Reviews
LOSING TODAY (Italian/French) - May 2004
Since the release of Hyperium’s Heavenly Voices collection in 1993, many bands have laid claim to a branch of the same family tree, and Boudoir is no exception. Their debut CD Currency of the Soul, released by Pandaimonium Records, (the label headed by ethereal pioneers Clan of Xymox), represents an impressive offering of ten tracks revolving around typically gothic themes: lust, sorrow and alienation. Musically, Boudoir walks the same paths of such predecessors as Dead Can Dance, Chandeen, Ataraxia and Black Tape for A Blue Girl, while also adding a slightly more electronic, sampled twist to their arrangements, thereby likely appealing to fans of such Heavenly Voices mainstays as Love is Colder Than Death and Sleeping Dogs Wake. Consisting solely of Ala Sharon’s echoed vocals and Damon Fries’ soaring guitars, tracks like the opener “Unalone” and “Maybe Yesterday” are melancholy dances in gauzy ether. The release’s big surprise, however, comes in the form of a remake of the Buzzcock’s classic “What Do I Get?” Not only is the appearance of this song unexpected, but also Boudoir’s take on the decidedly punk creation is both stirring and intriguing. In general, this is a melancholy and dreamy collection of songs that achieves what Boudoir set out to create: a dark and textured album evocative of the dawn of ethereal music. - Jennifer Jones

MICK MERCER's THE MICK (downloadable magazine) & STARVOX (England)- March 2004
~reviewed by Mick Mercer
Something about this appealed to me from the word go, and although it was mainly the name and that one track was called ‘Disfigured And Forgotten’, there was also the lovely red sleeve to consider, and the prospect of finding the press release was accurate and that here would be a beautiful voice decorating hypnotic works of lust, sorrow, longing and beauty. The usual lush ethereal sounds, put to a more cohesive melodic form, in other words.
The Cocteaus started all this, and Deadcandance raised it to a noticeable artform by making it more comprehensible, at which point virtually anybody who didn’t want a noisy band then created ‘artistic’ ones instead. This had led to the lows of the Shoegazing movement which was inescapably dreary, and the Ethereal/Heavenly Voices approach which often fails to connect lyrically, on any level, but provides precisely the right kind of musical fragrance for even the grubbiest of surroundings. Boudoir come into that lithe category and acquit themselves really very well, because so many of these bands leave no traces, in that you can’t recall too much no matter how many times you listen, but just sink back into their warm musical bath again when it’s on. Boudoir may not be onto the giddy heights of Black Tape For A Blue Girl, but they do have a sense of power about them.
The tracks don’t need much introduction, being elegant and very precise, with the vocals all floaty and emotive. They have drums bashing away with great vigour, and synths flooding all exits. It’s quite overpowering, and frequently cuts back to lighter moments, ensuring you’re pulled slightly this way or that. Then they get rousing again. Repeat, and dwindle….
Introduce a bit of Middle-Eastern mystery early on, without it having any real point, and you’re into the modern moves. What lyrics there are convey precisely zero because they’re trapped in the exquisite ether, and I doubt they’d mean much anyway because the vocals suggest no great urgency: this is sensurround cotton wool. During the final phase of ‘Maybe Yesterday’ some guitar prepares to become quite unruly, but somehow forgets its direction and all is harmoniously sculptured, but the way they raise the volume and the stakes makes for a spectacular success.
With ‘Last Try’ they remind you of a fruity Sundays, which is a noble comparison. Very chirpy, mordant and bobbling along with chilly splendour. ‘Sweet Storm’ is perfectly named, but Disfigured’ is cyclical, phased, twittering mush. ‘Close Your Eyes’ is a stop-gap dreamy thing, and ‘Sleepyhead’ a bit more urgent with solemn, purposeful bass, and guitar shivers. It’s just like an old Photos song, ‘For Beauties Sake’ but no-one‘ll remember that. So it’s mid-paced, with guitar fractures, and a nasal delivery that keeps the vocals keenly stalking straight ahead.
‘Floating’ has unsettling samples, and a very tough centre but I didn’t find it easy to get a connection to why they were doing it, which carries on into the rough and sweeping ‘Space Jam’ which could be Curve the way it attracts but fails to draw you totally in. This is a sound spectacle and we can observe without feeling. It’s impressive the way it builds and billows, becoming an edifice of sparkling sound, although as this is the musicianship and know-how of Clan Of Xymox engineer Damon Fries maybe it isn’t surprising.
And then a total shock, which you certainly wouldn’t be expecting, as they cover ‘What Do I Get?’!!! For those who don’t know the original, by The Buzzcocks, a frantic and desperate tune is rendered flat and shallow, with the energy scooped out. And yes, it’s a bit like hearing Mike Love’s fabulous ‘Wonderwall’, but this is serious, and it does work, creating a sense of watery regret of its own, which is no mean achievement, and to mention The Sundays again, think of a moodier ‘Wild Horses’.
A fantastically strong album, of opulent stealth. Stormy, yes, but a haven, somehow.

PREMONITION (France)

This first album of the American-Dutch band, Boudoir, is an excellent find. Chaperoned by its label's colleagues, Clan Of Xymox, the duo offers us ten tracks in the ethereal and vaporous gothic vein, in which the twinkling ripplings of the most delicate bliss-pop show through. Male and female vocals, keyboards, piano, the duo skillfully deals with light or melancholic ambiences, but they also bring out the saturated guitars when it's needed, like on the magnificent Sleepyhead or the icy Maybe Yesterday. Sometimes close to Mors Syphilitica's evanescent goth-rock (Undone) or to Slowdive's aerial choruses, Boudoir still has its own personality and a real know-how in the art of composition, like the very dispensable cover of the Buzzcocks' What Do I Get proves with a retroactive effect at the end of the album. So, this is a natural inclination which creates here several catchy tracks, making of this "Currency of the Soul", an exciting and recommendable album. Very promising for the duo's future.

BLACKLIGHT MAGAZINE (Germany)
Als "Traumhafte Gitarrenmusik in bester Dead Can Dance/ Cocteau Twins - Tradition" wird die Musik auf Boudoirs Europa-Debut "Currency Of The Soul" bezeichnet. Das die meisten Kompositionen auch ganz wesentlich von Synthesizerklängen geprägt sind, wird hierbei zwar nicht berücksichtigt, doch der Vergleich trifft die Sache trotzdem recht gut.
Das Duo Boudoir besteht aus Ala Sharon, die einigen vielleicht als Sängerin der The Catherines bekannt ist, und Damon Fries, seines Zeichens Soundman von Clan Of Xymox und Mastermind des Dark-Electro Projektes Jesus Complex . Die beiden haben in den USA bereits eine ganze Reihe Alben veröffentlicht und sich einen entsprechenden Bekanntheitsgrad in der dortigen Szene verschafft, hierzulande trat man bislang jedoch nur durch einen Beitrag zur Pandaimonium-Compilation "Songs Of Pain" in Erscheinung. Höchste Zeit also, auch die europäischen Darkwave-Fans endlich einmal mit einem kompletten Album zu beehren.
"Currency Of The Soul" beinhaltet zehn Titel, die zusammen genommen wie eine bezaubernde, zuweilen dunkle und dennoch wunderschöne Traumreise wirken und das Werk somit zu einem fast einstündigen Hörgenuss ohne Ausfälle machen. Das ganze klingt - betrachtet man die Herkunft der beiden - reichlich amerikanisch und ist in Sachen Atmosphäre auch gut mit anderen Barkwave Bands aus den Staaten zu vergleichen. Alle Kompositionen basieren auf einem synthtisch erzeugten Grundgerüst, das weich und warm klingend den Ohren schmeichelt. Darüber schwebt dann jeweils die faszinierende Stimme von Ala Sharon, die ebenfalls weich und freundlich, manchmal sogar ein wenig verführerisch klingt und an die Hochzeiten der Heavenly Voices Bewegung in den frühen Neunzigern erinnert. Ab und an greift auch Damon zum Mikro und steuert vereinzelte Vocal-Passagen bei - nicht zu vergessen die in allen Tracks einfliessenden Gitarren, welche mal eher ruhig im Hintergrund mitspielen, dann und wann aber auch in den Vorderund treten können und ganz vereinzelt sogar dominierend wirken.
Elektronisch versetzter, durchgehend ruhiger Darkwave also, der im ganzen dunkler und gleichförmiger als die Musik von Dead Can Dance klingt, deshalb aber noch lange nicht langweilig ist. Weitere Bands die einen tauglichen Vergleich abgeben sind mit Sicherheit die Cranes ,Cocteau Twins ,Lycia (wenngleich diese weitaus düsterer zu Werke gehen), This Ascension oder die ruhigen Titel von Faith & The Muse .Boudoir schaffen es jedenfalls über die gesamte Spielzeit ein ergreifendes Flair aufrecht zu erhalten und erklimmen trotz langer seichter Passagen immer wieder kräftige Höhen. Als Anspieltips seien die Tracks "Unalone", "Sleepyhead" und "Space Jam" erwähnt.

