Zero 7
Yeah Ghost
(Atlantic Records)





A very seducing, funk, dance, electro-groove wall of sound, Yeah Ghost, is Zero 7’s fourth studio album. Tracks range from Southern gospel to indie breeze to dance party scorchers. The song, “Mr. McGhee” kicks up an unapologetic upbeat club romp. Like neon lights and city life, the pop glow of bounce riot against surefire strong armed, sweaty beats. The beautiful shimmery resilience of “Pop Art Blue” is dizzily somber slow blues-jazz. The soft shuffles of drum against sauntering guitar alongside elegantly warm vocals by Martha Tilston is so good the track hangs in mid-air like sun dried laundry. Zero 7 is made up of UK’s Sam Hardaker and Henry Binns. The group often lays out wildy appealing beat-infused melodies of rock and rhythm and blues terrains superglued and made more biting by some of the best vocals around, having worked with artists such as Sia Furler, Jose Gonzalez and Mozez. The group’s 2007 album The Garden was nominated for Best Electronic/Dance Album. Zero 7’s music has been used in many films and TV shows. “Medicine Man” moves with such a superior shoulder shrugging electrifying dance disco, the over the top vocals are fist-pumping female powered and catchy, dominated by astounding jazz/soul artist, Eska Mtungwazi. Shrouded in mantra-breakbeat, “Ghost sYMbOL” is suffocating and dub heavy. The bass lines oscillate against ambitious pulsating throbs. The track shatters away into a stripped down ambient feat, full of spiraling orchestras of tumbling drums and keyboards that sound like disjointed fuzz pianos and aluminum can thumps. Yeah Ghost enhances as its given repetitive listens and the styles and structure never pale.

Chanda Jones


Turbo Fruits
Echo Kid
(Fat Possum Records)






The first thing you hear on Echo Kid is the sound of a motorcycle revving followed by some of the craziest rock ‘n’ roll madness you’ve probably heard in a long time. This amazing song is called “Want Some Mo’” and as soon as it’s over you do. Fortunately, you get some mo’ with “Naked With You.” These two songs are very hard to follow and the rest of the album has a hard time doing so. “Want Some Mo’” is hard enough to follow but “Naked With You” puts up a valiant effort. Still, there is some other good music to be found here. The mock 60’s ballad “My Stupid Heart” is almost as good as anything else on the album and how could you not love a song called “Mama’s Mad Cos I Fried My Brain?” That one has some perfectly idiotic lyrics but it just gets better when you get to the super-catchy whistled chorus. But while simplicity in lyrics is always something I’ve been a fan of, this is also the album’s Achilles’ heel. The lyrics for “Get Up Get On Down (Tonight)” sound like no thought was put into them whatsoever. It starts with tired old lines like “Come on baby/ Be my lady/ Don’t be shady” and ends up completely abandoning its rhyme scheme altogether. “On the Road” is another tune that’s catchy enough but is mired by archaic rock clichés. Everyone doesn’t have to be a poet but some originality goes a long way. Especially when matched with the fun music and otherwise good idea that abound on Echo Kid. But the worst you can say about it is that it’s a good album with a few great songs and a couple of clunkers. I still enjoy it and it deserves a chance. Jonas Stein is too talented and his taste is too good to let him disappear again like his last incredible band Be Your Own Pet.

Jonathan Zuckerman


Crocodiles
Summer of Hate
(Fat Possum)





This new album from the band named after either the big-jawed reptile, or the funny gardening shoe, is sexy, and metallically romantic. Instrument heavy and gloriously distorted vocals make the album sound like it belongs to a strange genre from the future. Having never seen them live, but just from listening to the first song on the album, I imagine this grand stage, filled with infinite instruments, musicians and microphones strewn about the stage, and long hair and sweat everywhere. After looking them up, it’s actually two guys, and they create a sound larger than life. Crocodiles’ newest venture is gravelly but reminiscent of techno clubs, complete with glow sticks, dancing with your eyes closed, and lots of bright lights. The beautifully simple, “Here Comes the Sky,” is the sensitive rockstar track, complete with distant echoes and floaty lyrics, but manages to remain peaceful rather than cheesy. “Flash of Light,” another winning track, sounds like a bad-boy anthem for a new-fangled television show, and continues the band’s ability to create catchy, steamy tunes. Each song on the album has a gritty, bedroom quality to it. I think, a great first album, and it leaves them the chance to either continue with this style they seem to have such a grasp on, or to go in an entirely different direction. Either way, it’s looking very promising.

