If you've been waiting for some real men to arrive to chase the Backstreet Boys and the 'NSync boys and the 98 Degrees boys away, your wait may be over. A whole new crop of male singer/songwriters, many dark-haired and unshaven, has arrived, ready to flex their musical muscles.
When I was in Austin for the SXSW ( South By Southwest ) Music Conference and Festival, I kept hearing Bob Schneider's name being mentioned.
After all, he lived in Austin, where the conference was being held, and the folks there are proud of their musicians. Lonelyland ( Universal ) is Bob Schneider's major-label solo debut disc, and it opens with melancholy pop tune "Metal & Steel," which features David Boyle on "vintage keyboards." The next few songs ( "Moon Song," "Big Blue Sea," "Jingy," "Blue Skies For Everyone," "Under My Skin," and "2002" ) have more of a rootsy "Austin" feel to them-;the interplay between Schneider's gruff, but sweet vocals and the acoustic, electric and Spanish-sounding guitars. The album's big surprise is "Round & Round" on which opera singer Helga Bullock, the mother of Austin resident ( and Schneider's girlfriend ) Sandra Bullock, performs an aria that lends the drum-loopy song an otherworldly quality.
The propulsive New Order-esque "Life On A Chain," from musicforthemorningafter ( Columbia ) , Pete Yorn's major-label debut disc, snagged my attention. Multi-instrumentalist Yorn worked closely with his producers ( and in many cases musical collaborators ) R. Walt Vincent and Brad Wood and the disc has a polished pop groove that isn't too slick or shiny. New Order precursors Joy Division are also given the nod on the song "Black."
Like Schneider, Yorn garnishes his songs with technological touches that root them in the present day, while giving them a timeless feel. Standout tracks include "For Nancy ( 'Cos it already is ) ," "Murray," "Closet," "On Your Side," and "Sleep Better."
Perhaps the most successful blending of the acoustic and the techonological in recent memory, Badly Drawn Boy's The Hour of Bewilderbeast ( XL-Recordings/ Beggars Banquet/ Twisted Nerve ) continues to bewitch listeners six months after its release. Echoes of the past ( Nick Drake on "Stone On The Water" ) and the present ( Elliott Smith on "The Shining" ) converge, indicating that this extraordinary disc has genuine staying power. Effortlessly conjuring vintage rock ( "Another Pearl" ) and vintage disco ( "Disillusion" ) alongside elements of pop and folk, Badly Drawn Boy ( a/k/a Damon Gough ) has already won over the stateside press. Currently on tour in the states, he has an opportunity to make an impact on American ears at a time when they are ready to be drawn in by something unique and special.
Northern California-based musician Jim Greer also blends technology and tradition on his album The Big Thieves Jail The Little Thieves ( Fortune ) . On tracks such as "This Is What I Mean," "In The Nightfall," and the dreamy instrumentals "Tim Carter vs. Grizzly" and "Autumn Moon," Greer concocts a powerful potion of electronic and acoustic orchestration. Why don't more people know about this guy? If you want to find out more about Jim Greer go to www.fortunerecords.com .
It's almost difficult to express the glee I felt when I heard "Beep Beep Love," the opening track on The Incredible Moses Leroy's Electric Pocket Radio ( Artemis/ Ultimatum ) , a wonderful disc that could qualify Moses Leroy as this year's Badly Drawn Boy. "Beep Beep Love" is a cover of a song by the band Gruppo Sportivo, and I always wondered when someone would get around to covering one of the goofy and giddy songs. On "Fuzzy," Leroy sings about "painting the town red like Carrie" with his Nazi-prom queen, all to a retro girl-group "La La" beat. The appropriately titled pop/rock anthem "Anthem" is just that, while "It's Better," "Christmas in the Summer" and "Treble" flatter Elliott Smith. Limited space prevents me from mentioning each and every song ( even though I want to ) , but let me just say that Leroy incorporates elements of drum'n bass ( "Our Onemillionth Customer!" ) , new wave dance ( the New Order-esque "1983" ) , and retro synth ( the title track ) , among other styles.
