By: Chuck Myers
Posted In: Entertainment
– Melissa Auf Der Maur, “Auf Der Maur” (Capitol): Like your music hard and with an edge? Look no further than Canadian-born Melissa Auf Der Maur. If this debut solo album bears a sonic punch at times reminiscent of the Smashing Pumpkins, it’s no coincidence. She was the group’s last bassist, and enjoyed creative assistance on the album from erstwhile Pumpkins guitarist James Iha. Auf Der Maur’s lyrics often drip with not so subtle sexual innuendo that rides thunderous rhythms, particularly on “Real a Lie” and the unbridled “Skin Receiver.” She provides one final tasty note on a hidden track – an alternative version of one of the album’s songs in French. Bon appetit.
– Ani DiFranco, “Educated Guess” (Righteous Babe): Arguably one of the most independent artists (and spirits) going, Ani DiFranco seeks out a core essence with a more stripped down approach on “Educated Guess.” With her guitar and eight-track taping system, DiFranco had all the tools she needed to create this album, which picked up a Grammy nomination for Best Contemporary Folk Album. She delivers her usual deep, thoughtful music, blending folk, pop and jazz elements into elegant compositions. Even on a harsh number, such as “Animal,” in which she takes critical aim at American culture with deliberate purpose, she exhibits a gentle touch, allowing her lyrics to carry her message in its strongest term.
– Holly Golightly, “Slowly But Surely” (Damaged Goods): Somewhere between the sonic space of Loretta Lynn and Elvis Costello lies Brit songstress Holly Golightly. Yes, that is her real name. And yes, this is one beautiful album. On thing you can’t say about “Slowly But Surely” is that it lacks cohesiveness. At times, it moves like a languid waltz for the ears. But don’t let the pace lull you. Using Eastern influences, ’50s and ’60s retro effects and jaunty country splashes, Golightly weaves “Slowly But Surely” into a smooth, sensuous and timeless, if not throwback, fabric of poignant, slow-burning tunes.
– P.J. Harvey, “Uh Huh Her” (Island/Interscope): Few artists convey visceral energy through music better than P.J. Harvey. Amid her predatory rhythms and searing licks, however, is a thoughtful acoustic side, which she flushes out on her Grammy-nominated Best Alternative Music Album, “Uh Huh Her.” It possesses a sparse air and minimalist essence, unlike the polished feel of her popular previous release, 2000’s “Stories From the City, Stories From the Sea.” While some music observers feel the new album signals a softer side of Harvey, “Uh Huh Her” album still bears her solid signature punch, especially on the thumping “The Life and Death of Mr. Badmouth” and rapid-fire “Who the F-ck?.” On more acoustic-driven numbers, the record assumes an earthier, more folk-inspired air.
– Le Tigre, “This Island” (Strummer/Universal): Kathleen Hanna, Johanna Fateman and JD Samson, the creative trio behind Le Tigre, bring their interest with a pop format to a fervent boil on “This Island.” Instilled with ample electronics and buoyant riffs, the album gives plenty of cause for hitting the dance floor. But “This Island” is just as much a celebration of progressive political views. Opposition to the conflict in Iraq, for instance, rises to the fore with processional force on “New Kicks.” The album’s tone takes a less political and more fun-oriented turn on a dynamic remake of the 1982 Pointer Sisters classic, “I’m So Excited.”
– L.P., “Suburban Sprawl and Alcohol” (Light Switch): Watch out, Avril Lavigne: There’s a new gal with loads of rock grit on the block. With sizzling tempos instilled with dashes of punk spunk, L.P. pumps out the beat with thumping vehemence. This sophomore effort motors, with inviting rock melodies that drive numbers “Wasted,” “Get Over Yourself,” and “Little Death.” On “Nowhere,” she shifts to a more vulnerable feel, waxing forlorn about reaching an enigmatic crossroads.
– Rasputina, “Frustration Plantation” (Instinct): “Frustration Plantation” brilliantly meshes aggressive riffs and sobering hooks- all from two cellists and a drummer. The rock-heavy “Possum of the Grotto” and “Saline the Salt Lake Queen” vent torrid melodies with a solid backbeat. On “My Captivity by Savages,” cellist and vocalist Melora Creager opts for a first-person narrative style to relate the perilous ordeal of young woman and her bondage by “virile half-naked nomads.” At times, “Frustration Plantation” echoes with a tenor of a bygone era. And for good reason. The album’s inspiration lies, in part, with Old South slave songs that the group researched in the recorded collections at the Library of Congress.
– Rachael Yamagata, “Happenstance” (RCA): Some music observers have drawn similarities between Yamagata’s music and that of other female solo artists, namely Norah Jones or Fiona Apple. Forget it. Yamagata exhibits a distinct creative identity on “Happenstance,” melding a variety of styles, from rock and weepy country to jazz and searing blues. Added to this textured mix are alluring orchestral elements that further complement Yamagata’s expressive, husky vocals. “Happenstance” has it share of upbeat moments, but Yamagata hits her strongest chord on the record’s touching ballads, particularly on “Even So” and heart-wrenching “Quiet.” ___ c2004 Knight Ridder/Tribune Information Services. Distributed by Knight Ridder/Tribune Information Services.
