OUT NOW: CSS "LA LIBERACION"

CSS (short for "Cansei de ser Sexy," translated to English as "got tired of being sexy") is a Brazilian dance rock band that burst on to the scene a few years ago with their delightfully kitschy, party band vibe and "English as a second language" lyrics.  It's clear that when they started, they most likely never imagined they would become the phenomenon they quickly became once they were discovered in the US and UK.

Because the naive, simplistic enthusiasm which permeated their debut album was so honest and pure, the odds already seemed stacked against them when it came to making another record.  Luckily, the followup album, "Donkey," seemed to be suffice in delivering a slightly more grown-up sound while still keeping their youthful wackiness intact.  So, what happens after a bunch of Brazilian hipsters have released two successful albums and toured the world several times over?  Obviously, they cannot still pretend to be the same people who sang "Meeting Paris Hilton" or "Music Is My Hot, Hot Sex" with such innocent exuberance.

The album "La Liberacion" produces mixed feelings for me.  I am glad to have new music from this band, and I definitely would look forward to seeing them perform some of these songs live.  And while the music still definitely sounds like CSS, I'm sure there will be a number of critics ready to complain about the album's flaws.  There's not really anything as catchy as early hits like "Let's Make Love and Listen to Death From Above" or "Alala," there are definitely some great moments.  The first single, "Hits Me Like a Rock," (reviewed here previously) is a highlight with it's melodic, new-wave/reggae sound; album opener "I Love You," while having the most obvious song title in the world, is still a pretty catchy jam.  Perhaps the most exciting track is "City Girl," which also happens to sound the most like it could have been on the first album, with it's hooky chorus and edgy beats.


The rest of the album seems to be a little all over the place, working in some Americana-style rock ("Echo of Love"), forgettable pop like "Partners In Crime" and the slightly overwrought angst/punk of "Rhythm to the Rebels."  Then there's the dreadful faux-hip-hop of "Red Alert," which is wisely stuck right near the end of the album, followed by the fun but throw-away "Fuck Everything."


But anyone expecting some sort of groundbreaking masterpiece at this stage in CSS's game is probably overthinking things anyway, and thankfully the band do not seem to be overthinking it.  For the most part, "La Liberacion" is a breezy, enjoyable affair that includes enough odd lyrics, hand-claps, and beats to get you up and moving. 


Rating: OOO (Three out of Five O's)

OPEN YOUR MOUTH: TRACEY BEEHIVE FROM VOICE OF THE BEEHIVE

Aural-O is pleased as punch to introduce the first in our new series "OPEN YOUR MOUTH" where we go right to the source and ask 5 questions about a given album, of the artist themselves!

For this inaugural post, we couldn't be more thrilled to have gotten Tracey from Voice of the Beehive to take time to give us her thoughts on the bands' second album, Honey Lingers, which was released in 1991 and revisted here on Aural-O recently.

Back cover shot from the "I Think I Love You" single
photograph by Pete Mountain, from www.voiceofthebeehive.com, 

the band's official website.

Aural-O: Who's idea was the cover shot of Honey Lingers, and what was it like doing the photo shoot for it?

Tracey Beehive: The cover shot of Honey Lingers came from my love of the "Think Pink" sequence from Funny Face. I showed it to the art directors and they got it. I personally think I look like a hideous version of a drag queen on the cover but it was all meant in fun. 

A-O: Did you agree with and have any input into the choice of singles released from Honey Lingers? If you could do it over again and have complete control, how would you have done it with regards to singles releases?

TB: I had no input in any of the single choices for the band which is why I have no faith in the industry of music anymore. Unless you are huge, the bands have no say. I would have first released "Adonis Blue" as a single. I was so reluctant to work with that team of producers because they were so pop oriented but it ended up being one of my favorite songs on the CD and then I would have released "Monsters and Angels" and maybe (with blind hope) released "Perfect Place" with the hope that someone would get it's message.

A-O: What song from the album resonates the most with you today, and why?

TB: There is no doubt that "Monsters and Angels" is my most personal song. Even though I didn't write the music. I heard Mike playing it upstairs in the home studio and went up and begged him to give that music to me. This sounds really corny but there are times when I feel lost and don't know or remember who I am and what I intended to contribute with my life and when I listen to that song I seem to find myself again. I have this strange feeling of "Oh, I remember you. You're still here." It's hard to explain but I seem return to that song when I am confused. 

A-O: Did Honey Lingers come together really easily after [your first album] Let It Bee, or were you feeling any fears of the dreaded sophomore album? 

TB: Honey Lingers was the most over labored project in the history of music. All the powers that be were trying to create hits instead of just letting us get on with it. The CD had like 5 producers!!!! Why not just pick one that has the same vision as the band and get on with it?
Having said that, it is my favorite Beehive CD.

A-O: When you look back at all the music Voice of the Beehive released, how do you feel about Honey Lingers, and how does it relate to the other albums, singles, and songs? 

TB: Like I said I really prefer Honey Lingers to Let It Bee but I think I am the only person alive that also preferred The Pretenders second CD to the first.
I just think it is a more thoughtful and reflective work. I mean, it had "Perfect Place" and "Little Gods" instead of "Barbarian" and "Oh Love." But, this is like saying, "This child was not as pretty as the other child I had."
I just think between "Monsters and Angels", "Adonis Blue" and "Perfect Place," it was a more grown up record.
Having said that, in my heart, nothing comes close to "I Say Nothing".......so what are you gonna do?

A-O: A huge, honey-covered thanks to Tracey for giving us insight into a truly memorable album!  "Bee" sure to check out the band's catalogue on iTunes!

OUT NOW: FATTY GETS A STYLIST

I've written about Kate Miller-Heidke on this blog recently after happening on her album "Curiouser" at my local record super store.  Now, she's fronting this Austrailian-based band with this self-titled debut album.  Working mainly with her husband/collaborator Keir Nuttall, the material isn't that far-removed from her solo output, but perhaps with a little more teeth and grit, although this is still polished, ear-candy pop. 
Taking influences from many 80's acts and current electro-pop (their website name checks Kraftwerk, B-52's and Goldfrapp), FGAS successfully meld their influences into their own unique and timely sound, which ends up sounding like a sort of hybrid of Tegan and Sara with the Ting Tings.
Some great new-wave keyboards bring flavor to songs like "The Plane Went Down" and the lovely "Holloway Park" which sounds like it could have been a missing Til Tuesday track, or another 80's new wave band. 
There is also a funky side to FGAS such as on the title track (yes, the triple threat - band, album and song all with the same name!) and rave-up "Devil's in the Details" which harkens back more to the 90's dance sound of Fatboy Slim (or did I just make the connection with their names?). 
One of the interesting things, noted by the band themselves even, is how different Kate's voice sounds here.  Unlike her solo material, with FGAS she uses the lower register of her voice and it truly is easy to forget it's even her! 
The fun, parade-like atmosphere of the opening track, "Are You Ready," has apparently landed as an advertising jingle for the New York lottery, so chances are this band will be getting a lot more recognition here in the states soon, as they deserve.  There seems to be a little buzz going on already, as recently one of my Facebook friends posted about them, and they are popping up on websites left and right. 

Rating: OOOO (Four out of Five O's)