DG's Album Reviews- January 2003

(NOTE: Albums reviewed are ones that I purchased).

Zwan- Mary Star Of The Sea (WW)
Danzig- 777: I Luciferi (WWW)
Dredg- El Cielo (WWWWW)
Spoon- Kill The Moonlight (W)
Rammstein- Mutter (WWWW)
Mindless Self Indulgence- Alienating Our Audience (WWWW)
Terri Clark- Pain To Kill (WWWW)
Wilco- Yankee Hotel Foxtrot (WWWWW)
Tori Amos- Scarlet's Walk (WWWWW)
50 Cent- Get Rich Or Die Trying (W)

You've heard all the hype Zwan have generated with this release- Billy Corgan, one of the music industry's more interesting composers, set his sights to return to the music industry and hopefully inject some life into mainstream radio. Well, chuck all that way, because Zwan are your average mainstream rock band, just like Creed or Saliva. Overall, this work lacks the imagination or the magic that the Smashing Pumpkins had, as songs like "Lyric" and "Heartstrong" are just radio-ready rock tunes and nothing else. Then there's the absolutely lame "Baby Let's Rock!" and "Yeah"- especially the latter with the "yeah/yeah/yeah" chorus- and the title track, which is simply a fourteen minute version of what you hear on the radio anyway. It's not to say this work's a total write-off- the guitarwork is nice, and "Honestly" is a solid mainstream rock hit- but to have this come from a guy who's been a lot more interesting before is simply inexcusable.

Danzig- 777: I Luciferi (WWW)

One thing and one thing only has described Glenn Danzig in the past: someone who can turn the metal cliches into something interesting, which he does here. He again shows himself as a wonderful lyricist ("Sister of Lucifer coiled by your side/Unearthly delights long forgotten by design", "Kiss The Skull"), twisting the metal cliches into wonderful, wonderful metaphors. It also doesn't hurt that he does have an amazing voice, probably one of the most beautiful you'll ever hear. The guitarwork is also nice, but don't expect any Zakk Wylde riffs here- not that I'm complaining since they'd be pointless on this album. It's also not as heavy as some metal albums, which may turn some people off it, but it also means that this album's a lot more accessible than a lot of metal, making the album's overall lack of success all that more puzzling. Still, though, some may not want it anyway- lyrical subjects, like "Angel Blake", may make some listeners uncomfortable, since these metaphors can be quite gruesome. Also, Glenn's voice, while magnificent, isn't high on clarity either, as some words are lost in his power and projection, while "Liberskull" drags way too much. Still, this is a very solid metal record, and one I'd recommend in a heartbeat.

Dredg- El Cielo (WWWWW)

If there's something the likes of Radiohead, Coldplay, Tool, etc. were not, it's interesting. Sure, it's moody music, but could it be the kind of music that won't put the listener to sleep? Enter Dredg, a California-based group who, while not pioneers of this sound, actually sound like them with this album, one of the most beautiful albums 2002 has seen. As an added bonus, it's also fairly accessible too- this kind of mood music will not fly over too many listeners' heads, which means more can sit down and enjoy the music for what it is- a joy. There are several elements at play that make this album all the worthwhile: first, there's Gavin Hayes' very entrancing and powerful voice, arguably one of the music industry's best. Second, there's the instrumentation, all of which adds to the entrancing and surreal-ness that this album presents. Third is "Convalescent", an amazing full-throttle rock-pop song that is the album's brightest spot- an achievement considering how good the rest of it is. Last, but not least, is the fact that these guys can be light-hearted too, adding a hilarious moment to the end of "Whoa Is Me". On the down side is the pointless "Brushstroke: Dcbtfoabaaposba" (though the other "Brushstrokes" are amazing) and the fact that the band focuses too much on melody and not enough on lyrics- though, don't get me wrong, they're still great. Overall, Dredg have one of 2002's best albums and one that will surely leave it's mark as one the 21st century's early landmarks.

