Silversun Pickups’ latest album, Neck of the Woods, was released last week, and it’s stellar.
If you’re looking for a Panic Switch or Lazy Eye, you might end up disappointed – but if you’re interested in SSPU’s experimental side, this might turn out to be your cup of musical tea.
For one, this is a long album. There aren’t any short songs here; in fact they’re all pretty spread-out. The length of this record allows the band to really go down new avenues. Skin Graph, the album’s 6-minute opener, sets the tone amicably. A slow intro gives way to shimmery guitars and a blast of drums, and it isn’t until nearly the 3-minute mark that the song has its “chorus”.
People have always tended to point out the band’s not-so-hidden love for the shoegaze-y, distorted, moody alternative rock that early Smashing Pumpkins turned out. Taking into consideration their sonic love for the Pumpkins, it isn’t far-fetched to call Neck of the Woods their Siamese Dream.
This isn’t to say, however, that this will turn off ALL fans of Swoon and Carnavas – this album might prove divisive to some (as ballsy albums usually do), since it’s much more of a “let’s try something new” affair, but those that “get it” will love it.
Make Believe sounds a bit Swoon-ish, although it takes a while to get going since it’s another lengthy song.
In terms of a “radio hit”, look for Mean Spirits to end up dominating the airwaves soon. It has that Silversun single sound – fuzzy, electronic-tinged guitars and Brian Aubert’s unmistakable vocal delivery. And it’s damn catchy, too.
Simmer is another key point on the album, an extended exploration into the emotive aspects of their sound as a unit. I can imagine a pretty sweet light show going along with this song live, another tune that dabbles in electronica with its synth blasts and urgent tones. The same can be said for The Pit, which starts out sounding like a song on the Drive soundtrack.
It would be great to see Silversun give Neck of the Woods the full album treatment live, as this is a solid “album experience” more than it is a collection of individual songs. Further, it might actually be a better experience to listen to it all the way through rather than track-by-track, which is a rare thing to say in today’s iTunes-singles dominated music world.
Dots and Dashes (Enough Already) even reminds me a bit of Kasabian, those delightful U.K. electro-rockers who are a personal favorite of mine. It’s weird to say Silversun sounds like Kasabian, but the song’s groove-laden rhythm and melody remind me of something Sergio & the gang would come up with.
If you haven’t gotten the hint yet, Neck of the Woods is a “different” type of album from Silversun Pickups. With this album, they really spread their wings, so to speak, and it results in one of the most solid albums of the year so far.
Personally, I can’t wait to hear where they go from here, because this is one damn good record.
It’s been over a week since we stopped by the Bootleg in LA, and we’re still reveling in the funk/rock/blues/dance glory of Austin’s Bright Light Social Hour. They absolutely killed it.
The foursome put out their self-titled debut album in 2011, and have been gaining traction in the indie scene with support of their loyal fans. SXSW was a total win for them, and we’re so glad to have caught them again on this tour. Not only does Bright Light Social Hour belt out some furious riffs and sexy lyrics …(The day that I met you, Workin’ side by side, At that moment I knew I’d work for you, ‘Til the day I died.”-Detroit)…they also have an ease about them that immediately gets the crowd dancing & clapping along. Take a listen to “Back and Forth” … yeah, try not to chant along.
You can always tell when a group gets off on jamming for an audience, and the guys seemed to really enjoy the night. Like their 60’s & 70’s influences, you need to experience Bright Light Social Hour live…partly because a large percentage of their set-list wasn’t off the album. Yet it was just great, if not better.
Our favorite songs of the night were “Detroit” and “Maybe I Do”
Ladies, aside from the fact that the guys are insanely talented musicians, they’re decked with long locks we know you love and some swoon-worthy facial hair. They’re a rare combo of genuine raw talent and powerful stage presence. And hey, they’re still on tour! So check them out for yourself. Dates are here.
The world probably doesn’t NEED a new Marilyn Manson record, but when it’s this good it just might be worth it.
Last week, he (and his band of the same name) dropped his eighth studio album, Born Villain, and to put it bluntly: it boasts some of the best MM music in at least a decade. Granted, that isn’t really saying much, considering how uneven Eat Me, Drink Me and The High End of Low were, but this should please even the most disillusioned of fans.
