Welcome to Karen Zoid’s Postmodern World

Originally published by the Saturday Star, 22 September 2007
Karen Zoid
Postmodern World
5/5
In 2001 Karen Zoid burst onto the music scene rebelliously declaring her cultural independence providing a role model for a disenchanted Afrikaans youth. Her followers were coined “the Zoid generation”. Several years, many awards and a continuously growing multi-cultural fanbase later, Zoid herself has matured and now has a child of her own to consider. This, her fourth release, reflects these changes in her life and is her most soulful to date. Previous Sheryl Crowe likenesses have never rung more true, especially in songs such as the title track, As We Go, Silverbird and Lights where a mellower, country style predominates. These are easily her best compositions yet, and this style continues through the rest of the album, except for one or two characteristic rock numbers. Another interesting point to note is that this is Zoid’s first all-English album. Though Zoid loyalists might perceive this negatively, this will only help broaden her appeal. So, will the Zoid generation embrace Zoid’s Postmodern World? They definitely should, or they’ll be missing out.

The White Stripes, icky

Originally published by the Saturday Star, 15 September 2007
The White Stripes
Icky Thump
2/5
Try as hard as I can, I can’t bring myself to enjoy The White Stripes. I have attempted listening to many of their albums (all with an open mind), and this, their sixth, still doesn’t sound like anything I haven’t heard before from John Lee Hooker, Jimi Hendrix, Led Zeppelin or all the way through to the Jon Spencer Blues Explosion. Furthermore, having pilfered the sounds of the aforementioned, their offerings to the genre are badly performed. To add insult to injury – and I might be crucified for saying this – they may have tainted Americana blues rock more than aided in its development. The group have had one or two catchy songs, but generally their contributions are noisy, disjointed and avant-garde. Musically, if that’s what you’re looking for, then Icky Thump might be something to consider. For fans of The White Stripes, or alternative music in general, it incorporates various elements from the group’s back catalogue ranging from overdriven blues belters, to folky Americana numbers, and I suppose considering their previous work this would be no better or worse than any of it.

Stevie Nicks’ Crystal Vision

Originally published by the Saturday Star, 8 September 2007
Stevie Nicks
Crystal Visions… The Very Best of Stevie Nicks
4/5
Stevie Nicks is probably best known for her work fronting Fleetwood Mac during the late 1970s and 1980s. However, Nicks has released much solo work, continuing to garner and reaffirm respect in the industry. This release, as other Best Of compilations, can never really be considered definitive, but it aptly captures the essence of Nicks’ musical career. Crystal Visions includes her solo hits Edge of Seventeen, Stand Back, Leather and Lace and Stop Draggin’ My Heart Around (with Tom Petty). Furthermore, it includes the original version of Silver Springs as performed by Fleetwood Mac alongside other of the band’s compositions, however spiced up by including newer live performances of Landslide and Rhiannon. The special edition release includes a DVD which features a number of the music videos from the Best Of disc, with commentary by Nicks herself, and a short featurette on the recording sessions for Bella Donna. For Nicks fans there is a lot of varied material here to digest and enjoy. For fans of early rock and roll, it’s recommended as Nicks’ stature in the rock and roll hall of fame can not be ignored.

The Cinematics, A Strange Education indeed

Originally published by the Saturday Star, 1 September 2007
The Cinematics
A Strange Education
4/5
The Cinematics hail from Glasgow, Scotland, and a strange education they must have had. Most of the tracks on this, their debut full length release, pilfer the depths of the back catalogues of their predecessors within the dark indie/pop/rock genre suggesting a gloomy upbringing indeed. Artists such as Joy Division, Morissey, Suede and more recently the likes of Interpol and the Editors come to mind when listening to the tormented compositions of The Cinematics. Unfortunately the group so closely emulate their predecessors that they might sound like just another regurgitation of the genre’s forerunners. Having said this though, I can’t help but enjoy this album. It’s well composed and well delivered. Lead vocalist Scott Rinning has a charming voice and eschews lyrics with a most certain flair for the dramatic, as already suggested in the group’s name. “Darkness can sometimes be a pleasure to me” drones Rinning in a rounded, campish Morrisey type inflection on Break, a strong single off this album, which aptly encapsulates the tone of the rest of this offering. For tortured souls with a penchant for 80s pop/punk I think this is worth listening to.

