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Switzerland
Released: Sep 12, 2006
Label: N\A

{^Switzerland}, the second album {$Electric Six} released in 2006 (as well as their second for {@Metropolis}), is also another album brought to you by the words "fire," "night," "party," and... Continue[+]

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{^Switzerland}, the second album {$Electric Six} released in 2006 (as well as their second for {@Metropolis}), is also another album brought to you by the words "fire," "night," "party," and "city." But, while the band has their lyrical motifs down pat, it's not all business -- or rather, pleasure -- as usual. If their last two albums were all-night parties in cities on fire, then {^Switzerland} has more of an inkling that there's a hung-over morning after just around the corner, most literally on {&"Pulling the Plug on the Party."} This slightly ominous undercurrent makes itself known throughout the album, with songs are populated by sexy girls who might be diseased (and most likely are) and guys who might be monsters (ditto). {^Switzerland} opens with {&"The Band in Hell,"} an angst bit of heartache; granted, it's an angst bit of heartache that also mentions that the singer's backing band includes the Devil on guitar and Hitler on drums, but it's still a surprisingly downbeat way to kick off the album. Likewise, the {$John Waters} allusion in {&"Pink Flamingos"}' title undercuts some of the song's brooding, twangy {\country-rock}, yet the song represents a darker {$Electric Six} than we've heard before. On the other hand, the band finds plenty of time to add fun back into {^Switzerland}'s tainted, slightly off vibe. This makes for some of {$Electric Six}'s best songs yet, whether it's the insistent ambivalence of the he-she rocker {&"Mr. Woman,"} the slinky, sleazy {&"Infected Girls,"} or {&"There's Something Very Wrong with Us So Let's Go Out Tonight,"} which might as well be the album's manifesto. There are also songs with titles that sound like double entendres or euphemisms even when they might not be, like {&"Chocolate Pope,"} the gleefully dumb throwaway that closes the album, and moments of pure, glorious cheese, such as {&"Slices of You"} and {&"Rubber Rocket"} (both of which are pretty clearly double entendres). That's not even mentioning {&"I Wish This Song Was Louder,"} the nod to {&"Werewolves of London"} that is {&"I Buy the Drugs,"} or the gleaming, streamlined {\pop} of {&"Night Vision,"} quintessentially {$Electric Six} tracks one and all. Even if {^Switzerland} is some of the band's most mature -- or least immature -- work yet, it's all relative; this restraint, what there is of it, makes them sound more focused, but they're still flamboyant and silly enough to keep fans happy. ~ Heather Phares, All Music Guide

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Radio Ga Ga - CD #2
Released: Mar 29, 2005
Label: N\A

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Se�or Smoke
Released: Feb 15, 2005
Label: N\A

Arriving in the U.S. a year after its U.K. release, {$Electric Six}'s second album, {^Se�or Smoke}, shows that it'll take more than having been without a record deal in their own country to derail... Continue[+]

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Arriving in the U.S. a year after its U.K. release, {$Electric Six}'s second album, {^Se�or Smoke}, shows that it'll take more than having been without a record deal in their own country to derail them. After all, they've survived a name change and taken more than a few lineup shifts in stride. Through it all, they've displayed a very Detroit kind of scrappiness and sense of humor that is stronger than ever in their music (though it's hard to expect anything less from a band that names one of its B-sides {&"I Am Detroit"}). The foundations of their sound still come from {\disco}, {\synth pop}, {\glam}, and {\arena rock} -- genres that had their last heydays several decades ago, which is oddly fitting for a band from a city often portrayed as having its best days in the past. Police sirens blare over {^Se�or Smoke}'s first two tracks, and the {\electro}-tinged {&"Devil Nights"} pays homage to one of Detroit's most notorious "holidays" and the city's pioneering {\electronic} music in one fell swoop. {$Dick Valentine} is as charismatic and campy as ever, singing "live" as "lee-uhv" and "city" as "cit-ay," and selling lyrics like "be my dark angel/be my Capri Sun" and "I'm a man, not a disco ball!" Yet {^Se�or Smoke} doesn't just sound like {^Fire} warmed-over. While it doesn't have a monster single like {&"Danger! High Voltage"} or even {&"Gay Bar,"} overall {^Se�or Smoke} is a sharper, more focused album that somehow manages to be zany with a serious undercurrent. {$Electric Six} find value in what is supposed to be trash and vice versa, taking aim at and sending up presidents, pop culture, conspicuous consumption, and media saturation. As on {^Fire}, they make their points with heroic doses of tongue-in-cheek humor and sincere camp. On {&"Rock and Roll Evacuation,"} "Iraq" is rhymed with "{\rock}" (as in "you don't know how to"), while {&"Bite Me"} is as much about siphoning gas as it is about sex. {&"Jimmy Carter"} is the album's {\power ballad}, and the {$Electric Six} equivalent of {&"Under the Bridge"} (although this song is intentionally over-the-top); {&"Future Boys,"} meanwhile, rattles off a list of pod-person-like corporate lackeys to jerky new-{\new wave}. {^Se�or Smoke} plays like a concept album, moving from darker, {\rock}-based tracks to more playful, plastic {\synth pop} like the brilliantly named closer, {&"The Future Is in the Future."} Even the cover of {$Queen}'s {&"Radio Ga Ga"} fits in well with the album's overall themes. Like {^Fire}, {^Se�or Smoke} runs out of steam toward the end; for the first half of the album, it's hard to keep up with them, but by the second half, it's hard for them to keep it up. Nevertheless, this is {$Electric Six}'s strongest work to date, and the fans who have stuck with them through their trials and tribulations won't be disappointed. ~ Heather Phares, All Music Guide

