funk

What Day Is It Tonight? (Live 1993-2008)

admin — Tue, 09 Mar 2010 09:00:00 +0000

Hipster culture exists and sustains itself on a continuous loop, a vicious never-ending cycle, like a Möbius strip or an Ouroboros, the snake eating its own tail. Take something once mainstream and now uncool, adopt it with tongue planted firmly in cheek as “so bad it's good,” deem said sound/product/style “cool,” and watch as it is co-opted by a broader audience and becomes mainstream. Later, rinse and repeat. Every once in a while such a revival of the old dredges up some long-lost gem, but most of the time it's just masturbatory. It's hard to know which of these – true appreciative nostalgia or hipsterdom – motivates Trans Am.

When it comes to culture, it seems very likely that people can revive punk or disco or New Wave from now until the end of time. Trans Am has based their entire musical careers on revivalism, specializing in the recording and performance of original music that sounds like it was originally made by someone else. Much like British band Primal Scream, Trans Am are professional genre hoppers. The group is definitely possessed of the musical alacrity it takes to convince the casual listener that Trans Am is serious about the songs Trans Am makes. They've undergone a number of different sonic incarnations over the years, including krautrock and electro-funk. It's a point made plain by their December 2009 release, What Day Is It Tonight? (Although given a limited release of 1500 copies – and now listed as discontinued by the manufacturers on Amazon.com – the live album is still available as an MP3 download.)

The group's sense of humor permeates every song, from titles to instrument choices, from rhythms to how they use reverb. Vocals are filtered through vocoders and synthesziers. Opening track “Conspiracy of the Gods” is bombastic wankery from first note to last. Frantic '80s car-chase-scene guitars and a rolling surge of drums accompany that classic unmistakable '80s keyboard warble. It's a track played with genuine passion in the midst of the group's supposedly mocking interest; it even ends with the classic boom drum wind down. "Tesco v. Sainsbury's" is inexplicably about two British supermarket chains. Because their music is predominantly instrumental, there are no lyrics to explain why Trans Am chose to record a song that supposedly pits two grocery stores against one another. They just recorded the song, and perform it quickly and efficiently.

As a listener with a deep-seated disdain for noodling and a longtime appreciation for synthy rock mishmashes, my own aesthetic sensibilities mean I'm personally more inclined to like the blippy and the bloopy tracks, although “Play In The Summer” (from 2000's “The Red Line”) is a good guitar-driven track. There are two things that strike me as odd about this live album. First of all, although the album claims to cover the band's career from 1993 through 2008, the group's Allmusic.com biography states that the band formed in 1990, but didn't record until 1995. Secondly, while there are seventeen songs on What Day Is It Tonight?, none of those songs come from their first three albums. Trans Am released an album a year from 1996 through 2000, but the first album whose live songs are on “What Day Is It Tonight?” is the 1999 release “Futureworld.”

Maybe this is all part of their self-awareness of the clichés of popular music.

Written by: M. Brianna Stallings, March 9th 2010

Devil’s Halo

admin — Sat, 28 Nov 2009 17:01:00 +0000

By Meshell Ndegeocello

Mercer Street Records

I have always admired the artist who is not afraid to spotlight the daily catharsis we call life, and put it into an artistic pill that the masses will not sicken themselves on if left to process with their own devices. Some examples of this type of artist are Marvin Gaye, James Baldwin, and Stevie Wonder. I am not comparing or contrasting; I am simply stating personal observations and opinions. People generally do not get criticized by those closest to them for their growth—be it emotionally, spiritually, or even physically. Those who love us, or are simply enthusiastic admirers of who we are and what we do, tend to be very supportive and appreciative of our plight.

Given the preamble, those enthusiastic admirers who fall outside of the category of family (and sometimes this is also true for those who fall inside of it) tend to be a bit more conditional with their admiration. They want a brilliant finished product, not the torturous, heart-wrenching but beautiful in-betweens. In my humble opinion, Meshell Ndegeocello’s Devil's Halo is that beautiful in-between because it is a compilation of her experiences on the way to the finished product. “Tie One On,” “Bright Shiny Morning,” and “Blood On The Curb” remind me of songs that should be in a movie about twenty-somethings having an existential crisis—and that’s a good thing. “Love You Down” makes me wish I were in Ndegeocello’s head to figure out how she rendered Ready For The World’s original to such a soulful level. I am sincerely apologetic when I say I didn’t care too much for the original version, but I can’t get enough of this one. “Devil’s Halo” is a grooved out track I wish were longer, and a couple honorable mentions are “Lola” and “Hair of The Dog.”

