Local
Grooves
Nedelle
Republic of Two
(Kimchee)
If Vacaville-reared, Oakland-rooted Nedelle Torrisi is anywhere as
smooth live as she is on her debut album, Republic of Two, she's
gonna be a star. She's gonna blow up like a sex bomb except she's
so not, I'd say, scanning her artfully artless CD sleeve. She's gonna
be big like Astrud, Darlene, Laverne, and all of those other pop-hyphenate
chanteuses who can make your happy hour by serving up something dulcet.
She may even earn the right to that first name-only handle.
Torrisi's album exudes that kind of confidence, decorated with silky
yet simple vocals recorded to emphasize intimacy, and girded with originals
that sound like lost tracks by early Everything but the Girl or some
other retro-minded, blue-eyed and pale-faced English band with a good
R&B and jazz record collection. Who knows with the unexpected
yet welcome changes of pop-jazz numbers like "Come Around,"
doo-wop-infused tunes like "I Lied," and sweet bossa nova
fare like "Lament," this charming vocalist could be the next
low-key young diva likely to succeed, right up there with that other
respectful girl singer, Norah Jones.
Nedelle plays a CD-release party Fri/23, Edinburgh Castle Pub, S.F.
(415) 885-4074. (Kimberly Chun)
Stratford 4
Love and Distortion
(Jetset)
The liner notes to the Stratford 4's Love and Distortion suggest
the listener lie down, take the phone off the hook, and "turn off
the overheads and turn on the Christmas lights above the stereo."
This is sage advice, in that much of the album is about being horizontal.
"Couldn't we stay in bed?" singer Chris Streng pleads over
swirling guitars in "Kleptophilia." Luckily for me, I was
doing just that when I put in the CD covers pulled up, trying
to find something smokable in the butt ends of a heartache.
Streng walks the fine line between posing and pathos, at times almost
adopting a phony Brit accent. Think early Psychedelic Furs before
every song had the word heaven in itbut less sardonic.
Think Jesus and Mary Chain with slightly less distortion and way more
reverb, less swagger, and more love not so much getting ahead
on your motorbike as riding aimlessly through Golden Gate Park on a
bicycle, especially if it's an antique three-speed with gull-wing handlebars
and a chain guard.
The guitars evoke the shimmering, candlelit glow of Galaxie 500 (or
maybe that's the Christmas lights), without feeling so somnambulant.
The rhythm section's punchy enough to keep you singing along to your
sadness, maybe tapping a toe or two. On the whole, Love and Distortion
is more catchy and dare I say? "rocking" than
its predecessor, The Revolt Against Tired Noises. It's a potent
distillation of portable sadness, a bittersweet digitized pill I keep
popping from one stereo to the next, from bedroom to car to graveyard-shift
boom box.
The Stratford 4 play Wed/21, Great American Music Hall, S.F. (415) 885-0750.
(Duncan Scott Davidson)