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(07/21/05 4:00am)
In the past 20 years, pop music has given birth to many mega-stars. Its reigning blondes, Madonna and Britney Spears, may have met their match. A definitive pop album, Anniemal has a grasp well beyond its contemporaries in sincerity and appeal. Combined with her girl-next-door persona, her album's reach is hitting the mainstream and condescending underground just the same, keeping hipsters shaking their asses during a DJ set laden with UK grime superstars to landing pop radio play your little sister will grab onto. Already having taken over Europe with her 1999 single "The Greatest Hit," Annie's bringing on a few façade of pop -- one that's going beyond skin deep.\n"Chewing Gum" and "Me Plus One" start the dance-off with a glittering, quirky keyboard melody bounced around by punchy backbeats that immediately took me back to Mariah Carey's early production, swapping out her soulful voice with Annie's smooth, high-pitched delivery. The album starts out as pure bubblegum, moving to a slower, more sincere appeal, calling on funk, 90's pop and even UK garage to create a unique, infectiously catchy blend of beats. The album picks up in the end with the synth-infused, hand clap single "The Greatest Hit" and the four-on-the-floor, 8-minute disco epic "Come Together" before slowing down at the tail end with "My Best Friend." Mellow and low-fi, its thin, faint vocal track melts along with the melody, exhibiting smoothness comparable to Zero 7 and the UK's Baxter Dury.\nHighlighting the record is its standout single "My Heartbeat" where Annie's vocals gasp over a racing bass and soothing strings that has been getting comparisons to Kylie Minogue. Rightfully so, as its energy is on the same level as Minogue's hit "Can't Get You Out of My Head." This alone is testament of where Annie is and where she'll be going with her career. Listen up. You'll be hearing a lot of her very soon.
(07/20/05 9:01pm)
In the past 20 years, pop music has given birth to many mega-stars. Its reigning blondes, Madonna and Britney Spears, may have met their match. A definitive pop album, Anniemal has a grasp well beyond its contemporaries in sincerity and appeal. Combined with her girl-next-door persona, her album's reach is hitting the mainstream and condescending underground just the same, keeping hipsters shaking their asses during a DJ set laden with UK grime superstars to landing pop radio play your little sister will grab onto. Already having taken over Europe with her 1999 single "The Greatest Hit," Annie's bringing on a few façade of pop -- one that's going beyond skin deep.\n"Chewing Gum" and "Me Plus One" start the dance-off with a glittering, quirky keyboard melody bounced around by punchy backbeats that immediately took me back to Mariah Carey's early production, swapping out her soulful voice with Annie's smooth, high-pitched delivery. The album starts out as pure bubblegum, moving to a slower, more sincere appeal, calling on funk, 90's pop and even UK garage to create a unique, infectiously catchy blend of beats. The album picks up in the end with the synth-infused, hand clap single "The Greatest Hit" and the four-on-the-floor, 8-minute disco epic "Come Together" before slowing down at the tail end with "My Best Friend." Mellow and low-fi, its thin, faint vocal track melts along with the melody, exhibiting smoothness comparable to Zero 7 and the UK's Baxter Dury.\nHighlighting the record is its standout single "My Heartbeat" where Annie's vocals gasp over a racing bass and soothing strings that has been getting comparisons to Kylie Minogue. Rightfully so, as its energy is on the same level as Minogue's hit "Can't Get You Out of My Head." This alone is testament of where Annie is and where she'll be going with her career. Listen up. You'll be hearing a lot of her very soon.
