Charlotte Gainsbourg & Beck, “IRM” Review

By Rip Empson

You may know Charlotte Gainsbourg as the stunning and talented French actress from The Science of Sleep, 21 Grams, or Lars von Trier’s Palme-d’Or-winning Antichrist -- but what you may not know is that she also happens to be the daughter of legendary gallic singer/songwriter and troublemaker, Serge Gainsbourg. It seems music has always been in her blood, even though she’s spent most of her musical life in the shadow of her father – and their strange, provocative 1984 duet album that included a song called “Lemon Incest.”

Fast forward to 2006 and you’d find Gainsbourg beginning to establish her own musical sound, thanks to her Air-backed, heart-break record, 5:55, which went platinum in France. She parlayed her success into a collaboration with jack-of-all-sounds, Mr. Beck Hansen, who produced her latest effort, IRM.

Written, produced, arranged, and mostly played by Beck, IRM unsurprisingly sounds a lot like … a Beck album. WEIRD, right? With the sonic swashbuckler at the helm, musically IRM is a Frankensteinian mix of psych rock, nerd rap, graveyard blues, and eerie ballads. As a result, the album feels a lot like the doppelganger of Modern Guilt, Beck’s 2008 collaboration with the ubiquitous Danger Mouse.


Thematically, IRM, which is French for “MRI,” was inspired by a head injury Gainsbourg sustained while water skiing that led to two years of testing and multiple brain scans to prove that she was healthy. The incident and its aftermath left an indelible impression on her, inspiring the album’s mood, which seems permeated by electronic resonances, biological cadences, and heavy, existential lyrics.

Though Gainsbourg’s vocal abilities seem somewhat limited, she gets the most out of her voice, varying her approach with each song. And in spite of the overall eeriness of the album, her reverb-soaked cooing, purring, and double-tracked harmonizing adds a sex appeal and joyful defiance to the sinister landscape.

The heavy bass, minimal guitar and breathy vocals of the album allow its songs to anxiously explore the darker side of pop music, as the distortion-tinged guitar of “Trick Pony” sounds like something Danger Mouse and The Black Keys would have created, as Gainsbourg’s vocal harmonies float over it in psychedelic reverb – as is “Looking Glass Blues,” which is another opiate-filled song riffing on Alice in Wonderland, backed by inverted organ and spooky blues guitar.

All in all, IRM seems to have brought out the best of both Beck and Gainsbourg, especially if you are a fan of the creepier side of pop. There’s a lot going on sonically, and a lot of pondering going on thematically, which gives the album depth and makes it worthy of multiple listens. I’m not always a fan of dour, abstract pop music, but a sexy French grim reaper is better than the alternative, am I right? IRM may be wispy-edged and hallucinogenic, but it succeeds in celebrating the fragility and darkness of life -- and, in the end -- the bliss of survival.

It’s definitely an interesting album and well worth a listen.

11 out of a possible 13 caskets.

A&R: The Music Submissions

Part of what we do here at SFCritic, for the music submissions at least, is to compare new and/or obscure artists to those you are more likely to have listened to once or twice. This time around, the comparisons were called out so prominently in their submissions that we felt compelled to let you know right off the bat. So, without further adieu, here are this weeks entries.


"The South African Bowie"

Ashton Nyte - The Valley
This could also be considered our World Cup-themed A&R submission. Nyte, an indie rocker with enough morose tracks to make an early 80s Morrisey fan draw their curtains and cry, hails from Johannesburg. Something of a sensation, apparently, on his home turf, The Valley formally debuts on our shores on June 15. The title track "Jennifer" has lovely, if not complex, instrumentals, but the vocals sound pretty much exactly like "China Girl" and boy is it distracting! On other tracks, such as the echo-filled "Window" or the slightly undone and sexy "Sick of This", the album appears a bit more original and less like a carbon copy from post-punk's golden years. Unfortunately, the overwhelmingly darkness, as well as it's lack of variety in style and rhythm, makes it hard for any one track to jump out as a particular, and to imagine anyone but the most ardent fan, making it through the whole thing. Does he sound like Bowie? Yes. Does he exhibit any other Bowie-like characteristics? Nope. Not a one.

Listen to: Jennifer, Murder Me



Sounds Like: "An Afro-Funk O.A.R"

Frank Viele and The Manhattan Project - Neon Lights
Now, my personal feelings regarding O.A.R. aside, I was highly skeptical when this came into my inbox. While young white men with a little jazz or soul influence have done exceedingly well in the music industry (John Mayer? Dave Matthews? Jason Mraz, anyone?), one has to wonder if ANYONE backed by an extremely talented, diverse band, could be a hit? Personally, I'm going with no. And Frank Viele seems to support my theory. Afro-Funk this is not. However, his husky voice and both the musical strength of the band and their skilled arrangement makes the album come alive, and makes it worth listening to. The title track "Neon Lights" is a sort of sweeping, Western-influenced epic. It draws you in, stops just short of taking itself too seriously, and doesn't draw on too long. The sax-heavy "Right in Front of Me" starts out syrupy, but opens up into a pleasant little light jazz love song. The band is currently touring extensively on the East Coast supporting the Wailers, but anyone who is a fan of the artists mentioned above would do themselves a favor to make a point to seek out Viele and crew. It's a fresh and frankly higher-quality take on the phenomenon.

