popwreckoning

In the wide world of female performers, you have two camps: one that values extravagant style over substance (e.g., Lady Gaga, Beyonce, recent upstart Kreayshawn) and the other valuing substance over their own understated style (the folk singers, generally). Of the latter category is 20-year old Alessi Laurent-Marke, who records under the name Alessi’s Ark. Laurent-Marke will be getting her first widespread North American debut as the Londoner supports Laura Marling on a 2-week tour of our continent.

She will also be promoting her first full-length release in America, Time Travel, scheduled for release on September 27 on Simon Raymonde’s Bella Union label. (The album was already released in the UK in April, and there are some songs on Spotify [some old, some new] to tide you over until the actual release of the album here.) I am quite pleased that Alessi’s Ark is finally getting attention on this side of the Atlantic, as I’ve been keeping tabs on Laurent-Marke since her first album, Notes from the Treehouse, was released in Britain in 2009.

Alessi’s Ark songs generally follow one rule: they’re all very short. On Time Travel, only the title track and “Stalemate” go over 3 minutes, with some of the other songs not even going past the 2-minute mark. This can be good or bad; in the good sense, Laurent-Marke’s thoughts are put into small, compact compartments, like something you want to scuttle away in a dark corner of your pocket and save for a rainy day. But in the bad sense, you’re left wondering where the song would have gone, had she decided to soldier on with her thoughts. The best example on the album is “Wire” (download it from Bella Union here, video below). It appears to be a cryptic love letter to an important woman in her life (her mother? a lover?) that is now dearly departed. Yet there is also clear the acknowledgment that she feels lost, forsaken, and misunderstood (“I’m tired of walking this wire / it keeps me awake for heaven sake / I was made for this girl / I feel lonely / my friends don’t seem to know me / like I thought they did / I thought they did, but they don’t”). The angst of growing up is of course a common theme across many genres of music, but I’d like someone to come up with a song as elegant as this.

The beauty does not end there. “Run,” barely clocking in at a minute and a half, is the musical equivalent of seeing the moon’s reflection in a still lake. In “On the Plains,” Laurent-Marke uses simple chord changes against her effortless vocals for a simple love song. Flutes add a level of whimsy to this track, and throughout the album, you will find also find brass instruments supporting the standard folk backdrop of thoughtful guitars and Laurent-Marke’s calm voice. It’s almost unbelievable that someone so young could have such great control over the sounds that come out of her mouth. Then again, remind yourself who she’s touring with: Laura Marling, merely 1 year her senior. In the tune “Stalemate,” she admits, “the only thing I’ve learnt is I like singing / all the lessons that the guitar is bringing.” Something America should learn – and quickly: all aboard Alessi’s Ark, and prepare to enjoy the ride.

Time Travel, the first American release for Alessi’s Ark, will be released on September 27 on Bella Union. Catch Laurent-Marke on tour, supporting Laura Marling, on the dates below.

Track Listing
01. Kind of Man
02. Wire
03. On The Plains
04. Must’ve Grown
05. Time Travel
06. The Fever
07. Blanket
08. Maybe I Know
09. Stalemate
10. The Robot
11. Run
12. The Bird Song

Tour Dates (supporting Laura Marling)
Sept 22 – Lincoln Hall / Chicago
Sept 23 – Great Hall / Toronto
Sept 24 – Corona / Montreal
Sept 25 – Brighton Music Hall / Boston
Sept 27 – Sixth & I Historic Synagogue / Washington, DC
Sept 28 – Webster Hall / New York City

Alessi’s Ark: website | myspace

The great thing about most debut albums? A band can go balls to the wall and give it everything they’ve got and want to give, because they have nothing to lose and everything to gain. This definitely describes the Static Jacks‘ first album length offering to the world, If You’re Young. Despite the fact that the band hails from New Jersey, they sound more like the Libertines than Bruce Springsteen. They mix anarchic punk, the angst of youth, and remarkably accomplished instrumentation to create a really engaging sound.

My first introduction to the quartet was their impressive opening set in support of one of my current English rock band favorites, the Futureheads, in June 2010. I remember hearing them let rip onstage at the Black Cat and thinking, yep, I know exactly why the Futureheads chose them for support. While they must certainly have had different musical upbringings (the Static Jacks are very young: when I saw them, they all had Xs on the backs of their hands), I imagine the two bands’ mindsets are pretty similar: make it loud, make it powerful, and make it fun.

