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

It’s likely that in the last few months, more has been written about the Arctic Monkeys than any other band, anywhere. Such is the benefit (or curse) of being the flavor of the moment. The Monkeys, like many another pop wonder, are in the right place, at the right time. With the right sound. In this case, 41-minutes of rock frenzy, including husky vocals and whirling guitar riffs. The twenty-somethings from Sheffield – an industrial wasteland in North central England – have, of course, plenty to say for themselves, at least if one is to judge by the length of their song and CD titles. The band’s tone is witty and humorous, in spite of the pervasive sense of suburban ennui. An ennui that the listener can forgive after viewing the grim photos of the lads’ hometown included in the CD booklet. No wonder lead singer/guitarist Alex Turner is a gloomy sort; his rhyming lyrics are delivered in a chanting voice which suggests reality is bad and self-removal from such better. In contrast, the music produced by this indie/Brit-pop quartet is balm for the soul, not unlike that of The White Stripes, Frantz Ferdinand or, at times, the Pixies. Less pompous than Oasis and more fun than Pulp, Arctic Monkeys lives up to the hype.
Domino Records

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

Chinese electronic-music artist Zhu Jianhui (aka Double Fish), 25, is fond of contemporary global culture, hacker aesthetics, art, breakcore and IDM (intelligent dance music). In early 2002, he released his first experimental music single enclosed in the magazine I Love Rock ‘n Roll. In June 2004, he founded the independent-label Reconfiguration Records in Guangzhou, the aim of which is to promote avant-garde, independent and experimental arts, and provide a platform for artist collaborations. Since then, Zhu has released a series of EPs and LPs and organized a number of musical events to promote this unusual scene. In August 2004, he launched a conceptual electronic-music collection by artists from Hong Kong, the Chinese mainland and Poland called “The Sound of Silence Project”. In 2005, Zhu, who knows no boundaries, released the EP Hackers on the Polish label Audiotong Records, and participated in several compilations released under his own label (Hey!!! Let’s break, V.A landscape 2). On Inter Net, Zhu, uses virtual drum machine, synth, effect processors and sound loops, to create a piece of relaxing, atmospherical downtempo music timed precisely at 20:05-minute (the year of its release, 2005). With samples reminiscent of early 1990s videogames’ sound effects, Inter Net is a strangely easy-listening piece of avant-garde-ish electronica.
Reconfiguration Records/Bedzoo/available at www.reconfiguration-records.com

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

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

At 48, Madonna Ciccone has returned to her first love: catchy, uncontroversial dance numbers, the sort she might have heard early in her career as a dancer with French Disco King Patrick Hernandez. Confessions samples disco classics (“Hung” samples ABBA’s “Gimme! Gimme! Gimme!”) and with the help of a number of talented collaborators, attempts to create what may just be some future classic pop-disco dance numbers. On her tenth studio album, Madonna has enrolled the services of France’s DJ Stuart Price and multi-talented electronic-music artist Mirwais Ahmadzai, as well as Sweden’s pop-music producers Bloodshy & Avant and Bagge & Peer. The result is surprisingly good: “Get Together”, “Hung” and “Sorry” are brilliant. And we’re not sorry Madonna has given up the pompous, political pose and prose of her previous album American Life. The CD’s facile lyrics are easy to remember, even for non-English speakers (“I Like New York”). What’s more, Madonna seems to have rediscovered her sense of humor. On “Like it or Not” she sings: ‘You can love me or leave me cause I never gonna stop.’ Yes, the Material Girl is back. And still fit. She literally and figuratively does the splits: from retro to neo, from disco’s glory days to futuristic electronica/pop music.
WEA international

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

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

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

Established fifteen years ago, Jogoya remains one of the most fashionable restaurants in Taiwan. Customers can enjoy elegant fusion cuisine in an unusual setting that combines hi-tech and the traditional. Their new menu offers just the sort of thing you’d expect to find in these surroundings: polished, groove heavy relaxing fare with an Oriental flavor. This two CD release (the second disc remixes the first), Jogoya assembles a 14 course bill – a mish-mash of Indian vocals, Europeans beats and Thai and Chinese sounds. This sounds like a recipe for indigestion, and as one might expect the quality varies. For starters, Karunes’s "Solitude" makes for a pleasant Indian dish, while Phak Rattap Khan’s "Hari Hara" is more a sickly downtempo appetizer. The Shakamunyi’s "Tantra" is altogether delicious and Edson X & MA3’s "Rhada Krishna" makes a delightful main course with traditional Indian flute with drums. Atman’s "Distant Voices" is just another Indian groove cut and as such too much to swallow. At this stage, the listener needs a strong liqueur before tasting the remaining courses; unfortunately, a digestive is not on offer.
High Note Records