Listen To: Neon Lights, Bein' Lonely Together

A&R: The Music Submissions

The Black Rabbits - The Black Rabbits EP

The Black Rabbits are a high-energy rock outfit from Ashville, North Carolina. Their debut EP is full of the type of catchy, pop-rock music that is so universal, it sounds familiar even the first go-round. While that might sound like a slight, it sure isn't! Making that type of thing sound fresh and likable, which The Black Rabbits manage to do on each of their five tracks, is no simple feat. There are a few reasons it works, one of which is simplicity. In the same way that The Beatle's early music is characterized by short, flawlessly produced catchy rock and roll beats, so too is The Black Rabbits. Now, they don't sound like The Beatles, but that's the idea. Nothing too grandiose, no conceptual checks written that this 4 piece can't cash. Vocalist Jetson Black has an appealing sound, unique but not polarizing, which is best characterized on the EP's only slow jam, "Painter, Poet, Prophet, Priest". Otherwise, it's the least memorable of the lot. Luckily, there are four other peppy pop-rock tracks to love.

Sounds Like: A cheerier Eve 6 or Harvey Danger dragged through the early '60s
Listen To: For Way Too Long Now, Emotion



Grand Canyon - The Hits

One theme of the many music submissions to SFCritic (yep, there are many! And yes, there are some themes!) is "non-traditional" releases. It seems popular in this day and age to not only forgo the more traditional record label route, but to do away with tradition all together. Grand Canyon, out of Albuquerque, New Mexico, has done just that. Billing themselves as an "indie/alternative/punk/country/whatever band," they released their debut album "The Hits" (ironic?) on cassette tape (what ARE those, right?!). Well, they sold through all 50 of those right quick, but thankfully the album is also available for digital download, free, on their website. Now, creative marketing ways aside (or gimmick, for all the haters out there). On first listen, it's an interesting album! There are horns and harmonies. It has a solid Western feel, vaguely reminiscent of Johnny Cash. Songs like soaring, vaguely hobo-lament "Hole in My Shoe" beg to be heard in a smoky bar clutching a cold beer. However, there is nothing to be gained from the album's length. The sound is neither distinct, complex, nor broad enough to bother listening to more than a few tracks, enjoying them, and moving on.

Sounds Like: The Hold Steady's less lyrically-gifted cousin from the Southwest.
Listen To: From the Westside, Demons

The Black Keys' "Brothers" Album Review

By Rip Empson


From where I sit, The Black Keys long ago cemented their legacy as the Greatest Band to Come Out of Akron, Ohio Since Devo. Now, admittedly, the competition for this illustrious distinction isn’t exactly fierce, but following-up on the huge success of 2008’s Attack and Release, their hazy, psychedelic collaboration with Danger Mouse, on top of a critically acclaimed foray into hip hop last year with Blakrock, which attracted the likes of RZA, Mos Def, and Ludacris … ? Easier said than done.

This being the case, I was anxious to see (along with perhaps a few other Black Keys fans) if Brothers – which released May 18 – would be another step away from the gritty, blues-fried sound that made them my special band. Luckily, my concerns were unfounded. What’s so cool about Brothers is that, being the Keys’ sixth album, it demonstrates a maturity that should now come with being produced by The Best Thing From Akron Besides LeBron; the album manages to both pay tribute to the band’s Delta influences as well as build upon their experiments in other genres.

While a little errant pop does shine through, Brothers nevertheless confirms that The Black Keys will remain the torch-bearers of badass contemporary blues – always just a little weirder and muddier than their counterparts, The White Stripes. Fittingly, the album kicks off with the rolling, catchy “Everlasting Light,” which features guitarist Dan Auerbach singing in distortion-soaked falsetto, punctuated by doo-wop back-up singers and revolving glam guitar that would make Marc Bolan (of the great T Rex) proud as a weird, British peacock.

From there on out (with one or two exceptions), Brothers is permeated with the retro, swampy feel of 70’s-era Chess B-sides – or more accurately – the Muscle Shoal sound. To record their newest effort, Auerbach and drummer Patrick Carney headed down to an obscure town in northwestern Alabama to record at the Muscle Shoals Sound Studio, once an underground mecca for R & B and rock artists, seeing the likes of Aretha, The Stones, Wilson Pickett, and Paul Simon, pass through its doors.

