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MORE COMMERCIAL WORK! OH, THE SHAME!!
Belle and Sebastian, Sings Jonathan David EP, released in 7", 12" and CD format (Matador in US and Canada, Jeepster elsewhere; band at P.O. Box 25074, Glasgow, G2 6YL)
Everyone's favourite enigmatic Scottish band is back, continuing its tradition of producing lush folk-rock with hints of glam, jazz and classical that should be all over the airwaves (I can predict this because I prefer to live in denial and never listen to the radio)!
There are SOME differences evident, though. From a sonic point of view, the vocals are much higher in the mix. The title track has lively drum rolls and dramatic cymbal crashes, as well as lovely, bluesy piano lines and a sparkling organ part that you will hum against your will, while "Loneliness of a Middle Distance Runner" has a distorted guitar solo - not loud, but still a change for a band inclined towards acoustic strums or sustained electric tones.
The tempos of both selections are faster than usual, which may be a harbinger of the upcoming album, though it is not unheard of for this band to make atypical singles, and I am not certain if this is an excerpt from it or a stand-alone.
The vocals on the main selection, with their tricky harmonic shifts, are reminiscent of late Kinks, an outfit the band has stated as an influence, but which I never heard evidence of until now (for the uninitiated, toss in some Nick Drake, Smiths and Gene as well).
Something that leapt out at me, however, was the title track's lyrics. It is not unlike Belle and Sebastian to touch upon homosexuality among men as a secondary element of songs ("The State I Am In" from Tigermilk (1996)) and women as a central point ("She's Losing It", same source). However, "Jonathan David" is clearly about a boy-boy-girl (hopeless) love triangle, in which one of the boys sees himself as "Jonathan to your David" and appears to have no interest in the girl, but wants the other fellow to be happy, though he cannot resist intimating that he will not be.
Given the size of the band, statistics would suggest someone is queer. I should not guess who, since no-one has outed himself or herself.
The CD and 12" format of this record (which comes in a sleeve reminiscent of 60s Herb Alpert covers with their groovy lettering) have another track, "Take Your Carriage Clock and Shove It", which is not on the 7", so I cannot comment on it, sad to say.
Still, a nice single that fits into the 'unpopular pop' category I put my favourite records in when I was in high school - stuff I couldn't see why it WASN'T all over the media, but was resigned to its NOT being.
God Bless The Go-Go's by The Go-Go's (Beyond Music)
After 17 years without a new album (they re-recorded one song for a "best of", and did a couple more for Beyond The Valley of the Go-Go's, a 2-CD retrospective, some years ago), California's the Go-Go's (Belinda Carlisle, vocals; Jane Wiedlin, guitar/vocals; Charlotte Caffey, guitar/piano/vocals; Kathy Valentine, bass/vocals; and Gina Schock, drums) are back with a fourth album!
These 13 songs fizz along in 45 power-popping minutes, with "Unforgiven" (co-written and with extra guitars by Billy Joe Armstrong of Green Day) and "La La Land" kicking harder than most of the band's repertoire (there is nothing here as giddy as "We Got The Beat" from Beauty and The Beat, though nothing as ferocious as "We Just Don't Get Along" from Vacation either). Time and maturity allow for works as reflective as: "Daisy Chain", essentially a band history; "Here You Are", a touching ballad about friendship and support; and "Throw Me A Curve", about positive body image.
To me, however, the most interesting aspect of the record, besides, based on a concert video I've seen, how it sounds more 'live' than their previous efforts, is that Belinda's famous warble (mocked by Madonna in Truth or Dare/In Bed With Madonna) has been toned down. Perhaps she let the copyright lapse, and Corin Tucker from Sleater-Kinney snatched it up. Who knows? I prefer to think it means Belinda has grown more confident and precise as a singer - as, based on the evidence here, has the group. Long may they go-go.
