Kleinschmager Audio

Audiology

(Rrygular; US: 31 Mar 2009; UK: 23 Feb 2009)

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Rrygular is one to keep an eye on, and now you have another reason why you should. In 2007, the label delivered From Karaoke to Stardom’s Undo Redo Weirdo, one of the most absurd and intriguing electronic mixes of the year, and now they’ve brought us the striking debut full-length from Germany’s Kleinschmager Audio. The name represents the partnership of noted engineer and deejay Jörn Kleinschmager and producer Niklas Worgt, who joined forced for a series of EPs starting in 2007. The fruits of those efforts have now been collected, repackaged, and tweaked for Audiology. That’s fine by me, though. I long for Rrygular to release more albums, and this small piece of gold is only their third. I take what I can get, and this record is definitely worth taking.

The easy view would be to see Audiology as a collection of singles, which has been the detriment of many electronic releases, but the quality of these ten taut oddball minimal masterpieces will silence all doubts. The economy this Reich-ian duo gets from a limited number of sounds is already beyond impressive. They send surging waves of energy out in a radial blast with every beat, pulsing along at that kickin’ tempo, without resorting to the build-up/breakdown instant gratification cycles that exist in the mainstream electronic doldrums. Kleinschmager Audio have fantastic skill in uncouth aural manipulation that breathes new life into often familiar and dated, occasionally trite and amateurish, samples and sounds, as well as a keen sense of space and timing. I can’t wait to see what they do with a proper album in mind.

—Alan Ranta

Joyo Velarde

Joyo Velarde EP

(Quannum Projects; US: 26 May 2009; UK: 26 May 2009)

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If you are a Lyrics Born or Quannum Projects fan, chances are you already know songstress Joyo Velarde. The hip-hop/funk/soul vocalist has put her stamp on numerous joints with her future hubby along with other Quannum acts. And before taking the stage herself with a solo LP scheduled to drop this year, she offers us a quick self-titled EP that falls flat. Where Velarde and her team of producers deserve ample credit is in the effort displayed on here. There is no bubblegum-pop aimed at breaking into the Top 40. Instead, the vocalist and her crew, in true Quannum style, have taken a step back into the ‘90s and even the ‘80s. So it’s safe to say the production is, if nothing else, refreshing. And it’s especially satisfying when Velarde sounds at home over the beats and instruments, such as on the atmospheric and melodic EP-opener “Build This World” and poppy “Take You Home”.

But where the former Opera-student falls short is in portions of her execution. Velarde has a strong set of pipes, there is no question there. Some of her key choices, though, are somewhat odd, particularly on “The Way We Are”. She sounds strained as she hits falsettos over the fine production from Lyrics Born and Jumbo, who laced the beat with horn stabs and an upbeat vibe. Even on other tracks when she sounds more comfortable, Velarde still struggles. Though this is a disappointing effort, there is still hope for her upcoming debut LP, Love and Understanding. It’s set to feature even more strength behind the boards from the likes of Jake One and RJD2. And, with any luck, it will also contain improved and more refined songwriting.

—Andrew Martin

Here Holy Spain

Manic

(Idol; US: 7 Apr 2009; UK: Unavailable)

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On their debut, Dallas trio Here Holy Spain passionately fuses three strains of rock and roll: the heavier, more insistent side of the indie scene, more traditional, straight-ahead punk ("Same Vein"), and edgy yet accessible rock a la Foo Fighters or Queens of the Stone Age ("Chasing the Chaser"). Each of the album’s ten songs is delivered with an immediacy, an earnestness and an energy that augments the band’s skill and amplifies the strength of their presence.

Standout tracks include in-your-face opener “Trouble Is”, the blistering title cut, the pleading “Fix Me”, and the aforementioned “Chasing the Chaser”. Manic is certainly a team effort; there are no out-front stars here, as each member of the trio makes a significant contribution. Patrick Ethan’s drumming is superb, marked both by consistency and wicked fills, bassist Erica Guagliardi adds depth and urgency, while vocalist/guitarist Wes Todd shows an understanding of the give-and-take between raw, visceral emotion and melodic sensitivity both in his riffs and vocals. Manic is a great first album and, unlike some debuts, doesn’t suggest that Here Holy Spain is on the road to relevance. It shows they’re already there.

—Aarik Danielsen

Shirley Johnson

Blues Attack

(Delmark; US: 24 Feb 2009; UK: Import)

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Shirley Johnson’s blues is a bit of a curveball. There’s a certain happiness about it, a pervading sense of joy that entices you to dance. The title track of her latest effort, Blues Attack, sums up the approach. It’s a fever, a type of infection, that seeps into her system and gets her feet moving. This, in spite of her legion of songs that blast unfaithful lovers and slick talkers for their wayward shenanigans ("You’re Reckless”, “Just Like That”, “You Just Using Me"). What always works for Ms. Johnson is her distinctive voice: weathered, experienced, and emotive. It is her most valuable instrument, operating in conjunction with a band that’s trump tight and includes piano and organ work from Roosevelt Purifoy, Lovely “J.R.” Fuller, Jr. on bass, Luke Pytel’s left channel guitar, and Cordell Teague on drums. 

The teamwork between vocalist and band also shines, whether they’re working over a Motown-style rhythm ("My Baby Played Me for a Fool"), belting out doo-wop ("634-5789"), jamming to James Brown-ish funk ("Take Your Foot Off My Back"), or dealing in traditional blues ("Let It Rain"). While lamenting the snakes of the world, Ms. Johnson isn’t afraid to testify to her own venom, like when she gets caught cheating in “You Shouldn’t Have Been There” and she points the finger back at her man for being at the wrong place at the right time. She’s also vulnerable enough to be hopeful ("I’m Going to Find Me a Lover"), admit her selfishness ("Selfish King of Gal"), and play the foolish mistress who has an affair with a family man ("Felt So Good").

