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26 June 2003

Kinski/Paik/Surface of Eceyon, Crickets & Fireflies (Music Fellowship)
This three band compilation is for those who prefer their music to extend beyond three or four minutes of pop bliss and into more textured territory. Kinski, Paik and Surface of Eceyon are united by their love of instrumental music that creates rich sonic landscapes that their listeners can get lost in. Although the three artists recorded their tracks in different locations, the four songs on here come together as if they were meant to be various movements in a larger orchestration. Kinski, a Seattle band who just released the fantastic full-length Airs Above Your Station on Sub Pop, are up first. The wonderfully titled "Keep Clear of Me, I am Maneuvering With Difficulty", starts with a quick piano introduction before unleashing a sonic avalanche. The song is twenty swirling minutes of crashing instruments that will light up your speakers like a violent lightening storm. Kinski's ominous sound serves as the perfect lead in for the Michigan trio Paik. They contribute two songs, "Spanish Holiday" and "Eva". The first begins with an onslaught that is as graceful, and powerful, as a bulldozer. However, Paik are not merely brutal, as the guitar feedback sounds like lost souls crying out in the night proves. On the surface, the second Paik contribution, "Eva", is more melodic, however unsettling tones, courtesy of some very creepy synthesizers, permeate. The result is a song that sounds like an orchestra of ghosts tuning up for a movement that never ends. Both Kinski and Paik serve as a fine warm up for the remarkable Surface of Eceyon. Topping the 20 minute contribution of Kinski, and the 13 minute contribution of Paik, Surface of Eceyon provide nearly half an hour of delight. "Concert of Stars" is a most fitting title for a song that has all the shimmering beauty of a clear night sky. It is the kind of song that should be triggered by whatever higher being may exist every time someone pauses to look up at the stars. Synthesizers brilliantly intermingle with guitars that bring to mind Godspeed You Black Emperor at their most beautiful. After the raucous tidings brought by Kinski and Paik, Surface of Eceyon's gentler hand provide awe-inspiring relief.
      — Adam Dlugacz

Dopo Yume, True Romance (self-released)
Young, pretty, and brimming with self-confidence -- these are the trademarks of the bands of the so-called rock revival. Dopo Yume, a photogenic five-piece from New York led by a singer in his early twenties, are no exception. On True Romance, their self-released debut album, the band even score a couple additional buzz-generating points by getting some help from two bona fide young and pretty second generation rock celebrities, Sean Lennon and Bijou Phillips. But while it may be pleasant enough to listen to while drooling over the band photos on the inside cover, True Romance isn't particularly notable for any other reason. Not for its lyrics, which are mainly low-energy tales of going out and getting with girls, and especially not for its music, as most of the songs employ the same sort of basic keyboard and guitar lines, and the same chugging tempos. Perhaps the most compelling aspect of the album is singer Jordan Galland's rather theatrical delivery, which slightly resembles that of Pulp's Jarvis Cocker with a perpetual cold. That aside, for now it may be better to wait for the obligatory spread in the Rolling Stone "Hot Issue" and hold off on buying any Dopo Yume music until the boys have acquired a few forehead wrinkles and some creative depth.
      — Christine Di Bella

George Duke, Face the Music (Bizarre Planet)
This is the first George Duke album for many years not to appear on a major label. Those who were hoping for a more experimental set, devoid of smooth and "commercial" trappings will be disappointed. Actual Duke fans, however, will be delighted that Face the Music showcases the many aspects of the pianist/composer/producer's talents as developed over one of the most varied and productive careers in popular music. The album fully demonstrates what has made Duke the in-demand figure he is (and also what has driven the guardians of "real" jazz to distraction). Fittingly, it opens with an updated version of his classic piece for Cannonball Adderley, "The Black Messiah". This is confusingly bracketed with dialogue from a live show from Duke's time with the Adderley band. It's a great tune and a timely reminder of Duke's compositional skills in the West Coast soul-jazz format. The hidebound will have to leave it there. From then on it's cross-generic journey time. 1970s fusion, jazz-funk, jazz rock, funk, smooth, ambient, world and sweet soul flavours all get the classic Duke treatment (helped by some exceptional bass-playing from the superb Christian McBride). Even his brief stint with Frank Zappa receives a passing nod ("Creepin'"). If you can cope with the unashamedly "black popular music" sensibilities, Face the Music is a joy from start to finish. The deeply funky "Chillin" and Duke's vocals on "Close to You" were my choice moments, but from the cool "Guess You're Not the One" to the JB-like "Ain't It Funky Now", this is an album that devotees will devour eagerly and skeptics would be well advised to investigate.
      — Maurice Bottomley

