Meet the newest incarnation of Leslie: unemployed Leslie. Prior to, oh, today, i had a Job. And prior to that i had school. But i graduated (thank congress), and with that lost my on campus job. While in the search of gainful employment (or, you know, ungainful employment. Whichever presents itself first), i’m filling the 8+ hours a day i normally spent working, going to class, and procrastinating homework via Plants Vs. Zombies, with music.

I reached a musical road block some weeks ago, but thankfully i have at least one friend with a high rate of musical overlap who recommended some music my way.

Currently i’m investigating Noisettes, a three piece Indie/Rock outfit from Great Britain.
They are another band to be retrieved from my musical blind spot. I mean, they make perfect sense, but somehow i had never heard of them before.

But now i have. Specifically i have been listening to What’s the Time Mr. Wolf?. There is a lot of rock in this album. The tag “Indie” always gives me an image of relaxed fit music. Melodies, harmonies, and a lot of sanded down edges. I just automatically think “I’m From Barcelona” for some reason.

That’s not so much the case here. Sharp edges are in abundance, and there are quite a few discordant parts that pop out at you. The electric guitar parts are especially pronounced, not something that generally appeals to me, but most of the time here i feel that it is well placed. Not overwhelming like 70’s power-metal. Really, the album feels like a Garage Rock album. Perhaps with some minor Post-Punk tendencies, and a few dashes of Indie sentiment.

Shingai Shoniwa, the lead vocalist, has an amazing voice. her range is quite sizable, and her ability to switch from shrieking to sultry to soft harmonies is perfect. I’m tempted to suggest that her voice makes the band, but that’s not entirely true. The music certainly keeps up, and is engaging and forceful in it’s own way, but is constructed such that it leaves a gap where her voice can come in and pull everything together.

Shingai herself plays bass. For the record, female bass players are awesome. Dan Smith crafts all the guitar rifts, and Jamie Morrison has control over the drums. Smith and Morrison provide perfect back up vocals to Shingai’s singing. For a three piece, their sound is very large. I want to say the music sounds “neat”, but it certainly doesn’t. It sounds, i imagine, exactly how they want it to sound.

The music itself is varied. The first song “Don’t Give Up“, gives very definite Rockabilly vibes, thanks to a deliberate and prominent bass line, her full throaty singing, and a subtle twang. She even throws in some little growls that really bring the Rockabilly touch home. The whole song is at a good tempo, perfect for throwing someone around the dance floor. I love it. I wish the rest of the album followed this style.

Unfortunately it doesn’t, but at the same time not everyone digs rockabilly as much as i do. From track two, the notion that this is an Garage Rock album really kick in. The bass is backed up to normal. The songs seem slightly unbalanced, but i always feel Garage Rock to be slightly off-balanced. It seems to be part of the charm. Most of the songs certainly don’t follow the normal verse to chorus ratio.

While guitar and vocal heavy garage rock may be the signature of this album, Noisettes throw some tracks onto the album to show they are capable of deliberate and delicate music. “The Count of Monte Christo” is probably the best example of this.

I don’t necessarily love the entire album. But regardless, the whole album is artfully crafted. Some of the songs just reach outside of my normal comfort zone for screaming guitars. There are quite a few songs on this album though that i really dig, and “Don’t Give Up”, is one of the few new songs i’ve become obsessed with in ages. I mean, even one dynamite song is more than most albums have going for them.

What to Take Away?

Noisettes is a solid Indie Rock band that takes much from the Garage Rock genre. Shingai’s voice is powerful and amazing, and a lot of thought seems to go into their music. Oh, and Shingai is a total fox.

What to Expect?

Garage Rock and nuts vocals that sometimes verge on blues or soul.

What to Pair it With?

Gin and Tonic with an extra wedge of lime.

Favorite Song?

“Don’t Give Up“. Its combination of bass and vocals is intoxicating.

Anyone who knows anything about me knows I’m just another Brody Dalle fan girl. I am about as close to being in love with Brody Dalle as I can without being completely creepy. This obsession used to be more pronounced, but recently it’s taken a back seat to other obsessions. Why? Because Brody Dalle forsook us!

With the demise of The Distillers (congress rest its soul), there was a Brody sized hole left in the fabric of the music-time continuum. After years of pointlessly and obsessively googling for updates on Brody I gave up.

My most excellent cousin, Taylor, mentioned the other day that Spinnerette, Brody’s new band, finally came out with something. My ears perked up. I started to excitedly wiggle a little bit. In typical Anderson fashion though, I promptly forgot all about it.

…Enter, today. Sitting at work, listening to my last.fm library, The Distillers came on. I hadn’t listened to them in ages. Suddenly I had a desire to listen to the entire Distillers catalog all night. Suddenly I missed Brody. Suddenly I remembered Spinnerette and their supposed release!

A little internet spelunking proved my cousin correct. Not only was there an EP, there was also a full length. Fifteen new Brody songs. I listened to what I could online, and one of the first things I did when I got home was order their self-titled full length. I also tried to order the Ghetto Love EP… But it was only a digital release. As much as I love instant gratification, I prefer hard copies. This may have something to do with the frequency with which my computers self destruct.

Despite only a digital release, I plunked down my $5 and had the music in minutes.

The first thing I did was watch the music video for Ghetto Love. It came with the digital release from their website. It’s lovely. It’s quite simple, but has Brody popping out from behind Brody for back-up vocals. Any song that fits multiple incarnations of Brody into it is okay by me.

The EP to me seems the next logical step after The Distillers’ Coral Fang. Brody’s singing style is roughly the same from that album: more smoky vocals, less yelling. The Music accompanying her is tamed down a little too. The angry anthems of Sing Sing Death House are long, long gone. Coming close to growing up with The Distillers, I like this. Sing Sing Death House was perfect for my pissed off little 15 year old self. This new stuff is perfect for that same pissed off little 15 year old 7 years down the line. The sharper points are sanded down, but with that transformation is also a suddenly danceable beat hidden within most of the songs of this EP.

Predominantly I would say this is a rock album. Easily teased out are elements of punk and grunge, one may even say ‘post-punk.’ Aside from these broad categories, a subtle layer of beats hides, unassuming until I found myself prancing around the living room in a way The Distillers never made me prance before. This danceable current easily falls within the broad basis of rock-punk-grunge, leaving it hiding in the shadows, present but not pointedly so.

For a four song EP i’m impressed. I cannot wait until my package comes in.

What to take away…

Spinnerette is undeniably a musical force steered by Brody. Her musical style has evolved into something bigger than her punk days of yore, but that’s not saying it’s a bad thing. it’s just a different thing. Any Brody-whore will like it. An enjoyment of rock and punk outside of the usual Hellcat Records paradigm will help with the appreciation.

What should you expect?

Well fashioned songs of what seems to me to be a unique fusion of musical styles formed into a new style that is hard to pigeonhole.

What drink to pair with it?

Bourbon, from the bottle.

Favorite Song?

Ghetto Love seems to be the best of her new style. Smokey vocals, a good beat, and well timed yelling make it a great opening song. Valium Knights is also wonderful, and it seems to me to be reminiscent of Brody’s older style, specifically the Coral Fang album.