New Album Reviews, Fresh Music News

What’s on the Juno soundtrack?

1. Barry Louis Polisar - All I Want Is You
2. Kimya Dawson - My Rollercoaster
3. The Kinks - A Well Respected Man
4. Buddy Holly - Dearest
5. Mateo Messina - Up The Sprout
6. Kimya Dawson - Tire Swing
7. Belle & Sebastian - Piazza, New York Catcher
8. Kimya Dawson - Loose Lips
9. Sonic Youth - Superstar
10. Kimya Dawson - Sleep
11. Belle & Sebastian - Expectations
12. Mott The Hoople - All The Young Dudes
13. Kimya Dawson - So Nice So Smart
14. Cat Power - Sea Of Love
15. Kimya Dawson & Antsy Pants - Tree Hugger
16. The Velvet Underground - I’m Sticking With You
17. The Moldy Peaches - Anyone Else But You
18. Antsy Pants - Vampire
19. Michael Cera & Ellen Page - Anyone Else But You

Some of the names might be familiar to you if you are weird and old like me. The only “mainstream” song that’s on here is Mott The Hoople – All The Young Dudes, I’m sure most of you will remember that. Everyone should buy this soundtrack right now and play and smile. It will definitively get you in a good mood.

Review from amazon.com :

1. Juno is a gentle, sweet, smart and moving comedy. It’s a teen flick that works for adults, and an adult flick that works for teens. The soundtrack is the perfect background (and sometimes foreground) to what goes on in the film, but it also stands alone quite nicely. Most of the songs on the album are quiet, indie, folkie, and acoustic, like the Kimya Dawson songs (three of ‘em) which are idiosnycractic and wonderful. Kimya Dawson (formerly of the Moldy Peaches who are also represented here) reminds me ALOT of the Be Good Tanyas (which is intended as a compliment), especially on Tire Swing. There are, however, also some great classic oldie songs from the Kinks and Buddy Holly and Mott the Hoople which are not acoustic-y folkie, but more raucous and energetic. Go out and enjoy the movie and I’m betting you will come back for the music.

2.Sometimes it takes a few listens to get into a CD. Other times, right away you know from the first notes, that you’ll be listening to the CD a few million times and it will constantly be going in the ol’ player (or itunes, car stereo ETC). The soundtrack to the movie “Juno” is one of those cases.

For those who don’t know, the film “Juno” is a comedy/drama about a teenager named Juno MacGuff, who finds herself pregnant after sexually experimenting with her best friend, Paulie. We follow Juno, her family, friends, and acquaintances through the nine months of her pregnancy and all the ‘Sturm & Drang’, that goes with it. This film is quite a rarity, because it is a Hollywood movie comedy about teen prenancy, that actually treats its characters and their situation with both wit, intelligence and respect. And one last word about the film itself…yes the film’s characters and humor are quite “quirky”. I know this word is waaaayy over used by many reviewers, but darn it, the film is just “quirky”.

That feeling of ‘quirkiness’ seems to extend to the soundtrack. The music seems to portray the same style of humor, wit and intelligence of the characters in the film. One could just imagine that the acerbic teen, Juno, in a mellow moment, might actually listen to this CD (and like it!). Most of the music on this soundtrack could best be described as “anti-folk”. This is sort of funny term, that seems to meet with a variety of definitions. To me it just seems to be folk music, that dosn’t take itself too seriously, yet still has an attitude. Sort of like a bratty teenager. This is best encompassed on the soundtrack in the music of Kimya Dawson, who performs both solo and with the groups ‘The Moldy Peaches’ & ‘Antsy Pants’. There is just something so hummable, chuckle inducing and addictive about her music. I love songs like “Anyone Else But You”, “My Roller Coaster” and “Tire Swing”. If you put these songs on in the morning, I can guarantee you’ll still be hearing them in your head, while your getting to sleep at night.