Ndegeocello has never been afraid to take things to another level; although not everyone has appreciated those levels. Her works suggest that she chooses to maintain her own artistic integrity, not the desires of an industry continually adhering to a code of values that fluctuate with the value of the dollar.

Fans tend to be conditional with their appreciation, or lack thereof, and only want a perfectly packaged product that sounds exactly like why they began to like the artist in the first place. I presume the musical diversity Ndegeocello presents as songs suggest her emotional, spiritual, and physical growth-something we all go through, but are not as critical of. The in-between times are manifested in those artistic pills we aren’t always willing to swallow on our own. Hopefully, this one will go down easy for those who truly and enthusiastically admire Ndegeocello's work.

Written by: Olupero R. Aiyenimelo, November 28th 2009

Rated O

admin — Wed, 14 Oct 2009 08:24:00 +0000

By Oneida

Jagjaguwar

Brooklyn’s noise rockers Oneida revel in not being able to be pinned down to a definition. They also are enormously motivated, as their newest offering, the triple album Rated O, can attest. While they have been classified as psych rock or krautrock, the influences on Rated O are wide ranging. The record gets started with a clear nod to Nigerian Disco Funk with “Brownout in Lagos,” and goes on to resemble the soundtrack to the soundtrack for a videogame from a dystopian future on “10:30 at the Oasis.”

The record captures Oneida’s hypnotic noisiness with plenty of loops, guitar hum, and feedback melodies. It also features bursts of vocals, though the function more as a layer of noise and atmosphere than singing, especially on “What’s Up Jackal” and “The Human Factor.” The band also reminds listeners they still know how to write a rock song on “I Will Haunt You.” Tracks on the album are long. About a third of them clock in at over ten minutes, and the epic feeling “Folk Wisdom” over 20, but it adds to the hypnotic nature, with one song displaying enough moods for an entire album, yet also carefully building on established melodies and themes.

Oneida certainly are not for the casual listener and Rated O’s triple album length requires commitment. However, the rewards for sticking around are great. Many bands set out to make multi-layered, atmospheric albums that show off their chops, but few succeed as well as Oneida.

Written by: Eleanor Whitney, October 14th 2009

From the Heart

admin — Thu, 26 Mar 2009 23:29:00 +0000

By Aretha Franklin

Legacy Recordings

Aretha Franklin's From The Heart compiles sixteen love songs from the Queen of Soul's exhaustive, five-decades-deep discography. Ranging from the very sentimental to the very funky, it's too short to be a hits compilation, and too erratic for a proper seduction.

It's also largely rooted in the eighties, with several cuts culled from 1982's Jump to It and Get It Right. The former, her first entrance into the post-disco commercial pop sound, was also a celebration of her longevity, marking a transformation of sound and a renewed sense of vitality. This album's songs, namely "Love Me Right" and "I Got Your Love," embrace the funk, and Aretha sounds almost giddy as she playfully maneuvers within the new sound. The call-and-response of her big God-fearing voice and the Me Decade's signature slap-bass makes the listener want to saunter onto the dance floor and wrestle with a new formula herself.

But more songs come from Get It Right, almost universally derided as mediocre. Where Jump to It's lyrical content took a backseat to Aretha's sheer presence, here the schmaltzy balladry is front and center–and Aretha doesn't seem too enthused. She coasts indifferently above cheesy and dated melodies, occasionally breaking into over-the-top vocal theatrics that fail to make up for the otherwise tepid delivery. Save "Every Girl (Wants My Guy)," in which Aretha smartly "breaks it down" to a girlfriend over the phone, the work from this album is, indeed, phoned in.

