As the seasons begin to transition and the nights grow cooler, Natalie Walker’s second solo album might be just the cure for those of us longing for one more touch of the sun’s fading light. Originally the lead vocals of the brilliant trip-hop group Daughter Darling, Walker eventually launched a solo career in 2006 with the release of her debut, Urban Angel. The album’s contents, a gorgeous mixture of airy strings and whispering vocals, soon wove their way onto Gray’s Anatomy episodes and the playlists of KCRW, resulting in an influx of indie-pop fans.
Now, Walker continues on in her traditional style on her new album With You, a soothing, electronica-tinged collection that serves as a fitting companion piece to Walker’s original. Seductive, soothing, and nearly ethereal, the album sways in and out with multi-layered breathing and warm rushes of synthesizers and strings similar to that of Goldfrapp’s latest effort, Seventh Tree. While again utilizing Stuhr, the same production team used for her debut album, Walker’s work has formed a more mature build of sound: More layering, more instruments, and more production techniques all characterize the tracks of With You.
Leading off the album is “Lost My Shadow,” a pensive, drifting track that echoes beautifully as Walker croons: “My shadow sleeps on the outside / She’s far away, strength is fading fast / She says it’s cold and I’m so tired/ She’s all I ever had, now she might not come back.” It’s one of the album’s darkest moments, and a stark contrast to the follow-up track “Pink Neon,” a glittering, beating burst of energy comprised mainly of light, airy notes and falsetto vocals. Unlike her first album, Walker makes use of more than just her whispery vocals on this album. The kiss-off track, “Too Late” is an enjoyable coupling of dismissing lyricism and steady synth-rock beats, all surrounded by a spooky ether of synthesizers that make the track sound like it’s been recorded underwater.
Walker does take more chances within her sophomore effort, including “Ordinary,” an attack track against an ego heavy boyfriend, delivered in a restrained, folk manner reminiscent of indie darling Feist covering an Alanis Morrissette track: “I think you lost your mind / Tight jeans, haircut? Oh, please,” she laments as the song continues to build and build to crashing proportions. However, it’s the fifth track, “Over & Under,” where Walker truly breaks into her own. The track is a moody, multi-layered affair with New Wave influences that rises and falls as Walker goes through all the motions of love. “What’s this again?” Walker wearily speak-sings, “I heard this so many times. You’re scared, I’m tired, I can’t reach in and find a way to say this is the last time,” she pleads, before the brooding chorus launches in its bouncing, electro manner that secures the song as one of the album’s finest tracks.
With a bit more vocal freedom and production experimentation, Walker’s second effort With You marks a distinct growth in her progress as a solo artist. It is a more cohesive, memorable effort, proving her music to be far more than a few layers of vocals. It’s sleepy, sultry, and offers just enough summery warmth to carry into the fall season.
Please check out Natalie's music at her website here!
Photo credit: Jason Frank Rothenberg
Sunday, August 31, 2008
The Summer Daze of Natalie Walker
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Saturday, June 21, 2008
Step Into The Dark
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Head over to Télépopmusik's MySpace right now to hear a brand new track from their upcoming album to be released in fall of 2008!! It was just uploaded right now, so hurry! The song's called "Ghost Girl," and it's pure grinding synth heaven, which is a completely new angle for the eclectic French musicians. It's a bit Goldfrapp in some places thanks to the the sexualized, unaffected female vocal delivery, though there are some harder, electro moments that Télépopmusik has never touched upon in the past--This band's always evolving their sound! I'm quite pleased by what I'm hearing...Simply lovely. Go, go now!
Tuesday, May 27, 2008
One Scoop Retro...Two Scoops Now.
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Hold on to your hard hats, everyone--it's time to take a brief sweep through Pitchfork territory. Go ahead and gather up the 1980's (sans the Speak-N-Spell), dark pop, sprinkles (shots, if you will) of indie-electro shivers, Anthony Gonzales, and a few good producers including Ken Thomas, Ewan Pearson, and Morgan Kibby. Jumble that all up t
ogether and what have you? Nope, not Xanadu, though kudos to you for your unwavering optimistic attitude toward the film's revival. No, it's the latest album by M83, entitled Saturdays=Youth.
