popwreckoning

Throughout White Lies’ 2009 debut album To Lose My Life… was a palpable sadness that resonated with those who enjoy that brand of gothic grandeur. These are the same kind of folks that connect with bands like Echo and the Bunnymen and the Smiths. For so long, I have fought against the following argument friends: “Smiths songs make you want to slit your wrists.” Not so, if you can relate with the bleaker side of life and sympathize with such sentiment. But most people don’t identify with such a non-escapist and sometimes academic view of the world and would prefer a more commercial, fun record (In other words, the kind that buy Maroon 5, Rihanna, and Katy Perry albums and think Lady Gaga is, like, the coolest person ever).

The best parts of the London band’s debut album were the most danceable (“Death,” for example), which probably sounds completely counterintuitive and not what most people envision at all of the gothy, post-punk genre. If you ever get the chance to watch the hordes of regulars at the Mousetrap Britpop night here in Washington, you’ll understand. Morrissey famously once sang in the Smiths song “Unlovable,” “I wear black on the outside / ‘cos black is how I feel on the inside,” and in our black clothes, boots, and eyeliner, this is our dance music.

Ritual, White Lies‘s second album, is comprised of similar building blocks used to make To Lose My Life… The high – and potentially the most crowd-pleasing – points of the album are the less dark, more synthy and more inspiring moments. “Is Love,” the album’s opener, starts in the shadows with Harry McVeigh’s usually unemotional intonations, but the track is lifted up into seemingly happier, almost power pop territory thanks to synths. “The Power and the Glory” is White Lies pop trapped in the ’80s.

“Bigger Than Us,” the first single to be released from the album, is brisk in tempo and has a sweeping chorus that fans of White Lies have come to expect from the band that brought us previous singles “Farewell to the Fairground” and “To Lose My Life.” Best track on the album, hands down. First time I heard it on BBC Radio, I could feel the tears welling up: “and I feel like I’m breaking up, but I wanted to stay / headlights on the hillside, don’t take me this way / I don’t want you to hold me, I want you to pray / this is bigger than us.” Epic. (Actually, thinking more about the lyrics, the song might be a nod to the Smiths‘ “This Charming Man” or “There is a Light That Never Goes Out.”)

The buzzing guitars of “Holy Ghost” are sexy and the tune’s verses sound like a homage to the Police’s “Roxanne.” But the chorus is bizarre: “maybe someday I can move like you / maybe someday I can scream like you / I’m not looking for a holy ghost.” I would love to get inside the brain of the band’s bassist and chief lyricist Charles Cave one day. Also unique is “Peace and Quiet,” with a double-tracked chorus almost approaching gospel (“I feel this great pressure coming down on me / and the tide of my bliss, pulling at your sympathy“), new age synths, and an atmospheric yet chill vibe reminiscent of Broken Bells’ debut last year. Not what I would have expected from White Lies at all.

The punishing rhythm of “Turn the Bells” is hypnotic, but there’s no denying it, it’s dark. “Streetlights” is custom made for the terminally depressed, it’s a desperate cry to the world: “hold tight for heartbreak / buckle up for loneliness / right time to get away / where I’m going, I couldn’t care.” Tough stuff. “Strangers” contains the refrain “there’s nothing stranger than to love someone,” the protagonist anxiously trying to love a woman who is emotionally unavailable and not returning his deepest affections. You might not want to listen to this if you’re going through a rough patch in a relationship.

But these are the inevitable, more sinister, more difficult to swallow moments from Ritual. They represent the most comfortable territory for White Lies: writing songs that express the pain and sorrow of everyday situations. That said, this album is really for people who can see past the initial gray sheen of depression the band uses to paint the surface of their songs; under the surface, there are always profound feelings. There are deep emotions in every track, examined and intellectualized, ready to be taken into the hearts of people who can appreciate those emotions.

Ritual by White Lies will be released in America on January 18 on Geffen Records.

Track Listing:
01. Is Love
02. Strangers
03. Bigger Than Us
04. Peace and Quiet
05. Streetlights
06. Holy Ghost
07. Turn the Bells
08. The Power and the Glory
09. Bad Love
10. Come Down

White Lies: website | myspace | @ Black Cat | @ Lollapalooza Day 1 | White Lies to Tour North America, Support Kings of Leon | Sophomore Album from White Lies Due in January 2011 | White Lies – “Bigger Than Us”

It’s been my experience that the 9:30 Club in Washington is not the ideal place to see a dance band. Or maybe I have been going to the wrong shows? Monday night the club played host to the first night of Montreal electro-funksters Chromeo‘s Business Casual Tour. One look at the keyboard stands – women’s bare legs with red heels – should have immediately told you this was going to be an unusual gig.

