Rolling Teenpop 2006 Thread

HURRAH! Apparently Ashlee didn't write "Invisible." It's a cover of a song by veteran nonfamous band Jaded Era, which is streamed on their MySpace page.

From Jade Era's MySpace blog:

, Ashlee Simpson is Covering Our Song
Current mood: hopeful

Hey guys Jeff & Kira here. Ya, what you heard is true. Ashlee Simpson is re-releasing her "I AM ME" album, with our song "Invisible" as the next big single! It's actually pretty exciting to see something your band has been performing for years be put into full motion like that. This may or may not cause some controversy, especially with our long-term die hard fans, but rest assured this was a decision we all made to help Jaded Era get out there as much as possible, so others can love us as much as you! ;) Don't worry, we'll still be performing and selling our Invisible album and all that good stuff.

"Invisible" is a song that will always be near and dear to our hearts. It was recorded at such a crucial turning point for Jaded Era and is the cornerstone for this band and where we come from. There was always something special about it ever since Jeff tracked that little riff on a cassette when he was 17 and Kira wrote the lyrics on the palms of her hands during a lonely day away at college. The bridge that "Invisible" created between JE and all our fans on a local / regional level was so inspirational. Like Kira always said, everyone has felt completely invisible once in their lifetime, and sometimes it's just you against the world. We have been rocking and rolling with that attitude for almost 10 years now, and if it's one thing weve learned in this business being an independent artist is to take anything you can get. It wasn't an easy decision at first, but we feel it was the best thing to do at this time, especially because JE's sound has branched off into a whole new direction these past few years since we released Invisible in 2003, and there is so much more you haven't heard yet!

We are really flattered by how much faith everyone has in this song, including the honchos at Interscope / Geffen, JE fans and Ashlee fans. We really hope it does well and we appreciate Ashlee putting it out there. So keep your eyes and ears peeled this summer. You may be seeing it on MTV and hearing about it soon. Whether or not it sells like hotcakes doesnt really matter to us. The life you put into one of your own songs is getting a chance, and that is an amazing feeling.

In the meantime, we'll be doing some more shows in Ohio and in studio soon doing a demo for Geffen. Well keep you posted about the progress in the studio as soon as we sort things out!

See you at the big DVD/CD release show June 29th in Akron!

Rocknroll,
Jeff & Kira

So now it's a reasonably catchy song with hit potential and dull words that she didn't write!

Frank's mood = hopeful.

Hm...CBS (and I) need fact checkers.

"wouldn't be too many to count with a telescope?" Picky picky, und maybe she does not haff telescope? Maybe she vants YOURS? Or somebody's? Perhaps that is part of das point?

With a telescope there'd be even more to count!

But now I discover myself whistling the song totally against my conscious will. Fair and/or Simpson must've noticed this insinuatingness when they decided to cover it.

I prefer the other songs Jaded Era streams to "Invisible." At least, I prefer them as Jaded Era songs, their loud rock working better with Kira's over-emphatic rock babe voice. (All four Jaded Era myspace tracks, incl. "Invisible," are downloadable.) Ashlee's a much smarter singer. Wish she'd chosen a better song, but then this one could hit and revive her alb (so far has sold less than half as well as Autobiography), and the video - while not a new idea (she's boxing, girl power) - is more striking (and jabbing and punching) (sorry, my jokes are bad today) than her recent we-are-driving-fast-and-dancing-around-and-it-bothers-the-cops-and-we're-so-transgressive shoots.

set to show only 50 most recent posts, so sorry if this is old hat, but: Brandi or Brandy Carlisle, on Late Night With Conan recently, was quite good. Any thoughts/info?

Bad news from Fefe Dobson's Myspace...

