February 2002 March 2002 April 2002 May 2002 June 2002 July 2002 August 2002 September 2002 October 2002 November 2002 December 2002 January 2003 February 2003 March 2003 April 2003 May 2003 June 2003 July 2003 August 2003 September 2003 October 2003 November 2003 December 2003 January 2004 February 2004 March 2004 April 2004 May 2004 June 2004 July 2004 August 2004 September 2004 October 2004 November 2004 December 2004 January 2005 February 2005 March 2005 April 2005 May 2005 June 2005 July 2005 August 2005 September 2005 October 2005 November 2005 December 2005 January 2006 February 2006 March 2006 April 2006 May 2006 June 2006 July 2006 August 2006 September 2006 October 2006 November 2006 December 2006 January 2007 February 2007 March 2007 April 2007 May 2007 June 2007 July 2007 August 2007 September 2007 October 2007 November 2007 December 2007 January 2008 March 2008 April 2008 May 2008 June 2008 July 2008 September 2008 October 2008 November 2008 December 2008 January 2009 February 2009 March 2009 May 2009 June 2009 July 2009 August 2009 September 2009 October 2009 November 2009 December 2009 January 2010 March 2010 April 2010


Powered by Blogger

   Friday, June 20, 2003  
"Hello London - R U ready to..."
No, Nina Nastasia didn't bounce onto the stage at the Purcell Room Wednesday with this hoary old cliche, or any others for that matter. Splendidly cliche-free is Nina save, that is, for the one about letting the music do the talking. There were to be no song introductions or titles even ("This is..the next song") and a couple of reluctant stabs at banter made The Be Good Tanyas look like super-slick Vegas veterans.
Not that this is "...rawk", of course. Shadowy chamber folk-pop, maybe? Singular and stellar for sure. Having yet to hear the new album, reallyrather guesses that the unfamiliar half of this evening's set was taken mostly from Run to ruin (and not the super-scarce Dogs), in which case the well would seem far from dry. Superstar didn't instantly grab but it was the exception. You, her and me is a cool sounding mystery song which showcased not just Nastasia's storytelling and fine, clear vocals but also Jim White's drumming. Sticking predominantly to subtle brushwork in amongst the string ensemble's bowing and scraping, White would occasionally and with evident relish apply some empathetic welly with the fat end of the sticks. The ominous This is what it is took a right old pounding.
When last seen at The Spitz in October Nastasia had no rhythm section but there was electric guitar; the attempt by tonight's accordianist - shaggy, seated and whatever the polar opposite of dynamic is - to replace it's spacey pings on So little didn't quite work. But this is just about the best this blog can come up with by way of a negative; Ugly face, Oh my stars, In the graveyard, Little angel all joined the vertiginous stack on the credit side. Melodically rich, stark but not quite austere, multifacetted but without frills, Ms. Nastasia is indeed a dark gem...

...and here's the Guardian's 5-star notice of the same show.

Dealing with things like cracks in the ceiling which keep you awake, Haley Bonar's sweetly sparse Little bird on my shoulder is the kind of song reallyrather imagines Nina Nastasia might have written when she was 19. The above-mentioned Mr. White has also recorded with Low and it's this outfit's own label Chairkickers which has released the precocious Ms. Bonar's ...the size of planets; Low's Alan Sparhawk co-produces and plays. Treading a line between ambient 'singer-songwriter' and twang of a darkish hue, it's about half a really good album; if it was playing in your local coffeeshop you'd likely make enquiries.
The first five off the reel - like the rest, all slow-to-mid-tempo affairs - are a fine listen. The stop-start kooky keyboards of Save a horse, ride a cowboy and the equally 'pop' Drinking again; Bless this mess' woosy folk-blues and the backwards electric guitar and Stevie Nicks-goes-a-buskin' of Car wreck, all shouting "talent". Bonar herself doesn't get near to shouting, her dusty, definite vocals (with a beautiful but under-used top end) carrying words which, though they do feature rather more 'had-it-with-men, where's-the-whisky' world-weariness than seems likely in one so young, generally convince.
There are a few 'nearly' songs here, however, moody items like Billy, Go away angels and Out of the lake. A bit like watching a tape of your team's missed chances, reallyrather still plays them over hoping subconciously that this time they'll hit the back of the net. But they always slip just the wrong side of posts. And, not entirely unexpectedly, there's a pair of rather precious piano-led numbers of a type which always have this listener scrambling for the remote. At worst, Bonar could end up as a sort of rootsy Paula Cole or Fiona Apple. But, with a touch more brevity and melodic invention in her songwriting, if she continues to keep the right company she can surely only become even more interesting. Thinking about it, a support slot touring with Nina Nastasia would see her nicely off the straight and narrow...

Nadine, er, 'news': 'Sources tell us that the record should be released by an unnamed but estimable indie label (oh, the intrigue!) in early September,' reports the Riverfront Times of Strange seasons. In this blog's two-runner Interminable Gestation Stakes it seems that Wheat now takes a slight lead, their third album having finally been slated for October...

"Are you really into music, or do you just want to be famous and have sex with a lot of random girls?" Ah, the eternal question...The Tyde's Darren Rademaker tells this week's LA Weekly he know's where he stands (interview down the page here...)

And in the same place an interview with Emily Haines whose contribution to the runaway indieland bandwagon that is Broken Social Scene's You forgot it in people is one of the album's (many) highlights. This record is apparently getting a UK release via Mercury in August; the band play a festival in France that month - can a London stopover be resisted? Hopefully not...
   posted by SMc at 5:49 AM |

   Wednesday, June 11, 2003  
Only ten days to go 'til the Longest Day then it's downhill all the way to Christmas. Let's face it, British summertime usually needs all the help it can get. So praise be then for Twice, the new album from LA's The Tyde which really is quite fantastic. Their debut Once - can we look forward to Three times and A lady?! - was a big favourite hereabouts but the follow-up is truly the sound of a band hitting their stride (stryde, even).
It's the same but different. Largely gone are the pastoral, stoned meanderings driven out by a more focussed, dynamic sound. Darren Rademaker's calling card sour vocals are here soaked in streams of delicious vintage keyboards (Ann gets loads more to Do, hurray!) and relentless starbursts of bright guitar. Comparison of the two albums' personnel shows what's happened. Essentially, (and, frankly, excellently) the Beachwood Sparks influence is fading. Dave Scher is now semi-detached from the core band, lap steel having little place amongst this snappy pop. And Chris Gunst has disappeared altogether, replaced by the significantly more definite drumming of ex-Velvet Crush-er Ric Menck. And what a time they're now having.
With only the throwaway Beach Boys-meets-10cc ditty that is Shortboard city getting close to something like filler, there's hardly a wasted moment across these 40 minutes and 11 tracks. Personal highlights include the glorious Go ask yer dad (punctuated terrifically by Menck), the harder grooving Takes a lot of trying and the galloping beat-combo goodness of Crystal canyons, none of which are like anything heard on Once. The 'bastards' and duplicitous women are still around though. Aside from his arresting vocals, it's Darren R's against-the-grain, jaundiced lyrics that set The Tyde apart from so many other mere jangle merchants. Twice is a fizzing joy and deserves a place on your shelf...

reallyrather has long thought that Hem's seductive coffee-table twang positively heaves with film soundtrack potential - think The Bridges of Madison County - so it's not the hugest surprise ever to learn that they've been signed up by Dreamworks...

OK, there's an awful lot of it about these days but for those who just can't get enough of things Nick Drake-shaped will probably need to hear the new album from Bristol's Nick Talbot aka Gravenhurst. Flashlight seasons is due July 7...
   posted by SMc at 3:50 AM |