If you dug albums like Holywood and Mechanical Animals, you might want to give this one a try.
The lead single, No Reflection, is pretty solid even if it’s nothing new stylistically, but its video is pretty badass:
Thematically, Born Villain is also a return to form: songs like Pistol Whipped, Overneath the Path of Misery, and The Flowers of Evil let Manson revisit the sinister approaches that made his best albums so memorable.
Slo-Mo-Tion sounds like a b-side from the late 1990s, which in this context is a compliment – it’s throwback Manson, from the fuzzy electro-guitars to the creeping rhythmic approach.
Of course, no Manson record is complete without his signature snarling, moaning and wailing, and on more than one occasion here his voice calls to mind David Bowie, who arguably was the original Manson, at least in terms of musical eccentricity.
Children of Cain, with ominous electric drums and a deliberate, chain-gang pace, provides the foundation for Manson to say things like don’t assume that I’m always with you/It’s just where my mortal body happens to be.
The best (or perhaps most surprising) moment on the album has got to be Lay Down Your Goddamn Arms. Have you ever wondered what it’d sound like if Marilyn Manson did a grunge song? Odds are you haven’t, but you get to hear one anyway. It’s sublime – an off-time, Soundgarden-like tempo drives the song, which also features some Kim Thayil-esque guitars. If it sounds weird, it isn’t – it’s just awesome:
If you hadn’t ever expected Marilyn Manson to release anything impressive again, you ought to check out Born Villain. At 43, he probably could (and should, depending on your perspective) have hung up the black eyeliner and weird S&M bondage outfits, but if the result is this solid it might be worth sticking around a bit longer.
Oh, and there’s also bonus track featuring Manson and guest drummer Johnny Depp running through Carly Simon’s You’re So Vain…
On Monday night, Eve 6 played a triumphant sold-out show at the Troubadour in support of their recently-released Fearless Records debut Speak in Code.
That album, if you haven’t heard it, is pretty solid – it’s a bit more pop-oriented than 2003′s It’s All in Your Head or the band’s self-titled debut, but if you dug 2000′s Horrorscope you might want to pick it up. It’s been a long time since they’ve released new music – 9 years, in fact – and they sound fresh and rejuvenated with the new record. Here’s the official video for the song Victoria, as a preview:
Those fresh vibes translated well at the Troubadour, too – their 20-song set was highlighted with some new material (Situation Infatuation, B.F.G.F., Pick up the Pieces, Lost & Found, Curtain and Victoria), as well as a dip into their back catalog (Nightmare, Open Road Song, Amphetamines, Think Twice, Superhero Girl, Tongue Tied, Leech, and so on).
The show’s openers were solid too – Kenan Bell, a L.A. resident with a keen sense of wordplay and a solid backing band got the crowd amped, while The Colourist delivered a fantastic 30-minute set of very infectious indie/pop. They have a residency at the Bootleg Theater in L.A. each Monday in June, and you should check them out if you’re into that scene – they’re great.
Below, enjoy some photos and videos from the Troubadour gig.
On Tuesday night, I was able to catch a headlining Kasabian gig. To put this in perspective, this was a show I’ve been aching for ever since I saw them open for Oasis at a half-full Shoreline Amphitheater in 2005.
It’s been a long wait, and while their set at Coachella last Saturday was a great warm-up, the show at The Fonda (ex – Music Box) was everything I could possibly have wanted.
Opening the gig were The Dear Hunter, an eclectic indie/rock band that delivered a great set at Coachella last weekend as well. I’ve seen them play before, and each time they impress me more and more.
Vocalist Tom Meighan is endlessly engaging, sashaying around the stage, clad in a denim jacket and sunglasses that he’d repeatedly pull off his face, dramatically.
Guitarist Sergio Pizzorno is perhaps even more of a beast onstage, alternating between backup and lead vocals, precise guitar work and amping up the crowd – something the band did exceptionally well. After tossing us white t-shirts with words written on them (for some kind of taping, presumably the Last Call with Carson Daly program which was advertised all night), they charged through a 16-song set featuring some of my favorite tracks of theirs, like Shoot the Runner, Re-Wired, Club Foot, L.S.F. (Lost Souls Forever), I.D., Vlad the Impaler (complete with a few bars from The Prodigy‘s Smack My Bitch Up), and Switchblade Smiles.
