popwreckoning

For much of my adolescence, I wished I had been born years earlier so that I could have been the right age to experience – and appreciate – the 1980s, the way it had been meant to be experienced by a British new wave fan. I’ve had the opportunity to see several of my heroes of that era in concert already (including Duran Duran, Morrissey, OMD, and David Byrne [sans the rest of Talking Heads unfortunately]) but Erasure was still not checked off the list. Until this past Tuesday at the 9:30 Club, the first of 2 nights the electronic duo would be performing in the Nation’s Capital. To be fair, I was never an uberfan of the pair and really went to go hear the hits and get a preview of tracks from their new album Tomorrow’s World coming out in October on Mute Records, but that didn’t matter. There were plenty of obsessed and and terribly devoted Erasure fans at the front who had been queueing outside the venue for hours, appropriately attired in electric blue ponchos to battle the drenching rain remnants of Hurricane Lee tracking up the Eastern seaboard. I’ve never seen such soggy fans so happy.

I was so pleased when I heard Frankmusik (aka Vincent Frank to his mother) would be opening for the ’80s titans. South Londoner Frank released his debut album, Complete Me, in early 2009 and I still adore it to this day: it’s synth pop at its finest, and Frank is just the singer/songwriter to do this style. The selection of him as opener makes sense: he produced Erasure’s latest album Tomorrow’s World, and there’ s a definite respect and reverence going between the two acts. The unfortunate part: as he so cruelly pointed out at the start of his set, he said he realized that no one knew who he was and that he was going to do some old stuff, some new stuff, and some covers, no doubt to appeal to a crowd that were obviously only there for the headliner.

Personally, I would have preferred if he and his backing band (a singer/keyboardist and a drummer) had played more songs from his debut album (I wanted to hear my favorite song of his, “Confusion Girl,” but no dice), but I have to give the man his due. These fans, mostly 30 years old and up, took to him once he broke outs snippets of covers like Paul Simon‘s “You Can Call Me Al” and Stardust‘s “The Music Sounds Better With You.” He did finish with two newer songs, both with more of a r&b bent than I usually like, but I think they have a chance of doing really well here in America. The single “No ID” was just released this week and according to the Frankmusik Twitter, the track has already made it to #48 into the iTunes electronic chart, no thanks to the American mainstream radio market. “Do It in the AM,” a song Frank collaborated with Far East Movement, is the title of his forthcoming album due out on September 27, and it’s a hot tune. Check out the video for the song below.

Erasure fans from way back packed the 9:30. Was it because they were nostalgic for the music of their youth? Did they want to hear their heroes’ new music? Or maybe a little bit of both? I’ll never know for sure, but gosh, Erasure fans can be loud and unrelenting in their approval of their favorites. As mentioned in this review previously, I don’t know the band’s back catalogue as well as many of the other people in attendance that night, but it didn’t matter. Like most ’80s bands who have dutifully gone back on tour to wow their devoted and to proffer new tunes, Erasure does it with style and plenty of campy charm. This mostly has to do with frontman Andy Bell, and I apologize in advance now, but I can’t help but use his name and “flamboyant” in the same sentence. How else do you describe a man who arrives onstage with a Trojan helmet and a red sequined jacket? Once the jacket was removed, a diamond-encrusted belt and leather corset were revealed. (My good friend who went with me to this show said the first time she’d seen the band at Merriweather Post Pavilion in the late ’80s supporting Duran Duran, Bell was wearing buttless chaps, so this was a definite improvement in style.) This corset was later cut off, literally with a pair of scissors, by his bandmate Vince Clarke (programming/guitar) and replaced by Devo t-shirt shreds held together with safety pins. I mean, you can’t dream up this stuff!

