Musically speaking, 2004 rocked thanks to the simultaneous breakthrough of three compelling new bands, whose splendid debut albums practically had “Next Big Thing” stamped across them.
Add to this superb trio of Franz Ferdinand, The Killers and, perhaps best of all, Scissor Sisters another combo who finally caught fire after a year and a half of relentless touring behind their 2002 debut, Maroon 5, and it was a red-letter time for bands who write original material and play their own instruments.
For the next year and change, the combined stream of singles, tours, music videos and TV appearances from this lot made us forget about the generally bleak state of popular music. But then it was over. All four groups retreated to their respective studios to work on their sophomore albums. Fans were left to wonder if the confluence of these hipster faves heralded a much needed shift in pop music or if it was all just a sublime coincidence.
I’m jazzed to say that the arrival this year of another handful of chic bands who combine classic hooks and with-it looks has me thinking that real change is in the air. Color me upbeat about the future direction of pop-rock music.
Here’s a review of four groups who have released dynamite debut albums and also exhibit genuine star potential. They are definitely bands to watch.
Clear Static |
The La-La Land lads of Clear Static (pictured) started gigging at rec centers, high schools and house parties when the five members were around 13-14 years old. When they released their self-titled debut on Maverick earlier this year, most were still in their teens. In the beginning, what set Tom Pederson (vocals), Michael David (guitar), Danny Kincaid (guitar), Rich Pederson (bass) and Jacob Shearer (drums) apart from other bands on the L.A. youth circuit were their influences.
“A lot of them started off with punk,” says Tom Pederson, “and that certainly had an effect on us too. But we were more interested in writing good songs. We wanted to be good musicians. And we were open to all kinds of influences. That’s what drew us toward the ’80s, because bands like The Fixx, Naked Eyes and Roxy Music played their instruments well and wrote great songs. We found that really intriguing.”
Clear Static’s modern twist on New Romantic pop was given the ultimate seal of approval when reunited gods of the genre Duran Duran asked the band to open for them on dates in the U.S. and U.K. They found the experience “unbelievable.”
David recounts a particularly great moment from the tour. “After one of our soundchecks, [Duran Duran members] Roger and John Taylor came up and said, ‘Watching you guys reminds us of when we were your age, doing the same thing.’ That just completely blew us away.”
Persephonie’s Bees |
Echoes of The Sugarcubes, Kate Bush, ABBA, King Crimson, Laurie Anderson and more can be detected on Persephone’s Bees’ (pictured) new album “Notes From The Underworld” (Columbia). But don’t get caught up in pointless analysis, this terrific 11-song set is meant to be enjoyed.
The avant-garde Bees began to coalesce when Russian transplant Angelina Moysov, a classically trained musician who journeyed to America in ’93 with $50 and a handful of Soviet army watches, met guitarist Tom Ayres in Monterey, Calif. The vibe was right from the start.
“When Angelina presented me with her first song written in English, I knew exactly what I would be doing over the next few years,” Ayres says. Moysov adds: “I always believed in Divine Providence. Having the opportunity to work with Tom over the years is proof of my belief.”
With the addition of bassist Bart Davenport and drummer Paul Bertolino, Persephone’s Bees were ready to fly. Today, the enthralling marriage of Moysov’s icy, lightly accented trill and the band’s muscular, turn on a dime arrangements are capturing an ever-growing legion of fans. Count me devotedly among them.
Stefy |
Twenty-year-old Stefy Rae wasn’t around when New Wave ruled the radio, so you wouldn’t expect Stefy (pictured), her namesake four-piece, to release a top-notch album steeped in the genre. Nevertheless, “The Orange Album” is a stomping mix of Berlin, Blondie and Eurythmics.
Along with vocalist Rae, a breathy, raven-haired coquette with shades of Debbie Harry and Missing Persons sexpot Dale Bozzio, Stefy features Sean Meyer on guitar, Jason Gaviati on keys and Andreas Brobjer on drums. Together they’ve created an irresistible album filled with danceable, chart-ready pop. Lead single “Chelsea” is already breaking at radio and video outlets.
One exception to the album’s synth-driven strut is “Orange County,” a downtempo track that details the radically changed lives of an O.C. teen couple following an unplanned pregnancy. “It’s a ‘where have all the good times gone’ song,” says Rae, an Orange County native herself.
Stefy is also gaining an ace reputation as a live act. “When I’m on stage I want to give people a good show,” Rae says. “I am inspired by artists like David Bowie and Prince. When they perform, they get into character. You wouldn’t want to look anywhere else than right at the stage. That’s what I like to put into my shows. I roll around on the floor and just really go for it.”
Under the Influence of Giants |
The self-titled debut from Under The Influence of Giants (pictured) has just hit stores. But the massive hype was building before the four-man band even inked its record deal, thanks to its popular Myspace page and the killer five-track EP the guys were hawking online and at club shows.
A song originally on the EP, “Mama’s Room,” has been released as the first single from the new album. The chorus of the disco-tinged rock track all but forces you to sing along (“Makin’ love in mama’s roooooom / Takin’ all I can from yooouuuu”), while the flashy video makes Aaron Bruno (vocals), Jamin Wilcox (drums, keyboards), Drew Stewart (guitar) and David Amezcua (bass) seem like they’re already superstars.
Bruno says, “When we started writing, we felt it could either be completely groundbreaking and monumental, or it would be horrible.” In the end, the band was elated by the way its melding of rock energy, pop melodies and funk-based grooves came together seamlessly.
“The album is a musical journey of many influences from different bands,” explains Wilcox. “We’re like a mousetrap ready to snap shut on the unsuspecting listener.”
info: audiophile@q-notes.com |
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