(02/17/05 5:00am)
Rock 'n' roll came back with the Strokes and has been stuck in a Stooges rut ever since. This is only acceptable since I can't have that signature Ron Asheton crunch outside of their catalog. Meanwhile, new rock bands have been keeping the hipsters happy with repetitive riffs and slurred speech. In picking up this record, the Peels looked like another '70s throwback, but it turns out that's not all they've been listening to.\nThe Peels move forward from this new school of rock, nodding to the Pretenders and taking on a more refined sound than their peers. Sticking out of the pack, Robyn Miller's thick, soulful and seductive vocals immediately surfaced as the best element of the record and prove she's more than just an attractive frontwoman. Reminiscent of Rachel Nagy of the Detroit Cobras and the Yeah Yeah Yeah's Karen O during her calmer moments, they suck you in and leave you at the mercy of guitarist standout Lane Rider. Interrupted by requisite, laid-back riffs, the smooth vocals are harmonized and tossed around by a thumping rhythm section and punchy guitar. \nEight songs deep, the Peels' debut is solid from the opening bass line to the final ring out. Through the first few listens, the album seems overproduced; too clean. Quickly the standouts, "You Talk Too Much" and "I Don't Know," prove the opposite as Robyn's vocals begin to melt in and out of the music. Bringing on their version of the rock 'n' roll beast, the Peels have definitely crawled out of the rut and are here to stay.
(02/16/05 5:02am)
Rock 'n' roll came back with the Strokes and has been stuck in a Stooges rut ever since. This is only acceptable since I can't have that signature Ron Asheton crunch outside of their catalog. Meanwhile, new rock bands have been keeping the hipsters happy with repetitive riffs and slurred speech. In picking up this record, the Peels looked like another '70s throwback, but it turns out that's not all they've been listening to.\nThe Peels move forward from this new school of rock, nodding to the Pretenders and taking on a more refined sound than their peers. Sticking out of the pack, Robyn Miller's thick, soulful and seductive vocals immediately surfaced as the best element of the record and prove she's more than just an attractive frontwoman. Reminiscent of Rachel Nagy of the Detroit Cobras and the Yeah Yeah Yeah's Karen O during her calmer moments, they suck you in and leave you at the mercy of guitarist standout Lane Rider. Interrupted by requisite, laid-back riffs, the smooth vocals are harmonized and tossed around by a thumping rhythm section and punchy guitar. \nEight songs deep, the Peels' debut is solid from the opening bass line to the final ring out. Through the first few listens, the album seems overproduced; too clean. Quickly the standouts, "You Talk Too Much" and "I Don't Know," prove the opposite as Robyn's vocals begin to melt in and out of the music. Bringing on their version of the rock 'n' roll beast, the Peels have definitely crawled out of the rut and are here to stay.
(09/30/04 6:05pm)
With the inevitability of maturity, Elvis Costello has morphed from the quirky, pigeon-toed nerd of punk on My Aim Is True into its seasoned grandfather. Usually his music comes off as an explosion of built-up aggression, but that's where The Delivery Man falls flat. Instead, Elvis delivers a winding road of emotion and sincerity. \n"Button My Lip" starts it off with loose garage energy and ambiance, only to an immediate, mellow response by the second track "Country Darkness." This repeating mood swing makes the album an awkward listen as a whole. Punchy one minute, serious and desperate the next, the record is a bipolar rollercoaster coming to a smooth stop with "The Scarlet Tide" -- an acoustic duet with Emmylou Harris.\nDelivery Man is self-descriptive: "In a certain light, he looked like Elvis. In a certain way, he seemed like Jesus." Just as one is an idol of pop culture, one an idol of faith -- similarly exalted, yet of two different worlds -- Elvis' musical flip-flop doesn't ruin the record. It shows us the two sides of one of America's best songwriters as he borrows from its music tradition and style while delivering yet another solid performance.
(09/30/04 4:00am)
With the inevitability of maturity, Elvis Costello has morphed from the quirky, pigeon-toed nerd of punk on My Aim Is True into its seasoned grandfather. Usually his music comes off as an explosion of built-up aggression, but that's where The Delivery Man falls flat. Instead, Elvis delivers a winding road of emotion and sincerity. \n"Button My Lip" starts it off with loose garage energy and ambiance, only to an immediate, mellow response by the second track "Country Darkness." This repeating mood swing makes the album an awkward listen as a whole. Punchy one minute, serious and desperate the next, the record is a bipolar rollercoaster coming to a smooth stop with "The Scarlet Tide" -- an acoustic duet with Emmylou Harris.\nDelivery Man is self-descriptive: "In a certain light, he looked like Elvis. In a certain way, he seemed like Jesus." Just as one is an idol of pop culture, one an idol of faith -- similarly exalted, yet of two different worlds -- Elvis' musical flip-flop doesn't ruin the record. It shows us the two sides of one of America's best songwriters as he borrows from its music tradition and style while delivering yet another solid performance.