Intending to supply a nod or two to those golden days of yore, Mr. Gonzales has thrown a wrench into his typical electro-ambient stylings with the occasional blips and bleeps that made the '80's so undeniably cheesy and wonderful. Now don't roll your eyes just yet. I, like you, am quite beyond the whole '80's revival scene (it's so mid-'00's), but when I say revival, it's not in regards to the mere usage of a few blaring synthesizers, but more of a subtle recapturing of the sounds and noises of 1980's New Wave pop.
Saturdays=Youth is stunning, truly. The moody, breathy male and female vocals of the album carry well over its collection of strumming guitars and clouded synths, allowing each track its own unearthly sound. Layered tracks like the first single, "Couleurs" as well as lead-off track "You Appearing" and "Highway of Endless Dreams" prove that the involved producers are adept at doing more than merely recreating yesterday's sounds, but rather carving complex monuments devoted to previous conquerors of all things synthesized. Gonzales also proves to pave his own inroads into dark pop, providing songs like "Graveyard Girl" and "Kim & Jessie," unmistakably legitimate tracks that fall in line perfectly with the best of them--from Depeche Mode to New Order. There's also the breathtaking sixth track, "Up!" of which I'm convinced features Allison Goldfrapp's tender vocals. Through the album's deeply dark melodies and brighter flourishes however, Gonzales never loses his way for a second.
If you're interested in learning more about the album, head over to Amazon to hear clips of the tracks, or to the M83 MySpace for additional information.
Wednesday, May 14, 2008
Ghost In The Machine
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In a word, haunting. Instilling unconventional vocals along with distorted '80's power synth sounds, Zeigeist just may be the new "it" group to lead their proudly pop-happy country to the top of the pop charts yet again. Chock full of unforgettable riffs and crisp electro noises from the year 2010, the band's album The Jade Machine is one long breath of Swedish electro bliss. Though many of the songs featured are undeniably similar to the output of fellow Swedes The Knife ("Dawn Night" is essentially "We Share Our Mother's Health"), the album retains an originality of its own within its more mainstream, digestable pop-electro sound. Sure, that's not always a better thing, but it certainly works for them.
There's even a hint of Goldfrapp hidden beneath the fragmented synthesizer, especially within "The Lake." "Wrecked Metal" might as well have come directly from the Depeche Mode back catalog, bouncing along with the original synth-band's familiar air of hopelessness, darkness, and pure sex. "Cuffs" is uncomfortably similar to Kelly Osbourne's genius pop-noir hit, "One Word," but I'll consider it a posthumous nod to the original. (No, she's not dead, but that career sure is.) I'm even getting some waves of The Presets every now and then while listening. This is an incredibly promising, incredibly exciting release, and I highly encourage you to check out their MySpace now and order the album. Make sure you check out their pictures as well. I don't know if they're promotional or actual lives, but the visuals of their performances seem epic.
It's quite difficult to track down a proper live, so enjoy this thirty second clip. I've no idea what's happening here (there looks to be some triangle lights, a giant dancing space creature, and Liza Minelli) but it appears they make for a rather good show.
Wednesday, April 30, 2008
Portishead Returns With Sounds To Die For...Literally.
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The drawn out bass and hip-hop melodies that made Portishead one of the driving forces of the trip-hop genre may be gone, but the vocals, lyrics, instrumental moods that make you want to hang yourself from your repressed depression are all still as vibrant as ever on their cleverly titled third album Third, their first studio release in eleven years.
Through black out-dark electronic, ambient and industrial influences, Beth Gibbons, Geoff Barrow and Adrian Utley deliver another masterpiece that is sure to be rotating in stereos across college music lover's dorm rooms for years to come.
