Music Reviews: Queens Of The Stone Age Era Vulgaris; The 88 Over and Over; Scissors for Lefty Underhanded Romance - Page 2

The 88’s music has been featured in over 30 television programmes including Grey’s Anatomy, Numb3rs (CBS), Laguna Beach (MTV) and The OC. “Coming Home” was the catchy tune behind Target’s TV ad campaign last year. Chances are, if you add this album to your summer listening, it’ll solve a few of your “What is” that song?” puzzles. They should be far more widely-known in the UK, and I hope they tour here soon.

So suspiciously nice your mother might not notice the dangerous glint in Over and Over's eyes as he drives your sister off on a date. Your dad will, but he won't be able to argue a case against letting her go.

Scissors for Lefty - Underhand Romance

Everybody knows Americans can’t do Brit Pop. Everybody knows Americans can’t do irony. Oh, hang on. What’s this?

Scissors for Lefty have managed an ironic interpretation of Pulp-style cynicism and Franz Ferdinand-style ironic harshness whilst retaining something original and personal in their latest, full-length, Underhand Romance. San Francisco’s Scissors for Lefty have been voted “best up-and-coming indie band” by SF weekly, and were described by NME as “quirky, promising and quite possibly awesome”. They’re signed to Rough Trade outside North America, which is in itself a recommendation to indie fans, and have just released Underhand Romance in the US through Eenie Meenie Records.

Very charming, self-absorbed, slightly unwell, sophisticated and easily bored into cruelty, Underhand Romance will drop your sister home at the appointed time unharmed but oddly unnerved, and pick your brother up the following night. Expect much dancing, expect vicious sibling rivalry; expect neither a wedding nor a civil ceremony.

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Article Author: Elaine Borthwick

Elaine Borthwick is a mother, blogger, poet, and tutor. Elaine likes music, art, films, reading and the Surreal. She is fond of sketchbooks and Dolly Mixtures. Image of Elaine by kind permission © Ben Wharton 2007.

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