(05/27/04 4:00am)
L.A.'s heating up again. Bad attitudes are notorious -- a la www.buddyhead.com -- and the guitars are getting just as abrasive. It's not quite the late 1980s with Mötley Crüe and Quiet Riot, but it's just as intense. The Icarus Line, along with other heavy acts like the Bronx, are taking L.A. to its boiling point.\n "Penance Soiree," the band's second full-length album, helps turn up the heat as Icarus Line creeps to another level. Adding bassist Don Devore of Ink & Dagger fame has added an extra punch to the band's rhythm section apparent from the get-go, as he drives the album's opener, "Up Against the Wall," through a trip of aggressive crunch and a stern tongue-lashing from lead vocalist Joe Cardamone.\nLyrics of heartbreak, drugs and rock 'n' roll intertwine with a soundtrack that takes you through various emotions -- kicking it off in chaos with "Spit On It," moving along with the straight-forward rock of "Spike Island" and coming down with "White Devil." The drum-machine-based "Meatmaker" is the record's bad dream, waking up to the mellow "Party the Baby Off," which takes you right back to the beginning for another trip.\nThis is a rejuvenating slap in the face that indie rockers need, and what a refreshing one it is.
(05/26/04 10:06pm)
L.A.'s heating up again. Bad attitudes are notorious -- a la www.buddyhead.com -- and the guitars are getting just as abrasive. It's not quite the late 1980s with Mötley Crüe and Quiet Riot, but it's just as intense. The Icarus Line, along with other heavy acts like the Bronx, are taking L.A. to its boiling point.\n "Penance Soiree," the band's second full-length album, helps turn up the heat as Icarus Line creeps to another level. Adding bassist Don Devore of Ink & Dagger fame has added an extra punch to the band's rhythm section apparent from the get-go, as he drives the album's opener, "Up Against the Wall," through a trip of aggressive crunch and a stern tongue-lashing from lead vocalist Joe Cardamone.\nLyrics of heartbreak, drugs and rock 'n' roll intertwine with a soundtrack that takes you through various emotions -- kicking it off in chaos with "Spit On It," moving along with the straight-forward rock of "Spike Island" and coming down with "White Devil." The drum-machine-based "Meatmaker" is the record's bad dream, waking up to the mellow "Party the Baby Off," which takes you right back to the beginning for another trip.\nThis is a rejuvenating slap in the face that indie rockers need, and what a refreshing one it is.
(04/30/04 3:29pm)
Split records have always given buyers one thing -- two bands on one album. Never really giving Alkaline Trio a chance and having never heard One Man Army, I thought this was all this record had to offer. After listening, I began to see why Alkaline Trio has risen to be one of the biggest bands in punk and how One Man Army's adherence to old-school punk is nothing but refreshing.\nTypical pop-punk comes off as happy and playful. Alkaline Trio wails beyond this genre stereotype as their horror-punk appearance seeps through in their painful and dark melody. "Dead and Broken" and "Sadie" roll through tales of death and loss as the mood picks up with a cover of "Wait for the Blackout" by the Damned. The '77 punk classic segues perfectly into One Man Army and their tight, San Francisco sound. Thick, abrasive vocals drive the classic-punk inspired anthems reminiscent of Stiff Little Fingers and recent groups: US Bombs and Swingin' Utters. "The Hemophiliac" sounds like an outtake from SLF's essential 1979 album Inflammable Material, and that's nothing but praise.\nBeyond the music, this split's interesting yet complimentary pairing (pop-punk vs. evolved street-punk) sets in stone that this record offers much more than two bands for the price of one.