If You’re Young is, from what I can tell, a pretty good distillation of the band’s frenetic energy in live performance. Some of the songs are as chaotic as beloved Ramones numbers from the ’70s that should appeal to people who think American guitar rock is dead. (It’s not. There are plenty of indie bands in America. They’re just not getting played on the radio. Thanks Kings of Leon.) Opening track “Defend Rosie” tells you straight out from the gate that you are not dealing with just any band. The Static Jacks are a force to be reckoned with. “Girl Parts,” another high octane track, features added vocals from Ceci Gomez from Brooklyn band Beast Make Bomb.

But there are more melodic numbers that show off the band’s songwriting and musical ability. “Into the Sun” is a great example of this, with great guitar work and lead singer Ian Devaney‘s powerful vocal delivery. Other contagious tunes include “My Parents Lied,” a song I immediately picked up on live because of the infectious handclapping and minor key melody, and “Mercy, Hallelujah” and “Relief,” which both remind me of, dare I say it, the Boss. (I know. To some of you out there, that’s flat-out heresy. But I’m saying it because I want you to give this album a chance.) “Blood Pressure,” with its great singalong of “I’m afraid of the future / I want to share it with you” is oddly touching: as Devaney said in a recent interview about the album, “It’s mostly saying ‘if you’re young – or if you ever were – you’ll know where we’re coming from with these songs.’ These are pretty universal experiences that most people experience from their late teens and early twenties. It’s such a transition period, figuring out what you want to do and where you want to go. Youthful anxiety, I suppose.”

There are some surprising moments on here as well. “Sonata (Maybe We Can Work It Out)” is the band’s attempt at a tender ballad, with Strokes-like guitars, but its “partner” song, “Walls (We Can’t Work It Out)”, brings things back up tempo with feverish intensity. Considering their relatively young age, the Static Jacks have managed to put together a nice collection of hard rocking, memorable songs that show off their talents, talents that are sure only to grow. Catch the band live this fall as alongside New Yorkers the Postelles, they open for English rockers the Wombats. Will I be there for the opening night of the tour? You bet.

The Static Jacks’ debut album, If You’re Young, will be released in North America on August 30 on Fenway Recordings.

Track Listing
01. Defend Rosie
02. Girl Parts
03. Into the Sun
04. My Parents Lied
05. Sonata (Maybe We Can Work Out)
06. Walls (We Can’t Work It Out)
07. Mercy, Hallelujah
08. Blood Pressure
09. This is Me Dancing
10. Relief
11. It’s Such a Shame
12. Drano-Ears

Tour Dates
Oct 21 – 9:30 Club / Washington, DC*
Oct 22 – Johnny Brenda’s / Philadelphia*
Oct 24 – Jefferson Theatre / Charlottesville, VA*
Oct 25 – Local 506 / Carrboro, NC*
Oct 26 – Loft / Atlanta*
Oct 29 – Fitzgeralds / Houston*
Oct 30 – Parish / Austin*
Nov 01 – Granada / Dallas*
Nov 02 – Record Bar / Kansas City*
Nov 04 – Outland / Columbus*
Nov 05 – Subterranean / Chicago*
Nov 07 – Varsity Theater / Minneapolis*
Nov 10 – Wonder Ballroom / Portland*
Nov 11 – Venue / Vancouver*
Nov 12 – Crocodile / Seattle*
*opening for the Wombats

The Static Jacks: website | myspace | @ Black Cat

Chicago, IL pop-punk thrash combo So Many Ways have just revealed the cover art, track listing and release date for their Mightier Than Sword Records label debut. The self-titled album will be out on September 13, 2011 and is now available for pre-order in a variety of bundles at: http://store.mtsrecords.com/products/11935.

Track Listing:

1. Take It To The Limit
2. I’ve Made A Huge Mistake
3. Sleep Mask
4. Murf’s Life Hints
5. 37 Chambers
6. Oak Island
7. Dirtfoot

Since their formation in January 2009, So Many Ways has had their fair share of lineup changes. After recording the Real Talk EP with Jay Maas (Defeater, Bane) at Getaway Group studios later that summer, the band played a few shows together before parting ways with their then-bassist, drummer, and keyboard player. Not soon after the departure of those members, guitarists Jason Milbank, Murphy Welch and vocalist Colin Corley found themselves with a brand new rhythm section. After traveling to Florida to play a short string of shows, the band recorded their Floridian EP with Chris Hiser (Away With You). Floridian hinted at SMW’s heavier influences, but only showed a glimpse into what the band would become. After saying goodbye to yet another rhythm section later that year, So Many Ways welcomed drummer Keith Dow into the mix. The band recently added bass player Chris Catterson (ex Nightlights and Away With You) to the lineup and is ready to hit the road this month in advance of the EP’s release.

