It wouldn't be wrong for you to expect the latest edition of CD Impressions to be 4th of July themed. We probably could have taken the time to find a batch of releases that were American-centric, patriotic or at least relevant to the coming Independence Day. Instead this edition of CD Impressions manages to feature only three American based artists and two artists from abroad. Isn't the variety of albums featured today almost a microcosm of the melting pot American way though? I thought you'd agree. This edition features a hard rock band from Arizona, a rapper from Louisiana, an R&B singer from Kansas City, an ambient side project from Israel and finally a pop band from north of the border - it is Canada Day after all.
The ArchAndroid (Suites II and III)
Artist: Janelle Monáe
Label: Wondaland Arts Society/Bad Boy
Release Date: 5/18/10
7 out of 10
This ultra-ambitious, genre-defying epic has been heralded in some circles as some sort of “future of R&B” thesis; considering the stagnant state of the genre today, that’s probably a pipe dream. Despite great efforts in making this a rich, sinuous, even cinematic record (particularly in the suite overtures), it quickly becomes evident that Janelle Monáe is better equipped at pouncing and swinging (“Cold War,” “Faster,” “Tightrope”) than fussing and smoldering (“Sir Greendown,” “57821,” “Mushrooms & Roses”), which frequently sound like sleepy, digitally-phased Prince. Also ineffective is the shiny but tacky candy pop of “Wondaland,” and sonic experiments like “Neon Gumbo” are superfluous but at least demonstrate a willingness to keep things unpredictable and distinctively moody. But back to Prince: there are actually long stretches on here that remind heavily (and often favorably) of the Purple One, especially when a wailing electric guitar surfaces out of nowhere at several junctures. Skipping and surging over the slick production, Monáe’s voice isn’t notably better than the mid-road likes of Kelis or Amerie, but when she does make her pipes soar on tracks like “Oh, Maker,” it’s blessedly more Alicia Keys than Mariah Carey. Overextended and uneven, if not for a bounty of good ideas, somewhat original interpretation, several seamless transitions, and a handful of earworm hooks, The ArchAndroid might have resulted in a disjointed mess with a muddled story arc. But even if the effort is more commendable than the execution—especially in the hit-and-miss second half where the liveliest moment is saved for an appearance by of Montreal on “Make the Bus” (with Kevin Barnes even serving as songwriter)—anything as bold and occasionally electrifying as this in a depressingly insipid scene is worthy of much of its acclaim. (Matt Medlock)
Broken Frames
Artist: Eyes Set to Kill
Label: Breaksilence
Release Date: 6/8/10
4 out of 10
Sisters Alexia Rodriguez and Anissa Rodriguez from the hard rock act Eyes Set to Kill sure know how to spit the material out. The band has released three full length albums in the past three years and has managed to change things sound wise in each release so far; though constant lineup changes may have had a hand in that. Their latest release, Broken Frames, shows a slightly more aggressive side to the band and fixes many of the glaring shortcomings that their last album, the tepid The Outside World, were full of. The band is fronted by both a female vocalist, Alexia Rodriguez, and a male vocalist/screamer who, this time around, happens to be Justin Denson who replaces Brandon Anderson who apparently lost his voice and couldn’t contribute to this album. The sound of Denson’s post hardcore growl against Rodriguez’s pitch perfect yet highly generic voice is nothing new and the songs on Broken Frames do nothing to try and make the vocal pairings unique either. It’s only when Rodriguez brings down her voice a notch and allows it to fit into a more subdued rock track does Eyes Set to Kill become interesting. The best track on the album is without a doubt the song “Ticking Bombs.” It’s a song solely sung by Rodriguez and it allows her to recite her serviceable poetry against a well crafted and never overwhelming slowed down rock number. The band does sound better and edgier with Denson handling the male vocals this time around, but too often the repetitive music brings down the third album released in the past 28 months by this band to a point beyond saving. (Tyler Barlass)
You Don't Exist
Artist: Ghost Bike
Label: Tropic
Release Date: 5/16/10
7 out of 10
You Don’t Exist is the title of Vlad Shusterman’s new album released under his new side project Ghost Bike. I’m sure that most of you have heard very little about this Israeli composer. Shusterman is actually a proofreader and graphic designer by day and records music in his bedroom at night. Everything is produced and performed completely in his studio by himself except for the vocals on the song “Not Physically” which was actually sung by his mother, a professional opera singer. The album itself sounds professional too. This first album on Shusterman’s side project has influences ranging from dubstep to neo-shoegaze. Listening through the album is like hearing a story crafted exquisitely by Shusterman. This primarily instrumental story starts off with a bold statement, “You Don’t Exist.” The following songs play out the story of life in a most ambient way. Though the harsh realities of life set in at different stages through the album, it is an experience that should be listened to through a good pair of headphones.