(04/29/04 10:08pm)
The past few years have seen the producer rise to the forefront of hip-hop. They're becoming as famous as the MCs they're backing up, putting a whole new face on the genre.\nJust as producers like Timbaland and the Neptunes have been conquering mainstream hip-hop, RJD2 is beginning his reign among underground hip-hop's top producers. \nA little humble, a little sarcastic, he quickly gained respect in the business. Sparking interest early from his work with the Megahertz out of Columbus, Ohio, RJ began to work with top underground acts. \nHis major debut was producing four tracks on Copywrite's "The High Exhaulted," a gig through which he met frontrunner of Definitive Jux Records, El-P. Coupled with the success of Def Jux, RJ's skills have been earning him a lot of attention. The rest is history. \n His beats can be heard backing up Mos Def, Vast Aire, Aceyalone and recently MF Doom on his album as Viktor Vaughn, "Vaudeville Villain." May 18 will see the much anticipated follow-up to last year's breakthrough album "Dead Ringer." Fresh off an Australian tour, selling out three dates with Kid Koala, and excited about the release of "Since We Last Spoke," RJ took some time to answer a few questions about his career and the current state of hip-hop.\nWEEKEND: How'd you get into making beats?\nRJD2: From DJing -- it's a very common progression.\nSince 'Dead Ringer,' you've become one of the top producers. Did you feel a lot of pressure to uphold that throne?\nWell, thank you for saying that, but I don't think I've become a top producer in any other field than the graduating class of Columbus, Ohio. I still find myself on the phone with Freeway's manager trying to explain that I'm not just some kid making beats in my bedroom. Wait, I guess I am....\nDo you think 'Since We Last Spoke' will do that?\nI think that 'Since We Last Spoke' will propel me to a magical place -- a place so mystical and fantastic that I will walk on mist, and be greeted by wizards and fair maidens, dining on exotic fruits that I have never heard of.\nWhat did you change going into the new album? Did you approach it differently?\nMore live instruments. No rappers. I felt comfortable just screwing around on this record.\nWith a lot of recent releases in hip-hop, especially with the Kanye West's 'College Dropout' and the many remixes of Jay-Z's 'Black Album,' they're pushing the production to the forefront. Do you see your popularity growing as well?\nUmm, I think so. I mean, I feel like the most popular kid in school, you know? I got the letter jacket and the hot girlfriend and everything. Nerds-nerds-nerds-nerds….\nWhat did you think of the Black Album? Do you think this popularity of underground producers is coming through -- especially with 9th Wonder being on the album?\nI liked it. It's not Jay's best album, but hey, you know, what are you gonna do? I can't make a call on that issue -- 9th got called up from the ranks. It's great for him. 9th Wonder being on the Jay-Z album was big news in underground hip-hop, though. I don't think I would say it's been a trend or anything.\nWhat did you think when Bazooka Joe approached you to do the Silver Album? Did you like him using your production as his basis rather than making original beats?\nYou know, I basically said, 'Whatever.' I said, 'Hey, do this thing, I won't get bent out of shape or anything.' In hindsight, it has been seen as a project I did, which is not the case at all. While we're on the subject, somebody said they had a CD called 'RJD2 is God' -- I don't know what this is, and would like to go on record that I would never in my life name something that. OK, off the sandbox.\nYou've been producing a lot of tracks lately -- MF Doom, Aceyalone, Vast Aire -- do you like doing tracks that will be rapped over or do you like doing instrumental tracks more?\nI get bored of one, go do the other and then get bored of that. Repeat process.\nDo you have any more collaborations planned?\nMe and Gamecube are gonna sit down at the end of the year; try to get some shit done. It's been so hectic that I can't even remember to buy paper towels, nahmean?\nWho do you want to work with most?\nDavid Cross.… Or I would do a beat for "Aqua Teen Hunger Force" in a minute.\nWhat was it like remixing for Mos Def?\nIt was cool, a great opportunity. Never thought I would hear him rhyming over a beat I did.
