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Reviews for Burton L.'s "rock" album, Spy Life, 2004 Catchy glitch-rock electronica hybrid that's definitely off-the-beaten path. I had the toy featured on "Summer Camp." - ADD REVIEWS "Spy Life" can be taken two ways, either as "living the spy life" or "as I spy life." Burton L. comments on what he sees and experiences, from love to beauty to fear. Though this is mostly sample 'n' synth, downtempo, soulful DJ music, it has a warmth rarely associated with that kind of thing. Even when Burton gets kinky, such as using a twisted, modulated backing vocal sample over and over in such a way that it becomes the hook of a song, he manages to build the track in such a way that it doesn't annoy the listener or distract from the emotion of the song. He brings in living, breathing trumpet and guitar players for a few tracks, and they build a perfect bridge between the sampled music and Burton L.'s vocals, pulling everything together. This guy is two, maybe three cuts above the average DJ making records today, and discerning downtempo fans owe it to themselves to check him out. Singer/songwriter, or DJ? Burton L. is a bit of each. His songs have the sensitive feel of neo-folk. Yet Burton knows his way around a studio, adding a number of electronic effects to this CD's thirteen tracks. Either way, this is a great downtempo work. The first cut "Fuel for Trees" is under a minute long. It sounds like a spy movie sound track, with a similarity to "You Only Live Twice." "Groggy" switches between sounding like a Ben Folds Five cut (except the repeated line, "They can all suck my ---") and an electronic one with Burton's voice run through a device that makes it sound remote. Burton comes up with lovely melodies. "Need," "Beautiful Sunshine Eyes," and "Spy Life" are the closest to conventional sounding love songs, with Burton's voice backed only by guitar (mostly acoustic) and programmed beats. There is a nice trombone sample in the middle of "Need." "It's So Easy (To Love You)" has Burton sing-songing above programmed keyboard and drum beats, with somewhat cynical lyrics, though: "...she had a beautiful bed/sex - it's all we had." 'Planet Kid" is more offbeat, with a distorted voice sample as part of the backup at first, and later Burton overtracks his voice for a somewhat off- key effect. "Soft to a Dead Man" uses a similar effect, switching between speaking and singing parts. "Maze" is one of the best cuts. Backed only by piano, acoustic guitar, and beats, Burton sings of existential angst without making the lyrics overly complex. The mysterious "Dark Liver" adds sci-fi drama sound bytes and a bit of scat singing. "Summer Camp" ends the CD on a quirky note, with Burton making vacation sound scary over minimal piano and beats. I highly recommend this CD, both for the quality of the songs and its enticing mixture of dance, lounge, and pop. - FM SOUND Listening to “Spy Life” you can hear that this guy is influenced by Moby and the likes, but where Moby used to be rock and now is electronic, Burton L likes to combine both sides of the fence at once. Now, I am a big Moby fan so obviously it’s going to be hard for someone like Burton L to come along and just all of a sudden be overshadowing a genius like Moby and, well, he doesn’t really overshadow him either – and I am sure he's not meaning to either - but the fact of the matter is that Burton L is one of the few electronic artists of this kind that has gotten me this excited since Moby released “Play” in 1999. Just listen to two of the most brilliant tracks on here (“It’s So Easy (To Love You)” and “Need”) and you’ll be hooked for life. If those were Moby-singles they’d be gaining themselves number one chart positions in no time. Spy Life is a compilation of edgy originality, but in a world of comparisons, I can't help but reminded of the soul-wrenching sounds of Placebo. In this unity of electro meets indie rock, Burton L., fellow club DJ mixes acoustic guitar, horns, and strings into a non-stop assemblage. Hip-hop beats work through emotional lyrics that will have you wondering when you can catch this guy live. Another new artist from the Omega Point stable, who has a double career as club DJ and rock musician. The album starts surprisingly with a nostalgic string sound, but it does not long before some gritty synths join the music in the second track, as well as grim half-spoken vocals over a triphoppy rhythm. Strangily enough this is alternated by a poppy piano passage and clear singing which could have been performed by a boyband (except for the poetic gangstarap lyrics: 'they can all suck my dick...', ). This varied menu sets the tone for the rest of the album. Burton L. puts rock, house, pop, electro and hip-hop in the blender, without caring much for genre conventions. Not so strange that artists like Beck and Moby are named in the bio, though I think that Burton L. has a much higher 'kitsch' factor (and more humour). . - FUNPROX It's the story of a spy indeed, or at least a musical double agent. Chicago-based Burton L. has done time in both the dance club circuit and lo-fi indie rock circles, meticulously honing his skills. He's as apt at spinning twelve-inches and programming beats on the laptop as he is at strumming the guitar and positioning himself in front of the microphone, and he combines the two genres in a distinctive electro-folk (folktronica?) sound. While Beck is an easy reference point, he's a poor comparison. Burton is far more engaged in the electronic scene than the Cali-slacker is, and he demonstrates his depth with a robust assortment of freaky beats and twisted