Sweet-voiced troubadour Jamie Woon has released with Moonwriting an album held together almost entirely by subtlety. Alongside James Blake, Woon represented the more demure, subdued and pensive side of the BBC's sounds short list. Some balance, against all the young female theatrics (Clare Maguire) and slightly pedantic überpop (Jessie J). His current single 'Lady Luck' is all about that. The video shows the pensive singer, being driven around town, lost in thoughts. Being carried away by the anonimity of city life. Debut Single 'Night Air' shares a similar distant vibe. One third smooth dub-beats, one third irrestistible dance-track and one third Woon's gorgeous, soulful voice was one of the highlights of early 2011 and a light fixture in the dark, cold times associated with those horrible end of winter weeks.
Let's get one thing straight though. Woon is all too often pushed into the post-dub box, while in fact that is not really the sound he is after. Or more accurate, it's a far too narrow description. In reality, he ranges from dubstep influences over soul to even R&B. It's a conscious choice, the singer explained in interviews, seen as how for it works so much better with his smooth, warm voice. The son of British folf singer Mae McKenna grew up in a musical environment, but after graduating from the BRIT School, he took his time to find his place, meanwhile supporting Amy Winehouse, among other things. The result of that is that at 28, he is able to present a debut that reflects not only his undisputable talents as a singer-songwriter, but also a certain degree of maturity he would not have had 5 years ago. Jamie Woon is one who stands out in the crowd, without explicity standing out in the crowd, or trying to. In a sense, it's a very old-fashioned approachIf James Blake is the posterboy for the 2011 post-dubstep generation, then Jamie Woon is much the same for a rekindled neo-soul generation. Tracklist 1. Night Air 2. Street 3. Lady Luck 4. Shoulda 5. Middle 6. Spirits 7. Echoes 8. Spiral 9. TMRW 10. Secondbreath 11. Gravity 12. Waterfront
Tagline: 'Alphabeat on valium' On their fourth long player, Australian indie pop band Architecture in Helsinki does what it does best: making a record composed entirely out of enthusiasm, happy thoughts and streamlined, bubblegum pop songs. Moreover, it might just be their most accessible album thus far. Moment Bends is one of those albums you could probably describe as a little mellow - although some might argue that it is rather very mellow. Whether or not that is a good thing, will depend on whose listening, but either way it is very irresistible music.
Moment Bends takes of with the dreamy 'Dessert Island', a soft-voiced love song, floating on a smooth synth vibe. And what else but a pan flute is throw into the mix to pimp up the whole thing. The song is followed by even more excitement with 'Escapee', a virtually weightless air bubble of a song, breating More bouncy-bouncy electropop in 'Yr Go To', a song so obnoxiously happy, it almost hurts (the wedding bells!). But by then, you'll probably already be sucked into the vortex, so there's a chance you won't mind. On 'Sleep Talkin' it will be hard no to imagine lying on a bed of fluffy white clouds, while wearing a night gown and night cap. And on 'I Know Deep Down' we reach the blissful pinnacle of the album's sugar sweet happy vibe. Perceptive listeners will notice how the first note strikingly ressembles the opening tone of Justin Bieber's 'Baby'. If you're not hearing that, it's because you don't want to (an understandable case of selective deafness), but it's a great song either way. Another enjoyable track it 'That Beep', which was released as the lead single of their That Beep EP back in 2008. Like so much on the record, any efforts to find some tangible depth will be fruitless on this track once again, but the playfulness and sincere excitement with which the band brings the song make up for a lot. In fact, for those who secretly don't mind the extreme optimism Architecture in Helsinki shares with the Danes of Alphabeat, Moment Bends will most likely contain few flaws. And now for the bad news: at times the band's sweetness can start to annoy a little. After a while the album can start to feel like one long valium-induced trip. Joyful, but also a bit numb and over-the-top in a bit of an artificial way and believe me, after half an album that can start to tire. In a way Moment Bends sometimes evoked the sensation I experienced as a kid playing Tombi, after he had defeated the Forest Evil Pig (aka the light blue one), thus bringing the dwarf village back to its original state of joy. Sure, I'd happy for the dwarves, but the unbareable lightness of their existence and even more so the excrutiatingly empathic, mellifluent tunes that went with the new world, would strongly dissuade me from spending much more time there. Much like that obscure 1990's gaming reference, Architecture in Helsinki will probably not speak to everyone, nor will its lightness appeal to everyone. But in small doses there should be a time and place in everybody's life for bouncy pop tunes, soft, dreamy vocals and the whole fanfare thing. And sure, on the wrong timing it may also lead to a murderous rage. But it's still worth giving a try. You never know.