As some of you know, or as some of you have heard - I am no longer with Island/defjam. I am starting a new journey into the very music industry that I have grown up so quickly in. I have been with Island for four years and it is now time for me to spread my wings and continue the search to utter and complete satisfaction. There will always be a place in my heart for that record company.
Because of all these changes Sunday Love is on hold, once again. I know that seems like such a bummer for many of you, but please look at it this way - when I DO get this album to all of you, it will be so right - so perfect. I always believe everything happens for a reason, and that change is a very good thing. If things always just stayed the same, then life woulld be so predictably boring.
This is such a wonderful thing for me to work with new people and get fresh ideas.
I will keep everyone in the loop with everything, and I will let you know when Sunday Love has a new release date.

A million kisses to you all,

fefe dobson.

New Stacie Orrico single! I (l) her insistence on making every track sound like R&B from five years previous. Her last album sounded like some 99 ish, this is strictly pseudo-soul summer of 01. Brilliant.

But Fefe loses 50 points for saying "spread my wings."

and not adding "come inside." I've been posting about Lio's ZE reissues on the Quick! What Are You Listening To Tonight!? (approx) thread. Would import it to here, but don't know how. (Other than copying it by hand, then to this.)

I pointed out over on the rolling U.S. charts thread that emo iw probably the teenpop-that-doesn't-call-itself-teenpop story of the year (not that I have a fucking clue when to call something emo or not, and I tend to dislike the bands I do call emo (but maybe that's because if I like them I don't call them emo)).

According to a MySpace poll (and such polls are definitive) I am equally goth and emo (or equally not goth or emo):

[GOTH]
[x] Red or black is one of your favorite colors.
[x] You have thought about death.
[ ] You wear chains.
[x] You like heavy metal.
[ ] You love/ like Hot Topic.
[ ] You have worn black lipstick.
[x] Your hair is dark.
[ ] You dislike preps.
[x] You're an atheist.
[ ] You have/want piercings in unusual places?
Total: 5

[SKATERBOARDER]
[ ] You can skateboard.
[ ] You wear plaid.
[ ] You love/like Converse
[x] You think you're different.
[ ] You hate MTV.
[ ] You have moshed
[ ] You have/have had/want blue, pink, red, purple, or green hair or hihglights
[x] You love skater girls/boys.
[ ] You dislike pink
[X] You hate rich kids sometimes
Total: 3

[EMO]
[x] You're depressed sometimes
[ ] You have black or red-rimmed glasses
[ ] You like Thursday
[ ] You comb your hair in front of your face.
[x] You cry easily
[ ] You like emo music
[ ] You hate being called emo
[x] You keep a journal/diary
[x] You have written a sad poem
[x] You have had a sad MySpace layout (well, it's merely a bad MySpace layout, but I'll count it)
Total: 5

iw = is

Serious question: how should Flyleaf be categorized; I mean other than by radio format ("active rock," "alternative," "Christian"): are they goth? emo? metal?

(The album is still hanging on in the top 100.)

So after months of impatiently trying on and off with an advance of a CD that I believe still hasn't come out yet, I've finally decided on my official position on the Jonas Brothers, which is as follows: I still like "Time of Me to Fly" on the *Aquamarine* soundtrack, thanks to the Katrina and the Waves beat and the REO title, but beyond that one song, I can't remotely make myself care about them. Basically, they sound like Hanson, only not as good. And I was never much of a Hanson fan beyond their first single anyway (though I did give their debut album a positive Rolling Stone review at the time).

Y'all knew it was coming...the question, to be answered in a two-part summer cliffhanger, is WHO PRODUCED SKYE SWEETNAM?

Answers to all the questions in your bulbous heads!

Hey Bubble Bee's and Bumblegums!

You're all probably wondering y I was in Sweden... not only is it a wonderful place but there's wonderful music men who make magic songs that turn into magnificent mega hits! And I was seeking their services like Dorthy on her way to the Wizard. I captured the Wizard and brought him back to Kansas ( LA) where we're finishing a song as I type!... k ... jkjk... sing!...hjakj GUITAR!.. ghsja

It's hella hot in Cali, summer has arrived my friends! Can you feel it? Protect your skin, SPF!

