Little Dragon Releases Dazzling Flames

I have a thing for foreign music. You can’t call me a traitor to the US scene. I love good music from everywhere, no matter the country of origin. Little Dragon is a band whose music I would declare to be good, in every sense, with their self-titled debut release. Yukimi Nagano is, for the most part, the leader of this four-piece outfit. Her voice is purely enchanting. That is the key tool to unlock and disarm any hesitant feelings that you might have for this gem from Sweden.

Their first single, “Twice”, is also the album opener. Featuring simple synth playing, a piano strumming emotionally repetitive, and Nagano’s voice breaking you down to your core. I was lucky enough to have seen their music video for this song, as my introduction to them. The video, itself, is as warmingly beautiful as the song is. Performed by a team of puppeteers, you’re treated to something so simplistic that it can do nothing but compliment the seductive sounds you’re hearing from this act.

To believe that their entire album sounds like that first song would leave you to be the fool, in the end. They are across the board. Not settling for one sound/style, but rather seeking different structures to demonstrate the jazzy skills that they possess. They never get too heavy, nor do they get boring, either. That’s worthy of praise all its own. A personal favorite of mine is the track “No Love”. The song embodies the finger-snappin’ head-noddin’ moments of the early to mid 90’s sound of R&B(think Mary J. Blige’s My Life album). Nagano has to be some type of medium who is able to reenact, with full precision, singers from a time when music was sung from the soul and not for the currency.

“Constant Surprises” is another one of those Lost Time moments. Having a bassline from Jazz somewhere in the 40’s, with the drumming and slight turntable rewind scratching from Hip-Hop in the early 90’s, and the synth grooviness of Soul from the 70’s, it’s a strange combination that becomes a perfect homogenous mixture. One that sounds like it was destined to be put together. One where you’re left wondering why no one else seems to be pushing this type of sound to the forefront.

“After The Rain” seems more like it would be better suited in a musical than it would on an album that you’ve recently gotten used to at this point. Not saying that the song is bad, just stating that the song would seem to find more love in a Broadway musical where the female lead was having a slight break of the fourth wall and letting it be known that whatever she went through hasn’t pulled her into the depths just yet. Well, maybe not a Broadways musical, but certainly a musical movie. Similar oddity falls on the track that succeeds it, “Place To Belong”. This one isn’t a musical, but it features a good deal of electronic sounds. The style and formula of these songs are, for the most part, a departure in the sound you’ve become somewhat accustomed to by the time you’ve reached these two songs. Again, you’d be a fool to look at these as bad tracks. Could be just bad album placement, if anything? Or maybe not.

You have to take into account the fact that, after those songs, the band seems to have shifted their direction(if that’s understandable for an unpredictable band such as this). The song “Wink”, which is my personal favorite of the bunch, kicks in like a missing Erykah Badu song. The instrumental portion of Little Dragon pushes out a sound that you would have to believe Ms. Badu was aiming for with very limited success of current days. Ms. Nagano does her best interpretation of Badu’s tone and sass. The seductiveness of this track, along with the clapping sound, makes your neck sway and your feet pissed at you if you don’t have them in motion while the song is playing.

This little known band(and I’m only speaking for the American fanbase of them) from Sweden as such a loud and bold sound. They aren’t believers of pigeonholing themselves into just one placement. They are all over the place, but not in any location where they shouldn’t be in. They know their limitations, and they work around them. Little Dragon isn’t just a band, they are an addition in the movement towards more Soulful music. I’m not talking about Soul/R&B music. I’m talking about music from the soul and for the soul. Check them out if you ever get the chance. I know that I’m incredibly grateful that I did.

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Save Your Soul Because She Wants Revenge

