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The Riff Report: New music this week

By Sarah Zupko, PopMatters.com –

Sleigh Bells — “Reign of Terror”: Considering Sleigh Bells’ stratospheric ascent, the obvious question to ask about “Reign of Terror” is whether they can continue to top themselves in pushing their brash, trashy artistry forward. “Treats” was such an over-the-top experience that it seems impossible for Sleigh Bells’ aesthetic to become any more intense and bold than it was the first time around. With “Reign of Terror,” Sleigh Bells seem to have come up with the best answer as to how to proceed, which is to not try to one-up “Treats” either in audaciousness or sheer volume. — Arnold Pan

Grimes — “Visions”: Grimes’ “Visions” is an absolute blast. Easy to admire, easy to love. But Awopbopaloobop Alopbamboom if it isn’t tough to describe. Coaxing these 13 lucky strikes into a literary sandwich is like trying to photograph a sleeping ghost, stroke the northern lights or bag a will o’ the wisp with a fishing net. It’s “somewhat” tricky. It’s electronic and yes, tres “Dream pop,” but double-dipped with flavors of world and classical music. It’s melodic enough to whistle in the shower yet way too freaky for Village fetes. It’s experimental and free to roam, yet all the pieces click. It’s formulaic, but only in that there’s no formula. Yes, “Visions” is its own willful contrary. — Matt James

Sinead O’Connor — “How About I Be Me (And You Be You)?”: Scathing protests, familial longings, and one very improbable character study — all unmistakably Sinead. What’s happening is that O’Connor the lyricist is getting better and better at apparent artlessness. Much like John Lennon on “Double Fantasy” or Lou Reed on “New Sensations,” O’Connor writes songs that seem like simple conduits for her personality. Her lyrics don’t put on airs and they invite derision. Fortunately for Sinead the songwriter, she’s working with Sinead the vocalist, who possesses a divine gift: on any given note, she can choose from four or five different voices. She moves from whispers to bleats and back again, sometimes within the same syllable. — Josh Langhoff

Lambchop — “Mr. M”: Sometimes Kurt Wagner is singing truly profound things, sometimes he seems to be reading instructions off of packaging, and often it’s hard to tell the difference. Lambchop’s music is an acquired taste, by which I don’t mean that it’s too complex for the masses, but that it walks slightly out of step with most music, carrying enough ‘amateur’ and digressive qualities to drive away those used to quicker, easier pleasures. “Mr. M” is in-your- head music. You mostly feel like you’re inside the head of the singer or his characters. There are expressions of resignation and disappointment, platitudes that tend towards a complicated view of the world, and descriptions of the mundane that feed the notion that Kurt Wagner is writing poetry of everyday life. — Dave Heaton

Other notable releases this week:

Archers of Loaf — “Vee Vee”

The Chieftains — “Voice of Ages”

Cursive — “I Am Gemini”

Field Music — “Plumb”

Fun — “Some Nights”

Galactic — “Carnivale Electricos”

Damien Jurado — “Maraqopa”

Angelique Kidjo — “Spirit Rising”

The Menzingers — “On the Impossible Past”

Max Raabe — “One Cannot Kiss Alone”

Josh Ritter — “Bringing in the Darlings”

Terry Malts — “Killing Time”

Tindersticks — “The Something Rain”

Jim White — “Where It Hits You”

Dustin Wong — “Dreams Say, View, Create, Shadow Leads”

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TUNES ON THE TUBE … MUSIC ON TV THIS WEEK

“Jimmy Kimmel Live” (ABC): Tower of Power (W), Die Antwoord (Th), Coldplay (Su).

“Late Show with David Letterman” (CBS): Eric Hutchinson (T), Heartless Bastards (W), K’naan & Nelly Furtado (Th), We Are Augustines (F).

“The Tonight Show with Jay Leno” (NBC): Rumer (T), Jessie Baylin (W), Redlight King (Th), Chiddy Bang (F).

“Late Night with Jimmy Fallon” (NBC): “Porgy and Bess” on Broadway (T), Ghost (W), “Anything Goes” on Broadway (Th), “Sister Act” on Broadway (F).

“Last Call With Carson Daly” (NBC): Fool’s Gold (T), Bombay Bicycle Club (W), Young the Giant (Th), The Joy Formidable (F).

“Austin City Limits” (PBS): Robert Earl Keen / Hayes Carll (Sa).

“Conan” (TBS): Fun. (T), Dhani Harrison (Th).

———

ON SCREEN

Betty Black should be your new favorite diva.

Last year I described Betty Black as “a musical chameleon changing personas and genres with a natural ease.” At that time she was just about to release the “Slow Dance” EP, and now she’s set to release a new EP this April.

In anticipation of that new work, Black (a.k.a. Sylvia Gordon) brings us a video directed by Bijoux Altamirano for the new tune “Bad Weather.” “Bad Weather” is swathed in sexiness, sultry mid-temp beats and washes of swirling synth textures. In a perfect world, Black would be your new favorite diva, as she has all of the pop friendliness that the title implies, but grounded in a restless musicality that sees her constantly trying new things, never content to follow a formula.

