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 NEW MUSIC
Diamanda Galas
Guilty Guilty Guilty (Mute)
***
Featuring a dramatic cover shot by local photography favorite
Austin Young, Galas' Guilty Guilty Guilty showcases the same
haunting vocal style fans of the darkly decadent diva have
come to expect from her previous 16 albums while transitioning
into her most accessible work yet. Fusing jazz, blues, and
country with Galas' signature shrieks and operatic range,
this highly anticipated collection of covers breaths new
life in to an inspired selection of doomed ditties and homicidal
harmonies. Standouts include Galas' interpretation of “Interlude” already
famously covered by Morrissey and Siouxsie Sioux, “Heaven
Have Mercy” formerly performed by Edith Piaf, and “Long
Black Veil” popularized by none other than Johnny Cash.
Recorded live on Valentines Day in NYC, it's clear the audience
was eager to attempt their own ground shaking screams of
appreciation. —LENORA CLAIRE
Missy Higgins
On a Clear Night (Reprise/WEA)
***
The first words of this ascendant star's latest release are: “I
don't know what I've done, or if I like what I've begun,” a
conundrum she explores deeply over the 11 songs of her sophomore
CD. Granted, I couldn't hear her charms at first; her voice
and style are redolent of many current female singer-songwriters
(K.T. Tunstall leaps to mind, though there are plenty of
others). Yet her unpretentious, forthright Australian demeanor
does signify after a few spins. And instead of tripping herself
up with self-expressive tropes, she says exactly what she
means. In a world of manufactured personas, that's a pretty
punk thing to do. —DAN LOUGHRY
Janet Jackson
Discipline (Island)
***
It took a new record label and new production team for Janet
Jackson to find something old again—her signature style.
Discipline gives listeners the playfulness of classic Janet
(crazy sexual metaphors and all) but with modern beats. Case
in point “Luv,” which has hip-hop producer/boyfriend
Jermaine Dupri's prints all over it. “Feedback” is
clearly the stand-out club banger, but the electro influence
doesn't end there, with “So Much Betta” lathered
in Daft Punk-style robotics. In fact, most of the up-tempo
tracks have that digitized pop flavor, sans a few “baby-making” songs.
At 22 tracks, the filler is a bit obvious on Discipline,
but what's good is gold. —JEFF KATZ
Miss Kittin
Batbox (Reprise/WEA)
***
When I call Batbox the epitome of Eurotrash, it's with full
admiration. Bubbling up from the French rave scene, this
DJ's dabbled in dance forms since 2001 though her profile
in the U.S. is relatively low (this CD, her fourth, was released
overseas in 2007). It's hard to take her too seriously; she
intones—in a Nico/Grace Jones/Cristina monotone —harebrained
lyrics that sound (badly) translated into English, yet she's
a hoot, from the icy, new wave-via-electroclash rhythms to
the forced decadence of her worldview. When she titles her
first track “Kittin Is High,” it's probably on
the sharp waft of her pungent European cheese. —D.L.
CONCERT CALENDAR
Jason Collett
Promoting his new album Here's to Being Here in West Hollywood.
The Troubadour. Mon., Mar. 17. 8 p.m. $12. www.troubadour.com.
Kinky
The Latin powerhouse comes to L.A. following the release
of last year's Rarities. Mayan Theatre. Tues., Mar. 18.
9 p.m. $17. www.ticketmaster.com.
Nada Surf
This popular band's international tour stops in Hollywood
for one night only! Henry Fonda Theatre. Wed., Mar. 19.
8 p.m. $20. 323/464-0808. www.ticketmaster.com.
The Cliks
These Toronto-based queer rockers return to L.A. to promote
their new album Snakehouse. The Knitting Factory. Thurs.,
Mar. 20. 8:30 p.m. $10 ADV/$12 DOS. www.ticketweb.com or
www.knittingfactory.com.
Homo Must
Bob Mould
The out and proud post-punk musician/occasional club D.J.
rocks the City of Angels. The El Rey. Tues., Mar. 25. 8
p.m. $20. www.ticketmaster.com.
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