“Our world, our lives, our bodies, they are constantly changing. But there’s a rhytm that runs through it all,” Glass Candy’s latest album begins, “And that’s where we’ll find our true selves. We live in a universe of transformation, but the heavenly beat is a constant.” I’m not sure if I believe them, but if there is a heavenly beat, Glass Candy have definitely found it. Despite the flood of italo-disco revival artists that have emerged over the past few years, Glass Candy have always managed to stay at the head of the movement. Ida No’s vocals and Johnny Jewel’s beats complement each other perfectly, engendering a sound that evokes the genre’s 80’s heyday, while injecting a gorgeous vein of neo-noir. Do not miss out on this.
[From the B/E/A/T/B/O/X Tour-CD]
While 80’s synth pop may be the most pervasive element of John Maus’ latest LP, don’t yourself be fooled; Love Is Real is a dark and fractured affair. A subtle, but effective, filter causes Maus’ vocals to sound slightly muffled, as though he’s singing from beneath a thick quilt. The entire record is marked by a sense of an abstruse sense of unease, as though something darker lurks just beneath the surface of this seemingly benign pop; there’s more here than you may initially believe.
[From Love Is Real, out soon on Upset The Rhythm]
Sometimes it feels more like a series of musically-themed comedy sketches than an actual album, but I’m still love with Obligatory Villagers, Nellie McKay’s new album. Just like its creator, Villagers is slightly pretentious, a little bratty, but charming and pretty enough to make up for it’s flaws. Its undeniable high point, ‘Identity Theft’, is McKay is doing what McKay does best: complaining in a witty, post-modern manner. This time, the complexity of modern life is her target, and she skewers as only she can; in a breezy, bouncy jazz number. Only Nellie McKay could pull these lines off and while still managing to sound cute.
[From Obligatory Villagers, out September 25th on Hungry Mouse]