Marissa!


Grizzly Bear
Veckatimest
(Warp Records)





The new thing in indie rock these days seems to be the orchestral/jazz-influenced composition—“We’re making rock smarter” is the impetus, I guess. Luckily this approach works on Grizzly Bear’s new album Veckatimest. Fervent attention to detail and intricate melodic cadence are the hallmarks of this record, which makes it a pleasure to listen to. Attempted by a lesser band such an experiment might have foundered in the murky waters of creative dissonance. This record makes me feel as if I’m in a dream, in that the aural creations teem with the sense of celestial roaming somewhere within a garden-like wonderland. At least that’s the imagery that I conjure. Coupled with the elusive answers that the songs elicit, the pacing is suggestive of a fantastical adventure and the events that unfold along the way.

Opening with “Southern Point,” the album evokes the smoky underground of a late-night jazz club: an evening of intrigue and seduction that inevitably leads to the bursting into the early morning light. Each track has a whimsy of its own that is reminiscent of Sgt. Pepper’s-era Beatles, but the general tone is of simultaneously operatic grandiosity and orchestral subtlety; the album is rich with various instrumentation and studio wizardry. The highlights are too abundant to individually note, but my favorite songs have to be the meandering “I Live With You,” and the lullabyish “Foreground,” as they close the record with a reflection on things past and recognition of things to come. Big thumbs up.

Dave Levin


Deer Tick
Born on Flag Day
(Partisan Records)





"You don't know how easy it is" intones Deer Tick singer John McCauley on album opener "Easy." And the truth is we don't have a clue how easy it is or isn't, because McCauley and crew have, in Born on Flag Day created an album of seemingly effortless rootsy classic rock. This batch of songs sound awesome blaring from a car stereo on a hot summer day (preferably June 14th) and acting as a casual soundtrack to a barbecue.

Deer Tick's Americana is contagious, catchy and the perfect anecdote to a summer over-loaded with self-concious indie pop that strains to be something it's not. The boys in Deer Tick know who they are and what they like and are comfortable with those truths. And that makes for some refreshing music.

Nate Campbell


tUnE-yArDs
BiRd-BrAiNs
(Marriage Records)






tUnE-yArDs might have a penchant for odd formatting but don't let that fool you, BiRd-BrAiNs is a simple album. "Jumping Jack" doesn't sound like the type of song you would play for your friends who like popular music but the type you would play for your friends in the band. It combines altered vocals with strong, pulsing drums. The song has a drum and bass meets hip hop vibe to it. It is in contrast to "For You," a track that sounds like Pink Floyd has come back to save us all. It is almost a romantic song, minus the children's talking voices.

Unfortunately, most of the rest of the album loses what made "Jumping Jack" special. "News" is entertaining and has the strongest lyrics on the album but it does not bring the dichotomous sound that other tracks did. "Safety" almost sounds like a Christmas song brought a few months too early. Though grating, it is not dynamic. tUnE-yArDs produces a great song in "Jumping Jack." The song is so good--in fact-- that you should go out and get your hands on it right now. The rest of the album, however, can wait.

Tania Katherine

I had the golden opportunity to speak with Henry Binns from Zero 7 the other day about their new album Yeah Ghost, parting with Sia, touring, farming, and things like that. Henry was an absolute pleasure to talk to and someone I'd love to have a chat with again someday. What I liked most about this interview was that I could find out what they thought of the new album and how they'd describe it before hearing it from anyone else. It is truly special when we can learn about an artistic creation from the artists themselves.

How are you, Henry?

I'm ok but it's pouring rain out and we're here on Baker Street.

Where is that?

Baker Street is the home of Sherlock Holmes, you know that?

Wow nice!

We absolutely just... the heavens opened and we just escaped into a pub, so here we are.

