Audio By Carbonatix
Critics and fans went ape-poo over Imogen Heap‘s vocoder-drenched 2004 single “Hide and Seek,” a melancholy song that spoke more of mopey bedroom recording than big-budget knob-fiddling, though it used its fair share of technology. “Hide and Seek” was lauded for good reason: The tune, with its take-your-time tempo and a capella-with-a-twist vocals, reminded us that simple is often stunning and that modern pop music’s hybridization can point to the future as well as the past. Plus, you know, it was on The O.C. “Hide and Seek” may have put Heap on the national radar, but it’s her updated Kate Bush stylings that have made her more than a blip. Heap’s oeuvre synthesizes glitchy, sparse computerized sounds with a voice that is somehow simultaneously robotic and soulful. Her music is odd, sharp and transfixing. Take Heap’s latest single, “Headlock” (from the album of the same name), which combines a computerized music-box tune, plucky strings, symphonic elements and Heap’s trauma-rock voice before suddenly busting into an almost disco-fied chorus. It’s a fine blend of generic electronica and genuine post-post-modernity, and it should be interesting pinging and ponging off the rafters of SMU’s McFarlin Auditorium on Friday. Tickets are $25. Visit ticketmaster.com or call 214-373-8000.
Fri., Nov. 24
Will you step up to support Dallas Observer this year?
We’re aiming to raise $30,000 by December 31, so we can continue covering what matters most to you. If the Dallas Observer matters to you, please take action and contribute today, so when news happens, our reporters can be there.
