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Review: Eminem, Recovery

1.5

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Eminem, Recovery

If Eminem’s Relapse sounded staid and remarkably isolated from the rest of hip-hop, then Recovery, its triumphantly titled but grotesquely executed successor, is a clear attempt to align the rapper with the mainstream elite: Lil Wayne surfaces on “No Love,” flowing in his trademark measured drawl, and Pink and Rihanna make formidable appearances. These artists generally make good pop music, but Eminem has no idea how to bring out the best in them. Dr. Dre’s lumbering, funeral-soundtrack beats grew tediously stale on Relapse, so what did Em do? Drop major bank for a hokey “What Is Love” sample and languid keyboard motif from superstar producer Just Blaze, who seems to have lost his soulfully deft touch since scoring his biggest hit with T.I.‘s 2008 self-help mantra “Live Your Life.”

If nothing else, Recovery will adjourn the idea that Eminem has any greatness left in him. His previous five records were all slight variations on the same supremely lucrative formula, but in between the revenge letters to his mother and declarations of love for daughter Hailie, he challenged himself more than anyone seems to acknowledge, wrecking beats by everybody from Timbaland to Da Beatminerz and spitting alongside intensely skillful rappers like Redman, Jay-Z, Royce Da 5’9”, and Sticky Fingaz. He was a versatile, purebred MC, good for a lot more than Dre-produced odes to mayhem. Now he’s content to behave like an utter caricature.

A decade ago, when Eminem’s videos were sandwiched in constant rotation between The Andy Dick Show and Jackass on MTV, he lampooned teen culture with joyful intelligence, parading around like Tom Green on TRL while his fans cheered mindlessly, clearly not aware that they were being disparaged. That artfulness is gone. Today’s Eminem is bizarrely generic, shouting out brands like Bacardi on “W.T.P.” and spouting brag-raps amid shoddy R&B hooks and synthy beats that sound like they were made for Taio Cruz. “Seduction” is so limp and preposterous that you’ll develop a newfound appreciation for 50 Cent’s “Ayo Technology.”

Much of Recovery centers around such themes as romantic devotion and anxiety, but the resulting material rings unsurprisingly hollow. On a few occasions, Eminem tries in vain to evoke the chilling and urgent resonance of 2000’s “Kim.” Particularly ugly is the acoustic, wafer-thin “Space Bound”: Eminem can’t talk to women and he never could, so when he threatens to strangle anyone who leaves him, the peril feels forced and wholly off-putting. And can we please, Em, stop dressing up misogyny as emotionally charged desperation? Love might be a battlefield, but rational men don’t kill their wives as soon as talk of divorce arises.

Eminem can record as many bare-bones confessionals as he’d like (on “Talkin’ 2 Myself,” he struggles to come to grips with mounting insecurities, while “Going Through Changes,” a tidal wave of irresistible melodrama that samples Black Sabbath’s “Changes,” is the one song on Recovery that merits room on your iPod), but there’s nothing altogether endearing about his facade: shouting earnestly one track, cackling devilishly as he kicks a woman in her pussy the next. His idea of humor is deriding Elton John, who reportedly helped him through 18 months of intense, post-rehab detoxification, and the Parkinson’s-stricken Michael J. Fox; his punchlines rarely resonate; his nasal bark of a delivery grows tiring fast; and his pop-culture references (David Cook?) are inane. He’s a puzzling man who raises a lot of questions, one of which is how such a wondrous talent can make such bloated, sullen, and detestable albums?

Label: Aftermath Release Date: June 21, 2010 Buy: Amazon

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Review: Guster’s Look Alive Is the Sound of a Band Rejuvenated

Guster’s eighth album buzzes with inventiveness, charm, and youthful dynamism.

3.5

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Guster, Look Alive

Guster has long been associated with “college rock,” and not without reason. Even though every member of the Boston-based band is now over 40, they still make bright, hyper-polished alt-pop tailor-made for campus radio. The band’s eighth album, Look Alive, adds synths and contemporary production flourishes to their sonic repertoire, but all the hallmarks of their sound remain: winsome melodies, soaring hooks, and tight, immaculate songcraft that combines the best of Britpop, 1960s folk, and post-grunge.

Like most Guster albums, Look Alive has a few duds, a few modest successes, and at least one showstopper—a song that makes you wonder why the band was never more successful. On 2006’s Ganging Up on the Sun, that song was “Satellite,” a shimmering power-pop masterpiece that split the difference between the Shins and Neutral Milk Hotel. Here, it’s “Hard Times,” which also happens to be the least Guster-like track on the album. Drenched in Auto-Tune, buzzing synth frequencies, and stadium-ready percussion, the song doesn’t sound anything like “Satellite,” let alone like the band’s output before 2000. Yet, true to form, it’s a remarkable piece of pop. “Sinister systems keep us satisfied/These are hard times,” Ryan Miller wails. It’s a simple statement, but it makes for a stunning chorus, and Miller’s effusive delivery renders it the most cathartic moment on the album.

On “Not for Nothing,” the band ventures into dream-rock territory, surrounding themselves with icy synth textures that wouldn’t sound out of place on a Wild Nothing track, while “Hello Mister Sun” is unabashed bubblegum pop that pays homage to whimsical Paul McCartney tracks like “Penny Lane” and “Good Day Sunshine.” Likewise, the sprightly “Overexcited” bounces along with a spoken-word verse and pounding, piano-centric chorus. While none of these tracks tackle complex themes, they’re playful, infectious, and eminently listenable.

