Wednesday, October 15, 1997
Soundbites
Jars of Clay "Much Afraid" (Essential/Silvertone) Jars of Clay,
the media-proclaimed Christian-rock outfit that formed at
Greenville College in Illinois, have put their fears and faith
through their studio’s P.A. system with the subtle, unpreachy "Much
Afraid." The quartet’s sophomore offering, "Much Afraid" repeats
much of the introspective searching and spiritual lamenting that
highlighted their platinum-selling debut album from 1995, which
spawned the surprise alternative hit, "Flood."
"Much Afraid" soothes and tantalizes musically with gentle
acoustic guitars and lush, orchestrational accompaniments. Yet,
their deep look at the demons that chase them and where they find
reprieve really steals the show. And unlike most bands, all four
musicians lend a helping hand in the lyrical content. In the
’60s-like "Overjoyed," Jars of Clay proclaims, "Who am I that I
should company with something so divine," adding a humbling,
earnest aura over the record not too different from U2’s early
days.
The jangly, Toad the Wet Sprocket-esque "Five Candles" provides
the blatantly faithful "You were there when I needed you, you were
there when the skies broke wide, wide open." Yet songs like "Five
Candles" and "Fade to Grey"
("Oh, it’s not hard to know what you’re thinking when you look
down on me now") seem more than just altar boy musings; it’s not
impossible to imagine the subject in such songs being a friend or
significant other.
It is this universal appeal, more so than their easy-going
musical approach, that puts Jars of Clay in a class of their own, a
class filled with an honesty and a sense of hope missing from music
today. Mike Prevatt B+
The Verve "Urban Hymns" (Virgin) There are English bands that
emulate other bands and there are English bands that extrapolate
rock music into uncharted territory. The Verve falls into the
latter category by easing the listener into mellow grooves and
weaving, atmospheric guitars into the mix. Led by vocalist Richard
Ashcroft’s hauntingly emotional voice and guitarist Simon Tong’s
description-defying guitar and keyboard work, The Verve achieves
greatness on "Urban Hymns." The Verve’s third studio album finds
them sharper and more refined than their previous, yet critically
praised work. One thing is for certain: The Verve have hit the U.S.
market with full force this time around, thanks to possibly the
best single of the year in "Bittersweet Symphony" as well as
enlisting the aid of an American promoter.
The fluidity of songs like "Sonnet" and "Catching the Butterfly"
lend an almost dream-like feeling to Ashcroft’s flying vocals.
Other tracks like "Neon Wilderness" extend into free-form jams that
set you back in your seat and make you wonder why more music can’t
be this soothing.
The rest of the 13 songs on "Urban Hymns" are just as strong as
"Bittersweet Symphony," incorporating acoustic guitars and keyboard
effects in layers with the bass and drums. Much like a locomotive
that builds up speed, The Verve gather themselves musically and
settle into what can best be described as an ambient soundscape
that is anything but rehearsed. Michael Nazarinia A-
Bjork "Homogenic" (Elektra) Appearing on the cover of her latest
release, "Homogenic," as a computer-animated cyberpunk image robed
in a traditional kimono, Bjork reveals what lies at the heart of
her fine-tuned music: a well-crafted mix of techno beats and
classical instrumentals. Combined with her strident yet somehow
ephemeral vocals, Bjork creates a sound similar enough to her
usually experimental style to remain true to fans, yet brings an
entirely other-world dimension in to spark a fresh appeal from
individuals not as yet familiar with her icy Scandinavian work.
Especially gripping are the tracks, "Hunter" and "Joga," which
both manage to send out a chilling, distant tendril of soul into
the room. Proclaiming that "If travel is searching and home has
been found, I’m not stopping," Bjork conveys her uncanny
songwriting skills, eschewing simple rhyme patterns for more
meaningful lyrics. Conversely, in the latter of the pieces, she
opts for the more catchy, yet nonetheless poignant, call, "state of
emergency … how beautiful to be! State of emergency … is where
I want to be." Though the seemingly impersonal electronified
undercurrent of the album may not feel inviting at first,
"Homogenic" does pull listeners in after a few plays, once
realizing that this emotional distancing is what turns the
otherwise mechanical pieces into telling, self-reflective songs.
Vanessa VanderZanden A
Emer Kenny "Emer Kenny" (Triloka/Mercury) In the new age form of
such popular artists as Enya, Enigma and the Dead Can Dance comes
Emer Kenny. From Dublin, Ireland, the multi-talented Kenny
incorporates both traditional Irish music and contemporary sounds
in her songs to arrive at a truly atmospheric style. Like Enya, she
uses soaring, whispery vocals to blanket her Irish-influenced
sound. There’s even bits of Irish rock influences like Sinead
O’Connor and the Cranberries in there.
The Irish pieces on the record, like the multi-textured love
song "Siobhan" and the haunting "Amhran Na Leabhar" come from the
ancient Irish tradition of "sean-nos," where exotic rhythms stem
from the breath of the singe. Such songs bring forth images of lush
landscapes and dreamy haze. Other English-written songs, like the
soothingly bumping "Heaven" and the ’90s mixed "Josie" have that
pleasant Enigma and world-music feel to it. Kenny’s relaxing music,
prime for midterm stress relief, will have you reaching for the
incense and escaping elsewhere in no time. Mike Prevatt B
The Sundays "Static and Silence" (DGC) The Sundays, the mellow
adult alternative group from Bristol, England, bring us "Static and
Silence," a mostly light pop affair with straightforward, cliche
themes and a stripped-down sound. A lot of the songs celebrate the
night and darkness as a whole. Even with the sunny pop of the hit
"Summertime" and the soft-core rock of "Another Flavour," the
Sundays sprinkle everything with a bit of melancholy. The sound,
your standard bass-drums-guitar plus a few extra, synthesized
elements, doesn’t impress or thrill, but there’s something pleasant
in its lax, unpretentious sound aimed for the quiet set. Mike
Prevatt B
Essential/Silvertone
Jars of Clay