I hate to say it but this means the records pushed back again! Thanks to my spastic amounts of creativity surging unexspectedly. Haha! Not like you guys haven't found out yet! You always know what's going on before I do! So yes, Oct. 3rd is where we stand right now... so hold on!

LOVE YOU!!! oxox

Skye Sweetass

Are we sure that Skye isn't Metal Mike?Literary cross-influences, anyway (and/or all genius is one)

Is "hjakj" Swedish for "jk"?

Today on Brie Larson's MySpace page:

i need a talent.

an odd talent.

like sticking a noodle up your nose and pulling it out your mouth.
or riding a unicycle.

today i must find that gift.

and im maknig you help me.

I was going to suggest setting her farts on fire, but that's too much a boy thing.

Q: Is setting your farts on fire goth or is it emo?

On Jessica Simpson's new single "Public Affair" she's partying like it's 1982. Rather pleasing; she doesn't try to knock you out with her voice, just lets the sun and the breeze carry her along.

Also, you can be in her new video!

I'm doing about as well with this year's SheDaisy album as xhuxk is with the Jonas Bros. Where are the hooks, where's the passion, where's the ambition, where's the wordplay? It's got powerful enough playing, the guitars ringing out, strong pop-country voices, but what's there to care about? How did this woman (Kristyn Osborn) ever create "Lucky 4 Me"? How did this guy (John Shanks) ever create "Comin' Clean" and "Undiscovered"? You can't tell from this record. (Maybe I'll write more about it on the country thread, if I can find something to say.)

I enjoyed the subject line of this promotional email:

--------------

Subject: Jessica Simpson's Pubic Affair
Date: Mon, 26 Jun 2006 10:29:52 -0400
From: ???@sonybmg.com Add to Address Book Add Mobile Alert

Call me for a listen of the new single…
For Immediate Release June 26, 2006
JESSICA SIMPSON’S NEW MUSIC IS ‘A PUBLIC AFFAIR’
First Single Blasts Off Everywhere On June 27th; New Album Set For
August 29th
New York, NY—Superstar JESSICA SIMPSON is gearing up to release her fifth solo album A Public Affair on August 29th, 2006. Simpson boasts songwriting credits on nine out of the twelve slated tracks, produced by the most sought-after producers in the business: Lester Mendez, Jimmy Jam & Terry Lewis, Cory Rooney, Scott Storch and Stargate.
The festivities surrounding the Affair kick off on Tuesday, June 27th with the explosion of her first single, a dance-pop summer smash entitled “A Public Affair.” Reminiscent of a fun roller-skating jam, co-written by Jessica and Johnta Austin (Mariah Carey, Mary J. Blige) and produced by Lester Mendez, the anthem is already tearing up the airwaves and the internet. This week, Chuck Taylor of Billboard proclaimed, “Jessica Simpson opens a new chapter in her life ready to set the charts ablaze. This record is perfect!”

---

There was more, but what the heck...

Had heard a while back that Joe Simpson was talking to Luny Tunes, who produce a whole hunk of reggaeton. I'm disappointed they're not going to be on this, especially given the strange, insinuating clave rhythm that Jessica used on "These Boots Are Made for Walkin'." Lester Mendez has worked with Shakira a lot, but not generally on the stuff of hers I love most (though I do like "Ready for the Good Times," a good generic disco-pop track from Laundry Service, and "No," a cry of something-or-other from Oral Fixacion 1).

Curious to hear other people's opinions on "A Public Affair." Jessica's doing a restrained Madonna "Holiday" bit ("restrained Madonna 'Holiday'" might seem like a contradiction in terms, but this works: "Holiday"'s sweet haze, though without the emotional reach of Madonna's early years).

Are any of you going to try and be in Jessica's video?