Rating: 10

ANCIENT SPIRIT (Germany)

Also, ich glaube Pantaimonium entwickelt sich so langsam zu meinem Fave-Label!!! Denn nicht erst seit der von mir kürzlich rezensierten Scheibe 'Karmapolis' von OTHER DAY weiß ich, daß die Süddeutschen ein echt gutes Händchen für aufstrebende, extravagante Bands haben, welche in erster Linie mal ihren ganz eigenen Stil mitbringen. Dabei fällt es wirklich sehr schwer BOUDOIR in irgendeine Kiste zu packen. Stilistisch sind sie sicher irgendwo zwischen Bands wie DEAD CAN DANCE, COCTEAU TWINS, DEPECHE MODE halt mit Frauengesang, OPETH, und sehr ruhigen und bei weitem nicht so gitarrenlastig wie ANATHEMA anzusiedeln. Fest steht jedoch, daß die Scheibe von Anfang an jeden in ihren magischen Bann zieht. Mit sphärischen Klängen untermalt und lieblichem Frauengesang versüßt baut 'Currency Of The Soul' bei Songs wie 'Unalone', 'Maybe Yesterday' oder dem superstarken New Age Pop - Träumer 'Last Try' eine knisternde Spannung auf, welche sich komplett durch alle zehn Tracks windet. Dabei kann ich noch das sicher Darkwave-lastigste Werk auf dieser CD 'Sweet Storm' und die sehr an ENYA erinnernde Coverversion des BUZZOCKS - Songs 'What Do I Get' als Appetitanreger empfehlen. Wer also mal richtig Lust hat, auf knapp eine Stunde voll totaler Entspannung und tiefes Fallenlassen aller Gedanken, sollte sich schleunigst zum Plattenhändler aufmachen und sich mal einen kurzen Probedurchlauf gönnen. -- Onkel Tom , 9 Punkte


LE FANTASTIQUE (Belgium/France) March 2004
Déjà aperçu au festival Gotham en 2002, Boudoir, est formé d'Ala Sharon et de Damon Fries. Ce dernier est déjà connu par certains pour son projet Jesus Complex dans lequel est aussi impliqué aussi Ronny Moorings de Clan of Xymox. Ces deux projets sont bien différents. Si Jesus Complex favorise les beats electro-indus, Boudoir se drape plutôt de guitares aériennes et vaporeuses telles qu'il en foisonnait dans les années 80 et 90 avec des formations aussi célèbres que Cocteau Twins ou My Bloody Valentine, dont la référence est inévitable sur "Unalone", notamment. Une nette parenté avec Sophya, l'une des meilleures formations du même label Pandaimonium est également à souligner ("Sleepyhead", "What do I get ?"). Outre les similitudes sonores, l'un des points communs avec le duo israélien est la maîtrise totale d'Ala, très expressive dans les registres profonds ("Sweet Storm") ou enfantins ("Lost Toy", le divin "What do I get ?"). Vu leur longueur inhabituelle, souvent supérieure à 6 minutes, les compositions développent leur thème en progression, esquissant d'abord, puis insistant sur le trait pour faire ressortir les nuances, souvent avec brio ("Disfigured And Forgotten", l'excellent "Space Jam"), même si les textes ne font souvent qu'effleurer leur sujet. Nostalgiques de la noisy-pop aérienne, ceci est pour vous.


PREMONITION (France) March 2004
Excellente découverte que ce premier album du groupe américano-hollandais Boudoir. Chaperonné par ses voisins de label Clan Of Xymox, le duo nous délivre dix titres évoluant dans une veine gothique vaporeuse et éthérée à travers laquelle transparaissent les ondoiements scintillants d’une bliss pop des plus délicates. Chant tantôt féminin tantôt masculin, claviers, piano, c’est avec habileté que le binôme manie ambiances légères ou plus mélancoliques, n’hésitant pas quand il le faut à sortir les guitares saturées pour forcer le ton d’un Sleepyhead magnifique ou d’un Maybe Yesterday glacial. Parfois proche du goth rock évanescent de Mors Syphilitica (Unalone) ou des chorus aériens de Slowdive, Boudoir développe néanmoins une réelle personnalité et un véritable savoir-faire dans l’art de la composition, comme l’atteste par un effet rétroactif la très dispensable reprise du What Do I Get des Buzzcocks en guise de clôture. Un penchant naturel qui enfante donc là plusieurs titres accrocheurs dès la première écoute, faisant de ce "Currency of the Soul" un album tout à fait enthousiasmant et recommandable. Encourageant pour l’avenir du duo. -Stéphane Leguay

MIC (Greece) - February 2004
Boudoir take influences from the Dark Ethereal groups of the 2nd generation like Slowdive and the Cranes (who in turn are influenced by the godfathers of the first generation (Cocteau Twins, Dead Can Dance), rather than directly by the aforementioned. The result is a thick layer of guitars and keyboards that create the right melodic oceans for Ala's voice to swim in, hunted by the the Damon's guitars. You probably already know that most tracks run in melancholic tones and the lyrics wonder on pain and regrets. Before taking a place at her Boudoir, Ala sang and played the keyboards in Catherines (Kansas City), whilst Damon was involved in various punk pop groups in California (Parasites, Plagiarists). It was there that they formed Smitten (1995) playing something of a mix between the Cranberries and Lush, with a bit of 4AD thrown in and release 'Connected EP', 'Stellar LP'. With Amsterdam as their new base, they change their name to Boudoir and release 'Currency Of The Soul' on Pandaimonium, Clan of Xymox's label. Besides Damon was the main sound engineer of the Xymox clan. Their atmospheric universe is worth listening to for fans that like that kind of music. The singing is elegant and the vocals floaty. The hidden middle-eastern looks are a perfect match and Fries finally gives up on the 'hollow' goth he played with Jesus Complex and remembers 'Medusa' and Faith & the Muse. You know the rest already...romantic, beating guitars, female vocals that have the familiar combination of fragility and despair, thinking how many hours must have spent on Liz Fraser's vinyls. They leave the most unexpected cover for the end: 'What Do I Get?' of the Buzzcocks, leaving us wondering the same thing. (Thanks to Olga for translation).