From The Heartworks best when it reaches all across Aretha's vast career, from the very old to the most recent. The selections off of 1998's A Rose Is Still a Rose, notably the Lauryn Hill-produced title track, find Aretha embracing a more urban sound, and establish her as a voice not only of empowerment, but wisdom. Elsewhere, the jazz standard "Misty" sounds almost appropriate for the Porgy & Bess soundtrack, the music bluesy and timeless, her voice guttural and raw. It's a side of Aretha I feel unacquainted with, and a side worth exploring.

The most memorable cut is possibly the least fitting. In her 1964 version of "Unforgettable," the ingenue sings over a full orchestra; while her voice doesn't carry the power she would develop later in her career, it's certainly evidence of things to come. The young Franklin's greatness is inherent, and the huge, swelling instrumentation seems simply fitting, elevating but not enhancing.

See, Aretha doesn't need help. She just needs to be inspired. Beside her gospel-trained voice, Aretha's longevity stems from her ability to own a song. Much of her best work, including the anthemic "Respect," is penned by men. By the same token, much of her best work is about men. In wrenching these simple love songs from other singers and showing them how it's done, she reiterates two-fold her power. She embodies the feeling, establishes her independence, and earns our respect.

From The Heart, however, doesn't quite capture this. Largely uninspired and listless, much of this seems from the pocketbook or from the depths of a too-long recording contract. Only rarely does it sound, truly, from the heart.

Written by: Sarah Jeanne Lombardo, March 26th 2009

Skeletal Lamping

admin — Sun, 01 Mar 2009 11:06:00 +0000

By Of Montreal

Polyvinyl Records

I absolutely loved this album.

Before laying down my justifications for such a grandiose statement, I must put forth a couple of caveats. First, this is the only Of Montreal album I have ever listened to. I was familiar with a few of their better-known songs, but that’s it. Skeletal Lamping is the band’s ninth studio album. Second, I don’t typically like the type of music Of Montreal makes. While their sound is notoriously eclectic and has changed over time, Of Montreal in its current incarnation is most accurately described as "techno-pop-funk glam." I don’t like techno, and the word pop makes me shudder.

Despite my ambivalence toward Of Montreal's particular category of sound, I still recognize brilliance when I hear it. The opening song, "Nonpareil of Favor" left me utterly confused, but in a good way. Packed into this one song I identified funk beats, brilliant lyrics, nonsensical and unmelodic grunge-like guitar riffs, Queen-inspired operatics, psychedelic meanderings, and pop-rock precision. Yet somehow it all came together—not perfectly perhaps, but I was left intrigued and excited for the rest of the album.

It was not until the third track, "For Our Elegant Caste," that I collected another reason for singing Of Montreal's brilliance. This song is ridiculously catchy. The second it ended, it was already stuck in my head. Of Montreal is certainly pop, and god, this song must be good to dance to. Other club-friendly songs include "Gallery Piece" and "Id Engager."

Of Montreal's lyrics are top-notch. They maintain the descriptive poetry of indie rock without the accompanying pretension. Suffused throughout is a sense of frustrated disorientation on the part of singer and songwriter Kevin Barnes. It seems Barnes is afflicted with both hatefully destructive and lovingly life-affirming thoughts. In "Death Isn’t a Parallel Move," Barnes bemoans that, "All my thoughts are from a foreign host/Now I feel just like a ghost," a sentiment which oddly mirrors what it's like to read Barnes' lyrics: the concurrent onslaught of such unalloyed spite, tenderness, anxiety, fear, and elation results in a certain sense of free-floating alienation and disembodiment.

Nowhere is Barnes more confused that in the sexual arena. Some of the lyrics drip with dirtiness, while others are drenched in romantic love. Barnes recently reunited with his estranged wife, which explains a lyric like "When you're dead, I’ll look for you like Orpheus/I’ll find you some way," from "Plastis Wafers." Yet from the same song is the less romantic declaration, “I want you to be my pleasure puss/I wanna know what it’s like to be inside you.” The juxtaposition of pornographic lust with romantic yearning is prominent in almost every track, and in "An Eluardian Instance," Barnes whines, "This inbreeding of ideas is intolerable."