If Brothers is any indication -- Muscle Shoal has some good voodoo. Sure, the album sounds slick in places, and Danger Mouse returns for collaboration on the cinematic pop anthem “Tighten Up” and, yes, there’s some whistling. But, the hazy and heavy Black Keys are back. “Black Mud” and “The Go Getter” will have you thinking you’re doing heroin with Robert Plant and Albert King.



So, for any of you Black Keys blues purists out there, don’t worry – the chewy bump of “Howlin’ For You” (along with the album cover’s homage to Howlin’ Wolf’s 1969 “The Howlin’ Wolf Album”) and “Ten Cent Pistol” will leave plenty of grit in your teeth – and assure you that there’s enough blues to go around.

With Brothers, it’s clear that Auerbach and Carney have been soaking up plenty of Curtis Mayfield and classic soul – and that they’re trying to teach old sounds new tricks. With great singing by Auerbach and the best drumming by Carney yet, I think it’s working. But, then again, I’m just a janitor.

11.5 out of a 13 possible carrots … or a “B+” if you wanna be a dick about it.

Japandroids with Avi Buffalo at The Independent

By Eve Marcellus
Photos by Patrick Kelly


Avi Buffalo, the Long Beach, California-based guitar pop band has been garnering a great deal of attention in the weeks leading to the release of their self-titled debut album. Despite the hoopla, they took the stage at the Independent to a fairly thin crowd. The band's youth is incredibly evident in both their appearance and stage presence. While it is a huge asset, creating the fresh arrangements and some of the cutest, quirkiest lyrics heard in ages, the first few songs of the set were noticeably stiff. "Summer Cum" was appropriately high energy and dreamy, but it wasn't until the almost eight minute long "Remember Last Time," that the boys let loose and showed their range and precocious skills. The songs transferred beautifully to the stage, and will no doubt get better and better as they continue to tour.


Japandroids rocked out. The set was loud, slick, and in-your-face. It was a little unbelievable to watch two handsome young men scream into microphones for an hour, while they banged seemingly impossible, but amazing noises out of a drum kit or made the grungiest electric guitar sound fantastic while flying around the stage (nonetheless, while in skinny white jeans). It was striking to watch, and even more incredible to listen to. Their devil-may-care anthems of youth, like "Wet Hair" and "The Boys are Leaving Town" are reminiscent of the dirty garage punk rock that teenage boys all over the world hope to master as an outlet for their angst. The Japandroids make it as much about youthful disillusionment as skillful musicianship, and it truly makes for a kick-ass show.


Avi Buffalo continues their tour with Modest Mouse this summer. That lineup will perhaps make more sense, at least to those who like their whole show to represent one feel. There was something else entirely connecting Avi Buffalo and Japandroids, and boy was it a smart combination. Both are the themes of youth: naivete and self-absorption, sex, the future, and identity. It is rare that bands are booked together based on something so esoteric, but it really should be happening all the time.

Nnenna Freelon and Friends Bring Joy to Yoshi’s, Moody’s B-Day Celebration

by Rip Empson





“We are very pleased to have a special guest in the audience tonight: former heavy weight champion of the world, Mr. Joe Frazier,” informal emcee Todd Coolman announced from behind his bass. As the audience scanned the room for a glimpse of Smokin’ Joe, the bassist didn’t miss a beat, quipping, “Oh, sorry lady, thought you were Joe...”

Coolman’s tongue-in-cheeker was characteristic of the light-hearted tone that prevailed at Yoshi’s last Saturday. The joke also happens to be a favorite of the great saxophonist James Moody, who’s 85^th birthday we had gathered to celebrate.

Though the guest of honor was ill and unable to attend his own party, the night did not disappoint, as a host of talented musicians played on in tribute, including Frank Wess on sax and flute, Jon Faddis on trumpet, Joey DeFrancesco on the organ, drummer Adam Nussbaum, bassist Todd Coolman, vocalist Nnenna Freelon, and pianist Mike Garson.



Who’s James Moody, you ask? Well, my friends, James Moody has become something of a jazz institution – a qualifier generally reserved it seems for those who’ve blown their horns (or tickled a piano) for more than sixty years and came up under jazz wizards like Dizzy Gillespie. As it happens, fresh out of Air Force service in World War II, a young James Moody joined Dizzy Gillespie’s orchestra in 1946 – an all-star band that boasted some p-p-p-retty talented jazz hands, like vibraphonist Milt Jackson, drummer Kenny Clarke, bassist Ray Brown, the inimitable crazy-man Thelonious Monk, and arguably the most famous jazz name of them all … Miles Davis … to name a few.

