SONIC ABUSE - UK - By Phil

Alice Sweet Alice are a fascinating proposition. So hard to pigeonhole, one reviewer dubbed them ‘electropostpunkadelic’ which, if it tells you anything, tells you that their music defies even that somewhat preposterous tag. The band are a mere four years old and 2011 sees them releasing their third full-length album, entitled ‘Mandala’, and it would seem that time and experience have not caused them to let up on the variety of their influences.

Carrying myriad influences it may be, but ‘Mandala’ still succeeds in being a cohesive ride thanks to the band’s skilful ordering of the tracks and a gloriously understated production job that allows the various instruments plenty of space to breathe and envelope the listener over the course of the record. It’s hard to say what you notice first about Alice sweet Alice, but it’s probably fair to say that Ali Kat’s vocals come fairly close to the top of the list. Tuneful and soulful, she is (thankfully) not given to the histrionics found on your average Evanescence album, instead opting for a tuneful drawl in the vein of The Kills or the Yeah Yeah Yeahs, albeit with a significantly more interesting musical backdrop. First track ‘21st Century slavery’ is the perfect introduction to the band’s oeuvre. It has a breathy, writhing riff that recalls the alternative bands of the mid-nineties (sort of a hard rock belly playing the Cure isn’t too unreasonable a comparison) and right from the start it’s clear that the band know how to control the aggression, leading off with an atmospheric bass line and driving rhythms while the guitars carefully weave and play adding light and shade but not overpowering the subtly of the song’s clever composition. ‘Burden of truth’ is no less impressive, being a slow burning track full of smoky soul and charisma. Ali kat’s vocal, is once again a thing to marvel at, but the guitars are no less worthy of comment (step up Ron Bales) particularly on the sublime solo that rounds out the song and which shines with an almost progressive fervour.

Track three, ‘full circle’, contrasts a watery organ with a bouncing bass line and a vocal that sounds like it belongs in an underground bar at 2.am surrounded by smoke and whiskey, although when the track kicks off it has a huge electro-groove to it that is, although it probably shouldn’t be, rather unexpected. It’s a beguiling mix that would be equally at home on your personal stereo or on the dancefloor and it is a safe bet that live it kicks a fair amount of ass – either way it has ‘potential single’ written all over it thanks to its distressingly memorable hook. ‘Undone’, as its somewhat maudlin suggests, is a piano led ballad which is by far the most traditional track that the band approach on the album. It’s overblown, sentimental and yet strangely effective at yanking on the heart strings and in that respect, despite throwing everything and the kitchen sink at it (you’ll even find kettle drums providing accent!) it’s a remarkably successful ballad that works because the ban have the nous to know that when you want to go for something it best to go all out rather than produce some half-assed compromise – the result? ‘undone’ is a beautiful, haunting song that showcases a sensitive underbelly to the band’s otherwise untouchably cool approach.

Billy Brown’s excellent drumming leads off the next track, the hypnotic, swirling ‘3 tides’ – a real highlight on the album – whilst the lead vocal is provided by Scott Martinez, who proves to have a truly great voice. The track is a masterpiece, a slithering gem of gentle electronics, gently threatening guitar and occasional flare-bursts of violence as the chorus identifies a crunching riff that threatens to tear you out of your reverie at a moment’s notice – it’s an amazing song in every respect. ‘Falling under’ comes close to a Joy Division vibe with its lead-off bass line and piano stabs, although Ali Kat’s voice (thankfully) is not quite the spine-chilling auger of doom that Ian Curtis’ was, and the chorus is considerably heavier than Joy Division attempted during their all-too-brief lifespan. The final track, ‘broken mirror’ closes things on an emotive note with huge bursts of guitar and piano playing nicely off each other and a bewitching pop melody that holds your memory long after the final notes have faded from the stereo – for sure if you don’t find yourself humming this in the damndest of places then you’re made of sterner stuff than I.

An all-too-brief affair, ‘Mandala’ is a great record with not a single poor or out-of-place track running the flow. Top marks, too, for the wonderful packaging that, while basic, entertains by providing two colour in Mandalas for the listener to drift away with. It’s an unusual idea that raises a smile, while the music is guaranteed to make fans of intelligent and beautifully written alt-rock more-or-less ecstatic. Every minute of this thoroughly enjoyable record is a musical treat and ASA offer enough variety and innovation to keep you coming back to this one for months hence – well worth checking out.

Alice Sweet Alice released their first single, Burden of Truth, from their upcoming album, Mandala, which is scheduled for release on September 27th. Alice Sweet Alice has outdone themselves with this compelling new single highlighting their melodic rhythm and set with minor cords creating a seductively dark sound. Burden of Truth begins with a slow and soothing tempo. Ali Kat enters, offering sultry vocals with a sweet and sexy undertone. As the song progresses, its rhythm picks up and her vocals develop into demanding cries that maintain the alluring sounds of her engaging voice. In Burden of Truth, Alice Sweet Alice preserves a hypnotizing sound that seems to pull you into their trance, and then develops into a forceful energy as the instruments take over with an upbeat and powerful rhythm. If this is an example of what is to come from Mandala, we are in for an undeniable treat.

