Todd Stadtman | Only I Can Save You

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Pop: with Electronic Production Pop: Quirky Moods: Type: Lyrical
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Only I Can Save You

by Todd Stadtman

frothy futurist pop.
Genre: Pop: with Electronic Production
Release Date: 

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  Song Share Time Download
1. Back To Yourself
3:08 $0.99
2. Something Less Than Tenderness
3:01 $0.99
3. Jezebel Jones
4:01 $0.99
4. I Am Mr. Green
2:37 $0.99
5. The Clock In My Heart
3:05 $0.99
6. String Of Pearls
3:18 $0.99
7. I Don't Know Why She's Here
3:04 $0.99
8. I'm Good
3:47 $0.99
9. Come Undone
3:03 $0.99
10. Talking Through My Mouth
2:19 $0.99
11. The Life She Dreams
4:39 $0.99
12. I Wish You Were My Skin
3:23 $0.99
Downloads are available as MP3-320 files.


Album Notes
Combining an interest in all things musically adventurous with a gift for classic pop song craft, former Zikzak frontman Todd Stadtman has dedicated himself to mining for the fresh and unexpected within the limits of the three minute pop single. With "Only I can save you", Stadtman revels in all the guilty pleasures of processed pop, utilizing fizzy electronics, stark modernist arrangements and digitally altered instrumentation to augment his sharply written, diabolically catchy tunes. The result is an irresistible musical confection - a brisk and quirkily effervescent set that tweaks classic song forms with an endless array of sonic surprises.

"A genius of timeless pop"
-aB Magazine

"Stadtman croons prada issue, post-modern pop songs in a voice that recalls a young Brian Ferry."
-Pittsbugh Tribune-Review

"Stadtman writes songs like some odd hybrid of Martin Gore and Elvis Costello."
-Jetbunny Magazine

"Cloaked in the bubblegum wrapper of Stadtman's pop is a unique genius"

"Todd Stadtman has a sheer talent for his craft."



to write a review

Under The Volcano Magazine

This dude reminds me of a more flamboyant Bowie, a more feminine Prince, and everyone of that genre of solo artist amplified by 10. Don't get me wrong, that's a beautiful thing - there's nothing more sexy than a feminine man. Todd's songs are fancy and upbeat with lots of triggers and simple beats. He's the perfect equation of a hit song. I could see him being as popular as the Postal Service, since he fits pretty well into that genre of Californian bubbly, electronic Post Punk. (CD)

- Cain

The Big Takeover

San Francisco-based Stadtman was last heard in the lush pop duo ZIkzak, but here he hooks up with soundtrack artist Dan Wool for this quirky, minimalist electro-pop LP. Stadtman avoids the repetition often associated with programmed electronic music, infusing each light-hearted tune with varied arrangements and sonics. His warm singing evokes other proficient tunesmiths such as Robyn Hitchcock, Edwyn Collins, and Jazz Butcher's Pat Fish, while on the lyrical side, he's always trying to mend some fractured relationship. The LP gains strength as it progresses, but there are likable gems strewn throughout, whether the jaunty "The Clock in My Heart", the helium-voiced silliness of "I'm Good", or the breezy, horn-flecked standout "Talking Through My Mouth" (just try to get this one out of your head - it's impossible!)

- Mark Suppanz


Todd is one of those guys that you'd expect either at Berklee College of Music or the local insane asylum. He'd certainly fit in either with his eclectic style of indie pop. You can hear the influences swirling about in the vein of They Might Be Giants with a certain appreciable nod in the direction of Elvis Costello and his mainstream approachable pop. Cloaked in the bubblegum wrapper of Stadtman's pop is an unique genius that's as eclectic as Japanese culture where this album no doubt would explode from Tokyo's plushest stereos.

- J-Sin

The All Music Guide

On his second solo album, singer/songwriter Todd Stadtman moves even further from the retro-futurist synth pop of his earlier band, Zikzak, into a timeless electro-acoustic sound beholden to no particular styles or time periods of pop music's past. It's not that Stadtman has created something entirely unique on Only I Can Save You — fans of the Magnetic Fields in particular will find this album comfortably familiar — but Stadtman's previous work has rarely sounded this self-assured. These 12 songs are as effortlessly catchy as those of pure-pop traditionalists like Fountains of Wayne ("I Don't Know Why She's Here" in particular is a small masterpiece), but Stadtman introduces plenty of oddball textures like the manipulated electronic voices that take the lead on "I'm Good" and neat arrangement touches like the horns that crop up occasionally on the appealing Barenaked Ladies-like bubblegum of "Talking Through My Mouth." Endearingly quirky and utterly charming, Only I Can Save You is a delight through and through.
- Stewart Mason

Dave Lawson

stadtman makes most of minimalism
This is an enjoyable disc for those who are hearing Stadtman for the first time, but is even better appreciated by those who have heard his previous disc "Anxotica." Those familiar with both may get the sense that Todd, whether consciously or otherwise, made a deliberate attempt to scale down the frothy lush beatscapes of his previous album to present a more stark, barebones techpop backing to his songs. All the while, Stadtman retains his lyrical identity in front of the new musical backdrop giving us the same types of narrators suffering severe psychological maladjustments within their relationships. In "Anxotica," one senses the lyrical issues are more earnestly felt. With "Only I Can Save You," the title itself alerts the listener that one of the following are true:

1.) either Todd actually stands by the grandiose (and literal) claim made by the title


2.) what is to follow will be 12 lyrical compositions in which the protagonist will address all problems with absurd solutions.

Anyone who's met Todd knows #1 isn't true.

But if you listen to the words, you find #2 is. Todd's narrators are crazy. Just as the music has undergone a more deconstructionist rendering since the last album, his lyrical identity has transformed from earnest troubled lover to more aloof, calloused drifter who dispenses rejection instead of waiting to receive it. Consider the following lyrics:

"She drove me crazy with her sanity
And her patience wore me down....
And the clock in my heart
Said time to go"

The narrator evidently can't stand conventional mores of a previous flame. See also the following:

"Jezebel Jones you're no damn good
You Terrorize the neighborhood
That's why I love you"

Again, conventional wisdom would suggest the narrator loves a woman for the wrong reasons.

And the whole album is harmonious with this tone. The subtle joke is complete with the juxtaposition of the buoyant music against the happily sung but nevertheless cynical lyrics.

All this, by the way is not merely to be descriptive, but also complimentary. It’s interesting to see the evolution (or de-evolution) of the artist/narrator from one album to the next and how he chooses words and sounds because of experience from the prior project. The music has gone from techno-pop to techno-punk. The words have gone from seeking relational truth to tossing around exaggerated and phony solutions. The transformation is brilliant, because although he is still Todd Stadtman, his more recent incarnation reveals a bold composer and lyricist no longer affected or bothered by the pettiness surrounding him.

At least that’s what I thought.

Is This Music? Magazine

Todd Stadtman classes his work as "futurist bubblegum", but it seems that he may have oversimplified and underestimated himself. Certainly, Todd takes a unique, electronic slant on the traditional pop song, but his Tom Petty-esque vocals and weaving of different layers of sound make it dangerously listenable. "Jezebel Jones" is a catchy love song with twangy guitars and lots of electronic distortion, and "Back To Yourself" is also a happy, quirky highlight. There are darker moments, like "I Am Mr. Green", and also a couple of disappointing tracks - "I'm Good" features squeaky, distorted voices over a farting keyboard which never fails to abrade. However, with the exception of these less impressive moments, "Only I Can Save You" creeps up on you, and before you know it, you're head-bobbing and toe-tapping with a smile on your face.

- SK