But forget the “look” for a moment. Here is a band that has released 13 albums (Tomorrow’s World their 14th) and you can’t do that unless you’re incredibly talented and incredibly dedicated to the process of making music for the masses. The uberfans I mentioned earlier? They were contorting their bodies to the music, singing along to every word. Me? While I adored the live versions of their classics of “Chains of Love” and my personal favorite “A Little Respect” (a new version of this song’s video is above), I also really enjoyed songs like the flirty “Push Me Shove Me,” the attitude of “Love to Hate You,” and the majesty of “Oh L’amour.” New songs like “Fill Us With Fire” and “A Whole Lotta Love Run Riot” prove Bell and Clarke still have it, even after all these years. The two great backing singers in red and black were both visually and musically stunning additions to the performance. I’m a little confused by the gigantic gargoyles that were sitting onstage during the show, but I’m guessing it has something to do with Tomorrow’s World. That might be the album’s title, but on Tuesday night, the 9:30 Club was most definitely Erasure’s world. Fab show, guys.

Erasure Set List
Sonos Luminos (new song?)
Always
When I Start to (Break It All Down)
Blue Savannah
Fill Us With Fire
Drama!
Save Me Darling
Ship of Fools
Chorus
Breathe
Victim of Love
Alien (acoustic version)
Push Me Shove Me
Love to Hate You
I Lose Myself
A Whole Lotta Love Run Riot
Breath of Life
Chains of Love
Sometimes
A Little Respect
//
Oh L’amour
Stop!

Tour Dates
Sept 08 Philadelphia, PA. Theatre of Living Arts
Sept 10 Boston, MA. House of Blues
Sept 11 Toronto, ON. Sound Academy
Sept 13 New York, NY. Terminal 5
Sept 14 New York, NY. Terminal 5
Sept 16 Chicago, IL. Congress Theatre
Sept 17 Chicago, IL, Congress Theatre
Sept 18 Milwaukee, WI. Pabst Theater
Sept 20 Indianapolis, IN. Vogue Theatre
Sept 21 St. Louis, MO. The Pageant
Sept 23 Austin, TX. ACL Live
Sept 24 Houston, TX. Verizon Wireless Theatre
Sept 25 Dallas, TX. House of Blues
Sept 27 Denver, CO. Ogden Theater
Sept 28 Salt Lake City, UT. Kingsbury Hall
Sept 30 Las Vegas, NV. The Palms Concert Theater
Oct 01 Los Angeles, CA. Hollywood Palladium
Oct 02 San Diego, CA. House of Blues
Oct 04 Oakland, CA. Fox Theater
Oct 05 Portland, OR. Crystal Ballroom
Oct 06 Seattle, WA. Neptune

Erasure: website | myspace | Erasure eyeing October album release, touring North America this Fall
Frankmusik: website | myspace | @ 9:30 Club, 2010, on Perez Hilton Tour

’80s music icons Erasure have announced plans to release their next full-length studio album, Tomorrow’s World, on October 4 in the U.S.

Accompanying the album release news is the announcement of a substantial North American tour, the first on this continent for Vince Clarke and Andy Bell in more than 5 years. The duo responsible for Eighties classics like “A Little Respect” and “Chains of Love” will start their tour in Tampa on August 31 and conclude their jaunt on October 6 in Seattle.

For information on purchasing tickets, visit the band’s official website. Tickets are on sale now.

Tour dates-
Aug 31 Tampa, FL. The Ritz Ybor
Sept 2 Orlando, FL. House of Blues
Sept 3 Atlanta, GA. Center Stage
Sept 4 Asheville, NC. The Orange Peel
Sept 6 Washington, DC. 9.30 Club
Sept 7 Washington, DC. 9.30 Club
Sept 8 Philadelphia, PA. Theatre of Living Arts
Sept 10 Boston, MA. House of Blues
Sept 11 Toronto, ON. Sound Academy
Sept 13 New York, NY. Terminal 5
Sept 14 New York, NY. Terminal 5
Sept 16 Chicago, IL. Congress Theatre
Sept 17 Chicago, IL, Congress Theatre
Sept 18 Milwaukee, WI. Pabst Theater
Sept 20 Indianapolis, IN. The Vogue Theatre
Sept 21 St. Louis, MO. The Pageant
Sept 23 Austin, TX. ACL Live
Sept 24 Houston, TX. Verizon Wireless Theatre
Sept 25 Dallas, TX. House of Blues
Sept 27 Denver, CO. Ogden Theater
Sept 28 Salt Lake City, UT. Kingsbury Hall
Sept 30 Las Vegas, NV. The Palms Concert Theater
Oct 1 Los Angeles, CA. Hollywood Palladium
Oct 2 San Diego, CA. House of Blues
Oct 4 Oakland, CA. Fox Theater
Oct 5 Portland, OR. Crystal Ballroom
Oct 6 Seattle, WA. Neptune

