12 Songs

EDITORS’ NOTES

A decade into their steadily building career you can still hear echoes of the cabaret backing-band that DeVotchKa once were as they meld Latin, Balkan, French, and gypsy sensibilities with rock n’ roll. Much of their appeal rests on the yearning, impassioned vocals of singer and guitarist Nick Urata. Singing in a distinctive and seductive mumble on shimmering pop numbers “All the Sand in All the Sea,” “100 Other Lovers,” and “Exhaustible” the emotion is always clear even if the actual words are not. There is much to savor here instrumentally as well, including the energetically strummed Spanish guitar and mariachi horns of “Bad Luck Heels,” the tango-tinged rhythm of “Ruthless,” the brass, accordion, and propulsive percussion of “Contrabanda,” and the ringing spy-film guitar line prominent on “The Man from San Sebastian.” The album closes with the instrumental “Sunshine,” a gorgeously textured track that neatly sums up the band’s spacious sound. Cinematic, sweeping, and carefully structured, the many styles on display on 100 Lovers translate into something idiosyncratic yet accessible.

EDITORS’ NOTES

A decade into their steadily building career you can still hear echoes of the cabaret backing-band that DeVotchKa once were as they meld Latin, Balkan, French, and gypsy sensibilities with rock n’ roll. Much of their appeal rests on the yearning, impassioned vocals of singer and guitarist Nick Urata. Singing in a distinctive and seductive mumble on shimmering pop numbers “All the Sand in All the Sea,” “100 Other Lovers,” and “Exhaustible” the emotion is always clear even if the actual words are not. There is much to savor here instrumentally as well, including the energetically strummed Spanish guitar and mariachi horns of “Bad Luck Heels,” the tango-tinged rhythm of “Ruthless,” the brass, accordion, and propulsive percussion of “Contrabanda,” and the ringing spy-film guitar line prominent on “The Man from San Sebastian.” The album closes with the instrumental “Sunshine,” a gorgeously textured track that neatly sums up the band’s spacious sound. Cinematic, sweeping, and carefully structured, the many styles on display on 100 Lovers translate into something idiosyncratic yet accessible.

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4:50
4:11
4:26
0:40
3:43
3:30
0:23
4:15
4:47
3:54
4:56

About DeVotchKa

The Gypsy-tinged quartet DeVotchKa were formed in Denver, CO by multi-instrumentalists Nick Urata (vocals, guitar, trumpet), Tom Hagerman (violin, accordion), Jeanie Schroder (sousaphone, bass), and percussionist Shawn King. Supporting musicians rotated in and out of the eclectic group's lineup, contributing such diverse sounds as strings and bazoukis. While some described DeVotchKa's sound as polka-rock or circus music, the band was actually a cross-pollination of numerous influences, including cabaret, spaghetti Westerns, and the immigrant dance music of Eastern Europe. Supermelodrama, their self-released 2000 debut, garnered numerous accolades, and the band toured in support of the record with such luminaries as Calexico, 16 Horsepower, Flogging Molly, and Archer Prewitt. Una Volta followed in May 2003. Issued by the Boulder, CO indie Cicero, DeVotchKa promoted the album through a tour with noted burlesque/fetish entertainer Dita Von Teese. Their solid third album, How It Ends, was released in 2004, followed by Curse Your Little Heart, an EP of covers that included Siouxsie and the Banshees' "Last Beat of My Heart" and the Velvet Underground's "Venus in Furs." In 2006, they composed the lush score for Little Miss Sunshine, earning a Grammy nomination for Best Soundtrack. In March of 2008, the band's most mature release, A Mad and Faithful Telling, hit the shelves, reaching the number nine slot on the Billboard Heatseekers chart. In 2011 the group released its sixth studio album, the moody and triumphant 100 Lovers. ~ Johnny Loftus

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