of variety is what you can expect.
The songs continue to reveal themselves using other styles. “X Marks the Spot” and “Lullaby” are radiant with varied layers of sound. And the almost vaudeville-country vibe, if that makes sense, of “Red Part of Town” unleashes a wicked kazoo solo. “Curtain Call" is the most dense and straightforward track with big drums and synths pushing the rhythm uphill until it rolls off the cliff and into a big chorus.
Lullaby for the Passerby is going to remind you of a lot of great bands but never borrows a single lick. Frankel's songwriting holds its ground because there are so many quirky bits stapled to the melodies without ruining the feel. For an album that is label-less and so refreshing I'm dumbfounded that a city "buzzing" with mulitudes of forgettable indie-pop-folk bands hasn't discovered Frankel's obvious musical talent.
Viva Voce’s “From the Devil Himself” is an obvious nod to John and Yoko’s sit-in for peace. The band is touring with The Shins this Spring, luckeee.
Blonde Redhead
23
2007 | 4AD
Alan Moulder’s mixing skills are a huge asset to Blonde Redhead’s atmospheric and simplified 23.
The most obvious mark is seen in the opening tone-bending haze of the
band’s first single “23,” it clearly sets the tone for the rest of the
album. This task must have been a no-brainer for Moulder, who is widely
appreciated for mixing and preparing densely packed guitars (see: MBV,
Swervedriver, Ride) that beam with overdriven power. And Kazu’s
romantic and sensual delivery sounds so warm, like they were dipped in
honey, and work perfectly with Moulder’s sound sculpting.
Also
noticeable is the lack of damaged and jagged guitar noise that people
most often credit Blonde Redhead with. But I like this direction much
better. The deep guitar swirl and dreamy production sounds as cohesive
as anything they’ve ever done. And it makes sense when you hear their
trademark minor chord progressions and percussive elements as the
backbone to each song.
“Dr. Strangeluv” sets a mood that’s
crushing and painful over a rather upbeat bassline. And then there’s
the hiccup sound popping up in random places that sounds like someone’s
about to cry. “The Dress” oozes slowly over a pulsating buzz of
dampened synths. Kazu’s delicious vocals rise with that devastating
rhythm, “I Love Yoooooou…less, Now That I Know You.” That’s a song
everyone can relate to. “SW” sounds most like 2004’s Misery is a Butterfly with the galloping piano and backbeat drumming. But once again it’s
Kazu’s backing vocals that add a frightening chill to the song.
The
album gets dense again starting with the rocker “Spring and by Summer
Fall.” This particular track melts guitars and keys into one gigantic
cloud of charging fuzz. The beautifully uplifting, almost disco,
dream-pop of “Silently” sounds like Abba covering Lush, I’d bet that
particular song brings in a wider audience. “The Publisher” and
“Heroine” revisit the depressing themes of love with somber guitar
melodies that could get the message across even if the vocals
disappeared.
2000’s Melody of Certain Damaged Lemons is
the closest reference point, but this record is such a huge leap
forward in sound. The arrangements and melodies are elevated and
refined in comparison to everything they’ve recorded. It will also be
interesting to hear the reactions from people who finally discover that
they like Blonde Redhead on this album and then go out and pick up
older records like Mi Via Vita Violenta, have fun. 23 is the album I always wanted them to make.
Little Radio met up with Alex before his co-headlining gig the other night at the Troubadour with The Little Ones and The Temporary Thing.
EMI Music is the only major label taking the necessary steps to make their entire digital catalog available free of digital rights management (DRM). This means you can burn music without buying an iPod. A pretty serious move for a major label, considering that only a few months ago all the majors were shunning the mere thought of DRM-free music. EMI is also creating "higher quality" DRM-free music by pairing up with Apple's iTunes Music Store for $1.29 a track. Pricey?!? And just to show you that the deal has been approved as "cool" they got EMI popstars the Good, the Bad & the Queen to perform two songs at a conference this morning in London. Ka-Ching! Steve Jobs has been propising that DRM -free music will help difital music downloads and sales in the presently stalled music economy.
So what makes DRM-free music so much better at $1.29 a song? Nothing.
The new "premium" versions of EMI's digital catalog will simply "complement the existing DRM-protected songs that iTunes is already selling." Steve Jobs called the EMI move the "next big step forward in the digital music revolution" but declined to reveal the details and negotiations with other labels
to anyone. Jobs also says that half of iTunes' catalog could be offered
DRM-free by the end of 2007.
Voxtrot
Your Biggest Fan
2006 | PlayLouder
Voxtrot’s last EP, and first for their new label PlayLouder Recordings, came out at the end of 2006. The Austinites demonstrate pretty easily that they are a very clever pop band, a bit quirky, but very smart songwriting and melodies. They don’t exactly sound like any other act out there, but almost have a brit-pop kind of sound (maybe Gene or Pulp mixed with some Spoon).
The guitars are jangly and immediate on “Your Biggest Fan.” The upbeat “Trouble” enlists strings adding more tension and a bigger sound as the droning/rapidly picked guitar takes off in the chorus. “Sway” is more mellow and sad, not my brand of Voxtrot, or "the Vox" as I hear some quasi-hipsters call them sometimes. I wish bands wouldn’t do this; feeling as if an EP needs a slow number to cleanse the palette. It’s nicely arranged, but hard to enjoy after two near-perfect pop songs that make you feel chirpy and warm.
If you’ve never heard Voxtrot then this is a great introduction. As for CalTrans I forgive them, just don’t f*** up again.
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