Archive for February 2009
Astronauts of Antiquity, Breakthrough
Lisa Gerrard, Violina (The Last Embrace)
Lal Meri, Borders
Lisa Germano, If I Think of Love
The Gits, Absynthe
Kylie, In My Arms
Holly Golightly, I Can’t Stand It
Go-Go’s, Skidmarks on My Heart
Paul John, Impetus (feat. Supernova)
Go Betty Go, You’re Your Own Worst Enemy
Tracy & the Plastics, Dawn Feather
Wire Daisies, Rocket Girl
Feist, My Moon, My Man
Fastbacks, Believe Me Never
Eleni Mandell, Artificial Fire
Christine Fellows, Vertebrae
Melissa Ferrick, Happy Song
The Godshills, The Unclean Spirit
The Fiery Furnaces, Blueberry Boat
Flashing Red Airplane, It’s a Long Way Down When You Know Your Way
Wow & Flutter, Car Crash
Fonda, The Young Lovers
Edith Frost, My God Insane
These Are Powers, Life of Birds
Frente!, Accidently Kelly Street
Eisley, Marvelous Things
Nous Non Plus, French Teacher
8 1/2 Souvenirs, Twisted Desire
Elastica, Da Da Da
Spiral Beach, Made of Stone
18th Dye, Poolhouse Blue
The Emeralds, Hey Everybody Let’s Dance Tonight
Asobi Seksu, Transparence
Erase Errata, Matter No Medley
Fabulous Disaster, Gia
Sick of Sarah, Bittersweet
Marianne Faithful, Boulevard of Broken Dreams
Ani DiFranco, Hello Birmingham
Mistress Stephanie and Her Melodic Cat, Awfully Confusing
The Distillers, Drain the Blood
The Rocking Horse Winner, Xmas Day
An album of ballads with female vocals, Bosque Brown doesn’t do anything wrong on “Baby,” but there are no surprises either. They’ve found what they are good at, and they stick with it.
“Train Song” has a little more of a beat, but it doesn’t take anything away from the band’s soul. The bass and piano definitely make the song a lot catchier.
“This Town” sounds like a Beatles cover, but no, it’s all Bosque Brown, all the time. “Phone Call” focuses a little more on the piano, although it causes me to wonder why small children in car commercials never are in child safety seats. Is it to show how safe their cars are?
There’s not much else to say. You either like strong female voices with subdued guitar and piano or you don’t.
These guys must have looked up “power pop” in the dictionary. “Something Unreal” is as good a song as any. They don’t take themselves too seriously, but they still try hard. That’s the best of both worlds, really.
“Fresh Pit” reminds me of the Posies. It’s a pretty timeless sound. Like many songs on this album, it’s a little short, but that’s okay. More time for honey-roasted peanuts!
“Pow3rfull” has the same intro as the hook in “Code Monkey” by Jonathan Coulton. I think that’s reason enough to like it, because the songs stands up on its own anyway, much like a metal utensil in a bowl of Dennison’s chili.
“Add Vice” and “Dance Trance Pants” remind me of Howard Jones. I told you. The sound is timeless. How can you go wrong with anything here? You can’t really. Maybe they suck live. These songs are all great, promise.
This band’s shtick is to spell everything as one word. I refuse to play along. This is just another semi-soulless female-fronted rock band. It is certainly passable, but there is nothing that stands out.
“Just Another Day” is a Sheryl Crow reject with lyrics and guitars that flow and connect seamlessly, but again, there is nothing groundbreaking here.
The best song is “Rocket Girl.” This band needs to do pop numbers. That is what it was built to do. And this track has no shame in belting out something that belongs on an adult contemporary radio station. Be proud of what you are! I am sure the women at Wire Daisies live shows are hot, just like at KT Tunstall shows.
“Gay Boy” is probably offensive. I mean, if putting a chimpanzee in a political cartoon is offensive, then so is this song, right? It actually has the best sensibilities of any track on the album. You can actually hear Wire Daisies try on this one.
If you want to hear them slow it down and still have meaning, then check out “Leaving So Soon.” This is another possible direction for this act, but as it stands, this self-titled set of songs is too inconsistent to be able to determine its fate.