Clearly, She Wants Revenge is one of my favorite bands. They were heavily criticized about “ripping off” the Interpol sound. I didn’t think so. I thought they leaned more towards the Dark New Wave sound of Post Punk more than Interpol did . . . plus added in more sexiness to the whole thing. Their first two LPs got brutally attacked by Mainstream critics. Totally unjust for a groovy band with truly high octane potential. Finally leaving Geffen behind and pushing out their own music, the Terrific Twosome pushes out their Save Your Soul ep as their first offering. It’s only a 4 song serving, and it leaves you salivating for more. Starting off the EP is the song “Sugar.” The duo pushes an actual drummer on this. Something that they weren’t known to do in their studio recordings. And, it seriously pushes things up a notch. The bassline is pure gyration inspiration. The drum attacks offers up it’s own sense of sex appeal while Justin pulls it all together with his Joy Division’s Ian Curtis influenced singing style. Justin & Adam must have used all of the money towards their studio. Yes, it pays off. Following up the buttery smooth mood is “Save Your Soul” the title track to the whole shebang. This song, the guitar riffs remind you of the SWR that you’re most familiar with. But, that lasts for only about 15 seconds into the song. Then, they bring out their new guns to the party, and they make those feet dance. The chorus is an easy chanting “Save your soul before it’s too late/Save your soul before it’s too late… `Cuz nothings going to change my mind/Nothings going change the ways.” It’s so infectious that it should require a vaccine to prevent you from being absorbed if you’re not normally into this type of music. Marching behind this song is the tune “Sleep.” Bass heavy as it wants to be, and old school Post-Punk drumming to make all you children of the lost generation feel found once again. It’s the most normalized rock song that you’re going to get from this. You’d be a fool not to feel the UK’s influence lacing everything about this song. The closer track, “A Hundred Kisses,” is the most envelope pushing song of all four. Coming in with a sound resting somewhere between Shoegazing and Ambience, they follow it up with something that they aren’t used to pulling out on their audiences: An Acoustic Guitar. The most mellow of all of the songs, and the most heartwarming of them, as well. It’s a captivating tune, and it demands that you fall into Stockholm Syndrome for it. The band is going in new, more bold directions. I guess with their creative freedom finally being held in their hands brings out the best in them. So, if this is just a 4 track delivery, I can’t wait to see what they are going to do for their next Full-Length that is supposed to reach their fans later this year.

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E For Explosion Finally Detonates

I’ll admit something here: I like some Emo. SOME. Not all. Indie/Emo like bands. Those, I like. JamisonParker was one such band I thoroughly enjoyed. I used to champion them to my friends and peers. I converted quite a few folks over to their musical depressive coolness. Then, they did one of the most horrible things. They broke up. So, I was stuck with a bunch of other new fans wondering what the hell happened. Jamison Covington just was through. Dunno why, but he was. After some time, he created a “band” called E For Explosion. I use the quotation marks because in the studio, it was primarily just him creating all the pieces to the puzzle for this new act. I heard their Paper Flowers EP, and thought “Hmm . . . it’s like JP, but with electronic ambience.” And, yeah, it was pretty darn groovy. Well, the “band” has a full-length release titled Reinventing The Heartbeat. That’s quite a bold title for a record. I mean, to say that it is supposed to be music that makes your heart beat like it found new life is a very cocky statement, in my book. So, let’s see if this music lives up to the statement, shall we? The first track on the album, “Sunday” is an ambient heavy starter. It sounds like something that would open up an underwater documentary film. With Jamison’s vocals just as whisper-like and airy, it adds more to the music than it would if he flat out sung. Halfway through the song, though, he brings in shoegazing-styled guitar work. Now, if you’re not a fan of the shoegazing, then this album is going to piss you off. He seemed to have heard My Bloody Valentine, and decided it would work well with his new style. Strangely enough, it does. The title track follows suit from the movement that the first song brought to the table. It’s a blend of Shoegazing and Indie-Emo that is incredibly uplifting and saddeningly depressing(but, in a good way) at the same time. That’s not an easy feat for an act to accomplish. Especially if it’s primarily a solo one. I’m actually glad that he included the song “Echoes” on this album. It was my favorite track from the EP. Romantically beautiful, and hurtfully honest . . . that’s what this song is. This song is like a total and complete depiction of being 100% in love. And, it’s hard not to fall in love with the track. Even moreso if you have ever felt such a way for someone. It isn’t filled with loud abrasive guitar work. Just a simple acoustic melody and soft electronic sounds. No drum track, either. Which is impressive to be so moving without feeling like your feet need to be in motion. The LP also includes the songs “Paper Flowers Never Die,” “I Explode” and “Antarctica” from the EP, as well as the finished version of the song “Behind Every Breathe.” “See You Soon” is very much a “Night at the beach with fire around” type of song. Again, featuring no electric guitars, but rather acoustic ones, and a string section that swoons and sways you over. “Unit 402″ pushes more towards a much more sober and personal moment. Jamison switches instruments of attack, moving from the guitar to the piano. Singing more about being tormented over the loving memories of a love-lost, it’s hard not to relate to the lonely soldier. The most upbeat moment(if you choose to call it that) is the song “Saving Lives.” Owing more to a moment from The Breakfast Club and other flicks from the 80’s the promoted the music from bands who later dominated radio airwaves with a similar sound than anything else. The formation and application of the concept of the song is just breathtaking. It swings you when it needs to, calms and leaves you inching closer at the right time, then builds back up with perfect execution. No, this isn’t a page-by-page rewrite of JamisonParker, but rather the reason why Jamison walked off the stage that day. He wanted more emotional music. And, in a very intelligent Coffee Shop Emo kind of way, he’s found just what he was looking for. For him, I’ll applaud and a nod everytime I sip my White Mocha beverage from Starbucks. Now, where the hell is Parker Case’s I And The Universe?

