Album Review: Blonde Redhead's "Penny Sparkle"

For Fans of: Sonic Youth, Electrelane, Asobi Seksu

Kazu Makino’s hauntingly delicate voice combined with Amedeo and Simone Pace’s intricate instrumentation and back-up vocals is a combination of pure, effortless beauty in Penny Sparkle, Blonde Redhead’s latest album.

“My Plants Are Dead” is one of the many songs on Penny Sparkle that shows how the New York-based psychedelic rock band has mastered their minimalist alternative shoegaze rock style over the years. The lyrics are simple and flow effortlessly, weaving in and out between a soft drumbeat and a gossamer guitar reverb. Most of the songs on the album have this steady vibe.

“Will There Be Start” features the vocal talents of twins Amedeo and Simon. Their high-pitched voices pair well with the slow-moving background drums and sporadic guitar clangor. “Black Guitar” is another track that features the twins and Makino. The song begins with a fuzzy synth sound and the twins’ soothing voices. The almost orchestral introduction heralds in a guitar clangor and the voice of Makino, who sings throughout the rest of the track.

“I fell in love with the music like falling for someone you’ve known for a long time,” Makino said in a press release. “It was dreamy and sometimes was very stormy. At times I felt like a shepherd who was trying to herd five stallions into a yard (unsuccessfully).”

Makino’s cryptic statement about the album may be due to the fact that the band worked with Van Rivers and the Subliminal Kind, producers of popular Swedish electronic artist Fever Ray. This collaboration may be why there is a strong synth presence – almost every song incorporates the sound in the background. Also, the producer of the band’s 2007’s 23, Alan Moulder, was also on board serving as the mixer of the album.

The product of these collaborations can be best heard in the album’s opening track, “Here Sometimes,” which is a combination of a fuzzy guitar distortion and a steady electro background beat. This sound creates an unusually upbeat song, something not characteristic to Blonde Redhead. The unique sound is quite catchy and a welcome addition to the track list.

Long time fans of Blonde Redhead will be quick to appreciate that the band hasn’t strayed far from its signature style. Rather than doing anything drastic, they have managed to stay true to their sound, making it more distinct and focused by adding minor changes in instrumentation. Penny Sparkle shines, highlighting the band’s commitment to the style they developed in their 1995 self-titled album.

Originally published in the Daily Titan on October 7, 2010.

Album Review: Interpol's "Interpol"

For fans of: The Editors, Joy Division, She Wants Revenge

When alternative rock band Interpol released their debut album, Turn on the Bright Lights, in 2002 they were an instant success. Their sound was unique; it was melancholic and somber, but also had an alternative rock vibe ? a combination that was unmatched by any band at the time.

New York based Interpol suffered a major setback with 2007′s Our Love to Admire, due to a significant change in musical style and direction. Interpol’s self-titled fourth album continues where Our Love To Admire left off. Throughout the album, lead singer Paul Banks’s voice fluctuates from mid to high registers too frequently. His voice is best when he sings at a lower register because it not only sounds more in tune, but resonates with the music better.

“Memory Serves” illustrates how Banks’s voice does this. The lyrics, as usual, revolve around love. Banks croons during “Summer Well,” “I want to stay young / I want to feel up on your life / I’ve missed you / It looks like you’ve summered well.”

Instrumentation blends Interpol’s old style with their new style. During “Lights,” guitarist Daniel Kessler’s signature guitar reverb plays throughout the introduction. However, on other tracks, his reverb is absent and is replaced with a heavier rock sound. Bassist and keyboardist Carlos Dengler shows off his skills, as most Interpol’s songs have strong bass lines and implement noticeable keyboard melodies. Drummer Sam Fogarino plays more upbeat tracks. “Barricade” is an example of Dengler’s and Fogarino’s new style.

Interpol’s style is not the only thing that has changed- Dengler left the band after the completion of Interpol. According to Interpol’s website he left to “follow another path and to pursue new goals.” Dengler will not go on tour with Interpol and has been replaced by David Pajo on bass and by Brandon Curtis on keyboards and back-up vocals.

Many tracks on Interpol album have promising beginnings, but lead to no climax or resolution. The album is evidence that Interpol might be having trouble figuring out what musical style they want to pursue. Interpol’s constant change in style comes off as forced, rather than organically created. Interpol is mediocre at best, and does little to gain new fans, while causing old fans to long for the return of the old Interpol.

Originally published in the Daily Titan on September 21, 2010.