New York Dolls, The Best of New York Dolls (20th Century Masters: The Millennium Collection) (Mercury/Universal)
Just how influential were the New York Dolls? Considering that the band's fingerprints can be seen on bands ranging from The Sex Pistols to Guns N' Roses to The Strokes since its early 1970s flash-and-burn existence, the scope of its influence rivals the Velvet Underground's in terms of sheer pervasiveness. But where the Velvets at least managed to put a whole four LPs together before imploding into legend, the Dolls only made it through two -- which is exactly why this compilation seems so unnecessary. Boasting 11 tracks and clocking in at a paltry 40 minutes, this is a case of vault-plundering at its most extreme. The disc collects five tracks apiece from New York Dolls and Too Much Too Soon, throwing in the outtake "Lone Star Queen" (from the post-dissipation Rock 'N' Roll compilation) for good measure. While it's a fine superficial overview of the Dolls' short career, between glaring omissions (where's "Human Being"?) and the fact that both original albums are readily available on CD at the budget price tier, there's not an awful lot here to recommend.
      — Scott Hreha

Ty Cobb, 7y Co66 EP (Abstract Dragon)
For those who liked B.R.M.C. in theory, but couldn't quite get on board with their polished sound and mainstream concessions, well, here's the group for you. In addition to the band's formal connection to the Bay-area natives (they are presently signed to B.R.M.C.'s Abstract Dragon imprint), Ty Cobb also shares its penchant for bluesy, shoegaze-indebted riffs. However, where B.R.M.C. smoothes their early 90s haze with sophisticated production, Ty Cobb take a decidedly no-frills approach, preferring to leave the songs as rough sketches. When it works, such as on the lead track, "Wheel," Ty Cobb manage to explore the muddy chaos of the Jesus and Mary Chain while still retaining a uniquely American, indie sensibility. Sometimes their lo-fi aesthetic runs contrary to their British pop songwriting, but it's easy to forgive the band when they're attempting to bridge such disparate traditions. Call it B.R.M.C. for the Guided by Voices set.
      — Jon Garrett

Various Artists - Indie Choice 2002 (ModMusic)
ModMusic is a New York company founded in 1999 who are on the crusade to help nourish local bands. The Indie Choice 2002 disc is a compilation of that company's Indie Band Search competition. The judges in the panel include "major and independent label A&R scouts, publishers, radio DJs, music press, music attorneys, television and film music supervisors, celebrities, and industry professionals". Sounds kind of like American Idol on speed. Disastorus? For the most part, yes. It seems once again that "indie" here means nothing and that there were far too many people with their hands in the proverbial pie. But this stuff is pure gold for those A&R troops. Envelope's "Stay" sounds tailor made for an episode of Gilmore Girls. Telepopmusik's favorite chanteuse Angela McClusky weighs in with "It's Been Done", a rather ironic title that could fit easily into any sorts of car commercials. Lava Baby's "Sex Junkie" sounds like a really bad leftover from 1993 or an outtake from say the Josie and the Pussycats soundtrack. On the other side of the fence, you have stuff that sounds like it's desperately trying ot sound "indie", such as Champagne Francis' insipid "Waterskis", NYC Smoke's we-wish-we-were-Ryan Adams "Empire of Doubt", Kathleen Edwards' flaccid alt-country "Six O'Clock News", and Golden Green's phony alt rock-cum-"punk" "Incomplete". Basically this is the kind of stuff one could most likely find on mp3.com without much trouble. Should you be looking for any of these talents to be breaking out any time soon? Probably not. All the reps have made safe choices once again. Oh yeah, this stuff would sound great on the radio, but that's homogenization for you.
      — Jason Thompson

Various Artists, Salsa Creole (Tinder)
You don't have to know salsa to fall in love with the fast drumbeats and pulsating pianos showcased on Salsa Creole, the fourth release in Tinder Records' salsa series. The Spanish Caribbean rhythms are infectious throughout this compilation and feature the best in vocalists and latin jazz piano maestros. The historical significance of the genre, which has survived colonial slavery in the Caribbean and Africa and bloodied political and economic upheavals- only adds a haunting context to the complex Latin ballads on Salsa Creole and exemplifies the importance of beauty transcending danger throughout time. French Antillean Ralph Thamar, also known as the Crooner of the Caribbean whose voice is as smooth as cornsilk, offers two stunning songs on Salsa Creole; the first, "La Nueva Era" is a swinging, upbeat number that sets the shimmering tone for the rest of the album with it's intense wail. Thamar's influence in felt throughout this album, and his tribute to the Guadeloupean composer and bandleader Gerard la Viny is a sweet, subtle foray into merengue. Mario Canonge's "Adelante" is a dramatic and powerful lesson in the potential of piano to carry the spirit of salsa into the next century. The seductive Bolero solo by Edith Lefel, "La Foule" is as enchanting as it is catchy, though it is strange that the only female vocalist on the compilation was named after a devastating cyclone. No matter, whether you know the languages represented in this collection (Spanish, French, Creole) or you simply dig the beats, this is an excellent way to gain an lifelong appreciation for the diversity of the salsa genre, as all the all-stars properly showcase their talents here.
      — J.Victoria Sanders

.: posted by Editor 6:05 PM