Baffling incongruities bleed into every facet of the album. Dark and dreary lyrics are paired with flamboyantly upbeat tunes. Illicit lyrics are paired with jazzy, romantic melodies. Kevin Barnes is a befuddled mess, and he takes us along for the ride. Sometimes so many sounds are packed into one song that a jarring discordance results. If you like uncomplicated, easy listening, this is not for you. Other music critics tell me that while Skeletal Lamping is good, the albums Hissing Fauna, Are You the Destroyer? and Coquelicot Asleep in the Poppies: A Variety of Whimsical Verse are Of Montreal's true masterworks. Be that as it may, I can tell you with certainly that Skeletal Lamping took me by surprise and served as welcome antidote to the musical mediocrity that I've come to expect.

Written by: Katherine Don, March 1st 2009

Fabriclive 34

admin — Fri, 31 Aug 2007 01:20:00 +0000

By Krafty Kuts

Fabric

I am of the opinion that party music is best heard live while at the party. Loaded with funky break beats, old school rhythms, hip hop, MC style and unique mash-ups, suffice it to say that popping in [Fabriclive 3(http://www.amazon.com/gp/product/B000N6TYSU?ie=UTF8&tag=feminrevie-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=B000N6TYSU) on my home stereo while trying to keep it down (paper thin apartment walls) didn’t do this mix appropriate justice.

Brought to us by the internationally known and hyped DJ mix series from the London-based nightclub, Fabric, breakbeat DJ Krafty Kuts joins the lineup up of notables like Grooverider, Diplo and Death in Vegas, to put together his album, which is the 34th in the Fabric Live mix series. The more I listened to this mix, the more I enjoyed it. Translation: Initially, I wasn’t blown away, but there were pockets of excitement that kept me going that I could appreciate the more I let the music take me over. Of course, break beats aren’t for everyone — this isn’t your regular dance stuff that gets played over the speakers at Abercrombie.

While “The Message” by Grandmaster Flash is easily one of the most overused tracks of all time, the high-speed spacey remix actually reinvigorates a track that would otherwise be trite. I thought tracks like “The Weekend Breaks” were not quite as strong because they tended to sound more typical, but these don’t dominate the album. The mixes tend to get funkier and groovier on the second half, such as the second to last track featuring Dynamite MC and the aptly titled final track "Funky Jam (Primal Scream)." Having a special place in my heart for funkier sounds, these later tracks got me up out of my office chair and snapping my fingers! If I heard these in the club, you know I would be jamming.

Both astute and new listeners will be impressed by the range of genres cohabitating on this album, from the tried and true of Grandmaster to the salsa rhythms on Ralph Robles’ “Takin’ Over” (which became a quick favorite). Though some of the faster and harder sounds on the opening tracks might not appeal to everyone, if you didn’t give it a chance you would definitely be missing out on some solid grooves.

Written by: Lillian B., August 30th 2007

Perceptions of Pacha

admin — Fri, 01 Jun 2007 02:41:00 +0000

By Kiko Navarro

Swank Recordings

The most important thing to DJ Kiko Navarro is that “people must never stop dancing!” Although I’m not a consistent fan of house, and perfer hip hop when I feel the need to get down, Perceptions of Pacha definitely moved me.

Kiko Navarro is a producer and remixer who started working as a DJ in 1990 in Mallorca, Spain and released his first CD compilation titled The Latin Sound of Pacha in a collaboration with Tommy Boy UK and Pacha Group in 2001. He plays venues all over Europe and has a solid history of making great music in Spain, the UK, the U.S. and Japan. Perceptions of Pacha is his 2007 release with thirteen tracks of musical fun stemming out of his longtime residency at Club Pacha in Ibiza. Navarro’s Perceptions can be listened to online at Ibiza Global Radio every Saturday.

Perceptions of Pacha samples different musical styles and soulful vocals into this seamless album, where moments of funk, slices of neo-soul, raw percussion and beautiful instrumentals live next door to synthsized intros, a vocal scat session and horn solo, a piano/violin duet, a short hip hop-esque flow and references to disco and jazz. I loved his mix of piano and afro-cuban beats in “Ache pa Ti" and fell head over heels for "More," a soulful groove with soaring vocals and lovely lyrics. Next time I have a dinner party that wants to become a dance party, Perceptions of Pacha is on the decks!