Value seekers may want to check out their second album In Case We Die, which offers just a little more avant-garde and just a little less indie pop. And if it can all sound a little more grown up, their fellow Australians from Cut Copy might be your thing.
Tracklist 1. Desert Island 2. Escapee 3. Contact High 4. W.O.W. 5. Yr Go To 6. Sleep Talkin 7. I Know Deep Down 8. That Beep 9. Denial Style 10. Everything's Blue 11. B4 3D
Commiserations to Clare Maguire and Jessie J, but it seems that Katy B is the pop hope we have been waiting for. Her debut On A Mission is a catchy, skillfully conceived dancefloor gem.
I’ve been slow to catch up with recent dubstep phenomenon Katy B. But, as it happen, she is all over the place and is steadily building up something of a loyal fanbase. I decided to let myself of with a warning and got with it. Katy B – born Kathleen Brien – was born in 1989, reminding me the fact that I’m getting old, and graduated from the infamous Brit School for Performing Arts, which spawned established names like Amy Winehouse, Kate Nash and Adele (for the sake of argument we’ll just leave Leona Lewis out of the equation). With Katy B another exponent of the highly anticipated 2011 dubstep generation emerges - if nothing else, bloggers and hipsters serve the purpose of telling us which artists we should like and which genre will set the standards (without them we would for sure still be listening to our 1970's 8-track cassette tapes of the Beatles, while hunting for food with a sharpened stick). And after the dark, melancholic post-dubstep (already post, really?) of guys like Nicolas Jaar and James Blake, it was high time for something we can all just dance to.
First single 'Katy On a Mission', a riveting dubstep gem, heated up many a dancefloor late last year. About halfway through the dozy, mezmerizing 'Disappear' makes for a well-placed break. On some tracks B goes for more of a dancepop sound. Like 'Witches Brew' for instance, a songs which vaguely reminded me of some of the better moments on Estonian singer Kerli's 2008 debut. And raise your hand if you didn't have even the slightest let's-go-Lasgo-moment while listening to the fantastic current single 'Broken Record'. There is also one noted feature on the album, by none other than garage-original Ms. Dynamite. The 2002 Mercury Prize Winner (for her album A Little Deeper, which spawned the fantastic single 'It Takes More') is a perfect add-on on house-inspired club track 'Lights On'. With 'Go Away', B slips a ballad, polished to perfection, into the mix, in which she displays her vocal range complete with the kind of vocal cascading I assume is a crucial element in the curriculum of the Brit School. All in good taste though, which goes to show that it's perfectly doable. Ultimately it's not so much the song format that's rotten, but rather the melodramatic production and soulless, hollow and impersonal performance that have defined so many ballads over time. And with 'Hard To Get' Katy B shuts down the party with the perfect cool-down track, as trumpets accompany her while she goes through her thank you notes. It's not quite done after that, for those who are patient there is one hidden bonus track left ('Water'), which is once again highly danceable and has a bit of an otherwordly feel to it, like a dream almost, fluttering in
Katy B is on a mission and after listening to her album over and over it's clear that that is more than just a sales pitch. The beats are fresh, vocally B knows what she's doing and the song lyrics surpass the kind of generic randomness many pop artists aiming for mainstream succes can rarely seem to outgrow. Don't get me wrong, pop music shouldn't intend to incorporate life's questions, indulge in personal pain and suffering (one Linkin Park is more than sufficient, thank you) or aim for completely avant-garde abstractions. But it's pleasing to here a female pop singer making something of a personal statement and - God forbid - have a story, without the whole seemingly inevitable - and equally unnecessary - 'fighting adversity with a somewhat annoying kind of faux-girl power thoughess'-attitude. Katy B genuinely seems to be doing her own (new) thing, without looking at others too much, but while still thinking outside the box. And for me personally she is the first new electronic pop princess who has succeeded in making me forget about the strong 2009 generation and for that alone she deserves my appraisal. My first guilty pleasure of the year is a fact!
