Print Edition: May 9, 2012
Royal Headache
Royal Headache
Royal Headache is a band that takes the cathartic pleasures afforded by elemental rock n’ roll seriously. On their self-titled debut LP, the Australian garage rock standard-bearers storm through a dense, 26-minute set of instinctively brilliant pop tunes presented in limb-flailing, punk rock glory. From the gleeful abandon and scratchy power chords of “Never Again,” the band’s fast-paced, hard-nosed appeal is undeniable. It is Royal Headache’s unschooled zeal and front man Shogun’s raspy, soulful yelp that set the Sydney foursome apart. The band is inspired by Stax as much as the Ramones or Black Flag, a garage rock act that rightly aspires to the untamed swagger of notorious Animals’ vocalist Eric Burdon. Shogun’s vocals are at their best when likewise untempered and raw, like on the “yeahs” that pepper the end of “Down the Lane.” But his voice switches from gruff to grating when he descends into a faux-British punk sneer on “Pity,” a tone that just doesn’t work for the group’s sensibility. What does work is the way Royal Headache fills the aural space with an unshakeable sense of the ephemeral, human quality essential to the genre. Like Alabama Shakes or Danish hardcore label-mates Iceage, the razor’s edge vulnerability of live performance is a way for the band to rally against the encroachment of empty, digital perfectionism.
Chains of Love
Strange Grey Days
Strange Grey Days is an uneven debut, which puts Vancouver’s ’60s throwback girl group Chains of Love in a strange position. The album presents no distinguishable variation to a well-worn genre, adding to the glut of bands doing a very similar thing. Perhaps standout tracks like “All the Time,” “I’d Rather Be Crying,” and “Lies Lies Lies” offer a glimpse into future recordings or maybe they signal a one-off detour – only time will tell. The album’s dark and brooding retro pop songs are often bogged down with gritty production and added noise that only serve to hide the brilliant voice of lead singer Nathalia Pizarro. Producers are often recognized as the true creative force behind debut records, but Strange Grey Days proves differently. Most of the tracks are left sounding shrill and raw, unable to realize their full “Wall of Sound” potential. However, Strange Grey Days is a lovely album in its own right, and should be required listening for any Phil Specter fan. Despite a debut that doesn’t blow the lid off tradition, Chains of Love remains one of Vancouver’s most exciting prospects.
Norah Jones
Little Broken Hearts
Having followed Jones’ work from her very first album, it has been rewarding to see her prove her ability to grow stylistically without leaving herself or her audience behind. Her debut album, Come Away With Me, is quiet and bluesy, which evolved into more of a jazzy feel with Not Too Late, and has now landed us here at Little Broken Hearts. The music itself still focuses on Jones’ simple guitar-piano-bass recipe, but the final ingredient—Jones’ smoky, smooth vocals—have been tweaked and supported with a funky, almost Mobyesque distortion effect. The tracks blend together into one long musical motion, the ups and downs of which bring to mind the movement of a wave. Her lyrics, as always, are the perfect mix of poetic and light-hearted, making this album perfect for almost any mood or time of day. Jones has once again delivered the goods, creating a perfect album for summer evenings and enjoying a beer at the lake.
Beach House
Bloom
Beach House was formed in Baltimore, Maryland back in 2004. Bloom is the band’s fourth album, and they have definitely stayed true to their indie genre; listening to the band is more of an experience than anything else. Obscure vocals are accompanied by avant-garde instrumentals which creates an unlikely listening experience for new listeners. The album is very experimental as it challenges generic sounding melodies; if you are looking to hear something that will make you dance, this album is not for you. Bloom takes on a melancholy tone that doesn’t exactly exclaim “here comes summer.” Beach House is most definitely not for everyone as the band seeks out a targeted audience. The new album certainly lacks the ability of grabbing my attention, as I personally find it to be too depressing. However, I give the band props for staying honest to their authentic style and staying focused on experimenting with sound rather than selling out.
