Electro pop duo La Roux have been tapped for the second edition of Sidetracked, a mix series on Renaissance.
News of the mix comes a year after the release of La Roux's self-titled debut album, which promptly launched the duo to international stardom, penetrating charts in the US and Europe with tunes like "Bulletproof" and "In for the Kill."
Sidetracked presents a diverse array of newer tunes and older gems, beginning with "I Second That Emotion" by '80s post-punk group Japan and coursing through selections by Fever Ray, Heaven 17 and French electro act Kavinsky. Frontwoman Elly Jackson says of the compilation: "It's a really nice snapshot of both our musical influences. A lot of the tracks on here are songs we listened to while making our album set alongside some new stuff we're into..." Also included is La Roux's previously unreleased cover of "Under My Thumb" by The Rolling Stones, which the duo often fit into their live sets. The compilation follows last year's edition by Andy Butler of Hercules & Love Affair.
Tracklist
01. Japan – I Second That Emotion 02. Heaven 17 – Come Live With Me 03. Joyce Sims – (You Are My) All And All 04. Hally & Kongo Band – Afrikan Man05. Fever Ray – When I Grow Up (D. Lissvik Version) 06. Doris Troy – Just One Look07. Freur – Doot Doot 08. Jam Crew – Exotic Nations 09. Ellis, Beggs & Howard – Big Bubbles, No Troubles 10. Fox The Fox – Precious Little Diamond 11. Tears For Fears – Suffer The Children 12. Blancmange – What’s Your Problem 13. I Blame Coco – Self Machine (Coconut Candy "No Need For Plastic Palm Trees" Elly Jackson Remix) 14. Paul Haig – Big Blue World 15. Kavinsky – Testarossa Autodrive (SebastiAn Remix) 16. La Roux – Under My Thumb 17. Gerry Rafferty – Right Down The Line
Crystal Castles are a duo consisting of producer Ethan Kath and vocalist Alice Glass from Toronto. Their experimental electronic sound is both loved and hated by many people, although personally I'm a lover of them. They are known for their chaotic live shows (including climbing the sides of stages at Leeds Festival and throwing drum kits into the audience) and lo-fi home productions.
The duo have gone from amazing to even better with their new album. After the previous album's catchy electronic melodies, eerie beats and Alice Glass' vocal persona - the next album was definitely one that had to have something different and more exciting to improve on the last. In my opinion 'Crystal Castles (II)' lived up to my expectations of being more mind blowing than the previous.
The album starts off with 'Fainting Spells', kicking off with Alice Glass' low screams and breathing, slowly bringing in a low electronic beat and melody. It isn't one of the best on the album, so I was quick to skip this one half way though when first hearing it.
'Celestica' however has a completely different feel. It has a softer introduction, with a low, melodic electric pattern. Alice's vocals are also softer here, and we can hear the lyrics a lot clearer than most of Crystal Castles' songs. One of my personal favourites of the album, 'Celestica' shows the duo in a more different light. The only song I could twin this with from the previous album is possibly 'Courtship Dating', as that track was also less aggressive and had a soft melody behind it. 'Celestica' could been seen as almost trance-like, as the backing throughout the song wouldn't seem out of place in a popular dance track. However, the uses of electronic glitches and unique vocals make this track instantly recognisable as Crystal Castles.
'Doe Deer' has the stereotypical aggressiveness of Crystal Castles. It starts off with a running pattern repeated throughout the track and has Alice's vocals more distorted - making it hard to make out what she's supposed to be saying. After looking up the lyrics on the internet all she does is repeat "deathray deathray". The lyrics written by the duo don't tend to make too much sense most of the time, so this is not out of character.
Probably my favourite track of the new album, 'Batism' starts off trance-like as in 'Celestica'. However the track then goes quiet, leaving a simple electronic melody to continue - a highly intoxicating sound to say how minimalistic it is. When the vocals kick in however, it goes back to the trance sound - but continues to go back to the simple melody in between each verse/chorus/general mash of shouting. It never ceases to amaze me how Crystal Castles manage to make the simplest of samples become so memorable and catchy.
'Year of Silence' starts off with a sort of melodic pulse sound followed by male vocals this time, chanting and repeating the same thing over and over - also being overlapped by a higher toned male voice chanting, almost like a call and response theme. Light textures of electronic sounds float over the top, eventually filling up gaps in the piece. This track has a more moody based sound to it - lowering the tones following 'Baptism'.
'Empathy' and 'Suffocation' both have a less aggressive and harsh sound. Together they create a more relaxed atmosphere in comparison to 'Doe Deer' etc, both having light textures of electronic notes and glitches with soft vocals.
'Violent Dreams' goes back to the trance feel, with reverberated chords floating in the background behind soft vocals from Alice. This track is also simple, and sadly in my opinion one of the less memorable and thought about tracks on the album.