Tour Dates (with Major League and Carousel Kings):

Aug 8 Parkersburg, WV @ Radar’s Music Venue
Aug 9 Winston, NC @ Eliot’s Revue
Aug 11 Marietta, GA @ Swayze’s
Aug 12 Melbourne, FL @ Little Reggie’s
Aug 13 Orlando, FL @ Hoop’s Taven
Aug 14 Arad, Alabama @The Arabian Theater
Aug 18 Cookeville, TN @ Amps And Ramps
Aug 20 Chicago, IL @ Pancho’s  (also w/ Stay Golden and Late In The Playoffs)

http://twitter.com/smwftw
http://mtsrecords.com

Jack’s Mannequin is gearing up for the release of People and Things on October 4th, and the new album is now available for pre-order.  There are three pre-order bundles available- all include 4 bonus tracks that will be delivered digitally on release day along with the full album and an instant download of the first single “My Racing Thoughts ” (currently streaming on jacksmannequin.com  and available for purchase on iTunes.) The deluxe pre-order bundle also includes a limited edition autographed artbook and a postcard set featuring photos taken by Andrew McMahon on the road.

People and Things is Andrew McMahon’s third studio release as Jack’s Mannequin, following 2005′s Everything in Transit and 2008′s The Glass Passenger.  Jack’s Mannequin will be previewing a few new songs from People and Things on a couple of dates on this year’s Vans Warped Tour followed by a month-long co-headlining tour with Guster starting August 7th in Baltimore. Additionally, Jack’s Mannequin just announced their fall headlining tour with Motion City Soundtrack, and a full list of dates can be found below.

1. My Racing Thoughts
2. Release Me
3. Television
4. Amy, I
5. Hey Hey Hey (We’re All Gonna Die)
6. People, Running
7. Amelia Jean
8. Platform Fire
9. Hostage
10. Restless Dream
11. Casting Lines

Tour Dates:

As a record label, Paris’s Kitsune seem unable to make a misstep when signing bands. The latest artists they took a chance with that made it huge here in the U.S.? Hopefully La Roux and Two Door Cinema Club ring some bells for you. And it’s quite possible that the first album Kitsune releases on this side of the Atlantic, thanks to a recent deal with Cooperative Music and Downtown Records, could be just as big. As might be expected from their name, Is Tropical, a dance trio from London, make tropical music. And their debut album Native To, which quite possibly might be “the” soundtrack to the summer, is dropping just in time for the warmer weather, this Tuesday.

Early on in the game, Kitsune gave away “The Greeks” as a free download. With its quick guitar line, infectious chorus and relentless beats, it’s no surprise it’s been a runaway success online. Certainly, some of its popularity has to do with the unveiling of its NSFW promo video featuring kids in shooting each other, cartoon blood flying. Not really my thing at all, but I guess dubious promotion is better than no promotion. I like “South Pacific,” the opening track, much more; it’s got the same guitars as ‘The Greeks’ but is more mellow and less frenetic, which is better for summer driving music anyway. It’s like a tropical version of the The’s “This is the Day”. Watch the video for it below.

The tropicalia vibe continues through “Land of the Nod,” sounding like it could easily be placed as the background music for a Club Med advert, and “Clouds,” suitable for a Super Mario game set in the islands, mon (if Nintendo ever decides to go there, that is). “Think We’re Alone” will remind you of Cut Copy. And I did say this band was “dance”, and this is clear in the track “Lies” (not to be confused with Fenech-Soler‘s “Lies”). Compressed synths stretch around this track’s corner, and the words “they don’t love you / they just need a little sex sometimes / gotta shine through / don’t beat yourself up for being too blind,” while cynical, they ring true about some of the worst liaisons, don’t they? “Berlin” sounds like Kraftwerk redux, but with more heart. And vocals echoing all the while.