"Silence," the albums opener track is definitely anything but what the title suggests. Hi-hats, pianos, electronic beeps that resemble something you'd hear when you press a panic button, and tribal percussion (amongst other layers) make the track sound like something you'd hear on the group's self-titled 1997 release--if it were to be re-released in 2008. "Did you know when you lost?" Ms. Gibbons painfully moans over the track. Uhh..you didn't lose anything. You still got the beat, Ms. Thang!
An abruptly silent cut off ends the first song and moves you into "Hunter," which starts like a depressing down-tempo jazz track on drugs, moves into yet another round of electronic "THE WORLD WILL EXPLODE" beeps, and dives right back into suicidal-industrial jazz. This is probably the song that stays the most true to the Bristol sound (or trip-hop) genre.
"Nylon Smile" follows and brings the tribal beats back. The vocals start off with harmonies that could easily be stuck into a R&B tune if the melody wasn't dragged out with Beth's crazy voice. "I don't know what I've done to deserve you.." she sings. I don't know what I've done to deserve to have my ears ejaculating over every second of this CD so far, suicide woman.
If this kind of music is not for you, I am absolutely not lying when I tell you to hop on AmazonMP3's download Third's fourth track "The Rip" right now. RIGHT NOW!!! Absolutely everything about this song is shining and perfect. If anyone can find a flaw in this song, please tell me. Everything from the instrumental, the vocals, the lyrics, and the melody screams, "Put me on a Goldfrapp CD right now, damn it!" Synths! Oh god, the synths! Also, there is a random hi-hat at 2:33. Yes, a completely random hi-hat sound that makes the song even more special because it only happens once in the song--and its not expected at all. However, I don't like how the song fades out just as the track is getting good. While this is the album's best track, it could have definitely been developed into something more. Then again, Portishead always seems to fade out their tracks when its getting good. It's their thing....
"Plastic" sounds like someone is trying to perform at a church, but a helicopter keeps flying over the place. It develops into a battle ground of guitars, electronic beeps and squeals, dark synths, and tom-tom drums. Its a song you'd hear during a down-tempo version of an opera. Hmm..a down-tempo opera, wouldn't that be hot? "We Carry On" soon follows with a high looped electronic sound and if you extract the distorted bass, you could place it in a happy-bubbly t.A.T.u. song, where it'd sound just as good.
"Deep Water" offers a calm before the storm. It sounds like the group made a stop in Hawaii and decided to turn some Hawaiian tunes into a simplistic down-tempo vibe. They got it spot on! It also combines 1950's style harmonies. This is the album's happiest point, offering the lyrics "deep water won't scare me tonight." Awe..happy.
Just when you think someone gave this album some uppers, "Machine Gun" suddenly shoots the album's only spark of joyfulness nine times in the heart and lets it bleed all over the cold, hard concrete floor while screaming "STOP SMILING, FUCKHEAD." This song will not hesitate to shoot you...and it will not miss. Not once. Every other measure it offers a round of two percussive sixteenth notes in the form of industrial drums as Beth cries your death. She effing cries it. She knows you're dying when you hear this track and by the time the distortion on the track comes on...you're dead. That distortion, in my opinion, symbolizes your brain shutting down..but you're still being shot. This track is most likely the hardest of hard when it comes to mainstream trip-hop and industrial music. Tricky also has the experimental beats and voice to make you die on the spot, but Portishead does it in a mainstream way. Whether premeditated or not, if I were the judge, they'd be found innocent of all charges pressed against them. (If you followed the extreme amounts of symbolism in this paragraph, I congratulate you.)
"Small" is the next track and starts off like a lot of songs on this album start off, with nothing but a guitar, it then moves into a single string instrument playing and morphs into trip-hop bliss. "Magic Doors" provides a Tricky-esque beat and ends with something that sounds like an elephant is being strangled before a hopeful and cheerful piano begins, which offers Third's most emotional climax of the entire album.
Before you know it, Small is cross-fading into the album's closer track, "Threads." Isn't it sad? Your auditory orgasm you've been waiting eleven years for is already coming to a close? Yeah, I was a bit disappointed too. "Threads" offers another moment of past Portishead sounds, and is a great way to end the album. If you're a fan of industrial trip-hop, you won't feel let down in the slightest. This Portishead album is worth every single cent you spent.