Written by: Jessmaya Morales, May 31st 2007

Soul Sides, Vol. 2: The Covers

admin — Sat, 26 May 2007 02:35:00 +0000

By Various Artists

Zealous Records

Zealous Records continues to amaze with another brilliant compilation of classic soul tracks, Soul Sides, Vol. 2: The Covers. The 14 tracks range in style from old-school funk to smoother grooves. There are many highlights to the collection, but stand out tracks include Sharon Cash’s horn-inflected “Fever,” Antibalas Afrobeat Orchestra’s “Che Che Cole” and El Michaels Affair’s bass-heavy “Walk On By.”

The collection reaches its pinnacle with three tracks in particular, juxtaposed to showcase the reach of classic soul music. Al Green’s signature warmth is on full display in his rendition of “I Want to Hold your Hand.” Marcia Griffiths’ impeccable phrasing on “Here I Am (Come and Take Me)” compliments the lyrical simplicity to create a rich, emotional track. But it is Esther Phillips’ “Home is Where the Hatred Is” that steals the show. Phillip’s shows off her considerable musical gifts on this most emotionally raw song. All in all, the disc is a must-have for soul music lovers.

Written by: Ashvin Kini, May 25th 2007

Those Things

admin — Tue, 15 May 2007 18:54:00 +0000

By Miguel Migs

Salted Music

Miguel Migs' Those Things blends a fantastic mix of electronic, soulful, jazz elements together, complimented by stunning vocal performances, to make this follow-up to 2003’s Colorful You an instant favorite and leave its listeners wanting more! Quality musical performances highlighted on Those Things perfectly unite vocal performances with funky jazz riffs, bass, drums, sax, keyboards and guitar all into a groovy beat.

A native of Northern California, Migs demonstrates his multifaceted talents while writing lyrics and playing numerous instruments - including bass, keys, guitar and percussion. Migs was nominated in 2004 by the House Music Awards in London for DJ of the Year, and has had his music featured on the television shows Sex In The City, Six Feet Under, and MTV’s Road Rules and The Real World. Those Things is a must have for your collection.

Written by: Diana J. Fitzgerald, May 15th 2007

Ladyfest South (January 25-28, 2007)

admin — Fri, 13 Apr 2007 23:30:00 +0000

Various Locations

Atlanta, Georgia

Ladyfest South is always a blast because it is back to back lady talent for a good cause. Ladyfest South 2007 happened over four nights at four venues in Atlanta and featured over fifty music and spoken word acts. This year’s beneficiaries are The Rock N’ Roll Camp for Girls and The Fund for Southern Communities.

Thursday January 25, 2007 - Eyedrum Art Space

Phat Man Dee from PA is amazing and fun to see. She sports interesting costumes and sings cabaret camp and pop. Julia Carroll is a "hard folker" from Gainesville Georgia, an Ani inspired, in your face young lesbian who sounds a little like Suzanne Vega, and whose style is a la Johnny Cash talk/sing. Julia’s songs are fast paced and socially conscious. Julia has really grown in her voice, stage presence and guitar work. With her high cheek bones, thin frame, high energy and jeaned attire Nashville’s Steff Mahan slightly resembles Michelle Malone. Steff is country folk, plays guitar as hard as Amy Ray, and really blew the crowd away with her impassioned performance and songs from hard time experiences. "God, Are You Mad at Me?" was about a lousy 2006.

This writer always loves to see Renee Mixon, from Rome, Georgia. Renee is a teacher with a fresh, clean, look and attitude. Her songs of love and loss are timeless, have rhythm, and are always interesting. The Morgan Rowe Band from Decatur was in top form as usual. Morgan is an amazing talent with a great band who deserves a wider audience. Morgan is a great, undiscovered talent.

Friday, January 26, 2007 - If Coffeehouse

Sabrina is a folk singer with a sixties style, powerful voice and message songs. Sabrina has a strong, commanding presence and gives advice in "Say So," and, "What R Y Waiting For," a fast paced diatribe against materialism. Atlanta’s Barb Carbon is intimate folk. Barb draws us into her world. "I am not ok… the mystery of life is wearing me down.” "Start Again" is haunting. Rana, from D.C is philosophical folk and like Mary Chapin Carpenter has a dry sense of humor. There is something expansive about Rana’s style. Her voice reaches out with strong emotion and her guitar playing is clear, strong and simple.

