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NICKI JAINE
OF PIGEONS AND OTHER CURIOSITIES
Shaman
Oh boy, this is different, and the bio is realistic, which makes a nice change, alluding to the Roaring Twenties and Goth Cabaret, where comparisons to Dietrich and Nico are pretty accurate, except this is dark fun. In fact it's odd to think I reviewed an old Melinda Miel album only recently and said the kind of Torch singer who wasn't a diva was a very rare thing indeed, then along comes this in the post, after I asked Ego Likeness (they're friends) if they would ask her to send one. You usually find that artists with a certain sensitivity knows others of equal insight and adventurous spirit, and so this has proved to be. Nicki Jaine is very unusual indeed.
A joyfully wild piano is often key to the moods on these songs, which sounds like a pianist from the Silent Movie era has been dragged forward through time, brought up to speed on cult tv and comics, then let loose in the studio, suitably pissed. Great lolloping melodies fill the air as Nicki's voice, often about ten times as big as she is, booms out at us like a Victorian child-strangler you wouldn't want to mess with.
'Sound Of Girls' is a deceptive opener, introducing us to the romping music and deep rolling voice, and sure, you can think of stylists like Weill, Brecht or Brel, or what Ute Lemper might have sounded like is she had ever been devious? But…it's also like a seriously twisted, vengeful Sondheim. There is a weary sense of relationship failure, offset by arch lyrical defiance, often creating a central presence in her songs that is positively indomitable. Apart from when it doesn't, and that's what provides a slight problem, but we'll come to that.
'Pretty Faces' finds backing vocals moaning to emphasis the effects the piano causes with its staggered pauses, on top of the increasingly strident guitar and drums, all making a real impact, and then Jaine is seriously vamping it up over some hedonistic revelations in 'Should Have Known' where the piano teases us, as the vocals harden. 'Pigeon Named Crow' is a fine example of how vibrant it all is, because those musical ghosts have been liquefied into a post-modern cauldron, as she sings, “smile now, the flies are coming, and when they call you'll miss them.” As she does so, the ghost of Theda Bara is perched on one shoulder, making eyes at Louise Brooks on the other. (Both have resisted piercings.)
This works with the dramatic, mystery persona. It's when we hit 'Amsterdam' with the faded warmth, pretty violins and perceptive notes on a poor romance that we suddenly hit normality, which seems out of kilter, just as 'Animals Crawling' is a little vague lyrically, meaning the sense of character is also diluted. 'Octopi' then churns on some mighty big guitar gusts, with tinkling, twinkling music box notes and light snare, all suffocating happily behind a superb vocal performance. The repetition slightly drags it down, but you'll still be sitting there, thinking 'what the fuck is this?!!' which is half the fun.
'Disaster, You're Beautiful' is again less convincing, because when identified with being a loser it seems more histrionic than powerful, just as the musically becoming 'Untitled= is a mix of wonderfully artistic guitar and mournful cello, but rather ordinary lyrics. 'One More Show' closes in a weird way, because it's more about the music than about her, which is what we'd become used to, but these criticisms are tiny observations, as all songs have other points about them which make them enjoyable.
Ah, and I haven't mentioned 'Antarctica', have I? Almost the flipside of 'Amsterdam', with a far stronger personal version on hope or regret, when orchestral bells chime and the guitar kicks in with a monster riff this is bristling rock she ought to have a license for!
A remarkable record, of extraordinary music, by an immaculate singer!
* Make a note of these dates on the Black Tape For A Blue Girl tour where
Nicki will be supporting (as well as being part of BTFABG itself):
14th Sept . DN A Lounge, San Francisco
16th Sept - The Vogue, Seattle
18th Sept - Sabala.s Mt. Tabor, Portland
Trust me, you.ll want to boast to your friends that you were there.
Mark Bohn (drums) and Mike Stang (bass) http://www.hierosonic.com (brilliant website!)
Jarred Cannon (guitar) http://www.evensongmusic.com
Leslie Van Stelten (photography) http://www.leslievanstelten.com (stunning!)
Kyle Cassidy (photography) http://www.kylecassidy.com (even more stunning
- that's one of his up there)
mickmercer.com
August 2004