ALTERNATIVE POP (Poland)- February 2004
Pandaimonium deals with creative individuals from the independent scene and because of that we are often suprised by unexpected projects once for a while, supported by the same, known artists. For example, Clan Of Xymox musicians, Ronny + Mojca, + an American multiinstrumentalist Damon Fries, cooperate with each other, helping friends-musicians, but often engage themselves into their own projects. Boudoir is a duo set up by Fries. In Jesus Complex he is devoted to gothic fascination, exposing the power of industrial electronics. In Boudoir he decided to realize new ideas... "Currency of the soul "- thats most of all atmosphere. Besides the CD advertised is as follows:"Inspired by the influence of Dead Can Dance, Cocteau Twins, Cranes...etc"and all this is to be heard in the music. Seems like Boudoir will be a favorite band of the above mentioned bands fans. But I think, not only. Another time Fries proves, that he is devoted to the COX music. In Jesus Complex he was closer to what Morrings is busy with now. In Boudoir we recall the unforgettable "Medusa" as well as Faith & the Muse. Boudoir's debut is worth listening to, surely for the number "Floating". Its impressive!!!!! Its a masterpiece!! The CD "Currency of the Soul" is a great candidate for "Debut 2004"! 10/10= MASTERPIECE! (Thanks to Monika for translation!)

ORKUS (Germany)- January 2004
Melancholy has a name again!! Boudoir, das sind Ala Sharon und Damon Fries aus San Francisco, auch wenn man beim Horen denkt, dass es sich um Mitgleider jener legendaren Bands vom englischen Label 4AD wie Cocteau Twins, This Mortal Coil oder The Wolfgang Press handeln muss. Denn genauso filigran, spharisch, so melancholisch und vor allem einfach nur so schon prasentieren sich die beiden Amerikaner auf ihrem Debutalbum. Flirrende elektrische Gitarren, die auch mal etwas straighter werden konnen, treffen auf vertraumte Keyboardmelodien und entspannte Rhythmen. Hin und wieder ein paar Painotupfer oder akustiche Giatrren, manchmal auch Sprachesamples verwendend, entfallen sich zehn wundervolle Stucke, die zich Zeit fur den Aufbau von Melodien und atmospharischen Stimmungen nehmen und so doch auf eine Gesamtlange von 56 Minuten kommen. Daruber schwebt die wahrhaft himmlische Stimme Alas, die einen immer wieder in ihren Bann zieht und nicht mehr loslassen wil. Wie echos, die sich an den Schadelwanden brechen und unermudlich wellengleich heranrollen, so bleibt einem diese Musik zwischen den Ohren haften. Sanft und betorend, ein elegisches Soundgebilde, das zartlich die Sinne umschmeichelt, wie ein warmes Bad, in dem man langsam versinkt. Boudoir sind Musik gewordende Melancholie, die sich unverkrampft und entspannt um die Themen "Liebe", "Leidenschaft", "Lust" und "Schmerz" dreht, ohne in Deoressionen zu verfallen. Die den Geist einer guten alten Zeit heraufbeschwort, ohne aber in pure Nachahmung zu verfallen. Liebhaber oben genanter Formationen sollten hier unbedingt zugreifen. (8) - Thomas Sabottka

D-SIDE (France)- January 2004
Boudoir est un groupe base a Amsterdam et cree par Ala Sharon (ex-The Catherines) et Damon Fries, l'ingenieur du son de Clan of Xymox. Des l'excellent premier titre de Currency Of The Soul, on se retrouve quinze ans en arriere au temps du premiere album de Slowdive. Le chant feminin vaporeux et plein d'echos se mele au tourbillon de guitares et de synthes poetico-melancolique. Les chansons suivantes continuent dans cette veine morose et luxuriante sans jamais lasser, bien au contraire, surtout a l'ecoute de "Space Jam". Les dix titres du duo raviront tous les decus du label Projekt et ceux qui n'ecoutent plus rien de nouveaus depuis les separations de My Bloody Valentine et Cocteau Twins. - Yannick Blay

GATES OF ELYZIUM (Dutch)- January 2004
Het is alweer een tijdje geleden dat ik een mooie nieuwe heavenly voice cd had opgezet, maar de muziek van Boudoir doet me direkt denken aan bands als de Cocteau Twins, Cranes, Dead Can Dance en My Bloody Valentine. De heavenly voices zijn in dit geval bij Boudoir afkomstig van zangeres Ala Sharon. Ze wordt in haar dromerige zang begeleid door de zweverige bezwerende gitaargeluiden van Damon Fries, die ook bekend staat als frontman van het industriële Jesus Complex. Na al eerder lovende reacties gekregen te hebben op het nummer ‘’Space Jam’’ dat verscheen op de ‘Songs of Pain’ sampler van het Pandaimonium label, is er dan nu het debuut album van Boudoir. Currency of the Soul is een titel die de lading goed zou kunnen dekken. De liedjes handelen over lust, vervreemding en pijn, de meer onderbewuste thema’s uit het geestesleven die ongevraagd hun aandacht opeisen en daarmee soms pijnlijk duidelijk de ‘currency of the soul’ blootleggen. Thema’s die uitstekend passen bij de sound die op deze cd gecreëerd is. De liedjes zijn elektronisch en iets duisterder van toon dan de meeste dingen van de bovengenoemde muzikale voorbeelden. De sfeer is altijd melancholisch, soms ingetogen en soms met iets meer power, dat zich dan vertaalt in gitaarerupties die doen denken aan bands als Spiritualized, My Bloody Valentine en Slowdive. Boudoir schijnt het vervolg te zijn op Smitten, een ethereal pop band waar Damon en Ala in hun tijd in de VS zelfs al vaker mee getourd hebben. Ik ben ook wel benieuwd hoe dat klinkt. Boudoir klinkt in elk geval erg volwassen in haar geluid en de composities zijn goed uitgewerkt. Een geslaagd debuut als je het mij vraagt en dit is zeker aan te raden voor liefhebbers van heavenly voices en shoegazer muziek, als ook voor liefhebbers van de meer etherische gothic en darkwave.

SIDELINE (Belgium)- January 2004
Ala Sharon and Damon Fries have been both active in other bands and now released the official debut of Boudoir. Their sound and work bring us back to the essence of guitar-wave and the 80s as only reference! They especially remind me to the magic sadness of Cocteau Twins. There's the same kind of mysterious and desperate mood running through their work. Both artists contributed to the vocal parts, but Ala is the lead singer. She has this typical wave expression that sounds desperate and fragile. Musically speaking the songs have been recovered with dark synths, which makes the difference with the pure guitar wave of Cocteau Twins and co. I can't affirm that they're setting the world alight, but their nostalgic wave stuff will certainly please to the addicts of the good old times. (DP5/6)DP.


EISPLANET (GREEK) - 2002
BOUDOIR borrows elements from The Cocteau Twins and charms......("Songs Of Pain" review).

Here are some reviews of our former entity, SMITTEN
LOSING TODAY (ITALIAN)
The persuasive and disturbing pop melodies, inspired by the millifluent and romantic music of the beginning of the decade, of Smitten, young San Franciscan band formed in 1995 by guitarist Damon Fries, strike bewitchingly straight at the heart. Like many of the great groups at that time, Smitten has a shocking vocalist capable of varying the tone of her voice and the melodies of the songs at will as their main force; uncountable comparisons have already been wasted praising the indubitable qualities of the singer (Dolores O'Riordan, Liz Frazier, Julie Cruise) but we would like to emphasize the vocal ability of that of Ala Sharon, new indisputable siren of our acoustic oceans. After attracting the attention of the alternative circuit of the West Coast of the States with the EP "Connected", Smitten have irrefutably convinced us with "Stellar", the first full-length CD of the band, which flows quickly with its airy and romantic soft harmonies, well supported by an unusual and distorted bass, almost more than pure vibrating guitars which never overcome the voice of Ala, revealing a moderate use of effects. It would be useless to remain anchored to the albeit important and well-presented musical influences of the American group (Lush, Sundays, Cranberries), while we feel obliged to emphasize the inspiration and genuine talent of a band which imposes itself above any rigid classification, startling with its originality and refined styleof its compositions. Let youselves be conquered!