Moody’s subsequent rise to fame is a cool – and kind of unusual – story. In 1949, while in Sweden on a mini-tour, Moody recorded Jimmy McHugh’s “I’m in the Mood for Love,” in which he played a distinctive, dynamic bop solo that made the recording a big hit back in the U.S. of A. (Moody moved to Europe after a few years in Dizzy’s band.) A few years later, Eddie Jefferson wrote a melody from Moody’s improvisation, set lyrics to it, and called it “Moody’s Mood For Love.” A singer with one of the great (and presumptuous) stage names in music history, King Pleasure, then made the song famous, and in so doing, secured Moody’s status among the great horn players of the era. “Moody’s Mood For Love” has since become a jazz classic and has been recorded by Aretha Franklin, Van Morrison, Amy Winehouse, and many others.



Moody’s story is illustrative of an era when things like that could happen, when a musician could rise to fame based on an improvised solo … a jazz one no less. Weird, huh? Add 60 years of touring and recording and you start to see why Moody’s birthdays have become special events in the jazz world -- causes for celebration both among musicians and his many friends.

In a fitting tribute Saturday, Moody’s friends played a raucous and light-hearted version of “I’m in the Mood For Love” that included a hilarious vocal performance by Joey DeFrancesco. If you’re not familiar with DeFrancesco, he is a big fella and is renowned for his virtuosic Hammond skills (when he was 17, Miles asked the organist to join his band) and relentless touring and guest appearances … but he’s not exactly known for his dulcet voice. Imagine Newman (from Seinfeld) with a goatee belting out a ‘40s jazz tune. No doubt Moody would have been proud. Or at least laughing his ass off. Happy Birthday, James!

Another of the night’s highlights was the performance of uber talented jazz vocalist Nneenna Freelon, who has toured extensively with Moody in the past few years. She opened by telling the audience that she knew “Moody was here in spirit” because, after all, “he’s a brother who always enjoys a good party.” Then, along with pianist Mike Garson (who played on Bowie’s Ziggy Stardust tour in 1972 and Aladdin Sane) Nnenna launched into celebratory renditions of “Squeeze Me” (and old Fats Waller tune) and “Blue Skies” (an Irving Berlin classic).



I’m not usually a fan of jazz vocalists, but Nnenna’s version of “Blue Skies” made me feel all funny inside – and want to join a congregation. It also helps that, though she’s in her mid-fifties and has 5-Grammy nominations and years of touring under her belt, she looks incredibly sexy in a black dress. I still think that most jazz vocalists are cheese dealers, but the traces of gospel in her tone, mixed with shades of pop and blues made her sound like Ella Fitzgerald, Judy Garland, and Beyonce rolled into one. Or at least that’s what someone who sings well (and knows who Beyonce is) told me …

Another reason that Nnenna’s performance was so enjoyable was how well her voice was complimented by the saxophone of Frank Wess. Prior to the show, I wasn’t particularly familiar with Wess, who, I’ve since learned (like Moody), is a sax veteran, debuting in the “Big Band” era with Bill Eckstine and Count Basie. Today, the National Endowment of the Arts identifies the 88-year-old as a “Jazz Master.” Not quite a doctor, I suppose, but master will do. Wess’s playing, especially on the standard “Never Let Me Go,” was brilliant.

Following this particularly hott (yes, that’s with two “t’s”) rendition in which Wess (who walked to his place on the stage with a cane) played the classiest, most tasteful, it-takes-a-guy-who’s-been-around-awhile-to-know solos I’ve seen, trumpeter Jon Faddis acknowledged his consummate playing by declaring: “Well … now I don’t have to go to church tomorrow…” So apparently Wess is a master and a minister. If that’s not an endorsement, I don’t know what is.

All in all, it was one helluva birthday party; Mr. Moody was celebrated in style. It left me hoping that my 85th birthday – really, any year – features a musical cake with some badass saxophone and a sexy jazz diva.

Rating: 12 out of a possible 13 bassoons.

Christmas in April: Saturday is Record Store Day!

As many of you are aware--this Saturday--April 17--is Record Store Day. What does this mean? Many great things! Labels big and small, like Seattle's prolific and always reliable Sub Pop, put out special edition vinyl to get us music nerds to spend our dollars at our local shops. Everyone wins! Also, it is a day full of some kind of incredible artist in-store appearances, gift bags, and a multitude of other special surprises. Here's SFCritic's handy guide to the highlights of Bay Area Record Store Day 2010. The weather report calls for sunshine, so walk or bike around and get some good stuff. Don't forget to bring your own bag (we keep it green).

Complete National details and listings here.

Ameoba San Francisco
Charlotte Gainsbourg (signing)
Jonsi of Sigur Ros (performance)

Aquarius Records
A great selection of rare releases.

Creative Music Emporium
Lots of contests and giveaways!

Forces of Habit Records

Medium Rare Music