Sound Bites
By Daily Bruin Staff
May 29, 2001 9:00 p.m.
 Bauer “Can’t Stop Singing”
Wabana
Bauer "Can’t Stop Singing" Wabana
Where there’s life, there is generated sounds. Where
there are three synthesizers, two Moogs and 12 instruments, there
is Bauer. For those unfamiliar with the group, Bauer (consisting of
Berend Dubbe and Sonja Van Hamel from Holland) falls somewhere in
the realm of the rock/pop genre. However, given the plethora of
instrumentation, it should be considered more along the lines of
“rock/pop plus lots of innovation”. Are those ukuleles
and banjos in those songs? The unusual combination of instruments
in the group’s music is what gives it its appeal.
Bauer’s music is much like that of fellow band Stereolab
““ think of something that would come out of a Volkswagen
commercial. Bauer’s new album, “Can’t Stop
Singing,” consists of 15 tracks, making for 40 minutes and 56
seconds of harmonious, experimental music. The album sounds very
much like a movie soundtrack, something that would be good to
listen to on a long summer drive. Dubbe’s and Van
Hamel’s vocals provide a soothing layer on top of the
constantly moving background. The melodies are busy, yet
flowing, catchy and unorthodox in the world of modern rock. Take
“The Klondike Valley,” an upbeat, dreamy
tune. Interlaced are sounds similar to those of radio
frequencies and “Space Invader” video games. Van
Hamel leads, singing of rainbows and an emotional evolution.
Bauer’s vocal harmonies are astoundingly pretty. Add
peppy beats and some space-age technological sounds, and the faster
side of “Can’t Stop Singing” comes out. The
mellower songs of the album have simpler instrumentation and are
reminiscent of the style and atmosphere of the 1960s ““ of
Burt Bacharach and the Carpenters. A perfect example of this
toned-down sound is found in the song “Moving,” a
sentimental tune reflecting on instances of emotion, rather than
the emotions themselves. In “Moving,” Dubbe sings,
“Sitting with a drink when work is done, funny how the room
looks from this angle.” Dubbe doesn’t sing of being
“content” or of “feeling at peace” like
commonplace groups; instead, he paints the picture. His music
is not trite. Though not a must-have album, “Can’t Stop
Singing” is at least a should-hear-sometime
compilation. Original and innovative, Bauer provides a new
concoction different from today’s formula-style groups.
Kenny Chang Rating: 8
Jack Johnson “Brushfire Fairytales” Enjoy
Records
Imagine drinking water for the first time. The cool liquid
running down a thirsty throat, thinking only of this amazingly
refreshing taste quenching a previously unknown desire. Sure, it is
impossible to ever return to that first moment with the tall, clear
beverage, but Jack Johnson’s debut album, “Brushfire
Fairytales,” is as near to that feeling as any other worldly
pleasure. Not a second of the 46-minute album is wasted; in fact,
every song builds upon the last, creating a wonderfully rich and
deep musical experience. By today’s standards, the album is
astonishingly simple. All but one of the 13 tracks is performed by
only three members: Jack Johnson on guitar, piano and vocals; Adam
Topol on drums and percussion, and Merlo playing the bass. Despite
its small size, the trio breathes more life into its songs than any
orchestra or multifaceted ensemble group, allowing each track to
become its own entity. The simplicity of Johnson’s
just-north-of-gritty voice has more purpose in a single word than
the collective works of the Backstreet Boys, *NSYNC and the rest of
the Top 40 combined. Johnson’s living room-style playing
makes the album feel uniquely rooted in the moment. There is a
slow, natural feel that begins with the initial guitar riffs of the
first track, “Inaudible Melodies,” and continues right
through the final moment of the last song, “It’s All
Understood.” While the musical talents of Johnson and company
are surely enough to warrant the album, lyrically every song
explodes. All are written exceptionally well by Johnson, and
include a little bit of everything, from the novelty of
“Bubble Toes” to the wrenching emotion of “The
News.” Each gives a bit more insight into not only Johnson,
but also into daily humanity. All of the songs are equally
remarkable, although one or two do burn with a little more
intensity. Backed by Ben Harper’s rip-roaringly good slide
guitar, “Flake” breaks out with passion. And Johnson
follows it up with the equally rambunctious “Bubble
Toes,” which contains such well-refined lyrics as “Move
like a jellyfish / Rhythm is nothing / You go like a jellyfish /
You don’t stop.” Who knows what “Bubble
Toes” really are, but the song has such energy it’s a
struggle not to climb into the speaker and start playing along.
Nowhere does “Brushfire Fairytales” falter, and even
after repeated listenings, the not-pop-yet-still-infectious songs
only improve with time. It would be nearly impossible not to love
this album, unless of course listeners hate good music, or
water.
David Holmberg Rating: 9