Well it's nice to talk to you and thanks a lot for your time. How was your recent tour? I read that you were in Portugal and also Belgium.

Yeah.

And now you guys are back in London.

We're back in London. We just finished a thing for Channel Four, which is quite a nice TV station here. And, yeah, the album, it's just kinda picking up.

It has an early September release here.

Yeah, and that is subject to discussions that are now going on, but yeah, I think that is loosely the arrangement. (laughs)

Ahh, ok. So what can we expect from the new album?

Well, I'm not worried at all, I really like it. It's more upbeat, a bit more driving, although it's got its moments, which you would call kind of protocol Zero 7 moments. It's definitely a real hodgepodge. It's got really a very folky tune, much more kinda dancy stuff. And, I don't know... I find describing my music impossible.

Yeah, it is very difficult to describe. Where did you get your inspiration for the Yeah Ghost title?

There really isn't much to talk about. They are just a couple of words that shouldn't be together. There is definitely a slightly eerie feeling in making this album. And by that I just mean that sometimes it was like pulling teeth, you know. There was many a big challenge. The parting with Sia was one of them. We were just trying to do things in a way that we weren't too comfortable with, cause we just felt if you do the same thing then you don't move on.

That's true.

So.. it was a lot of ups and downs. Moreso than previous albums.

You have some diverse singers on the upcoming album. Where do you get your ideas for who to feature on your songs?

Really just haphazardly. I mean, I live in Glastonbury now, which is not to be confused with the festival because the festival's about three miles away. That gives you an idea. I live in the west country of England. There's quite a big folk scene there, and I met a girl through some friends called Martha Tilston. And we started the album with her, and that was…forty incarnations later, and you get what you hear on the record. And we had some stuff that we didn't quite have what we thought would make a real album, and I think Eska was the one (again, who we met through some members of the band) who just came to my house and just turned it around really quickly, you know, like ripped into it with a pair of pliers... We got some great stuff with her.

Oh that's so fantastic. I'm really looking forward to hearing this album. What had you guys been doing between this album and the previous one?

You know, I've got a farm. We've got pigs, sheep, chickens... plenty to do around my house. A bit of carpentry. (laughs) But basically, in between the albums, it's been a lot of thinking about this record. And that means, we took some members of the band, hired a bus, and went for a tour around Europe with some other material that we had which we couldn't really put our name on. And we just did some instrumental gigs. Cause you've got to remember that we're not the kind of guys who did pub gigs for years before we suddenly broke. And I think that made this kind of empowering cause you own it and you do it yourself. You go out there and you sing and we all sing. You haven't got this big Sia voice or anything like that. It's all to do with what you guys create in the studio. So I think that helped shape this record.

Do you have any plans to work with Sia in the future?

Never again. Tell that bitch I.... No, I'm only joking. She's cool. She came to my house. And we had a brilliant time. I wrote a song with her for her album, which she just told me that she's using. And my slightly effeminate streamline has been replaced by the guitar player from the Strokes. (laughs) But she said, "Sounds really good," so she seemed to be pleased by that. Me and Sia are good mates. I just think we just all decided that we'd done a bunch of stuff and you owe it to yourself to try to do something different and you know what, there might be hell below but if that's the case... we're all gonna go.

Where do you guys see yourselves in five years?

Oh god, I'm not ambitious like that. I know a lot of artists that have a game plan. We're just literally, desperately, trying to do something that we like at any given moment. Game plan in five years: no idea. I mean, I'm sure the greatest kid hits is coming. (laughs)

Nice. What do you think of the music industry these days?

Well it's fucked. The music business... there is no business. There's nothing to sell! There have got to be ways to generate revenue somehow, and I think it's coming slowly, but I think it's a shame. Music's really important, and it always will be. I think people do need to paid for it, I'm sorry. There, I said it. It's important in that way. People need to spend money on music. It's important in that way. It's just figuring out how we can make it all work. And it's pretty scary times, but interesting ones as well, and I've made people think a lot outside of what they normally do.

Is there a particular place that you enjoy playing?

In America?

Anywhere.

