Music Reviews – International: May 2009
It's Blitz! by Yeah Yeah Yeahs
Their signature alt rock/art punk sound has been a blueprint for successful previous offerings; Nick Zinner’s unmistakable, wailing riffs – coupled with Karen O’s sassy, seductive tones – have so far been a triumphant formula. All the more surprising, then, that It’s Blitz! forays further than before onto the dance floor (note the liberal use of synths and looping electronica hooks) while simultaneously making a jaunt into sparse melancholy. Particular highlights are the effervescent “Zero” and the dulcet harmony of “Soft Shock.” Most notable, however, is that It’s Blitz! confirms O as being equally capable of tender and wilting as she is strutting and kick-ass. Paul Ryding
Cryptic bizarro rapper DOOM (formerly of the “MF” moniker) has crafted a cottage industry out of spitting Bukowski-influenced rhymes over off-kilter loops interspersed with quirky samples culled from cartoons and comic books. Born Like This, the perennially masked MC’s first solo album in four years, sticks with the tried-and-true, and features appearances by Raekwon, Ghostface, Kurious, Slug and Posdnous. As with his more recent efforts (i.e. 2004’s MM..Food), the 17 tracks on this album walk a fine line between formulaic gimmickry and bouts of brilliance, but strong production by Mr. Chop, J-Dilla and DOOM himself make it one of his best releases to date. Jerry Chan
The self-titled “biggest midget in the game” was sitting pretty as the first lady of grime. Then she had a bit of a breakdown, got dropped by Def Jam and hit her lowest point. For Lady Sov, this has, oddly, made for a pop-friendly follow-up to Public Warning. Gone are the quickfire puns, the hyperactive flow and the wry social observance. In their place come samples from The Cure, a newly utilized singing voice and songs about breakups. The girl’s grown up and this will win her fans, but they’re likely the people buying CDs in supermarkets, not shoplifting them. HC
Grace/Wasteland by Pete Doherty
The Babyshambles frontman shows another side of himself in his solo debut. Doherty’s gentle chanting, accompanied by guitar from Blur’s Graham Coxon, gives Grace/Wasteland a folksy, bluesy old-school feel. Electric guitar and heavy drums are present only on a few choice tracks (“Palace of Bone” and “Last of The English Roses”), whereas piano, acoustic guitar and even trumpet feature prominently throughout (“1939 Returning” and “Sweet By and By”). As a result, Doherty gives himself ample room to exhibit the full strength of his vocals, showing why he – though once-upon-a-time a tabloid mainstay – deserves credit as a singer-songwriter. Wang Ge
Living Thing by Peter Bjorn and John
Where does a Swedish indie pop band go after it produces the be-all and end-all (“Young Folks”) of hipster hits? Peter Bjorn and John’s new album displays that the trio goes down – at least in mood. Clapping, finger snaps and stark beats on Living Thing will get the young folks moving, especially with the aid of African influences and Depeche Mode-esque sounds, but despite rumors that “Nothing to Worry About” is the next indie triumph, the child chorus isn’t quite up to par with PB and J’s whistling predecessor. Nonetheless, Peter Moren’s light croons are still capable of making an adequate splash in the pool. Jessica Pan