Here is the main problem I have with Native To: while of course there is echo and reverb on dance albums, for some reason, there’s too much of both on here. I admit that to some people, this is endearing because it gives the music a “lighter”, floating on air-type of quality. But a song like “Zombie,” with a dark vocal and even darker buzzing synth, tells you this band is capable of being a heavier band. It’ll be interesting to see what direction they take for future material – whether they stick with the tropical, dance beat formula or go somewhere else.

This is a good question, because there are songs on here that just don’t relate to the others. “What????” isn’t satisfying, with quickfire rap as an overlay on an otherwise hohum synth base. After Lupe Fiasco “lifted” the chorus from Modest Mouse‘s “Float On” for his recent single, “The Show Goes On,” you should be looking at the Is Tropical tune “Take My Chances” with a jaundiced eye. The melody’s a bit similar, isn’t it? Groan. The album ends with the instrumental jam “Seasick Mutiny.” It’s okay, just repetitive. While there are definitely some worthwhile tracks on Native To, I can’t call it a 100% stellar album. But it’s definitely worth looking into if you want to equip your car with some fun new tunes this summer.

Native To by Is Tropical will be released in North America on June 14 on Downtown Records.

Tracklisting
01. South Pacific
02. Land of the Nod
03. Lies
04. The Greeks
05. What????
06. Clouds
07. Take My Chances
08. Oranges
09. Berlin
10. Think We’re Alone
11. Zombie
12. Seasick Mutiny

Is Tropical: website | myspace

Released in the fall of 2008, Friendly Fires‘ self-titled album had me at hello. It was the sonic equivalent to the boy next door: a bit naive, a little rough around the edges, a tad tentative, yet completely unpretentious. It winked with the wide-eyed naivete able to win your heart but was sexy enough to make you feel like you were the prettiest girl in the room. Having had a love affair with its predecessor, I knew Pala had to really wow me like a knight in shining armor to even stand a chance against my darling Friendly Fires. Basically, it was an impossibly tall order.

The album was named after the fictional setting of the Aldous Huxley novel Island, and based on that alone, you can tell this album was conceived, written, and recorded with much thought. This time around, lead singer Ed Macfarlane took advantage of writing songs not just in their hometown of St. Albans like for those on Friendly Fires but also Rye in Sussex, the little village Yvetot in France, and New York. He’s talked about wanting to break out of the stereotypes that the media tried to pin on them after their first album, and certainly, no one can accuse them of writing a Friendly Fires pt. 2 with this effort. The problem? Pala is an example of how (usually) less is more. Despite the great care taken to make every sound on this album resonate beautifully (no doubt with producer Paul Epworth‘s help), there is so much going on here and in so many different directions that it’s hard to find continuity.

Having said that, there are some real winners on here. “Live Those Days Tonight,” the album’s first single, is a carnival. The first time I heard it, I hated it. I had already worried based on the “Kiss of Life” single released in the summer of 2009 that Edd Gibson‘s guitar work was going to be muted on their future recordings in favor of a heavier dance sound; for this song and most of Pala, I was right. But the song grew on me: it’s kind of hard to not eventually fall in love with it, because it’s so damn catchy. And if you’ve ever seen Macfarlane dance when the band performs live, the mental image of him swiveling his hips around to the music pops into your mind and is pretty mesmerizing. A good friend of mine just saw the band play at London’s intimate club venue Heaven on May 9 and assured me that the Friendly Fires live performance is better than ever and completely “lush,” and I take his word for it.

Let’s talk about the good. “Show Me Lights,” having a sensual r&b groove, is the stand out track on the album. Interestingly, when you compare this song’s chorus of “take me back / take me back / take me back in the darkness” to “Strobe” from the first album, which begins with the words “I see you / you come out of the strobe / you come out of the strobe,” you notice both songs are about winning back a love, just in opposite lighting situations. Comparing the new track to the old one side by side is like comparing apples and oranges, and in this case, I approve of the newer apple. “Pull Me Back to Earth” lets guitarist Gibson flex his musical muscles – thank goodness. Title track “Pala” is a fantastic slow jam; with Macfarlane’s dreamy vocals, it would have felt completely out of place on Friendly Fires. But it’s a perfect example of my “less is more” argument.