Note: This album isn't exactly for the pop lovers. It is an extremely long way away from the group's international success, "Dummy." But seriously, if you aren't into this album, please hop onto AmazonMP3's (because iTunes DRM is the devil,) and download "The Rip." You'll get your money's worth.
Still don't believe me? Listen.
Portishead - The Rip (live)
And for those who picked up Portishead's 1998 live release, I think we can both agree that they can still perform stunningly.
Wednesday, March 26, 2008
Sexy Pop Stars, Quite Nice Really
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I'm bad for not posting this for so long. The song "Black & Gold" by Sam Sparro is currently leaping and bounding into a top charting position this week in the UK, and I have a feeling it's going to be big. It's a grower of a song, lacking a definite bang within the chorus. The vocals are like a more controlled style of Gnarls Barkley, and the electro beat underneath is really very sexy, a la Black Cherry Goldfrapp. The accompanying video is equally so. What starts out as a simple little limo-caressing exercise turns into sexy neon dream of top-hat-and-cane wielding sex pots. I'm in favor. As per usual, take and enjoy.
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DL: Sam Sparro - Black & Gold (Radio Edit)
Monday, March 24, 2008
Happiness and Other False Emotions
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Welcome back, Muusers. I've returned with a slew of nothing, wrapped up and presented as something wonderful!
+ For starters, I present an official remix of Goldfrapp's trip-tastic "Happiness", created by Metronomy and featuring The Teenagers! It's all shades of disjointed, and inspires some general confusion...I don't like it. Anyway, you can download it below.
+ According to compiled reports, Majustimbalake's "4 Minutes" will be treated to a buttload of remixed formats, including mixes by Tracey Young and, my personal favorite, Junkie XL. Additionally, the song is now impacting all radio stations around the world, so do yourselves a favor and request it. Yeah, it's not that great, but...you know. It's Madonna, etc. etc. And you know the public will eat up the Timbaland production.
+ Félicitations to my favorite fivesome of skinny-britch-wearing bitches this side of the 1990's, Girls Aloud, for securing yet another top ten charter with "Can't Speak French"! This makes their eighteenth consecutive top ten hit since their debut! Est un jour fier.
+ I got a big package in the mail today--Utada's new album, spiffied up with a giant glossy poster of her face!! It was a wonderful surprise that I completely expected to arrive today. Expect an official album review tonight for the already deemed perfect new album, Heart Station.
+ And don't forget to watch Britney on How I Met Your Mother on CBS at 8:30 in the P.M. tonight. Your body will thank you for it.
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DL: Goldfrapp - Happiness (Metronomy Remix ft. The Teenagers)
Tuesday, February 26, 2008
02.26 Releases
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A bit slow on the music news lately? I think everyone's shaping up for promotion to get into the full swing of things for the New Year. (I reckon my Brit is, anyway.) Anyway, here's the list of bimbos and bastards releasing their nonsense tomorrow. It's a fairly packed release day.
Erykah Badu New Amerykah: Part One (4th World War)
Beach House Devotion
Cheri Dennis In and Out of Love
Farmer's Market [Title TBA]
Goldfrapp Seventh Tree
Janet Jackson Discipline
Dolly Parton Backwoods Barbie
Pete Rock NY's Finest
Punch Brothers Punch
Rocket From The Crypt RIP
Webbie Savage Life 2
My vote's on a #1 for Dolly. Go buy some Janet and Goldfrapp at the same time, people. It'll confuse the man or woman or half-man, half-sheep employee ringing you up.
Saturday, February 23, 2008
Sweet Soundscape
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Many moons ago, when Goldfrapp's album first leaked, it caused a mass hub-bub amongst popthusiasts everywhere as a torrent of outrage and disappointment surged up within the community. How could Goldfrapp turn so abysmally soft? Where were the ripping guitars of "Ooh La La", or the pulsating electric waves of "Strict Machine" that practically oozed sexual intensity out from the headphones? All that's been shelved. For now, at least. Yes, if you've come back seeking the polished synthesizers and dirty beats that defined Goldfrapp for the past two years, then kindly turn the other ear and revert your attention to their 2005 gem, Supernature.
