Darla Records

Carousel

admin — Fri, 13 Nov 2009 17:05:00 +0000

It is hard to imagine Robin Guthrie’s music without the accompanying voice of his former better half, Elizabeth Fraser. Her vocal styling, a combination of mouth music and abstract lyrics, became a trademark of the Cocteau Twins and left a distinctive quality that remains even if she works with other musicians. Case in point was her 2003 collaboration with French avant garde artist Yann Tiersen from the album Les Retrouvailles.

However, it is a shame that many, including yours truly, often overlook Guthrie’s unique genius—not because he is a man overpowering Fraser, who admitted in an interview in 1996 that her over-dependence on Guthrie was her downfall, but simply because his talent overshadows his post-Cocteau efforts. The loquacious Guthrie is a producer (Lush, Wolfgang Press), a collaborator (movie projects), and a music all-arounder (engineering and programming).

After the cult band’s demise in the mid-’90s, the former members are still active in the music scene and their followers still celebrate their music. Every year, fans initiate an event known as the Cocteaufest where they feast on the compositions of Guthrie, Fraser, and Simon Raymonde with the indirect support from the former band members.

Imagine the moment I held Carousel for the first time. Mixed feelings surged in. I was part hesitant, part curious, and part excited. Being a long-time Cocteau Twins fan, would it live up to my expectations? Does Carousel have something new to offer? After listening a few times to Guthrie’s latest instrumental work, I had this strange feeling that Fraser’s vocal parts would suddenly appear only to be disappointed that this is no Cocteau Twins album.

After all these years, Guthrie is still making such atmospheric sounds known as dream pop. Carousel feels so utterly familiar that a tear or two will start coming down on your cheek. Once again, you can hear Guthrie’s guitar shimmer the way it did back then. Once again, here come the rich melodious basses that ruled Cocteau’s past albums—from Treasure to Victorialand to Heaven Or Las Vegas.

The opening track “Some Sort of Paradise” promises a good start. It is so ethereal and pure putting your mind at ease at once. The third song, and my favourite, “Delight,” is a pure delight itself. It recounts of danger and excitement. Perhaps, it is also a testament to adventurous sex. “Mission Dolores” is a poignant song that delivers sadness and urgency. The closest you can get to Guthrie’s well-loved Cocteau are through the songs “The Girl with the Little Wings” and “Waiting by the Carousel.” Images start to emerge from one scene to another—jellyfish, heavenly bodies, oceans, lost young women, innocent children, and faceless naked men. These are the things you associate upon listening to Guthrie’s music.

Don’t get me wrong. Though Carousel oozes with loveliness, it requires your full attention. Mind you, it isn’t intended to be played in the background. In order to appreciate the album you have to slow down, or, better yet, stop what you are doing. But once you decide to sit back, relax, and press the play button of your player to hear the ten operatic ditties, Guthrie’s magic dust that is Carousel never ceases to amaze.

Written by: Elen P. Farkas, November 13th 2009

Twentieth Century Chemical

admin — Fri, 13 Nov 2009 01:01:00 +0000

By Those Bastard Souls

Darla Records

Those Bastard Souls is the side project of The Grifters’ David Shouse. The album Twentieth Century Chemical is a reissue; it was first released in 1996. To be honest, I haven’t heard of Shouse’s main gig. I don’t know anything about his other band either. Relying on the liner notes supplied by Shouse and a small entry from the Wikipedia, the name Those Bastard Souls might pertain to his idea of rotating musicians who helped him put out the project recording it in six different studios in Europe. My last resort was to trust the songs coming out from Twentieth Century Chemical.

Apart from the original twelve tracks, seven songs have been added in this new version, mostly, unreleased stuff. Twentieth Century Chemical is a product of a five-year musical collaboration. Shouse gathered all his musician friends to work on it. It served as his creative pause from The Grifters with no expectations of the album being a commercial success. Among those who gave a helping hand were Joan Wasser of The Dambuilders, Steven Drozd of the Flaming Lips, and a host of other guitarists and drummers, including the ex-band members of the late Jeff Buckley, who, by the way, was a close friend of Shouse and Wasser’s former lover. Of all the musicians who came and went, only Wasser and Matt Fields of God and Texas and Red Red Meat would remain until the end.

I’d like to say forget track one thinking that it was just a “silly” filler. But after spending a few times listening to it, it has become so hilarious that it is the proper way of introducing the band. The honky-tonk melody of “These Things Will Slay You Every Time” packs a good punch. The track “Curious State I’m In” has an infectious chorus you can’t help singing along with at the end. Unfortunately, there’s a part in the album where a few tracks lose a certain momentum leaving the listeners empty.

Shouse is right. Twentieth Century Chemical might not be his ticket to success, but it is a decent record that you can crank up whenever you need some diversion. This is one of those records that grows on you the more you listen to it.

Written by: Elen P. Farkas, November 12th 2009

Connectivity

admin — Thu, 26 Apr 2007 18:00:00 +0000

By Mahogany

Darla Records

In a music genre that tends to sound much the same, Mahogany has come back after a five year absence with a new album that manages to stand out from the rest.

Connectivity has eleven songs that mesmerize. This listener is reminded of ancient chants. The soft male and female vocals lull one into a scene not unlike Mahogany’s album cover. My favorite song, “Renovo” is one wave of strings and horns with almost a classical feel after another. Just as one relaxes into the rhythm, a delicate voice enters, “Can you find the edge of this vast complex land?” A question to set the listener’s mind thinking.

“Domino Ladder Beta” seems a little out of place in this collection with its dark sound. My favorite song was “My Bed Is My Castle” that mixes programmed beats with live guitars and vocals. The bass is beautiful.

This CD captures the energy it takes to both plan and build a city, the hopes and dreams of the future, even if the city is only within us. It reminds this listener of a gleaming contemporary skyline. So, if you’re into electronica, take a listen to Connectivity. You will enjoy.

Written by: Ann Hite, April 26th 2007

Raising Your Voice… Trying to Stop an Echo

admin — Sat, 13 Jan 2007 19:13:00 +0000

By Hammock

Darla Records

The latest album by Hammock, Raising a Voice…Trying to Stop an Echo, is a beautiful compilation of piano and electric guitar that stretches across genres showing mass appeal to many different audiences. All eighteen tracks on this album enrich you with a cascade of sound that is perfectly harmonious. The songs flow seamlessly from track to track making it seem more like an orchestrated concert just for you as opposed to just another album. Listen closely and you can hear beautiful string accompaniments and steady percussion.

This album is ideal for relaxing after a long day of work, guided meditation or to add a little enchantment into the everyday. Many times when listening to albums of this genre a rock n' roll die hard such as me has a tendency to cringe. However, this is one album I will definitely keep in my collection for years to come. I look forward to future albums by Hammock.

Written by: Diana Tierney, January 13th 2007