Less successful are the songs that sound like they’re from an earlier time. “Hurting” would have felt at home in the ’70s, and you almost feel compelled to do the hustle to it. The ’80s sounding “Hawaiian Air” has video game-like bleeps. Both this track and “True Love” (guest starring Holy Ghost!‘s Alex Frankel on clavinet) buzz along with Jack Savidge‘s relentless drumming leading the way, and for some reason, they just don’t ring true with me. I’m going to assume that these translate better live than on record, and I hope when the live Pala and I are formally introduced next week in Washington, we’ll get on like a house on fire.

Pala by Friendly Fires will be released in America on May 24 on XL Recordings.

Tracklisting
01. Live Those Days Tonight
02. Blue Cassette
03. Running Away
04. Hawaiian Air
05. Hurting
06. Pala
07. Show Me Lights
08. True Love
09. Pull Me Back to Earth
10. Chimes
11. Helpless

Tour Dates:
May 25 – Webster Hall / New York City
May 26 – 9:30 Club / Washington, DC
May 27 – Paradise / Boston
May 28 – Corona Theatre / Montreal
May 30 – Phoenix / Toronto
May 31 – Lincoln Hall / Chicago
Jun 01 – Varsity Theater / Minneapolis
Jun 04 – Venue / Vancouver
Jun 05 – Neumo’s / Seattle
Jun 06 – Doug Fir / Portland
Jun 08 – Independent / San Francisco
Jun 10 – Music Box @ Henry Fonda / Los Angeles
Jun 11 – Teatro Chino De Six Flags / Mexico City
Jun 12 – Escenica / Monterrey, Mexico

Friendly Fires: website | myspace | Friendly Fires review | Remix Monday: “Skeleton Boy” | @ Black Cat | @ Dot to Dot Festival | interview with pt. 1, pt. 2, pt. 3 | Mercury Prize Nominations Announced | New Video on MTV, To Play Jimmy Kimmel and Winter Nylon Tour, Release Expanded Version of Debut Album | @ Lollapalooza 2009 | @ le poisson rouge | @ Music Hall of Williamsburg | on Jimmy Kimmel | Remix Monday: “Paris” | @ Paradise | Friendly Fires / Holy Ghost! – 12″ Split Single | Friendly Fires to Release Mix CD Including New Collaboration with Azari & III | Friendly Fires Announce Appearance at South by Southwest and Spring North American Tour, Album Due Out Soon

Liverpool alt-rock / dance / punk / pop band the Wombats are about to release their second full album, called The Wombats Proudly Present…This Modern Glitch. (Yeah, I know, it’s a mouthful – but their first released in the UK was called The Wombats Proudly Present: A Guide to Love Loss and Desperation, so I guess they wanted to continue the trend.) There’s been a lot of hype surrounding this sophomore effort overseas. Three singles have already been released in Britain (“Tokyo [Vampires and Wolves],” “Jump in the Fog,” and “Anti-D”); they hosted a special album launch party at the tony Supper Club last week; and this week, the new album is currently riding high as this week’s Album of the Week on both Zane Lowe‘s evening BBC Radio1 program and XFM over there.

And on the whole, the hype is deserved. The proceedings start in style with “One Perfect Disease,” touching on a common subject for pop songs: being in a toxic relationship. In the light of the popularity of Phoenix‘s more dancey songs like “1901,” America should take a shine to this beat-perfect, synthy dance anthem. The mad beats continue into “Tokyo (Vampire and Wolves)”: the Japanese capitals seems a random choice for a title, but I’m not going to complain when something’s got an amazing groove. “Techno Fan” and “Walking Disasters” might not be stellar in the lyric department but again, the Wombats come through with catchy tunes.

Their current single in the UK, “Anti-D” (music video below), is unique with emotional violin and tender lyrics that might make you cry. (It’s based on lead singer Matthew Murphy‘s own addiction to anti-depressants.) It’s not hard to see this soundtracking a rom-com in the near future. Or perhaps the song after it, “Last Night I Dreamt,” which has surprisingly amusing yet incisive lyrics for a pop song: “I tend to cry in a room full of laughter / as the cheese finally slipped off of its cracker / I don’t know / I just prepare to let it go.” When the Wombats employ humor, it’s total win: in “Girls and Fast Cars,” Murphy insists, “I’m a man of simple tastes / no whiskey or caviar / what I feel is what I say / I’m not trying to be smart / I like girls…girls and fast cars!” before breaking out into a sweeping chorus.

