THOMAS PODVIN’S FREELANCE WORK
Freelance writer - translator - Editor

Alex Cortiz almost single-handedly launched the Netherlands’s dance scene in the 1990s. What’s more, he was the first Dutch artist (under the name D-Shake) to score an international hit, with “Yaah/Technotrance”, which made it into the UK’s top twenty House music list. Throughout his career, Cortiz has been changing aliases as frequently as he’s changed his music styles – from enigmatic stage names (D-Shake and Dr. Nunu) to self-mocking monikers such as House of Nachos, Electric Sweat and Cat Scanner. On this latest release the man uses the name Alex Cortiz, but he departs from the down-tempo to mid-tempo sound of his most recent works. Phoenix features fourteen up-tempo tracks, compressing hours of studio time into 76 minutes. The music is still sexy and sophisticated, but faster and livelier, with a dash of Detroit and progressive techno. Cortiz delivers some serious beats, from slick, sonic, urban tempos to trance rhythms (“Twinkies”, “Field of Motion”), but the real gems – “Ketamine Dream”, “Frenetic”, “Mystic”, and “Funkaloid” are brilliant examples of electronica: mesmerizing, playful, carnivalesque and funky. In short, we’re going Dutch tonight, honey.
High Note Records

(c) that's Shanghai Magazine
Chief editor: Steven Crane
April 2006 issue

Here’s an artist whose musical wit comes across no matter where she happens to be and no matter whom she plays with. With One Sweet Day, Brazilian lyricist/composer/singer Pat C. offers one sweet travelogue, from France to Japan. This release is an effervescent melting-pot of bossanova, electro and funky Carioca (or ‘Rio funk’, the product of Brazil’s favela party scene). Back in 1989, Pat C. upped sticks from her home in Sepultura, Brazil and settled in Germany, home of Le Hammond Inferno. This change of locale proved to be an inspiration; her music has more breadth and depth. No wonder her two first albums, Saudade Suite and Sunshine Suite received such critical and popular acclaim. Her success is repeated here; One Sweet Day blends Pat C.’s unique and charming vocals with the electronic music production expertise of France’s Minigroove Orchestera; Germany’s Le Hammond Inferno; and Japan’s Yosuke Hoguchi. Clearly, this disc has an addictive, international array of beats, including the Brazilian bossanova number “Oco Do Vazio”; the German technoid cut “Klapprad”; the uplifting English dance tune “I like Chopin”; and the je-ne-sais-quoi French pop tune “Jamais Imaginei”. With a fourth album in production, Pat C. shows no sign of putting down roots – and that’s a good thing.
High Note Records

(c) that's Shanghai Magazine
Chief editor: Steven Crane
April 2006 issue

Coldcut’s Sound Mirrors has nothing to do with shards of glass, or sliced, assorted cold meats. Rather, it’s a cut-and-paste sound montage. DJs Matt Black and Jonathon Moore’s seventh album offers twelve eclectic tracks arranged in a polymorphic musical collage. The British duo, established in the mid-1980s, shift without blinking from mellow, pop folk tracks “Man in a Garage” to bizarre techno/jungle/post-punk cuts “Sound Mirrors”. But the pair’s penchant for diversity isn’t limited to musical styles, this release features a range of guest artists, including the Blues Explosion’s Jon Spencer; DJ Robert Owens; Mpho Skeef, to name but a few. While the wide choice of artists and genres seems to offer something for everyone, the overall effect is a lack of theme. In art, the inharmonious incoherence of avant-garde collages sometimes works, but here the patchwork of styles and rhythms clashes on the ear. Still, this approach is Coldcut’s trademark; they’ve been cutting and pasting beats for twenty years. Long-time fans will likely appreciate more of the same. Coldcut is famous for establishing the independent label, Ninja Tune, and signing acts such as Roots Manuva, Kid Koala and DJ Food (who performed in Shanghai last March and will return for an encore in the near future). If that weren’t enough, Sound Mirrors has won critical acclaim in the British press; NME describes it as “a master-class in beat science from start to finish”. Anyone for a slice of bologna?
Ninja Tune