Ani DiFranco, Reckoning / Revelling 2 x CD (Righteous Babe Records, P.O. Box 95, Ellicott Station, Buffalo, NY, 14205, USA)
After some flirtation with more electronic and electric tones, Ani Difranco, famous bisexual singer/guitarist, is back to a more acoustic, or at least "natural", sound on this, her first double studio CD, consisting of 29 songs, some of which are brief instrumentals that, frankly, do not do much for me, except for "Harvest", which builds a little drama in its brief life.
This time, Ani seems to have stumbled upon jazz and the blues for inspiration.
Reckoning, the first CD, opens with the political, yet somewhat disillusioned, "Your Next Bold Move", dominated by unusually tuned guitar, with some coloration by tongue-drum and bass. "So What" swings lightly, like an idea or blueprint of jazz. The title track is a delicate
love/war song of sorts. "Subdivision" deals with class and race divides in America, though it could apply to any number of territorial conflicts in the world today. "Old Old Song" places the war for identity and self more in individual homes, which is, of course, where it usually is. "Sick of Me" has a hint of country, largely thanks to its weeping pedal steel. "Revelling", the title track of the second CD (but found on the first CD), is almost Billie Holliday or Cassandra Wilson like, thanks to the mutated trumpet of Jon Hassell and Ani's very mannered, akin-to-a-horn vocal.
In fact, Ani's voice throughout is the greatest revelation. It is much clearer, bluesier and bending than in the past.
Revelling, the second CD, is more upbeat musically, and, occasionally, lyrically. "OK" is a one-woman-band thing with a certain queer element (surely the references to 'pie' are not unintentional), and "Ain't That The Way" is more generally sexy and seductive. On the other hand, "Garden of Simple" and "Tamburitza Lingua" are not exactly party fare. It is just that the arrangments are fuller on Disc 2, and frequently faster or busier. Despite her flirtations with Prince, Ani is not likely to be putting out an unmitigated funk dance disc anytime soon.
However, this was pretty darn enjoyable anyway.
Moth Wranglers, Never Mind The Context CD (band c / o L.D. Beghtol, P.O. Box 1532, Madison Square Station, NYC 10010; Magnetic Motorworks (label ), P.O. Box 460816, San Francisco, CA, 94146-0816, USA)
L.D. Beghtol and Chris Xefos put their beards together and came up with an eclectic masterwork.
With a veritable Who's Who of unknown superstars (Jonathan Segel and Victor Krummenacher of Camper Van Beethoven; Stephin Merritt and Claudia Gonson from Magnetic Fields; Ken Stringfellow of the Posies, etc.), the Bearsy Boys are sure to delight, challenge and confuse.
The CD opens with a disturbingly dark cover of the Carter Family's "I Never Will Marry", which is, of course, a gay song when sung by a fellow, even in the pretty, pure tones of Mr. L.D. For that matter, another cover, "Souvenir" by OMD, is made almost unbearably lovely by paring and slowing down the beat and rendering it nearly entirely with acoustic instruments. As to the end of the album, the rather morbid �Over and Out� provides some decidedly sick laughs and humour.
In between, there is: the jolly country of �Turnabout�, concerning a British serial killer/cannibal; the various-guitar-noises dirge of �Six Page Letter�; the acoustic Nashville pop of �Miss Fire�; the languid, female-sung �Counts for Nothing�; the strangely campy oompah of �Figure Ground�; the downright sexy, stripped-down Latin/Tango of �Let Go, Let Me�, vocalized by the dreamy Stephin Merritt; the close-to-poppy ballad of �Record�; and the intricate longing of �Yet Again�.
Certainly a sad record � but a very handsome one (despite the blasphemy against Beardom that is the centerfold of the CD booklet * grin *).
PuffyAmiYumi , Spike CD (Epic Records)
Shonen Knife meet Pink Lady with GOOD results! (for those not nearly as old as I am, Pink Lady was an 80s Japanese singing duo )
Yoshimura Yumi (vocals/guitar/sax) and Onuki Ami (vocals/guitar/trumpet), with the aid of various Japanese musicians, as well as Americans Andy Sturmer (drums/keyboards), Thomas Tzarnkuist (guitar/bass/keyboards) and Zac Rae (keyboards), produce an album of fun, loud pop-rock gems, made up of songs from various Japanese EP�s released in 1999-2000 (with the exception of one track, which is a 2001 translation of an earlier effort, the tunes are all in their native language).
