Little Annie & The Legally Jammin'
"Little Annie & The Legally Jammin' play a wild, hormone-saturated mixture of spoken song and sometimes harsh, but always swinging rhythms. 'No Wave' based on electronic beats recordings from the epicentres of pop music: New York, Mexico City and Düsseldorf. The very first weirdly choked echo gives you an idea of what kind of sound system The Legally Jammin' is, sometimes playing 'Disco Dub', sometimes 'No Wave Disco'. Little Annie adds her words to the beat, bass and fat soul-electric harmony of The Legally Jammin'. When her voice picks up on a melody and she begins to sing, she is closer to the lasciviousness of Grace Jones and the emotion of Marianne Faithful than the solitude of Wanda Robinson. New York Just sit down beside Little Annie on some steps in the sun-drenched heat of New York and she will begin to tell you a story. She has never been to the cinema, didn't pick it up from books these are no stories she has stolen. Annie Anxie Ty is adventurous. She travels through the visible world, acts the Bohemian chanteuse, sees, hears and is always right at the centre of events, collects experiences from the street and writes her book every night. And she performs it on stage. Broadway is the hardest way: inside and outside. Her texts tell first of redemption and then of sin. 'Backtrack Jack', for instance, the Pepsi Cola song, and therefore a loose homage to Leigh Bowery's 'Useless Man' but much less dirty. Or '2nd Avenue Blues': It tells of peeling oneself. Does an onion float without its seven skins? And 'Bleach' is my favourite cliché. It all sounds incredibly sexy even when it is at its most morbid. Blessed by a late birth, one can innocently say: New York poetry meets dub electro-clash. And why not: That is how it should sound, the lovers' rock album of the year."