“Jump into the Fog” seemed like a strange choice for first single; it’s not bad, but it’s slow and lumbers along – not exactly what you want to hear from a dance punk band. Of a similar vein is “1996,” which is, disappointedly, not as exciting as Neon Trees‘ “1983,” talking instead about “building telescopes” and “kissing with one eye on the TV set.” The guitar work is admirable though. The closing track, “Schumacher the Champagne,” comes in from left field compared to the whole of the album. It’s the heaviest track on the album and not designed for dancing; perhaps it should be viewed more as a grand parting shot? But even if you don’t like this song, you can’t ignore the well-crafted electronic indie rock/pop on the rest of The Wombats Proudly Present…This Modern Glitch. Yep, English electropop is alive and well – and as usual, excellent.

The Wombats Proudly Present…This Modern Glitch will be released in North America digitally on April 25 and physically on April 26 via Bright Antenna.

Track Listing:
01. Our Perfect Disease
02. Tokyo (Vampires and Wolves)
03. Jump into the Fog
04. Anti-D
05. Last Night I Dreamt
06. Techno Fan
07. 1996
08. Walking Disasters
09. Girls and Fast Cars
10. Schumacher the Champagne

Tour Dates:
May 31 – Bowery Ballroom / New York City
Jun 01 – Troubadour / Los Angeles
June 03 – Rickshaw (Popscene) / San Francisco

The Wombats: website | myspace

The Holy Ghost! story begins in 2007 – when Alex Frankel and Nick Millhiser, childhood friends and mutual lovers of dance beats, released a song that quickly became a dance classic, “Hold On.” It’s hard to believe it took them four years, but here we are in 2011, and the dance duo is finally releasing their self-titled debut album. No surprise they’re releasing it on their good friend James Murphy‘s DFA Records. Actually, you can trace James Murphy‘s influence in this first release of Holy Ghost!‘s: Murphy asked Frankel and Millhiser to tour with LCD Soundsystem in 2010, which forced the duo out of their comfort zone (usually presiding over the decks at dance clubs as DJs, never playing live) to come up with a Holy Ghost! live show. Interview Magazine has called their sound, “Michael Jackson meets New Order at a 1979 disco.” Right up my alley.

Indeed, songs from their debut album are currently being played while the duo, with three additional musicians, are opening for Melbourne’s Cut Copy on their North American tour, now in progress. However, Frankel has said, “I didn’t want to limit myself to making an album that could only be played in clubs,” with Millhiser adding, “we were trying to make something that people would want to listen to, front and back, at home.” Their self-titled debut album is a testament that this can be done – and can be done well. Two of the 10 tracks on this effort (“Static on the Wire” and “Say My Name”) are from the band’s Static on the Wire EP released last year, and the aforementioned “Hold On” also figures on this album. All three are superb tracks; it’s not hard for me to imagine these being played for sweaty masses on a dance floor, albeit possibly in clubbier, more drawn-out versions.

But you’d be remiss to only focus on those tracks. The album opener, “Do It Again,” is mesmerizing, with its relentless driving rhythm and shimmery synths. “Wait and See,” which DFA is giving away as a free download on Soundcloud, is clear evidence of the band’s ’70s disco / ’80s new wave and electropop sensibilities. “Hold My Breath” is cut from a similar cloth. “Jam for Jerry” is an upbeat yet wistful tune, likely to be a loving homage to the late Jerry Fuchs, drummer of LCD Soundsystem and !!!, disguised as a dance love song.

The best track on here is “It’s Not Over” – here is where I’m guessing any New Order comparisons began. The synthesized bass line sounds like it was yesterday that Bernard Sumner was surreptitiously pushing Peter Hook out of the band with programming, only that with Alex Frankel’s soulful vocal delivery and tribal drum patterns, it’s something very unique that you won’t quickly forget. As a dance record, Holy Ghost! is not in your face, and that’s a good thing. Most dance recordings are overproduced, overwrought jumbles of sound with no direction. This one hits all the right buttons.

Tracklisting
01. Do It Again
02. Wait and See
03. Hold My Breath
04. Say My Name
05. Jam for Jerry
06. Hold On
07. It’s Not Over
08. Slow Motion
09. Static on the Wire
10. Some Children

Holy Ghost!‘s self-titled debut album will be released on April 12 on DFA Records. The band is currently on tour as support for Cut Copy. The band will also make appearances this month at Coachella on April 15 and at a headlining gig at Brooklyn’s Music Hall of Williamsburg on April 29.

