Warpaint’s The Fool was a great slow burner of a record, one that grew on you with each successive listen such that it continues to sound great years on. Now, four years later, the ladies of Warpaint return with their long-awaited second record. As is their way, Warpaint unfolds at an unhurried pace, relishing in subtleties with songs whose meanings or melodies you might be able to place right away, but whose impressions lasts much longer than instant gratification-style pop songs. They’re sort of the spiritual successor to the band Slowdive, the shoegaze greats who encountered as much acclaim as derision during their time, due to their milky, washy music, but who have since been ensconced as one of the most beloved bands of the ’90s The effect of Warpaint’s music is similar, washing over you in spurts and leaving streaks. With a band like this, it’s generally tough to name singles or easy entry points, but Warpaint has some moments that stick out, namely “Biggy,” a great, trip hoppy pop song along the lines of Radiohead’s Kid A/Amnesiac period, while “Disco // Very” sees Emily Kokal’s vocals getting distorted and nasty over, yes, a disco beat, recalling some of the disco-rock of the ’00’s, only with a dirtier, dubbier tone. In these songs, Warpaint sees the band stretching their wings a bit, while fans of the first album will find much to love in the album’s dark, atmospheric corners. It’s altogether a fantastic, well-considered second album that proves the rewards of patience.
Cancer hasn’t gotten Sharon Jones down. The lead singer of the slammin’ Dap-Kings has never sounded livelier or feistier than on Give the People What They Want—she’s still the hardest-working woman in show biz’, a spiritual successor to James Brown and Tina Turner. “Stranger to My Happiness” is a classic Dap-Kings groover along the lines of “Tell Me,” an ecstatic ode to moving on from whatever’s holding you back. Some of the band’s best songs have often focused on forward momentum and feminist sentiment, and that’s reflected in songs like the sassy, Led Zeppelin-esque kiss-off “You’ll Be Lonely.” But there’s almost unbridled optimism here, too, on the touching soul ballad “We Get Along,” an ode to enduring love and contender for the soundtrack to renewing your vows, if ever there was a song for that. “Making Up and Breaking Up” is classic Motown on the nose, and it’s great—you won’t be able to get it out of your head. Give the People What They Want truly lives up to its name. It’s just one jammer after another, and proof that adversity makes us stronger. Come get your copy of the album signed by Sharon Jones at Amoeba Hollywood Wednesday, January 15 at 6 p.m.!
Amid all the reunions of ’90s bands, Pavement’s was an anomaly—no new material, just some shows, a best-of release and then kaput, all within the year 2010. That’s perhaps a good thing, since it gives people a chance to focus on frontman Stephen Malkamus’ work both solo and with the Jicks, which has been largely excellent—and underrated. Wig Out at Jagbags finds Malkamus and co. loose and having fun, but still writing solid songs that stick. After a couple of jammy numbers, the album picks up with the poppy “Lariat,” which funnily seems to call out Malkmus’ own fan base (“we grew up listening to music from the best decade ever!” he sings at the conclusion). Alt-rock revivalism gives way to a piano-led rock ballad on “Houston Hades.” “Rumble at the Rainbo” finds the band poking fun at its own elder status within the underground community—“come and join us in this punk rock tune/come slam dancing with some ancient dudes,” Malkamus sings. The more improvy numbers might lose some people, even if relistening to Pavement finds as much emphasis on exploration as melody, but they always come back with a catchy tune—“Chartjunk” features horns and Malkamus playing a not-jokey guitar solo, and seeming to enjoying every minute of it; “Independence Street” is a Velvets-esque, dry ballad; and “Surreal Teenagers” closes the album on an energetic high. With an album as fun to listen to as Wig Out at Jagbags, we’ll let Malkamus close the book on Pavement and move into a new era.
The year is just about up, but new music is headed our way. You can already preorder some albums due in 2014 on Amoeba.com. Here are 10 to check out. [WARNING: NSFW pic of Sky Ferreira's infamous nip-slip album cover below].
Due Jan. 7
Preorder on CD
Due Jan. 7
The singer for hip smooth jazz purveyors Rhye, Milosh, has an otherworldly, feminine voice that has helped make that band a favorite of many a music fan. On his solo album Jet Lag, Milosh employs many of the same dynamics Rhye does on their debut, Woman, only with a somehow even more intimate sound, using laptoppy sounds and his own swirling, looped voice to create small, sexy atmospheres. The effect is to pair down Rhye’s already intimate sound even further, akin to how Thom Yorke used The Eraser to approach a more electronic, solitary sound than with Radiohead. Jet Lag’s electronic textures are appealing, yet it’s always Milosh’s voice that keeps us hooked, and he uses it to great effect on “Slow Down,” one of his strongest compositions yet, using little more than his voice and piano to sell a pretty broad sentiment—“can we all just slow down?” he sings in his breathiest tone. With that voice, you’ll do just about anything he says.