I was hoping for Processed Beats, but oh well.
Crowd-wise, this was one of the best, most liveliest ones that I’ve witnessed since moving to L.A. in 2008. Normally, people stand around with comp tickets and $13 Jack & Cokes, disinterested in what’s going on while a smattering of true fans bop around excitedly.
Not the case at this show – the crowd was electric. Feeding off the energy put forth by the dudes on stage, the near-capacity crowd went apeshit for the entirety of their set, and it was great to see.
Kasabian have been overlooked for years in the United States – this was their first U.S. tour that I’ve noticed since the gig opening for Oasis, 7 years and 3 albums ago.
This was one of my most anticipated concerts of recent memory, given that it’s been so long, and it couldn’t have been more satisfying.
Kasabian, thank you. PLEASE don’t take 7 years to come back, we need more shows here.
Setlist: Days Are Forgotten Shoot the Runner Velociraptor! Underdog Let’s Roll Just Like We Used To I.D. Thick as Thieves Take Aim Club Foot Re‐Wired Goodbye Kiss Fast Fuse L.S.F. (Lost Souls Forever) Encore: Switchblade Smiles Vlad the Impaler Fire
Below, enjoy some photos I snapped of the gig. For more insight (and a handful of sexy videos) from a fellow Kasabian enthusiast, hit up ConcertConfessions.
On Monday night, I managed to do something I hadn’t previously thought possible: see Garbage in concert.
I wasn’t a huge fan while they were around, but I’d learned to appreciate their music more in the years since they disbanded following 2005′s Bleed Like Me. Last night was my first shot to see them, and it also happened to be their 2nd show in 7 years – the first being Friday night at the Bootleg Theater.
As such, I was really excited, and the show couldn’t possibly have been better. Everything sounded amazing - Shirley Manson is a wispy, seductive force on stage, and her voice was pitch-perfect. Butch Vig, even though I could barely see him behind the smoke that billowed around the stage, was as awesome as you’d expect, slamming the drums and being an all-around beast.
Duke Erikson and Steve Marker provided the rest of the music, Duke’s bass, keyboards and percussive touches creating a whirlwind of noise.
The El Rey was packed with fans, and I knew I was lucky to be there, considering scalpers bought up many of the tickets that were available for the show (and tonight’s show as well).
The 20-song set list started with Supervixen, which was really an excellent choice. From the band’s upcoming album Not Your Kind of People (which I am anticipating with much jubilation), they played the single Blood for Poppies and two other gems - Battle in Me (a personal favorite) and Man on a Wire.
They also dove into the back catalog a bit, picking out The World is Not Enough (which marked the first time I’ve seen a James Bond theme played live), Cherry Lips, Bad Boyfriend & The Trick is to Keep Breathing.
In all, it was as great as I could possibly have expected, and was honestly one of the most memorable gigs I’ve seen since moving to L.A. in 2008.
Garbage are back, and signs indicate that they haven’t lost a step whatsoever.
Set List:
Supervixen
Temptation Waits
Not My Idea
Metal Heart
Queer
Stupid Girl
Why Do You Love Me
#1 Crush
The Trick is to Keep Breathing
Vow
Blood for Poppies
Battle In Me
Man On a Wire
Milk
Bad Boyfriend
Only Happy When It Rains
Push It Encore: Cherry Lips (Go Baby Go!)
The World Is Not Enough
I Think I’m Paranoid
Enjoy some photos & videos from my new camera (which I’m thrilled to have) below.
Hip hop/pop hybrid Nicki Minaj’s much awaited sophomore album, Pink Friday: Roman Reloaded, may have many moments of musical glory, but the songs in between are likely to leave you feeling like you’ve just glimpsed into Judy Garland’s mind after a handful of Seconal. Minaj’s prestige and elevation to fame after the ascendancy of the first Pink Friday may have gone to her head just a bit. Otherwise, I doubt the majority of Roman Reloaded would be characterized by shrieks and unintelligible yelling. But then, I suppose only Roman can be blamed for that.
