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Justice: †

Justice
†
2007 | Vice

For those of you thinking Justice were going to nail the "electronic/dance record of 2007" tag right on it's big phat head you may be right, but I have a few issues with it, which I'll save for later. In general this album delivers a strong arsenal of gut-punching disco samples, Earth, Wind, and Fire melodies and a futuristic mix of electro-house-glitch reminiscent of Daft Punk shoving you to the dance floor. There's a lot to like on this record.

The first three tracks are pretty normal, even average, including the overly-mixed, cutesy, cartoon single of "D.A.N.C.E.", which sounds equally impressive compared to most of the remixes you'll find on this website. When track four comes up on your screen you need to take note because this is when the album goes into overdrive. "Newjack" ushers in the aggressively, distorted disco-glaze that is Justice's signature sound and universal appeal. The songs get smarter and more visceral, cutting up beats and hammering synths like an expert sushi chef on methamphetamines. "Phantom" (Parts 1 & 2) are even more devasting on the hips and senses. They feel like they were meant to be the core of this CD, well-placed right at the center of the album and totally mesmerizing. "Stress" and "Waters of Nazareth" grow tighter and more distorted with samples of 70's funk and disco. The album is so exhausting at this point but somehow lifts you up and pumps you full of adrenaline until it's all over.

My only reservation with Justice's † is that it sometimes relies too heavily on the big over-the-top, smacking-you-in-the-face-with-a-similar-beat program. Most of the songs are outstanding, but only distance themselves by a few samples and keyboard-manipulated strings. Fellow French act Jackson & his Computer Band, remember Smash?, already made a record very similar to this by cutting up different colors and layers of beats/sounds/vocals--allowing them to fall into an interesting yet seductive patchwork of grooves. Justice owes Jackson some gratitude, but still prevails, and even salutes, by making a heavier and modern dance record. It's too muscular and irresistible not too want to pass along to everyone you know.

-Scott McDonald

Tue Jul 10 2007 · Posted in Reviews on littleradio.com

Jennifer Gentle: The Midnight Room

Jennifer Gentle
The Midnight Room
2007 | Sub Pop

While both haunting and childlike, “The Midnight Room”, from Italy’s Jennifer Gentle, their second full length release off of Sub Pop, is an album that takes you on a strange sound trip while playing tricks with your mind, even without the psychedelic drugs.

“Twin Ghost”, the first track off the album, creates a minimal, choral-like foundation for the cavalcade of noises and instruments to come, and then ends on “Come Closer”, a much needed mellower track, echoing the first, with simple drums, wavering vocals, and soft electric buzzes. The real meat of the album though takes on a bizarre, carnival-like atmosphere that at times is entertaining, and at others, such as “Granny’s House” that honestly scared the crap out of me. “Granny’s House” is frightening in part due to the pauses between the notes, and also due to the sounds akin to something being hit with a lead pipe. Jennifer Gentle’s main man, Marco Fasolo, utilizes such instruments of toy pianos, organs, and a voice that sounds like it’s being squeezed out several octaves too high, to create well structured and organized tracks that seem like they belong in a Dario Argento movie, or in the Haunted House ride at Disneyland.

It may be interesting to note that while creating this album, Fasolo’s studio was a country house in Northern Italy whose previous owner committed suicide by rifle; whatever ghostly residue left over seems to have impregnated this album. The psychedelic nature here is heavily reminiscent of Barrett-era Pink Floyd or the Beatles’ Sgt. Pepper; I would even draw parallels to Nora Keyes here in Los Angeles. After a solid listening though, there is an air of kitsch-ness that cannot be avoided. While the entertainment of the songs is high, I find I need to take the album in small bites in order to fully enjoy it. I would recommend “Twin Ghosts”, “Telephone Ringing” and “Take My Hand”.

-Elana Rintala

Mon Jul 9 2007 · Posted in Reviews on littleradio.com

Adam Franklin: Bolts of Melody

Adam Franklin
Bolts of Melody
2007 | Hi-Speed Soul

My formative teenager years were spent listening to dirty shoegazer music filled with droning guitar melodies and hypnotic drumming beats. Adam Franklin, when heading Swervedriver, was one of those men feeding this music to me. Now he’s taking a break from his current project to put out Bolts of Melody, his first solo ‘name’ release.

Those elements that made me enjoy him so much in his earlier career are still present, however Bolts proves that Franklin can incorporate many other elements into his music so that those waves of swirling noise channel into such veins as soft acoustic numbers and happy folk-like numbers. The album starts with “Seize the Day”, which instantly draws me back to mid-90’s British indie pop with less cynicism. Because it sounds so “time” specific, there may be the chance of sounding dated; however, I think it was a good opener because it throws you right into his style and then grows from there.

The acoustic tracks on the album provide nice breaks from the intensity of the faster paced songs. Franklin is able to make them work in such a way so that they also blend right back into the more dreamy tracks, to create separate and yet analogous numbers. In “Song of Solomon”, one of the more down tempo acoustic tracks, I picked up on hints of Elliott Smith circa Either/Or that combined with simple psychedelic elements creating a bittersweet melody. Franklin utilizes the back and forth, fast and slow techniques here so that it keeps your attention without letting you wander too far. I’d recommend “Seize the Day”, “Morning Rain”, “Song of Solomon” and “Birdsong”.

-Elana Rintala

Fri Jul 6 2007 · Posted in Reviews on littleradio.com

Interview: Klaxons

Klaxons, with Myths of the New Future, have put out one of the best cds this decade. I’m stating that now. If they never put out another cd, while that would be a tragedy, their debut would be enough for me. There’s a ton of buzz about this band and it’s absolutely deserved. Their music is heavenly, their videos are bizarre, and the guys in the band, well, they are just smoking. I was massively blessed to see them play the Crocodile in April, and live they are sexy as hell. I talked with James Righton, keyboardist/bassist/singer before the show.

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Mon Jul 2 2007 · Posted in Interviews on littleradio.com

Arthur & Yu: In Camera

Arthur & Yu
In Camera
2007 | Hardly Art

I’m singing my praises this week for a slew of good new releases. In Camera, the first release from Arthur & Yu, and also the first release off Sub Pop’s Hardly Art label, was the bright beacon of a much anticipated release. Upon hearing the track “Come to View (Song for Neil Young)” several months ago, I had the sinking sensation in my stomach that I would have to wait for the album to come out. Its smooth, folky male/female vocals crackling with lo-fi goodness made for simply beautiful music. And, unlike several advanced tracks from other bands, when I finally got to hear the whole album, I was overjoyed that every track was that good.

Not actually named Arthur and Yu, Grant Olsen & Sonya Westcott (the original bassist for band Rogue Wave) are either echoing each other or singing alongside each other throughout all the tracks to produce this ethereal quality to their songs. The style bounces around from folk to psychedelic to garage tinged with some country, but it all ties together perfectly with the vocals. It’s reminiscent at times of the Raveonettes, especially when the music take on a distant, slight twang, like in “Flashing the Lobby Lights” and “Black Bear”. The minimal structure to the songs produces lovely happy songs without the bubblegum effect. Overall it’s an excellent effort from this duo. If I had to pick a few to recommend, try “Come to View (Song for Neil Young)”, “Afterglow” and “1000 Words”.

-Elana Rintala

Fri Jun 22 2007 · Posted in Reviews on littleradio.com