FIFTY-FIFTY
Smitten play off-center pop that has a hint of darkness tied to it. They're sorta dark and swirly sounding with nice sweet and sugary vocals. A perfect pop band if you ask me. The songs are memorable and at times come off sounding like something that would have been on Sarah Records circa 1992. If you like pop with a dark tint but still sweet enough to cause cavities, you'll no doubt enjoy this. Easily one of the best hidden talents America has to offer! 8.5/9

SF BAY GUARDIAN
Having just returned from their cross-country tour, Smitten seemed in good spirits, chatting amicably amongst themselves before a Tuesday-night show at the Cocodrie. Newly added rhythm guitarist and backing vocalist Jessica Congdon pushed the band's live sound a tad closer to what you can hear on "Stellar", their debut CD. "I can play more textural kind of stuff, lead lines, without worrying about dropping out. Live, you can hear 2 of the 10 guitar tracks instead of 1," joked lead guitarist Damon Fries after the show. While "Stellar" has all the trappings of a 4AD release, what with Ala Sharon's reverb-heavy vocals and the swirl of multitracked guitars, Smitten's live setup is where the rocking is. Bassist Andy Patel provides the unwavering melody line, and drummer Cha LeVias loosens the arrangements with beats that are hard-hitting but still danceable. Somewhat liberated from his wall-of-sound duties, Fries played with a shade more abandon, perhaps recalling his stint in punk outfut the Parasites -- he played a well-defined lick or two on "Broken Flowers." Smitten's newer material took chances, deviating from the band's tried-and-true method of playing either lengthy, moody epics that dissipate into sonic mush or race-to-the-finish two minute pop songs. "Outward Bound" interjected hard-rock bridges into what could have been a typical swoony tune. By the time the set-closing "Optimystical" had finished, the expressions on the band's faces conveyed more than just the usual relief -- they bore a sense of pride, that, despite the scant crowd, the band could play up to their potential.

INDIE STREET
Smitten is a new SF quartet with a love for lush spacious pop ditties. In the vein of a more pop oriented Swirl (Australia's), Smitten are destine to break through. "Stellar" contains twelve tracks of effect-laden (but not overdone) shimmering delights. Glide along to "In The Night", gaze into space with "Amber", or just jangle along to "Take You For A Ride", it doesn't matter. All will be just fine. Some of my other favorites include "Stardust", "Ordinary Day" and "Beauty Is". Fans ranging from Lush to An April March will definitely enjoy. Delicious.

SF BAY GUARDIAN
Swirly pop lives! Jam-packed into this tape are gorgeous vocals, poor enunciation and shimmering guitar tones. Cha LeVias' driving drums, Andy Patel's booming bass, and Damon Fries' skittish guitar lines turn the first track into pop ecstasy. Singer Ala Sharon's voice - a cross between Dolores O'Riordan's and those of countless 4AD heroines - weaves skillfully in and out of the band's elaborate sonic stuctures. A chorused guitar and an organ form a backdrop to "Beauty Is," which starts out like a Sunday mass, twists through a dark bridge, and emerges for a rousing finale. The lush ballad "Broken Flowers" features layers of beautiful choral singing. What can I Say? I'm smitten.

PRIMARY
Delay, static storms, and sonic ambience give a whirlpool effect to these dream pop transmissions by this excellent Bay Area quartet. Smitten brings to mind This Ascension, An April March or a cross between Lush and Kitchens of Distinction. I highly recommend this soon-to-be-classic EP.

GORDON'S FLASH
SMITTEN is based in the San Francisco Bay area and they have the swirly pop style down pat. Ala Sharons's lead vocals are ethereal, dreamy and smooth. There is both a softness and a power to her voice. Smitten are planning a West coast tour in April, but hopefully you won't wait until then to investigate this talented five-piece.

DEWDROPS
With a flurry of wild drumming and cool guitar wrangling, Smitten bursts on the scene with "Connected", the first of four songs on thier great sounding demo tape. This song delivers a delightful punch with pithy female vocals. "Broken Flowers" goes more for the prettiness factor with guitar reverb full on and still and attitude of spunky loudness. "Amber" starts out like something you might have heard Julee Cruise sing on Twin Peaks: sparse and interestingly plodding, then gradually building to a weighty and nicely searing overlook...We'd like to hear more! 9 lilies-bn

A delicious offering from San Francisco's 'Smitten', this demo cassette features four very refreshing songs. "Connected" combines Liz Fraser's Head Over Heals vocal peaks with the Cranberries' melodic playfulness. "Broken Flowers" is a wonderful blend of deep-hall reverb and madrigal vocals. "Amber" gets into some brilliant M-1 Alternative shimmer. And "Café Hell", though a bit muddy, mixes a terrific wall of noise with guitar power strum and some odd-but-tasty dissonance. A good offering! 8 lilies-pm

CMJ
Smitten's four song debut EP proves that quality is always in style, the band making a lasting impression with a sound that may not be all the rage, but tickles our fancy regardless. Though Smitten hails from the San Francisco Bay area, its sound distinctly British, borrowing from bands like My Bloody Valentine and the Cocteau Twins with effects-drenched pop tunes and soaring female vocals. It's in those vocals that songs like "Connected" and "Your Cloud" find their wings. Ala Sharon uses her pipes as an additional instrument, bellowing out sustained notes further textured by intense echoing effects and backup vocals, while also restraining herself to a Julee Cruise croon. The band employs effects pedals to create a gentle guitar howl, which never overwhelms the natural lilting quality of the songs, instead creating a swirl of sound that envelops and defines these haunting melodies. Cheryl Botchick

BLOW
 Smitten reminds me of someone else but for some reason, I can't really figure out who. Basically is's a barricade of noise clenched together with some pop hooks. The first track, 'Connected', twirls energetically in a fast-paced motion that suddenly reaches a moment of simplicity and pleasure. 'Amber' is lightly fluffed and textured with sweet guitars, forming a deep cavity by the end, while in 'Cafe Hell' and 'Optimystical', stern guitars drift back and forth into your system while the femme vocals graces about like a panther in the jungles. Needless to say, I liked it and hoptfully you do too!

FLIPSIDE
Moody, sullen, semi-atmospheric indie pop that's like a cross between the K records and 4AD sounds, hinting at Velocity Girl, Cocteau Twins, Xmal Deutschland, Tiger Trap, Chameleons, etc. Everything about this is such a cut above; from the loud, clear mix; the really good musicianship, beautiful vocal; and catchy melodies and hooks. Very rarely do I hear a band who is obviously so excellent at their trade, yet who I know nothing about. Unfortunately, some slimy A&R worms are pobably reading this right now, readying up to turn this fine young group into a complete bag of crap. Let's hope not. Anyhow, this CD is really good pop (and that from a guy who thinks pop is pidgeon plop!)-Pookie

CAKE
 An ethereal 4-song CD submission from the San Fran band Smitten. Influences here obviously include bands such as the Cocteau Twins and My Bloody Valentine. Personally, this style of music just isn't up my musical alley, but many others seem to love it. I'll have to admit that for their style, their playing is strong and well-performed, The guitars and effects used here are thick in parts and rich, giving these songs a nice overall texture. Plus, the guitar effects are rarely over used; Consequently the lead female singer with her soaring, dreamy voice is never overshadowed, but complimented. I can't help but think of fluffy, cutsey bunny rabbits leaping and hopping joyfully through fields of wildflowers whenever I hear music in this vein - a mental image that always makes me nauseous. But again, that's just me. In short these guys are good at what they do. If you like this type of stuff, you'll love Smitten.


EISPLANET (GREEK)
BOUDOIR borrows elements from The Cocteau Twins and charms......("Songs Of Pain" review).