Back for more.
With “Roman Holiday,” an opener that will make you feel like you’re in a demented version of the Audrey Hepburn movie of the same name, Minaj reprises her role as Roman’s mother, Martha Zolanski, urging, “Take your medication Roman, take a short vacation Roman. You’ll be okay.” The most horrifying clincher is when Minaj digresses into a sinister version of “Come All Ye Faithful.” Then there is, hands down, the worst track on the album, “Come On A Cone,” in which Minaj tells us all about a “dick in your face.”
Nicki Minaj, you know, levitating at the 2012 Grammy Awards.
Thankfully, the third song, “I Am Your Leader” featuring Cam’ron and Rick Ross, begins to steer the album in a more bearable direction. It may actually be Cam’ron’s best musical effort since “Hey Ma.” As Minaj chants, “I am your leader,” you quickly start to believe it’s true. She then forces you to realize, “I’m a brand bitch, I’m a brand.” At least she owns up to that fact. “Beez in the Trap” featuring 2 Chainz follows, faintly smacking of Fergie as Minaj raps, “Bitches say shit and they ain’t say nothin,” which sounds an awful lot like, “Fergalicious definition: make them boys go loco.”
“HOV Lane” opens with a futuristic beat and segues into one of Minaj as Roman’s more harder-edged raps as she asserts, “I’m in my own lane, you ain’t in my categor. You like a RAV-4, I’m like the Inventador” (yes, that’s a car name she made up). The other noticeable track with “hit appeal” is the title track featuring Lil’ Wayne, “Roman Reloaded.” With an aggravated backbeat and an addictive chorus (“Bang, my shit bang, it bang bang”), this is the most ear-catching song next to “Stupid Hoe.” Minaj even references her controversial Grammy performance, questioning, ”Is it me or did I put these rap bitches on the map again?/You mad ’cause I’m at the Grammys with the Vatican.”
Nicki Minaj's most memorable collaboration on Pink Friday: Roman Reloaded is with Lil' Wayne.
Another remarkable collaboration comes in the form of “Champion” featuring Nas, Drake (no stranger to the Minaj fold), and Young Jeezy. The emphasis of the track is contingent upon the contention: “Came back to Queens to head up a new state.” As someone who proudly recognizes where she is from (Jamaica! Queens, that is), Minaj also comprehends her responsibility to make it a better place now that she has the means and resources to do so (“This is for the hood, this is for the kids”). Chris Brown makes a cameo on the subsequent upbeat anthem, “Right By My Side.” Ironically, Minaj delivers her most Rihanna-like tone as she sings, “I’m pourin’ my heart out.”
Rick Ross is just one of numerous guest vocalists on Roman Reloaded.
“Sex in the Lounge” featuring (yet again) Lil’ Wayne and Bobby V. is perhaps an homage to Minaj’s occasional boyfriend/promotional guru, Safaree “SB” Samuels, considering her observation, ”He addicted to hustle, I’m addicted to fame.” The Billboard chart-topping song, “Starships,” in which Minaj will vocally resemble Katy Perry as much as she ever will, is another album highlight, if not slightly on the superficial side. “Pound the Alarm,” one of the rare instances where Minaj sings unaccompanied, is another feel-good track in the vein of “Starships.” Once again, Minaj affirms her superiority over other females in her genre: “What I gotta do to show these girls that I own them?/Some call me Nicki, some call me Roman.”
She won't stand for your bull shit.
In a nod to Devo, “Whip It” bolsters the dance rhythm of Roman Reloaded, evocative of a party that might take place in Ibiza or India as Minaj shouts, “Hey stranger over there, I really like the way you whip it” (insert whip-cracking sound effect here). “Automatic” mimics the inflection of Rihanna’s “We Found Love,” continuing to propel the more buoyant side of Roman. “Beautiful Sinner” (coincidentally a similar title to Madonna’s “Beautiful Killer” from the recently released MDNA, on which Minaj collaborates with M.I.A. for “Give Me All Your Luvin’”) is Minaj’s love letter to Trinidad, allowing her to tout, “South Africa is where I am from/Get me my banjo, get me my drum” and “Trinidad, Trinidad/My island.”
