Von Iva "Girls On Film" (Von Iva Music) Sounds Like: Disco rock 'n' roll meets girl group soul
Von Iva hit the San Francisco music scene in 2004, dabbling in the developing local genre, a hybrid of funk, disco and electro-pop. More than just another girl band, the trio combines lead singer Jillian Iva's soulful vocals with the aggressive accompaniment of her bandmates, Rebecca Kupersmith (keyboards) and Kelly Harris (drums), to form a genre of their own. Since losing their bassist in 2007, the girls have been working to streamline their sound, keeping everything as simple as possible and focusing on only three components: melody, drum beats and synth.
Their third release, "Girls On Film," features crunching guitars, '80s-style synthesized keyboards and pulsing percussion, all of which come together to form a six-song dance party of an EP. The formula of simplicity works; the album kicks off with "Livin' for It," a lyrically repetitive but distinctly stylistic piece that begins with Iva's vocals supported only by Kupersmith's keyboards, which then build up with a pounding bass drum and driving high hat to create a catchy tune whose hook will stay in your head for days.
Despite the dance feel of the album, "Emerald Eyes" is the standout track. The final piece breaks from the rest of the fast-paced EP, as Iva takes time to focus on her powerful vocals, backed only by a slow bass line and simple drum beat to create an intense, soulful feel while still maintaining the edgy, gritty rock feel that makes the band so distinctive.
"Girls On Film" is a fun and catchy album, but Von Iva's music as a whole could use more diversity. The change of pace heard in "Emerald Eyes" provides hope that the girls will continue to experiment with their sound, developing and solidifying their style for their next LP.
-KATRINA CASINO
Ladyhawke "Ladyhawke" (Modular Recordings) Sounds Like: A lost '80s soundtrack better off lost
Pip Brown was greeted with a flurry of media attention even before her recent solo debut. A veteran of the international punk scene and now playing under the name Ladyhawke, Brown toured the typical venues in England and Australia (including a number of festivals), receiving positive reviews and has become a regular around the London music scene. Now she's released her eponymous debut, and it's a world away from the punk her fans once knew.
The album suffers on a whole from the same problem that each song seems to face on an individual level: while there may be a few catchy riffs or bridges scattered throughout, the majority of the album is easily forgettable. The song structure never changes enough to grab any kind of attention, despite the myriad of different producers crammed together on the album. Brown's lyrics range from inscrutable to meaningless, while the songs themselves are almost all driven by fuzzy synthesizers, which is only one of the aspects ripped straight from '80s pop music and set down awkwardly in place of new or original ideas.
There are a few bright spots. Her single "Paris is Burning" is a song with its heart in the right place, striving to be a dance jam even if it doesn't quite hook the listener at first listen. But the album has no moments of brilliance, and nothing to raise it above mediocrity. Brown's solo career might have some promise, but this tepid debut doesn't offer a very interesting outlook on the future.
-MICHAEL RICHARDSON
Wu-Tang Clan "Wu: The Story of the Wu-Tang Clan" (Sony Legacy) Sounds Like: East Coast NWA
Making a "best-of" Wu-Tang Clan compilation might seem like an easy task on paper, but trying to cram 16 years of Wu-Tang and its group members' success into 16 tracks quickly becomes a Herculean task.
This month, "Wu: The Story of The Wu-Tang Clan," a documentary directed by Gerald K. Barclay, chronicling the rise and success of the group, will be released on DVD Tuesday. Simultaneously, one of the greatest Wu-Tang Clan compilation albums will be released, featuring classic Wu-Tang hits and member tracks
From the depths of "Shaolin," Staten Island's slums, a group of accomplished lyrical MCs, RZA, GZA, Method Man, Raekwon, Ghostface Killah, Ol' Dirty Bastard, Inspectah Deck, U-God, Masta Killa and Cappadonna, came together in 1992 and changed the face of rap and hip-hop with their raw delivery, unique lyricism and collaboration. Wu-Tang's success continues to grow as the group continues to release material and many of its founding members have stepped out to launch successful solo campaigns.
"Wu: The Story of the Wu-Tang Clan" features early mainstay Wu-Tang Clan tracks such as "Wu-Tang Clan Ain't Nuthin' Ta F' Wit," "Protect Ya Neck" and "C.R.E.A.M.," but also includes later tracks such as "It's Yourz" and "Reunited," all produced by RZA.
To compliment these tracks, a sampling of Wu-Tang Clan members' solo works is included. Tracks such as Ol' Dirty Bastard's "Shimmy Shimmy Ya," Raekwon's "Incarcerated Scarfaces" and Ghostface Killah's "Winter Warz," show the many facets and individual styles that made the Wu-Tang Clan the revolutionary powerhouse it was and arguably still is.
As a whole, "Wu" fully encompasses the history of the Wu-Tang Clan and the evolution of RZA as a producer. The first few tracks on the album are darker, full of references to the realities of street life with a gritty delivery and a catalogue of kung-fu movie sampling. As you listen more, however, you can hear later tracks, such as "Reunited," and "Older Gods," take on a more refined tone with string instrument beats, but still retain that gritty, grimy Wu-Tang style.
The only way this album could be any better is by including more tracks. Wu-Tang Clan singles like "Uzi," or tracks like Ol' Dirty Bastard's "Brooklyn Zoo," would only improve this already expertly mastered and compiled album.
-MIKE LOCK
