New Release: Amanda Palmer Plays the Popular Hits of Radiohead on Her Magical Ukulele
Dresden Dolls leader and Evelyn Evelyn member Amanda Palmer is celebrating her liberation from Roadrunner Records with a special EP of Radiohead covers. She claims to be a big fan and is going about distribution in a Radiohead kind of way. She is a supporter of direct fan-to-artist sales and will be offering her album via a digital only release beginning July 20 through bandcamp. Palmer will be asking for a minimum donation of 84¢, with 54¢ of that going to Radiohead and 30¢ going to PayPal for transaction fees. Hopefully, fans will shell out more than the minimum.
The concept may sound way kitschy, but upon listening to Amanda Palmer Plays the Popular Hits of Radiohead on Her Magical Ukulele, you will hear Palmer putting her heart and soul into this project. After apparently learning the ukulele as a joke in 2008, there is nothing funny about this record. In fact, this could arguably be considered some of the best Radiohead covers out there. Give it a listen and decide if you agree. Tracks include “Fake Plastic Trees,” “High And Dry,” “No Surprises,” “Creep (Hungover at Soundcheck in Berlin),” “Exit Music (For A Film),” “Creep (Live in Prague),” and “Idioteque.”
This is a rare departure from her “punk cabaret” style of music. For die-hard Radiohead fans, this is a must-have collection of gems. Not only does Palmer smoke on the uke, but her beautiful, emotion-filled vocals should make Thom Yorke a proud daddy.
Go to www.amandapalmer.net for tour and album information.
Thursday, July 22, 2010
New release finds Crowded House with unfinished business
In 2007, Crowded House fans got an unexpected reunion of their favorite band. After a 13-year hiatus which showed no signs of ending, mainly due to drummer Paul Hester’s suicide in 2005, the band regrouped with a new drummer, a new album, and a sold-out tour. Now CH have proven they’re in it to stay with their upcoming release Intriguer (Concord Records). Back together are Mark Hart on guitar, backing vocals, and whatever else is needed, and bassist/album cover artist Nick Seymour. Drummer Matt Sherrod has also rejoined the group.
The first single off Intriguer is “Saturday Sun,” and ranks right up there with their best songs in terms of songwriting, sing-a-long potential, and hookworthiness. For the most part, this latest effort exhibits are more mature and subdued Crowded House. All songs, however, showcase head Crowdie Neil Finn’s golden pipes, superb songwriting, and much underrated guitar work (his musical arrangements haven’t been compared to Lennon and McCartney for nothing). On the wonderful “Archer’s Arrows,” Neil is joined by wife Sharon for some terrific harmonizing. In true-to-form Finn style, this one grows from quietness to a crescendo and back with great panache.
With the catchy “Either Side Of The World,” Finn sings, “Either side of the world / Chase the sun / Pay the maximum rate / To feel so lonesome.” It’s always difficult for the average listener to understand how someone so successful (and seemingly surrounded by throngs of supporters) can even mention the word “lonesome.” Finn translates this well and always has. He’s truly a deep thinker and wants us all to join him down there.
On a related note, “Isolation” explores that loneliness again (“There’s always a way / To end this isolation / One step away from everyone / If you could open it up / You could connect it to us / One step is more than enough”). Not sure if Neil is delving inward, or observing another. “Inside Out” embraces a countryish feel, complete with Hart on electric fuzz guitar.
Intriguer is an album for the intelligent music lover. No big explosions or gratuitous sex and violence. Just quality music with a meaning. It’s one of those albums that, after several listens, you find yourself loving it. Just like a great foreign film. With subtitles.
Catch Crowded House on the road this fall and become enlightened (www.crowdedhouse.com or www.frenz.com).
The first single off Intriguer is “Saturday Sun,” and ranks right up there with their best songs in terms of songwriting, sing-a-long potential, and hookworthiness. For the most part, this latest effort exhibits are more mature and subdued Crowded House. All songs, however, showcase head Crowdie Neil Finn’s golden pipes, superb songwriting, and much underrated guitar work (his musical arrangements haven’t been compared to Lennon and McCartney for nothing). On the wonderful “Archer’s Arrows,” Neil is joined by wife Sharon for some terrific harmonizing. In true-to-form Finn style, this one grows from quietness to a crescendo and back with great panache.
With the catchy “Either Side Of The World,” Finn sings, “Either side of the world / Chase the sun / Pay the maximum rate / To feel so lonesome.” It’s always difficult for the average listener to understand how someone so successful (and seemingly surrounded by throngs of supporters) can even mention the word “lonesome.” Finn translates this well and always has. He’s truly a deep thinker and wants us all to join him down there.