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First Aid Kit Repairs Souls

First Aid Kit is probably the best band that you’ve never heard of. Hailing from Spain, this guy-girl duo(Carles Querol & Agnès Aran) conjures up some of the most enchanting music that can ever be heard with ears. Agnès is the lead singer of the band and she sings in English with an easily recognizable accent. The music is just crazy. Combining elements of Shoegazing, Electronics and Post-Rock, they create magic in the form of melody. Sounding like My Bloody Valentine, Explosions In The Sky, and a mother singing a soothing lullaby. They released their first LP titled F1rst in 2006, to virtually no notice over in USA. Which is completely sad. The album housed the mesmerizing songs “Still On Fire,” “Forgotten Sky” and “Greenish.” Actually, each tune on the album featured something that seemed to play at your lost childhood: an age of innocence and wonder. I would dare anyone to listen to them and state their distaste for their music. If such happened, I’d have to call the person a heartless monster. The duo turned around and decided to release a new collection of songs equally as soul lifting in 2008 on the album Plaits. Again, singing in English, the Querol & Aran bring more of the same. And, no, it isn’t something that would make listeners fret for feeling that they’ve already heard the music before. Why? Because it takes you back to the same wonderland that you went to when you heard their first work. Their lead single from this album is “Truth Can Hurt.” The video for the song features three children just being children. Having fun and showing no care for the troubles of the world at large. Wasn’t the world a majestic place when such was the case? The actual first song of this album “Fake/Real” actually has children singing on the song, followed by Carles and Agnès singing together using the same lyrics the children sang before them. It lets you know what you’re in store for the rest of the album. And, frankly, it should never be a problem to enjoy such delightful melodies and the joyous memories/feelings that they bring. If you can find their music, I strongly urgingly demand that you acquire it immediately. Yes, it can change your life . . . yes, it can.

Still On Fire Video:

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Truth Can Hurt Video:

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The Bianca Story Is A Tale To Be Told

Recently, Pop music . . . or rather Indie Pop has came back in by the flood-folds. Yes, headphones, radio waves and music video stations everywhere have been swamped by the storm of new bands who just seem to want to have a good time tickling away at their guitar strings. Europe being the central point of such an output . . . specifically England. But, you can’t count out the Swiss. They’ve been dumping it out by the truckloads as well. The band The Bianca Story is one such case. A team of 5 musicians who, supposedly most aren’t from Switzerland, came together and decided that they have something more to offer to that field. The outcome of their collaboration is Hi Society!, which was released in the First Quarter of `08. The first single from the album is “Paper Piano.” Featuring Elia Rediger on lead vocals and a sound somewhere between Vampire Weekend & Arctic Monkeys. The song is strangely moving, as the drums sound live and unfiltered, giving a more personal relationship between the band and the listener(s). It’s an alluring teaser for what one feels the rest of the album would sound like. That is until “Lover” kicks in. The lead vocals are handled by Anna Waibel and the whole sound structure of the band switches to something similar to The Duke Spirit. Taking you completely by surprise, you begin to realize that you can’t pigeonhole this band into one spot. With a such dynamic Lo-Fi recording style, it sounds more like a band taking things into their own hands without worry of a label. “I Should Shout” has the band pulling out 80’s drama synthesizers for assistance on the song. The song seems very intimate in its delivery, with both Elia and Anna having singing parts on the track. The Anna, though, comes in like Lisa Hannigan did on Damien Rice songs. Then, she breaks off into the most powerful part of the song featuring soaringly loud background singing while she chants out “La La La . . . La-La” at the end of the best song on the whole album. One of the funniest moments on the album comes in for the groovy track “Waste Of Time.” Elia, sounding like he wasn’t even in the booth yet, walking around with with the microphone making grunts and moans before the listener starts becoming assault with a trembling bassline that would/should shake the close off of any lass standing near you. The last song on the album is “Sweet & Sour.” Elia and the rest of the band must have had a hard hankering to do a U2-styled song. It’s drifting, beautiful, and somehow ripping. With Anna running her fingers over the ivory keys to add more emotion to the song, you can’t fight against the drifting that comes from listening to this track. Again, this band is not one that is easily categoried. Nor is it one that doesn’t deserve proper attention for present releases and future endeavors. They span across the field of Pop Rock in every sense, and, though it does seem schizophrenic in design, maybe it’s just what this schizophrenic world needs.