I used to listen to my mom’s old 80s cassette tapes and records, merely because I hadn’t developed my own taste in music. Even if I was born in the latter half of 1989, I can still say that I’m a child of the 80s. Elly Jackson is a fellow child of the 80s, but listening to her and recording partner Ben Langmaid‘s debut La Roux (in French meaning “red-haired one”), you wouldn’t expect the self-proclaimed “ginger boy” to be just 21. Released in the States Sept. 29, the music that Jackson and Langmaid turn out sounds more like the old 80s cassettes I stole from my mom than the hits coming through the airwaves these days, and it’s incredibly refreshing.

Sure, electro-pop has gotten its second wind in 2009 with Lady GaGa and Little Boots sending everyone into a tizzy, but La Roux‘s sound takes advantage of the distinctly 80s synth they’ve adopted. Starting off the record, “In For The Kill” sends us straight into Jackson’s falsetto and a complete track void of bass, giving a youthful, tinny introduction to a outstanding debut. Most artists wouldn’t have the cojones to sing falsetto on the first song, but Jackson succeeds her age in most aspects on the record.

Both the second song on the record, “Tigerlily,” and the second single released in the UK months ago, “Bulletproof,” surely show another side of Jackson’s voice, and another attitude. “Tigerlily” is both sassy and sexy, with a killer beat on Langmaid’s part. And as upbeat and danceable as “Bulletproof” is, it’s essentially Jackson telling a gent that she’s not going fall for his crap anymore. It’s modern-day girl power, even if Jackson’s persona is indisputably androgynous.

From there, La Roux dives into tracks featuring synthed steel drums, so reminiscent of Yazoo and Erasure, you almost forget you’re listening to someone who’s 21 years old right now. The lyrics are the one giveaway that Jackson is still young – but not immature. The ideas aren’t dated, or clichéd, and relatable without being pedestrian. The one thing, musically, that La Roux does differently than their much older influences is the vocal layering – especially on “In For The Kill,” “I’m Not Your Toy” and “Reflections are Protection.” Those songs – as well as the rest of the album – are best when listening to them on large, doughy headphones that cover your ears completely. It’s just too bad La Roux isn’t coming anywhere near Seattle on their next tour, as I’d like to hear how to these songs sound live.

It seems that this “red-haired one” and her partner have become the new leaders of the 80s comeback. If you haven’t realized that yet, I highly recommend finding their album.

British magazine The Fly says: “With this superb self-titled debut, which is every bit as good as the hype hinted at, the flame-haired Brixtonite has managed to paint sublime pictures of love and loss with squelchy synths, clipped beats and shimmering electronics.”

Tracklisting:
01. In for the Kill
02. Tigerlily
03. Quicksand
04. Bulletproof
05. Colourless Colour
06. I’m Not Your Toy
07. Cover My Eyes
08. As If By Magic
09. Fascination
10. Reflections Are Protection
11. Armour Love

La Roux: website | myspace

Our 2,000th post!