(04/29/04 4:00am)
The past few years have seen the producer rise to the forefront of hip-hop. They're becoming as famous as the MCs they're backing up, putting a whole new face on the genre.\nJust as producers like Timbaland and the Neptunes have been conquering mainstream hip-hop, RJD2 is beginning his reign among underground hip-hop's top producers. \nA little humble, a little sarcastic, he quickly gained respect in the business. Sparking interest early from his work with the Megahertz out of Columbus, Ohio, RJ began to work with top underground acts. \nHis major debut was producing four tracks on Copywrite's "The High Exhaulted," a gig through which he met frontrunner of Definitive Jux Records, El-P. Coupled with the success of Def Jux, RJ's skills have been earning him a lot of attention. The rest is history. \n His beats can be heard backing up Mos Def, Vast Aire, Aceyalone and recently MF Doom on his album as Viktor Vaughn, "Vaudeville Villain." May 18 will see the much anticipated follow-up to last year's breakthrough album "Dead Ringer." Fresh off an Australian tour, selling out three dates with Kid Koala, and excited about the release of "Since We Last Spoke," RJ took some time to answer a few questions about his career and the current state of hip-hop.\nWEEKEND: How'd you get into making beats?\nRJD2: From DJing -- it's a very common progression.\nSince 'Dead Ringer,' you've become one of the top producers. Did you feel a lot of pressure to uphold that throne?\nWell, thank you for saying that, but I don't think I've become a top producer in any other field than the graduating class of Columbus, Ohio. I still find myself on the phone with Freeway's manager trying to explain that I'm not just some kid making beats in my bedroom. Wait, I guess I am....\nDo you think 'Since We Last Spoke' will do that?\nI think that 'Since We Last Spoke' will propel me to a magical place -- a place so mystical and fantastic that I will walk on mist, and be greeted by wizards and fair maidens, dining on exotic fruits that I have never heard of.\nWhat did you change going into the new album? Did you approach it differently?\nMore live instruments. No rappers. I felt comfortable just screwing around on this record.\nWith a lot of recent releases in hip-hop, especially with the Kanye West's 'College Dropout' and the many remixes of Jay-Z's 'Black Album,' they're pushing the production to the forefront. Do you see your popularity growing as well?\nUmm, I think so. I mean, I feel like the most popular kid in school, you know? I got the letter jacket and the hot girlfriend and everything. Nerds-nerds-nerds-nerds….\nWhat did you think of the Black Album? Do you think this popularity of underground producers is coming through -- especially with 9th Wonder being on the album?\nI liked it. It's not Jay's best album, but hey, you know, what are you gonna do? I can't make a call on that issue -- 9th got called up from the ranks. It's great for him. 9th Wonder being on the Jay-Z album was big news in underground hip-hop, though. I don't think I would say it's been a trend or anything.\nWhat did you think when Bazooka Joe approached you to do the Silver Album? Did you like him using your production as his basis rather than making original beats?\nYou know, I basically said, 'Whatever.' I said, 'Hey, do this thing, I won't get bent out of shape or anything.' In hindsight, it has been seen as a project I did, which is not the case at all. While we're on the subject, somebody said they had a CD called 'RJD2 is God' -- I don't know what this is, and would like to go on record that I would never in my life name something that. OK, off the sandbox.\nYou've been producing a lot of tracks lately -- MF Doom, Aceyalone, Vast Aire -- do you like doing tracks that will be rapped over or do you like doing instrumental tracks more?\nI get bored of one, go do the other and then get bored of that. Repeat process.\nDo you have any more collaborations planned?\nMe and Gamecube are gonna sit down at the end of the year; try to get some shit done. It's been so hectic that I can't even remember to buy paper towels, nahmean?\nWho do you want to work with most?\nDavid Cross.… Or I would do a beat for "Aqua Teen Hunger Force" in a minute.\nWhat was it like remixing for Mos Def?\nIt was cool, a great opportunity. Never thought I would hear him rhyming over a beat I did.