On a related note, “Isolation” explores that loneliness again (“There’s always a way / To end this isolation / One step away from everyone / If you could open it up / You could connect it to us / One step is more than enough”). Not sure if Neil is delving inward, or observing another. “Inside Out” embraces a countryish feel, complete with Hart on electric fuzz guitar.
Intriguer is an album for the intelligent music lover. No big explosions or gratuitous sex and violence. Just quality music with a meaning. It’s one of those albums that, after several listens, you find yourself loving it. Just like a great foreign film. With subtitles.
Catch Crowded House on the road this fall and become enlightened (www.crowdedhouse.com or www.frenz.com).
Fiction Plane bring the noise with excellent Sparks
For their third release, Sparks, Britain’s Fiction Plane has woven a tighter and more accessible web of tunes. The first single, “Push Me Around” has more hooks than a fishing tournament. Singer/bassist Joe Sumner (son of Sting) sings “I used to think I was something / I used to think I was, but now I’m sure” with all the bravado and confidence of his old man. The song, like many of Fiction Plane’s, involves Seton Daunt’s reggae-tinged guitar, Sumner’s smooth solid bass, and Pete Wilhoit’s explosive drumming.
The highly caffeinated lead off track, “You Know You’re Good (La La La Song),” shows off Sumner’s strong and evolving voice. And like caffeine, is very addictive. Just listen to it once…you’ll want another cup. While his voice does remind you a bit of his father’s, it’s easy to hear FP’s signature song style. They have slowly made a name for themselves and are succeeding on their own merits. And as a live act, they earn it.
“Russian L.S.D.” finds the boys drifting into Doorsland (you’ll swear that’s Ray Manzarak on keyboards). The pace is measured and the vocals are haunting. Daunt’s guitar solo is wicked as well as his effects later in the song. Nice one. While FP totally nail the near-ballad (“Denied”), their soul lies in rock music.
When Sumner sings, “This is real democracy / This is what the people want / Put your feelings into action, a statement of intent / We speak clearly, you’ll know just what we meant / Revenge, revenge,” in the post-punkish “Revenge,” you’ll believe he’s getting his. Behind these thought-provoking lyrics is a powerhouse three-minutes of great musicianship that WILL make you move your feet. Promise.
Throughout Sparks, one should take notice that Daunt, Sumner, and Wilhoit have pushed the envelope experimenting with new sounds and taking those sounds in new directions. After a massive amount of exposure in 2007-2008 warming up the Police during their reunion tour, Fiction Plane surely found some new fans. This trio has slowly moved out of that big shadow and made a name for itself. For tour and CD information, go to www.fictionplane.com.
The highly caffeinated lead off track, “You Know You’re Good (La La La Song),” shows off Sumner’s strong and evolving voice. And like caffeine, is very addictive. Just listen to it once…you’ll want another cup. While his voice does remind you a bit of his father’s, it’s easy to hear FP’s signature song style. They have slowly made a name for themselves and are succeeding on their own merits. And as a live act, they earn it.
“Russian L.S.D.” finds the boys drifting into Doorsland (you’ll swear that’s Ray Manzarak on keyboards). The pace is measured and the vocals are haunting. Daunt’s guitar solo is wicked as well as his effects later in the song. Nice one. While FP totally nail the near-ballad (“Denied”), their soul lies in rock music.
When Sumner sings, “This is real democracy / This is what the people want / Put your feelings into action, a statement of intent / We speak clearly, you’ll know just what we meant / Revenge, revenge,” in the post-punkish “Revenge,” you’ll believe he’s getting his. Behind these thought-provoking lyrics is a powerhouse three-minutes of great musicianship that WILL make you move your feet. Promise.
Throughout Sparks, one should take notice that Daunt, Sumner, and Wilhoit have pushed the envelope experimenting with new sounds and taking those sounds in new directions. After a massive amount of exposure in 2007-2008 warming up the Police during their reunion tour, Fiction Plane surely found some new fans. This trio has slowly moved out of that big shadow and made a name for itself. For tour and CD information, go to www.fictionplane.com.
Friday, July 9, 2010
Sting brings Symphonicities tour to Atlanta
Live Review: Sting with the Royal Philharmonic Orchestra, Chastain Park, 6/29/10
Gordon Sumner has been through many incarnations in his life. Before selling millions of records, he was labeled with the nickname “Sting” by his school buddies (for always wearing the same black and yellow striped sweater). But musically, Sting was a member of Last Exit, a large jazz ensemble he played with while still teaching school as a day job. Then, meeting up with the American, punk-influenced drummer Stewart Copeland, they formed the Police. After the demise of that group following the chart-topping perfection of Synchronicity, Sting dropped his first solo album, which ventured back into a bit of jazz.
