Tampa Calling

For years, the annual Warped Tour has been more or less a knucklehead boys club on wheels — with music in between — but in recent years more female-dominated bands have been cracking the lineup. Count among them Meg & Dia, the two easy-on-the-eyes, Utah-bred sisters Frampton (no relation to Peter) — Meg, 23, and Dia, 21 — and their three male bandmates.

The group has been on three Warped jaunts, including this year’s.

Meg & Dia is supporting its first major label release, Here, Here and Here (released April 21 on Sire), an accomplished collection of confessional and sometimes confrontational (and irrepressibly catchy) modern rock that takes more stylistic liberties than most bands in the pop-punk/emo realm.

Dia (foreground in photo), who sings lead and splits songwriting duties with Meg and the other band members, called from the tour bus and proved to be a lively, open interviewee. Here’s an edited version of our conversation.

What are the good parts and the bad parts about Warped?

(Coughs) Well one of the bad parts is getting sick and not being able to get better. We don’t have a hotel, a place to take a hot bath. I’ve been cleaning out my nose with a netti pot. I’d give anything for a hotel right now, a quiet room. Yesterday I had a crazy fever.

Video after the jump.

Meg & Dia play the Warped Tour on Sun. July 26 at Vinoy Park, St. Petersburg. Read the rest of this entry »

It’s been three years since Soviet-American songstress Regina Spektor first enchanted us with the soul-pop perfection of Begin to Hope and proved herself a storyteller with a keen sense of detail and drama, a confident singer with a broad vocal range — from high and pure to low and sensual — and a poet with a unique use of words and an alluring inflection, not as if English were her second language, but as if she’s established a whole new charming style of speaking.

The follow-up and Spektor’s fifth studio album doesn’t quite attain the catchy ease of its predecessor, but far (Sire Records) carries its own abundance of appeal.

In the bouncy opening track, “The Calculation,” Spektor playfully ponders the mathematical equation of love and the surprising fury of its burn while in “Folding Chair,” she enjoys a casual day at the beach with her sweetheart and daydreams of domestic bliss (“Let’s get a silver bullet trailer, and have a baby boy / I’ll safety pin his clothes all cool and you’ll graffiti up his toys”). “The Wallet” shows her way of making the mundane seem remarkable with a touching ballad about finding someone’s lost wallet, and she combines quiet, abstract contemplation with grandiose stretches of piano and rhythmic flourishes in the melancholy yet somehow uplifting “Eet.” (Video after the jump) Read the rest of this entry »

I fell in love with Soviet-born songstress Regina Spektor a few years ago with the release of 2006’s Begin to Hope. While I was initially turned off by the inherent pop marketability of the album (it’s almost too well-produced for its own good), I was drawn to her poetry, to the sweetness of her accented voice, to the moments of her singing in her native language. (There’s more of that on her earlier self-released albums, though she really does it best in her third album, Soviet Kitsch.)

Anyway, the point of this post is that Miss Spektor is set to finally release the follow-up to Begin to Hope and I am stoked. Other than her adorable duet with Ben Folds, “You Don’t Know Me” — the first single off his 2009 album, Way to Normal — Spektor has been virtually MIA for far too long. Now, she’s gearing up for a worldwide release of far, due out on Sire Records June 23. (The official press release with info on her upcoming Letterman and Good Morning America, track listing and European tour dates, and the video for her new song, “Laughing With,” after the jump.) Read the rest of this entry »