Nitpicks? Just a few. There’s an overriding sameness to the faster tracks, one which works from a consistency point of view but brings the album down a notch in terms of freshness. Besides that, I’m not so sure the world needs another version of the classic “Unchain My Heart”. Though enjoyable, the project sounds like an invitation to catch the live show in Chicago, Illinois, where Ms. Johnson regularly performs. That’s not a bad thing, but it is an indication that the stage show doesn’t completely translate to the album experience.

—Quentin B. Huff

Nosaj Thing

Drift

(Alpha Pup; US: 9 Jun 2009; UK: import)

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LA is to hip-hop producers what Portland is to indie bands. Hence, newcomer Nosaj Thing had to fight through a lot of legitimate competition to win his contract at the consistently stellar Alpha Pup. When you hear his debut album Drift, you will know he earned it. This will not be the last you see his name attached to a heaping spoonful of praise.

Granted, after listening to this album half a dozen times, I find myself struggling to enjoy it as much as I did the first few times I heard it. After a while, it starts to go in one ear and out the other. Yet, I believe this is purely a matter of experience and not talent. He has some great ideas, investigating unique electronic and digital hybrid sounds that make up his beats without going glitch gangsta style like edIT or Machine Drum. With a little more complexity and consistently fully fleshed out compositions, he will be one of the genre’s big names.

There are still plenty of highlights to be found in the Drift track listing, though. “Us” is a choice downtempo chill track, with ethereal pads floating around compressed, staggered beat. “Fog” gives the album its early momentum, thanks to a sliced up feminine breath and a suspense/thriller synth melody. “1685/Bach” is more typical for the electronic hip-hop genre, based around a bold synth lead and punchy beat accented by jangling spurs that almost act like a kind of gun-clap. If this album had a lead single, “1685/Bach” would be it. To the uninitiated, one could pick just about any track off this debut and find something impressive about it.

However, to the prospective career fan, these tracks simply aren’t quite intricate enough to sustain a good number of repeat listening. Several sound like they are missing a vocal track, rather than being unquestionably enough to sustain the listener’s unadulterated focus. That’s where Nosaj’s next album will come into play. Drift is a fabulous introduction to a burgeoning beat-making talent, one of the finest since edIT’s Crying Over Pros For No Reason, but Thing’s next record will likely be his One Word Extinguisher. That is where all the questions will either be answered or forgotten.

—Alan Ranta

Trespassers William

The Natural Order of Things

(Gizeh; US: 25 May 2009; UK: 25 May 2009)

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The second EP and fifth release from Seattle’s Trespassers William doesn’t mess with their time-tested formula. It’s yet more spacey, dreamy pop, delivered with winsome detachment by Matt Brown and Anna Lynne Williams, the duo at the heart of the band. But reinvention isn’t always needed (or wanted), especially when Trespassers William deliver these five shoegaze numbers with wit and style. While they throw in little changes here and there (some echoing drums on “Red”, an anthemic melody on “Sparrow”), the song remains basically the same. But for fans of ethereal bedroom pop, The Natural Order of Things offers a perfect solution for dodging the summer sun: just pull up the covers, turn up the stereo, and enjoy.

—Emily Tartanella

Bubba Sparxxx and DJ Greg Street

The New South

(E1; US: 5 May 2009; UK: Import)

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For The New South Bubba Sparxxx and DJ Greg Street compiled some of the scene’s brightest acts (and gave Sparxxx nearly 1/3 of the disc for his cuts). The result is a coherent and well-sequenced mix, but it’s not revelatory. Whether it’s fortuitous or carefully calculated, Sparxxx provides the highlights here—aside from the dud “She Got Me Like (Ahh S***)”—leaving his shadow over the up-and-comers he’s promoting. Fans of the New South sound will find plenty to enjoy here, but this disc certainly isn’t a compendium of future superstars. Most of the tracks are highly functional and there’s little worth skipping here; there’s also not enough that’s going to break anyone. Producer Looney Tunez provides one of the best beats, but Hustle Boy and Jim Jones blow it with dull, acquisitive rhymes. That said, there are a few artists and tracks to keep an eye on, particularly J. Money ("1st Name Last Name") abd 6’6” 240 ("Up to No Good” featuring Playboy, with a restrained beat from 95). The compilation makes a nice sampler for the target audience, but it’s not as memorable as you’d hope.

—Justin Cober-Lake

Jesse Harris

Watching the Sky

(Mercer Street; US: 3 Mar 2009; UK: 3 Mar 2009)

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Jesse Harris appeared on many listeners’ radar when he wrote four songs for Norah Jones’ megasmash debut Come Away with Me (most notably, he penned “Don’t Know Why"). He’s been fairly busy since, and while covers of his songs by folks like Jones and Madeleine Peyroux have no doubt been good to his bank account, the eight records he’s released on his own (and with the Ferdinandos) show that he hasn’t been resting on his laurels. Watching the Sky is a natural follow-up to 2007’s Feel, which found Harris exploring bright arrangements and even a slight world-music vibe. Lyrically, though, Watching the Sky contains lyrics full of uncertainty and uneasiness, seemingly at odds with the precise songwriting. Harris’s pop craftsmanship, however, never translates into an emotional outburst, with much of the coloring coming from flashes of reggae ("On a Day"), Brazil ("What You Wanted"), and other styles. He’s calm, thoughtful, and restrained. It’s the kind of pop/rock that you can see other people transforming into hits, but also the kind of thing that Harris himself could do no other way.

—Andrew Gilstrap