After you’ve watched the video, head on over to Black’s Bandcamp page ((http://bettyblack.bandcamp.com) where you can check out six of her tunes.

—Sarah Zupko ((http://youtu.be/yGXNGzRU82I)

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NOW HEAR THIS

Shannon Stephens returns with third folk-inspired album.

Shannon Stephens began her musical career at a Christian art school called Hope College, where she was one-fourth of indie, folk-rockers Marzuki. It was there, while playing guitar and lending her vocals, that Stephens met bandmate Sufjan Stevens. After the dissolution of Marzuki, Stephens released her first solo album in 1999, before putting her pursuit of fame on pause, opting instead for a quiet life in Seattle with her husband.

After nine years out of the business, Stephens resurfaced with 2009’s “The Breadwinner,” produced by Sufjan Stevens’ label, Asthmatic Kitty. Now returning with her third album, backed again by Asthmatic Kitty, and produced by Grammy-winner Kory Kruckenberg, Stephens brings us “Pull It Together,” out May 22.

In this coming album fans will detect a new confidence in both Stephens’ lyrics and her vocals, the sign of an artist truly coming into her own. The buoyant single “What Love Looks Like” is clearly the product of a life-learned maturity.

The song is a portrait of modern-day love, set to an upbeat and melodious tune. Much like all the songs on this album, “What Love Looks Like” allow Stephens to share her opinions as a lover, an artist, a mother, and a citizen of the world, balancing cynicism, optimism, and ear-catching vocals along the way.

The vibe of “Pull It Together” contrasts with Stephens’ earlier work in that, though many early songs were filled with orchestral arrangements, here the influence of blues is very prevalent. Accompanied by a band comprised of veteran musicians who took the opportunity to create and experiment, Stephens herself said of the collaboration process “It was total magic. The players opened up new dimensions in the music and the songs became so much more powerful.” The result is an intimate, folk-inspired album that will both bring you to your feet to dance and leave you reflecting on what exactly love does look like.

— Comfort Clinton ((http://tinyurl.com/7avyhec)

———

DOWNLOAD

Baron Von Luxxury updates the ’80s with “Terry Richardson.”

Baron Von Luxxury, known to friends as Blake Robin, is a man of many talents. He wears the hats of producer, songwriter, blogger, DJ, vocalist and, having recently signed with Manimal Vinyl, the artist can now add another creative endeavor to his resume: a debut album, “The Last Seduction.” Renowned for his funky electro-disco remixes of songs by artists like Hilary Duff and Dirty Sanchez, Baron Von Luxxury also operates a popular music blog called Disco Workout.

Von Luxxury’s new dance-inducing single is “Terry Richardson.” The synths that open the song recall trippy ’70s ballads, and the lyrics throwback to ’80s hits, with the infectious chorus of “Take Me to the Top, Don’t Ever Stop”.

Though the vibe nostalgically recalls these bygone eras, the song still manages to feel very current, and practically demands that listeners make a trip to the dance floor. “The Last Seduction” is reminiscent of the work of Twin Shadow, Pet Shop Boys, Sparks, Empire of the Sun, and Electric Light Orchestra.

—Comfort Clinton ((http://tinyurl.com/7nusv32)

—Anthony Braxton delivers “Composition, Improvisation, Synthesis” for free download Anthony Braxton, prodigal son of the AACM movement and MacArthur grant recipient, has just released his very first recorded opera, “Trillium E,” in the form of a four-disc box set. He seems to understand the financial, as well as mental, undertaking customers require when encountering works like this, so he has decided to release a free career sampler. “Composition, Improvisation, Synthesis: Selections from the Tri-Centric Foundation Archives” runs the gamut of his numerous instrumental works (identified only by number) as well as an improvisational piece and excerpt from “Trillium E” itself. All it will cost you is a little bit of personal information, and all 79-plus minutes of this wonderful, wild music is yours.

—John Garratt ((http://tricentricfoundation.org/label/albums/65)

RACES deliver new remix of “Living Cruel & Rude” Wade Ryff was disillusioned with music, holed up in his parent’s house, writing tunes in the bathroom. This economy has been tough on 20somethings and Ryff’s malaise seems part of a larger cultural phenomenon. Indeed, he wound up teaming with a group of fellow 20somethings who felt much in the same boat—Breanna Wood, Garth Herberg, Lucas Ventura, Devon Lee and Oliver Hild—to form RACES.

Together they recorded the upcoming album “Year of the Witch,” which felt like a catharsis, bringing newfound optimism to the musicians. The name RACES is emblematic of the members’ overall mindset as well.

As Ryff explains, “I relate to the name in the sense that it seems like there is always something to be up against, and strong desire to overcome whatever it is.”

The band’s psych-influenced indie pop will be on full display when “Year of the Witch” releases on March 27th. In the meantime, check out this new remix for album track “Living Cruel & Rude.”

Fellow Californian DJ Vyxor brings a slick, electro sheen to the folk-poppy “Living Cruel & Rude,” bathing the tune in gentle blips and warm waves of synths, while managing to bring out more of the pure pop aesthetic of the song.

———

PopMatters is an international magazine of arts and culture. Find more PopMatters content at www.popmatters.com.

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