Category: CD QuickTakes (Page 12 of 149)

Combichrist: Making Monsters


RIYH (Recommended If You Hate): Your history teacher, riding the bus to school, cleaning your room

Combichrist are angry! And mean! And scary! And other stuff that will hopefully scare parents and encourage misguided 14-year-olds who want to rebel by going to Hot Topic to buy their records.

The creation of Norwegian musician Andy LaPlegua, Combichrist has been around since 2003. Previous uplifting and inspirational efforts by LaPlegua and crew include The Joy of Gunz, Everybody Hates You and What The Fuck Is Wrong with You People?

Their sound could be be described as “Head Like a Hole” meets “Beautiful People” meets the entire hard house dance movement. Aggressive beats meets aggressive lyrics meets aggressive synths. It’s all just so…aggressive. So much so some call the genre of music aggrotech. But don’t do that – you don’t want to encourage that kind of rampant portmanteauing. If you’re over 20 and take this stuff seriously,then a) you’ll love this record, and b) there’s no helping you. If you find needlessly misanthropic song titles like “Throat Full of Glass” and “Through These Eyes of Pain” hysterical and want to know just how many times LaPlegua can call the object of his affection a slut on “Fuckmachine,” then you might find some humor in Making Monsters, and the music, while a little overbearing at times, is good in a “I need help to stay awake/hate humanity” kind of way.

Just give your mom a hug, or pet some kittens, after listening. (Metropolis Records 2010)

Combichrist MySpace Page

John Legend and the Roots: Wake Up!


RIYL: Bill Withers, The Roots, Raphael Saadiq

john-legend-roots-wake-up-cover-e1279246652953[1] Before he reached the presidency – and thus subjected himself to at least four years of being picked apart, second-guessed, and portrayed as a letdown by pollsters and pundits – Barack Obama was a signal of meaningful social change, and a source of profound inspiration, to millions of Americans. His roots as an urban community organizer served as a reminder of a time when community really meant something – particularly in the black community – and raised hopes for a return to outreach, investing in urban infrastructure, and a renewed focus on the common good.

People were hoping for a paradigm shift, in other words, and those never happen as quickly, simply, or clear-cut as we feel like they should (as a passing glance at any newspaper will tell you). But that’s the thing about major change: As slowly as things might seem to be moving on the surface, moments of inspiration have a way of paying unexpected dividends. Case in point: John Legend and the Roots’ Wake Up!

Conceived during the 2008 election, Wake Up! combines Legend’s political awakening with the Roots’ peerless soul scholarship to produce an album that functions on two levels: One, as a call to greater personal responsibility and communal awareness, and two, as a sort of gateway into the classic records Legend and the Roots chose to cover. As chief Roots ambassador ?uestlove points out in the liner notes, these songs will be appreciated by two generations – the folks who still remember Baby Huey, Bill Withers, Harold Melvin, and Donny Hathaway, and the younger listeners who have grown up hearing bits and pieces of the music repurposed for hip-hop beats. (In a nifty, knowing twist, Wake Up! includes a cover of Ernie Hines’ “Our Generation” that features a guest verse from CL Smooth, who sampled the song 18 years ago.)

There’s something a little off-putting about the fact that a call to attention this powerful has to rely so heavily on songs that have been around for decades, and listening to Wake Up! – as with the Dirty Dozen Brass Band’s similarly themed 2006 cover of Marvin Gaye’s What’s Going On album, conceived in the wake of Hurricane Katrina – you may find yourself alternating between feelings of joy and disappointment. It’s hard not to wonder why today’s young soul artists aren’t making new music this marvelously aware – or why, if Legend was going to end the album with an original cut, he couldn’t have come up with something more deserving than the mawkish “Shine.”

On the other hand, great music is timeless, and there’s no denying that every one of these classic songs is every bit as resonant today as the day it was originally released – or that Legend and the Roots prove capable, empathic interpreters of the material. Wake Up! isn’t a new soul classic, but it reaffirms the undimmed relevance of the artists who helped shape the genre’s golden era. Here’s hoping the album expands the spirit of inspiration that brought it to life – and that other artists heed its title’s call. (Columbia/G.O.O.D.)

John Legend MySpace page

Lucy Schwartz: Life in Letters


RIYL:Brandi Carlile, Aimee Mann, Jon Brion

Lucy Schwartz’s Life in Letters contains the kind of songs that must make the producers of “Grey’s Anatomy” orgasm. Her music is spirited, melodic, and yet mellow enough to be the perfect accompaniment for the navel-gazing doctors on ABC’s drama. With beautiful harmonies, intricate guitars, subtle keyboards and muted drums, Schwarz’s music is pleasant to listen to, yet it feels like there’s something missing.