Hunx and His Punx is an American rock band consisting of noted musical queer Seth Bogart (Hunx) and his all-female backing-band Punx. Attentative readers will know Hunx as frontman of electropop group Gravy Train!!!! (four exclamation marks, please), a group as trashy as it is explicit and strongly indebted to the gay/lesbian love theme. And as if that, in combination with a delightfully flamboyant singer, wasn't endorsement enough, anyone who releases an EP called Gay Singles deserves some extra credit with me. With Hunx and His Punx Bogart opted for a change of style, explicitly modelling his sound after 1960's girl bands and garage punk. An all-female back-up band makes for an obvious, but nontheless perfect complement in that light, and the romantic, guitar-driven songs do the rest. One similarity remains however, and that is the fact that as with Gravy Train !!!! it seems as if he is having a lot of fun with this new project. That fact by no means suggests that Hunx and His Punx should not be taken seriously. In fact, that would be a gross misconception. Hunx may be as noted for his music as for his overtly sexual and somewhat theatrical appearance, but it's the music that is the core of Hunx and His Punx, which is an honest hommage, and a fairly good one at that. Part of it is pastiche, but in addition to that the new direction signals an evolution towards more of a grown-up Hunx and that is worth commending. Loyal Gravy Train supporters may not find the same things here, but despite the obvious genre-shift even they will be able to appreciate the occasional wink. And above all, Bogart didn't tone down the attitude. And it doesn't hurt the album's credibility either. The overall tone of the record is of honest intentions and thus the band avoids falling through the trapdoor of parody. The loose, humoristic approach and the authentic aestetic of the music ultimately make that this album can uphold itself nicely, even though in the end, it steers clear from conventions. Good job. Tracklist 1. Lovers Lane 2. He's Coming Back 3. Keep Away From Johnny 4. The Curse Of Being Young 5. Too Young To Be In Love 6. If You're Not Here (I Don't Know Where You Are) 7. Bad Boy 8. Tonite Tonite 9. Can We Get Together? 10. Blow Me Away
On his sixth long player, UK producer Bibio shows incredible craftmanship and versatility. Unfortunately all this technical superiority sometimes gets in the way of delivering something truly inspiring. British electronic producer Stephen Wilkinson - better known under his stage name Bibio - is not the most conventional of producers. No loud beats or cheap samples here, no gratuitous features or vocal name-dropping either. Wilksinson is a do-it-yourself-man and a nostalgic. He has so far released five albums and a couple of EP's and on his new album Mind Bokeh Wilkinson continues with the same momentum: his signature combination of smart electronics, and intelligent sampling. He explores a wide range of styles and influences of styles, going from ambient, melancholic folk ('More Excuses') over distorted electronica ('Excuses'), indie-rock ('Take Off Your Shirt') to even happy, danceable electropop ('Anything New'). Key element though is the melancholic, ambient vibe that holds the whole album together. Whether it's a Nicolaas Jaarish atmposphere complete with organic sound-sampling (Excuses), the mysterious, oriental sound on 'Pretentious' or the sleepy, nostalgic title track, Wilkinson knows how to create a mood and above all that how to blend all these different approaches together. Vocals take somewhat of a backseat role on the album, blending into the structure and rarely standing out. It makes for a heterogenous complex and in a way it, and to his credit, he successfully manages to maximize his own limited capacities, through suble sampling.