(c) that's Shanghai Magazine
Chief editor: Steven Crane
April 2006 issue

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
April 2006 issue

More than an accomplished jazz vocalist with a silken voice, Alexia Gardner is a true entertainer. This live recording suitably titled Jammin' from the Shanghai JC Mandarin Hotel in March 2005, showcases Gardner's rapport with the audience and her command of the stage. This British singer, with Jamaican roots, began her career touring cabarets and clubs in England and Wales with her sister Paula in a sophisticated, a capella act. After going solo, she spent five years singing in various posh venues from Hong Kong to Jakarta, before arriving in Shanghai in late 2001. Since then, her groove-laden, funkified brand of jazz has done much to enliven the local scene. In short, Gardner is a stage veteran and her experience shows; she has developed an undeniable jazzy rapport with her band, and a genuine interaction with the audience. She literally jams with listeners and musicians on this release, and transforms a selection of rock, reggae and pop classics into jazzy, rhythm and blues-influenced gems (Marley's Jammin' ; Clapton's Change the World; Lennon's Fool on a Hill). Then there's a brilliant rendition of another classic, the Chinese number "The Moon Shines on my Heart." Buy this disc, or better still, catch Gardner live around town.
Available at www.alexiajazz.com

(c) that's Shanghai Magazine
Chief editor: Steven Crane
April 2006 issue

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
April 2006 issue

Unlike her fresh and innovative debut, Playing My Game – which went platinum from Norway to Italy – Lene Marlin’s highly-anticipated third album is only half brilliant; the other half is uninspired mainstream pop. The Norwegian singer/songwriter wrote and engineered this CD, without the knowledge, or help, of her record company. When the 26-year-old Marlin delivered the finished product to her producer, he is said to have listened to it in awe. In awe of what, we’re not quite sure. The CD opens with the sexy rock ballad “My Lucky Day” featuring electric guitar bursts and emotional vocals. Then there’s the radio-friendly, catchy numbers such as “Wish I could” and “What If”. So far, so good. Unfortunately, most of the remaining tracks are inferior. Marlin’s creativity seems to have hit a wall, the hooks have dried up and the listener is left with nothing to hum, never mind sing. Some cuts are ruined by inane lyrics; in addition, Marlin is beginning to sound too much like the gloomy Dido, or put another way, an anemic Avril Lavigne. In short, Marlin appears to be suffering an identity crisis. Unlike her previous efforts, this record lacks distinction and, in fact, most of the qualities – adventure and imagination – which won her acclaim in the first place. Lost in a Moment is just that – lost.
EMI

(c) that's Shanghai Magazine
Chief editor: Steven Crane
April 2006 issue

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
April 2006 issue

After a two-year hiatus, the five Irish lads are back. Well, four actually. Westlife’s one short of a quintet since Bryan McFadden left the group. Not that a 20 per cent loss of vocal power has affected the band’s international success – as evidenced by their packed Shanghai promotional showcase last March. Indeed, this chart-topping Irish (members hail from Dublin and Sligo) band sounds better than ever. And with a wide range of musical styles, they’ve expanded their fan base from teenage girls to grown-up girls (and boys). “She’s Back”, with its pulsating beat, recalls Michael Jackson at his best (“Billie Jean”); the pop ballad “When You Tell Me That You Love Me” featuring Diana Ross surpasses the overrated Secret Garden’s cover “You Raise Me Up”; the Eagles’ cover, “Desperado”, is a soulful cut with plaintive, husky vocals that could have appeared on a CD by Jon Bon Jovi or Brian Adams; and “Color My World” is a prime vehicle for Westlife’s new, larger vocal range. Finally, don’t miss the exhilarating and sexy piece of electronica “Hit You with the Real Thing”, which by rights should lead off the playlist. Westlife, co-managed by Boyzone’s Ronan Keating, has ruled the UK charts since 1999 with thirteen UK number one singles. Reportedly, their goal is to chalk up a total of twenty one. With this release, they may just succeed.
Sony-BMG

(c) that's Shanghai Magazine
Chief editor: Steven Crane
April 2006 issue

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
April 2006 issue