Relishing her moment in the spotlight.
Yet another connection to her fraternization with Madonna as a dancing Marilyn Monroe in the video for “Give Me All Your Luvin’” is the track named for said blonde bombshell. In it, Minaj laments, “Sometimes I feel like Marilyn Monroe: I’m insecure, I make mistakes.” As the pace of the album continues to slow down, “Young Forever” (in keeping with the Marilyn Monroe theme) signals the third act, so to speak, of Roman Reloaded. Singing some of her more maudlin lyrics, Minaj croons, “Frozen in time, always be mine/Baby boy, you’ll be young forever.”
Performing "Give Me All Your Luvin'" at the Super Bowl with Madonna.
The somewhat obviously titled “Fire Burns” bolsters the vulnerable side of Minaj, allowing her to vent about love lost as she bemoans, “This is a sickening joke that you play with my emotions.” “Gun Shot” featuring Beenie Man is the perfect transition from “Fire Burns,” with its moderate rhythm and the smooth vocals of Beenie Man to complement Minaj’s narrative. “Stupid Hoe” changes up the stride of the slow jam trilogy with the infectious accusation, “You a stupid hoe.”
Owning her Barbie look.
Those with the bonus track edition of Roman Reloaded are also subject to the David Guetta/Nicki Minaj dance-suffused partnership, “Turn Me On,” the ultra-80s sounding “Va Va Voom,” the equal part rap, equal part pop “Masquerade,” and a twenty-one minute interview entitled “Press Conference” with Minaj’s main squeezes Charlemagne and Safaree “SB” Samuels. When asked about if she feels she gets enough love from New York, she vehemently denies being appreciated in spite of how hard she worked to rise to her current stature. She even recalls, “I was sellin’ my fuckin’ mix tape outta my muthafuckin’ BMW on Jamaica fuckin’ Avenue.” Enough said.
Last night, Club Nokia was filled with kids in black t-shirts, as the official Warped Tour 2012 Kick-Off Party took place in the middle of L.A. Live.
On-hand for the festivities were Kevin Lyman, Warped Tour’s founder, and some of the most notable acts set to play this summer’s outing: Forever Came Calling, Matt Toka, L.A.’s own Dead Sara, and Falling in Reverse each played energetic sets, sandwiched in between surprise appearances by Warped legends Yellowcard (2 songs, acoustic) and The Used (4 songs, electric).
It was a fun night, and was a great introduction to what looks to be a pretty eventful summer – Warped assembled a solid lineup for 2012, headlined by bands such as New Found Glory, Every Time I Die, Anti-Flag, The Used, Four Year Strong, Taking Back Sunday, and so on.
I was lucky enough to have a Press Pass last night, and took some pretty cool photos of the bands. Enjoy a huge photo gallery below, as well as this video of Dead Sara playing their new hit Weatherman – it’ll be great to see them bringing some rock ‘n’ roll fury to Warped’s parking lot stages this summer.
Enjoy the photos below, and go snag your Warped tickets now, as the pre-sale began today. Don’t sleep on this, as this first pre-sale is a bargain:
To keep the festival at a great value, pre-sale package prices are $21.99 and include commemorative 3D ticket–which also serves as a jump-the-line early entry pass–a Vans Warped Tour 2012 compilation CD and a 25-cent donation to the Unite the United charity and all service fees. Only a limited number of pre-sale tickets are available per city and once they sell-out, they’re gone.The general on-sale will begin April 7.
It’s been almost exactly four years since Madonna came out with her last album, Hard Candy (released in April of 2008). In that time, she has opened a chain of gyms of the same name, created a clothing line with her daughter, Lourdes Leon, written and directed a film, and negotiated a new recording contract with Interscope Records (incidentally, the same label Lady Gaga is on). Not to mention continue to piss people off over her mere existence. But, if you haven’t guessed by now, Madonna really doesn’t give a fuck. There’s even a song on MDNA called “I Don’t Give A.” So what can you expect from the indestructible tour de force’s twelfth studio album?: Dance music at its purest and finest. Hence the title, MDNA.