So why only two stars? Don't get me wrong, Mind Bokeh is never less than good. It's particularly well-constructed and original. But as a whole the album rarely really wows. There's plenty of ideas on it, but they don't always make for a truly inspiring result. For that, his music often sounds a bit contrived. Well thought over and showing amazing workmanship and sampling skills but too theoretical to really leave a mark. In that it should be no surprise that Bibio's music has often been labeled as 'intelligent dance music'. Although in the end, that will always lie in the eye of the beholder, so to speak. Bibio perhaps doesn't create the most accessible type of music and even if you do give it a go, chances are it might just speak to you. But to those who don't mind a portion of smart, intricate electronica, Mind Bokeh will probably stand up from the crowd. More than anything Mind Bokeh shows how relative musical taste can be and how wide the gap that lies between objective and subjective grandeur. Tracklist 1. Excuses 2. Pretentious 3. Anything New 4. Wake Up! 5. Light Seep 6. Take Off Your Shirt 7. Artists' Valley 8. K Is For Kelson 9. Mind Bokeh 10. More Excuses 11. Feminine Eye 12. Saint Christopher
Three stars for revelation Rowdy Superst*r and one for Patrick Wolf, who despite more than decent execution, stayed far below the standards we have come to expect from him. That's the conclusion of a fairly disappointing performance by one of music's brightest stars. Rowdy Superst*r
Warming up for Patrick Wolf was electro-rapper Rowdy Superst*r. In all honesty, I had never heard of him nor did I not have high expectations. I was wrong to be sceptic. Rowdy Superst*r turned out to be somewhat of a revelation. Think a flamboyant mix of Spank Rock, Dizzee Rascal and Nicki Minaj and put the sum of those pople in gold sequined trainers. Flanked by two amazing female dancers he brought a show bursting with energy and eccentricity. Rowdy is a stylist - check out Cocknbullkid's video for 'Hold On To Your Misery' - and that showed during his show. It didn't take more than a couple of construction lights, two silver bazooka-like objects and a whole lot of sparkle to lift his performance up from the otherwise pretty depressing vibe hanging over the Rotunde. Not even technical difficulty could get in the way of things - as both Rowdy and his dancers showed impeccable improvisation skills. And to top it all off, the songs were not bad at all. Ladies and gentlemen, a st*r is born.
Patrick Wolf
The last time I saw Patrick Wolf was in the fall of 2009. It was at the end of his European tour for The Bachelor and a couple of months after his Pukkelpop passage (my first PW live experience). It had been an exhausting tour, his blonde extensions looked a mess, but it didn't withold him from giving his all for the final performance on the continent. The one thing I remembered most though from that show was Wolf's genuine sadness when he couldn't play a second round of encores because he and his band had to catch the ferry back to the UK. It was epitomizing for the man's unstoppable passion, which together with his talents as a singer-songwriter and instrumentalist, make him one of the few artists that truly stand out.
At his return on Friday Wolf had reason to be joyful. His new album Lupercalia is set to drop in May and in addition to that the singer got engaged to his long-term boyfriend. Yet on stage, Patrick Wolf - dressed in a burgundy suit - seemed like a shadow of the exuberant optimist I saw over a year ago. For some reason Wolf didn't to be having the best time and evidently that had its toll on the show. The same went for his band, which looked equally distant throughout. The gitarist and keyboardplayer did their best to establish some sort of connection, but the two female instrumentalists, in charge of additional violin, piano and the necessary horn sections failed to produce a single smile and seemed to waver between being overly focussed and total disconnect.
Despite a constant quality and flawless execution, the performance – apart from having no lows - had no real highs either. The songs were sung the way they should have been, all instruments were played live, but as a whole the performance lacked in persuasiveness. Apart from an occasional 'Thank you' and two rehearsed addressals - he inserted the passages 'belgian boys' and 'Brussels' into two songs - Wolf seemed absent and somewhat disconnected. He seemed to rush through his set, without ever truly throwing his full weight in the balance. The few up-tempo songs lacked their usual joyful exuberance while the slow songs more often than not sounded dragging, rather than emotional. The show ended pretty abruptly and without any real climax. After that Wolf returned for one – seemingly cumbersome – encore, preluded by a messy sample of ‘Hard Times’ and that was it. Afterwards the stage lights started flickering again in a final attempt to get the crowd rowed up, but it seemed that the artist had already left the building.