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Martina Makes God Turn Blue

Martina Topley-Bird originally started out as a protégé/singer for the Trip-Hop pioneer mastermind Tricky. She was featured heavily on his album, Maxinquaye, and lightly on albums thereafter. Not to mention she had a child by the man. In 2003, she released her first album Quixotic which was retitled Anything in the US and missing a track or two. In 2008, she pushes out her second solo release titled The Blue God which was produced by the in high demand Danger Mouse(of Gorillaz, Gnarls Barkley & The Grey Album fame). This album is more uplifting in sound than her debut . . . not that it’s a good nor a bad thing. Starting things off, she brings out “Phoenix.” It’s a track that blends in the two sounds that her and DM are known for. Featuring his organ work and drum machine orchestration & her silken milky smooth vocals and haunting layers of those vocals, it shows a marriage of sounds that is beautiful in every sense of the word. Following that is her lead single “Carnies.” With it’s retro 60’s pop sound and it’s 80’s digital keyboard input, this song sounds timeless and, somewhat, out of place in today’s market. Fans of Martina would question this song upon first hearing it. Though, once a good two to three times of listening kicks in, you’ll realize she made a great choice in placing this on the album. Giving a more free spirit feeling and less melancholy, even though the wordplay might suggest otherwise(depending on your feelings towards Carnies). “Baby Blue” rides on the wave that “Carnies” creates. Giving a very retro sound to the whole thing, it’s clear that she/they aren’t relying on the 80’s like most others of today. This song and “Shangri-La” sound like they would have been more comfortable in the 50’s than they would on today’s radio scene. Still, it’s very refreshing to have her vocal ability come to the forefront and not fighting it’s way amongst a sea of musical layers. “Yesterday” is the most digital song on the whole release. Featuring sounds that Martina is definitely more noticeable for. With the Caribbean-styled bass and digital glitches abundant, it’s like if Tricky watched too many episodes of Star Trek and had Martina featured on the track. Clearly the gem of the gem of the entire piece is the track “Something To Say.” Starting off with electronic static set to a pattern, and followed by an acoustic guitar, then the rest of the instruments. The song continues without vocals for over a minute into the song. Once the leading lady comes on, the song’s structure begins to change to a more upbeat tempo and mood. Sounding more like a Gorillaz track than one that one would originally associate to Topley-Bird, it’s a brilliant and amazing tune. Fully of hips-sway inducing melodies and an acoustic guitar riff akin to that of the Gorillaz’s “El Mañana” song. This album is gorgeous, but it’s no Quixotic. So, if anyone is expecting that, you’ll be greatly disappointed. But, it is encouraged that you open your mind, your range, and your ears to Martina allowing Martina to have more fun this time around.

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Death Cab Reaches For A New Floor With Stairs