Spoon- Kill The Moonlight (W)

I find it kind of funny that these guys decided to call themselves "Spoon", because they're just as interesting as the table ornament. "Kill The Moonlight" is an uninspired and very forgettable album, with very little imagination or creativity. If you've heard the amazing (and very catchy) "The Way We Get By", you've heard (most of) the rest of the album, since the rest of it is done in almost the exact same way. These songs, of course, may work well on their own, but string them together and it makes for a work that is really, really, really tiring. There's the boring first single, "Small Stakes" for example, as well as "All The Pretty Girls Go To The City" with it's lame and overdone "do-do-do" chorus. However, before I go and say Spoon are hopeless, there's the touching "Vittorio E.", the album closer, that shows potential for depth. It doesn't do anything to save this work from the gutter, but at least I might have something to look forward to after this forgettable work.

Rammstein- Mutter (WWWW)

Till Lindeman is, bar none, the best male vocalist in contemporary music. No one can even come close to this guy's tenor-like vocals, with amazing power and projection, on full force in "Niebel", the magnificent album closer, and the dark minor rock hit "Sonne". He doesn't exhibit them all the time- which is a shame considering how good he is- but don't let that detract from what is a very compelling and interesting album. Probably the best element of it is the fact that this is a very easy album to listen to yet it's still too compelling and challenging to listen to (after hearing this, yes, that's possible), plus, there's honest emotion here- unlike the "angry" Papa Roach and Linkin Park. Still, "Mutter" tends to get repetitive at times, and the political (I suppose) "Feuer Frei" is plain stupid with it's "bang-bang" chorus. Still, Rammstein have grown since "Du Hast" and have proven themselves as a powerful industrial force.

Mindless Self Indulgence- Alienating Our Audience (WWWW)

Remember that annoying little sibling you always had? You know, the one that would spill your milk on purpose, or the one that felt the "need" to repeat every last word that came out of your mouth or to "rearrange" your various collections? Well, have them grow up and start a band and you get Mindless Self Indulgence, who are mindless, mindless- and sheer- fun. They're a hilarious and snotty bunch this MSI, especially when they offer a song like the punchy "Party Shot". Then there's their spoken words of "wisdom" at the end of "Two Hookers" of how they got to where they were: "everyone who is famous got there by sucking d***. The only difference with us is that we swallowed it." (so true. Sniff, sniff…oh, right back to the review). It sets the album tone, letting the listener know these guys are just out to cause a mass disturbance- or a reasonable facsimile. Still, this isn't for the close-minded, especially songs like "Thank God" and "Last Gay Song", it doesn't feel live (which is what this recording is supposed to be) and, at 25 min. plus, it's too short. However, this wonderful dance/punk/rap hybrid shouldn't be discredited for that: they're an amazing band, and need to be given their props- but only after I spill their milk (oops, said too much…).

Terri Clark- Pain To Kill (WWWW)

I have to announce something to everyone in Canada too embarrassed to admit that Shania Twain is a Canadian country star (like me): you do have an alternative, and a very enjoyable one at that. Enter Medicine Hat's own Terri Clark, the first Canadian country star in recent years that you WON'T be embarrassed to admit she's Canadian. She also writes quite a bit of this work, though- because of country's ghostwritten tendencies- it's not as much as Twain does (though Twain might want to consider that option…), but the plus side is that her songs tend to work a lot better for her than her ghostwritten tunes. This album is also quite varied- there's the fun, light-hearted but deep tunes like "I Just Wanna Be Mad" and the title track to go alongside deep, thoughtful ballads like "The One You Love", the album's highlight. Then there's her worldly insights, with a line in "Working Girl" that Visa would be proud of- "the world is in my reach, but they don't take American Express" * smirks *. This album does get bogged down by the weak ballads "Not A Bad Thing" and "First To Fall", the weak chorus in "Three Mississippi", and the fact some Canadians may not like her singing about "going to see the Yankees" in "I Wanna Do It All" (in her defence, that one is ghostwritten). Despite that, "Pain To Kill" is a lot of fun to listen to and reminds those in Canada that there's hope after Shania.