At that point you can’t help feeling a little disappointed. Maybe it was the venue. With its capacity to hold some 400 people, the Rotunda is far too small to host Patrick Wolf in all his grandeur. An option would have been to go for an intimate session, preferably acoustic, but even then it is hard to grasp why this event was scheduled for the Botanique’s smallest room. A man of his stature deserves better. And maybe he just had an off-day. One consolation though: the new songs sounded interesting, giving a hopeful impression of the upcoming album. So let’s just keep it at a one-off mishit and add that even when he stays well under his own full potential, Patrick Wolf still sticks out above average purely based on talent.
Mississippi-born popstar Britney Spears first rose to prominence when she featured as a child laborer in the New Mickey Mouse Club, one of Disney's many ways to construct and distribute prefabricated pseudo-happiness. In 1998 'Hit Me Baby One More Time' propelled her to stardom and from then on, her path has not always been a steady one. With In The Zone, she proved that with the right entourage she was capable of remaining a somewhat relevant artist in the pop scene once the initial fad had worn of - albeit clearly in the lighter regions of the genre. Songs like 'Toxic' were nothing less than perfect pop music, and Spears even took some creative control (although it's probably best not to overstate that fact). Unfortunately though, subsequent to her newfound glory, Spears crashed and burned the way only professionally made artists can lose grip. Years of intense marketing and industrial quantities of producers had failed to provide her with anything even remotely close to a personal identity and like so many former child stars, Spears had never had to care of think about anything involved with her stage persona. One thing neither Disney, nor mainstream record companies seem to consider as being very important is inserting some form resilience and personality into the their human money factories. And when that framework then all of a sudden disappears, they all succumb to disaster and tragedy at some point. It will happen to the Biebster as well.
The media jumped on the former sweetheart's demise and as things go, she found herself falling from grace faster than a speeding bullet. Until she was picked up again in 2007. By the time she had gone about as white trash as one can get, but nontheless her new album Blackout did put her back on the map and although it would still take a while for the singer to get things back on track, by the time she released Circus in 2008 it seemed as if the old Britney Spears had been resurrected. At risk of overstating things, one could even argue that Spears had established herself as one of the truly relevant pop artists of the decade, not just in terms of record sales, but also critically. And that is why I, in good conscience, can't ignore the release of her seventh studio album. Because at this time there cannot be anyone left who doesn't have some sort of affinity with her music. After all, there is not much that lights up a party like a Britney song. Whether it's an oldie everyone knows the lyrics to, without ever admitting to liking it, or one of her more recent songs, which have never displayed much depth, but nontheless have a undeniable irresistibility. But alas. Blackout and Circus showed promise, but unfortunately Femme Fatale doesn't leave much of an imprint at all. It seems that in the end the personal issues, the psychological exhaustion over years of being used up by a greedy industry and the crazy inherent to most everyone beneath the Mason-Dixon line have irreversibly caught up with her. The joy is gone - as is a significant part of her motor skills - and there is a certain sadness surrounding the singer. Not that Femme Fatale is not a perfectly polished pop product. But the songs sound dead and a similar tired and cold vibe comes from Spears herself as her voice is excessively auto-tuned, ridding it of any human emotion. Even though songs like 'Hold It Against Me' have potential, the record as a whole feels forced and mechanical. The agressive dance beats ('Till The World Ends') might get you dancing at first, but won't hold your attention for even the 45 minute duration of the album. Songs like 'Inside Out' and 'I Wanna Go' can just maintain a weak sense of experimentering, without ever really wandering of the middle of the road (and that is taking in account that the latter all too often reminds of something David Guetta could have thrown up). But the dreadful second half of the album, consistently ignoring the existence of 90's eurodance, is what really sinks the deal, with yet another Will.i.am carbon copy as a sad pinnacle. So all in all Femme Fatale does not live up to the expectations that could be held, albeit that that is only in part due to the interchangeability of the songs and sounds. The other part is the lifelessness on display here and the overtly impersonal feel of the record. In that respect Femme Fatale is very much in line with the work she did in her early days (Disney and Hit Me Baby) in that is just as fake, staged and overproduced. Sadly though, in this 2011 update, the underlying tragedy shimmers through. And in that way it should be a warning to soccer parents around the globe to take it down a notch. Musically the album is catchy at best, but at its worst, it is unbareably hollow and produced to the point of sounding dead. Much like Spears herself lately: bright and cheerful on the outside, but dead behind the eyes.