Since then, he’s experimented with the horn-heavy “Detroit” sound (Mercury Falling), taken on the John Dowland catalog of 16th and 17th century lute music (Songs From The Labyrinth), recorded a dark and personal album of traditional middle ages music (If On A Winter’s Night…), and now put some of his most celebrated songs into a symphonic setting. All the while, keeping intact his core fan base, mainly because he is an artist who takes chances and follows his heart, not the Top 40 avenues.
So, it was on this night in Atlanta, at beautiful Chastain Park Amphitheatre, that Sting performed his Symphonicities for a large and appreciative crowd. As summertime lightening was held at bay as a backdrop, Sting and the 45-piece Royal Philharmonic Orchestra played a terrific two-and-a-half hour concert. The show kicked off with “If I Ever Lose My Faith In You,” followed by some older Police tunes (“Next To You,” “Roxanne,” “Every Little Thing She Does Is Magic,” “King Of Pain,” and “Every Breath You Take”). But most of the set list was culled from Sting’s prolific solo career that has now spanned 25 years.
Some of the evening’s highlights included the cold war classic “Russians” from his first solo effort, 1985’s The Dream of the Blue Turtles (“There is no historical precedent to put the words in the mouth of the president / There’s no such thing as a winnable war, it’s the lie we don’t believe anymore”). Still timely. The song telling the story of an accidental shooting and its aftermath (covered by Johnny Cash shortly before his death), “I Hung My Head,” was emotionally powerful (“My brother’s rifle went off in my hand / And a shot rang out across the land / The horse it kept running, the rider was dead / I hung my head / I hung my head”). Others included “Shape Of My Heart,” “Englishman In New York,” the raucous “She’s Too Good For Me,” “Fragile,” “Moon Over Bourbon Street,” and “Fields Of Gold.”
Throughout the performance, Sting stood aside several times, giving the stage to the perfect Royal Philharmonic Orchestra. The songs were rich and alive. But they’re not just Police and Sting songs with added orchestra. These, for the most part, have been rearranged and “reimagined” for this Symphonicities tour. So Gordon Sumner is enjoying his newest musical evolution. What could he possibly do next? Buy Sting’s Symphonicities out July 13.
Gordon Sumner has been through many incarnations in his life. Before selling millions of records, he was labeled with the nickname “Sting” by his school buddies (for always wearing the same black and yellow striped sweater). But musically, Sting was a member of Last Exit, a large jazz ensemble he played with while still teaching school as a day job. Then, meeting up with the American, punk-influenced drummer Stewart Copeland, they formed the Police. After the demise of that group following the chart-topping perfection of Synchronicity, Sting dropped his first solo album, which ventured back into a bit of jazz.
Since then, he’s experimented with the horn-heavy “Detroit” sound (Mercury Falling), taken on the John Dowland catalog of 16th and 17th century lute music (Songs From The Labyrinth), recorded a dark and personal album of traditional middle ages music (If On A Winter’s Night…), and now put some of his most celebrated songs into a symphonic setting. All the while, keeping intact his core fan base, mainly because he is an artist who takes chances and follows his heart, not the Top 40 avenues.
So, it was on this night in Atlanta, at beautiful Chastain Park Amphitheatre, that Sting performed his Symphonicities for a large and appreciative crowd. As summertime lightening was held at bay as a backdrop, Sting and the 45-piece Royal Philharmonic Orchestra played a terrific two-and-a-half hour concert. The show kicked off with “If I Ever Lose My Faith In You,” followed by some older Police tunes (“Next To You,” “Roxanne,” “Every Little Thing She Does Is Magic,” “King Of Pain,” and “Every Breath You Take”). But most of the set list was culled from Sting’s prolific solo career that has now spanned 25 years.
Some of the evening’s highlights included the cold war classic “Russians” from his first solo effort, 1985’s The Dream of the Blue Turtles (“There is no historical precedent to put the words in the mouth of the president / There’s no such thing as a winnable war, it’s the lie we don’t believe anymore”). Still timely. The song telling the story of an accidental shooting and its aftermath (covered by Johnny Cash shortly before his death), “I Hung My Head,” was emotionally powerful (“My brother’s rifle went off in my hand / And a shot rang out across the land / The horse it kept running, the rider was dead / I hung my head / I hung my head”). Others included “Shape Of My Heart,” “Englishman In New York,” the raucous “She’s Too Good For Me,” “Fragile,” “Moon Over Bourbon Street,” and “Fields Of Gold.”
Throughout the performance, Sting stood aside several times, giving the stage to the perfect Royal Philharmonic Orchestra. The songs were rich and alive. But they’re not just Police and Sting songs with added orchestra. These, for the most part, have been rearranged and “reimagined” for this Symphonicities tour. So Gordon Sumner is enjoying his newest musical evolution. What could he possibly do next? Buy Sting’s Symphonicities out July 13.