Mark Beling can’t hold back

Originally published by the Saturday Star, 25 August 2007
Mark Beling
Can’t Hold You Back
3/5
This is the second solo effort from Mark Beling, known for fronting the incredibly hard working Mean Mr Mustard. There is no doubting Beling’s drive. He is one of few rock musicians who have managed to develop a sustainable career within this somewhat limited local industry, and this release is very well delivered. Beling’s song writing is mature and the artist covers a wide spectrum of genres throughout this album. There are tracks on here that at times could be likened to U2, Snow Patrol (notably the strong opener), Bon Jovi (My Summer is Gone) or The Beatles (You’re the Best I’ve Ever Had), which, as is, fulfils quite diverse tastes, yet Beling flawlessly incorporates a pop dynamic in The Moment. Noting the above references, whose styles predominate the rest of the album, Beling also adds his own unique qualities, rendering the performances instantly recognisable as his. There are a few negative points though. Beling’s vocals at times carry too many effects, which is unnecessary considering he has a good voice and there are a few lyrics that could be better, especially the line “life is good it’s getting better, the water you drink will taste much wetter”. But, other than that, this album gets a strong three out of five.

Simply Red, Stay faithful

Originally published by the Saturday Star, 18 August 2007
Simply Red
Stay
3/5
It’s been quite a few years since Simply Red released anything exceptionally noteworthy – though the band have over the years managed to sell in excess of 50 million albums. How? By constantly releasing good, though, again, not exceptional, quality material, keeping record sales ticking over among a strong, maturing fan base. Stay continues in much the same vein. Mixing soulful, lounge jazz with a bluesy Brit-pop sound, Mick Hucknall’s voice croons across a variety of musical styles. The opener, The World and You Tonight, is a stunner of a love song, easy to understand considering where it’s coming from – Hucknall is currently in a successful long term relationship and he has just fathered his first child. The second track, and recently released single, So Not Over you, is a convincing soulful ballad which I’m sure would find an audience among the 94.7 demographic. The rest of songs on the album are very professional in execution, yet lack something that would make the album particularly special. The bizarre finale, Little Englander, on the other hand, is quite out of place, taking a dig at certain social complexities. Hucknall concludes this, accompanied by a kiddie chorus, singing “Let me smash the plastic face of my country”. Interesting, but what’s the point really?

It’s New Years Day, oh dear

Originally published by the Saturday Star, 11 August 2007
New Years day
My Dear
2/5
Oozing with southern Californian sun drenched, sugary pop-punk songs New Years Day have just released their debut album, My Dear. Fronted by a female vocalist, very much Avril Lavigne-like, the group sing about lost love, heartbreak and juvenile societal conflicts. I can liken them to late ’90s Blink 182 or the All American Rejects, except for the added feminine perspective, which though it should be a positive element, it doesn’t really add much to a genre that is most definitely now passing its sell-by date within mainstream pop culture. The album is professionally delivered, sounding very “bright and shiny”, and it attempts to come across as sassy, yet songs sound annoyingly too familiar. My Dear might be well received by young female teens lamenting broken hearts, wishing for pool-side summer fun, at a winter all-girl sleepover, yet, in general, it will probably have a negative effect on their musical education.

Jill Scott collaborates far too broadly

Originally published by the Saturday Star, 4 August 2007
Jill Scott
Collaborations
3/5
Collaborations is a collection of Jill Scott collaborations with other artists, previously available on an array of albums, all now available on one disc. 2005 Grammy Award winning artist for Best Urban/Alternative R&B Performance, Scott showcases her talents here among the likes of, among others, Sergio Mendes, Al Jarreau, George Benson and the Isley Brothers. The failure on this release is that it attempts to highlight Scott’s diversity as an artist, yet it reveals far too numerous weaknesses in her musical repertoire. Scott shines on the more soulful collaborations, such as in the jazzier Good Morning Heartache with Chris Botti, and similarly on God Bless the Child with Jarreau and Benson. But unfortunately Scott fails dismally in her attempt to “talk the talk” on rap tunes alongside Mos Def and Common. This album includes some beautiful passages of music, yet perhaps because it attempts to cover such a wide spectrum of musical styles, it also includes some dreadful ones too.

The Rakes dance floor fodder

Originally published by the Saturday Star, 28 July 2007
The Rakes
Ten New Messages
2/5
The Rakes, a band known for their savoir faire and street cred among the fashion industry, have released their second album. Their debut, Capture/Release, paid homage to punk forerunners The Clash, and for that well delivered likeness, was well received. This album, however, moves on to a post-punk sound, very similar to that currently delivered by Franz Ferdinand, and unfortunately fails to stand out from within your garden variety tool shed. Other bands have already cleared this pathway and The Rakes, though upbeat and well executed, come across as second rate copy cats. Ten New Messages tries too hard with its idea of a pseudo-social commentary concept album and its delivery seems to lack intelligent backing. Having said this though, the music might go down well as dance floor fodder, but no more than this really. Hopefully, on their next album, they’ll pay more attention to their music, rather than hobnobbing with the fashionistas.