Well Portugal is great. They love the music scene. We did ask our audience a lot there. We literally just played one old song. It was just like Neil Young. Sticking two fingers up our audience, playing all new material. I think we'll put a couple of oldies in for them next time. Loved playing in Portugal. Loved playing in New York; that was fun. I think New York people are very similar to Londoners; they've got a healthy amount of cynicism, which we all need.

Yeah!

Where else... I liked to play in Spain. We've got a lot of connections in Spain. But Spanish don't really get our music.

Do you have a future tour planned around the U.S.?

Yeah I think we're coming over in October or I suppose, the Autumn as we call it, or the Fall. We've got the usual hands for the day, which is great. I'm really looking forward to it. It always feels like the real deal when you're on tour in America: the wide open spaces, and the bathrooms are cleaner. I've got a new assortment: this girl called Olivia Cheney. I was just around at her house. And we were just practicing doing songs. She's a great singer and I think it should be a good show.

Ok, and just one more question. I read that the name Zero 7 came from a bar in Honduras. Is that true?

You can't seriously be asking me this. I suppose I still do have to answer it.

Sorry. (laughs) This is the last time.

Well there's been many a story, but this is the official one. Before we made Simple Things, we went on a small holiday (not small, it was quite a long time) in Mexico. And we worked our way through Mexico. And at every given stop, they were saying, "Man, you're gonna get raped," and none of it even happened anyway, and we ended up in Honduras, where we spent a little bit of time on a little island called Utila. And on that island was a little bar where we used to drink rum - a lot of rum. They used to mix with two cassette machines, can you believe that?

No!

They had a mixer with two tape decks. I'll always remember that. And it was on stilts. Anyway, it was called Cero Siete. When we got back, we were very fortunate to be asked by Radiohead to do a remix. And for that very mix, we decided to call it "the Zero 7 Mix." Shitty name, really. Probably if we'd have thought about it, we probably would have come up with something better. That's the way it goes with us.

You should go back there and play someday.

Yeah exactly. I'll definitely get a nice shot of it. I wonder if it's still there. They got badgered by a ton of hurricanes. But anyway, it would be nice to go back one day.

It's so nice what you did for that small place.

Yeah, that it gets put on the map by some fortuitous little event like that.

Well thank you so much for your time.

My pleasure!

Christine Thelen

According to Wiki Answers, Sweden is technically just under 4,000 miles from New York City. With the onslaught of Ikea’s in the metro area, all things Swedish got slightly closer. However, New York City is now about to get a little bit “Sweder” with the introduction of a brand new line of clogs by Nina Z, a Swedish native, who grew up in the Land of the Midnight Sun until relocating in the States at the age of 18 and realizing the essential gap in the market of available footwear.

Nina Z clogs are made for modern urban ladies and are 70s-inspired retro in both design and name. Clog enthusiasts will undoubtedly leap at the opportunity to slide on a pair of Lena, Ingrid, Mona, or Sonjas. Also available in select stores and on the website are Ronja boots, named after a well-known Swedish folklorian character from the Astrid Lindgren novel, Ronja, The Robber’s Daughter.

All products, which include sandals, closed-toe and boot styles, are made in Sweden. The European Birch wood with recycled rubber soles are surprisingly much more comfortable than they appear, and are clearly made to last. Furthermore, nail heads are individually air-driven so as to guarantee that each shoe is processed with a personal touch.

As any decent New York shopper knows, winter styles start appearing in shops as early as late summer. Before we know it, Spring will have sprung in shop windows all across Fifth Avenue. For this reason, long-term clog devotees and newcomers alike should jump on the opportunity to grab these shoes before they fly out of the stores next season. Find them in specially selected shops in Manhattan, Brooklyn, or online at the Nina Z website.

Jessica Stein

The Ed Sullivan Show: The Classic Performances-Elvis
(Image Entertainment)







Iconic is an overused term but totally appropriate when talking about Elvis’s first appearances on the Ed Sullivan show in 1956 and the 3 performances which include 9 different songs have just been released on a special DVD set.

