Music review
Weezer’s “Maladroit” is grittier and less cohesive than the group’s superb self-titled release from 2001, but the new album is nonetheless a solid companion to last year’s so-called “Green Album.” Both releases are dense and concise, about a half hour each and crackling with tight tracks that reference an encyclopedic assortment of pop and rock derivations.
After an extended hiatus that followed 1996’s disappointing sophomore release “Pinkerton,” singer/songwriter Rivers Cuomo has clearly found his creative groove. And anything he might borrow from his musical ancestors isn’t ripped off so much as it’s repackaged to advance the rock cause.
Relying less on the smooth pop melodies that infused the “Green Album,” “Maladroit” throws anchor in the deeper and more unsettled waters of 1970s-era hard rock. To be sure, the melodies are still there, swimming in the murk of flurried discordance on “Dope Nose,” messy obsession on “Death and Destruction” and wobbly swirls on “Burndt Jamb.”
Cuomo and company bring the hooks to the surface for emphatic punch on “Keep Fishin’ ” and the wistful “Slave” (a particularly effective romantic turn for the singer). Meanwhile, a fine melody willfully burrows out of the sludge of “Take Control.”
Weezer is also quite lively despite the compressed haze – as on the contagious gallop of the frolicking “Possibilities” and the crunching rhythm of “American Gigolo.”
Yet the fuzzy mayhem of “Slob,” “Space Rock” and “Fall Together” burden the album with a weight that didn’t hinder the “Green Album.”
“Maladroit” isn’t an album of the year candidate, but it’s an enticing milepost in a potential run of consistency that could elevate Weezer to rock royalty.
Rating (five possible): 3-1/2
“Be Not Nobody,” Vanessa Carlton
Vanessa Carlton emerges from “nobody” status with “Be Not Nobody,” one of the year’s most impressive debuts so far. And the mainstream has been fast to catch on to this unpretentious young singer: Her release debuted at No. 5 on Billboard’s album chart, and leadoff single “A Thousand Miles” has charged into the Top 10.
The 21-year-old former ballet dancer is well established for her age. The singer/pianist does all the writing (except for one cover song) and even takes some of the production credits on “Be Not Nobody.” Comparisons to Fiona Apple and Tori Amos are inevitable, but Carlton doesn’t sound like either of her predecessors; her voice is steadier, albeit more girlish, and her disposition is less frenetic, which makes her more approachable and perhaps a little less interesting.
“A Thousand Miles” goes the distance on simple charm – universal lyrics about loneliness, modest orchestration stirred by electric guitar, a vulnerable voice that conveys both youth and world-weariness. She stretches herself in both directions from that hit single – keying down into the soft and downcast reflection of “Paradise” while showing conviction as a rock chick on the rollicking “Unsung” and a faithful cover of the Rolling Stones’ “Paint It Black.”
While not stellar, Carlton’s lyrics have their moments. On “Pretty Baby,” she aches, “Just the scent of you, it makes me hurt,” and on the torchy “Rinse,” she opines, “The heart of a woman will never be found in the arms of a man.”
“Be Not Nobody” does rate a few caveats. Although Carlton is developing well, she still sounds fairly green. Plus the album has its share of filler, and her abundant use of orchestra is sometimes overdone. On the other hand, Carlton shows no major weaknesses as a singer, songwriter or pianist, and that’s extremely encouraging for a newcomer.
Rating: 3-1/2
“Letting Go,” Earshot
Earshot trots out all the tortured-rock clichis on “Letting Go” and fails to offer enough innovative touches to justify much intrigue.
That’s not to say the release is without nuance. The Los Angeles-based quartet makes a few attempts to diversify from the rote angst and aggression.
But Earshot always returns to its all-too-familiar foundation of power guitars and distraught vocals.
On a typical track, singer/guitarist Wil Martin works through relationship-oriented issues. Initially, his serviceable but indistinct voice smolders. Inevitably, he bellows. And his humorless lyrics are standard-issue: “Sometimes I feel like I’m losing it all” (“We Fall, We Stand”), “I’m bored and so alone” (“Wake Up”), etc. Often his delivery is stilted (“Headstrong,” “Get Away”), but he redeems himself by nailing a couple of good melodies and indulging in a few refreshing moments of restraint (“Ordinary Girl,” “Not Afraid”).
Then there are the guitarists – Mike Callahan and Scott Kohler. Their key job is to reinforce Martin’s outbursts, and they comply with the same competent anonymity that their singer delivers. Yet they periodically tease with something unexpected – dishing out quirky subtleties on “Misery,” for example, and dovetailing into the surprisingly insinuating groove of “Get Away.”
Somewhere in all of “Letting Go” there’s the hint of a more imaginative band. But mostly Martin simply wails away while the guitarists feed the carefully constructed chaos.
Rating: 2-1/2
( Contact Chuck Campbell of The Knoxville News-Sentinel in Tennessee at http://www.knoxnews.com.)
(Contact Chuck Campbell of The Knoxville News-Sentinel in Tennessee at http://www.knoxnews.com.)