The first of two opening acts was New York City-based Telephoned, a duo comprising of the mustachioed Sammy Bananas (that’s got to be a stage name, surely?) on turntables and electronics and the prettily coiffed Maggie Horn. It turns out Horn is a local D.C. girl, so the duo had plenty of friends on hand to cheer them on. The two take popular songs and give them their own spin. I’m not really a fan of the songs they “spun” – to give you some idea, their set included mishmashes of Rihanna‘s “Rude Boy,” Yeah Yeah Yeahs‘ “Runaway,” and even their tour host’s, Chromeo‘s, “Night by Night.” Not really my thing, but there were plenty of people on the floor who disagreed. At one point, I was nervous as a man in a Don King outfit got into an argument with a girl who is a big fan of Telephoned as the two discussed their merits (or lack thereof). People: whatever floats your boat, to each his own, etc…

The second opener was Holy Ghost!, a band near and dear to my heart. Having seen them in June play to their fans at the U Street Music Hall, a venue specifically designed for dance music, I did not have high hopes for the 9:30. First there was a problem with the bass levels. Then there was a microphone wire problem. All in all, I have to say Alex Frankel (lead vocals / keyboards / additional percussion), Nick Millhiser (drums) and their two backing band members on guitars and synths did an admirable job despite the technical cock-ups that weren’t their fault. When it came time for “I Will Come Back,” all those equipment issues were forgotten as gig-goers gave themselves over to the beat. In the coming months and years, this will become every bit of a dance anthem as “Hold On” did for them at the start. Trust me. Dance bands often have too much in the way of exciting lighting going on around and behind them, and in the case of Holy Ghost!, less is definitely more. They didn’t have an elaborate stage set-up with them on Monday night, and they didn’t need them.

Holy Ghost! Set List
Say My Name
Hold On
It’s Not Over
Static on the Wire
I Will Come Back
New song (title unknown)

But Chromeo was who everyone had come to see at this sold-out show. My knowledge of them was limited to “Night by Night,” which had a very sexy promo video released last December. Appropriately enough, the focus is on the dancing. I knew they had two members – David Macklovitch (Dave 1) on guitar and lead vocals and Patrick Gemayel (P-Thugg) on synths and talk box – but assumed live they had to have more members, like Holy Ghost! Wrong. Gemayal had so many synths, even I lost count. For several songs he also wailed on bass, something I really appreciated. Macklovitch may be “the cute tall one” but Gemayel is the master onstage. Something I found strange: most of the duo’s songs are short, not what I would have expected for a dance band. It’s too bad they haven’t found more mainstream commercial success.

At the start, I wondered why Macklovitch was wearing sunglasses. Um, we’re in a dark nightclub, what gives? With a guitar, he had the opportunity to move around more than his synth-playing counterpart. I quickly learned that the sunglasses were to shade his eyes from the powerful light show that was going on directly behind the two of them. There was enough wattage on the 9:30 Club stage to land a jumbo jet. My eyes hadn’t been through such a workout since the Phoenix show at Constitution Hall in April. They granted us a short reprieve with “Momma’s Boy,” a tender but funny ’80s-sounding song that begins with keyboard effects and Macklovitch’s sweet vocals.

“Fancy Footwork,” the title track to their 2007 album release, had a bass effect so strong that I could feel the insides of my face vibrating. Not kidding. I tried holding on to the barrier, thinking this would dampen the effect. No such luck. Between this, the strobes, and the dancing-induced claustrophobia (including people’s limbs in your body and face), it was not a comfortable situation. Definitely not for the faint of heart. But if you’re in the mood for cutting a rug and don’t mind moments of temporary blindness, this would be the show for you. And good news for Chromeo fans: they do preview songs from their new album coming out in September, Business Casual.

Tour Dates
Jul 29 – Bowery Ballroom / New York City*#
Jul 29 – Love / New York City (afterparty / DJ set)
Jul 30 – House of Blues / Boston*#
Aug 02 – Capital Music Hall / Ottawa*#
Aug 03 – Phoenix / Toronto*#
Aug 05 – Majestic Theater / Detroit*#
Aug 06 – Lollapalooza / Chicago
Aug 06 – Official Lollapalooza Afterparty / Chicago (DJ set)
Aug 07 – First Avenue / Minneapolis*#
Aug 10 – Flames Central / Calgary*#
Aug 11 – Commodore Ballroom / Vancouver*#
Aug 12 – Showbox Market / Seattle*#
Aug 13 – Roseland Ballroom / Portland*#
Aug 15 – Outside Lands Music Festival / San Francisco
Aug 16 – House of Blues / San Diego*#
Aug 19 – Twilight Concert Series / Salt Lake City
Aug 19 – W Lounge / Salt Lake City (afterparty / DJ set)
Aug 20 – Ogden Theater / Denver*
Aug 24 – Stubb’s / Austin*#
Aug 25 – Palladium / Dallas, TX*#
Aug 26 – Cannery Ballroom / Nashville*#
Aug 27 – Masquerade / Atlanta*#
Aug 29 – Hollywood Bowl / Los Angeles^
* with Holy Ghost!
# with Telephoned
^ with the Chemical Brothers and Yacht

Chromeo: website | myspace
Holy Ghost!: website | myspace | Friendly Fires / Holy Ghost! – 12” Split Single| Interview with: Alex Frankel of Holy Ghost! | @ U Street Music Hall
Telephoned: myspace

Photo: Matt Salacuse

On December 3rd, Rihanna took the stage at Hammerstein Ballroom for Myspace Music’s “THE RELEASE” concert series, and PopWreckoning was there to check it out. Fans started lining up for tickets to the free all-ages show at 7 a.m. Despite the extreme lack of organization at the venue, which resulted in a near-riot as doors opened, we got the perfect spot in the second row, house stage left. Instead of an opener, a DJ (sadly, we didn’t get his name) filled the air and the long wait with tracks that seemed to please the whole, incredibly diverse crowd.