While it’s well understood that Elvis was and continues to be a phenomenon, these appearances really help you understand why- this guy’s got something special. The songs are classic and the voice is magic sure, but the looseness on stage and sense of humor and charisma brewing under everything keeps your eyes glued on the King of Rock N’ Roll for every second he’s on the screen. The first show features guest host Charles Laughton (Mutiny on the Bounty) and the strange juxtaposition attracted a record audience as Elvis belted out: “Don’t Be Cruel,” “Love Me Tender,” and “Hound Dog.” The second show features Elvis’s famed gyrating hips along with classics such as “Heartbreak Hotel” and the final appearance is well known for only showing Elvis from the waist up.

The DVD includes some special features such as interviews with close friends, home films of Elvis, and the first ever footage of Elvis performing filmed back in 1955 before he was known. It’s a revealing look back in history that is as funny and foreign for modern audiences as it is interesting but if you love the King or you just want to see how he earned the moniker make sure to check out these performances and you’ll be in for a treat.

Tim Needles

17 Again
(Warner Home Video)




Directed by Burr Steers, 17 Again is 102 minutes of PG-13 goodness for anyone who loves cheesy fairytale flicks or has a secret crush on Zac Efron. “Who says you’re only young once?” is the film’s tagline, and the answer to that question apparently lies within your high school janitor. Seriously.

Mike O’Donnell (Matthew Perry) is fed up with life and the decisions he made, which consisted of the ever-original knocking up of his high school girlfriend and choosing to marry her over playing in the basketball game that would have won him a scholarship.
Reflecting on his past, he confides in his high school janitor, who he then “thinks” he sees jumping off a bridge. In the movie, the janitor vanishes into thin air, causing Perry’s character to fall into the river and transform into his 17 year-old self.

Now although the Los Angeles River is secretly the fountain of youth, and high school janitors are magical and mysterious creatures who know everything (Breakfast Club, hello!) I still was unimpressed at the way in which time-travel was depicted, causing a big plot-hole to blind me from any quality this film might have had.

The story of “what if?” has been done and redone a million times over. I think the only film in recent decades that attempted to answer this question originally was 2004’s The Butterfly Effect.

In addition, it’s clear that Hollywood simply wanted to give Zac Efron another role as teen heart-throb before he falls off the face of the earth or actually starts making good movies. Nothing against him, but look at the film’s ticket sales; Hollywood wins again.
For those who enjoy movies whose purpose is to entertain you, make you laugh and perhaps shed a tear during the standard happy ending scene, than this movie is perfect. It does have heart, and it’s something parents can watch with their kids without getting annoyed in the first five minutes.

Lucy Tonic

Franchia Restaurant
12 Park Avenue (between 34th & 35th Street)
New York, NY
Tel#(212) 213-1001/(212) 213-2483
Hours:
Mon to Fri: noon to 10 PM
Sat & Sun: 1 to 10PM

I’ve been in New York City for just about 2 years now, and as a lover of food and vegan, I am actually in one of the greatest cities to cater to my every need. Through some twist of fate (and I honestly do not remember how) I found a spectacular little restaurant called Franchia Restaurant. Located on the verge of Koreatown, on Park Avenue between 34th and 35th Streets, this slice of heaven has now become my absolute favorite restaurant, not just in the city, but that I’ve ever eaten at. Ever. It’s my go-to place, where I know I will always get an amazing meal, wonderful service and I won’t completely empty my wallet.

First and foremost, Franchia is a Korean tea house. From their ridiculously long list of teas, you can pick something to soothe the belly, or to help a headache, or to calm the nerves, or any number of interesting useful things. But, in addition to the tea, the food is absolutely astounding. Franchia is vegan, and for those of you who don’t know what that is, it means they use no animal products of any kind in their recipes. All “chicken” dishes are made from soy-based alternatives. Same for the delicious “crab” and “shrimp” that goes into their sushi (the best sushi ever, by the way). The entire menu is a mix of mostly traditional Korean dishes (modified to be vegan), and fusions of other Asian foods (such as the sushi). The small space, holding perhaps 20 tables and built in tiers, is an indoor oasis. The atmosphere is calm and peaceful, matching the demeanors of the waitstaff and even the food tastes like it’s relaxed.