Left: Deluxe edition album cover, right: Standard edition album cover
The second single from the album, entitled “Girl Gone Wild,” is also the song that kicks off the record. The track opens with a confessional apology extracted from the Catholic prayer, “Act of Contrition” (the title of a song that also appeared as the closer to Madonna’s seminal 1989 album, Like A Prayer): “Oh my God, I am heartily sorry for having offended thee, and I detest all my sins because I dread the loss of heaven and the pain of hell. But most of all because I love thee and I want so badly to be good.” It is, in essence, a sentiment that sums up all of Madonna’s actions throughout her career. But you can’t keep a bad girl down as the Queen of Pop dives into an electronically suffused beat that champions the cause of every “good girl gone wild.”
Always playing the fallen angel.
In an ideal world, “Gang Bang” will reverberate throughout every gay club in New York City. Or perhaps someday be featured as a lip synch for your life song on RuPaul’s Drag Race. Madonna oozes vengeance as she sings, “Bang bang, shot you dead/Bitch out of water, bat out of hell/Fish out of water, I’m scared, can’t you tell?” It makes so much sense that Mika is a producer on the song. Continuing with the MDMA motif, the next track is called “I’m Addicted.” Barring the similarity in lyrical rhymes to “Like A Prayer,” this is another standout song on the album in which Madonna reveals, “Something happens to me when I hear your voice/Something happens to me and I have no choice/I need to hear your name/Everything feels so strange/I’m ready to take this chance.” The beat then segues into something that only Benny Benassi could create as Madonna laments, “Fame’s like a drug and I can’t get enough.”
Martin Solveig, who also produced the first single from MDNA, “Give Me All Your Luvin’”, infects “Turn Up The Radio” with his usual brand of European house sensibilities. It is by far one of the most simplistic songs on the album, designed as more of a summer anthem as Madonna chants, “Turn up the radio” repeatedly, the only divergent lyrics being, “Don’t ask me where I wanna go/We gotta turn up the radio.”
“Give Me All Your Luvin’” succeeds “Turn Up The Radio” in a seamless transition of Nicki Minaj and M.I.A. chanting, “L.U.V., Madonna!/Y.O.U., you wanna!?” The video for the song, directed by MegaForce, coincided with Madonna’s performance at the Super Bowl Halftime Show, thus the football player/cheerleader motif throughout (with a Marilyn Monroe homage thrown in for good measure). The beat and rhythm of the following song, “Some Girls,” sets a new tone for the second half of the album, exuding a very reminiscent vibe to Goldfrapp’s 2003 hit, “Strict Machine.” It is also one of the triumphant auditory reunions between Madonna and Ray of Light collaborator, William Orbit.
In the studio with M.I.A.
And, speaking of collaborations, Madonna also enlists the backing vocals of her daughter on “Superstar.” Evocative of “Superpop,” a bonus track from 2005′s Confessions on a Dance Floor, Madonna uses famous names from history to create analogies on “Superstar”: “You’re like Caesar stepping onto the throne/You’re Abe Lincoln, ’cause you fight for what’s right.” Not one to pass up another opportunity to work with Minaj, Madonna appropriately features the Trinidadian goddess on “I Don’t Give A.” Although it is perhaps the most awkward song in terms of what fits in with Madonna’s musical style, it is definitely noteworthy for how personal the lyrics– undeniably directed at Guy Ritchie–are:
“I tried to be a good girl, I tried to be your wife/Diminish myself and I swallowed my light/I tried to become all that you expect of me/And if it was a failure, I don’t give a…”
Single cover for "Girl Gone Wild"
“I’m A Sinner,” yet another one of Madonna’s theme songs in terms of telling her detractors to fuck off, is the most overt sounding Orbit track on MDNA. Moreover, what would a Madonna song about sinning be without name dropping a few of her favorite religious figures, including Jesus and the Virgin Mary? “Love Spent,” the third of four tracks with Orbit’s signature on it, once again mirrors an unofficially released Madonna song: “Liquid Love” from, you guessed it, the Ray of Light era.
Performing with M.I.A. and Nicki Minaj at the 2012 Super Bowl Halftime Show.