Click HERE to read letters from the mailbag!!!!!
Nice words about Boudoir & Smitten.....
Reviews
LOSING TODAY (Italian/French) - May 2004
Since the release of Hyperium’s Heavenly Voices collection in 1993, many bands have laid claim to a branch of the same family tree, and Boudoir is no exception. Their debut CD Currency of the Soul, released by Pandaimonium Records, (the label headed by ethereal pioneers Clan of Xymox), represents an impressive offering of ten tracks revolving around typically gothic themes: lust, sorrow and alienation. Musically, Boudoir walks the same paths of such predecessors as Dead Can Dance, Chandeen, Ataraxia and Black Tape for A Blue Girl, while also adding a slightly more electronic, sampled twist to their arrangements, thereby likely appealing to fans of such Heavenly Voices mainstays as Love is Colder Than Death and Sleeping Dogs Wake. Consisting solely of Ala Sharon’s echoed vocals and Damon Fries’ soaring guitars, tracks like the opener “Unalone” and “Maybe Yesterday” are melancholy dances in gauzy ether. The release’s big surprise, however, comes in the form of a remake of the Buzzcock’s classic “What Do I Get?” Not only is the appearance of this song unexpected, but also Boudoir’s take on the decidedly punk creation is both stirring and intriguing. In general, this is a melancholy and dreamy collection of songs that achieves what Boudoir set out to create: a dark and textured album evocative of the dawn of ethereal music. - Jennifer Jones

MICK MERCER's THE MICK (downloadable magazine) & STARVOX (England)- March 2004
~reviewed by Mick Mercer
Something about this appealed to me from the word go, and although it was mainly the name and that one track was called ‘Disfigured And Forgotten’, there was also the lovely red sleeve to consider, and the prospect of finding the press release was accurate and that here would be a beautiful voice decorating hypnotic works of lust, sorrow, longing and beauty. The usual lush ethereal sounds, put to a more cohesive melodic form, in other words.
The Cocteaus started all this, and Deadcandance raised it to a noticeable artform by making it more comprehensible, at which point virtually anybody who didn’t want a noisy band then created ‘artistic’ ones instead. This had led to the lows of the Shoegazing movement which was inescapably dreary, and the Ethereal/Heavenly Voices approach which often fails to connect lyrically, on any level, but provides precisely the right kind of musical fragrance for even the grubbiest of surroundings. Boudoir come into that lithe category and acquit themselves really very well, because so many of these bands leave no traces, in that you can’t recall too much no matter how many times you listen, but just sink back into their warm musical bath again when it’s on. Boudoir may not be onto the giddy heights of Black Tape For A Blue Girl, but they do have a sense of power about them.
The tracks don’t need much introduction, being elegant and very precise, with the vocals all floaty and emotive. They have drums bashing away with great vigour, and synths flooding all exits. It’s quite overpowering, and frequently cuts back to lighter moments, ensuring you’re pulled slightly this way or that. Then they get rousing again. Repeat, and dwindle….
Introduce a bit of Middle-Eastern mystery early on, without it having any real point, and you’re into the modern moves. What lyrics there are convey precisely zero because they’re trapped in the exquisite ether, and I doubt they’d mean much anyway because the vocals suggest no great urgency: this is sensurround cotton wool. During the final phase of ‘Maybe Yesterday’ some guitar prepares to become quite unruly, but somehow forgets its direction and all is harmoniously sculptured, but the way they raise the volume and the stakes makes for a spectacular success.
With ‘Last Try’ they remind you of a fruity Sundays, which is a noble comparison. Very chirpy, mordant and bobbling along with chilly splendour. ‘Sweet Storm’ is perfectly named, but Disfigured’ is cyclical, phased, twittering mush. ‘Close Your Eyes’ is a stop-gap dreamy thing, and ‘Sleepyhead’ a bit more urgent with solemn, purposeful bass, and guitar shivers. It’s just like an old Photos song, ‘For Beauties Sake’ but no-one‘ll remember that. So it’s mid-paced, with guitar fractures, and a nasal delivery that keeps the vocals keenly stalking straight ahead.
‘Floating’ has unsettling samples, and a very tough centre but I didn’t find it easy to get a connection to why they were doing it, which carries on into the rough and sweeping ‘Space Jam’ which could be Curve the way it attracts but fails to draw you totally in. This is a sound spectacle and we can observe without feeling. It’s impressive the way it builds and billows, becoming an edifice of sparkling sound, although as this is the musicianship and know-how of Clan Of Xymox engineer Damon Fries maybe it isn’t surprising.
And then a total shock, which you certainly wouldn’t be expecting, as they cover ‘What Do I Get?’!!! For those who don’t know the original, by The Buzzcocks, a frantic and desperate tune is rendered flat and shallow, with the energy scooped out. And yes, it’s a bit like hearing Mike Love’s fabulous ‘Wonderwall’, but this is serious, and it does work, creating a sense of watery regret of its own, which is no mean achievement, and to mention The Sundays again, think of a moodier ‘Wild Horses’.
A fantastically strong album, of opulent stealth. Stormy, yes, but a haven, somehow.

PREMONITION (France)

This first album of the American-Dutch band, Boudoir, is an excellent find. Chaperoned by its label's colleagues, Clan Of Xymox, the duo offers us ten tracks in the ethereal and vaporous gothic vein, in which the twinkling ripplings of the most delicate bliss-pop show through. Male and female vocals, keyboards, piano, the duo skillfully deals with light or melancholic ambiences, but they also bring out the saturated guitars when it's needed, like on the magnificent Sleepyhead or the icy Maybe Yesterday. Sometimes close to Mors Syphilitica's evanescent goth-rock (Undone) or to Slowdive's aerial choruses, Boudoir still has its own personality and a real know-how in the art of composition, like the very dispensable cover of the Buzzcocks' What Do I Get proves with a retroactive effect at the end of the album. So, this is a natural inclination which creates here several catchy tracks, making of this "Currency of the Soul", an exciting and recommendable album. Very promising for the duo's future.

BLACKLIGHT MAGAZINE (Germany)
Als "Traumhafte Gitarrenmusik in bester Dead Can Dance/ Cocteau Twins - Tradition" wird die Musik auf Boudoirs Europa-Debut "Currency Of The Soul" bezeichnet. Das die meisten Kompositionen auch ganz wesentlich von Synthesizerklängen geprägt sind, wird hierbei zwar nicht berücksichtigt, doch der Vergleich trifft die Sache trotzdem recht gut.
Das Duo Boudoir besteht aus Ala Sharon, die einigen vielleicht als Sängerin der The Catherines bekannt ist, und Damon Fries, seines Zeichens Soundman von Clan Of Xymox und Mastermind des Dark-Electro Projektes Jesus Complex . Die beiden haben in den USA bereits eine ganze Reihe Alben veröffentlicht und sich einen entsprechenden Bekanntheitsgrad in der dortigen Szene verschafft, hierzulande trat man bislang jedoch nur durch einen Beitrag zur Pandaimonium-Compilation "Songs Of Pain" in Erscheinung. Höchste Zeit also, auch die europäischen Darkwave-Fans endlich einmal mit einem kompletten Album zu beehren.
"Currency Of The Soul" beinhaltet zehn Titel, die zusammen genommen wie eine bezaubernde, zuweilen dunkle und dennoch wunderschöne Traumreise wirken und das Werk somit zu einem fast einstündigen Hörgenuss ohne Ausfälle machen. Das ganze klingt - betrachtet man die Herkunft der beiden - reichlich amerikanisch und ist in Sachen Atmosphäre auch gut mit anderen Barkwave Bands aus den Staaten zu vergleichen. Alle Kompositionen basieren auf einem synthtisch erzeugten Grundgerüst, das weich und warm klingend den Ohren schmeichelt. Darüber schwebt dann jeweils die faszinierende Stimme von Ala Sharon, die ebenfalls weich und freundlich, manchmal sogar ein wenig verführerisch klingt und an die Hochzeiten der Heavenly Voices Bewegung in den frühen Neunzigern erinnert. Ab und an greift auch Damon zum Mikro und steuert vereinzelte Vocal-Passagen bei - nicht zu vergessen die in allen Tracks einfliessenden Gitarren, welche mal eher ruhig im Hintergrund mitspielen, dann und wann aber auch in den Vorderund treten können und ganz vereinzelt sogar dominierend wirken.
Elektronisch versetzter, durchgehend ruhiger Darkwave also, der im ganzen dunkler und gleichförmiger als die Musik von Dead Can Dance klingt, deshalb aber noch lange nicht langweilig ist. Weitere Bands die einen tauglichen Vergleich abgeben sind mit Sicherheit die Cranes ,Cocteau Twins ,Lycia (wenngleich diese weitaus düsterer zu Werke gehen), This Ascension oder die ruhigen Titel von Faith & The Muse .Boudoir schaffen es jedenfalls über die gesamte Spielzeit ein ergreifendes Flair aufrecht zu erhalten und erklimmen trotz langer seichter Passagen immer wieder kräftige Höhen. Als Anspieltips seien die Tracks "Unalone", "Sleepyhead" und "Space Jam" erwähnt.