'Vietnam' joins low vocal drones with a moderate to upbeat rhythm. This particular use of beat reminds me of tracks from the previous album, or possibly is just a stereotypical trait/sound to come from Crystal Castles. Over the top of this a light, almost twinkly sound. Towards the end the vocals become almost child-like and innocent, but coupled with the dark electronic sounds of Crystal Castles gives the track a deeper, eerier feel. The stereotypical sounding beat used in this track is also mimicked in both 'Birds' and 'Pap Smear'.
'Not in Love' begins with a chiptune-like feel, and has almost an old video game sound to it. The child-lilke vocals are used here too.
Like 'Baptism', 'Intimate' is also another favourite of mine from this album. It too has a simple electronic melody that sticks in your head. Both these tracks are remotely different from the sound of the last album. The melody gradually speeds up from the start of the track, and low drones are introduced underneath. This track is about as minimalistic as they come, consisting of drones, an electronic melody, and an extremely simple rhythm consisting of only two electronic drum sounds. There are only a couple of changes to the sound throughout, for example, introducing an harsh, whirring sound to break it up mid way through - but soon after going back to the track as it was.
'I am Made of Chalk' goes back to the chiptune-video gamey sound and sees the album out on a more relaxed note in comparison to some of tracks on the album.
Overall I would rate this album highly. Crystal Castles have managed to improve on an already distinct and sought-after sound and have increased in popularity greatly (even being featured on things such as hollyoaks and mainstream adverts - however annoying this may be to fans). I will be awaiting my first live encounter with them on October - we shall soon see if they live up to their expectations of live performance!
Psychedelic shoegazing guitar, post-punk rhythm section, sharp, concrete bass? Just three things that spring to mind when listening to this band. Their debut ep MASCULIN/FÉMININ is out now featuring seven tracks of shimmering yet solid sound. Vocal melodies float through each song, amongst ambient sounds that weave in and out of spaces in the tracks. The atmosphere and the tension builds and then slackens, from the catapulting segue of 'Vale of Health' to the low-key, piano-led, somewhat dubiously titled 'The Lion King'. With any luck you'll leave satisfied, because Demontré appear finally to have fulfilled their potential.
Eliot Sumner, aka Coco Sumner of I Blame Coco, has a very distinct and unique voice. Being the daughter of Sting, she grew up surrounded by music and from the age of fifteen started working on an album. At seventeen, Coco signed a multi-record deal with island records. Since then she spent time rewriting and recording the album 'The Constant' (debut single was released in February 2010 along with a music video - 'Caesar' featuring Robin). Fifteen songs were recorded, but only thirteen made it to the final album. This is one song which did make it, although acoustically and accompanied by Coco's 'rough around the edges'I much prefer her solo acoustic rendition.
A great follow up to their hit 'Sweet Disposition', also used on the soundtrack for '500 Days of Summer'. As a support act for Florence and the Machine in 2009 I was impressed by their live performance and how they captured the audiences attention - even though at the time they weren't well known. I would expect bigger and better things to come from this band and they are definitely ones to watch.
Bat for Lashes is a one woman act consisting of British singer/songwriter and multi-instrumentalist Natasha Khan. ‘Two Suns’ – her second album - was released back in April 2009 and slowly, but surely, has been rising in popularity – also leading her to receive a nomination for Best British Female Solo Act at the Brit Awards 2010.
Voice is Khan’s primary instrument, it inviting us into her world from the get-go with a soft vulnerability that enthrals the listener. The opener begins acapella, draws us in (“I will rise now / And go about the city”). Inspired by her travels and composed across the globe , ’Two Suns’ invites us to join the protagonist on her travels from a cityscape to a countryscape which is particularly evident from ‘Two Planets’ and ‘Travelling Woman’. The album begins softly with ‘Glass’ as she immediately draws us into the haunting atmosphere. Voice is Khan’s primary instrument, it inviting us into her world from the get-go with a soft vulnerability that enthrals the listener.
‘Daniel’ is relatively up tempo in comparison to the rest of the album. My favourite song, and is about her childhood crush, Daniel LaRusso from the Karate Kid.
She talks a lot throughout of Pearl, her alter ego. She distances herself from this character while at the same time acknowledging that Pearl is one side of her personality. ‘Siren Song’ and ‘Pearl’s Dream’ – both of which have Pearl as their protagonist – are lyrically beautiful, portraying the sense of loneliness, longing and bewilderment that oftentimes accompanies one on their travels.
I thoroughly enjoyed this album however it’s a grower. Upon first listen it is quite forgettable but once it has been played a few times its hard to stop listening. The haunting sound of Natasha Khan’s voice, consistent throughout the album, has what it takes to give the willing listener a healthy bit of escapism.
With the recent Brit nomination received by Bat for Lashes it seems that Khan’s efforts as a composer, vocalist and instrumentalist haven’t gone unnoticed. With any luck she will gather some attention and praise, much deserved.