The other songs are also great. I really love the precociousness of the songs of ‘Belle & Sebastion’ (”Piazza, New York Catcher”, “Expectations”) as well as the cuts from Cat Power (”Sea of Love”) and Barry Louis Polisar (”All I Want is You”). Great stuff!! I even like that creepy version of the Carpenter’s “Superstar” as performed by Sonic Youth. All these songs go so well together.

If I have but one bone to pick with this soundtrack, is in it’s use of ‘Classic Rock’. Don’t get me wrong, I’m an old fart, who loves ‘Classic Rock’ (the lack of space in my condo due to my CD collection proves this)! But some of it works (The Velvet Underground, Buddy Holly) while some of it dosn’t (The Kinks, Mott the Hoople). These are all great groups performing wonderful classic songs. I love them to bits. But the ones that don’t work, just seem to interrupt the mood and flow of the CD. But this is really a small complaint. In the end if you havn’t seen this movie, then go see it! After one viewing you’ll be buying or downloading this recording. It’s that good.

Tags: juno, juno reviews, juno soundtrack

Vinicius Cantuaria : Cymbals album review

Singer-songwriter and multi-instrumentalist bandleader Vinicius Cantuaria has been described as the guru of post-bossa or post-electronica acoustic. But post-anything seems like faint praise for music which is so sweet and easy, yet, at the same time, profound and subtle. If the music often recalls that of his idol, Tom Jobim (the writer of Astrid Gilberto’s Girl from Ipanema), then this is more to say that Cantuaria’s music extends Jobim’s songs’ archetypal beauty rather than merely apes it, as much here on Cymbals as on previous albums Silva, Horse and Fish, and his 1996 breakthrough album Sol Na Cara. Besides writing Caetono Veloso’s biggest-selling hit, Lua e Estrela, and providing Fabrio Jr. with a 2-million seller in So Voce during the course of his thirty-year career, Cantuaria has collaborated with such giants of the left-field as David Byrne, Laurie Anderson , Bill Frisell and Ryuichi Sakamoto. However, his work under his own name avoids the more challenging and experimental nature of some of their output in favour of an utterly accessible style that only reveals its many dimensions on repeated listening: For instance, in his cover of Jobim’s Vivo Sonhando.

Unlike previous albums, Cymbals was recorded entirely in New York. It has regular collaborators such as Steely Dan’s former trumpeter Michael Leonhart and guest-stars like Angelique Kidjo and is produced solely by Cantuaria, but continues the hypnotic acoustic explorations of its predecessors, with some brilliant piano from Brad Mehidan on Voce Esta Sumindo and guitar from Cantuaria himself on Prantos, as well as touches of electronica in Chuva and Champs de Mars. The playing throughout is telepathic, particularly on O Batuque, Ominara, or the jazz-inflected Tua Cara, but every track seems to suggest boundless musical possibilities. My one criticism would be the lack of an English translation in the review copy, which makes commenting on the lyrics impossible, although he does appear to be singing “Hello Bob Marley” at one point. But what is the meaning of Cantuaria’s prominently displayed wedding ring on the cover?

Review from http://www.guardian.co.uk/

You could trawl through acres of supposedly “sexy” Brazil chill albums without finding tracks as good as the 11 songs on this entirely delightful album from singer-songwriter-guitarist Cantuaria. The album opens with the irresistibly breezy Galope, which boasts the kind of feelgood hook you wish “commerical” pop writers had the wit to create.

The title reminds us that Cantuaria began his professional career as a percussionist; each groove is exquisitely nuanced (and often played by the artist himself), and there are few superfluous notes. Yet Cymbals never sounds too perfect, or pretty, or clever: there’s a restless spirit to the vocal performances that gives it a rightful place in the World Music racks rather than languishing in pop or lounge. Cantuaria also casts his collaborators well: Brad Mehldau on the subtle Voce e Eu; trumpeter Michael Leonhart on Tua Cara and the sprightly Chuva; guitarist Marc Ribot and cellist Erik Friedlander on the moody Prantos.

