Tuesday, September 11, 2012

New Music Reviews Sept. 10: The xx, ZZ Top, Billy Talent, Dave ...

Romy Madley Croft was sitting across from me, answering questions in a mild-mannered whisper. But while she allowed me to record her voice, she wouldn?t allow any photos or video ? leaving Gazette photographer Dario Ayala in a bit of a lurch.

Madley Croft is one of two vocalists for mesmerizingly moody British indie-pop band The xx, which was in town at the end of July for a sold-out performance at Metropolis in a ramp-up to the release of its second album, Coexist (released on Tuesday).

The following afternoon, she and co-singer-songwriter Oliver Sim were trading off interviews. I arrived expecting to talk to Madley Croft. Instead, I got Sim ? after which, with a little haggling, I got Madley Croft, too.

We took photos of Sim, but none of Madley Croft. It was an absurd footnote to a meeting with an idiosyncratic band that makes stylishly unconventional music. And it may be the one way in which these childhood friends and bracingly intimate ? but platonic ? creative partners differ.

Their answers echoed one another, despite the fact that I spoke to each separately. Both were polite, if evasive; their answers were borderline generic at times, never overly revealing, and yet between their soft-spoken platitudes were glimpses of the spark that makes The xx?s spooky soul so compelling.

The band is filled out by percussionist/producer Jamie xx, who ? since his band?s rise to fame ? has earned production and remix gigs with everyone from the late Gil Scott-Heron to Drake, Radiohead and Adele.

His spare beats provide the understatedly funky backdrop over which Madley Croft and Sim?s tag-team whispered vocals, floating bass and guitar lines drift. It makes for an otherworldly ambience, the aftershocks of which can be traced all the way to recent post-soul wunderkinds Frank Ocean and the Weeknd.

The xx?s 2009 debut, xx, won Britain?s coveted Mercury Prize and landed the group on year-end Top 10 lists the world over. Coexist doesn?t mess with the band?s winning formula, but it does impress. They?ve still got it, which entitles Madley Croft to cop her idiosyncratic, shy diva attitude for at least a little longer.

?This album was a different experience,? she said, with frustrating vagueness. ?We were all older, going at it from a different perspective, playing a lot of live shows, seeing more things, having more influences. It was very much the three of us, in quite an isolated way.

?Jamie engineered and produced it. We didn?t have any pressure from the record label or people trying to sway our direction. It was a journey on our own.?

Well, that clears things up quite nicely, thanks. The band?s party line is that this album is about the members coming back to London after three years on tour; making up for lost time; moving out of their parents? homes; and notching some real-life experience from which to write more forlorn tales of heartache.

?It?s still very personal,? Madley Croft said. ?There are similar themes, (such as) longing. They?re all love songs. I got into the idea of lyrics that can summarize complex feelings quite simply.

?I?ve always loved sad songs. Even when I?m happy and having a good time, I?ve always loved that sort of emotion in songs. I?ve started to listen to a lot of disco and house; it carries through, back to classic disco, with people singing, ?This person?s gone, I wish you were here, now I?m dancing about it.?

?It reflects things I?ve gone through as well. I do like writing lighter songs, though, and I?d like to write more. (Coexist opener and first single) Angels is very much a light song. It?s about being happy.?

Enjoy it while you can. Almost every other track on Coexist explores relationships through a prism of breathless desperation. But with the symbiotic interplay between Madley Croft and Sim?s vocal lines, it?s another entrancing affair, to be filed somewhere between maudlin, exquisite and groovily abstract.

?I?m inspired by Drake, Frank Ocean and these people,? Sim said, in response to a question about his band?s ties to modern R&B. ?We had the pleasure of meeting Drake. He said his last album was inspired by us. We said, ?No, our next album was inspired by your second album.?

?It?s hard to distinguish between something you just love listening to and an influence. I?m a fan of melodies ? vocal melodies inspire me a lot; slow jams. In my mind, that?s all I?m doing, is writing slow jams. But they?re probably not coming out like that.?

Coexist is released on Tuesday.

Rating: Four out of five

Podworthy: Sunset

T'Cha Dunlevy

tdunlevy@montrealgazette.com

Twitter:@tchadunlevy

MORE REVIEWS

ZZ Top

La Futura

It actually elicits a belly laugh: ZZ Top open their first album in nine years with a cover of a hip hop track. Yes, Gotsta Get Paid is actually an adaptation of 25 Lighters by DJ DMD with Lil? Keke and Fat Pat ? but that?s not what?s funny. The hilarious part is that it sounds much like any other track ? at least among the purest ones ? in their mud-specked copy of the Gospel of the Eternal Boogie. The Rick Rubin-helmed disc might reveal a smart production update here and there, but it?s otherwise the filthy, loud power-trio blues, rock and soul you need from these three crusaders, who, let us not forget, have been at it for 43 years. God bless ?em for it. La Futura will be available Sept. 11.

Rating: *** and 1/2

Podworthy: Consumption

Bernard Perusse

Billy Talent

Dead Silence

There are no surprises on Billy Talent?s fifth studio album. It?s still full of the same solid, catchy post-hardcore-lite, with sharp, crystalline guitars disrupted by bursts of chaos, like a Molotov cocktail made by Waterford. And the melody is still underpinned by the same vaguely disconcerting darkness of a song from a dying sparrow.

Which isn?t to say that the Toronto band hasn?t matured and grown. Songs like Cure for the Enemy and Viking Death March have a near-perfect blend of menace and melancholy. And while the latter part of the tracklist overburdens itself with more standard emo fare, as if someone transposed a pre-teen?s status updates into guitar tabs, the title track closes out the album with a rousing chorus and a sense of satisfied finality.

Rating: ***1/2 (three and a half stars)

Podworthy: Cure for the Enemy

Al Kratina

DAVE MATTHEWS BAND

Away from the World

I?m glad there?s a Dave Matthews. He?s the Good American, with the regional/musical/political bona fides and the moral citizenship. The AmeriWorld folk-funk-rock has always been a tougher sell.

For one man?s open-ended rubber-limbed experimentation is another?s meandering lassitude. Take Belly Belly Nice, the kind of rootsy folk-funk I?ve never been interested in. I mean, even the title?

Back with Steve Lillywhite, DMB hit all the DMB stylistic touchstones. Sweet certainly is, The Riff rocks out, If Only is collegiate soulman. But for all the passion, there never seems to be anything on the line in these anodyne, supple songs. Epic closer Drunken Soldier is inspiring for those who can get around the jam, but the noodling sax and violin have always sounded to me like E Street without the discipline or especially the mission. I like Dave Matthews. But I don?t need him.

Podworthy: The Riff

Mark Lepage

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Source: http://www.montrealgazette.com/entertainment/music/Music+Reviews+Sept+Billy+Talent+Dave+Matthews+Band/7218584/story.html

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