It kicks off with �Boogie Woogie #5�, a power-chord-and-horns swinger; moves into the chugging, chiming �Violet�; boots you into shape with Joan Jettish �Shut Your Mouth, Honey�; does a fair take on disco Stereolab with �Cosmic Wonder�; attacks you with slide guitar and extremely distorted vocals on �Destruction Pancake�; rewrites �Jet Boy Jet Girl� on �Sui Sui� (not to be confused with �Su-I Su-I�; is very sweet and gentle with �This Is The Song of Sweet Sweet Season When Cherry Garcia Blossoms Bloom� and takes the Ramones to Rockaway once more with �Into The Beach�.
The girls� vocals are a bit nasal and technically unremarkable, but it�s so irrepressible and enthusiastic that you�d have to be a lot nastier than me to not sing along.
Book of Love , Best of Book of Love � I Touch Roses
CD (Reprise Records)
From 1985 to 1993, this NY quartet (Susan Ottaviano, vocals; Ted Ottaviano, vocals/keyboards/percussion; Jade Lee, drums/keyboards/vocals; Lauren Roselli, keyboards/vocals) put out four albums of dark, complex synth pop characterized by Susan�s deep, deadpan voice and a strong percussive feel, as well as an undercurrent of deviance that made them sort of an American version of Depeche Mode.
That Ted and Susan identify as queer now does not surprise me all that much (Ted, never a shock; Susan, perhaps a little bit). Songs like �Boy�, which is clearly about wanting to be a fag instead of a fag-hag/outsider, and �Pretty Boys and Pretty Girls�, about AIDS and bisexuality, made that reasonably clear even then, though they were a touch coy.
This compilation gathers 12 classics, ranging from the lush wash of �You Make Me Feel So Good� to the churning pop-rock of �Alice Everyday�, plus three new songs and a re-mix of �Boy�.
Revisit a part of the Eighties and early Nineties you may have forgotten or missed (heck, go there the first time, for you youngsters out there)!
Dears,End of a Hollywood Bedtime Story CD ( Grenadine Records, P.O. Box 42050, Montreal, Quebec, H2W 2T3, CANADA)
This Canadian quartet (Murray Lightburn, vocals/guitar/keyboards; Natalia Yanchak, keyboards/backing vocals; Roberto Arquilla, bass/contrabass; John Tod, drums), plus guests on violin and cello, unleash a lush, cinematic CD, with hints of Roxy Music�s romantic camp, Pulp�s cruel nostalgia, and God Speed You Black Emperor�s! sheer drama and orchestral weight.
With 8 songs in just under 42 minutes, brevity is not their strong suit, but only �There Is No Such Thing As Love� outstays its welcome, at 10:06 (and then by a mere minute or so). The pieces are all driven by lead bass lines, chiming guitars, elegant piano, swirling organ, and Murray�s baritone, Bowieish voice, and are fairly uniformly dark and brooding, particularly the instrumental �This Is A Broadcast� (as to the title track, it could give Morrissey an idea or two for his next rockabilly miseryfest).
Not a very cheery project, but, again, damn lovely, lush and atmospheric.
Elif Savas, Songs From The Age of the Closet CD (MM Productions; contact [email protected] , 518-945-1103 for further details)
I will be the first to concede that my knowledge of opera is limited and that, short of some Diamanda Galas, Philip Glass and Benjamin Britten, my exposure has been slight as well; thus, I come to this CD with an openness verging on vacancy.
Elif Savas, as this CD reveals, is a classically trained, Turkish-born, New York-based soprano(and violinist, though her abilities on that instrument are not displayed here), as well as film director and cook book author.