What I immediately noticed, on my first visit, was that I left feeling full but not sick. I had eaten an appetizer, main course, tea and dessert, but somehow I only felt comfortably full, which made me come to one conclusion: this place is the happiest place on earth. The portions are normal sized, more or less. They feed you quality food, in the amounts you should be eating, and they harm no animals while doing it. I think I’ve been there so many times that I have the menu memorized. I take every visitor I have to Franchia, I’ve turned most of my friends on to it (vegan and non-vegan alike) and I’m pretty sure a few of the waiters recognize my face now. While there are many, many vegan options in NYC, Franchia is leagues ahead of the rest, and I selfishly want just enough people to dine there, (not hoards, but just the right amount) so they can stay in business for me to eat there.

My recommended meal:
Appetizer: Baby dumplings in spicy sauce ($6.95)
Main: Avocado Bibimbap (lunch $12.95; dinner $15.95)
Dessert: Blueberry Coconut Cake ($7)
Tea: Plum (if you like sweet) $5, Korean Wild Green Tea 2nd Picked (if you like savory) $8

Marissa!

Flying Machines
Flying Machines
(EMI/Meteor 17)






The Flying Machines, with their self-titled album present 10 songs that fall into that category of being really peppy while being about less happy things, in this case misguided and misplaced love. In doing so they evoke some pretty strong influences; a listen provides the sense of slightly lesser versions of Billy Joel, ELO, and Queen mixed together into a somewhat savory pop-rock package.

So do the Flying Machines soar? Sure, on their first five tracks. "Talk About It" has a great chorus and a great keyboard break for the bridge. "On a Whim" is another winner with another peppy chorus that could easily pass for a decent ELO B side. "I Can't Stop" is great, but perhaps for the wrong reasons as it evokes the nostalgia of an updated 80's sitcom theme song once it gets going. "I Don't Remember Why" starts out like a ballad and blooms into a bit of an anthem, but never really completely clicks. It's kind of a flawed masterpiece. "Stay" rounds out the soaring section of the album with a good riff, although it's a bit whiney, begging a girl to come back.

And then...crash. The Flying Machines stall and hit the earth. The latter half of the album just doesn't do it for me. All the clever melding of their influences and decent riff work fall flat and blend into an uninspired blob of generic rock. Perhaps it's best to forget this section of the album exists and just listen to the first five tracks as an EP, rather than the whole ten tracks as an LP. For a debut album they could do worse than 50/50.

Michael Adler


Rodrigo Y Gabriela
11:11
(ATO Records)





Whether you’re a metal head, a flamenco fanatic, or a jazz nut, 11:11, the new album by genius guitarist masterminds Rodrigo Y Gabriela is a collection of songs you’ll need to take a look at. The Mexican duo of Rodrigo Sánchez and Gabriela Quintero have been every musician’s fan favorite for years now but their blend of classical, metal, jazz, folk, and flamenco along with their amazing talents on the guitar are beginning to get noticed by a wider audience and for good reason.

The songs vary a bit but all show-off the group’s virtuoso skill ranging from the quick paced Spanish style “Hanuman” to the jazzy, melodic “Triveni.” The album is a tribute of sorts to their musical influences and each song was created as a homage to another musician from Hendrix to Pink Floyd. The album features another well known guitar playing duo, Strunz & Farah, on “Master Maqui” which is a gorgeous work that almost leaves you exhausted from the quick fingering. Metallica fans will enjoy “Chac Mool” which brings to mind the beautiful old school introductions in Master of Puppets and Ride the Lightning and “Atman,” a tribute to fallen guitar icon Dimebag Darrell, featuring Testament’s Alex Skolnick which will quickly find itself in the folds of your brain tissue sparking the neurons.

Not every song goes on the iPod playlist but the music inspires awe in anyone who’s held a guitar and the album is great as long-play party music.

