Wednesday, February 10, 2021

Singles/Video Reviews: February 2021

Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Singles/Video Reviews: February 2021
Note that these reviews are alphabetical, not listed in a “ratings” order.

Anya Marina
“Notice Me (Live from Rockwood, NYC)”
www.anyamarina.com
This is off her sixth album, Alive and Alone in New York, which was recorded at the great Rockwood Music Hall on the Lower East Side, which has sort of become the CBGBs of singer-songwriters (with cleaner bathrooms). “Notice Me” is one of her signature songs, and on the original album, it is produced with a wall of sound that accentuates the mood with overdubs, and a much larger group behind her. For this recording, it’s just her and her guitar, and feels way more personal. With a chantable “do-do-do” chorus, it can easily be a pleasurable ear worm as she feels neglected by her lover. It’s a bit of an upbeat song and doesn’t actually feel as desperate as the topic sounds. It’s coyer and sexier, with a hint of frustration, with Anya’s lovely falsetto voice playfully calling out. The album has 17 tracks covering her career, and this is the first single. You can find the original version on YouTube if you’d like to compare.
Can be heard HERE 

 

Ben Howard
“What a Day”
Republic Records

From the upcoming album, Collections from the Whiteout, Ben’s fourth full release is a “pastoral” sound as the singer reminisces about where the time goes. It’s a nice, light sounding ballad that has some deep thoughts imbued with a mild, melody backed up by what sounds like a drum machine (though I could be wrong). The production is high, but it doesn’t necessarily overwhelm here. It’s also pretty catchy, which is always a good thing. His British inflection is also endearing. The video seems almost straight out of a Monty Python sketch, with a bit more seriousness. I might actually go listen to the album, at some point.
Can be heard HERE 

 

Carla Geneve
“Dog Eared”
Dot Dash; Remote Control Records
Australian 22-year-old music teacher hits the pop rock trail on her solo album, Learn to Like It. Filled with encouraging girl power – as one can see in the song’s video – Carla has a strong voice and belts out on choruses, hovering the line between alt pop and rock. Dealing with finding self-worth because she “always feel so useless,” but acknowledges she “still has something to lose,” meaning there is some possibility of positivity. It’s a really good song, the production is tight without being overbearing, and it’s lyrically smart. The road trip video filled with her friends is cheerful, as is, on some level, the song, as she pulls herself up. Liked this one a lot.
Can be heard HERE 

 

The Cavemen
“Am I a Monster”
Pig Baby Records
Thematically, what if the early Cramps had been a hardcore band instead of voodoobilly? That is one way to look at New Zealand “ghoul punks,” The Cavemen. The song is a three-chord mosh fest with a horror motif. While I heard the recording rather than seeing a video, I have seen picture of them, and they seem quite energetic, which is definitely present in their music that seems highly influenced by the early 1980s H/C and garage scenes. The melody of the song is certainly catchy, though it’s hard to tell what they’re saying much beyond the chorus, which is the song’s title, and a few snippets here and there about loneliness, due to a garage-rock level of vocal fuzz. This definitely harkens back to a minimalist period, pre-extended guitar solos by the likes of Ginn and Mascis, but that’s okay with me; there is a brief and raucous burst, though. A Ramones-ish slagging of basic chords and speed is just what I like. These guys sound like they’re a lot of fun, and this one will get some more listens by me over time.
Can be heard HERE 

Elise Davis
“Yellow Bed”
Tone Tree

Nashville singer-songwriter Davis released her single, “Yellow Bed,” from her third album Anxious, Happy, Chill. I have seen a few of her videos performing live in her bedroom or on stage, and she is really amazing. Her songs are poignant, such as this one about relishing time with her husband. That being said, I had a bit of trouble with this song, recorded in a studio. The sound is very flat and electronic, including the processing of her voice via reverb, which makes it lose its beautiful tone, giving it a kind of impersonal feel when the song should be emotional. I hate saying this since I like her and I enjoy her voice, but it is the production here that squashes her sound. I believe if I saw her do this live, I would enjoy it a lot more. I say go seek her out, find her videos and enjoy. This is the only song off the album I have heard and I’m hoping the rest of it is more loyal to what she has to offer.
Can be heard HERE 

