Donna Regina - Late (Karaoke Kalk)

Ms. John Soda - While Talking EP (Morr)

Ellen Allien - Berlinette (Bpitch Control)

The first is from decade-old duo (but not heard of much in the US) Donna Regina, consisting of couple Regina and Gunther Janssen. Their third album on Karaoke Kalk, Late, is a collection of 11 downbeat but catchy electronic pop songs. "Fountain of Love" is a great example, matching morose lyrics about lost love against a pseuodo-experimental backdrop—a wave of feedback and a jack-in-the-box-like off-rhythm piano melody. Regina's lyrics are simple but effective, singing in English as a second language but conveying strong emotions and feelings. Her voice is often soft and frail, but when the uptempo "You Better Believe" starts strutting, she's able to mold that soft, breathy sound into a sort of sassiness; her sarcasm and ribbing matching well with the resplendent but comparatively aggressive guitar hook. While the duo have some misses, like the barren "Bad Chemistry," causing the album to drag a little, it's still a quite pleasant and enjoyable pop album, sure to agree with fans of Lali Puna and Saint Etienne.

Also in the same vein as Lali Puna is Ms. John Soda, which is the duo of Stefanie Bohm (of Couch) and Micha Acher (ex-The Notwist). In fact, Ms. John Soda is so "in the same vein as Lali Puna," that I found myself unable to really get into the group's debut No P or D. Their new followup EP, While Talking, finds a more welcoming ear, especially on the awesome Kraut-pop leadoff track "No. One," with a chugging guitarline and nicely contrasting keyboard hook. The elements of No P or D that excited me the most were the ones that reminded me the most of Couch, and this track is full of those sorts of moments. "Sometimes Stop, Sometimes Go" is also very nice, although in a decidedly less rock and more pop fashion, as Stephanie actually sings, instead of her usual speaking/chanting style. The song drifts along, creating a soft, pillowy sound. The other three songs are more experimental and deconstructive, one being a remix by Subtle. The final of these three, "I Think It Would Work, Marilyn" is either noteworthy or truly terrible, depending on your frame of mind. Musically it is pleasant but inconsequential backdrop that sounds fine on its own. Lyrically, though, it is essentially Stephanie playing with (virtual) dolls of Elvis Presley and Marilyn Monroe, making up child-like conversations of what they might say to each other as they both plan their post-faked-death comebacks—either very arty in how it captures childlike imagination or very terrible in how simple and stupid those conversations are.

The final of these three German female-led bands is solo artist Ellen Allien, who fits into the glitch-pop mantra much more than the women mentioned above. Allien's second full length, Berlinette, is full of the fractured house music that people wowed by DFA and The Rapture will likely be even more wowed by. A lot of this record is well-executed but middling house music like the perfunctory disco beat of the Nanoloop-esque "Erdbeermund" or the drab assault of glitches in the Missy-esque "Push," creating a more danceable version of Schneider TM's Moist. However, in a few tracks Allien is able to transcend the glut of glitch and create a fresh, memorable sound. Top track, "Trash Scapes," is great, seemingly just as influenced by early Nine Inch Nails and later My Bloody Valentine as it is by the umpteen other glitch guys, as harsh guitar feedback creates both a wall of sound and a rhythm for Allien's driving chorus. "Alles Sehen" is also grand, but this time recalling the same new wave sounds as heard on The Postal Service's Give Up with its heavily distorted groove and bright, shiny crystal chandelier of keyboard tones.

jim steed 2004 jan 16