Receive Weekly Email and Text Message Updates:
Sign up for latest info on concerts, dining, promotions and more!
Go!

Reader's Picks

Top Recommendations

A short list of Kansas City's most popular hot spots.
user content provided by: LikeMe.net & The Pitch

National Features >

  • Village Voice

    The Great Walls of Chinatown

    With the exception of the electric rice cookers, this Bowery tenement could have come straight from the Nineteenth Century.

    By Elizabeth Dwoskin

  • Houston Press

    Getting Off

    DUI attorney Tyler Flood wins 80 percent of his trials--even if his clients were 100 percent drunk.

    By Mike Giglio

  • Miami New Times

    Park or Die Tryin'

    From the homeless parking mafia to the meter fairy, finding a spot in Miami has taken a turn toward the surreal.

    By Gus Garcia-Roberts

  • City Pages

    The Baddest Men on the Planet

    Straight from the Sam's Club tire shop, Brett Rogers prepares to meet Fedor Emelianenko in mortal combat.

    By Bradley Campbell

The Beautiful Bodies

Share

  • rss

By Jason Harper

Published on June 03, 2008 at 1:55pm

“Touch Me (But If Only You Knew How)” by the Beautiful Bodies, fromTouch Me (self-released):

The Beautiful Bodies' debut, Touch Me, is an awkward and only occasionally rewarding combination of pale Yeah Yeah Yeahs mimickry and roaring classic rock. It's as if Karen O hijacked Rush before either of the parties were fully formed. Bodies frontwoman Alicia Solo, for all her stage appeal and self-promotional charisma, has only one song in her, and it's the YYY's "Date With the Night." She talk-sings or shrieks repetitively throughout Touch Me, wasting, through lack of ideas, what could be an interesting, dynamic voice. The first three songs — "Osculator" (a direct rip-off of "Date"), "Heart Attack" and "Touch Me (But Only If You Know How)" — find the band struggling not to rip its pants while playing beginner funk riffs over dance-punk beats. In the record's middle section, the band kicks up the speed, distortion and number of changes, and gets some go out of it. The more musically complex songs, such as "Lines of Life" and "Stalker," sound like a riff war between the guitarists from Blue Oyster Cult and the bass player from Yes. Unfortunately, Solo clings to her relentless Karen O-aoke approach start to finish, minus any actual melody. When it comes to writing songs, these Bodies need to start using their heads.