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(Clicka qua per la versione Italiana)
San Francisco's singer-songwriter Dani Siciliano worked with
Matthew Herbert and then started a solo
career with Likes (K7, 2004), produced by Herbert, that
introduced her as
a sort of Laurie Anderson for the digital
age of Matmos.
Beyond the timid incursions into
sensual bossanova (Come As You Are),
hip-hop (Walk The Line) and
Afro-pop (Extra Ordinary),
the album's highlight is
the surreal nine-minute anti-techno jam of Same,
which begins like an instrumental sendup of
Tangerine Dream
and then overlaps her (reverbed and multiplied) dreamy lullaby
while the electronic beat transforms into a goofy polka.
Slappers (K7, 2006), again produced by Herbert, is an even more
elegant work of digital pop.
charming genre-bending ditties like the
limping quasi-hip-hop of Didn't Anybody Tell You,
the spunky country-esque shuffle Why Can't I Make You High,
the Laurie Anderson-esque rigmarole Repeats,
the heavily syncopated, Bjork-esque Big Time,
demented synth-pop of Be My Producer,
and especially the swinging gospel-y choral Slappers where her
passion for old-time black music comes to the fore.
She returned after a decade with Dani Siciliano (2016), a rather
tedious parade of heavily arranged ballads.
The best arrangement is perhaps found in Blink, and the best melody
and rhythm combination in Gone are those Days, both jazzy songs in
different ways.
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