Tim Needles


NOMO
Invisible Cities
(Ubiquity Records)






Cold Michigan winters can't stop the afro-beat heat of NOMO. The Fela-inspired band brewed up it's musical magic in Ann Arbor, Michigan at the eponymous university. Off the label of Ubiquity Records, NOMO's latest release is a synthesis of sound titled, Invisible Cities. And what instruments got left behind? None. The six-man band utilizes sounds and textures from all instruments, which even include the Conch shell. The songs are compositionally complete and Kuti's influence can be felt in every splice of the sax, zing of the electric kalimba, and the soul of the drums. Deep grooves and hearty repetitions are the norm but NOMO adds a dash of futuristic funk, spells of avant-garde jazz, and rock vibrations. Like its contemporaries, NOMO holds true to its main musical influence and yet they are stretching afro-beat; cultivating the sounds into their own organism.

Nicole Velasco


British Sea Power
Man Of Aran
(Rough Trade)





If you come to Man Of Aran, the latest work by British Sea Power, expecting another record filled with Do You Like Rock Music? style bombastic rock, you will be sorely disappointed. Instead of releasing another batch of pop songs, the group chose to tackle a much thornier project, sound tracking an old, odd documentary, the silent film Man Of Aran.

The film itself is a sparse, effecting look at the lives of isolated people living on a harsh, isolated rock in the British isles. BSP's soundtrack is a thing of beauty, using rock instrumentation to bring warmth and life to a documentary about people trying to do just that to the world around them. The soaring instrumentals are eminently enjoyable and expertly orchestrated, providing an agreeable soundscape with or without the accompanying film.

Nate Campbell


Julian Plenti
Julian Plenti is...skyscraper
(Matador Records)





Julian Plenti, lead singer of Interpol has struck out on his own to release a solo album, Julian Plenti...is skyscraper. Good news! It's nowhere near the abomination that your average Interpol record is. It's not spectacular though. If anything I get the feeling while listening to it, if you'll forgive the tortured metaphor, that Julian Plenti went on Wheel of Fortune, said Pat I'd like to buy some intensity, to which Pat Sajak responded, Julian, you can only buy vowels here. Dispondent, he left the Wheel of Fortune Studios, and never got his intensity. Basically, these songs are almost good, but they lack a spark. Plenti's singing is just too laid back. Furthermore I'm going to make the outragoeus ascertation, that if in some parallel universe this was a U2 album, it'd be U2's best. The songs have that feel, but Plenti just can't bring out the anthemic feel of them. Perhaps he's a good songwriter, but he's not such a great performer.

The songs? Well..."Skyscraper," the song, toys with some interesting ideas and is ominous until Plenti sleepwalks through with his vocals. "Madrid Song" does not make me want to go to Madrid. I think Plenti's trying to be ironic and witty with his stalkerish song "Girl on the Sporting News" but it just comes off as a creepy and bland. I'd also have to say that "Only if you Run" might be one of the most boring opening tracks I've heard in a while. Ending the album, "H" is just as boring as the intro. I guess for Interpol fans this could be recommended, but otherwise, avoid.

Michael Adler


Alexa Wilding
Alexa Wilding
(Unsigned)



A breathless captivating beauty emanates from Alexa Wilding’s new self-titled album. The nice buoyancy of her softened vocals build each track against hushes but no less elegantly styled guitar and sparse yet affectionate instrumentation. The pulsating acoustic rhythms are both soothing and poetic. Moving like sonnets, Wilding’s lyrics are saturated in introspective love and mental musings. This 8 song EP was pinned by this Brooklyn-based singer. There is a rare superior quality and tone to Wilding’s voice. The multi-dimensional movement of her vocals is wholly captivating and yearning. Wilding knows exactly how to play even and not get caught up in played about nuances or overused formulas. The music churns right below the surface and all attention is given to Wilding’s subtle yet cathedral reaching voice that is angelic and mystical. “Light,” seems to feature a tale of some sort of loss of radiance while the steely brace of guitar strikes occasionally against a sonic fret board. Beginning with an almost too bright guitar riff that is quickly met by an eerie undertone of acoustic hums, “Black Diamond Day,” doubles Wilding’s vocals and blankets the song in a dreary melodic sensually damp love romp. The pliable mystery of Wilding and the masterful acoustic musicianship allows this album a breezy wholesome feel. The whimsical nature of lyrics, vocals and harmonies create a sonic tapestry that is calmly beautiful, haunting and endearing.

Chanda Jones