Tags: cymbals, cymbals album review, cymbals review, Vinicius Cantuaria

Tangled Up Album Review :

Managing to rid themselves of the tackiness of the likes of “I Think We’re Alone Now”, the understated “Call The Shots” is an unexpectedly calm opener. But don’t get too worried, “Close To Love” really kicks off the energetic side of Tangled Up with a monster beat. Similarly the punishing 90s bassline of “Girl Overboard” and it’s overwhelming chorus make it, like “Something Kinda Ooh”, one of those songs we know is going to be amazing to dance to in a club. Sarah’s influence is certainly felt on the futuristic “I’m Falling”. Trapping squelchy sounds with a punky guitar, those of us who were horrified “Graffiti My Soul” was never a single will love it.

Instead of ballads, we’re treated to mid-tempo fun courtesy of the sultry “I Can’t Speak French” and the entrancing album closer “Crocodile Tears”. And we never thought we’d name a slower song as one of our favourites, but the reggae infused “Control of the Knife” complete with an absurd mash of trumpets and synths has managed to steal our heart.

Undoubtedly the best girl band the UK has ever seen, Girls Aloud make challenging pop music without ever losing their sense of fun and Tangled Up is yet another diamond on their fingers.

Review from amazon.com :

One of the most successful pop groups in the history of the UK singles charts, Girls Aloud started out as a reality-show competition creation back in 2002 but have since gone on to be one of the UK’s very best purveyors of pop, in no small thanks to ace production team Xenomania(who helmed the majority of peerless debut SOUND OF THE UNDERGROUND and fully produced every studio disc since). Studio outing number four continues the near flawless record–first single “Sexy No!No!No!” continues the futuristic mash-up style sound of “Something Kinda Ooh”, ranking with “Biology” as one of their four or five best singles ever. Conversely, second single “Call The Shots” is probably their most musically straightforward track to date–again, I would rank this very high in their singles canon as well. Vocally, the girls each get their turn at the mic, all handling themselves admirably, though Nadine Coyle remains the vocal standout in the group. All said, there really isn’t a dud in the bunch–even better, they’ve forgone the inclusion of any covers or ballads, often their weak point with regard to their full-lengths. This is easily on par with the previous CHEMISTRY as well as their debut, and probably better than second set WHAT WILL THE NEIGHBOURS SAY? Highly recommended.

Tangled Up mp3 download

Tags: download tanged up mp3, girls aloud, tangled Up

Album Review

As the name might suggest, Burial likes to keep things underground. The mysterious producer is a curious anomaly on the currently flourishing dubstep scene, keeping his identity secret while others are networking furiously and raking in lots of DJ cash. Rumours abound that he doesn’t even exist, that Burial is actually the alter-ego of an established artist – perhaps Kode9, who runs the Hyperdub label. In reality, he’s just the reclusive type.

The music, too, is of a different character to the dubstep sound currently blasting out from club backrooms across Europe. Burial’s beats aren’t really aimed at the dancefloor, more for headphones-under-a-hoodie, down in a tube station at midnight – and the headphones need to be decent. Where the best-known dubstep cuts are built on growling, barking basslines, his beats are a more intricate proposition.

Last year’s eponymous debut LP flirted with the most experimental electronica and introduced a new breed of leftfield-loving listener to the overall scene. Now this much-anticipated follow-up takes an unexpected step back, and an intriguing return to classic two-step. It’s a sort of evil twin to the uplifting, chart-friendly sound that shone brightly but briefly five years ago.

The skippety beats and soulful vocals are still intact, but Burial darkens the mood considerably, burying them deep within layers of rumbling, almost imperceptible bass and horror-soundtrack synth. The ominous “Archangel”, “Ghost Hardware,” “Etched Headplate” and “Untrue” itself could easily be remixes of long-forgotten early-noughties cuts, and suggest a man who, when those old two-step house-parties were in full swing, was hiding in the garage. Keeping your distance can sometimes pay rich dividends.

Tags: burial, untrue