"How We Quit the Forest"
The second effort by Rasputina seems to take a shocking new direction on it's first two songs, "The Olde HeadBoard" and "Leechwife." The CD begins with a drum loop (yes it's strange, drum loops were rarely heard on their first album). It continues to get more aggressive, with distorted fragments of cello all over the place. This approach was only hinted at on the first album, with "Howard Hughes." But this time around, it's much more polished. This album was produced by former Nine Inch Nails producer Chris Vrenna, and the effects of his production are clearly heard. Industrial drum sounds and exotic loops drench every aspect of this album (except for one song, see below). These strange samples compliment the subject material very well, which is for the most part, just as disturbing as the first album. The second song, "Leechwife," is just a mediocre song, but the pseudo-death-metal production of it is definitely amusing. This new heavy direction, however, doesn't last for long. By the third song, a cover of the Lesley Gore hit "You Don't Own Me," Rasputina has settled back into their old chamber-goth sound. That's not a bad thing at all, mind you. In fact, this time around they've kept their sound, but refined it quite a bit. It's refreshing to hear chamber-music with 90's sonic influences together, and it works. Melora still has the same forced vibrato, which seems to annoy some people, but I think it sounds beautiful, and very much like the vibrato of a flute. If you couldn't stand it before, though, you won't feel any better about it here.
The songs on "...Forest" are accessible and catchy, far more than their first album. That's not bad though-- these girls haven't sold out and become pop drudgery just yet. The songs still have an edge that's uniquely Rasputina. "May Fly" is an interesting look at mortality ("When that day is done/ The May Fly does not complain/ It flies into the setting sun/ It goes back to the place/ From which it came") and there are the trademark "Rasputina minute-long vignettes," like the hilarious "Christian Soldiers," which discusses medieval exorcism practices. The vignettes on this album are no longer as whiny, cryptic and annoying as they were before. This time, they're a joy to hear, in all their disturbing glory. One of them, "Diamond Mind," parodies the Zales diamond commercials. The Vivaldi-like string part plays under the whines of an outraged wife, who just can't stop whining about how much she needs her lover to buy her a diamond ("What other way can you make four months of your measly salary last a lifetime?")
The centerpiece of this album, though, is definitely "Rose K," a stunningly sweet (but still off-center) tribute to the late Rose Kennedy. It the only song on the album without any drums, samples, or distortion. With just the use of cello and vocals, Melora paints a very sad and clear picture of what Rose's life must have been like. After constant family troubles and losing several children to accidents and assassinations, Rose got Alzheimer's disease. ("The air is like a hand/ Reminding her of all the things she's planned/ Like air, that thought is gone/ Never to come again."), and the closing lyric, "They say a rose is a flower/ and that it is red/ It blooms, it grows, it wilts/ and then it is dead." It is a well-written, and fitting tribute to a great woman.
Every song on this album is well put-together, all the samples and sonic touches add wonderfully to the whole package, which was strong to begin with. Melora put together a very solid collection of writings, and she has definitely come a long way in expressing herself. From the opening loop, to the TV static at the end, this CD is a great way to spend 42 minutes. Rasputina has proven they are far more than a novelty act.
@@@@@ (Five at's)
-1998 Michael Schmid-