Rating: 10

ANCIENT SPIRIT (Germany)

Also, ich glaube Pantaimonium entwickelt sich so langsam zu meinem Fave-Label!!! Denn nicht erst seit der von mir kürzlich rezensierten Scheibe 'Karmapolis' von OTHER DAY weiß ich, daß die Süddeutschen ein echt gutes Händchen für aufstrebende, extravagante Bands haben, welche in erster Linie mal ihren ganz eigenen Stil mitbringen. Dabei fällt es wirklich sehr schwer BOUDOIR in irgendeine Kiste zu packen. Stilistisch sind sie sicher irgendwo zwischen Bands wie DEAD CAN DANCE, COCTEAU TWINS, DEPECHE MODE halt mit Frauengesang, OPETH, und sehr ruhigen und bei weitem nicht so gitarrenlastig wie ANATHEMA anzusiedeln. Fest steht jedoch, daß die Scheibe von Anfang an jeden in ihren magischen Bann zieht. Mit sphärischen Klängen untermalt und lieblichem Frauengesang versüßt baut 'Currency Of The Soul' bei Songs wie 'Unalone', 'Maybe Yesterday' oder dem superstarken New Age Pop - Träumer 'Last Try' eine knisternde Spannung auf, welche sich komplett durch alle zehn Tracks windet. Dabei kann ich noch das sicher Darkwave-lastigste Werk auf dieser CD 'Sweet Storm' und die sehr an ENYA erinnernde Coverversion des BUZZOCKS - Songs 'What Do I Get' als Appetitanreger empfehlen. Wer also mal richtig Lust hat, auf knapp eine Stunde voll totaler Entspannung und tiefes Fallenlassen aller Gedanken, sollte sich schleunigst zum Plattenhändler aufmachen und sich mal einen kurzen Probedurchlauf gönnen. -- Onkel Tom , 9 Punkte


LE FANTASTIQUE (Belgium/France) March 2004
Déjà aperçu au festival Gotham en 2002, Boudoir, est formé d'Ala Sharon et de Damon Fries. Ce dernier est déjà connu par certains pour son projet Jesus Complex dans lequel est aussi impliqué aussi Ronny Moorings de Clan of Xymox. Ces deux projets sont bien différents. Si Jesus Complex favorise les beats electro-indus, Boudoir se drape plutôt de guitares aériennes et vaporeuses telles qu'il en foisonnait dans les années 80 et 90 avec des formations aussi célèbres que Cocteau Twins ou My Bloody Valentine, dont la référence est inévitable sur "Unalone", notamment. Une nette parenté avec Sophya, l'une des meilleures formations du même label Pandaimonium est également à souligner ("Sleepyhead", "What do I get ?"). Outre les similitudes sonores, l'un des points communs avec le duo israélien est la maîtrise totale d'Ala, très expressive dans les registres profonds ("Sweet Storm") ou enfantins ("Lost Toy", le divin "What do I get ?"). Vu leur longueur inhabituelle, souvent supérieure à 6 minutes, les compositions développent leur thème en progression, esquissant d'abord, puis insistant sur le trait pour faire ressortir les nuances, souvent avec brio ("Disfigured And Forgotten", l'excellent "Space Jam"), même si les textes ne font souvent qu'effleurer leur sujet. Nostalgiques de la noisy-pop aérienne, ceci est pour vous.


PREMONITION (France) March 2004
Excellente découverte que ce premier album du groupe américano-hollandais Boudoir. Chaperonné par ses voisins de label Clan Of Xymox, le duo nous délivre dix titres évoluant dans une veine gothique vaporeuse et éthérée à travers laquelle transparaissent les ondoiements scintillants d’une bliss pop des plus délicates. Chant tantôt féminin tantôt masculin, claviers, piano, c’est avec habileté que le binôme manie ambiances légères ou plus mélancoliques, n’hésitant pas quand il le faut à sortir les guitares saturées pour forcer le ton d’un Sleepyhead magnifique ou d’un Maybe Yesterday glacial. Parfois proche du goth rock évanescent de Mors Syphilitica (Unalone) ou des chorus aériens de Slowdive, Boudoir développe néanmoins une réelle personnalité et un véritable savoir-faire dans l’art de la composition, comme l’atteste par un effet rétroactif la très dispensable reprise du What Do I Get des Buzzcocks en guise de clôture. Un penchant naturel qui enfante donc là plusieurs titres accrocheurs dès la première écoute, faisant de ce "Currency of the Soul" un album tout à fait enthousiasmant et recommandable. Encourageant pour l’avenir du duo. -Stéphane Leguay

MIC (Greece) - February 2004
Boudoir take influences from the Dark Ethereal groups of the 2nd generation like Slowdive and the Cranes (who in turn are influenced by the godfathers of the first generation (Cocteau Twins, Dead Can Dance), rather than directly by the aforementioned. The result is a thick layer of guitars and keyboards that create the right melodic oceans for Ala's voice to swim in, hunted by the the Damon's guitars. You probably already know that most tracks run in melancholic tones and the lyrics wonder on pain and regrets. Before taking a place at her Boudoir, Ala sang and played the keyboards in Catherines (Kansas City), whilst Damon was involved in various punk pop groups in California (Parasites, Plagiarists). It was there that they formed Smitten (1995) playing something of a mix between the Cranberries and Lush, with a bit of 4AD thrown in and release 'Connected EP', 'Stellar LP'. With Amsterdam as their new base, they change their name to Boudoir and release 'Currency Of The Soul' on Pandaimonium, Clan of Xymox's label. Besides Damon was the main sound engineer of the Xymox clan. Their atmospheric universe is worth listening to for fans that like that kind of music. The singing is elegant and the vocals floaty. The hidden middle-eastern looks are a perfect match and Fries finally gives up on the 'hollow' goth he played with Jesus Complex and remembers 'Medusa' and Faith & the Muse. You know the rest already...romantic, beating guitars, female vocals that have the familiar combination of fragility and despair, thinking how many hours must have spent on Liz Fraser's vinyls. They leave the most unexpected cover for the end: 'What Do I Get?' of the Buzzcocks, leaving us wondering the same thing. (Thanks to Olga for translation).

