(New York, New York â€“ September 14, 2010) â€“ Candice Anitra has been bearing witness to alchemy at work. Bark then Bite is the product of progressive chemistry coming together: 15 days at Studio G in Brooklyn with magical producer|engineer|artist Joel Hamilton, the same month he was wrapping Billboardâ€™s #1 Top Heatseekerâ€™s album Blakroc; Dub Trio’s return from Matisyahuâ€™s tour to lay the musical foundations of the album with past credits including 50 Cent, Mos Def, Common, The Fugees and Tupac Shakur; Marika Hughes’s rolling through with her cello one Saturday morning after playing for Whitney Houston’s release; Soulive’s Neal Evans’s recording his organ in a hotel room overseas; and lastly, Scotty Hard’s remixing of “Objectify” with cameos by influential jazz artists Steven Bernstein, Kenny Wolleson and Michael Blake – a confluence of fortuitous forces for her debut LP released nationally on September 14th, 2010.
â€œA pacifist in pumps / Not afraid to throw a punch / Or eat your hurt feelings for lunch,â€ says Candice Anitra on the female powered anthem â€œToo Much Woman.â€ Amidst Candiceâ€™s progressive feminist angle is a sound that is simultaneously new and vintage â€“ producer Joel Hamilton references the music as â€œTina Turner meets The Beatlesâ€ or â€œFiona Apple meets India.Arie.â€
Candice Anitra proves herself a force who could make a definitive mark on a new decade of music, art and politics. The songstress pushes the envelope with an infusion of funked up rock nâ€™ roll complete with sexually-seductive politically-progressive lyrical content. The albumâ€™s title reflects its ferocity. It is soul music in the genreâ€™s deepest and broadest sense, the music stretches beyond standard definitions but captures Candiceâ€™s vision as an artist.
Candice Anitra defines herself as a singer-songwriter-alchemist. Her words turn lifeâ€™s grist into gold. The first single â€œObjectifyâ€ flips the script on typical notions of objectification and celebrates the sensual and liberating opportunities to be â€œobjectifiedâ€ according to oneâ€™s own self-definition. With the opening track â€œWhite Linesâ€ Bark then Bite begins with hard hitting percussion. The song is a challenge to single-minded, short-sighted, patronizing ideologies â€“ a literal response to Ann Coulter but figuratively suggesting the possibilities for personal transformation. The uptempo â€œLetâ€™s Continueâ€ could easily be a hit single without sacrificing depth, profoundly advancing a romance while cautioning against the relationshipâ€™s preceding shortcomings. Marika Hughes tantalizes with her cello on the trackâ€™s extended outro. Songs like â€œTake Me,â€ â€œCross the Water,â€ â€œBad Tasteâ€ and â€œDark Thingsâ€ possess melodies that recall Sadeâ€™s sultriness but lyrics that are more sensually provocative and emotionally ambiguous (a laâ€™ Meshell Nâ€™Degeocello). â€œWe Are Loveâ€ which was featured as a Valentineâ€™s Day Promo on GLAAD.org manifests itself as a catchy homage to the power of the human spirit, written out of dismay of Californiaâ€™s passage of Proposition 8 in November 2008. The song is an offered anthem for the gay rights and marriage equality movements, a rebuke of intolerance but ultimately a celebration of loveâ€™s transcendent possibilities.
September 14/Washington DC: Liv, 11th & U Streets NW)
September 15/New York City: S.O.B.s (Sol Village), 204 Varick St
September 16 & 17/Philadelphia, PA: Elena’s Soul 4912 Baltimore Ave.
October 22/Cambridge, MA: Tommy Doyle’s 96 Winthrop St.