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Radio Ga Ga - CD #1
Released: Jan 25, 2005
Label: N\A

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Gay Bar - UK CD #2
Released: Dec 30, 2003
Label: N\A

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Dance Commander
Released: Nov 25, 2003
Label: N\A

Releasing {&"Dance Commander"} as the second single from their debut record, {^Fire}, seems like the obvious choice for Detroit's premier {\disco}-{\garage}-{\metal} jesters, {$Electric Six}. The... Continue[+]

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Fire - JAPAN BONUS TRACKS
Released: Jun 17, 2003
Label: N\A

If {$Electric Six} never contributed anything to {\pop} music besides {&"Danger! High Voltage"} -- one of the most immediate, crazed singles in years -- the band would still have the distinction of... Continue[+]

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If {$Electric Six} never contributed anything to {\pop} music besides {&"Danger! High Voltage"} -- one of the most immediate, crazed singles in years -- the band would still have the distinction of being one of the most unique-sounding one-hit wonders in late 20th century memory. {^Fire} doesn't necessarily offer proof that this won't be {$Electric Six}'s ultimate fate, but it does suggest that they have more tricks up their sleeve than might be expected. It's true that {&"Danger! High Voltage"} is easily the best song on {^Fire}, an addictive mix of stylishness and silliness that sounds like some kind of bizarre love triangle between {$the Rapture}, {$Tenacious D}, and {$Andrew W.K.}, but several songs work nearly as well. {&"Dance Commander"}'s big {\arena rock} choruses, zooming keyboards, and yelped falsettos recall their big hit without merely copying it; {&"Improper Dancing"} is surprisingly funky, with its brittle guitars and slick {\disco} feel providing the perfect setting for the band's macho flippancy. {&"Gay Bar"} is more on the {\garage}/{\punk} side of their sound, confusing war and violence with sex and dancing, with loads of adolescent sexual innuendo (but is there any other kind?), as is {&"Getting into the Jam,"} which is almost certainly not about discovering a classic {\mod}-{\punk} band. The power {\ballad} {&"I'm the Bomb"} might be the second-best song on {^Fire}, awash in gurgling synths and shiny guitars as singer {$Dick Valentine} shamelessly delivers lines like "Who elected you judge and jury in the body of a beautiful girl?" The rest of the album has an appealingly throwaway quality, spanning the {\new wave} send-ups {&"Synthesizer"} and {&"Electric Demons in Love"} as well as the campy {\arena rock} of {&"Fashion and Vengeance"} and {&"She's White."} Though they're not on par with the band's best moments, they do hold up much better than might be anticipated, and prove that {$Electric Six}'s M.O. of inflating {\rock} clich�s to grotesque proportions, adding a dash of tongue-in-cheek pomposity, and then laughing at the results can generate more than just a great single. Granted, that single is still the reason to own {^Fire}, but fans of that song probably won't feel burned by the rest of the album. [This Japanese release includes bonus material.] ~ Heather Phares, All Music Guide

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Gay Bar - UK CD #1
Released: Jun 3, 2003
Label: N\A

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Fire
Released: May 20, 2003
Label: N\A

If {$Electric Six} never contributed anything to {\pop} music besides {&"Danger! High Voltage"} -- one of the most immediate, crazed singles in years -- the band would still have the distinction of... Continue[+]

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If {$Electric Six} never contributed anything to {\pop} music besides {&"Danger! High Voltage"} -- one of the most immediate, crazed singles in years -- the band would still have the distinction of being one of the most unique-sounding one-hit wonders in recent memory. {^Fire} doesn't necessarily offer proof that this won't be {$Electric Six}'s ultimate fate, but it does suggest that they have more tricks up their sleeve than might be expected. It's true that {&"Danger! High Voltage"} is easily the best song on {^Fire}, an addictive mix of stylishness and silliness that sounds like some kind of bizarre love triangle between {$the Rapture}, {$Tenacious D}, and {$Andrew W.K.}, but several songs work nearly as well. {&"Dance Commander"}'s big {\arena rock} choruses, zooming keyboards, and yelped falsettos recall their big hit without merely copying it; {&"Improper Dancing"} is surprisingly funky, with its brittle guitars and slick {\disco} feel providing the perfect setting for the band's macho flippancy. {&"Gay Bar"} is more on the {\garage}/{\punk} side of their sound, confusing war and violence with sex and dancing, with loads of adolescent sexual innuendo (but is there any other kind?), as is {&"Getting into the Jam,"} which is almost certainly not about discovering a classic {\mod}-{\punk} band. The power {\ballad} {&"I'm the Bomb"} might be the second-best song on {^Fire}, awash in gurgling synths and shiny guitars as singer {$Dick Valentine} shamelessly delivers lines like "Who elected you judge and jury in the body of a beautiful girl?" The rest of the album has an appealingly throwaway quality, spanning the {\new wave} sendups {&"Synthesizer"} and {&"Electric Demons in Love"} as well as the campy {\arena rock} of {&"Fashion and Vengeance"} and {&"She's White."} Though they're not on par with the band's best moments, they do hold up much better than might be anticipated, and prove that {$Electric Six}'s m.o. of inflating {\rock} clich�s to grotesque proportions, adding a dash of tongue-in-cheek pomposity, and then laughing at the results can generate more than just a great single. Granted, that single is still the reason to own {^Fire}, but fans of that song probably won't feel burned by the rest of the album. ~ Heather Phares, All Music Guide

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Danger! High Voltage - UK CD #2
Released: Mar 18, 2003
Label: N\A

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