In a way, this new album is the necessary come-down from their dancefloor past. For all of the ferocity and glamour that Supernature provided, there was hardly room to breathe within the CD. Even the slower tracks seemed to have such a raw and gritty texture to them that none truly felt like a departure from the grinding beats. So naturally, hearing Seventh Tree for the first time was a confounding experience.
I'll admit: I got a bit nervous after hearing the entirety of the album. Had Goldfrapp's sophisticated sense of humor faded out within the last verses of "Number One" on Supernature? After all, there's nothing ostensibly chic about Seventh Tree. In this album's choral, airy dimension, I feared that Alison had simply gone limp. It wasn't until the first verse lyrics of the opening track "Clowns" finally spilled onto the Internet that I could rest easy:
Only clowns would play with those balloons
What'd ya wanna look like Barbie for?
Dear oh lord it's easy
Roasting, roasting, roast indeed, mahogany,
titties that live on on and on on and on
Only clowns would play with those balloons
What'd ya wanna look like Barbie for?
Passive when I'm in record day & night
I'm watching you
Plastic surgery and artificial tans. Who knew that's what she had been whispering about the whole time? A cheeky stab (tee-hee!) at breast implants which ends up gliding across the airwaves as silky smooth as a child's nighttime lullaby. Oh, she's still got it all right. And who says these aren't lullabies anyway? Titties that live on happily ever after? That's the stuff of fantasy.
From there on, the album continues to satisfy in its ethereal and ever-so-slightly twisted concoction of drifting, carousel-like music. The music is morbid to me, yet in no way distressing. There is something buried deep within these songs that keep the tracks from shining too brightly, like an Air album's haunting beauty.
And no, in case you're worried, the album's not a complete downer. There are certain tracks that emit a pure form of hopeful youthfulness, like the fairly obvious "Happiness" which sounds rather chipper compared to the echoed hollowness of its predecessors. Even the chilly single "A&E" offers shimmering shards of electronic warmth and in between Alison's increasingly soaring vocals. It's the sort of thing I'd imagine hearing during a crisp morning walk in the fall.
If there's one thing that Goldfrapp consistently nails, it's the ability to combine the visual experience with the aural. The album's presentation is a piece of art; like Alison has said in former interviews, she views her music as a visual experience. Each of Goldfrapp's albums tend to rely upon strong imagery, and Seventh Tree is no exception. The artwork from this era blend effortlessly with its accompanying musical selection. Images of eclectically garbed Alison frolicking within a sea of grass while the sun's last rays die quietly in the distance. The washed out appearance of the CD, along with the 8mm accompanying video for "Clowns" all contribute to the faded appeal of the album.
Though the sound strays further away from the electro-pop of Black Cherry, closer to the chilled Felt Mountain, and nearly opposite to Supernature, Seventh Tree remains a decidedly vital addition of its own in the Goldfrapp discography. That being said, this is not an album meant to supply the advertising campaign of Verizon Wireless' latest phone commercials. The album's atmosphere isn't immediately inviting, but eventually I found myself enveloped in the soundscape. I know I can't change the minds of those who bitterly discard this effort as little more than a dull offering, but as far as I can see, this is one blissfully dull offering.
DL: Goldfrapp - A&E
DL: Goldfrapp - Clowns
DL: Goldfrapp - Caravan Girl
If you are interested in purchasing Goldfrapp's new album Seventh Tree, please buy the album from Amazon or iTunes.
