Word: synthes
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...Drill” is one of many standouts, setting epic pizzicato strings against a swirling synth, while “Finger Paint” balances distorted guitar with warm female vocals. Thankfully, Amp rescues “Sorry” (an apology to Zion’s ex-girlfriends) from the realm of tired cliches, laying an ethereal flute and keys over violins and a crunchy boom-bip. MC Zion particularly shines on “Dune,” a haunting proclamation of socio-political apocalypse. The song’s chorus finds some hope among all the despair...
SUICIDE. Legendary synth-pop pioneers headline a show also featuring experimental bands Calla and The Cignal. A must-see for discerning indie kids and longtime music fans alike. Friday, Feb. 7 at 8 p.m. Tickets $15. The Middle East, 472-480 Massachusetts Ave., (617) 864-EAST...
...There’s A Little Phrase Called Too Much Information” speaks to the band’s keen sense of texture and musical climax. The skillful interplay between Pope’s guitar, Molly Schinct’s electronically tweaked cello and Vandervolgen’s synth work is breathtaking. “The L Train Is A Swell Train And I Don’t Want To Hear You Indies Complain,” the twelve-minute genre-jumping epic that has garnered the most hype, exploits Schinct’s cello to pleasant effect...
...thing, but Tatu's pop actually delivers. Their million-selling album, 200 km/h in the Wrong Lane, was re-recorded in English and produced by Trevor Horn, who's been there before, with Frankie Goes to Hollywood. The album - lyrics of young forbidden love set to a mix of synth-heavy Europop and rock - is catchy and unusual enough to carry them through, for at least a merchandising cycle or two. The girls also attempt a cover of The Smiths' angst anthem How Soon Is Now? Not quite Britney's style. And with extra distortion and an angry Minnie Mouse...
...built with the same focus on demographics and inoffensiveness as a political campaign. Twain will not record edgy, experimental or controversial songs. She will do universal ballads like You're Still the One and exuberant up-tempo tunes like Man! I Feel Like a Woman! that start with synth fanfares and cowbells and end--usually 3 1/2 minutes later--with a giddy repetition of oooh-yeah!s and uh-huh!s over a cavatina of power chords, leaving listeners with the wonderfully woozy feeling of having just eaten a bale of cotton candy while watching a Jerry Bruckheimer movie during...