Oh, and I could definitely use a second opinion on SHeDAISY's Fortuneteller's Melody. I've found a few things to interest me, such as a savvy turnaround in the meaning of the title phrase of "She Gets What I Deserve": "she" is her boyfriend's husband, first time you hear the phrase it means "she gets the man and the family I deserve," the last time it means "she gets the pain and suffering I deserve." (But that's a conventional enough country attitude; no surprise, really.) And "Kickin' In" does kick bright and hard whenever it comes on. But by the end of the track I'm still "so what" with it, as I am with the album.

The thing is, with any new Shanks product I have insanely high expectations, but unless he's working with one of the teenies I also get secret satisfaction from believing its mediocre, since I can then say, "See, without Ashlee and Lindsay and Hilary he can't do it. Their talents are crucial to the enterprise."

By the way, Sheryl Crow is a co-writer on a couple of the SHeDAISY tracks, again with a so-what result.

(Apologies if this is a double post; I've been getting poxy fuled all over.)

Wicked little double dose of dad hate discovered by Dave Bedbug: Jena Kraus's "Both Dads Are Dead Dogs," which Kraus lets you download from her MySpace page. She puts on a little girl voice and then double-tracks herself as another little girl, the two girls shadowing each other, going from little girl whimpers to sharp screams. Blazing fury made out of castoffs and scraps. Dad gets savaged and then stepdad gets his own verse and he gets it even worse.

(Not teenpop - among other things, Kraus would be too old for the category (don't know how old, but she sang backup on the second Blind Melon album) - but still the same basic family-drama confessional shoutback that you're getting from the teen angstpoppers.)

"And when you reverse dog what does it spell?/She's gonna get you, you're gonna rot in hell."

Wow I wasn't listening carefully enough, didn't catch any of it on a quick listen. (Usually if they friend me first, they count as honorary teenpop in my book.)

Marit Larsen does "Don't Say You Love Me" solo over on Youtube.

Not that anyone has noticed, but my SHeDAISY posts are chock full of errors: "Lucky 4 Me" instead of "Lucky 4 You," "Comin' Clean" instead of "Come Clean," and - here's the topper - "she is her boyfriend's husband." Now that would have been interesting. But "she" is merely her boyfriend's wife.

vaguely country-leaning (i.e., her cdbaby page lists miranda lambert as one reference point, though hardly the only one) teenpop singer-songwriter music from an asian-american girl (album title: *american girl*) who apparently grew up in oklahoma and the phillipines and is now based in l.a. (i thought hawaii figured in there somewhere too, though i'm not sure how i got the idea -- oh wait, i guess it's the hawaii t-shirt she wears in the CD booklet); frankly, most of the CD isn't hitting me (her voice is smaller than i wish, for one thing), though i'd be curious to hear what the more shemo-tolerant (/vanessa carlton tolerant/michelle branch tolerant) of y'all think. closest thing to a great song seems to be "i'm in the way," about being drawn to bad boys (and it's got a really familiar pop melody i can't place); "2nd street" has the most r&b in it; "405" seems okay too:

http://cdbaby.com/cd/mylin

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=70795638

Actually, her cdbaby page says "Sheryl Crow and The Wreckers meets Miranda Lambert and Keith Urban," which makes her at least 75 percent pop-country supposedly, but she only sounds maybe 20 percent pop-country if that. I don't think I hear much Miranda, Sheryl, or Keith in her sound. She sounds how I would IMAGINE the Wreckers (who I haven't heard) might, though. Her look is maybe a much softer Pink.

I posted this over on Live Journal, so might as well post it here too: my Top Ten for first half of 2006, not too much thought given to either the order or whom to include/exclude. My guess is that numbers 1 and 2 fend off all comers for the rest of the year but that anyone else could be superseded come Pazz & Jop day. I go an extra two deep 'cause one's eligibility is questionable because of my not knowing what year it was released, and another because I don't know if it was a single. Those two are in brackets, and I would appreciate any info that you could supply. (Surely for foreign and alien U.S. nonhits, a release in 2005 would be sufficient to qualify for my P&J ballot).