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

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

Shanghai jazz clubs have flourished of late, but the scene is still struggling to find an identity. Yes, there is plenty of jazz, but not much of it is distinctive. Until now, perhaps. Jazz Revolution has fused Western jazz with Chinese melody (or maybe vice versa) and come up with something that soundsunique, what one might call the Shanghai Sound. This band of four – two Aussies and two Chinese – offers a new interpretation of material that has entered the collective musical psyche. For instance, they have recorded a languid jazzy rendition of Faye Wong’s “Sky”, and a reggae version of “Shanghai Talk”, a song from the famous Chinese TV-series Shanghai Tan. True, this approach will appeal more to Chinese listeners, and perhaps less to foreigners unfamiliar with these tunes. And some cuts unfortunately sound like Kenny G on a good day (Baroque with Me). But all in all, when the combination works, it works well (What a Wonderful World, Open Sea). The band’s real genius, and its originality, is most apparent in the trumpet solos, soulful vocals and on tracks that feature improvisation. “Feng Shui”, the first original composition on the album, features a traditional jazz structure and has a strong urban feel (a jazz anthem for the city?). By the way, a percentage of this album’s proceeds will be donated to a children’s charity organization. So do your part and support the revolution.
Orientalsky/Starsing Records

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

Milk@coffee is the sort of act that defies categorization; indeed, their style of music varies from one cut to the next. Much like adding milk to coffee, the result depends on the mix. Add just a little milk, and the coffee remains strong and bitter; add more and it becomes sweet and creamy. However, this Chinese band has more than two elements, and the mix of vocals, keyboards, samplers, electric guitar and break beats, provides endless variations. The tracks on this release combine pop rock, easy listening, new wave, trip hop and downtempo beats infused with the moody and mellow vocals of lead singer/songwriter Kiki. One might say she provides the milk, while keyboardist/producer/singer Gefei furnishes the coffee. In short, his yang is nicely balanced by her yin. The ‘@’ in the middle of the band’s name, suggest their use of the latest technology (computer game sound effects). It also hints at the origins of the pair’s union – on an Internet chat line. In any case, this low fat milk and home brewed java combination on the Beijing-based label Modernsky, is just the stuff for your next coffee klatch. Shuang!
Modernsky

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

Purity of sound is not in fashion these days; most bands prefer a musical stew. And Luxia is no exception with their eclectic blend of electronica, vocals, jazz and bossa nova. The project combines the talents of Jon Kingsley Hall and Peter George Stewart with co-production credit to Australian DJ Steve Hill and Mat Cook and vocals by Tiffany Nan Brace. It was conceived when Brace met with producer Hall at a music therapy workshop, and she proved that her powerful voice could compete with Hall’s beats. Indeed, her very emotional vocals are the most attractive features of Luxia’s sound (more compelling than Alexis Hart’s or Tom Ecologist’s). Though soulful, she can hardly be called melodramatic; the sound is much livelier than Portishead and less narcissistic than Bjork, for instance. Stewart and Hill’s production skills add a certain slickness, the lineage of which can be traced back to synth-pop Brit act, Kissing the Pink, Swedish/Danish DJ Stonebridge and French electronic artist St Germain. Like St Germain, Luxia’s beats provide the foundation upon which musical textures can grow, which make this music more suitable for the lounge, than the dance floor. Especially “Cool Mountain” and, “I Feel So Good” with their Nu/Soul jazz, trip hop, Bossa Nova sound; this is mellow, urban music at its best.
High Note Records

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

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

As the title suggests, this release is one part sexual innuendo and one part black humor. Formed in 1998, the Black Eyed Peas is an American multi-ethnic quartet that currently features three male rappers (a Jamaican-American, a Filipino, and a Mexican) and the very fit Californian female, Fergie. This is their fourth album, and their best effort to date. Most of the cuts feature musical dialogues between the boys and the girl, i.e. seductive word games with explicit lyrics. Take the anthem “Don’t Phunk with My Heart”; here, the lads express their interest in Fergie, who is not at all assured that intentions are honorable. The ambiguous nature of the lyrics has caused some US radio stations to play an edited version: “Don’t Mess with My Heart”. Another witty number, “My Humps” complains about women who use their looks to part men from their money. The ‘humps’ and ‘lumps’ referred to in the song stand for Fergie’s bottom and bosom. The CD has many more of these hilarious (to some) alternative hiphop/rap pieces, as well as guest appearances from James Brown, Sting, Talib Kweli, Macy Gray and others. With four Grammy nominations, BEP appears unstoppable; they’ve even been contracted to write and perform a song for the 2006 FIFA World Cup. Now that should be a kick.
A&M

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

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

This is a come back album for the Florida quintet, who went from being the new kids on the block in late 1990s, to the old chips off the block in the early 2000s. Following their Grammy award in 1998, the boy band became extremely popular, mainly with young girls. They sold tons of albums, 87 million, to be exact. But fame, ego, and drug and alcohol problems resulted in the band’s breakup two years ago. Now the backstreet boys are back. This release, after a five-year hiatus, is the band’s fourth effort and perhaps their last chance to prove they still have the right stuff. They do. Never Gone sold over two million copies in seven days and went number one in America, Europe and Asia. This release has it all: catchy hooks across the musical spectrum – ballads ("I still…"), soft rock ("Just Want You to Know"), R&B ("My Beautiful Woman"), pop dance numbers ("Poster Girl"). All sung in the usual soothing, uplifting vocals. That said, after one listen, it all sounds about the same. But no matter. Fans loved The Boys concert in Shanghai last January 2006, proving they do have staying power.
Sony-BMG

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

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