Tour Dates
Apr 04 – House of Blues / Boston*
Apr 05 – Club Soda / Montreal*
Apr 06 – Terminal 5 / New York City*
Apr 07 – Sound Academy / Toronto*
Apr 08 – Riviera / Chicago*
Apr 09 – First Avenue / Minneapolis*
Apr 12 – Showbox SoDo / Seattle*
Apr 15 – Coachella / Indio, CA
Apr 16-17 – Grand Ballroom @ Regency / San Francisco*
Apr 20 – Granada Theater / Dallas*
Apr 22 – Stubbs / Austin*
Apr 23 – Republic / New Orleans*
Apr 29 – Music Hall of Williamsburg / Brooklyn*
*supporting Cut Copy

Holy Ghost!: website | myspace | Friendly Fires / Holy Ghost! – 12” Split Single| Interview with: Alex Frankel of Holy Ghost! | @ U Street Music Hall | @ 9:30 Club | ‘I Know, I Hear’ video | DFA Records Curating NYC DJ Residency Free to the Public

It’s unfortunate, but electronic music doesn’t really get a fair (mainstream) shake in America. You can see this by the cities most electronic acts and DJs choose to play: New York City, Los Angeles, Miami, and maybe some lucky others in between. My hope, specifically, is for English electronic bands, who traditionally do extremely well in European and Asian markets, to do equally as well here in the U.S. In 2009, I was pulling for Dan Black. Last year I was stumping for Delphic. This year it’s Fenech-Soler, four guys from a little town called Kings Cliffe, who get my vote. When I say little town, I mean that the band (comprised of brothers Ben and Ross Duffy, Daniel Soler, and Andrew Lindsay) is the only thing from there I’ve ever heard about. I had to look the place up in Wikipedia to find out exactly where this was.

This is not a dig. Not at all. Actually, the fact that they wrote their self-titled debut album, released in the UK last fall, in what Fenech-Soler singer Ben Duffy describes as “a little corner of Northamptonshire“ and their “hideaway” makes it all the more unlikely. Their name came up often in conversations I had with friends, but it wasn’t until I heard that the band were chosen as support for Delphic (at an important Manchester Warehouse Project gig in Delphic‘s hometown) that I really took notice.

Listening to their track “Lies,” there’s no surprise why the Manchester trio chose them for a famed rave event like Warehouse Project. The great thing about dance music is (and more than any other genre I think), it doesn’t matter who wrote it or where the band is from. If a song is well-written and has a good beat, you can bet your bottom dollar that it will get people on the dance floor and bodies moving. This is the feeling I get from Fenech-Soler‘s debut release in America, the Demons EP.

The title track of the EP first grabbed me because the chorus reminded me a lot of Dan Black‘s “Alone.” But lyrically, it’s more dense, in a good way. While I give that the words “I’m the one / you’re the drug to ease my pain / I was wondering / if you ever / see me again” isn’t Shakespeare, they work because this is dance music. When you’re on a dance floor, you want a song that has amorous, yearning lyrics and a monster backbeat paired with clean, bouncy synths, so you can sway your arms in the air and move your hips. At least that’s what I look for. Sexy spoken words on a breakdown are always a plus too. “Demons” ticks off all those boxes admirably.

“Stone Bridge” with solid piano chords and equally solid vocals from Duffy shows that the band knows their way outside the stereotypical dance track. The song has a darker, sultry edge that would appeal to people who usually run from dance albums. If I had to compare this song to another band, I’d probably name Keane, who have turned to dance and synth beats for their last two releases (2008′s Perfect Symmetry and 2010′s Night Train). Except for the fact that two-thirds into “Stone Bridge,” Fenech-Soler‘s electronic soul is fully realized. Also included on this EP is the “White Version” of “Demons,” where the band strips down the original track to a slower pace, with Duffy’s gorgeous voice showcased as the beauty that it is. (The band are so nice that they’re offering this song, along with other stripped-down versions of other album tracks “Stop and Stare,” “Battlefields,” and “Contender” for free download on their official website.)