1. Veronicas "4ever"
2. Aly & AJ "Rush"
[3. Mahshar "Vase Chi"]
4. Lillix "Sweet Temptation"
5. Lily Allen "LDN"
6. Cansei de Ser Sexy "Let's Make Love and Listen Death from Above"
[7. Girl Authority "Hollaback Girl"]
8. Wir Sind Helden "Von Heir an Blind"
9. Snook "Snook Svett Och Tarar"
10. Beyoncé f. Slim Thug "Check On It"
11. Young Jeezy "Trap Star"
12. Marion Raven "End of Me"

also could have made the list if my mood had been different:
Jena Kraus "Both Dads R Dead Dogs"
[DJ BC f. Phillip Glass and Dizzee Rascal "Stand Up and Dance"]
Marit Larsen "Don't Change Me" ("Only a Fool" would have made the top ten if it had been a single)
t.A.T.u. "Friend or Foe" ("Cosmos (Outer Space)" would have made the top 10 if it had been a single)
Dixie Chicks "Not Ready to Make Nice"
[Light Beat "Nhary Liel"]
Bebe "Malo"
Flyleaf "I'm So Sick"
Flyleaf "Breathe Today"
Jessica Simpson "A Public Affair"
Marie Serneholt "That's the Way My Heart Goes"
Amy Diamond "What's In It For Me?"
Paris Hilton "Stars Are Blind"
Morningwood "Nth Degree"

Obviously I've been neglecting hip-hop and country more than usual, and metal and rock and indie and adult contemporary just about as much as usual.

Best thing I have ever seen: Amy Diamond, when VERY young, lip-synching to "Heaven Is A Place On Earth", possibly on some Swedish show where kids pretend to be celebrities. She makes a great Belinda!

(Frank, "4ever" and "What's In It For Me" are probably 2005. "End Of Me" was a single in some Asian countries in 05, but was released in Norway in 06 and as far as I'm concerned, is the BEST Max Martin-girl-rock single of them all. "Since U Been Gone" pales beside it)

Dude, no Oh No Ono?

x-post

Oh No Ono! Their myspace kills! They are impossible to search for on emule!

"4ever" was 2006 in the U.S., and anyway we can use "made its impact in 2006" as a criterion. (I think "Since U Been Gone" was actually late 2004, but lived most of its pop-dominating life in 2005. "Rush" was 2005 but its video and its - too small - impact outside Radio Disney was in 2006. And see my criteria for including alien U.S. nonhits. But "What's In It For Me" won't make my P&J ballot anyway.) I'm still processing On No Ono. Is "Am I Right?" this year? Its organ reminds me of '60s garage by the likes of the Knickerbockers, and it's a rock band all right, but it feels techno for reasons that I haven't figured out.

I should have included a couple more Pop World Cup tracks on the long list (though I have no clue if they're within the last couple of years): Lida's "Bito Nemikhandam" and Ovo's "Dormir."

I seem to be one of the few here who's not feeling Nelly F. or Xtina. Their singles this year feel cold. I'm listening a lot to the Pack's "Vans" and Chow Nasty's "Ungawa," both of which are the sort of catchy numbers that might make my P&J or might fade to total insignificance.

Ack, I can't type, or do grammar. Change a "was" to a "were" and an "On" to an "Oh."

"Emo," defined for me last week by a teenager: "Punk for pussies."

Neither "Vans" nor "Ungawa" are particularly eligible for this thread, but the Pack are teens themselves, Too $hort protégés, ages 16-18. "Vans" is streamed here and "Ungawa" (don't know the age of the Chow Nasties, but assume in their twenties) is streamed and downloadable on their MySpace page. "Vans" is minimalist hyphy-snap-bubblecrunk footware ridiculousness. I don't know much about the sociology of shoes, but from the comments over on that link, and the lyrics, I gather that they're associated with whiteboy sk8ers and punk rock, which makes it socially significant that Bay Area ghetto blacks are talking them up. "Ungawa" is snotty, sleazy minstrel punk; the guy's voice is as bad as Jon Spencer's or Tim Vulgar's, but he matches or beats their sense of humor. If the song catches on it could become an Animal House klassic.

