In a stroke of awesome with The Dance, Faithless has managed to continue that dance trend, and their careful balancing act. The opening song, “Not Going Home,” proves once again that they have the chops to own a dance floor, with what is sure to soon be (or already be) a memorable, bring-down-the-roof riff.
Ben Folds and the Seattle Symphony. For few musicians would I have fewer reservations about this potential pairing – and in Folds’ recent visit to Seattle, this critic was not disappointed. Folds played a magnificent set, highlighting the strength of his songwriting, giving the audience a window into the process of converting pop songs into orchestral pieces (or, at it’s called, “arranging”), and generally providing a great evening.
Chris Pureka follows in the noble tradition of American singer-songwriters exploring human emotion, frailty, happiness. Well-educated (she left her studies in microbiology at Smith College to pursue music), Pureka has a knack for crafting accessible, enjoyable songs that have the feel of a comfortably-worn old sweater; her voice is a deep, musty timbre (yes, musty – think depth, shadows, and a degree of disrepair) that echoes the memory of times past, both good and bad.
In short, the Pet Shop Boys provided what their fans came, first and foremost, to hear, and second, to see: consistent, nostalgic, beautiful music, coupled with a flamboyant and colorful stage show, all rounded off with an encore accompanied by the shooting of heaps of silver confetti from two large canons flanking the front of the stage.
Then there are CDs worthy of more listening, and a precious few worthy of joining my regular playlist. Nitin Sawhney’s new release, London Undersound, is one of those albums. It is a masterpiece.
Perhaps unsurprisingly for a band referencing a youthful Dylan’s girlfriend, Echo Helstrom is both musically notable (all five in the band are classically-trained musicians) and poetic, writing lyrics that capture one’s imagination. Though they weren’t quite as well suited to lasers (has a band sporting upright bass and violin been accompanied by lasers without being named Pink Floyd?), they did a great job of engaging the audience and creating solid, contemporary-feeling rock.
A recent show by Seattle-based, Barsuk artist Say Hi (…), revealed a generally promising young act that could use a bit more fleshing out. A one-person recording artist (Eric Elbogen), Say Hi’s recent show featured Elbogen and a drummer, opening for Minnesota’s amazing Cloud Cult.
This article adds a new path for Glide Magazine: specifically, an effort to begin bridging the worlds of culture and sustainability. In truth, one is nothing without the other; if the planet is uninhabitable, music and art will die. Likewise, without a clear appreciation for the beauty and indeed, art that is nature, people fail to appreciate some of the most spectacular aspects of life: a light rain, dewdrops on a leaf, or a sunset over the mountains – things worth working to care for.
The Album Leaf in concert is a five-piece, multi-instrumental electronic collective, while behind the scenes, it is James LaValle, himself a talented multi-instrumentalist. LaValle’s meandering sound is beautiful: experimental electronica, pinging and bumping in all the right ways, creating nothing so much as an ambience for living. Live, the five-piece serves up a masterful blend of soaring melodies and steady beats, delivered by mostly traditional instruments (including a violin), and a video screen, projecting randomness.
It is rare to hear an album that’s different than most anything else one’s heard in quite some time. It is also rare to find one so different it both falls into that category and is enjoyable. Unfortunately, Deerhoof’s “Offend Maggie” fails to surpass that relatively high bar.