(04/29/04 4:00am)
Split records have always given buyers one thing -- two bands on one album. Never really giving Alkaline Trio a chance and having never heard One Man Army, I thought this was all this record had to offer. After listening, I began to see why Alkaline Trio has risen to be one of the biggest bands in punk and how One Man Army's adherence to old-school punk is nothing but refreshing.\nTypical pop-punk comes off as happy and playful. Alkaline Trio wails beyond this genre stereotype as their horror-punk appearance seeps through in their painful and dark melody. "Dead and Broken" and "Sadie" roll through tales of death and loss as the mood picks up with a cover of "Wait for the Blackout" by the Damned. The '77 punk classic segues perfectly into One Man Army and their tight, San Francisco sound. Thick, abrasive vocals drive the classic-punk inspired anthems reminiscent of Stiff Little Fingers and recent groups: US Bombs and Swingin' Utters. "The Hemophiliac" sounds like an outtake from SLF's essential 1979 album Inflammable Material, and that's nothing but praise.\nBeyond the music, this split's interesting yet complimentary pairing (pop-punk vs. evolved street-punk) sets in stone that this record offers much more than two bands for the price of one.
(04/24/04 12:42am)
Boston boasts a hefty resume of hardcore music, going back to SS Decontrol and D.Y.S. R'N'R keeps greater Boston's tradition alive, but brings a unique sound to the otherwise bland hardcore of today. While many bands are ripping off Iron Maiden riffs, R'N'R is turning to AC/DC and Thin Lizzy for inspiration, belting out a bastard child which will make long-hairs and floor-punchers equally happy. This leaves the record presenting me with an interesting decision to make while listening to it -- should I finger point and jump in the pile-on or head bang like I was at a Nuge concert?\nMeetings of style, and hardcore music in general, typically lack originality and this comes through in their lyrics about rockin' out, unity and being hard to the core. Fortunately, the vocals are drowned out by the 10-track, ass-kicking they dish out, or annoyance would prevail. "Can't Stop the Rock" kicks everything off '70s rock-style as the record moves through a seamless combination of classic New England rage and classic rock chops which take it from heavy to melodic and back again. "Gone" and "Move Up" stand out of the melee as the best tracks, but at the same time solidify that this record isn't anything groundbreaking. But who needs originality to rock like this?
(04/22/04 4:00am)
Boston boasts a hefty resume of hardcore music, going back to SS Decontrol and D.Y.S. R'N'R keeps greater Boston's tradition alive, but brings a unique sound to the otherwise bland hardcore of today. While many bands are ripping off Iron Maiden riffs, R'N'R is turning to AC/DC and Thin Lizzy for inspiration, belting out a bastard child which will make long-hairs and floor-punchers equally happy. This leaves the record presenting me with an interesting decision to make while listening to it -- should I finger point and jump in the pile-on or head bang like I was at a Nuge concert?\nMeetings of style, and hardcore music in general, typically lack originality and this comes through in their lyrics about rockin' out, unity and being hard to the core. Fortunately, the vocals are drowned out by the 10-track, ass-kicking they dish out, or annoyance would prevail. "Can't Stop the Rock" kicks everything off '70s rock-style as the record moves through a seamless combination of classic New England rage and classic rock chops which take it from heavy to melodic and back again. "Gone" and "Move Up" stand out of the melee as the best tracks, but at the same time solidify that this record isn't anything groundbreaking. But who needs originality to rock like this?
(03/11/04 5:00am)
With its tardy follow-up to 2001's Roll On, Australian trio the Living End, has officially fallen off. Still looking like they're straight out of 1977, their getup of Gretsch guitars, Creepers and an upright bass screams something aggressive; however, this look has become deceiving. The band has abandoned its tough psychobilly and punk-influenced roots since earlier albums, pumping out a polar opposite with a whole new weak demeanor and soft sound. The 14 tracks melt together in a monotony of mid-tempo crowd-pleasers for the 14-year-old girls who will be cheering for them in the front row at every concert. \nKicking off the terribly polished record is the sing-along "What Would You Do?" followed up by tracks sounding like they will end up on the next teen movie soundtrack. Fortunately, picking up the album's slack are standouts "One Said to the Other," as well as "Hold Up" and "End of the World" -- the only tracks which echo the bands early sound, calling on the greats of punk and rockabilly where the upright bass is played the way it should be.\nBottom line -- the Living End has started living up to its name with Modern Artillery, as the living end of itself.