Death Cab For Cutie. You know them. Everyone who is into Indie Rock music knows them, or has, at least, heard their name. With nearly each member becoming a hallmark in modern Indie Music as well as the band itself being the vocalized expression of the generation that followed after Generation X, they’ve created quite a prolific rap sheet. Now, they have a new album, Narrow Stairs, that they recorded in a new fashion for a new sound. The Quartet from Washington kick things off in this new gear with “Bixby Canyon Bridge.” What begins as a seemingly normal DCFC song, ends up becoming an all out Progressive Post-Rock musical assault. With guitars blazing and Gibbard merely humming along to provide an extra layer of sound, the song is a serious departure from the run-of-the-mill Death Cab sound. Following after that is the lead single, I Will Possess Your Heart. As most of you have already heard, the killer bassline and eerie ambient synth, not to forget the brief piano melody, to this track is what opens it up. Then, comes the enchanting light guitars, which is followed up by the hypnotizing drumtrack. For a moment, you’re not even sure if this is DCFC, anymore. It isn’t until around 4 mins and 42 seconds that Gibbard cuts through the music with his all too familar vocals. Even on “No Sunlight,” the band weaves in and out of familiar territory. The chorus and vocals are ordinary for the crew, but the music has a more . . . how would you say, “grimey” and unpolished feel to it. Sounding more like a veteran band that played together for years upon year, and, then, finally getting the chance to go and record an album. There’s professionalism with the way this is forged, but that’s something they’ve always had. With Narrow, though, they bring out a new hunger. Even when they stray back inside of their more comfortable area, they still sound refreshing, as the songs were recorded with the band together, and not individually recorded pieces put together. For “You Can Do Better Than Me” the crew pushes their music to a more pop sound from the late 60’s/early 70’s. The lyrics, skillful as always, fully pushes out how it feels to truly be in love with someone. To feel like they are grand leaps of levels above you, and you’re not only lucky, but confused at how you’re actually with this person. “Pity And Fear” houses a middle-eastern influence. Which, to say the least, is pretty surprising from the act. “The Ice Is Getting Thinner” would have to be the most easily recognizable amongst the tracks as something you’d expect from this band. With the soft keyboard and guitar/bass going along with it, you’re allowed to feel “at home” again with the band. Though, that might be a good/bad thing, depending on how you take in the rest of the album. Clearly, “Grapevine Fires” is a stand-out track. Having drums calls out to the little soldier inside of every person and a good combination of Indie and Pop sensibilities, this song has to end up one of the singles from the band, and could actually end up being the biggest hit single from this crazy, yet insanely smart collection of songs.

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Puscifer’s Viagra Enhances Vagina

Yes, the title of this remix album, “V” Is For Viagra, is as outrageous as the title of the original was for those who are my “straight and narrow.” But, this album, nor the original, was created for those types of people. Maynard James Keenan of Tool & A Perfect Circle fame created his own little personal outlet through Puscifer. Offering up some insane music as well as some pretty groovy threads for you, your lover, and even your animal companion. This album features redone tracks by contributors to the original album, as well as other’s who weren’t included in Vagina’s creation. Since the eager release of “V” Is For Vagina, MJK has been sitting cool without the houndings of the demands from a major label. Yes, he self-released the album, as he has done again with this little remixed gem. Viagra opens up with one of the smoothest remixes I’ve heard in a long, long time. Half of the New Orleans-originated/Chicago-based Electronic act Telefon Tel Aviv, Josh Eustis, conjures up pure experimental bliss with his JLE Dub take on the song “Indigo Children.” With the lush layered ambience sitting underneath earth-splitting bass, the song just takes on new breath. The Dirty Robot Mix of “Country Boner” by Mat Mitchell & Contradicktator(aka Troy Van Leeuwen of Queens Of The Stone Age, A Perfect Circle, Failure & Enemy fame) is a serious stand-out track. Sounding absolutely NOTHING like the original song, the duo of remixers teamed up to make a very dance-heavy Synth-Pop/Industrial track from the spoof country song. Using the line “It won’t go down on me” as the chorus, it leaves it open to add in extra thoughts of “going down” . . . if you know what I mean. MJK and Lustmord must have created a very strong relationship as Lustmord remixes 2 of the songs, as well as has a speaking role on the album on PSR, LOL!. Lust’s Desert Porn Mix of “Trekka” closer resembles his normal sound than his Guns For Hire Mix of “DoZo.” “Drunk With Power”’s Hungover & Hostile In Hannover Mix by Joey Jordison(aka Member #1 of Slipknot, Murderdolls & KoRn fame) is a more disturbing take on a song about a Pimp named Pooh Bear missing his girl named Hunny. Featuring samples of feet marching, and sounds that bring to mind a sort of dim-lit torture chamber, the song just grabs at your more obsessively dark regions of mourning for a lost love. The Deflowering Mix of “Vagina Mine” by Paul Barker(of Ministry fame) sounds more like a song from Barker’s former band than it does something of traditional MJK flare. Even equipping the song with sound-bites and a steady tribal-trance drumtrack, you’re waiting for Uncle Al to hop on the song and make it a duet. Danny Lohner(of Nine Inch Nails, A Perfect Circle & Black Light Burns fame) cooks up a Late For Dinner mix of the satirical track “Sour Grapes.” Housing piano riff similar to the band where he mainly got his industry start(NIN), Lohner opts to sing on the latter half of the track, as well. Belting out “You know it’s going to be sour grapes for you boy, until you get right with Jesus,” Having Maynard’s original vocals providing backup in the background. This is one of the most stand-out remix albums that I’ve ever come across. Done very well to the point of the some of the songs sounding like they hold little-to-no connection to their Vagina companions . . . aside from the lyrics, of course. Fans of MJK’s main and secondary bands might have tiffed over Puscifer’s first full-length, but after listening to it multiple times, they’ve come over to let the mad genius have his fun. With this album, he lets others have their fun with it, and hopefully it won’t take fans as long to warm-up to this masterful remix collection.