I think I like "Promiscuous Girl" better than "4 Ever" (which I still categorize as "a decent Donnas song with better harmonies") and "Rush" (which climbs up my singles list every time I go back and listen to it again, then climbs back down a day or two later when I once again completely forget what the heck it sounds like -- and nah, I still hear no Fairport Convention in it, to be honest.) I do like them both way more than "Maneater" though; still can't fathom why that one's even a single, though I guess being the second-best cut on a consistently okay but never more than just okay album might have something to do with it. The CSS song, which I will believe is actually called "Let's Make Love and Listen TO Death from Above" until the day I die, sort of annoys me now that I heard their album (which I reviewed for Spin), which reminded way more of Peaches than of, I dunno, Stereo Total or whoever (and it's not really like I need yet another Stereo Total album anyway, I don't think.) Still haven't heard the current Christina hit, at least not consciously; suppose I should do a youtube search one of these days (not AVOIDING it; just haven't gotten around to it), but after all the wolf-crying over her who-cares "Beautiful" a couple years ago, I can't say I'm expecting much, not when I haven't liked any of her hits very much since "Genie in a Bottle." But who knows; maybe I'll be surprised.

Xtina song is a good track, in the way that Amerie's "1 Thing" is a good track, this one with horns tumbling around on top and JB-type guitar scrapes squirreling in underneath. But even more than on "1 Thing," the singing on "Ain't No Other Man" has no feeling, is down to zero, just loud soul belting that's supposed to be passionate and forceful but is merely loud. People - including me, at times - have complained about Celine Dion going for technical bravura rather than actual expression, but I'll tell you, anything Celine does has way more character than the singing on this one. Which doesn't mean this is bad mind you. I can imagine being thrilled on the dance floor with those horns bursting in the air above me.

I found a Stacey Q song - "Never Stop" - that I don't remember hearing before streamed over on CDBaby. It's the tenth track, mislabeled as Stacey Q's cover of Sam Phillips' "Holding on to the Earth" (I'd love to hear Stacey Q's cover of "Holding on to the Earth"; in fact I'd love to hear Sam Phillips' version, which I've only listened to in the snippet streamed on allmusic). "Never Stop" is great, the way sweet, breathy-voiced Stacey manages to get a zing in her tone; she breaks "wild fire" into four jagged syllables.

(Not that she's ever been teenpop. This just is the thread where I felt like linking her.)

Lillix video for "Sweet Temptation" dresses them in Sixties style - that is, something that was the fashion for about 10 minutes in the Sixties at about the time of "These Boots Are Made for Walkin'", a cool look that subsequently evaporated when the freaks got all shaggy. But the look actually isn't inappropriate, since at its greatest moment, in 1966, the Sixties kids looked cool and sounded hot. Of course looking Sixties actually means looking early Eighties new wave, like the Go-Gos or Bangles. And "Sweet Temptation" sounds very '00s passionate.

Got an advance of the Lillix album; it will take a while for me to to know what I think of it, since most of it's a lot more girl-poetry sounding (not the words, but the music) than "Sweet Temptation" - but played loud, like Meg & Dia.

Did any of you take a listen to "Vans" or "Ungawa"? I'd like to know what you think. I'd like to know what I think. I could end up anywhere with those songs. "Vans" is almost as minimal as "Wait" and "Play," but it manages to be way more fun than those two, probably because it's not pretending to be seductive.

According to Wikipedia, emo kids wear Converse or Vans.

Got my Vans on but they look like mopers.