Tiny Nicole Reynolds from Pittsburgh looks like a young Bob Dylan. Reynolds has a sweet, striking and very soft voice - like a whisper. Reynolds majored in jazz guitar in college, but her style is pure folk. She left her audience wanting more and "Wondrin," was amazing.

Friday, January 26, 2007 - The Earl

Box, a rock band from D.C. describes themselves as: “Really pissed off lesbians who drank a half gallon of whiskey… a pack of monkeys.” Box has a lot of fun onstage. Their sound is strong and clean, one can hear the lyrics, and the song, "Holier Than Thou" is awesome. The vocalist can be a little off, but their sense of humor is right on. Also performed was "Lezzie’s for the Lord," and "Mullet Head Girlfriend," all just right for the party atmosphere of Ladyfest South.

Oriflamme, from Gainesville, Georgia is a girl band with poppy punk electric guitars and two bass guitars. Their words are hard to hear, but the music is textured, interesting and not too hard. Atlanta’s My Siamese Self, is rockabilly and punk garage rock, and featured some great guttural singing by the bass player. "Shrug Shoulder Hero" is a fine example of their unique style.

Saturday, January 27, 2007 - The 5 Spot

Easyell was a last minute fill-in, who really grabbed attention. A soul and folk singer, Easyell’s voice and songs were haunting. Spoken word artist Ryka Aoki de la Cruz from Los Angeles also performed. Her poems address issues, such as abuse, and offer hope.

Sunday, January 28, 2007 - Eyedrum Art Space

Mare Wakefield from Nashville on guitar and vocals performed with her bassist. Wakefield is alt country with an attitude, as a mix of Natalie Merchant, Shawn Colvin and Dolly Parton. Wakefield blends sophisticated bluegrass, country and jazz with funny stories. Mare’s voice is good and has rhythm, and her playing complements her singing. Wakefield performed "Love vs. the USA" and a break up ballad, "You’ve Done Enough." David and Roselyn from New Orleans performed with the rumba box, banjo, harmonica, trumpet and tambourine. Small Framed Boy from Atlanta, "Experimental, Psychedelic, and Progressive," closed out the night and the fest with their blend of noise, funk, rock and Middle Eastern elements.

The call goes out to other strong women who will step up to the plate and organize this amazing festival next time.

Written by: Katie Klemenchich, April 13th 2007

Reminted

admin — Tue, 03 Apr 2007 21:27:00 +0000

By Fort Knox Five

Fort Knox Recordings

When I received this CD in the mail, I must say that I was disappointed. The Fort Knox Five, who claim they don't remix songs, they remint them, which kept with the theme and designed their CD cover to be reminiscent of a $5 bill. Clever packaging, but I thought I was actually being sent money, so to find that it was in fact a CD was a bit of a let-down.

I felt better after I popped the disc in, though. Featuring 12 “reminted” tracks by various artists, the CD is thoroughly ‘70s, with funky retro beats that give the album a nice feel. As with all remixes, the tracks do go on quite a bit, but are a lot more listenable than the standard remix fare because there's more going on musically than the usual 20-minute drum machine solo. If you want to play dance music at your next party that won't bore everyone to tears, keep this disc in mind.

Written by: Beeb Ashcroft, April 3rd 2007

Small Gods

admin — Mon, 02 Apr 2007 12:35:00 +0000

By Swati

Bluhammock Music

As the guitar plays airily in the track "Dodge," soloist Swati sings, “I believe in karma, I believe in brutal honesty, why do so many of you break my heart? Maybe I’m crazy …” and these words characterize not only the general mood of her debut album, but also her individuality. New York born with Indian roots, the 32-year-old enthralls the listener with angst-ridden lyrics that expose her feelings of despondency and loneliness like those evoked in "2 O’clock in the A.M." and "Stay." But there’s also an aggression about her songs that’s expressed through vocals that are both gentle and rough, carrying with them curses amidst an acoustic-metal sound that blows it completely out of any confining genre.