...Guess we're no longer in Kansas...

Hey, blogspot readers, SouthSide's now at Elbo Room just in time to check out the rockin' as well as eclectic music of Alice Sweet Alice (cool Brooke Shields movie reference for a band name). From Kansas City, this band brought its blend of "electro" (off the keyboard) and "postpunkadelic" (off the guitars and drums) sound for a late-night performance. This reviewer enjoyed the lively kick heard within the edgy rock sound ...the bursts of energy instantly grabbed her attention inside the epic feel within each Alice song. At times, there was a fiery essence wafting from the guitar riffs and Ali Kat's vocals sparking that energetic vibe and momentum. Yet during the other times, SouthSide felt the crisp chill of the haunting momentum and rhythmic groove when Scott (on bass) took lead on vocals. This also brought out the dark psychedelic side of Alice's music to light ...more vibrant with a steady heart-pounding metal chords. Enthralled by the band's darkness, SouthSide rocked to songs such as Legends and Ambola (off Alice's current CD). She also suggests checking out Flight of Tonight and set closer Weeping Lily (a rockin' BANG of hard hitting riffs and dynamic vocals by Ali). SouthSide was thoroughly impressed by Alice's Chicago debut even though having some minor technical difficulties, blogspot readers, and she hopes they make a return appearance (or more) again in 2011. Visit http://www.alicesweetalice.com or http://reverbnation.com/alicesweetalice for more information.

Music Review: Alice Sweet Alice - Moloko and Ultraviolence
Eighties Touchstones, Modern Sensibility
Review by Pete Dulin.
Published: Friday, December 18, 2009

Alice Sweet Alice, a five-piece band from Kansas City, released their sophomore album Moloko and Ultraviolence in early summer 2009 on the indie label Cauldron Soundwerx. “Electropostpunkadelic” is not a helpful point of reference, as offered on the band’s MySpace site, given that the phrase can encompass just about any band that loosely fits in one of those genres. “Darkwave” is another tired description that never established an enduring place in the lexicon of music trends. How to describe their music?

Bassist Scott Martinez offers this explanation of the band's use of the term electropostpunkadelic: That's just a silly word for the different influences our music takes from. Some of our music is interlaced with arpeggiated synths, some has the punch and energy of double-kick drums, screaming guitars, and some has pretty strings, lush orchestral movements and pretty piano. Some of us grew up in the 80's and early 90's and so some of that post-punk influence is there, both American and European. Of course, '60s and '70s rock has always been something we've all listened to, so it can't help but appear in our music, with some of the Hammond organ and Vox piano sounds we use."

Take the turbulent undercurrent of Joy Division, add edgy guitar-synth crunch and hooks ala Garbage, drop in the haunting post-punk of Siouxsie Sioux and the Banshees, a dash of Love and Rockets psychedelics, and polish the whole mix with angst-meets-curious inclinations inspired by The Cure's rhythmic furges. Something like that with a twist.

Alice Sweet Alice uses synth guitar, electric guitar effects, and piano to embellish the fundamentals of guitar, bass, and drums. Structurally, the songs have enough variety and interesting elements to hold up individually and as a body of work.

ASA’s strongest assets include bassist Scott Martinez and pianist Ali Kat, infusing vocals with a brooding, no-nonsense attitude and alluring nonchalance respectively. “These Old Shoes” demonstrated the band’s skill at layering droning psychedelic guitar over a slow grind drumbeat and bass. Her voice coolly takes control on the gentle comedown of “Jaded Addiction.”

“Synethesia” wriggles on a snake’s slithering belly of a bass line and atmospheric guitar effects. Compressed drumming and brief bouts of psychedelic guitar flesh out the sound. “Flight of Tonight” shimmers with a melodic piano line in distress and a quick beat. Ali Kat’s vocals sound crystalline and bright against the music’s dark romanticism.

Having lived through the Eighties as the soundtrack to college years, there’s a definite sense of familiarity to this music. Are the ghosts of Echo & The Bunnymen, Psychedelic Furs, and other acts slipping across the decades to leave traces in the music of now? Perhaps, yet Alice Sweet Alice conjures a contemporary sound as well. There’s melodic muscular rock balladry (read: Evanescence) on “It’s My Time.” The track “Legends of the Po” bears an apocalyptic weight (read: Nick Cave) as if the Western world has gone straight to hell.

Moloko and Ultraviolence is alternately sweeping and wound tight, unabashedly dramatic and consciously remote, sexy as a Twilight vampire and coolly reserved as a diamond smuggler. Alice Sweet Alice references musical antecedents, nodding to touchstones if you will; however, they refuse to dress up in the worn black leather, velvet lace, or loud plaid of yesteryear’s goths, punks, and New Wave outsiders. They’re looking through the electropostpunkadelic kaleidoscope backwards and forwards, twisting and tweaking enough to craft a familiar sound with some idiosyncratic flourishes.