(03/11/04 12:40am)
With its tardy follow-up to 2001's Roll On, Australian trio the Living End, has officially fallen off. Still looking like they're straight out of 1977, their getup of Gretsch guitars, Creepers and an upright bass screams something aggressive; however, this look has become deceiving. The band has abandoned its tough psychobilly and punk-influenced roots since earlier albums, pumping out a polar opposite with a whole new weak demeanor and soft sound. The 14 tracks melt together in a monotony of mid-tempo crowd-pleasers for the 14-year-old girls who will be cheering for them in the front row at every concert. \nKicking off the terribly polished record is the sing-along "What Would You Do?" followed up by tracks sounding like they will end up on the next teen movie soundtrack. Fortunately, picking up the album's slack are standouts "One Said to the Other," as well as "Hold Up" and "End of the World" -- the only tracks which echo the bands early sound, calling on the greats of punk and rockabilly where the upright bass is played the way it should be.\nBottom line -- the Living End has started living up to its name with Modern Artillery, as the living end of itself.
(02/19/04 5:00am)
Copenhagen, Denmark has always been a psychobilly hotbed, noted most recently by the success of Nekromantix stateside. That band's coffin-bassist Kim Nekroman finds himself on guitar in this side project with tattooed bombshell Patricia on stand-up bass and lead vocals. It's hard to stand out in the crowd of over-the-top shock rockers, horror theme bands and huge pompadours, but the HorrorPops do so with its take on old-fashioned rock and roll. Hell Yeah! spits out a melee of '80s new-wave influenced psychobilly and '50s kitsch, unique enough to grab attention, but still within the stereotypical rocker realm.\nSongs about monsters, zombies and tattoos live up to the cookie-cutter rock scene, however, this band has a little something extra. Patricia's vocals offer a smooth, melodic break from the razor blade vocals of her psychobilly contemporaries Demented Are Go and Mad Sin. Coupled with a crawling melody and stomping bass, her voice helps break the mold. The wrecking pit starts off with "Drama Queen," a fast track showing off Nekroman's guitar skills. On "Psychobitches Outta Hell," the sound echoes The Cramps minus the crazy antics of Lux Interior, and the record finishes up with "Horrorbeach," a surf guitar instrumental.\nGo-go dancers, tattoos and horror schtick have given the HorrorPops an identity, but these trappings don't limit its eclectic style and appeal.
(02/18/04 11:42pm)
Copenhagen, Denmark has always been a psychobilly hotbed, noted most recently by the success of Nekromantix stateside. That band's coffin-bassist Kim Nekroman finds himself on guitar in this side project with tattooed bombshell Patricia on stand-up bass and lead vocals. It's hard to stand out in the crowd of over-the-top shock rockers, horror theme bands and huge pompadours, but the HorrorPops do so with its take on old-fashioned rock and roll. Hell Yeah! spits out a melee of '80s new-wave influenced psychobilly and '50s kitsch, unique enough to grab attention, but still within the stereotypical rocker realm.\nSongs about monsters, zombies and tattoos live up to the cookie-cutter rock scene, however, this band has a little something extra. Patricia's vocals offer a smooth, melodic break from the razor blade vocals of her psychobilly contemporaries Demented Are Go and Mad Sin. Coupled with a crawling melody and stomping bass, her voice helps break the mold. The wrecking pit starts off with "Drama Queen," a fast track showing off Nekroman's guitar skills. On "Psychobitches Outta Hell," the sound echoes The Cramps minus the crazy antics of Lux Interior, and the record finishes up with "Horrorbeach," a surf guitar instrumental.\nGo-go dancers, tattoos and horror schtick have given the HorrorPops an identity, but these trappings don't limit its eclectic style and appeal.
