Coldplay came up in the late ‘90’s, just as the laddish immediacy of Brit-pop began to fall from fashion while a new breed of fans found hope in the lovelorn sounds of Jeff Buckley and the less obtuse sides of the British rock aristocracy. Coldplay’s anthemic world-weary pop struck a nerve with UK audiences early on, but it was the mixture of soul searching mystique and blissful rock catharsis found in “Yellow” that really translated globally – a feat previous Brit – hopefuls such as the Stone Roses, the Verve, and Oasis had not been able to achieve. Three albums in and the band’s hold on the starry-eyed masses is in no danger of loosening. The Elected, fronted by Blake (Rilo Kiley guitarist/co-songwriter), released its debut album, Me First, in 2004. Recorded sporadically at pal Elliott Smith’s studio with Bright Eyes superman Mike Mogis and The Postal Service’s Jimmy Tamborello, the album was filled with sparse, intimate gems . On their latest offering Sun Sun Sun, the band experiments with a greater depth of sound (think ‘70s hi-fi rather than modern-day lo-fi) and influence (think more classic, less country). Fans of Rilo Kiley will no doubt ally themselves with The Elected’s sharp-witted pop sensibility and remain close by. But Blake’s blatant sonic and thematic departures from that realm – and his allegiance to less orthodox songwriters like Jim Croce and Tom Waits – will no doubt appeal to a broader audience as well. Interpol arrived early in the 21st century with a sound that, upon first listen, seemed decidedly dependent upon the efforts made more than two decades earlier. The group dealt in dark post-punk moody and interwoven with reverb-heavy guitar work – with vocalist Paul Banks howling in a manner reminiscent of the wounded ways of Joy Division’s Ian Curtis or the especially dark days of the Cure’s Robert Smith. However the group captured something new. This something was a sense of epic romanticism and modern experimentation that lifted songs such as “NYC”, ”Evil” and Slow Hands” into taut, tense, explorations of downcast sentiment. I turn they have, over the course of three albums, evolved into a starkly original band with no shortage of followers in their wake. As JUNKIE XL, Dutch born musician, producer, remixer and one-man band Tom Holkenborg has become synonymous with electronic dance music. With the arrival of his fifth proper studio album, 2008’s invigorating Booming Back at You, the club culture icon and L.A. transplant has crafted a disc that not only builds on his beloved back catalogue but is also inspired by today’s vibrant new school of dance music and matches the momentum and enthusiasm of his notorious live performances. Musically never comfortable in one place, his new work highlights surprises for his fans. "Lush, languorous and beautifully bittersweet-that's the sound of the self titled major label debut album from the Los Angeles-based quintet Low vs Diamond. Explaining the band name, lead vocalist Lucas Field says, "One of our former bandmates had a very overbearing, Yoko Ono-type girlfriend. She had an opinion about-our clothes, our songs, our stage lighting-it was ridiculous. We used to fight with her all the time, especially (drummer) Howie, whose last name is Diamond." (To protect the innocent, the band-wrecker in question is referred to as LOW.) Laughs Field, "Whenever she and Howie would go at it, we'd shake our heads and say, 'Ladies and gentlemen, it's time for Low vs. Diamond.'" Formed in Seattle, Washington in 2001, Minus the Bear was initially formed by guitarist David Knudson, bassist Cory Murchy, and drummer Erin Tate who eventually recruited keyboardist/sequencer, Matt Bayles and vocalist/guitarist Jake Snider. Once in the same room they realized they were on to something special—and the band quickly earned a rabid and rapidly growing fan base ranging from teenagers to middle-aged parents. The band has released a handful of EPs and three full-lengths in their prolific career. With their most recent release, 2007’s Planet of Ice, the band has taken their brand of idiosyncratic indie rock to new heights. While all the musicians in Minus the Bear are technically skilled, Planet of Ice shows the band focusing on songwriting instead of showiness. The band has also spent their fair share of time on the road, seamlessly pulling off their song’s sonic intricacies live on festivals like Coachella and Bamboozle, as well as alongside seemingly disparate acts such as Foo Fighters, Cursive, Criteria, Russian Circles, P.O.S., and The Velvet Teen. In true Minus the Bear fashion, the band plan to stay on the road promoting Planet of Ice and continuing to write and push the limits of their sound. The buzz surrounding Santigold has been deafening since before her debut album was even completed! When the first Santigold tracks began to circulate in 2007 they instantly captured everyone’s imagination with their marriage of experimentation and pop and with their ability to obliterate genres. They revealed a sonic rebel with a punk soul and a spellbinding voice. Santigold arose from the ashes of Stiffed, the acclaimed band where Santi White first melded punk, dub, new wave, and rocksteady. No longer confined by the limitations of a band, she began to incorporate electronics and to work with various collaborators including producers John Hill, Diplo, Switch and Disco D. Santigold, the album, isn’t just one of the years most anticipated records; it’s the sound of a woman unafraid to change all the rules Annie Stela always wrote. Even when she was five years wrote Annie wrote stories. She could never just draw a picture, she always had to write something about it underneath. Naturally Stela started to write songs; secretly at first, breathed into a tape recorder in a corner of her bedroom so no one would hear. Eventually Stela developed the confidence to play shows and after college she crammed her possessions into her car and drove out to L.A. Annie’s debut album Fool, produced by Bill Bottrell (Shelby Lynne, Madonna, Sheryl Crow), is primarily a piano-driven record from an artist who, remarkably enough, despised piano lessons as a child. Fool provides a tantalizing introduction to Stela, a few telling glimpses of the promise and unique point of view she brings to her music. If you lay out the basics – burlesque, gender roles redefined, dance music, fashion, Elton John worship – it seems like the set up for a cabaret act in just about any major metropolitan city. But a New York’s Scissor Sisters are most definitely a band who can put together a good pop song and exist without all of the stylish accouterments if need be. From their debut’s “Take Your Mama” to Ta-Dah’s “I Don’t Feel Like Dancin’ ” the group have proven themselves to be a lively and necessary addition to the current state of pop music. |
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