effects. I'll admit that it's a scary affair when you first hear Burton's acoustic guitar glide above the dance club beats, but after a few spins, it works out quite well. Following a tacky and thankfully short symphonic introduction entitled "Fuel For Trees", "Groggy" picks up the pace, blasting out an abusive drum beat that crackles with distortion and pops with a deep thud. Burton alternates between this harsh beat and a mild-mannered piano and vocal combo, quickly demonstrating his songwriting capabilities in each genre. It's easy to get caught up in the beat, but if you listen carefully, you'll hear Burton toying with several subtle sounds, layering them just above the rhythm. There's even a smattering of attitude here: finishing off the tune, Burton sings, "They can now suck my di-hick", and a beautiful piano line completes his foul-mouthed sentence. Aphex Twin's influence rears its head on "Planet Kid". A wavering vocal sample kicks it off in true fucked-up fashion, and Burton adds a funky beat and his peculiar vocals, creating one hell of a groove. But don't get too comfortable -- Burton strips it all down to a simple piano and soulful vocals midway through. I'm also intrigued by "Dark Liver"'s sinister ambience. A pointed bassline bounces over percussive-heavy beats as Burton makes like an amateur Motown singer, discussing the "ugly in your face". It's crafty and clever without ever being overtly offensive. Burton keeps his personal digs under the radar, but there's no questioning the fact that he's pissed off as he layers soothing beats with slanderous statements. While I'm more partial to Burton's electronic offerings, there's something to be said for his guitar-oriented songwriting. Unlike many musicians, Burton isn't afraid of stripping his songs down to the bare minimum ingredients. You'll get mighty personal with him in "Beautiful Sunshine Eyes" as he sings dreamily over an effected acoustic guitar and minimalist drum track. It takes a few listens to fully understand, but "Sunshine" is a refreshing breather from the breakbeats that appear elsewhere on the record. Burton scores his underground alt-rock hit with "Need". If you didn't know better, you'd think that Lou Barlow had made a guest appearance; the vocals play off the heavily strummed guitar with tender sincerity. A low-key drum track wraps it all up, with a tasty trombone solo adding some unexpected brass backing. As Spy Life progresses, Burton seems to become more comfortable in his hybrid element. The electronic beats become less of a focal point, replaced by Burton's catchy vocals and indie-rock sensibilities. Approach Spy Life with an open mind and you'll come out with some hip, funky tunes that don't sound like much else in your collection. It's a welcome change from rock's doldrums, but never steps too far away from the genre's ideals. With "Spy Life", our friends at Omega Point Records finally have a hit on their hands. Successfully coupling songwriting and electro, Burton L has produced what would have been the best Beck album since odelay, an album of enduring freshness and pop appeal. When he's not focusing his binoculars on some lovely woman, Burton L has a far-reaching musical vision that has allowed him to create such wonders as"Need", "Beautiful Sunshine Eyes" (a song of incredible beauty), and "Spy Life" (a relentless combination of acoustic and electro)... three small highlights that, good as they are, only begin to reveal this magnetic, lush album. "Soft to A Dead Man" would be in constant radio rotation right now if Burton L 's name were Beck, and "Can't Breathe" would make already be blaring from jukeboxes in thousands of pubs, if Burton's name were Moby. But Burton L is Burton L, and we're betting he will quickly become a gold standard, an artist to whom others will one day be compared. Spylife will be near the top of our year-end lists, and certainly on yours... if you're wise enough to give it a listen. - A DECOUVRIR ABSOLUMENT (translated from French) Interesting may be the word which describes best what Burton L. is doing on his debut. He acts both as Club DJ and (as the record company calls it) indie rocker and one can hear that on this album. The most outstanding element on it is triphop. He mixes that with a whiff of pop and unusual additional instruments like strings and even horns which never seem to be out of place. Within all that tricky compositions the melody lines and rhythms always stay clear enough so you can dance to it. And dancing is a very good catchword because this seems to be the sense of this record. Nothing to sit on your bottom and listen to but stand up and dance. Enjoy! - ENOUGH FANZINE Ah the troubled life of the spy—it’s one that could be so under-appreciated you could be outed by the conservative press just for being married to someone who disagrees with the White House, but that’s another trial for discussion. Burton L., combines electronica with the eclectic lo-fi indie rock that Beck helped pave the road with in the mid ‘90’s. “Need” is almost what Billy Corgan tried to do with his Smashing Pumpkins in their heyday sans the horns of course. But the sound is retro in the sense that it adheres to principles established in the alternative modern rock scene of the ‘90s, which of course borrowed heavily from the indie scene of the ‘80’s and so forth, while the music and lyrical content overall has a broad reaching scope that transcends retro and reaches for a more modern approach. Truly unique with a lot on its mind, “Spy Life” is a great lifestyle choice for your CD player. - SMOTHER.NET. |
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