As the album draws to a close, Madonna chooses to slow down the tempo with her Golden Globe-winning song, “Masterpiece,” featured on the soundtrack for W.E. “Falling Free” consummates the standard edition of MDNA. The influence of Joe Henry, country guru and Madonna’s brother-in-law, is evident on the laidback, twangy vocals.
Performing "Like A Prayer" with Cee-Lo at the 2012 Super Bowl Halftime Show.
For those with the sense to buy the deluxe edition, your ears will also be bestowed with “Beautiful Killer” (a song about French movie star Alain Delon), “I Fucked Up” (a relaxed mea culpa with a message that is the antithesis of “I Don’t Give A”), “B-Day Song” (another fast-paced collaboration with M.I.A.–because this was before M was upset with her over the middle finger debacle), “Best Friend” (in which M probes the demise of a relationship that reiteratively seems to be about Guy Ritchie: “You said you wanted more than just a pretty girl/Maybe I challenge you a little bit too much”), and, finally, the LMFAO “Party Rock” remix of “Give Me All Your Luvin’”. So, if you aren’t inclined toward dancing, having a good time, or escaping into the aural assuagement that only Madonna can provide, then MDNA may not be for you. And MDMA probably isn’t either.
Nite Jewel’s gradual rise from local Los Angeles band to a grand success beyond California state lines is an indication of Ramona Gonzalez’s talent. As the lead vocalist of Nite Jewel, her lyrical and musical direction continue to represent an homage to the best elements of 80s electropop and that rare genre, Italodisco. With one full-length album under their belt, Good Evening, Nite Jewel has upped the ante on One Second of Love, a sophomore effort that clearly has more production value than the lo-fi nature of Good Evening.
“This Story” is a brief opening track with the levity of Gonzalez’s voice to sustain the apology, “I’m a broken record, you have heard this before.” In a way, it is Gonzalez’s subconscious acknowledgment of her commitment to the style she has perfected over the course of the four years she has been making music under the Nite Jewel moniker. The following track and first single, “One Second of Love,” is electropop at its finest and frothiest. The title alone is indicative of the type of romance that occurs when two people’s eyes meet across the dance floor during a song like this, and for that brief second, you really are in love–until someone else catches your eye.
Keeping it real.
The third track on the album, “She’s Always Watching You,” is an emphatic, subtly funk-like concoction that echoes the intense yearnings of a Shangri-Las song as Gonzalez admits, “Whether I’m calling, I’m always thinking of you.” Next up is “Mind & Eyes,” a song with vague ties to the sound of Phil Collins that explores the topic of an erratic individual who can’t seem to deliver on a promise as she recounts, “You talk the talk and then you just… you walk the walk and then you just stop.” She later discourages, “Don’t try to fan the fire.”
This is what success looks like.
“In The Dark” is slow European electro beats at their finest, with surprisingly pithy lyrics to contradict the light and airy vibe of the music: “I’m a shell of a man, but don’t try to understand.” As a faster continuation of “In the Dark,” “Memory, Man” is an up-tempo track that Washed Out would be proud of. In many ways, “Memory, Man” is like a biography of living in Los Angeles as Gonzalez laments, “Could it be I’m losing touch again? I’m left out” and “It’s been done, we’re all down for the count.”
As the album gets past the halfway mark, we are given the gift of “Unearthly Delights,” a celestial, Enya-esque track that would fit in quite nicely at a trancier version of the Lilith Fair–and yet another title that could easily describe the sinful temptations of living in L.A. “No I Don’t” perpetuates Nite Jewel’s modern take on empowered female artists of the ’90s (Sophie B. Hawkins comes to mind), while the subsequent track, “Autograph,” returns to the more jubilant themes and sounds of the first part of One Second of Love. And, once again, the lyrics recall something out of a Shangri-Las song: “I’m so made up, but I got nowhere to go/I’ve still got your autograph, it is on my heart.”
Natural yo.
The concluding song, “Clive,” is an appropriately ambient cap on an album ideal for taking ecstasy or laying poolside (or both at the same time). It reveals that even though Nite Jewel’s tone has remained largely intact, it is also changing and expanding into avenues that are sure to spell international success for a band that has been bursting at the seams to be heard out of the bounds of L.A. County for some time now.