Besides Delphic, Fenech-Soler have recently toured with the likes of White Lies and Kelis, so they’ve got friends in high places. And if you still aren’t convinced about this band, I suggest having a listen to the Groove Armada track “Paper Romance,” featuring Duffy on vocals. All I can say is there must be something in the water in England that somehow makes practically every English electronic band sound fantastic. I’m so glad the Demons EP is finally coming out on this side of the pond. America, get ready. Fenech-Soler is ready to rock your world. Let’s go dancing. And put St. George’s crosses on your cheeks while you’re at it.

Fenech-Soler‘s Demons will be released in America on March 29.

Track Listing
1. Demons
2. Stone Bridge
3. Lies
4. Demons (White Version)

Fenech-Soler: website | myspace | “Demons” video

In the Noughties, the British music scene was littered with female blue eyed soul singers; the ones that stood out in front were bad girl Amy Winehouse, doe-eyed lass Duffy, groovy Joss Stone, and the wild card, Adele, who managed a breakout hit here in the U.S. with “Chasing Pavements.” The London soul singer is back in 2011 with her second album. Like 19, her debut album released in 2008, this one is named 21, for the age she wrote these songs. Kind of unimaginative. Well, this is a woman who writes mostly ballads…and this album went straight to #1 on its first week of release in the UK in mid-January, and when it ain’t broke, don’t fix it.

I feel it necessary to start this review by saying Adele has a great voice. She really does. The problem I have with 21 is that all the songs are too similar. There are essentially two types of sound on here: there are delicate acoustic tunes, and there are over the top, over-orchestrated ones with backing soul singers. Then there’s only so many times you can hear a woman singing the sentiment, “what did I do wrong? I’ll change, if you [come back / stay with me].” See “Don’t You Remember,” “I’ll Be Waiting,” “One and Only,” and “He Won’t Go.” It’s not that I’m a cold, heartless stone. I’ve loved and lost, I can relate to the feelings, generally. I’m no feminist, but I chafe at hearing another woman singing how she’s going to give up everything for her man to get him.

Then there’s the opposite emotion, which I think comes across as more real. “Rolling in the Deep” was chosen as the lead single. And with good reason. The tempo is upbeat (thudding drums and banging piano chords), and when it comes to emotion, there’s nothing like a woman scorned. When she sings, “we could have had at it all / rolling in the deep / you had my heart and soul / in your hands / but you played it / to the beat” and “you’re gonna wish you / had never met me,” you feel it. Maybe it’s no “You Oughta Know,” but it’s close. “Rumour Has It” is cut from the same cloth, but the shouted “rumour has it!” over and over gets annoying after a while.

The strength of Adele‘s voice comes across winningly in “Someone Like You”; this is the one song on here I can overlook the cloyingness. Also included on this album is an inspired cover of the Cure‘s “Lovesong.” This could have gone terribly wrong, but Adele gives the ’80s classic proper reverence with a bossa nova interpretation that Robert Smith should be applauding. Like sappy ballads? This one’s for you.

21 by Adele will be released on XL Recordings on February 22. She will be touring North America in support of this album on the dates below.

Track Listing:
01. Rolling in the Deep
02. Rumour Has It
03. Turning Tables
04. Don’t You Remember
05. Set the Fire to Rain
06. He Won’t Go
07. Take It All
08. I’ll Be Waiting
09. One and Only
10. Lovesong
11. Someone Like You

Tour Dates:
May 12 – 9:30 Club / Washington, DC
May 13 – Electric Factory / Philadelphia
May 15 – House of Blues / Boston
May 16 – Olympia Theater / Montreal
May 18 – Kool Haus / Toronto
May 19 – Beacon Theatre / New York City
May 23 – Royal Oak Music Theatre / Royal Oak
May 24 – Riviera Theater / Chicago
May 26 – First Avenue / Minneapolis
May 28 – Ogden Theatre / Denver
May 29 – Depot / Salt Lake City
May 31 – Commodore Ballroom / Vancouver, BC
June 01 – Showbox at the Market / Seattle
June 03 – Crystal Ballroom / Portland
June 04 – Warfield Theatre / San Francisco
June 08 – Humphreys Concerts by the Bay / San Diego
June 09 – Wiltern / Los Angeles
June 12 – Stubbs Waller Creek / Austin
June 15 – House of Blues / Dallas
June 17 – Tabernacle / Atlanta
June 18 – Orange Peel / Asheville
June 20 – Ryman Auditorium / Nashville

Adele: website | myspace | Adele Announces May and June North American Tour, Album Stream Available on NPR