Wilco- Yankee Hotel Foxtrot (WWWWW)

It's not very often that you hear an album that will leave you streaming with glee after hearing it, so when one does come up- like Wilco's "Yankee Hotel Foxtrot"- you remember it and cherish it completely. Perhaps what amazed me the most about YHF is the fact that Jeff Tweedy conveys a very tortured soul without yelling and screaming vocals and angry/screaming power chords, opting for the art/pop-rock touch. It's a relief from all those Papa Roaches and Linkin Parks that insist we don't know they're angry unless they yell (and about time if you ask me). Furthermore, this is a very multi-layered and complex album- both musically and lyrically- that works, another bonus because very complex albums tend to fall apart very easily (see Dream Theater), leaving a very captivating and uplifting listening experience. Then there's the songs like "Heavy Metal Drummer", single No. 1, the catchy, hooky pop delight, and "Pot Kettle Black", featuring some amazing guitarwork that add several elements to a song that has a lot of them in the first place. "War On War" is aided also by that amazing guitarwork, as the song comes out as a complex, tortured battlefield declaring what the title suggests. What else…oh, Tweedy's biting side, saying in "Ashes Of American Flags", "I wonder why/We listen to poets/When nobody gives a f***". Finally, there's the closer "Reservations", which begins as a Beatles-esque tune and then closes with an apocalyptic tone, almost fitting because this album features a very depressed Tweedy whose, it seems, reached the end. Don't despair, folks: there's a light drum beat at the end suggesting that all will eventually be well, so there's room for positivity. I can't say this album is perfect- the lack of progression hurts "Kamera" and "I Am Trying To Break Your Heart", both still solid tunes, and Tweedy's voice isn't clear all the time- but it's close, being THE definition of "art-rock".

Tori Amos- Scarlet's Walk (WWWWW)

With all the attention paid in 2002 to the new breed of singer/songwriters- Michelle Branch, Avril Lavigne, John Mayer, etc.- it's easy to forget the original set that gave this new breed a chance to thrive. Then again, considering most- like Alanis Morisette and Sheryl Crow- have deviated from what made them great in the first place, it's also easy to see why the only one left doing what she's always done, Tori Amos, was overlooked. My, what a shame: they're missing out on a lot. "Scarlet's Walk" again presents Amos as her dark, reflective self, this time searching for the truth on an epic journey (trust me, at 80 min. plus, it IS an epic). It's very thoughtful and moving, featuring Amos at the top of her game, some fifteen years after she started. It also doesn't hurt that Amos is one of the music industry's most beautiful and breathtaking singers, thus greatly enhancing the power and emotion of her songs. Speaking of which, there's the title track that encapsulates everything this album is about, while "Taxi Ride" presents an upbeat but still very thoughtful "journeywoman" song. "Mrs. Jesus" has Amos searching for- and finding- religious peace, but, unfortunately she laments at finding nothing in "I Can't See New York", a seven minute song that may have 9/11 ties. Then there's always the cheeky "Wednesday", showing that Amos can have a good time as well. The side effects to all this are "A Sorta Fairytale", which is disjointed and uneven compared to the single version, and the fact that some songs do have the same starts- "Virginia" and "Taxi Ride", for example. Still, Amos is at the top her game with "Scarlet's Walk", and shows that she'll still be around as a force well afterwards.

50 Cent- Get Rich Or Die Trying (W)

Chalk up another one in the "failed potential department". 50 Cent, who showed on the 8-Mile soundtrack that he was a rising star, fails miserably to live up to all that potential throughout this album, being just you're average, boring gangsta rapper who's out to prove how "thug" he is. Sigh (are these guys insecure or something? Why else do they need to prove this idea to us?). He's not a total write-off- songs like the fun "In Da Club" and the smart "Gonna Make It To Heaven" and "21 Questions" with Nate Dogg, especially the latter where 50 Cent asks several "what if" questions to prove his lover's love remind one of the potential he showed on the 8-Mile soundtrack. However, why does he have to waste half decent beats with cliched raps the rest of the way? There isn't an ounce of this that hasn't been done before- like the "I'll kill you" song in "Heat" (featuring a gun-shot beat), the "don't mess with me" "P.I.M.P." and the cliched "let's have sex girl" song in "Like My Style". Plus, he says "whoo" too much, and, after the 30 billionth time, I'm ready to start practicing with this Frisbee. Then there's his moronic singing of "ah", and his utter pretentiousness- "my Psalms belong in The Bible with King David" ("U Not Like Me"), further protracted by the fact that, when it comes on, you've sat through one of the most cliched albums ever done. What finally seals this album as a Frisbee is Eminem himself, the man who discovered him in the first place, as he blows away 50 Cent in his raps on "Don't Push Me" and "Patiently Waiting", doing what I'm going to do with this poor excuse for a disc. Don't get me wrong, though- I know all about his stories, but that doesn't excuse him for making garbage like this.

-DG

Discuss this page here.

Back Home