NEWS// Little Dragon: Little Man (Live) Video

Serious credit to the guys over at Yours Truly for shooting this video. It's interesting to watch Little Dragon perform and all the little 'moves' they come out with while doing so. I reviewed their latest lp, 'Ritual Union' a few weeks ago, and thoroughly enjoyed it, so this was bound to be a treat. The chat at the start feels a little awkward, but as soon as they start playing that melts away into the brilliant electronic groove that is 'Little Man'. /via/

Little Dragon: Ritual Union

     If you'll care to remember back to my review of this band's debut album, you'll see that I enjoyed it immensely. I'm not going to go into the same amount of detail regarding these guy's background, but you'll find they've had a lot of publicity of late. Vocalist Yukimi Nagano collaborated with David Sitek (of TV on the Radio) for his solo effort, and all four members helped on Gorillaz record 'Plastic Beach'. Once again however, Swedish pop sensation Little Dragon have been revealed as a band confident in their own ability. 'Ritual Union' is their third full-length effort, and has changed up for the second time. From 'Machine Dreams' sonic shift into a more accessible realm, and one that succeeded their anonymous debut brilliantly, 'Ritual Union' surprised me. I was half expecting Little Dragon to play off that second lp and grow bigger and simpler, a move that would have probably attracted a fair few fans. Their dropping from independent record label Peacefrog certainly suggested such a thing, but then what did they do? They had to come right around and sucker punch me with a pillow. Instead of turning up the gas, they lower the heat to an enticing simmer. This isn't an elaborate effort. It's a summer evening meal, lit by candles and the setting sun. It combines both the dark and thoughtful lyricism of 'Little Dragon' with the more rhythm focused sound displayed on 'Machine Dreams'.

     A few qualms then. For me, this feels less instantaneous when compared to previous releases. After a while I accepted this though, but in looking for a more sensual and brooding sound, I wanted some tracks to run for longer. 'When I Go Out' is an absolute beauty, running for six minutes like the soundtrack to a short film. Others, while not immediately 'short', feel a little cut off when you're listening through the whole affair without pause. That being said, I most definitely found that sensual element. Yukumi’s vocals draw you in and weave their way through every song, luring you into a sense of uninterrupted relaxation. Rather than drawing you to a sunny field though, you're led into a moody, smoke-filled part of town. Dark moments intersect the lighters ones here, but it works. They flow together really well, and in the end, I honesty forgot those little quibbles.
      Kicking things off with the title track, 'Ritual Union', a repeated groove lays out the structure for the rest of the album. Through the backbone of every song here runs a simple sonic foundation, upon which melodies and sounds are layered. Not wanting to become repetitive however, these initially straight lines swirl and curl and progress along with the music. It's truly fascinating to listen to. A tinkling keyboard leads into the second number 'Little Man'. A quirky upbeat rhythm is highlighted by short catchy notes in a manner almost chiptune in its delivery. Once again, the vocals aren't forced, but carry a level of calm and subtle feeling that's hard not to love. The intriguing little 'la la la's of 'Brush The Heat' flit above a high pitched whine which deepens to introduce 'Shuffle A Dream'. One of the more accessible and catchy choruses on the album, the layered vocals work to add variety. 'Please Turn' marks the half way mark with it's startling booming notes and oppressive buzzes, but really, every song here is worthy of note.
     Other outstanding sections to 'Ritual Union' include 'Precious' and its organic drums. Said glitchy drum beat is jumped upon by higher vocals that somehow manage to feel decidedly darker. Effects-wide, whizzing noises and vibrating drones make this one of the more experimental tracks, in my eyes at least. 'Summertearz' feels barren, but the windy quietness at the beginning is soon infiltrated by playful humming and a simple drum pattern. Harmonious vocals come across as tribal as well, but this is played off extremely easily, and your ears have no trouble wandering around the noises. The finisher, 'Seconds' wallows in the swamp of nostalgia, which is an element attributed heavily to the reverb on the singing. The backing track is a quieter one, and the vocals float above it's repeated rhythm. It's a peaceful dream after a day filled with wondrous sights and sounds. Although not the strongest and boldest album I was expecting, this effort works just as well. Instead of progressing off the second record, Little Dragon tone things back down. This is relaxing electronic pop at its very best, in an album I whole-heartily recommend.