ALTERNATIVE POP (Poland)- February 2004
Pandaimonium deals with creative individuals from the independent scene and because of that we are often suprised by unexpected projects once for a while, supported by the same, known artists. For example, Clan Of Xymox musicians, Ronny + Mojca, + an American multiinstrumentalist Damon Fries, cooperate with each other, helping friends-musicians, but often engage themselves into their own projects. Boudoir is a duo set up by Fries. In Jesus Complex he is devoted to gothic fascination, exposing the power of industrial electronics. In Boudoir he decided to realize new ideas... "Currency of the soul "- thats most of all atmosphere. Besides the CD advertised is as follows:"Inspired by the influence of Dead Can Dance, Cocteau Twins, Cranes...etc"and all this is to be heard in the music. Seems like Boudoir will be a favorite band of the above mentioned bands fans. But I think, not only. Another time Fries proves, that he is devoted to the COX music. In Jesus Complex he was closer to what Morrings is busy with now. In Boudoir we recall the unforgettable "Medusa" as well as Faith & the Muse. Boudoir's debut is worth listening to, surely for the number "Floating". Its impressive!!!!! Its a masterpiece!! The CD "Currency of the Soul" is a great candidate for "Debut 2004"! 10/10= MASTERPIECE! (Thanks to Monika for translation!)

ORKUS (Germany)- January 2004
Melancholy has a name again!! Boudoir, das sind Ala Sharon und Damon Fries aus San Francisco, auch wenn man beim Horen denkt, dass es sich um Mitgleider jener legendaren Bands vom englischen Label 4AD wie Cocteau Twins, This Mortal Coil oder The Wolfgang Press handeln muss. Denn genauso filigran, spharisch, so melancholisch und vor allem einfach nur so schon prasentieren sich die beiden Amerikaner auf ihrem Debutalbum. Flirrende elektrische Gitarren, die auch mal etwas straighter werden konnen, treffen auf vertraumte Keyboardmelodien und entspannte Rhythmen. Hin und wieder ein paar Painotupfer oder akustiche Giatrren, manchmal auch Sprachesamples verwendend, entfallen sich zehn wundervolle Stucke, die zich Zeit fur den Aufbau von Melodien und atmospharischen Stimmungen nehmen und so doch auf eine Gesamtlange von 56 Minuten kommen. Daruber schwebt die wahrhaft himmlische Stimme Alas, die einen immer wieder in ihren Bann zieht und nicht mehr loslassen wil. Wie echos, die sich an den Schadelwanden brechen und unermudlich wellengleich heranrollen, so bleibt einem diese Musik zwischen den Ohren haften. Sanft und betorend, ein elegisches Soundgebilde, das zartlich die Sinne umschmeichelt, wie ein warmes Bad, in dem man langsam versinkt. Boudoir sind Musik gewordende Melancholie, die sich unverkrampft und entspannt um die Themen "Liebe", "Leidenschaft", "Lust" und "Schmerz" dreht, ohne in Deoressionen zu verfallen. Die den Geist einer guten alten Zeit heraufbeschwort, ohne aber in pure Nachahmung zu verfallen. Liebhaber oben genanter Formationen sollten hier unbedingt zugreifen. (8) - Thomas Sabottka

D-SIDE (France)- January 2004
Boudoir est un groupe base a Amsterdam et cree par Ala Sharon (ex-The Catherines) et Damon Fries, l'ingenieur du son de Clan of Xymox. Des l'excellent premier titre de Currency Of The Soul, on se retrouve quinze ans en arriere au temps du premiere album de Slowdive. Le chant feminin vaporeux et plein d'echos se mele au tourbillon de guitares et de synthes poetico-melancolique. Les chansons suivantes continuent dans cette veine morose et luxuriante sans jamais lasser, bien au contraire, surtout a l'ecoute de "Space Jam". Les dix titres du duo raviront tous les decus du label Projekt et ceux qui n'ecoutent plus rien de nouveaus depuis les separations de My Bloody Valentine et Cocteau Twins. - Yannick Blay

GATES OF ELYZIUM (Dutch)- January 2004
Het is alweer een tijdje geleden dat ik een mooie nieuwe heavenly voice cd had opgezet, maar de muziek van Boudoir doet me direkt denken aan bands als de Cocteau Twins, Cranes, Dead Can Dance en My Bloody Valentine. De heavenly voices zijn in dit geval bij Boudoir afkomstig van zangeres Ala Sharon. Ze wordt in haar dromerige zang begeleid door de zweverige bezwerende gitaargeluiden van Damon Fries, die ook bekend staat als frontman van het industriële Jesus Complex. Na al eerder lovende reacties gekregen te hebben op het nummer ‘’Space Jam’’ dat verscheen op de ‘Songs of Pain’ sampler van het Pandaimonium label, is er dan nu het debuut album van Boudoir. Currency of the Soul is een titel die de lading goed zou kunnen dekken. De liedjes handelen over lust, vervreemding en pijn, de meer onderbewuste thema’s uit het geestesleven die ongevraagd hun aandacht opeisen en daarmee soms pijnlijk duidelijk de ‘currency of the soul’ blootleggen. Thema’s die uitstekend passen bij de sound die op deze cd gecreëerd is. De liedjes zijn elektronisch en iets duisterder van toon dan de meeste dingen van de bovengenoemde muzikale voorbeelden. De sfeer is altijd melancholisch, soms ingetogen en soms met iets meer power, dat zich dan vertaalt in gitaarerupties die doen denken aan bands als Spiritualized, My Bloody Valentine en Slowdive. Boudoir schijnt het vervolg te zijn op Smitten, een ethereal pop band waar Damon en Ala in hun tijd in de VS zelfs al vaker mee getourd hebben. Ik ben ook wel benieuwd hoe dat klinkt. Boudoir klinkt in elk geval erg volwassen in haar geluid en de composities zijn goed uitgewerkt. Een geslaagd debuut als je het mij vraagt en dit is zeker aan te raden voor liefhebbers van heavenly voices en shoegazer muziek, als ook voor liefhebbers van de meer etherische gothic en darkwave.

SIDELINE (Belgium)- January 2004
Ala Sharon and Damon Fries have been both active in other bands and now released the official debut of Boudoir. Their sound and work bring us back to the essence of guitar-wave and the 80s as only reference! They especially remind me to the magic sadness of Cocteau Twins. There's the same kind of mysterious and desperate mood running through their work. Both artists contributed to the vocal parts, but Ala is the lead singer. She has this typical wave expression that sounds desperate and fragile. Musically speaking the songs have been recovered with dark synths, which makes the difference with the pure guitar wave of Cocteau Twins and co. I can't affirm that they're setting the world alight, but their nostalgic wave stuff will certainly please to the addicts of the good old times. (DP5/6)DP.


EISPLANET (GREEK) - 2002
BOUDOIR borrows elements from The Cocteau Twins and charms......("Songs Of Pain" review).

Here are some reviews of our former entity, SMITTEN
LOSING TODAY (ITALIAN)
The persuasive and disturbing pop melodies, inspired by the millifluent and romantic music of the beginning of the decade, of Smitten, young San Franciscan band formed in 1995 by guitarist Damon Fries, strike bewitchingly straight at the heart. Like many of the great groups at that time, Smitten has a shocking vocalist capable of varying the tone of her voice and the melodies of the songs at will as their main force; uncountable comparisons have already been wasted praising the indubitable qualities of the singer (Dolores O'Riordan, Liz Frazier, Julie Cruise) but we would like to emphasize the vocal ability of that of Ala Sharon, new indisputable siren of our acoustic oceans. After attracting the attention of the alternative circuit of the West Coast of the States with the EP "Connected", Smitten have irrefutably convinced us with "Stellar", the first full-length CD of the band, which flows quickly with its airy and romantic soft harmonies, well supported by an unusual and distorted bass, almost more than pure vibrating guitars which never overcome the voice of Ala, revealing a moderate use of effects. It would be useless to remain anchored to the albeit important and well-presented musical influences of the American group (Lush, Sundays, Cranberries), while we feel obliged to emphasize the inspiration and genuine talent of a band which imposes itself above any rigid classification, startling with its originality and refined styleof its compositions. Let youselves be conquered!

