The new album from Kat Robichaud and The Darling Misfits is out today, January 27th. An impressive, ambitious, and confident collection of dramatic rock and pop songs, the eponymous record was funded by fans earned by Robichaud throughout her time as front-woman of The Design and, most famously, during her thrilling run as a contender on The Voice.
There are no shortage of artists today aiming for the grand and theatrical, inspired by Lady Gaga, Dresden Dolls and the like – and surely these are influences on Kat Robichaud as well. But what makes this a special record, and Robichaud a special artist, is her natural edge. We would not hesitate to classify this as a rock and roll record, despite its polished pop production, purely for the non-stop intensity and the sheer force of the singer’s will. More Queen and Foxy Shazam than Gaga, really.
On top of this, the LP is beautifully bizarre. It is funny, clever, defiant, and plainly well-written. Sound collages recur throughout, sometimes to create or enhance a vibe, and occasionally just for a laugh. Yet this is no novelty. Veering between wrenching balladry and dynamic, piano-pounding epics, this is the sound of an artist going for broke, being completely true to herself and discovering her own essence, having tested her limits and finding only those that are self-imposed.
If you’re looking for it, it’s actually not too hard to find a new band you really dig. Most often, those artists are doing something that resonates with you because of your established tastes. It sounds familiar, it feels comfortable, and maybe there’s even an aspect of the music that’s unique. Much more rare, though, is to come across an act doing something completely different than what you might otherwise find in your music collection and still be affected by it. Such is the case with The Shills, a band that seems to blend so many varied influences as to produce music that cannot be so easily pigeonholed. Fresh off a second win in our Indie Pop channel, they are our latest Artist of the Week.
Move over, Coldplay. And tell U2 the news. Muse is gunning for the latter bands’ longtime job, the one for which the former might be considered naturally next in line: biggest rock band on the planet.
Bono, for one, may have seen this coming. When Muse opened for U2 on U.S. dates of the iconic Irish band’s 360° Tour in September and October of 2009, U2 frontman Bono touted the young English trio as one to watch ” and listen to ” the next biggest thing. Muse deserved the distinction: What other rock & roll band can claim responsibility for inspiring the Twilight saga?
And, finally, thank you to the talented musicians who inspire me, particularly the band Muse ” there are emotions, scenes, and plot threads in this novel that were born from Muse songs and would not exist without their genius.
” Twilight author Stephenie Meyer
But being the muse of a best-selling author and earning plum spots on the soundtracks to the blockbuster films based on her blockbuster book series do not ruling rock Gods make. Muse, though, is about to give it a shot with their upcoming sixth album, The 2nd Law (due October 2), which is receiving perhaps the biggest pre-release marketing push since Lady Gaga‘s Born This Way. (more…)
Today is kind of a slow news day. And so, today, you get¦ rock stars in drag: the superlatives.
Most natural: Bowie
Most disturbing: Queen
Most frequent: Mick Jagger and The Rolling Stones
Best homage: Blur (as Blondie)
Most dudes: Frank Zappa and the Mothers of Invention
Best pout: Ozzy Osbourne
Most confusing to high school jocks in 1994: Kurt Cobain
Most committed: New York Dolls
Best looking: Bono
Gays and lesbians have come a long way in entertainment since the days when George Michael had to have faith and pretend to want a woman in the “Father Figure” video to sell millions of albums. Although there’s no telling whether Queen would have been as successful in the ’70s and early ’80s had Freddie Mercury definitively outed himself as a lower-case queen, for the most part, today’s closeted male superstars don’t have to wait until they are about to succumb to an AIDS-related illness to publicly acknowledge their sexuality (like Rock Hudson did)”or not (like Liberace and, well, Mercury).
That doesn’t mean coming out of the closet still won’t have a negative effect on the bankability of gay music stars. This is why most of them still choose to wait until they don’t have too much to lose. Elton John, Ricky Martin, Clay Aiken, Savage Garden’s Darren Hayes and Michael all did it after their blockbuster days were over.
Though Hayes continues to release solo records that earn critical raves, it’s been years since he was A-list on the charts. John is a superstar for life, but his most notable post-coming out success (the 33 million-selling worldwide No. 1 single “Candle in the Wind ’97”) was with a song he sang to a dearly departed princess. How gay! Rufus Wainwright, despite critical plaudits, has never had gold album in the US.
Then there is Adam Lambert, the perfect example of how to be an out and gay pop star. He has a vociferous fan base, but his commercial performance isn’t commensurate with his level of fan devotion. He should be selling as many singles as Justin Bieber, but his last one, “Better Than I Know Myself,” was a chart dud (No. 76 on Billboard’s Hot 100), resulting in Trespassing, his sophomore album, being pushed back from March to a May 15 release date. Do we blame it on a weak single, or a pop constituency that’s still skittish about fully embracing a proudly out singer? (more…)