Atlanta's Oryx & Crake deliver shining debut
The first track on the self-titled debut from Atlanta’s Oryx and Crake transports the listener to a melancholy place with its cello, guitar, and plaintive vocals of leader Ryan Peoples. Then the guitar gets fuzzy, harmonies are layered in, and the clouds part on the beautiful “Fun Funeral.”
The 9-person band has created a dazzling debut that is difficult to label. Among other things, instruments include guitar, bass, banjo, cello, electronic drums, a homemade midi, and a toy piano. Combine these with Peoples’ smooth and striking vocals harmonized with bandmates (including wife Rebekah Goode-Peoples), and deeply interesting lyrics and you have the magic that is Oryx and Crake.
Named after the Margret Atwood novel, Oryx and Crake have birthed their own version of fiction (because this sound cannot be real). Intentionally avoiding the easy hook that would guarantee radio play, O+C instead pursue an eclectic and uniquely stunning piece of work that should be on the radio.
“Bed Death” is at once a simple and complex piece with harmonies, effects, and a spooky bass line throughout. It’s the sort of hypnotic song that you’ll find yourself humming and singing hours later (“Bring it on back! / Bring it on back!”). Falling in the middle of the tracks are two catchy yet brief gems. “Superlady” starts off sounding like a five-year-old playing with the reel to reel but quickly gets mature, while “Pretty How Towns” is a countrified piece of work showcasing some nice banjo.
In the gorgeous “Unbound,” Peoples sings “Everyone is so tired of lugging you around / Everyone is so tired of you dragging us down.” This could be describing one of several possible stories, but seems to be an ode to an abusive parent (“The wooden spoon you used on us has broken.”). With hand claps keeping the beat, “Unbound” is a standout track. “Lullaby No. 1” ends the disc on a mellow note, sounding a bit like a 60’s Beach Boys ballad, but soon evolving into signature O+C, with the addition of more instruments and more personality.
After a few listens, this superb debut sounds like something from a band whose paid their dues; whose time has come. Rarely has a first outing been such an impressive recording. It takes most groups four or five records into their career to achieve such a solid accomplishment. Each of the nine songs on this self-titled debut has its own traits and tells a different story. This does not sound like anything else out there right now. That’s why music lovers owe it to themselves to discover Oryx and Crake now. This group of musicians, if they so desire, will be around for quite sometime.
You can find it on iTunes and more than likely be able to purchase the CD at the release party on August 28 at the EARL in Atlanta. You owe it to yourself to be there. Tickets can be found at Ticket Alternative or at the door.
The 9-person band has created a dazzling debut that is difficult to label. Among other things, instruments include guitar, bass, banjo, cello, electronic drums, a homemade midi, and a toy piano. Combine these with Peoples’ smooth and striking vocals harmonized with bandmates (including wife Rebekah Goode-Peoples), and deeply interesting lyrics and you have the magic that is Oryx and Crake.
Named after the Margret Atwood novel, Oryx and Crake have birthed their own version of fiction (because this sound cannot be real). Intentionally avoiding the easy hook that would guarantee radio play, O+C instead pursue an eclectic and uniquely stunning piece of work that should be on the radio.
“Bed Death” is at once a simple and complex piece with harmonies, effects, and a spooky bass line throughout. It’s the sort of hypnotic song that you’ll find yourself humming and singing hours later (“Bring it on back! / Bring it on back!”). Falling in the middle of the tracks are two catchy yet brief gems. “Superlady” starts off sounding like a five-year-old playing with the reel to reel but quickly gets mature, while “Pretty How Towns” is a countrified piece of work showcasing some nice banjo.
In the gorgeous “Unbound,” Peoples sings “Everyone is so tired of lugging you around / Everyone is so tired of you dragging us down.” This could be describing one of several possible stories, but seems to be an ode to an abusive parent (“The wooden spoon you used on us has broken.”). With hand claps keeping the beat, “Unbound” is a standout track. “Lullaby No. 1” ends the disc on a mellow note, sounding a bit like a 60’s Beach Boys ballad, but soon evolving into signature O+C, with the addition of more instruments and more personality.
After a few listens, this superb debut sounds like something from a band whose paid their dues; whose time has come. Rarely has a first outing been such an impressive recording. It takes most groups four or five records into their career to achieve such a solid accomplishment. Each of the nine songs on this self-titled debut has its own traits and tells a different story. This does not sound like anything else out there right now. That’s why music lovers owe it to themselves to discover Oryx and Crake now. This group of musicians, if they so desire, will be around for quite sometime.
You can find it on iTunes and more than likely be able to purchase the CD at the release party on August 28 at the EARL in Atlanta. You owe it to yourself to be there. Tickets can be found at Ticket Alternative or at the door.
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