1. “Just What I Needed” – Wonderful Humans. Whatever the opposite of “reign of terror” is, WH is on that path. Their seemingly endless stream of high-energy, ’80s-inspired dance-pop singles continues with this tropical track.
2. “Summertime” – Ships Have Sailed. ShS are also on a hot streak: this latest tune is some combination of the Cars and All-American Rejects.
3. “Eternal Sunshine” – Memoryy. Yep, you can hook me with any invocation of steel drums. (They’re just so happy!) The rest of the track besides the chorus splits the difference between nu-disco and glitchy clicking–always fun.
4. “Too Damn Good” – JOA. The inimitable Jesse Owen Astin is back to making guitar-rock/electro-pop mini epics, and this one is a builder that grows to a huge apex and then fades away.
5. “She Speaks the Wave” – The Nursery. This song would have fit right in on radio when Interpol, The Killers, and The Bravery were all towering. Some real sleek, solid dance-rock here.
6. “Drive” – Ships Have Sailed. You know when Jimmy Eat World goes for a ballad but still gotta have the angsty energy? Ships Have Sailed power through this track with that same feel.
7. “Tears” – Prints. Dark, clubby electronic pop songs.are a dime a dozen, but Prints float above the pack by balancing your emotional needs with your club needs.
8. “Earth Not Above” – HÆLOS. Cinematic, evocative trip-hop mixed with some modern beats? Sign me up.
9. “Underlined Passages From Your Books” – Underlined Passages. Here’s some lush, walking-speed romance from members formerly of indie-rockers The Seldon Plan. Combining early ’00s indie-pop melodies with early ’00s emo guitar tone is a sweet spot these days.
For me, Feist set the standard for mature female-fronted indie-pop. Charming, interesting, and occasionally deep, Feist relies on traditional songcraft as opposed to tricks or gimmicks. (No hate: I love a good gimmick.) But there’s something classic about Feist, and anybody I can find to compare must necessarily be on top of their game. It’s incredibly impressive, then, that Grace Joyner‘s debut EP has a clarity of vision and excellence of performance that would put her in Feist’s category.
What Young Fools does best is convince me. Joyner’s songs sound mature, bright, and real. They don’t feel like ephemeral pop songs or ponderous singer/songwriter tunes; these are songs with weight and heft, but also a light touch. If Joyner didn’t apply to modern indie vocal melodies and styles, these songs could easily be confused for songs much older. Opener “Other Girls” features piano, gentle drumming, and flutes for color; “Young Thing” and “Be Good” have the pad synths and separated beats of an ’80s Police-style song. (“Holy” does sound like a Killers or Bravery track, but it’s an outlier.) Their traditional style, however, makes them endearing–not cliche. Joyner’s songs are excellent because they perfectly compliment the real star: her voice.
Joyner’s alto is awesome because it’s flexible. “Other Girls” sees her using in a near-formal capacity, full of trills, swoops, and vibrato. “Be Good” sees her adapt a speak/sing style, while “Love of Mine” shows off her poppy side. But it’s “Young Thing” that shows her voice’s versatility and unique qualities. The standout performance sees Joyner getting emotional without getting theatrical, which is an impressive feat. Using little shifts in tone and register, Joyner puts on an evocative display without going into Adele-style range. It’s impressive, and more than any other track makes me excited for Joyner’s future work.
Grace Joyner’s first step out from background vocals position is an impressive one. Young Fools is an accomplished, mature, exciting release that displays impressive songwriting skills. If you’re a fan of Wye Oak, Feist, Waxahatchie, or even She and Him, you’ll find a lot to love in Grace Joyner’s work.
This Drama’s San Diego XIII features punk that flirts with poppy intentions and has some dance rock thrown in for good measure. If that sounds even remotely intriguing to you, this album is a good investment.
There’s honestly not much more I can say to convince you that doesn’t fall under that previous statement. The band cranks out the tunes with charging riffs, hollered vocals and the requisite amount of snare. Some songs are ready-made for pogoing (“She Had a Knife!” ). Others beg to be moshed to (“Strictly Dishonorable”). “Tiger vs. Lion” has a tight dance vibe that is way more uninhibited (in a good way) than any of the Killers’ or the Bravery’s work. “Fish Taco” takes a fifty-three second detour into metal.
The hollered vocals aren’t as raw as Latterman’s, nor are they as soft and melodic as radio-friendly pop-punk bands. They fall somewhere in the middle. They’re able to be yelled along to, but they’re also able to be sung. There’s group vocals, too; no worries there. They go all-out rage on “F*ck Your Local Scene,” and given the title and song sound, it totally fits. “Hungry Eyes” also has some pretty intense vocals, but the music of the song is less ferocious than the aforementioned.
The highlight tunes here are “Tiger vs. Lion” for its aforementioned dancy goodness, and “Hungry Eyes” because of the little intro (I know that sounds weird, but you’ll remember it and listen to “Hungry Eyes” more because of it). San Diego XIII is a good pop-punk album. There’s nothing ground-breaking about it, but it’s solid, enjoyable and worth popping in the CD player when you’re knocking about town with the windows down.
I’ve had a spate of number bands recently. I reviewed TiLT 360 the other day, I recently reviewed Black Heart Procession’s Six, and now I’ve got a double dose in reviewing The Fifth by Seven. I’m not really sure what causes people to name their band a number, but it seems to have no effect whatsoever on their music, as all of these bands are great at what they do.
Seven’s dark, danceable rock would have been lumped in with Killers, the Bravery and Interpol, had they erupted around the turn of the century. If Hot Fuss-era Killers had added a female singer and swung more toward the “Jenny Was a Friend of Mine” side of than the “All These Things That I’ve Done” side, they would have become Seven. The rattling high-hat, synths, upbeat tempos and epic melodies are all there.
Vocalist Annette Gil has a low voice for a girl, and it fits the sound perfectly. Her voice draws power from the low, gritty guitars that comprise most of the backdrop of this album. It draws contrast and tension from the high synths that often juxtapose with the guitars. That give and take is what forms the basis of almost all Seven songs. And, from top to bottom, that’s a great thing.
From the stomping anthem “Dance Dance Dance” to the mid-tempo “Blackburn” to the punked-out “Sickleave,” Seven blazes through thirteen songs without ever letting the energy drop. There are guitar-driven tracks like rocker “Peace and Lovin,” so-much-synth-it-might-be-the-eighties tracks like “No Ambition” and even unexplainable tracks like “Elements,” which starts off like a spaghetti western and ends up being an oddball pop song.
This album is a must-hear for people who love synth-driven rock with a dance bent and anthemic tendencies. There’s a lot of that going around these days, but Seven’s carved out a niche and written songs that stick, even in a genre full of excellent songwriters. I
Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.