She is accompanied here by Michael Hennessy on piano as she does a program of songs in German, French, Polish, Russian and English by various gay composers of the 19th and 20th Centuries. I certainly was aware of Peter Tchaikovsky and Karol Szymanowski (their sexuality and their existence); I
had vaguely heard of Francis Poulenc (existence only); the names Reynaldo Hahn and Charles Tomlinson Griffes were unknowns. The set is rounded out by a contribution from the above-mentioned Hennessy.
Of the four pieces by Tchaikovsky, three ("Why", "To Forget So Soon" and "Why Did I Dream of You?") could be read through a queer eye, at least in translation (though it must be borne in mind that he did not write the texts). Ms. Savas' grasp of Russian seems fairly sound, from my limited knowledge of how that language is pronounced, and the piano is delicately unobtrusive on these sad but crafted and dramatic selections, delivered in a lovely, rich voice.
Hahn's pieces (French texts) follow, and are a slightly subtler, more pop-structured breed, with "Smoke" having a telling line about man suffering on his knees, which is sure to raise a queer theorist eyebrow or two.
Szymanowski's selections, in Polish, are playful, with lots of glissando, passing notes and occasional touches of dissonance on the piano. It is this ornate tendency that makes a song such as "Spring of Sadness" seem slightly camp in its mourning (which, it is argued by some folks not terribly fond of opera, is a common flaw in the genre's nature - the inclination towards multi-octave litanies of grief in perfect pitch; this may have some degree of truth to it, but it is still nice to hear).
Poulenc's "Chanson Bretonne" and "La Petite Servante", in French, are delivered at such a speed that Ms. Savas occasionally seems breathless, though this is probably deliberate, given the crowded, frantic narratives, but it is evidently not her strongest language. "Cimetiere" gains camp points for being overwrought AND about a sailor, while there is something just a little bitchy
about "Berceuse", and at least morbidly acidic in the best queeny tradition.
Not surprisingly, Hennessy's contribution, "Lost Sense", has the busiest piano and English lyrics, albeit translated from a poem by Constantine Popa. As is often the case with opera in my native language, I found it a little challenging to make out the words, a difficulty that carried over to two of Griffe's three pieces (the final one, "Night Song", was in German).
However, all told, I was impressed by the power and sheer emotion of Savas' vocals, and the lyric translations were very moving to read as I listened to the multi-lingual offerings. A nice little collection, and, unlike some compilations of this sort aimed at the gay community, there are no annoying beefcake models on the cover to attempt a hardsell (I suppose Ms. Savas' image might be a purchasing incentive for bisexual men and queer women, but I have no direct personal knowledge in that regard.).
Amy Ray, Stag CD (Daemon Records, P.O. Box 1207, Decatur, Georgia, 30031, USA)
Amy Ray of Indigo Girls fame releases her first solo CD (she is the brunette member of the group with the gruffer, lower voice - not being a particularly big fan of that outfit, I can never remember the name of the redheaded one with the purer tone).
I must confess that some of my reasons for buying this product were related to the guest musicians she used to make it. The Butchies (a group featuring Kaia of Team Dresch fame), Josephine Wiggs (Breeders, and, of late, Dusty Trails), Joan Jett (if SHE needs an intro, turn in your rock and roll sensible shoes, girlfriend), Kate Schellenbach (from Luscious Jackson, and also Josephine's ex - I must confess the gossip in me wishes he had been a fly on the wall at THAT session , though I suppose they had an amicable splitup) - a veritable who's who of my favorite dykes.
However, I was pleasantly surprised. It was much more hard-hitting and political a record than her work with the aforementioned outfit (who always struck me as just a bit too precious and obvious).
Half of the tracks get hard-edged but deliberate and well-arranged backing by the Butchies, including 'Laramie' (an attack on small-town bigotry and homophobia) and 'Lucystoners' (an anti-macho-rock treatise which, nevertheless, manages some empathy and avoids being a heavy-handed slam, and also has a destined-to-be-chanted-at-concerts chorus of 'Lucystoners don't need boners'). 'Hey Castrator' is in a similar mode, with accompaniment by Joan, Josephine and Kate, though the very breathy backing vocals seem strangely out of place, if pleasant enough.
