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INDIE ROCK
Peter Bjorn and John, "Writer's Block" (Almost Gold)
Critic's rating:
The comma-deprived Swedish trio of guitarist-vocalist Peter Morén,
bassist-vocalist Bjorn Yttling and drummer-vocalist John Erikkson has been
building a following in the indie-rock world for its lilting folk-pop since
1999, but its third album is being greeted as a breakthrough for two
reasons: a more varied sonic palette and genre-hopping production that has
indie fans raving -- and which somewhat mitigates the band's tendency toward
tweeness -- and the boost that the combo got from the song "Young Folks"
becoming a minor hit after it was featured on "Grey's Anatomy" last fall.
On these 11 tracks, PB&J (as fans call them with a chuckle) do benefit
from beefing up their earlier gentility with bursts of shoegazer noise
guitar, vintage Kraftwerk synthesizers ("Amsterdam"), a little of that
ubiquitous New Order disco groove ("Up Against the Wall") and studio
flourishes such as steel drums, tubular bells and whistled refrains, all
while maintaining the fragile vocals that have been a trademark. But the
disc really succeeds because of the sophisticated songwriting, which
examines relationships from the viewpoints of, among others, a smitten lover
("Paris 2004," which finds the singer imagining that "While I'm sleeping
you paint a ring on my finger with your black marker pen") and someone
in search of a quick hook-up ("Young Folks" includes the line, "If I told
you things I did before / Told you how I used to be / Would you go home with
someone like me?").
HIP-HOP
Tim Fite, "Over the Counter Culture" (timfite.com)
Critic's rating:
Over the course of a singularly strange career, rubber-faced, Brooklyn
based conceptualist Tim Fite has been a novelty rapper -- he was half of
Little-T and One Track Mike, a duo that scored a goofy 2001 hit with "Shaniqua"
-- and a postmodern, post-Beck acoustic bluesman/protest singer who
reinvented and reintroduced himself with the memorable 2005 Anti-/Epitaph
album, "Gone Ain't Gone." On his new release, he unexpectedly combines both
approaches -- and that isn't even the most surprising thing.
As befits a concept album comprising a searing indictment of rampant
consumerism -- especially as it infects hip-hop -- and which hints that the
end result of this addiction to bling is a nation of zombies who've blindly
been led to war, Fite is practicing what he preaches by refusing to sell his
new music: The album is available only as a free download via his Web site
and several others, though his label is still supporting him by promoting
it, clearly hoping that this disc will continue to build his profile so that
they can sell the next one.
It would be easy to dismiss this as the latest shot in the digital
revolution and just another attention-grabbing gimmick, if the music didn't
put the lie to the notion that you can't get anything good for free. Over
the sort of wonderfully inventive, mood-laden grooves that marked the sort
of pre-hype hip-hop that first made Fite a fan -- De La Soul or the Beastie
Boys of "Paul's Boutique" -- the artist unleashes wickedly funny rhymes that
suggest what Eminem could be if he applied his sharp tongue to the direction
suggested by "Mosh," and if he had a fraction of the real anger flashed by
Chuck D.
This is to say that there are plenty of laughs in Fite's grooves --
witness the 50 Cent-mocking "I've Been Shot," which finds him confessing, "Every
now and then I ask somebody to graze me / Just shoot me a little bit, make
it look good / Not every rapper does it, but every rapper should" -- but
even more food for thought, as when he critiques camouflaged designer jeans
as "a fashion statement from a fascist nation," morphing from a customer
asking for a shopping bag to a horrified protestor watching the flow of body
bags.
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