 

Half Waif
“Orange Blossoms”
Anti- Records
The first single by Half Waif – aka Nandi Rose – is quite lovely, albeit sad. As described by her press, it is “a desperate plea to be rescued from wrestling with everything.” In a voice perfectly suited for the song, the protagonist is in urgent need for help kick-starting her life at the moment, asking repeatedly for “someone” to do things like answer an email, or “make me think I’m worth something.” Thematically, it reminds me of The Allen-Ward Trio’s “I Need a Friend,” but rather than folk, this is more modern singer-songwriter. Yes, she’s listed as alt pop, but I would not personally put this song in this category. There is some lovely harmonies snuck in, backed by an electric piano in the forefront. It’s a powerful, lovely tune and is both bleak and, at the end, hopeful. It’s a keeper.
Can be heard HERE 

 

Lost Horizons, featuring Marissa Nadler
“Marie”
www.bellaunion.com
www.losthorizonsmusic.com

Lost Horizons is the collaboration, among others, of Simon Raymonde (Cocteau Twins) and Richie Thomas (Dif Juz), and this single is included in their new album, In Quiet Moments, Part 2. They are joined by Marissa Nadler to front it (other songs on the double album are voiced by different singers). As one might expect from Raymonde and Thomas, the song is strongly studio-enhanced, moody and I might add gothic. The shadowy reverb is ramped up and it almost sounds like a ghost is singing it. Nadler has a good voice, somewhere in there, and I would have liked to have actually heard it clearer through the production. The song itself is a quiet, slow, and soft footed ballad, reminiscent of XTC’s “Somnambulist.” After a couple of listens, it is starting to grow on me, more for Nadler, honestly. Because of the production, I couldn’t make out much of the lyrics; however, it sounds melancholic.
Can be heard HERE 

 

Thee Sacred Souls
“It’s Our Love”
Daptone Records; Penrose Records

Hailing from the San Diego area, this soul trio (perhaps they could have called themselves “Three” Sacred Souls?) fit somewhere in the post-Motown category with the likes of the Ohio Players (sans horns) and Al Green. Vocalist and lyricist Josh Lane uses his falsetto voice to lull the listener about his love in a Barry White ballad speed. Soul is not my forte, honestly, but I was charmed by the sound here, as Sal Samano and Alex Garcia skillfully back him up with their rhythms (guitar and drums). The video is quite simple, as is the tune, mostly shot with the band in the studio.
Can be heard HERE 

 

Yonaka
 “Seize the Power”
https://www.facebook.com/weareYONAKA/
This track is listed as “Dark Alt Pop with Heavy Riffs” on their Facebook page. That feels accurate. It’s definitely modern, with heavy production and added with some pop fusion. It’s like if Lady Gaga’s style was thrown in a blender with some electronica and white rap, fed through some anger and entitlement. It’s decent, as even the rappish parts aren’t too stereotypically done. The positive behind it is its power, as Theresa Jarvis forcefully infuses her lyrics with drive, almost yelling above the British band’s studio-infused minimalist melody.
Can be heard HERE 

 

Zadar
“Upstairs Room”
https://zadars.bandcamp.com/
Not to be confused with the Yiddish “Zaydeh,” nor the city in Croatia, their publicity calls them “scathing post punk [sic] from Philadelphia,” sounding like Sisters of Mercy. Really? This song is essentially based on a dissonant B-52s-type rhythm played electronically over an over, with Fred Schneider-style vocals without the charm. Even the lyrics are repetitive and kind of monotonously mundane. I’m not a fan. But then again, I was bored by Sisters of Mercy, as well.
Can be heard HERE 

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