'Shuffle A Dream'

Little Dragon: Little Dragon

     First off, shout-out to Jacob for requesting this review! Swedish group Little Dragon are releasing a third record this month, so I'm eager to review the album that started it all off. The lead singer of this electronic band, Yukimi Nagano is for me, surprisingly known, having worked with Swedish jazz outfit Koop, their 2001 lp 'Waltz for Koop' a fairly enjoyable one. The band also contributed to the popular Gorillaz effort 'Plastic Beach', with Nagano lending her vocals and song-writing skills to two of the sixteen tracks. The vocals on Little Dragon's self titled debut however, manage to merge the jazz sensibilities of her time with Koop with her self proclaimed "affinity for R&B". Her voice is incredibly soulful, flowing around the lyrics in a unique style, sensual and yet alluringly confident. Having heard the band's second record, 'Machine Dreams' in revision for this review, I find that in almost all respects, a better album. Having said that, this little twelve-track beauty is stunning in it's simplicity, lacking in layered sound and the production of the band's 2009 album, but still managing to retain a certain soothing charm. I'm definitely going to try and get a review of 'Machine Dreams' put out sometime in the near future, if possible.

     The opening track, 'Twice' is most definitely the best here. It's haunting piano melody carries the heartfelt vocals which in themselves take influence from progressive ballads. Jazz and pop elements also make their way into the music, shying away from the limelight but constantly supporting the sound throughout. Like I said before, the style from Little Dragon is very much a sparse one, minimalistic in it's construction but managing to refrain from that dangerously close pit, filled with the boring and bland attributes of similar groups. They keep this very plain feel in terms of instrumentation and production, yet they create such emotion sonically that it simply compels you to listen again and again.

     From the distinguishing bass line of 'Twice', Nagano leads you into the more upbeat and experimental 'Turn Left', filled with the electronic beats and quietly subtle dance elements that have come to be eponymous with the musical characteristics of Little Dragon. The progressive soul element to the record comes into play on the third track 'No Love', a thoughtful walk down the New Orleans promenade, grooving along on a lonely autumn afternoon. This seeps into the next two tracks, with 'Recommendation' shining with a few vocal harmonies and 'Constant Suprises' mellow in it's loose and reassuring warmth.

     'Forever' is fun in it's backing beat. 'After The Rain' is one of my favourite tracks though, with the vocals getting louder and slightly more confident in their execution. There are a few smile-coaxing 'woop's that jump and skip along with the jazz infused high-hat beat. The production isn't as good as 'Machine Dreams', but this gives the whole record a pretty self-recorded feel, soft and comforting in it's nostalgic, 80's atmosphere. 'Place To Belong' does bring a colder, moodier bass to the table, but overall, the previous statement goes. 'Stormy Weather' is a drizzly beach, a sight split into sections of light and shade, the sun painting a faded rainbow on the sky, overlooking a hopelessly grey world.

     'Test' is Little Dragon's more dance-like track, and 'Wink' is a trippy song highlighted by the hand-clap beat and vocal experimentation. There is also a lovable oriental feel to the ending, with most of the band mates contributing to the deliberately laughable and silly finish. The last track 'Scribbled Paper' feels bigger than the rest, with it's grand backing melody dusted in delicate drum beats at the start. This leads into another soothing and calm six minutes, making it not only the longest song, but one which is so easy to fall into and get lost within. Little Dragon are experts in this field, creating ambient surroundings and nostalgic atmospheres that run carefree throughout this charming little record. For something captivating and simplistic, like all the finest things in life, I have no problem recommending Little Dragon's self-titled debut. Phenomenally brilliant.