"PHRAZES FOR THE YOUNG," Julian Casablancas (Cult Records/RCA)
When The Strokes emerged earlier this decade some talked as though the New York City garage band would save rock music -- a ridiculous notion since rock wasn't dying and even if it were, one band certainly wouldn't save it.
Instead, the Strokes' path followed a predictable story arc: The group was hyped relentlessly, its releases produced diminishing returns for fans and the band members eventually drifted off to do side projects, get married, have children, etc.
Lead vocalist Julian Casablancas won't be expected to save anything with his new solo debut, "Phrazes for the Young," but he offers an intriguing diversion as his distinctive drone is married to prog-pop keyboards.
"Phrazes for the Young" is wonky and weird, made wobbly by polyrhythmic arrangements and quirky by old-school funhouse effects. Casablancas often hinted he might be something of a deadpan carnival barker, and this release confirms his potential. There's the likes of Bowie and Cash in his delivery, and the music kicks around semblances of everything from Duran Duran to Velvet Underground. Yet more than anything, "Phrazes for the Young" sounds like a Stephin Merritt project (for those familiar with Merritt and his various groups).
First single "11th Dimension" is an invigorating jolt of horror-electro-dance energy with the singer making observations such as, "Drop your guard, you don't have to be smart all the time." Meanwhile, "4 Chords of the Apocalypse" glows with translucent blues, "River of Brakelights" offers the sort of raucous escalation you don't want to hear in traffic and, on "Tourist," Casablancas disconnects from the clomping cadence to complain about feeling disconnected.
"Phrazes for the Young" is amusingly wry and bitter, and it proves Casablancas doesn't have to change the world to entertain.
Rating (four possible): 4
"WE LOVE MACHINE," Way Out West (Hope)
When English duo Way Out West declares "We Love Machine" as the title of its new release, it's a safe bet DJs Jody Wisternoff and Nick Warren are talking about their electronic equipment. Specifically, the act from Bristol is referring to old-school analog synthesizers.
Indeed, "We Love Machine" has a quainter feel than modern dance music, a softer edge and more air in the mix to create what sounds more like ambient music than what might be played at contemporary nightclubs.
The cosmic collection gently pushes emotional buttons, throwing soft focus on guest vocals and more emphasis to rhythm and nuance. There's even a hint of New Age in the dreamlike strains of "Doors Are Where the Windows Should Be," the sprawling closer "Tierre Del Fuego" and the philosophical message of learning from mistakes on the serene "Survival." Meanwhile, the distant romantic chant of "One Bright Night" is enveloped in atmospheric funk.
Although songs such as "Future Perfect," "Pleasure Control" and the title track have a bit more kick in their cadence, they all likewise emanate insinuating warmth. And the cheesy vocals about love setting you free on the disco-flavored "Only Love" are offset with an endearing kinetic shimmer. However, Way Out West isn't all polite and standoffish on "We Love Machine": The duo digs down for more emphatic grooves, from the hard-pounding drama of "Ultra Violet" to the challenging churn of "Surrender." Also, the whir in the air and the New Wave vocals of "Body Motion" feel like the foundation of a prehistoric ritual, and the big shuffle and effects of "Tales of the Rabid Monks" evoke a swank restaurant hosting a tiki-themed orgy.
There's not much new to "We Love Machine," but Warren and Wisternoff pay admirable and deserving tribute to early electronic music.
Rating: 3-1/2
"MIDNIGHT SOUL SERENADE," Heavy Trash (Big Legal Mess/Fat Possum)
Rowdy rock -- like punk and the various hard-core genres -- typically offers straightforward exercises in venting. But Heavy Trash requires listeners to do a bit of role-playing for its "Midnight Soul Serenade."
Led by vocalist Jon Spencer (Jon Spencer Blues Explosion) and guitarist Matt Verta-Ray (Speedball Baby), the group's brand of rockabilly, a/k/a psychobilly, is a call to escapism for those with a stylistic bent, the kind of folks who might slip into a wolf suit, get liquored up and howl at the moon.
Heavy Trash's wild rumpus starts by raining '60s-flavored discordancy on the blues umbrella with "Gee, I Really Love You," only to add kick to the step on the subsequent "Good Man" that shocks with springy electricity and reverberates with the echoing vocals of Spencer as he sings, "Are you looking for a good man? Take a look at me."
Desperation crosses all of "Midnight Soul Serenade's" moods, most notably love, lust and anger, whether it explodes in the dirty, muffled ramble of the careening "Bumble Bee" or simmers in the addled performance-art epic "The Pill."
The evocative, rootsy energy paints vivid images -- highlighted by dark shades for the electro-blues and fidgety loneliness of "Isolation," odd pastels for an off-kilter "In My Heart" that could serve for a slow dance at a sock hop in hell and painfully bright hues for a "Bedevilment" that finds Spencer embracing a little too eagerly the full-throttle craziness of the chase.
"Midnight Soul Serenade" sounds surprisingly long for a release that only spans 36 minutes, probably because askew, muddy music doesn't inspire natural protracted interest. However, Heavy Trash draws out the intrigue longer than might be expected.
Rating: 3-1/2
(E-mail Chuck Campbell of The Knoxville News-Sentinel in Tennessee at Campbell(at)knews.com.)
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