Huma started out as a duo of New Jerseyites who wanted to counter the smothering influence of malls and suburban sprawl. Their answer: Folktronic pop blessed with a childlike innocence. Score one for the good guys.
Roger O’Donnell
A man and his Moog. Not just any man mind you, Roger O’Donnell has tickled the ivorys for The Cure and Psychedlic Furs. However, don’t expect his solo album to flash you back to the glitter and glam of the 80s, rather, The Truth in Me is an exercise in limitation. All the music here is composed using one instrument, the Moog Voyager, an analog synthesizer (a few tracks feature vocals by Erin Lang). You’ll hear that what Roger O’Donnell discovers is both warm and chill, human and machine, the collision of opposites that makes truth possible.
Boyskout
I originally posted about Boyskout two years ago when they released their debut. As you can see below, I was quite smitten. I still am…this time by the range and sophistication of their follow-up, Another Life. They go from fragile innocence (“Everybody Knew”) to smoldering spite (“Happy Yet?”) without letting up on the sexually charged energy. Welcome back, girls.
Original post from 8/25/2004:
Boyskout are not boys at all. In fact, I don’t even think they are “into” boys, if you get my drift… So why is it that I feel all special inside every time I listen to “Back to Bed”? Because something about their black magic new wave transcends sexual politics and brings out the freak in me.
The Baldwin Brothers
It’s late. I’m beat. I’m starting to hallucinate: flashing slices of pepperoni…But I want everyone to have a fresh, hot cup o’ music first thing on a Sunday morning. The new Baldwin Brothers album is appropriately titled The Return of the Golden Rhodes because as you’ll hear, just about every song has T.J. Widner ripping on his “main ax,” the Rhodes keyboard. Most of the tracks groove along like Starsky & Hutch, Welcome Back Kotter, or Sesame Street, except for the closer “The Party’s Over” which turns down the Rhodes and gets all Moody Blues on us. Mark Lanegan provides the moody vocals. The track does stop the party in its tracks, and frankly isn’t representive of the rest of the album. Even “Leave the Past Behind” fails to keep pace with the rest of the album’s block rocking funk. What’s a boy to do? Those are the tracks we get to work with. Sharers can’t be choosers. Just make a note, if you like the tracks from their EP, know that most of the new album is similar rug-cutting material.
Radio Citizen
Radio Citizen updates the big band concept for the hip hop generation. To be more precise, Radio Citizen is Niko Schabel, a one-man big band really, with a cast of players, including Indian-born vocalist Bajka. “The Hop’s” bluesy beats, grinding organ riffs, and seductively soulful vocals resurrect trip hop’s potential and tap hip hop’s power and promise—the ability to combine genres and moods to create a new work of art. Radio Citizen’s source genres are a potpourri of sixties jazz, funk 45s, soul, dub and reggae, afrobeat, electronica, trippy avantgarde, surf, Latin, boogaloo, and rocksteady just to name a few. Get in on this track now for an injection of soul into your usual, soul-sucking Monday.
Christopher Willits
Hot on the heels of his release with with Brad Laner (ex-Medicine) as North Valley Subconscious Orchestra, Christopher Willits drops this blissful solo album. Each track features layers upon layers of dreamy vocals, soaring guitars, and chirpy synths that keep washing over you until your mind is completely free. Call it shoegazer, call it stargazer, call it what you will. Just make sure you call it up on your iPod to keep you warm inside this fall.
Cacoy
Cacoy is a Japanese electro trio possibly named for a Filipino martial arts legend and signed to a Danish record label. Their song Piracle Pa doesn’t seem to be from any language, but the soothing organ and lilting female vocals sound like French/Canadian/British indie-pop darlings Stereolab. “Yoko Majikick Ono†seems to be named for the Japanese-born U.S. resident, and with its rubbery, buoyant cornucopia of digital burps, it sounds like a track from U.S.-born Josh Presseisen’s Japanese-named project, Marumari. In other words, it makes for good listening no matter where you lay your headphones.
The Black Neon
I have to admit I’ve been squatting on this one for a while. Leaving a blank post in ol’ Movable Type just to keep my 3hive colleagues from posting The Black Neon before I do. But blank posts aren’t a very effective way of sharing the sharing, so here goes… The Black Neon’s first full-length is called Arts and Crafts. It’s a regular appetizer tray of styles, as evidenced by these two tracks — one a nostalgic psych-pop ballad, the other a searing electro-rock instrumental. And there’s even more goodness if you dig deeper on the album, which I’d love to play for you in its entirety but that’s your job now, isn’t it?
Eliot Lipp
Tacoma, Washington. Home of the underappreciated, yet thoroughly ruling punk band Seaweed. At one point I think I had eight Seaweed t-shirts. One of them had the band’s logo on the front, and in large, capital letters “VISUALIZE TACOMA.” I’ve never been to Tacoma, but from what I hear there’s nothing special to visualize. Then there’s Eliot Lipp. His two latest releases were recorded in L.A. while he had Tacoma on the brain. So what did he do? AURALIZE TACOMA. The soulful grooves on Tacoma Mockingbird, and the new Days EP, grew from his moods and emotions while reflecting back on his hometown and friends. His output is a simple, yet simmering synth stew of well-worn breakbeats with Lipp’s retro, yet timeless, twist. His goal was to create a classic electro sound which he pulled off with his economic use of synths and beats. Think New Order pitched down to Grandmaster Five’s tempo, and drop in a lick of their rhythm.
Languis
Hmmm. I’ve been somewhat bored with music lately. Slow stuff is really getting to me. I saw Radiohead in LA a few weeks ago, and while it was a good show (“Paranoid Android” was awesome!), when the stagehands started wheeling the piano out, that was my queue to sit down. I just fly through my old lady’s iPod on shuffle. Boring. Next. Boring. Next. Boring. Next. Maybe it’s due to my advancing years, but I need something with some zing to it, some energy! Of course I say that and here I find myself digging out LA’s Languis. Their drive to create electronic music with real instruments is intriguing, as are their frequent releases, their impressive list of contributors, and their musical histories. Which because I’m sick of writing, I’m going to make you read for yourselves at the links below, after listening to “In The Fields of (Lonely Fences)” from their Other Desert Cities EP.