Through the Night

payal — Wed, 16 Mar 2011 20:00:00 +0000

I worked for four years in an independent record store. For those unfamiliar with what said environment might be like day in and day out, I would seriously suggest taking in High Fidelity. Read the novel by Nick Hornby or watch the film starring John Cusack; either way, you’ll get the idea. Like the characters, my co-workers and I did really stand around all day grousing about music—that is, of course, when we weren’t bemoaning our romantic fates and/or scanning the teeming crowd of shoppers for possible thieves.

It was during one such conversation with a highly opinionated co-worker and lifelong musician that the subject of the Shins’ debut album, Oh, Inverted World came up. Said co-worker obstinately resisted the pervasive cultural tide that was singing its praises, instead saying he thought the album was like cotton candy—something light and fluffy that requires a special sleight of hand to make it turn out just right, but entirely without substance. Sadly, this is also an apt description for singer, songwriter, and producer Jesse Harris’ latest release, Through the Night.

Harris’ Achilles heel is revealed right out of the gate: it’s in his delivery. Best known for being the award-winning songwriter behind Norah Jones’ debut album, the runaway success Come Away with Me, Harris has worked with an eclectic assortment of other artists, including Bright Eyes, Lisa Loeb, Madeleine Peyroux, Joshua Radin, and Solomon Burke. He’s a gifted intelligent lyricist and producer with a warm, gently nasal voice, both of which are used to perfectly serviceable effect on this album. Honestly, he seems like the pop musician Rivers Cuomo (Weezer) has always dreamed of being, and might have been, had Cuomo not listened to all that metal in the garage.

Unfortunately, Harris seems to favor high production value over singing with sincerity. He sounds emotionally disconnected from songs that, by their very nature, command some sort of emotional resonance. His is a concentrated polish that, in a perverse twist of musical logic, manages to strip that sought-after emotional connection away with layer upon layer of sound. The end result is schmaltz in favor of soul.

There are exceptions, of course. The lead-in rhythm on “Till You Drop” has a jaunty gallop to it, and the squeaky ape-like noises on the fadeout at the end make this otherwise Beatles-esque pop song sound odd in a good way. “It’s a Long Way Just to Say Hello” and “Dream of the Past” gently skirt poignancy yet still resonates with me. “All Day All Night” has a nice palate-cleansing bossa nova sound.

Overall, though, this is Starbucks music. Through The Night might have been interesting had it been released several decades ago. As it stands now, though, it just sounds like something a baby boomer would put on in the background during brunch, or while dusting the tchotchkes in the living room on cleaning day.

Written by: M. Brianna Stallings, March 16th 2011

Devil’s Halo

admin — Sat, 28 Nov 2009 17:01:00 +0000

By Meshell Ndegeocello

Mercer Street Records

I have always admired the artist who is not afraid to spotlight the daily catharsis we call life, and put it into an artistic pill that the masses will not sicken themselves on if left to process with their own devices. Some examples of this type of artist are Marvin Gaye, James Baldwin, and Stevie Wonder. I am not comparing or contrasting; I am simply stating personal observations and opinions. People generally do not get criticized by those closest to them for their growth—be it emotionally, spiritually, or even physically. Those who love us, or are simply enthusiastic admirers of who we are and what we do, tend to be very supportive and appreciative of our plight.

Given the preamble, those enthusiastic admirers who fall outside of the category of family (and sometimes this is also true for those who fall inside of it) tend to be a bit more conditional with their admiration. They want a brilliant finished product, not the torturous, heart-wrenching but beautiful in-betweens. In my humble opinion, Meshell Ndegeocello’s Devil's Halo is that beautiful in-between because it is a compilation of her experiences on the way to the finished product. “Tie One On,” “Bright Shiny Morning,” and “Blood On The Curb” remind me of songs that should be in a movie about twenty-somethings having an existential crisis—and that’s a good thing. “Love You Down” makes me wish I were in Ndegeocello’s head to figure out how she rendered Ready For The World’s original to such a soulful level. I am sincerely apologetic when I say I didn’t care too much for the original version, but I can’t get enough of this one. “Devil’s Halo” is a grooved out track I wish were longer, and a couple honorable mentions are “Lola” and “Hair of The Dog.”

Ndegeocello has never been afraid to take things to another level; although not everyone has appreciated those levels. Her works suggest that she chooses to maintain her own artistic integrity, not the desires of an industry continually adhering to a code of values that fluctuate with the value of the dollar.

Fans tend to be conditional with their appreciation, or lack thereof, and only want a perfectly packaged product that sounds exactly like why they began to like the artist in the first place. I presume the musical diversity Ndegeocello presents as songs suggest her emotional, spiritual, and physical growth-something we all go through, but are not as critical of. The in-between times are manifested in those artistic pills we aren’t always willing to swallow on our own. Hopefully, this one will go down easy for those who truly and enthusiastically admire Ndegeocello's work.

Written by: Olupero R. Aiyenimelo, November 28th 2009