Monday, May 18
Soundbites
Various Artists, "Lilith Fair: A Celebration of Women in Music"
(Arista) Almost like a souvenir program for last year’s sleeper
tour, the double-disc "Lilith Fair" album offers 25 songs, each
from a different female-based artist. Ranging from Lisa Loeb and
Suzanne Vega to the Cardigans and Lilith Fair founder Sarah
McLachlan, this mainly mellow affair properly captures the spirit
of what is now the most highly-regarded summer festival tour in
America. Nearly every artist that played in Lilith Fair last summer
gets space on the album. The only flaw with the impressive variety
of female artists is that most of the material or performers is
folk-based. After a while, listening to this plethora of songs
makes you a bit sleepy. The first disc, clearly the better of the
two, features highlights such as Paula Cole’s "Mississippi," Joan
Osborne’s "Ladder," McLachlan’s hit, "Building a Mystery" and the
much-welcomed nostalgia kick of Suzanna Hoffs’ "Eternal Flame"
(formerly a hit for her ’80s band, the Bangles). The second disc,
however, begins to wane a bit. Artists like Shawn Colvin, Victoria
Williams and Wild Strawberries offer rather dull, uninspiring
tracks. However, the teaming up of Jewel, Indigo Girls and
McLachlan for the traditional "Water is Wide" (Jewel especially
shines here), Emmylou Harris’ "Going Back to Harlan," Tara
MacLean’s Jewel-like "Hold Me Jordan" and Wild Colonials’ "Charm"
provide respite from the monotony of sub-average songs. Being more
of a testament to the strength of this tour than a
commercially-minded release (we hope), "Lilith Fair" should be
exactly what fans of female singers and songwriters are looking
for. While not every track constitutes the best efforts of its
respective artist, the work as a whole presents itself solidly.Mike
Prevatt BStanford Prison Experiment, "Wrecreation" (Island) SPE’S
strengths and weaknesses are both rooted in the band’s attempt to
reduce hardcore’s ever-evolving equation to its original and
simplest form. Their major label debut comes equipped with all the
right tools: guitar and bass-heavy mulling, speedy drums, and
in-your-face vocals. Add in song titles like "I’m a War" and
"Contusion" and a band name that recalls the infamous, disordered
psych-experiment, and they’ve got an angst-ridden collection
waiting to explode from any child’s stereo speakers. Lead singer
Mario Jimenez’s voice is aptly stripped down and minimally ranged
allowing fine, fist-pumpin’ tunes like the opener "Compete" and
"Nails That Stick Up Get Hammered Down" to pound out minus any
cheesy glam or evil, "Slayer-esque" comparisons. "Written Apology,"
the last and longest song ,at four and a half minutes, is a strong
finisher that nearly erases the listener’s memory of lackluster
fillers like "Fine Line" and "Sweet Talk." With loads of indie
credibility on the line, SPE makes sure to keep it real for their
core fans.Yet, SPE’s reductionist approach may have a diminishing
effect on non-purists. Hardcore progression means more complex
tempo changes (see Quicksand or Fireside), more fulfilling
political undertones (see Fugazi or State of the Nation), or just
more aggression throughout (see Snapcase or Strife). But then
again, some hardcore wannabes thought a step ahead meant putting a
turntable on their record. If that’s the case, then please SPE,
take us back. Brendon Vandergast BPolara "Formless / Functional"
(Interscope) Boppy, poppy, catchy and melodic. Hey, music you can
listen to in your car or your room or at a party. Now that’s a
concept! The vocals incorporate both male and female contributors,
producing a spunky, communal vibe. Voices climb around the
synthesized violin orchestration and spindly organ sounds.
Sometimes, the tunes drag on in a sort of whiny, wannabe
U2-sounding way, but mostly they utilize their own, authentic pop
rock perspective. Techno beats jut out of the sides on more than
one piece, adding to a varied musical conception which becomes both
savagely tribal and sharply modern at once. Even acoustic guitars
find their place on the work, evoking folk inspirations and the
ghosts of classic rock. Not quite offering sing-alongs or spiritual
discoveries, Polara exists at the level of enjoyable, though
forgettable, pop band status. If they get picked up by the major
radio stations, they are destined to greatness. If they receive no
airplay, they will remain as forgettable as Squirt. Who really
needed a grapefruit flavored soda pop, anyway, this is what I’m
saying. So, realize that "it takes two to mangle / this week’s
angle," as the group so expertly rhymes on their song
"Semi-detached." Probably, the need to find similar word sounds
made that line possible. But we won’t hold it against them.Eat your
brownies, children, and move on. We mustn’t dwell on bad lyrics if
we enjoy the overall swooping technified wave melodies, which we
do. Vanessa VanderZanden B-Myá "Myá" (Interscope) Like
"Brandy," "Monica" and "Usher," Myá seems to be etching a mark
for herself in the R&B scene without even a last name. But
unlike these other young artists whose addictive rhythms and silky
looks and voices have stamped their names at the top, Myá’s
debut album reveals that a stand-alone name, well, can’t really
just stand alone.Missing from My´a’s 12-track collection is
the variety and versatility of like female vocalists. Despite the
contributions of rap bits from Missy "Misdemeanor" Eliot in "Bye
Bye" and Babyface’s instrumentation in "My First Night With You,"
one song becomes confused with the next, tangled by repetitive
beats, and weighed down by tiresome lyrics and banal vocals.The
perfect break-up song, "If You Died I Wouldn’t Cry Cause You Never
Loved Me Anyway," remains the only redeeming track of the album in
which soothing and liquid rhythms match Myá’s airy style.
Nerissa Pacio C
VARIOUS ARTISTS
"Lilith Fair, A Celebration of Women in Music"