'Johnny Rottentail' is a sort of folk/country ballad (in the old sense of ballad, which means it is in a minor key and about death (and possibly sex)) concerning the narrator's bad, yet oddly admired, brother), while 'Measure of Me' is a slow, dreamy number which might touch upon gender ambiguity and cross-dressing (it is the most Indigo Girls-like selection, as the lyrics are a bit oblique).
This is far less commercial than Amy's chief project, but it is still a good listen, if (and here I whine again) too short at 10 songs and 35 minutes (some part of me balks at 35-minute CDs - I'm not sure why - given that Daemon is meant to be a non-profit label, couldn't she have taken a loss and made it vinyl or tape? But perhaps I am expecting too much again.).
Bitch and Animal, Eternally Hard CD (Righteous Babe Records, P.O. Box 95, Ellicott Station, Buffalo, NY, 14205, USA)
The world could always use more dyke performance artist musicians (quick!! Name 42 more!!!), and, judging from the evidence here, it would be a filthier, more depraved and much more unsettling place if it did (hint - I consider those GOOD qualities).
Bitch (vocals, bass, violin, ukulele, percussion) and Animal (vocals, keyboards, percussion, ukulele, didgeridoo) put out another record prior to this one, which I have not heard, and I wish I had.
There are not that many releases out there that feature nail guns as part of the rhythm section, or with dueling ukuleles, nor an abundance which contain TWO songs about dildos and gender-bending, not to mention odes to nipples or December seasonal songs warped in the service of ganja. Again, reassure yourself I think of such matters as positive.
With partial production by Ani Difranco, doyenne of Righteous Babe, you know it will be confrontational but well-recorded. The musical backing is rarely aggressive, except on "Boy Girl Wonder", the only track with guitar (courtesy of Ani), and the vocals are tuneful, though not in a pandering way. The lyrics are the focus here, as you might expect, and they are a hard-hitting but thoughtful collection.
A rather odd body of work, and definitely not for the exclusively Olivia Records women's music crowd, but super-cool in the estimation of THIS honorary dyke (I kid you not - I was once so described by a group of female friends, and I think of that as a great privilege.).
Magdalen Hsu-Li, Fire CD (Chickpop Records, 117 E. Louisa St., Box 422, Seattle, WA, 98102, USA, [email protected] , Tel. 206.325.7944, Fax. 540.638.2151)
If Tori Amos listened to more political music (well, perhaps she does, but prove it from her material, other than 'Me and a Gun'); if Ani Difranco were primarily a piano-player; if Kate Bush toured.
This piano-driven CD, by a performer who happens to be Asian-American and bisexual (well, no-one HAPPENS to be their identity, but one walks a fine line between acknowledgement and fetishizing/ghettoizing at the best of times) is, nevertheless, as powerful and emotionally hard-hitting as the best works of all of the above.
There are some (more or less) love songs on this release, but she starts out swinging with "Redefinition", which pulls no punches in its analysis of racism and self-identification.
There is also a song on here called "Laramie", as there is on Amy Ray's CD, though this one is more obviously about Matthew Shepard, and the lovely guitar (by Timothy Young) and delicate drums (courtesy of Dale Fanning) weave around the ringing piano chords and fills most effectively.
"Compassion" begins accompanied only by guitar, then gradually and fetchingly opens up to piano and drums.
The title track is the most Torian/Kateish here, with its high piano, deeper voice, and wrenching lyrics about pain and redemption.
"As I Am" is veritably funky, with its wah-wah guitar and busy bass (courtesy of Arne Livingston - gotta admire someone who appreciates the talent of an Arne ( (your friendly reviewer is a known associate of a gentleman thusly named)), and also hits hard with its lyrics about identity and self-assertion.
A beautiful and provocative piece of work here, that deserves a wide audience (though there are days on which I think that might be the kiss of death for some artists - on the other hand, NO audience finishes you off a lot faster, either physically or creatively, so it's a tough call.).