Musically, Shusterman orchestrated the album as a whole quite well. You can feel the depth and sincerity as you listen. Pieces of his life come out as it progresses forward, from the almost danceable feel of the beats to the Middle Eastern oboe solo in “Memory Drain.” Then the whole style changes as you get to track eight, “Red Year.” The backbone begins with a funky organ and drum duet and then meshes with an array of Middle Eastern and new age ambiance. Dripping with repetitive sounds and droning rhythmic patterns, You Don’t Exist bridges the gaps and storms the gates to bring a message across to the listener. What you find is up to you. (Jeff Yates)
Rebirth
Artist: Lil Wayne
Label: Cash Money
Release Date: 2/2/10
2 out of 10
When hip hop was breaking out into the mainstream, many of the top-selling acts reinforced the hard beat and muscular thematic bleakness with heavy guitars, stadium drums, and a dense, flattening color that could easily be mistaken for rock n’ roll. What Run-DMC and Beastie Boys brought to the table was intensified through even harder-edged up-and-comers like Public Enemy’s Bomb Squad and Dr. Dre’s urgent and antagonistic production propelling N.W.A.’s breakthrough LP. Sometime after that, the concept of “rap rock” became a punchline that rivaled yacht rock and Milli Vanilli (but in the hands of Fred Durst, that was predictable). So what else needs to be said about Lil Wayne’s ill-conceived attempt to make a niche rap rock album than the fact that it’s not noticeably better than Limp Bizkit, and occasionally even plumbs depths that Bizkit never bothered? Even Durst and co. rarely treated the “rock n’ roll” aspect with as much sleazy, banal and over-the-top suffusion as this. Maybe Wayne’s research was limited to a purchase of Chinese Democracy and then he called it a day. Power ballad motivations (“Paradice”), misappropriated arena-shaking drama (“Runnin’”), paint-by-numbers processed punk (“Knockout”), and an inane cross-section of post-Korn and hair metal (almost everything else) results in a tiresome fusion that probably won’t appeal to people who like rap, people who like rock, or even those who like rap rock. A benefit from a terrible choice: an abundance of garbled Auto Tune renders many of the hokey/idiotic lyrics unintelligible (but that wobbly croak of his gets irritating fast). Based on the shaky concept, none of this is a big surprise by any means—certainly not as much as the astonishment that Eminem’s key verse on “Drop the World” is actually more impressive than 90% of the stuff he spat on Relapse or Recovery. I guess these hip hop stars should leave prefixes alone, but then again, such a silly and shallow suggestion would fit in snugly with this misbegotten misfire. (Matt Medlock)
All in Good Time
Artist: Barenaked Ladies
Label: Raisin'
Release Date: 3/23/10
7 out of 10
It would have been easy for the Barenaked Ladies to call it quits after founding member and principal songwriter Steven Page left the band last year. Much of the success (and there was plenty of success, especially north of the border), of the band hand hinged on Page and his counterpart Ed Robertson's vocal and songwriting styles that were uniquely different from one another. It seemed that Page’s songs had generally been humorous and upbeat, while Robertson often took on the duties of the more somber and ballad-esque moments in BNL history. On the band's first album sans-Page, the band naturally took on the persona of their new leader, Robertson. With All in Good Time, BNL attempts to shed much of their playful novelty side and take on a more mature sound - especially lyrically. Though none of the songs on the album are admittedly about Page's departure, the whole theme of the album seems to be directed in either a lamentable or resentful way at the loss of Page. It's not totally a drag though. “Four Seconds” is a fun, though very goofy track and “Every Subway Car” is a well paced Robertson highlight. Other band members shine bright in supporting roles on the new album. Kevin Hearn’s beautiful “Jerome” is one of the better tunes on the disc and Jim Creggan takes a shot at the limelight with the well crafted “On the Lookout.”
Though Page’s absence is no doubt felt, All in Good Time is actually a commendable effort by the new sound Ladies. Robertson's wise decision to not take on the entire load of songwriting duties and allow fellow bandmates to contribute more than they ever have in the past is a wise one. For those who have written this band off with the departure of Page or even long before that, I say don't count out the Barenaked Ladies just yet, they may still yet have a trick or two up their sleeve. (Tyler Barlass)
