jorgehernandez
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On a cool night in late fall 2010, The Radio Dept. finally play the Bowery Ballroom in New York. “Finally” because securing their visas required pages of press clips to persuade our government that the Swedish indie pop trio are artists in such demand that refusing their entry would incite riots in America’s more fashionable neighborhoods. Latte would be spilled. International relations, strained. Fortunately, there is no shortage of rave reviews placing The Radio Dept. at the top of enough lists to bury all those other salacious rumors about missed interviews, fiscal mismanagement, drug demands and incendiary politically-laced lyrics. …MORE
Bjorn Torske
Kokning
Released by Smalltown Supersound
This is going to sound like a slight, but it isn't. Bjorn Torke's latest album Kokning sounds pretty much like what you'd expect out of the long-percolating "Scandinavian" pop scene.
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For most of the ’90s and the early 21st century, Stereolab made a stellar career out of sounding like bookish Europeans let loose on permanent South American holiday. After almost 20 years, the band called it quits in 2009. Laetitia Sadier, lead vocalist and co-founder with now ex-partner Tim Gane, released her first solo record, The Trip, on September 21, a few weeks ahead of the November 15 release for ‘Not Music,’ the “second half” of Stereolab’s swan song, 2008’s ‘Chemical Chords.’
We spoke with Sadier after her European solo tour wrapped up. She was at home in London with her boyfriend. Her son was playing video games. She had just come from her shiatsu class.
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If you don’t remember seeing Coati Mundi in the Mark Wahlberg, Joaquin Phoenix disco noir flick “We Own the Night,” it’s understandable. As Mundi himself admits, despite three decades in the business, the perennial sidekick is not a marquee name. Also, appearing in a film with a finger-lickin’ Eva Mendes sex scene can have a distracting effect on most people. But there he is on screen, on a stage in his trademark Zoot suit and super fly hat, commanding the club crowd with Big Band finesse. …MORE
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As old ballrooms go, New York’s Roseland could be described as a faded beauty on steroids. The same could not be said about Underworld who had their way with her stage Wednesday night. While Underworld may be well-seasoned by three decades in the limelight they were more radiant than ever. The combination of über-flâneur Karl Hyde’s Whitmanesque lyricism and Rick Smith’s virtuoso beat-mastering makes it pretty much impossible to walk in to an Underworld set without a big dopey grin seizing your face for a good couple of hours. Throw in the cumulative effect of nostalgia and you could be easily confused for the Joker walking down Broadway after the show. …MORE
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