Reinvention can be challenging: Danny Elfman’s groundbreaking band Oingo Boingo went through a variety of changes, while Berlin changed the record industry’s perception of the band when Terri Nunn re-joined the outfit. Rather than a flashback, Oklahoma City’s former Starlight Mintsfrontman Allan Vest and producer Barb Vest are having no issues creating magic withan incredible blend of vibes that includes touches from the best of the 1980s new wave experimental revolution. DoubleVee is set to release its debut album, The Moonlit Fables of Jack the Rider, on February 10 via CEN/RED Distribution, a division of Sony Music. Not a bad way to start.
Jack the Rider was recorded and produced at their home studio in Norman, Oklahoma, with some mixing and mastering from Matt Pence at The Echo Lab and additional mixing and mastering from Wes Sharon at 115 Recording. The results are an incredibly cool, distinct concept album. The album follows the story of Jack, a traveler who descends from remnants of the Twilight Zone. The ten songs are a trippy wander, and it is easy to see how the former Starlight Mints work has been exposed to Iggy Pop and David Bowie. “‘Jack the Rider” integrates the vocal gifts of both Vests into a solid, subtle instrumentation that highlights the story. The tune transitions into “What You Deserve,” with background strings and whistles suggesting a stroll down a twisted version of Sesame Street.
“Frucus Minus (The Flycatcher)” is theatrical, the instrumentation a hip go-go grind. Somehow the music overwhelms the stench of the tale, like flowers popping out through manure in a garden. Allen’s beginnings as an adopted child seem to sing through the album: lost but found, alone but belonging–a DNA search around the time of this record found his birth father to be a music store owner in Houston area during the 1960s. “Dangerous World” delivers that feeling with Ziggy Stardust alienation. It also verifies the fact that we are who we are meant to become when the rubber meets the road. The piano-driven “Motorcade Serenade” is perfect; a march into a fuller instrumentation never feels inauthentic.
Ethereal vocals from Barb Vest drift into “Jose’s Apparition,” feeling an echo from Allen. Strings become a force in the story, a complete paradox to the feel of the song. One might think Jose is a tequila reference, especially if listeners have experienced the wrath of the morning after. The introduction of “Bumper Car Parade” definitely is hallucinatory. This is concept art, music, and theatrics worth the attention of Tim Burton. Hitting the retro stroll of “Quiz Show,” the perky feel is a TARDIS of sorts, collecting tidbits of musical history along the way. The modern mashup is impeccable.
Downtempo for the first time in Jack’s journey, “Wait In Blues” is real love. Heading out of the album, listeners are invited to be witnesses to the transformation that time and the journey made possible over another summer. Back to Oklahoma, Moonlit Fables of Jack the Rider comes full circle with “Nocturnal Boy.” Bright and uptempo, often the most demanding challenges become the most rewarding paradoxes in life. Concept albums can be memorable for listeners and thrive for generations. The debut effort from doubleVee has the potential to be one of those special albums.–Lisa Whealy
I deeply enjoy Starlight Girls‘ self-titled EP, but I’ve thrown in the towel on three four different intros (and a conclusion!) because they all sucked. It’s been a long day that included a freelance writing assignment on boxing, which is not the easiest thing for me to write about. However, the day’s been made better by the Starlight Girls’ debut EP, which amalgamates tons of genres into surprisingly coherent and immediate indie-pop.
The five songs here are each enjoyable on the first listen, and that’s quite rare. This is a testament to the band’s tight chemistry and (I assume) strong work ethic, as they combine elements from all over the place to make their tunes work. The band is fond of whirring organs (a la the similarly monikered Starlight Mints), ’70s/’80s singer/songwriter moods (like Stevie Nicks, although it’s easier to say “sounds like Lissie and/or Tristen”), confident female vocals, bass-heavy arrangements that call up a bit of post-rock moodiness (The National, Del Bel), and surf-rock rhythms, among other things.
It’s fascinating that this grabbed me immediately, because I found that it’s a rather complicated amalgam once I sat down to write about it. While this deep analysis will make you feel good about liking the Starlight Girls’ seemingly simple tunes, you definitely don’t need it to enjoy the songs; just listen and you’ll like them. The EP is the definition of critical darling: it can be both a game of spot-the-influence or just enjoyable melodies and rhythms. That’s a tough balance to strike.
“Gossip” is the one with the feel-good surf-rock guitars and organ, while “Wallflower” is the one that could be an outtake of a Starlight Mints track, what with all the interlocking rhythms and melodies. “Wasteland” has a preternatural cool about it that comes from having a rhythm just faster than trip-hop. The chilled-out keys and vocals help the band toe the line between passion and stateliness that gives the tune and the whole album its desirable amount of tension.
Starlight Girls’ self-titled EP will appeal to lovers of classy, female-fronted indie bands that don’t sound like twee or Best Coast. I expect the band to make some waves in 2012.
Citizen 5, out of Norman, OK, is a band of many roots, musically and geographically. Musically, they range from pop country of the lead singer Jimmilea Manley to the Latin influences of keyboardist Ricardo Sasaki to the heavy rock of guitarist Scott Sunderman to the indie influences of bassist Jason Long.
They come from many places, from Bolivia to Mexico to just local homegrown Oklahomans. Citizen 5 is unique in that they are a globalized band, which ties into their name, connected with the fact that they are five citizens of the world. This is where they are talented, and even the title of the album plays on the interconnection of everyone.
Definitely Citizen 5’s melding of genres and styles helps make them unique an indie market where being unique is a prerequisite for success. The intro and outro, for example, are Latin-influenced,with a talented trumpeter from the premier mariachi band in Oklahoma playing a Latin dirge. New wave influences can be heard in much of the music, notably in “Make it Real,” where singer Jimmilea Manley’s strong and soaring vocals add a womanly, southern twang, strangely complimenting the indie and psychedelic influences already at play. Add to that their retro eighties-like chord progressions, you’d think these guys would be going overboard. But the band manages to make solid pop songs that tie all these influences together without really jumping off the experimental cliff.
I had the chance to sit down keyboardist and producer Ricardo Sasaki, who said Citizen 5 has been influenced by acts ranging from Led Zeppelin to David Bowie to Oklahoma’s greatest recent psychedelic success story, the Flaming Lips. Produced by very indie label Ares Recording (which has only been in business for about three weeks), right next door to a Starlight Mints-owned Opolis, a live act club, Citizen 5 definitely has the indie cred to make a footprint on the music world outside the local scene.
But more important than the connections that Sasaki has from his eighteen years of producing and world tromping is just the talent I heard when listening to Circles. Sometimes its buried, but I can still hear it – this is a band that has yet to realize its potential. Things I was impressed with include the way the band manages to craft very familiar lyrics and chord progressions without sounding cliché. Perhaps the influence of all the aforementioned backgrounds of the members of Citizen 5 keep things fresh, like a mango from South America or a homegrown tomato from an Oklahoma backyard.
Sasaki himself said that their next LP, currently untitled and due for release in a few months, is better than the first. I am eagerly awaiting that release, hoping that in it that the band’s voice rings stronger than the first. If I had to guess, I would say the band’s voice can be found from the melding of their different backgrounds, musical and geographical. I think that if they just somehow amplified all these influences and dared to experiment a little more, they could be scary good.
But for what it’s worth, I recommend Citizen 5 and Circles heartily. It’s a fun indie/retro listen.
Stephen Carradini and friends write reviews of instrumental music. We write about those trying to make the next step in their careers and established artists.