Let’s be clear, this is an album full of rich, excellent material. Schwartz’s voice is reminiscent of Brandi Carlisle in its fullness and the way she wraps it around the words. “My Darling” is a haunting opening number that rests in the back of your mind like caramel stuck in your teeth.  “Graveyard” has some wonderful, fun harmonies, “Shadow Man” chugs along like a well-tuned Chevy and “Morning” is a lovely ballad that closes the record.  Everything is pretty and neatly in its place.

Acclaimed producer Mitchell Froom oversaw Life in Letters, and he brings to it the same precision he’s brought to every artist he’s worked with, from Crowded House to Los Lobos to Sheryl Crow. Yet, it feels as if Schwartz’s passion has been tamped down, the reins pulled in, making the record too pretty and too mellow. You keep waiting, hoping, for the moment in which the singer loses her shit and lets out a guttural howl or some throat-shredding scream. Anything to indicate that she’s actually feeling all of the emotions she’s singing about. Life in Letters needs that on a couple of tracks, at least.

Without this type of feeling, Schwartz’s album is like a cup of decaf in the middle of the afternoon: It perks you up, but doesn’t give you a jolt. While Life in Letters has some finely crafted musicianship (especially when listening through headphones), nothing grabs you by the throat, or the heart, and pulls you back for repeated listens. (Fortunate Fool Records 2010)

Lucy Schwartz MySpace Page

Maroon 5: Hands All Over


RIYL: Stevie Wonder, Jamiroquai, Train

Maroon-5-Hands-All-Over-album-cover-art[1] Just when you thought there wasn’t an errant molecule left to be polished off Maroon 5’s squeaky-clean pop-funk sound, along comes legendary producer Robert John “Mutt” Lange to add his layers of platinum gloss. Lange’s antiseptic stacks o’ tracks approach helped Def Leppard own the late ’80s (and made it acceptable for a snare drum to sound like a wet sack of potatoes being hit with a two-by-four in reverse), so when word got out that he was producing Hands All Over, eyebrows were raised in anticipation. What do you get when you cross Maroon 5 with the guy who produced world-beating hits for AC/DC, Bryan Adams, Shania Twain, and Nickelback?

The answer, as it turns out, isn’t appreciably different from previous Maroon 5 records – not in terms of sound, anyway. Hands All Over is a little more arid than the band’s earlier material, and the nipping and tucking applied to lead singer Adam Levine’s voice is more obvious than usual, but they’ve never been anyone’s idea of a gritty band; Lange’s production style is unmistakably slick, but he’s also smart enough to know there are only so many layers of gloss you can add before the underlying material disappears.

And it’s on that underlying material that Lange seems to have had the biggest influence. Though the band’s songwriting has never really been an issue, Hands All Over presents Maroon 5 at their most radio-ready; even the filler tracks, of which there are a few, sound as sleek and lean as obvious singles fodder like “Misery” and “Never Gonna Leave This Bed.” Much as he’s been guilty of fattening up the sounds of the bands he’s worked with, Lange is a remarkably savvy songwriter with a sharp ear for a song’s inessential bits, and it sounds like he took a judicious scalpel to each of Hands All Over‘s dozen cuts. The end result is as slick as it is hummable.

Of course, it’s also sheer product, but unapologetically so, and at least the product in question is one worth selling. If you’re the type of listener who looks for raw power in your music, Hands All Over is absolutely not for you, but if you’re just looking for a fresh batch of safe, hip-shaking pop to get you through your day – or if you have any kind of appreciation for that elusive sweet spot where airtight pop songcraft and unabashed commerce meet – this is one guilty pleasure you may not need to feel guilty about. (A&M/Octone 2010)

Maroon 5 MySpace page

Serj Tankian: Imperfect Harmonies


RIYL: …give us a minute…

Serj Tankian’s first solo album, 2007’s Elect the Dead, was certainly less metal than anything he put out with System of a Down, but it still had an edge to it, a certain level of manic insanity that captured the craziness of SOAD’s best tracks, even if the heavy metal thunder was lacking. Plus, it had a song called “Beethoven’s C*nt,” and that shit’s just funny.

This shit, however, is just shit. While Elect the Dead barely had enough metal in it to quality as a metal album, Imperfect Harmonies barely has enough in it qualify as a rock album. If it wasn’t for Serj’s ever-crazy vocal delivery, tracks like “Beatus” and “Borders Are…” would be cleared to play on your local soft-rock radio station, sandwiched in between Phil Collins and Peter Cetera rockers. Even with all the surreal lyrics and occasional stellar vocal performance by Serj, nothing can change the fact that the music behind his madness, on every single track, is an unwavering blah of mid-tempo, violin-driven sludge (not sludge-metal, just sludge) devoid of any memorable melody or hook. The symphonic sound on Imperfect Harmonies sucks the rock right out if it, and in fact, it just kind of sucks all together. (Reprise/Serjical Strike 2010)

Serj Tankian MySpace Page

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