Wednesday, February 20, 2008
Electro: Now With Feeling
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I don't know that much about The Long Blondes (yet), but I do know that they can produce a tune. The new single off of their spankin' new album Couples is called "Century," and it's a bit of Allison Goldfrapp making sweet love with the Queen of Disco, Donna Summer. More accurately, "I Feel Love" + Gwen Stefani's vocal acrobatics + Goldfrapp's Supernature + Ladytron's lyrical style. It swoops from chilled to chaos, but breaks before all out madness ensues. The lead singer reminds me of Deborah Harry. Judging from a spattering of surface research, I'm falling head over heels with the band's dynamic. They claim not to listen to the Beatles and list producers (Stock, Aitken, and Waterman), more affectionately known as S-A-W, as one of their influences.
Sign me up! I'll be back for more from them. For now, listen to the single. I'm in love (woo), I'm in love.
DL: The Long Blondes - Century
Alright, I can't stop there. I've had myself a listening of their first album. It took ten seconds of "Once And Never Again" to have my internal jaw dropping. It wasn't enough to make me literally open my mouth in astonishment, but my heart did briefly flutter. Or that was a palpatation, in which case a visit to the doctor may be in order. That being said, it's nothing like the second album's focus, but I love the song nonetheless. And how smart-ass are those chorus lines? "Nineteen / You're only nineteen, for God's sake / You don't need a boyfriend." Bitches!
Monday, January 7, 2008
Acid and Ecstacy?
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Is that what the song stands for? That's what the video leads me to believe anyway:
DL: Goldfrapp - A&E
Just joshing. I lurve it. Alison looks so pretty amongst the frolicking topiary. I know this isn't what the masses desire, but I like it just fine, thank you. Not every album needs to be full of "Strict Machine." Damn, do I love that song though.
Pre-order Goldfrapp's new album, Seventh Tree
And you, what do you think?
Friday, January 4, 2008
Calming Music Part Deux - Goldfrapp
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Seventh Tree, Goldfrapp's fourth studio album, is being released in February of 2008. That being said, the album leaked in full about two months ago. Oops.
Within the cries of treachery, adultery, and larsony, fans respondedly strongly to the album's quietly restrained nature riddled with lush, whispered tracks. It seems some people were expecting Supernature II, but that was never the intention for the band. Yes, I'll admit, I was one of them, though I should have known better. Black Cherry is no Felt Mountain. And neither of them Supernature. For those willing to open their ears to a different kind of aural bliss, the new album is delightfully giving.
Alison Goldfrapp made a perfect statement in a feature by Q Magazine that I found over at XO's Middle Eight regarding the upcoming album:
"While we were making it I was thinking, We're going to sell one copy and that'll be to my mum," she says. "It's a departure, and it's scary, but that's the point of being creative."
A departure, indeed. Will it succeed? I'm sure it will. A&E, the first single, has Grey's Anatomy soundtrack written all over it.
I'll review in full as the release date draws closer.
Today the official album cover was unveiled, thanks to PopJustice forums:
Be sure to pre-order Goldfrapp's new album, Seventh Tree (Special Edition)
at Amazon.And you, what do you think?
Sunday, December 30, 2007
Christmas Message from Goldfrapp
1 comments
Alison Goldfrapp has officially lost the remaining ounce of sanity she once maintained. P.S. You better enjoy this style if you want to like the new album. It's extremely subtle.
And you, what do you think?
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| Britney Spears-Womanizer |
| Girls Aloud-The Promise |
| BoA-Eat You Up |
| Annie-2 Of Hearts |
| Alesha Dixon - The Boy Does Nothing |
| Grace Jones-William's Blood |
| Janelle Monae - Many Moons |
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| Lorraine-Tell It All |
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Single Reviews
- Alesha Dixon: The Boy Does Nothing - Oct 6, 2008
- Boa: Eat You Up - Oct 2, 2008
- Grace Jones: Bleeding Love - Sep 27, 2008
- On Womanizer... - Sep 26, 2008
- The Promise: First Thoughts - Sep 14, 2008
Album Reviews
- The Summer Daze of Natalie Walker - Aug 31, 2008
- The Suite Escape of Janelle Monáe - Aug 15, 2008
- Out To Sea... - Aug 3, 2008
- We've Come To Kick Your Ass. - Aug 1, 2008
- Shoot baby, shoot baby - Jul 28, 2008