Wednesday, April 8, 1998
Soundbites
MUSIC
Semisonic, "Feeling Strangely Fine" (MCA Records)
Don’t be so quick to judge them solely on that one
semi-obnoxious song, "Closing Time," that you just cannot escape
from every time you turn on KROQ. Semisonic’s new album "Feeling
Strangely Fine" contains at least three or four songs better than
their recent single. In fact, the album proves that not all
alternative bands out there live by one-hit wonders alone.
Most songs contain a folk-rock style in their tones that comes
across as both creative and catchy. The effort works to their
advantage in part because of the solid vocals offered by lead
singer Dan Wilson. Songs such as "Singing in My Sleep" definitely
show potential to be radio’s next overplayed hit.
The album does have its flaws, however. A few songs start
sounding too much like other ones ("Closing Time" and "DND") and
others sound like rip-offs of Beatles techniques ("All Worked Out"
and "Never You Mind"). Only in these few instances does the album
actually come off as cheesy and immature.
For the most part, however, quite a few songs pull off genuinely
intriguing guitar hooks and soft acoustic numbers. "Gone To The
Movies," the album’s best song, and "Made To Last" create soothing
rhythms and inspirational beats.
So why "Closing Time?" Chalk it up to the "If it sticks in your
head all day long it must be good" DJ mentality. Michelle Zubiate
B+
Bran Van 3000, "Glee" (Capitol) BV3’s new album, "Glee,"
displays the band’s ability to mesh very different types of music
ranging from hip- hop to rock to jazz to punk to gospel to metal to
… well, you get the idea. The results could have been akin to a
17 car pile-up, but BV3 is pretty adept at organizing it all for
the most part. In "Rainshine," BV3 combines reggae, hip hop and
folk to form three distinct voices that complement each other very
well.
With the opening track, eclectic band Bran Van 3000 prepares
listeners for the unexpected. The first track, "Gimme Sheldon," is
basically one soundbite after another (from different songs) with
the genre and mood of the soundbites shifting constantly.
Other times, the songs feel jumbled, such as "Old School," which
turns on a dime from metal to hip-hop for no apparent reason
whatsoever. It seems that something went horribly wrong in
post-production. Flat-out weird concoctions like "Willard" show
that BV3 plays with the notion that some types of music were not
meant to be put together (unedited in-studio banter over the
direction of the song proves this). In "Willard," BV3 combines folk
and techno, yet by the end the vocals degenerate into a hokey
southern accent that is jokingly out of place with its techno
background. You can actually hear the smile on the face of the
woman singing. In virtually every song, BV3’s sense of humor
surfaces, with lyrics like "for your sweet loving I’d risk getting
shot."
The style that BV3 is obviously most comfortable with is hip-hop
which they use as a touchstone in most of their songs. The
hip-hop-like "Afrodiziak," the only song that is mostly one style,
has great rhythm and quasi-introspective lyrics. Either way, hit or
miss, BV3 show that they’re not afraid to try new things and
strange mixes. When they hit, the results are sweet. When they
miss, they get points for having the guts to try. Sam Toussi B
Space Hog, "The Chinese Album" (Sire/Warner Bros.)
Reaping the rewards of cultivating a decent following with the
1996 break-through hit "In the Meantime," the men called Space Hog
return with the concept disc "The Chinese Album."
It might seem pretentious for a band of Space Hog’s caliber to
attempt such a feat, this being just their second album, but
surprisingly they put together a competent collection of ’70s
throwback rock tunes.
Led by the brothers Royston and Antony Langdon, "The Chinese
Album" leans heavily on a David Bowie influence. The Langdon
brothers for the most part stick to the basics: lots of guitar
choruses, drums, and bass. Besides a few quarks and loops, the Hog
don’t mess with that new-fangled electronic trend going on these
days. Don’t expect another catchy song like "Meantime," off this
disc; most of the work is solid sonic rhapsody flowing nicely and
undisturbed from song to song. "Goodbye Violet Race," creates a
great guitar-driven pop rock feel stripped down to the three
traditional rock instruments. The Hog’s lyrics on this effort are
noticeably better and matured; almost to the point of being
socially conscious. Their first single "Mungo City," combines this
new found maturity with some catchy guitar work. "Almond Kisses,"
is a breezy, softly sung song about innocent love befitting the
"Wonder Years," television show. Michael Stipe (from R.E.M.) lends
his vocals for "Kisses," adding an androgynous element to the
tune.
The "Chinese Album," will never be mistaken for the Beatles’
"Sgt. Peppers Lonely Hearts Club Band," or the Beach Boys’ "Pet
Sounds," but Space Hog rehash their way to a good album. Trinh Bui
B
All Saints, "All Saints" (London Records)
When the only decent song on a 12 track album turns out to be a
cover of another group’s hit, the only thing left to do is pray.
This quartet has dubbed themselves "All Saints," a group of Spicey
impersonators at best – down to their racial ratio.
But despite the indecisive tone of most tracks, vacillating
between sultry R&B choruses, mismatched high energy verses and
brassy-sounding, amateur rap bridges barely fusing this musical
mess, credit should be attributed where credit is due. This group’s
remake of the Red Hot Chili Peppers’ "Under the Bridge" sounds
surprisingly decisive in its fresh hip-hop style. Complete with
precise record scratches, syncopated lagging beats and deep raspy
harmonic vocals of the otherwise low-key Peppers’ tune, All Saints
makes a valiant attempt to revive their dozen song debut with this
one.
While one is still better than none, the girls who wannabe
spicey, salt ‘n’ peppery and en vogue all at the same time might
just save some time and money by putting out just a single instead.
Nerissa Pacio C
MCA Records
SEMISONIC
"Feeling Strangely Fine"