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Santo Strikes Gold

The UK Pop sensation M.I.A. has her work cut out for her, now. That is because Philadelphia-born New York-based artist Santi White, publicly known as Santogold, has shown how to really do what the Brit was aiming for with her self-titled release. Sounding less goofy pop and more like Robert Smith’s more chipper feminine side, Santo let’s it be known that folks in the States not only know how to have a good time, but make good music to use it as the score for such moments. Santo opens up the album to the sounds of “L.E.S. Artistes,” a wonderful dream pop-ish diddy that embodies the spirit of times that the characters from the film Less Than Zero must have been having. The single “You’ll Find A Way” completes the ensemble of loud colors and small jeans that has, once again, found itself stalking today’s youth. A pure dance track that would have even the most stone faced hardbody at least swaying to the rhythm Ms. Gold provides. On the track “Creator,” Santogold animal calls her way into your ears. With a Caribbean-inspired flow, she rides the bass-heavy electronic onslaught of a beat with more easy than slicing Thanksgiving turkey with an electric knife. The tune “Lights Out” is her most 80’s-revival sounding track on the entire album. With qualities of both The Cure and The Bangles, young listeners are treated to harmonies and melodies that most are too young to remember. The good part about that is it opens the gate for this young generation to go back to a more fun-filled meaningful time in music’s history. “Starstruck” kicks in with some of the most laid-back electronic orchestrations (think R2D2 after he spent a weekend at Cheech & Chong’s) and marching line stomping drum track set up. Without a doubt, this track is the slow grind that every party needs, and it delivers with such tenacity that it should require parental supervision at any Under-18 gathering where this song is played. By the time you get to “Anne,” it’s clear that she has a total and complete grasp on Pop Sensibility like how it should be understood. The last track is a Switch & Sinden remix of “You’ll Find A Way” that blows out of the water anything that Timbaland has been pushing out in the last few years. Santogold is nothing but Pure Gold, all the way through. And is not only a must have, but a NEED to have album for anyone who loves having fun without all the unnecessary dreary parts of life.

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The Trucks Drive On The Left Lane Only

The Trucks are a band from Bellingham, Washington in the USA. After that, there is nothing normal about this all girl act. Drenching their music in the Synth-Pop formula and filling in the void with lewd and humorous lyrics, these girls are like the goofy female version of Animal Collective. Experimental is exactly what they are, in the strangest sense of the word. On the track “Titties,” they uncaringly ridicule the man who is trying desperately to score a homer run on these ladies. With a chorus housing the lines “What makes you think we can F*ck just be cause you put your tongue/In my mouth/And you twist-ed/My titties baby,” it’s not hard to tell that you’re in for the ride of your life(or maybe just a really long one for the night). The song “Zombie” has to be one of the best tracks on this album. The drums and bass take the center stage over all the other instruments. That could be due to the fact they use soft synths and mellow guitar riffs to go with the dynamic instrumental duo. “Messages” starts off with what sounds like a phone call being made and a soft guitar riff, followed by vocals that coast over the guitar’s melody. In a humorous way, the girls manage to come across as being very charmingly lovestruck. Then, they flip it for the second rendition of the chorus, being upset that the man muse of theirs just wasn’t expressing himself at the right times. The song is filled up with what sounds like voicemail samples galore. Hopefully, they aren’t real, because if they are, the men who left them will really feel bad if they hear this song. The band gets extremely goof on songs like “Man Voice,” “Old Bikes,” “Big Afros,” and even the album’s introduction . . . titled “Introduction.” For the song “3AM,” the girls bring the American companion to virtually any song by the Brazilian band Cansei de Ser Sexy (known by the abbreviation CSS). Having the same funky type of synthed bassline, with lyrics as equally tongue-in-cheek. It’s hard to properly pin down these ladies, as they just refuse to play by the rules in any type of situation. This is not music for people who take themselves too seriously. This is music for those who just don’t give a damn. This is music for girls from 7 Eleven, because they stay up all night. So, if you’re a stick in the mud, I beg you to stay away from the band. They’ll either piss you off, or have you not walking around like that same stick that’s in the mud is stuck up your arse.

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