my recent reviews
Dean Wareham & Britta Phillips – L’Avventura (Jetset)
Rather than immediately disillusion you with the disappointing reality, this being an uninspired offering from the singer and bassist of Luna, let’s briefly entertain the unjustified hype. It’s the stunning debut album from the genius behind Galaxie 500, with the woman who provided the voice for cartoon riot-grrl Jem, of Jem and the Holograms. A 1980s pop-cultural dream team; and a Gainsbourg / Bardot for the new millenium.
Nope. It’s just a Luna side-project – pleasant listening throughout, with few surprises. The concept is promising – a romantic and seductive incarnation of Dream Pop, a collaboration with audible chemistry. And in the first two songs they deliver. Night Nurse’ is a fantastic opener. The duo’s mischievous interplay is corny yet enjoyable, and the accompanying string section offers a theatrical bombast sorely missing on the remainder of the album. ‘This is followed by Ginger Snaps’, a glistening and sugary pop song enriched by amusingly ambiguous flirtation; "You can cut my hair, you can fill my cup…" ‘
‘Sadly these standards are not maintained throughout the record. ‘Threw it Away’ sounds uncomfortably like Lou Reed, right down to the busily punctuating guitar. There’s a decent cover of ‘Random Rules’, which, thanks to Dave Berman, is a great song, but the female vocal is barely there and it feels a little out of place. In‘’Your Baby’ and ‘Out Walking’, Phillips sings unaccompanied, and although these are pretty songs, they lack spark, and crucially, dialogue; her love is apparently not reciprocated. Their cover of the Doors’ ‘Indian Summer’ is the dullest moment here. The insipid lyrics ("I love you the best, better than all the rest"), the lack of Phillips’ vocals, and the unchanging instrumentation make this track one to skip.
The album cover is revealing. The couple share a sofa, separated by inches, but emotionally miles apart. They look like contestants on Blind Date about to bitch about a hellish weekend skydiving together in Aberdeen. On the basis of the first two songs, this should have been an album of duets, a charming, sleazy, and subversive romantic comedy. Their voices are well-matched and there are flashes of inspiration, but the lack of interplay and exchange on most of the songs make this rather forgettable.
Boxstep – By now even trees (Homesleep)
This promising E.P from the Pittsburgh 8 piece sounds particularly fantastic, since I’ve been listening to Heart 106.2 all day in the office. I have Elton John’s ‘Are You Ready for Love’ stuck in my head on a permanent basis, but thankfully this Boxstep record is ferocious enough to banish memories of John from my head for the full 24 minutes of its duration.
‘Fortune Cookies’ begins with great energy and purpose, with penicillin organ battling fiery guitars and violin, culminating in a drowsy puddle of hypnosis. Twice. There’s plenty of accordion here too, always a good thing, particularly in the crashing instrumental ‘The Tenting Effect’.
‘French Architecture’ starts menacingly but the chorus is cluttered, with all eight members of the band trying to make themselves heard. The ‘angelic male and female harmonies’ promised on the press release don’t quite materialise. Eric Graf’s vocal is purposeful and direct, but grittier and flatter than an angel’s voice. When Sarah Siplak, with her near-celestial vocals, takes lead on ‘Western Exit’, the band produce their best results. A very promising taster, better than recent Elton John, and not totally unlike Knife in the Water, Mekons, Willard Grant Conspiracy and Gorky’s. Their live shows should be very good, and a UK tour is likely later in the year.
posted by Matthew at 9:10 AM
