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Pedestrian, Goddamn Electric Bill, Kathryn Williams |
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Written by Keith Sabella
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Thursday, 11 January 2007 |
“Hey, how come I don’t know this band?” That’s what your friends will be wondering when you spin some tracks for them from “Ghostly Life” by Pedestrian (www.pedestrian.org). Pedestrian is the creation of Joel Shearer. In fact, you might say that Pedestrian is Joel Shearer. He doesn’t seem to have a steady band roster, and he’s the driving creative force, as well as the guy who writes the songs—very good songs. The music is a sonic, dreamy wash of sound, but with a real edge to it, and the lyrics are introverted, but with a social awareness. Listening to Pedestrian, you won’t be surprised to learn that Shearer and co. are fans of Radiohead, Jeff Buckley and U2, and though they don’t list early Coldplay as an influence, you can hear them as well. It’s not all intricate and intimate soundscapes with these guys, though. They can also rock. Songs like “Headwreck” and “Brain on a Stick” will convince you of that, as will the scalding guitar work at the climax of the otherwise meditative title track, “Ghostly Life.”
Electronica fans, be happy! If you don’t already know of Goddamn Electric Bill (www.godamnelectricbill.com), you’re in for a real treat. For those of you who aren’t so keen on this genre, check them out anyway, if for no other reason than to watch the video for “Lost in the Zoo.” It’s one of the freakiest and funniest things you’ll see outside of a David Lynch film. Goddamn Electric Bill is the name by which Jason Torbert unleashes his wildly creative imagination upon the world. His music is full of sounds, melodies and grooves that combine sitar, Fender Rhodes, guitar, percussion and mbira, among other instruments, to create what Slug Magazine has called “jaw-dropping cinematic tracks.” Tolbert’s first full-length CD, “Swallowed by the Machines,” is electronic music of the caliber of Air or Boards of Canada.
“In years to come, I’ll look back at the records I’ve made and not have any regrets. … They’re small, sketchy pieces. I’m not trying to make Big Art.” So says Kathryn Williams (www.kathrynwilliams.net). Big Art it may not be, but it’s art that captures those moments when the extraordinary shines through the ordinary in ways that we miss if we are not paying attention. “Flicker,” from her critically acclaimed second album, “Little Black Numbers,” is a perfect example. With an intimate beauty, Williams, a keen observer of life, combines compelling melodies, a complex and delicate voice (reminiscent at times of Beth Orton and at other times Lori Carson) and poetic lyrics. Songs like “Breathe” or “Hollow,” from her 2006 release “Leave to Remain,” are just the right size.
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