I just checked those out -- on a first listen 'Vans' sounds better to me than 'Ungawa', in fact 'Vans' sounds pretty damn great period. But then I just like music with beeps in. I'm impressed how committed to singing about sneakers they seem to be. But I really like 'Maneater' so what would I know (it's the pun on 'make you spend hard' in the chorus that does it for me!)... although I haven't found a way into 'Ain't No Other Man' at all.

And slow on the uptake maybe, but I'm enjoying the Damone myspace tracks! Lots of sonic steals from two of my favourite bands (ACDC, Maiden) but a more teenpop sensibility. Shame the only band that has managed to chart in the UK in this area was The Darkness -- the cool police ((c) Marcello) at the BBC only like hard rock with inverted commas round it.

Proof that The Times takes its cues from the rolling teenpop thread.

(By the way, there's now emo grass, which saves you the bother of having to mow it, since it cuts itself.)

Jojo has a new single. It's called Too Little Too Late and sounds a lot like Leave (Get Out) but I like it. Download here.

Also, the new Justin Timberlake (presumably he counts as teen-pop although no longer a teenager) is here. Not so sure about this one but will probably buy the album anyway since I was a big *NSync fan (when the BSBs didn't have an album out anyway).

My feeling about JoJo's "Too Little Too Late" is that it follows the "Leave (Get Out)" musical plot in some way that I can't put my finger on (maybe it's the humming at the intro, and the similar melody at the start, and the way the chorus lifts in exactly the same way as "Leave"), but that what it puts into the plot is different enough that the two songs aren't directly comparable, fortunately. My first reaction was to be disappointed in "Too Little Too Late" for lacking the intensity and release of "Leave"'s great chorus; there's just no way to repeat/compete the first achievement. But then on second and third and fourth listen to it's the prettiness of "Too Little Too Late"'s chorus. So this is similar to the case of "Oops" in comparison to "...Baby One More Time"; after a few plays the later song takes on its own identity. I still emphatically prefer "Leave," but that's because in a straight-up battle between intensity and beauty, I'll take intensity.

I like the Jojo song...seems fuller and prettier than "Leave," which doesn't make it better, but different enough not to feel like a copy (despite that guitar line, which is close). It sounds too heavily processed in the chorus, though, she's got a great voice and it sounds filtered and artificial. Justin song is weak. For some reason I could imagine Black Eyed Peas doing something with it, but Justin's voice is pretty much wasted. Not very sexy, either, he sounds like a dork!

This identical twin thing is blowing up as big as emo. Sammy & Sasha are a pair of 14-year-old blonde bombshells from Chi-town who like the music of Britney Spears and Norah Jones and who hooked up with local producers Vince Lawrence and Josie Aiello for their demo (at least two of the four streamed MySpace songs - "Free" and "The Call" - are by Aiello and Ashley Ingram, and "Free" was on Aiello's own album back in 2000). "Let me introduce myself, I hope you relate to what I feel/I cannot dilute myself, I cannot be anything but real." Unfortunately, this claim to freedom ("I'm free to be anything, to be anything I feel, yeah") is delivered without irony. But fortunately it has laughter, and sauciness and arrogance in the laughter, and even more fortunately it's message of emotional freedom is contradicted by their best song, "Fine," which is a hard-guitar slasher with an Alanis snarl and woman-scorned savagery: "How could you leave me hangin' like some old forgotten sweater/And still be fine/You'll always be fine/About everything." In fact, it was so much like Alanis - Alanis at her angry best - I thought it might be an Alanis cover, but a quick Web search didn't turn up anyone's having done this song previously. "Strange Butterflies" has Hope Partlow's freshness and some M2M earnestness, though it's not as good as that implies. There are also YouTube home videos only one of which I had the patience to load; given their choice they might go too much for jazz slush, but one hopes that the market will push them to sing anger and frustration. Hardship becomes them.

(They've also got another MySpace page from when they were marketing themselves as the Nelson Twins, and a Website where you can download among other things a clip of their strangely bright cover of the Everly Bros. "All I Gotta Do Is Dream.")