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She Like Electric

Smoosh

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Reseña de álbum

The whole swirl of attention Smoosh got out of the gate due to the performers' age was understandable, but so was the reason why people were listening to start with. She Like Electric is great, brawling, fun, rock pop without obvious rock signifiers via guitars. The duo of Asya and Chloe only needed vocals, keyboards, and drums to whip out one engaging, enjoyably brisk song after another, kicking off with the stutter drum groove of "Massive Cure" and not holding back. Asya's voice tries on both a to-the-fore style and a softer croon here and there, but on "Take It Away," the latter interpretation works incredibly well, understated but full and fun like the music. The music, meanwhile, constantly varies its ideas of what a verse-chorus structure could be like, although not completely reinventing the conventional pop form. Chloe's drumming throws in all kinds of unexpected touches per song: "It's Cold" is a miniature showcase for cymbal accents alone. The great bass keyboard growl and hook kicking off "La Pump" is another wonderful moment, while the minute-long "The Quack," meanwhile, could be something out of 1981's no wave. "It's Not Your Day to Shine"'s happily forthright hip-hop-meets-new-wave adds to the standouts throughout, something that puts everything together into something fun, a little rough around the edges, and sounding like nothing but itself. But "Bottlenose" could be even sharper, thanks to a creepy bass/synth zone and shout/MCing that could almost be Le Tigre.

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What Happened to Real Music?

Ok, wait a minute. When I heard about these kids, I thought that the whole thing was really neat because the media made such a big to-do over them. I was expecting something really fun to listen to, and I was expecting that the girls were actually genius music writers who had award winning voices. I was pretty darn dissapointed when I heard their first song on this Album, Massive Cure. First of all, the music (if it can be called music) in the intro sounded way off, and honestly, my baby sister can play the drums so much better than that. And when the little pop girls started singing, the hair on the back of my neck stood straight up. Their voices are nasel and obnoxious, and I couldn't understand a SINGLE word they sang, it was that bad. Is this what the standard of music in our country has come too? I don't think slurring all their American words and saying Uh huh makes them amazing young artists. Do you? I really don't think they should brag about their album and new songs if the songs are that bad. I guess you just have to be deaf to really enjoy these--interesting songs. Choose individual songs if you must, the whole album is most certainly not worth it.

Brilliant Kids

Lighten up newbies. This album is brilliant for eleven year olds and they should be praised for their accomplishment. Someday you critics will be slapped upside your heads with their music. Get an ear.

Smoosh Rocks

I recently saw Smoosh open for The Go! Team a couple weeks ago in Portland. I'd heard Smoosh before on KEXP, but never gave too much thought to them. I was impressed with Smoosh and think it's wonderful to see two young ladies on stage playing rock and roll. I love it. It's very inspiring and should serve as a lesson to people that writing and performing music isn't just for over-stylized twenty somethings. Very inspiring and fun.

Biografía

Fecha de formación: Seattle, WA, 2002

Género: Alternativa

Años de actividad: '00s

Tween indie rock duo Smoosh formed in Seattle in 2002. At the time, eight-year-old Chloe (last name withheld) was a student at the Seattle Drum School whose instructor Jason McGerr (later the drummer in Death Cab for Cutie) suggested she begin collaborating with other fledgling musicians to better understand the role of percussion in rock music. Chloe simply went home and began playing with her ten-year-old sister Asya, who despite quitting piano lessons was now writing her own clever, buoyant songs...
Biografía completa
She Like Electric, Smoosh
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