When the time came, the band and backup singers took the stage clad in black from head to toe and Rihanna emerged from below. The stage was set as a post-modern wasteland, strewn with discarded televisions and metallic mannequins, and Rihanna navigated it in spike heels. She opened the show with “Wait Your Turn,” and followed up with her current single, “Russian Roulette,” both tracks off her newly released album Rated R. One thing to be said about this new album is that its’ darkness is inversely proportional to the lightness evoked from “Umbrella,” the song that brought Rihanna into the limelight with its positive message and catchy beats.

She continued the set with hits “Live Your Life,” “Please Don’t Stop the Music,” “Disturbia” and “Run This Town,” running seamlessly one into the next. Rihanna is a true entertainer. Her voice is strong and clear and she doesn’t miss a beat. Even better, she seemed genuinely grateful to have such an adoring fanbase, and made plenty of contact with the lucky fans in the front row. Sadly though, the show ended short about forty minutes in. Umbrellas popped open one by one throughout the crowd as she belted out the chorus of the closer, reminding us that true friendship stands the test of time.

One thing is clear: regardless of the unfortunate nature of the past year spent in the spotlight, Rihanna hasn’t buckled under the pressure.

Rihanna: website | myspace

Welcome back, readers!  Looks like the toxicology and autopsy reports on Michael Jackson are taking forever and I, for one, need to take a break from the lovefest that was my month-long MJ tribute (read: here, here, here and here!).  With MJ on the mind, it’s been hard to think of other musicians, so hopefully this Pop Punk Miscellany piece will serve as an adequate segue back to the mixed-bag madness that usually is Under Cover.

To mix things up, this week I’m featuring a genre I haven’t always focused on.  Pop Punk is always a good time and usually infuses a vivacious energy that’s perfect after a hard day at work or for the drive home following a kickass evening.  Here are some classic covers by some very pop-friendly bands.  Enjoy!
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. Alien Ant Farm – “Smooth Criminal” (original: Michael Jackson)
What?  I told you.  Getting Michael Jackson off the mind has been difficult, so Alien Ant Farm‘s infamous cover of “Smooth Criminal” may help this week’s switch to pop punk.  I’m not even the biggest AAF fan or anything, but I do recall giving them points for creativity with this rousing rendition when it came out nearly a decade earlier.  This cover is a sped-up rock version, yet manages to share more than a few similarities to the original.  There’s the anti-gravity leaning, studded gloves, homage paid to Bubbles the Chimpanzee, and let’s not forget an equally strange lead singer Dryden Mitchell on the verge of an epileptic seizure in the music video.  Be sure to check out the video to see if you can count all the MJ references!  I myself counted at least 10…

.Paramore – “My Hero” (original: Foo Fighters)
My Foo Fighters/Dave Grohl-obsessed ass is aware of the sacrilege of posting an acoustic Paramore cover that doesn’t even have the same killer bass line or energetic drumming that jumpstarts the original, but I’m such a sucker for cute little pop punk outfits featuring impressive female vocalists like Hayley Williams.  In a word full of the Katy Perrys, Rihannas, Britney Spears-es, and assorted pop wrecks out there, I’d choose Paramore over them any day by mere fact that this 20-year-old can actually sing.  Her voice is so clear, resonant and melodic, and it flows so nicely with the gentle strumming on the acoustic that I bet even Mr. Grohl himself would dig this one.  And hey, if Mr. Grohl is reading this… call me.  You can be my hero for a day, if I can watch you as you go.  Oh snap!

. Yellowcard – “Everywhere” (original: Michelle Branch)
Personally, I’ve always felt Yellowcard knows how to perfectly put out precious pop punk gems each and every time.  And hey look, they’re off from their hiatus? Lead singer Ryan Key has such a sweet, genuine vocal delivery, the guitars are punchy and power-poppy, and mad props to any group aside from Dave Matthews Band who can incorporate a lead violinist so effortlessly into their songs.  These boys from Florida take a pop classic like Michelle Branch‘s “Everywhere” that was already awesome in its own right and add a refreshing little upbeat twist with the help of some very pretty electric guitar riffs and surprisingly gorgeous slicks of violin that lace the song and add a dash of dramatic intensity to the breakdown.  This song makes me regret quitting the violin in high school because it irritated my chin, much to the dismay of my high school music teacher.  Sorry, Mr. Santin!