Albums

Album Review: Dead Can Dance – Anastasis [2012, PIAS Recordings]

Posted on by Allison in Albums | Leave a comment

dead can dance

There are some bands, that despite being on my radar at the time, completely managed to pass me by. Dead Can Dance was one of those bands, who along with the Cocteau Twins managed to build the iconic, sepia-toned aesthetic of 4AD Records. The politics of record labels, domestic and foreign distribution rights, and other seemingly antiquated notions in this digital internet age, but are ultimately what shaped 4AD’s forage into the North American market through a distribution deal co-founder Ivo Watts-Russell inked with Warner Bros.

I was vaguely aware of this at the time, because of a program called mIRC (“Internet Relay Chat”)–a chat program that seems crude by today’s standard. It was there that I met many of the people I would trade mix tapes with…one in particular was cataloguing every aspect of 4AD, which is how I came to learn of Dead Can Dance. I would soon grow to love bands like the Red House Painters and Mojave 3, but mostly how cohesive their catalogue seemed to be. Little did I know Dead Can Dance would come to be categorized as “world music”.

Anastasis, DCD’s first release since 1996 definitely has elements of that, but I find it interesting to note that over the past few decades, it has attracted a mostly industrial/goth audience. Listening to their earlier material there is more of that feel to it–Anastasis is sadder, slower, and accompanied by a chamber orchestra. But it also manages to create what most good albums strive for: rich atmosphere.

There’s no question that the pace of this album is a plodding one–Perry carries the duty of most of the heavy lifting with the vocals, and the usual gongs, sitars, trumpets, sitars, and strings. In short, there’s no shortage of an audio sensory overload here with lots to keep you occupied.

At least no one can accuse them of going small or under-ambitious.

The album starts off with Children of the Sun, with a cinematic beginning and some great drumming–clocking in at over 7 minutes of Perry’s deep vocals and a whole lot of gongs and horns. It then moves into the Indian-tinged section with the plucky Anabasis and Agape, which took me back to my schoolyard days. The melody very much reminded me of the following chant:

In the land of Oz, where the ladies wear no bras
And the boys don’t care, they don’t wear no underwear

Amnesia is one of the stronger tracks off the album, reminiscent of Frankie Goes to Hollywood’s Power of Love (I mean this in the best way possible), only carrying bone-crushing weight. The meaty middle portion of the album continues with the Middle-Eastern-y Gerard-voiced Kiko…but it’s really Opium that stands out to me as having the best arrangements off Anastasis. Strings and percussion play nicely together here. The album finishes with the Isle-influenced Return of the She-King that might appropriately score an epic Irish Springs commercial and All In Good Time. I think the important thing to note is that DCD has stayed committed to achieving a flavor with this work, and they have managed to do so, with some epic song-writing arrangement-wise.

In thinking about Dead Can Dance, Perry and Gerrard’s former relationship, trans-oceanic break-up, and 16 year hiatus, I’d be hard-pressed to think of any better build-up to tonight”s concert at the Sony Centre for the Performing Arts (the Hummingbird to the rest of us). If you need any confirmation of the way their music will play out in a theatre’s acoustics, you need only look at the long string of sold out dates on this world tour.

Album Review: PNAU vs Elton John: Good Morning to the Night

Posted on by Ricky in Albums | Leave a comment

Where to even begin?

It all begins with PNAU, an Australian electropop band that first gained attention in 2007 with their self titled album PNAU. The track, which spawned a few catchy singles ( Wild Strawberries, Baby and With You Forever) caught the attention of one Sir Elton John. Elton John signed the group and quickly took them under his wing, offering the group his musical knowledge and bubble baths.

PNAU got a bit sidetracked in the late 00’s, as side project Empire of the Sun exploded onto the internet and made Nick Littlemore and Luke Steele stars for a brief moment in time.

With EOTS on hiatus, PNAU went back to the recording studio, probably did a ton of drugs and decided to reimagine Elton John’s records. The result is Good Morning to the Night, a mad scientist of an album that turns parts of Elton John’s 1970-1976 discography into a cohesive summer album that is perfect for backyard patio parties.

The album is only eight tracks long but features a host of an ideas. The title track incorporates eight Elton John tracks and transforms it into a rocking dance floor anthem and is definitely one of the highlights of this summer. The next track Sad is equally good, incorporating horns and other elements from five EJ tracks to turn it into once of those chilled but not too chilled tracks you want to play at sunset. The rest of the album twist and dives into the discography (most people say it was Elton John’s best work), each track sounding slightly different but all be it consistent with the PNAU’s dance party in the desert type of sound. Basically, it’s a great summer album and one worthy of your time.

Check it out.

Album Review: Krief – Hundred Thousand Pieces

Posted on by lauren in Albums, Everything | Leave a comment

The Dears have always been an operatic band. You can picture their songs at integral moments in cinema, or when picturing the soundtrack to your life, which according to Krief is a deliberate process (he has previously worked scoring films). Patrick Krief’s full length solo album is no different. It pulls on the heartstrings like no other; it swallows you whole as you get lost in the beauty and heartache he emotes so perfectly. There are moments where it feels like the guitar solos are singing the song, “gently weeping” as the Beatles so eloquently put it.

Every song on this album has what I can only describe as a large, theatrical sombre sound to it. The guitar packs as much emotional punch as the lyrics, as if it were a limb, an extension, like a musical instrument should be to a true musician. With lyrics like “when you left me broke and alone, here I am, lost in Japan”, it has the sadness of wandering through one of the largest cities, surrounded by people yet still feeling completely isolated and alone.

Krief stated in the bio on his website that during the writing of this album, “I was in the darkest place I had ever been in” and that he had to cease recording for several months. Citing the fear of growing older, and making a living out of a career where you are almost guaranteed to make little money (especially with technology and downloading today), it’s relatable on the easiest of levels. Most of us fear growing old, most of us fear being alone and we’d be lying if we said we didn’t think about finances and career choices at least once a day. So kick back, pick up Hundred Thousand Pieces and create your own Cameron Crowe film soundtrack to your life.

Album Review: Amanda Mair – Self Titled [2012, Labrador]

Posted on by halley in Albums | Leave a comment

So remember the Lilith Fair? A monumental, epic, crunchy-granola, feel-good testament to all that is feminine? Good news if you do remember: You have great taste in female artists. Good news if you don’t remember: Amanda Mair can provide a cheat-sheet to all the Lilith Fair awesomeness you have been deprived of.

Amanda Mair, first of all, is a baby (aka born 1994 – don’t think about it – it’ll only hurt your soul). The Swedish singer has a beautiful, clear, natural voice that neither grates nor wears on listeners. I could literally listen to her all day. More good news: her debut, self-titled album will be available June 5, 2012.

Most of her music on the album is laid-back – easy listening but distinctive enough not to become boring. There are some poppy undertones (try “Doubt”) – as well as some richer (almost soulful?) sounds on tracks like “Sense.” My personal favorite is “Skinnarviksberget” which makes me think of every prince-and-princess-falling-in-love moment from all our favorite Disney movie classics.

So: Feminists, Scandinavian-philes, Disney-lovers, children of the 90s, unite (if you don’t fall into one of those categories, you need to seriously reassess your interests)! Spread the word of Amanda Mair. She’s definitely worth a listen.