Many of Guster’s best-known songs delve into same subject matter: newfound love, crippling heartache, the pain of being young, restless, and alone. Yet much of Look Alive is more elliptical. “Maybe we’re all criminals and this is just the scene of a crime,” Miller sings ambiguously on “Terrified,” forcing the listener to fill in the blanks. “Summertime” similarly defies easy explanation: Brimming with obscure religious imagery, whispered background vocals, and references to an unspecified war, it follows no logical narrative, instead allowing the track’s mood—a feeling of triumph over some great adversity—to tell the story.

For better and worse, Look Alive’s production mimics the spacious, ‘80s-inspired aesthetic that pervades much of contemporary indie-rock. “Don’t Go” transplants a prototypical Guster melody into a synth-soaked songscape, while the title track seems expressly engineered for Spotify’s Left of Center playlist. Still, the album never feels like the work of aging musicians struggling to stay relevant; it buzzes with inventiveness, charm, and youthful dynamism.

Label: Nettwerk Release Date: January 18, 2019 Buy: Amazon

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Review: Toro y Moi’s Outer Peace Bends Boundaries with Mixed Results

Chaz Bear’s sixth album as Toro y Moi bends the boundaries of club music, albeit with mixed results.

3.0

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Toro y Moi, Outer Peace

Having already concocted brainy dance music under the alter ego Les Sins, chillwave trailblazer, synth-pop alchemist, and psychedelic rock enthusiast Chaz Bear fully embraces the dance floor on Outer Peace, his sixth studio album as Toro y Moi. Pulling from sources as disparate as R&B, tropical house, and trap, the California-based singer bends the boundaries of club music, albeit with mixed results.

Upon first listen, it seems like Outer Peace colors a rough sketch of a dystopian future where the material is mistaken for the immaterial, technology becomes a gateway to the metaphysical, and fleeting pleasures, prompting ever greater hedonistic pursuits. It doesn’t take long to realize, though, that this dystopia isn’t some future prospect, but the present moment. With lines like “Mystic staring at his phone for oneness,” Bear masterfully defamiliarizes our world, exposing the absurdity of the digital age.

Bear charmingly pairs this oft-heavy subject matter with club-ready grooves. The existential crisis of “Who Am I” is juxtaposed with sweetly pitched-up vocals and a fizzy patchwork of synths. Bear’s playful approach to house music ensures that no amount of existential dread and doom can dampen the mood he creates throughout the album.

Bear’s tinkering, however, isn’t always transportive. The rather vanilla tropical house beat of “Baby Drive It Down” recalls Drake’s dancehall-lite, with a lifeless performance from Bear. His experimentation with trap is at first promising on “Monte Carlo,” with the support of a dreamy pillow of vocal samples, but coming in at two minutes, the track feels one note, lacking any tempo changes or even a bridge, suggesting it was perhaps better fit for an interlude.

The cover of Outer Peace depicts Bear gazing intently at a computer screen, surrounded by instruments in a clean, sterile room. He reportedly created the majority of the album during an unaccompanied two-week retreat off Northern California’s Russian River, and this isolation can be felt throughout. The album’s title represents the remarkable possibility of finding freedom from the outside world by letting loose on the dance floor and experiencing liberation in a crowd of strangers. Bear certainly takes the album there at several points, but in the limited scope and cerebral slant of these too-brief songs, he loses that outer peace.

Label: Carpark Release Date: January 18, 2019 Buy: Amazon

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Review: Joe Jackson’s Fool Is a Concise and Punchy Nostalgia Trip

On Fool, Joe Jackson sounds younger and angrier than he has in years.

3.0

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Joe Jackson, Fool

Joe Jackson has spent the better part of four decades trying to put some distance between himself and his debut, Look Sharp!, a collection of acerbic new-wave pop songs that earned him the label of “angry young man.” But on his 21st album, Fool, he sounds younger and angrier than he has since 2003’s deliberately retro Volume 4. Maybe it’s a symptom of nostalgia: Fool, after all, is being released almost 40 years to the day after Look Sharp!, accompanied by a tour that promises to draw from Jackson’s entire career.

The album’s first two singles, “Fabulously Absolute” and “Friend Better,” both seem to deliberately rekindle the spirit of 1979: the former with its wiry post-punk guitar and synth riffs, the latter with its snotty vocal cut from the same cloth as early Jackson hits like “Is She Really Going Out with Him?” Even the refrain of the opening track “Big Black Cloud”—“No luck, no money, no sex, no fun”—is torn straight out of the London punk playbook.

Not all of the album calls back so specifically to Jackson’s debut: With its jazz-inflected piano and flute, closing track “Alchemy” is a welcome return to the moody sophisti-pop of 1982’s Night and Day. More often, however, Fool‘s refined pop-rock recalls an amalgamation of styles from Jackson’s “classic” era while also reflecting his late-career maturity. Tracks like the elegiac “Strange Land” marry his long-standing jazz and classical ambitions with his undeniable knack for pop melody in a way that doesn’t shortchange either.

Jackson, though, still hasn’t quite shaken his tendency to overextend himself. The title track is well-played, with some virtuosic runs by longtime bassist Graham Maby, but it also careens from Jackson rapping into a megaphone to a madrigal-like bridge to a synthesized surf guitar solo. The Beatles-esque “Dave” holds together better musically, but its character study of a pure-hearted but simple-minded everyman, who could have something to teach us about slowing down and enjoying life, feels cloying and condescending.

If Fool doesn’t quite measure up to Jackson’s sterling early work, it’s still more concise and punchy than 2015’s Fast Forward and less self-consciously arty than his late-‘80s and ‘90s work. By now, Jackson has surely come to terms with the fact that he’ll never be able to outrun his new wave days; keeping it as just one of the tools in his expansive arsenal is a fine compromise.

Label: earMUSIC Release Date: January 18, 2019 Buy: Amazon

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