Welcome back, readers to Under Cover: Annie Lennox.  Some kids played with Barbie and Ken dolls, dreaming up scenarios of them living together as husband and wife in the Barbie dream house.  But if you were like me, you used to fantasize about David Bowie and Annie Lennox teaming up and becoming the most badass husband and wife music team since, well, no one?  Ever the rock and roll match-maker, I always thought they belonged together.  I mean, both are legendary blue-eyed soul singers, British, dynamic stage performers, the de facto King and Queen of androgyny, and are practically gay icons for LGBT music lovers everywhere.  They sang duets together (although not nearly as often as I’d have liked), they could have easily shared clothes, applied each other’s make-up and provided each other with fashion tips… so why didn’t it happen!?  Alas, it wasn’t in the stars and I realized long ago that it was just another musical fantasy I had to tuck away in my hope chest.  But whether or not David Bowie is by her side, Annie Lennox is still one of the most exciting female singers and one of my personal favorites.  Whether she’s begging “Why?” or “Walking On Broken Glass”, this Diva is “Honestly” a tribute to music “Womankind” and I would rather look Medusa in the eye before giving up her unique discography.  I know Annie said “No More I Love You’s” but I can’t apologize for loving her so much when clearly it’s all her fault!
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.The Lover Speaks – “No More I Love You’s” (original 1986)
I’m usually a huge fan of British new wave, but The Lover Speaks‘ original version of “No More I Love You’s” is slightly irritating and unremarkable at best.  The male vocals are grandiose and dramatic in the vein of a cheap Erasure imitation, the tempo is slow and unmoving and stagnant, and even the saving grace – the female background singer with her do-do-do-do-do-ohh’s – can’t seem to to wake this song up from its overwhelmingly languid manner.  I’m not quite sure what they’re trying to sell here, but I sure as hell ain’t sold on anything.  Lead singer David Freeman alone sings in a less than compelling style that may mesh well with the overall monotonous sound yet still makes the listener feel like he doesn’t even want to be there.  This version doesn’t exactly save the Queen… instead, it puts her to sleep.

.Annie Lennox – “No More I Love You’s” (cover, 1995)
Wow!  Leave it to Miss Lennox to make a diamond out of a lump of coal.  She took the limp original and completely breathed fresh new life into this cover tune that is quite simply a musical triumph.  Her operatic vocals soar above the music, the background vocals are soft, innocent, and pure, and she manages to communicate the beautiful lyrics a zillion times better than the original by virtue of the fact that you can actually hear what she’s saying.  Plus, her vocal delivery is so genuine, sincere, and aurally pleasing that it only matches the simple message of this love song gone awry.  And when she sings “No more I love youuuuuuu’s, the language is leaving me in silence” you actually can tell she means it.  The originally could barely create a single goosebump, but this song gives me chill upon chill everytime I hear it.
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.Neil Young – “Don’t Let It Bring You Down” (original 1970)
Gotta love a song called “Don’t Let It Bring You Down” that actually has a way of bringing you down whenever you listen to it.  Neil Young would be the genius behind this bluesy rock anthem for anyone in the throes of cognitive dissonance.  This song is downtrodden and mellow, manages to be therapeutic while simultaneously perpetuating the blues, and just sways back and forth like a couple slow dancing.  While Young’s vocals always sound stung out and strained, he manages to lull listeners into this lingering state of listlessness and ennui that almost seems like a desirable destination.  But don’t get excited- the song starts and ends in the same somber place with no resolution in sight.  I can’t stand this track as much as I actually kinda sorta of love it.  It’s the perfect musical paradox.

.Annie Lennox – “Don’t Let It Bring You Down” (1995)
Some of you may recognize this track from that climactic scene in American Beauty when Kevin Spacey‘s character almost succumbs to the temptation of his 16 year old daughter’s best friend (Mena Suvari), who just so happens to turn this song on the stereo.  I absolutely love Lennox’s creative attempt to revamp Neil Young’s sullen version into something that starts of decidedly blue but somehow manages to end on a positive note.  The synth is full-bodied, moody, and definitely contributes to this overall feeling of tension and heaviness, yet her vocals almost sound like tiny churps that take the listener to a place beyond the gloom.  I like how the music swells and the background vocalists fill out the song as Lennox comes at you with much more fortitude as the song progresses.  This cover version is the kind of mood music that helps listeners lose the ‘tude.  Keep them coming, Annie!