FIFTY-FIFTY
Smitten play off-center pop that has a hint of darkness tied to it. They're sorta dark and swirly sounding with nice sweet and sugary vocals. A perfect pop band if you ask me. The songs are memorable and at times come off sounding like something that would have been on Sarah Records circa 1992. If you like pop with a dark tint but still sweet enough to cause cavities, you'll no doubt enjoy this. Easily one of the best hidden talents America has to offer! 8.5/9

SF BAY GUARDIAN
Having just returned from their cross-country tour, Smitten seemed in good spirits, chatting amicably amongst themselves before a Tuesday-night show at the Cocodrie. Newly added rhythm guitarist and backing vocalist Jessica Congdon pushed the band's live sound a tad closer to what you can hear on "Stellar", their debut CD. "I can play more textural kind of stuff, lead lines, without worrying about dropping out. Live, you can hear 2 of the 10 guitar tracks instead of 1," joked lead guitarist Damon Fries after the show. While "Stellar" has all the trappings of a 4AD release, what with Ala Sharon's reverb-heavy vocals and the swirl of multitracked guitars, Smitten's live setup is where the rocking is. Bassist Andy Patel provides the unwavering melody line, and drummer Cha LeVias loosens the arrangements with beats that are hard-hitting but still danceable. Somewhat liberated from his wall-of-sound duties, Fries played with a shade more abandon, perhaps recalling his stint in punk outfut the Parasites -- he played a well-defined lick or two on "Broken Flowers." Smitten's newer material took chances, deviating from the band's tried-and-true method of playing either lengthy, moody epics that dissipate into sonic mush or race-to-the-finish two minute pop songs. "Outward Bound" interjected hard-rock bridges into what could have been a typical swoony tune. By the time the set-closing "Optimystical" had finished, the expressions on the band's faces conveyed more than just the usual relief -- they bore a sense of pride, that, despite the scant crowd, the band could play up to their potential.

INDIE STREET
Smitten is a new SF quartet with a love for lush spacious pop ditties. In the vein of a more pop oriented Swirl (Australia's), Smitten are destine to break through. "Stellar" contains twelve tracks of effect-laden (but not overdone) shimmering delights. Glide along to "In The Night", gaze into space with "Amber", or just jangle along to "Take You For A Ride", it doesn't matter. All will be just fine. Some of my other favorites include "Stardust", "Ordinary Day" and "Beauty Is". Fans ranging from Lush to An April March will definitely enjoy. Delicious.

SF BAY GUARDIAN
Swirly pop lives! Jam-packed into this tape are gorgeous vocals, poor enunciation and shimmering guitar tones. Cha LeVias' driving drums, Andy Patel's booming bass, and Damon Fries' skittish guitar lines turn the first track into pop ecstasy. Singer Ala Sharon's voice - a cross between Dolores O'Riordan's and those of countless 4AD heroines - weaves skillfully in and out of the band's elaborate sonic stuctures. A chorused guitar and an organ form a backdrop to "Beauty Is," which starts out like a Sunday mass, twists through a dark bridge, and emerges for a rousing finale. The lush ballad "Broken Flowers" features layers of beautiful choral singing. What can I Say? I'm smitten.

PRIMARY
Delay, static storms, and sonic ambience give a whirlpool effect to these dream pop transmissions by this excellent Bay Area quartet. Smitten brings to mind This Ascension, An April March or a cross between Lush and Kitchens of Distinction. I highly recommend this soon-to-be-classic EP.

GORDON'S FLASH
SMITTEN is based in the San Francisco Bay area and they have the swirly pop style down pat. Ala Sharons's lead vocals are ethereal, dreamy and smooth. There is both a softness and a power to her voice. Smitten are planning a West coast tour in April, but hopefully you won't wait until then to investigate this talented five-piece.

DEWDROPS
With a flurry of wild drumming and cool guitar wrangling, Smitten bursts on the scene with "Connected", the first of four songs on thier great sounding demo tape. This song delivers a delightful punch with pithy female vocals. "Broken Flowers" goes more for the prettiness factor with guitar reverb full on and still and attitude of spunky loudness. "Amber" starts out like something you might have heard Julee Cruise sing on Twin Peaks: sparse and interestingly plodding, then gradually building to a weighty and nicely searing overlook...We'd like to hear more! 9 lilies-bn

A delicious offering from San Francisco's 'Smitten', this demo cassette features four very refreshing songs. "Connected" combines Liz Fraser's Head Over Heals vocal peaks with the Cranberries' melodic playfulness. "Broken Flowers" is a wonderful blend of deep-hall reverb and madrigal vocals. "Amber" gets into some brilliant M-1 Alternative shimmer. And "Café Hell", though a bit muddy, mixes a terrific wall of noise with guitar power strum and some odd-but-tasty dissonance. A good offering! 8 lilies-pm

CMJ
Smitten's four song debut EP proves that quality is always in style, the band making a lasting impression with a sound that may not be all the rage, but tickles our fancy regardless. Though Smitten hails from the San Francisco Bay area, its sound distinctly British, borrowing from bands like My Bloody Valentine and the Cocteau Twins with effects-drenched pop tunes and soaring female vocals. It's in those vocals that songs like "Connected" and "Your Cloud" find their wings. Ala Sharon uses her pipes as an additional instrument, bellowing out sustained notes further textured by intense echoing effects and backup vocals, while also restraining herself to a Julee Cruise croon. The band employs effects pedals to create a gentle guitar howl, which never overwhelms the natural lilting quality of the songs, instead creating a swirl of sound that envelops and defines these haunting melodies. Cheryl Botchick

BLOW
 Smitten reminds me of someone else but for some reason, I can't really figure out who. Basically is's a barricade of noise clenched together with some pop hooks. The first track, 'Connected', twirls energetically in a fast-paced motion that suddenly reaches a moment of simplicity and pleasure. 'Amber' is lightly fluffed and textured with sweet guitars, forming a deep cavity by the end, while in 'Cafe Hell' and 'Optimystical', stern guitars drift back and forth into your system while the femme vocals graces about like a panther in the jungles. Needless to say, I liked it and hoptfully you do too!

FLIPSIDE
Moody, sullen, semi-atmospheric indie pop that's like a cross between the K records and 4AD sounds, hinting at Velocity Girl, Cocteau Twins, Xmal Deutschland, Tiger Trap, Chameleons, etc. Everything about this is such a cut above; from the loud, clear mix; the really good musicianship, beautiful vocal; and catchy melodies and hooks. Very rarely do I hear a band who is obviously so excellent at their trade, yet who I know nothing about. Unfortunately, some slimy A&R worms are pobably reading this right now, readying up to turn this fine young group into a complete bag of crap. Let's hope not. Anyhow, this CD is really good pop (and that from a guy who thinks pop is pidgeon plop!)-Pookie

CAKE
 An ethereal 4-song CD submission from the San Fran band Smitten. Influences here obviously include bands such as the Cocteau Twins and My Bloody Valentine. Personally, this style of music just isn't up my musical alley, but many others seem to love it. I'll have to admit that for their style, their playing is strong and well-performed, The guitars and effects used here are thick in parts and rich, giving these songs a nice overall texture. Plus, the guitar effects are rarely over used; Consequently the lead female singer with her soaring, dreamy voice is never overshadowed, but complimented. I can't help but think of fluffy, cutsey bunny rabbits leaping and hopping joyfully through fields of wildflowers whenever I hear music in this vein - a mental image that always makes me nauseous. But again, that's just me. In short these guys are good at what they do. If you like this type of stuff, you'll love Smitten.


EISPLANET (GREEK)
BOUDOIR borrows elements from The Cocteau Twins and charms......("Songs Of Pain" review).

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