(02/12/04 5:00am)
Back in 1984, "Breakin'" took the breakdancing craze off the street and put it onto the big screen. Over-the-top choreography barely overshadowed the amateur acting and undeveloped plot of the old-school cult classic. In this respect, "You Got Served" is a case of cinematic déjà vu.\n"Served" is what it is: a shot at being "Breakin'" 2004. Take out the fat laces, bucket hats, shell toes and the undeniable aesthetic of taking it to the linoleum; insert B2K, Backstreet Boys-esque dancing, bad dialogue and a staccato plot and "Served" is what's left. \nThe movie feels like an extended music video -- normally with acting remaining an accessory and the dancing shining over everything else. "Served" ignores this fundamental and weaves an overly dramatic plot between the intense, choppy dance battle scenes. The movie's opening battle at Mr. Rad's (Steve Harvey) warehouse, and later dance sequences, infuse a sense of competition and excitement. These moments are welcomed because they not only present impressive dance moves, but they also give viewers a break from the terrible dialogue. \nDavid (B2K's Omarion) and Elgin (Marques Houston) front the best crew in Los Angeles. Their reign at the top crumbles along with their friendship after losing $5,000 in a challenge from a rival Orange County crew, who's leader looks like a Sugar Ray reject. Further complicating their situation of recuperating their drop from the top, the two get into serious beef over Elgin dating David's little sister, Liyah (Jennifer Freeman), and a drug deal gone bad. Both start new crews, emphasized by a ridiculous montage of the two training in the rain, looking to win $50,000 at the climactic competition. With the winnings, they could pay for the lost drugs and regain their respect. During the final, the two lay down their guard to compete against the same O.C. crew in remembrance of the late Lil Saint (Malcom David Kelley), their young friend killed in a drive-by.\n"You Got Served" isn't only a show-off for hot dance moves and throwback jerseys, it's a shout out to the past and the intensity of street battles 20 years after "Breakin.'" Unfortunately, its nostalgia and commercial feel help it fall short of something exciting.
(02/11/04 9:32pm)
Back in 1984, "Breakin'" took the breakdancing craze off the street and put it onto the big screen. Over-the-top choreography barely overshadowed the amateur acting and undeveloped plot of the old-school cult classic. In this respect, "You Got Served" is a case of cinematic déjà vu.\n"Served" is what it is: a shot at being "Breakin'" 2004. Take out the fat laces, bucket hats, shell toes and the undeniable aesthetic of taking it to the linoleum; insert B2K, Backstreet Boys-esque dancing, bad dialogue and a staccato plot and "Served" is what's left. \nThe movie feels like an extended music video -- normally with acting remaining an accessory and the dancing shining over everything else. "Served" ignores this fundamental and weaves an overly dramatic plot between the intense, choppy dance battle scenes. The movie's opening battle at Mr. Rad's (Steve Harvey) warehouse, and later dance sequences, infuse a sense of competition and excitement. These moments are welcomed because they not only present impressive dance moves, but they also give viewers a break from the terrible dialogue. \nDavid (B2K's Omarion) and Elgin (Marques Houston) front the best crew in Los Angeles. Their reign at the top crumbles along with their friendship after losing $5,000 in a challenge from a rival Orange County crew, who's leader looks like a Sugar Ray reject. Further complicating their situation of recuperating their drop from the top, the two get into serious beef over Elgin dating David's little sister, Liyah (Jennifer Freeman), and a drug deal gone bad. Both start new crews, emphasized by a ridiculous montage of the two training in the rain, looking to win $50,000 at the climactic competition. With the winnings, they could pay for the lost drugs and regain their respect. During the final, the two lay down their guard to compete against the same O.C. crew in remembrance of the late Lil Saint (Malcom David Kelley), their young friend killed in a drive-by.\n"You Got Served" isn't only a show-off for hot dance moves and throwback jerseys, it's a shout out to the past and the intensity of street battles 20 years after "Breakin.'" Unfortunately, its nostalgia and commercial feel help it fall short of something exciting.