This guitar-driven music has a raw, ethereal and unorthodox quality about it. "Big Bang" and "MF" stick out sorely with unpredictable yet awesome funk elements. You can hear similar electro-acoustic picking in the opening of "Money" where Swati sings raspy-voiced in tune with brutal riffs. Listeners will find that Swati and her guitar are one entity. Her vocals would feel naked without the soul of her instrument, which she strikes with great passion and fury that makes her music both empowering and cathartic. Irritated in "MF," she sings, “no motherfucker don’t bring me down again, no motherfucker no motherfucker don’t” with matching repetitive picks. But watch out, for she claims, “I’m a motherfucker too.”

Coming from a similar cultural background, I imagine my Indian-born parents shaking their heads in disapproval at this cursing language, whose meaning they would take as literal. As a result of socio-cultural differences, they don’t quite understand that exploiting curse words can be emotionally powerful, playful and creative.

Exuding a less than hopeful and devil-may-care attitude reminiscent of Alanis Morissette, Swati’s intelligent guitar playing and her confessional and dark lyrics are nevertheless real, relatable and liberating. If you’re tired of the plasticity of mainstream music that doesn’t express your melancholic moods, then I strongly recommend you nourish your soul with the paradoxical mix of melodious folk rock and intense electronic riffs that is Small Gods.

Written by: Payal Patel, April 2nd 2007

Whisper of a Newborn Ghost

admin — Sat, 10 Mar 2007 18:45:00 +0000

By The K23 Orchestra

On Whisper of a Newborn Ghost, the K23 Orchestra combines 70s style rock with spoken word. Described as a “unique blend of funk, rock, Latin, jazz fusion and spoken word,” the K23 Orchestra aims high, with thoughtful lyrics and talented musicians. However, the combination never gels and the songs drag on for far too long.

Many of the songs on Whisper of a Newborn Ghost are filled with descriptions of angst experienced under the reign of Bush. The first song, “Big in El Portal,” describes a yearning to escape. The chorus is “Awake/I’ll break out this city/Make my escape.” The verses depict disgust at the state of the nation and the use of rhetoric to brainwash the people: “Robin Hood fed his child and got thrown in jail/Another man kills a thousand and his approval ratings sail.”

The second song on the album, “Whoop Tee Dee,” addresses the way that the term “freedom” has been twisted to suit the needs of politicians. “Please cease misusing the word freedom” is repeated three times in the beginning of the song. The lines “We crave what we don’t need and cannot afford/As freedom flaunts finance in the face of the poor” articulate how materialism has clouded American eyes.

This song, like others on the album, contains a good analysis of the issues, but unfortunately, the length of the song overshadows the meaning. The lyrics begin to blend together, and after listening to more than one song, they all begin to sound the same. This is not aided by long instrumental sections in the songs.

Lyrically, the K23 Orchestra has a lot to offer. The words are poetry, and the topics of the poems are relevant and needed. The K23 Orchestra is, in their own words, creating a message of “social change through music and art.” If they want this message to be received, it needs to be curtailed.

Written by: Shelby Smith, March 10th 2007

Cinescope

admin — Mon, 22 Jan 2007 13:40:00 +0000

By Thunderball

ESL Music

Thunderball is an arty, urban collaboration of DJs that is comparable to a modern version of Dee-Lite. Cinescope is their latest offering to the tripped out gods of the discothèque. You could liken this 46-minute disc to Ali Baba and his forty thieves getting down with Shaft in Africa. Melding elements of Latin jazz, funk, reggae, disco, break beat and Indian strings, Cinescope takes listeners on a twelve-song magic carpet ride that is vibrant and worldly. The songs are catchy and flow nicely as they hover around the four-minute mark – long enough to develop character, but not so long that they become monotonous. Though the concoction might be a little too pompous for more grounded listeners, the sort of sexploitation doing lines in the bathroom with blaxploitation, Indian hipster funk set to the vibe of a Charlie’s Angels marathon vibe might appeal to the jet setting dilettante crowd.

Written by: Patricia Valery, January 22nd 2007