Biscuits, Triscuits…

Sentimentalist Magazine
June 17, 2009, 10:34 pm
Filed under: Sentimentalist Magazine articles

I had a stint writing for Sentimentalist Magazine, a strictly online publication. I wrote some CD reviews and a live review of a show I went to at a Prada Party during Fashion Week. It was absurd.  I was told I didn’t have a plus one, so my friend leaves and I walk in to a giant bedazzled PRADA with huge pictures of skulls with clocks on their eyes and a skull disco ball. I am immediately offered a baby cheeseburger on a silver platter and a glass of champagne. I then see Mary Kate Olsen.  It was absolutely terrifying and I basically had to run back outside and call my friend.  I realized my wrist band was put on pretty shittily and could easily slide off so I gave it to my friend and told the bouncer mine fell off. It was pretty genius because I couldn’t have lasted there all alone. We saw this band The Hours perform and I think we were both in awe of how bad it was and yet how glamorous everything was at the same time. Granted for the published article I couldn’t be too negative but the party was extremely frightening, we were obviously the poorest people there and no one spoke to us. We were even asked to move while leaning against the wall so photographers could take pictures of prettier people against it. We managed to drink their free alcohol all night though so I’d say it wasn’t a terrible night. 

Anyway, here’s some clips from Sentimentalist Magazine:



Headlights – “Some Racing, Some Stopping”
This sophomore album comes as a slight surprise when one considers Headlights’ driving debut Kill Them With Kindness. The Champaign, Il., trio took a break from touring non-stop to record in a farmhouse outside their hometown, and create this innovative, 50’s American-pop infused masterpiece. “So Much For The Afternoon,” contains oldies-style drums that smack of dance-y potential but remain the backbone for chilling “oohs” and “aahs” and cosmic keys looming beneath. The cheeky drums in “Cherry Tulips” clink alongside bleating organs, rolling guitar, and breathy vocals, feeling reminiscent of Phil Spector, while “Catch Them All” sticks with the poignant guitar of their past album, but feels relaxed and less jam-packed with stylistic arrangements. Some Racing seems as though it had more time to marinate, staying true to their personal style of sweet harmonies and catchy beats while adding a softer more organic side that had been buried beneath. (Polyvinyl) –Lauren Piper
Article can be found here:–-“some-racing-some-stopping”/

The Hours Play in Style at PRADA, NYC, 9.08.07: Sentimentalist Magazine Review

The Hours live

On a recent Friday night at the PRADA boutique in Soho, British power-pop band The Hours debuted in the U.S. They played on a stage in front of New York’s most fashionable people, with lights flashing blue and yellow and a giant disco skull hanging above the audience. The show was a fitting wrap-up for the end of NYC’s Fashion Week. Not surprisingly, the hottest young models and photographers, and some celebs as well (Olsen twins anyone?), were dressed to the nines ready to get their rock on.


Upon entering the store, the first thing anyone noticed were the walls, decorated from top to bottom with the logo of the Hours: a skull with clocks for eyes. Little skulls dotted every facade in the store and little hors d’oeuvres were passed amongst the crowd, including bacon cheeseburgers and potato skins, which makes one wonder if they are favorite snacks of The Hours.

The band hit the stage around 10:30 and proceeded to serenade the audience with smooth piano rock songs with dancy drumbeats and thoughtful, well-blended vocal harmonies. Singer/guitarist Antony Genn’s vocals are full of emotion and his performance makes his lyrics stand out. The Hours released a new album, Narcissus Road (A&M Records), in February of 2007 and played plenty of its songs. They were upbeat and fun and everyone seemed to be having a great time in their fabulous outfits, rocking out to The Hours.
The band, made up of Antony Genn (who played with Pulp) and Martin Slattery (who toured with Black Grape), is clearly talented and the music definitely has something to offer, though it was difficult to sit still with lights flashing and silver walls gleaming, reflecting the beautiful faces of the audience.

After four or five songs, it was hard not to feel like the music was a little repetitive and many people did start to wander and mingle. Tonight, The Hours performed music which worked well as a background for fabulous party conversation, but at the end of the night, seeing the band live was not comparable to just listening to their melodic tunes at home.–Lauren Piper

Can be found here:



Opening with swaying strings, James Levy’s musical project YVEL twinkles with echoed vocals thrown into an orchestra. The space-y intentions feel as though Levy infused The Flaming Lips with ideals of Claude Debussy, which can be heard in “Golden Crown”. Levy’s vocals bend and fuse themselves into the music, becoming an apparition to the ethereal nature of his songs. While the strings sometimes feel a little redundant, the atmosphere Levy creates is calm and soothing, mixing classic with experimental. For example, “Burn Like Fire” lightly sprinkles guitar under smooth violins while his deep low vocals sweetly sing in an Andrew Bird meets Buddy Holly style. Using both heavily orchestrated tunes as well as folk guitar, YVEL listens like a Monet; from first take it sounds like a cohesive whole but as you peel away each layer, you hear a smattering of styles, instruments and arrangements. (Self-released) –Lauren Piper

Can be found here:–-“yvel”/


Mia Doi Todd – “Gea”


Mia Doi Todd believes in the powers of creative expression and song and uses all the energy in her body to expel her music and artistic beliefs. Her seventh full-length, Gea, smolders with creativity, seeming as though drawings and paintings exploded into musical notes floating like fiery ash in a clear blue sky. Todd’s passion and vision is more pointed and exact than her music, which chants and wanders slowly through layers of drones and bongo drums to get out what she wants to say. With hollow vocals reminiscent of Enya or Jefferson Airplane, these ten songs seem to expand for miles, particularly “River of Life/ The Yes Song,” which is almost eleven minutes of Todd’s drawn out lull and moaning harmonium. For one who likes to meditate, this album hits the spot but also reaches out to a broader audience through its experimentation with a variety of instruments. (City Zen Records)    –Lauren Piper

Can be found here:–-“gea”/