5 Shot Reviews

Try as I might, I couldn’t keep up with ALL the releases that have come out this month. I did, however, have things to say about the ones that fell through the cracks, so I thought I’d share quick thoughts on some of these large name albums.

The Black Dahlia Murder- Deflorate (****)

In the realm of extreme metal, no one continues to put forth albums that are as accessible while remaining vicious like The Black Dahlia Murder does. Most bands sacrifice the music or the muscle in this genre, but Deflorate does neither. Sure, a noticeable slickness has crept into their production, but Deflorate still presents 30 minutes of sweeping guitar solos, manic riffs, and endless drumming. As usual, Trevor Strnad’s schizophrenic vocals balance between grating shriek and deathly growl and band continues to stop and start on a dime. While they subscribe to the “if –it-ain’t-broke-don’t-fix-it” mentality, it seems to be suiting them just fine.

Key Cuts: Black Valor, Christ Deformed, I Will Return

Imogen Heap- Ellipse (**)

The largest problem with Ellipse is that Imogen Heap has dropped her hyper-layered style of electronica and opted for sparser songs. This would have worked if she could have kept the album’s energy up, but banking on spacious keyboards and her unconventional voice don’t really make the record compelling. “Swoon” gets the closest in recapturing Imogen Heap’s loopy melodies, but even that crawls at a snail’s pace. Though there’s nothing offensive on Ellipse, there’s also nothing that will really stick out at listeners. Fans used to be surprised with a clever sample or a thick beat that made her songs come alive; however, Ellipse struggles to maintain a musical pulse.

Key Cuts: First Train Home, Swoon, Between Sheets

Jay-Z- The Blueprint 3 (****)
Jay-Z has struggled since coming back from retirement. Kingdom Come was abysmal, and American Gangster was too high in concept and not in execution. The Blueprint 3, on the other hand, displays Hova doing what he does best, surrounding himself with a talented production team and hungry guest stars as he talks about life on top. Lyrically, he seems to be very aware of the legacy he’s crafting for himself and that comes up quite a few times in tracks like “Empire Of The Sun” and “Forever Young.” However, the record really shines because of how Kanye West and No I.D.’s blend of synthpop and soul dominates the album’s production. The music seamlessly bridges old and new flavors, playing out like a greatest hits parade to compliment Jay-Z’s hip-hop reign. While it’s sad to see “Jockin’ Jay-Z” absent from the final cut, no one will be jockin’ the Jigga Man after a record like this.

Key Cuts: Run This Town, Empire Of The Sun, Forever Young

Pearl Jam- Backspacer (**)

Perhaps it’s hardest to see 90s music stars age, but it’s a fact of life that eventually catches up to everyone and Pearl Jam is no exception. Rekindling their relationship with producer Brendan O’Brien, Backspacer is the sound of a band painfully trying to recapture lost youth. It’s curious considering how their 2006 self-titled effort felt like a more authentic stab at the band’s roots, but it’s clear Pearl Jam sounds tired. “The Fixer” is a fine introductory single with its bouncing rhythms and Eddie Vedder’s hooky “Yeah, Yeah Yeahs…” but the buck stops there. The production strips away the band’s natural grit even if it spaces out the rhythm section well. Oddly, it’s the acoustic folk-tinged moments that resonate most. “Just Breathe” showcases Vedder as a world-weary traveler, and feels more honest than any of the louder numbers. If slowing down is a sign of age, maybe th

e band should consider leaving the amps at home from now on.

Key Cuts: The Fixer, Just Breathe, Supersonic

Muse- The Resistance (***)

Anticipations run high when people tout you as Queen for Gen Y, and it was only a matter of time before Muse slipped up a bit. The Resistance while being a solid album is simply a good album from a band we’re accustomed to getting GREAT albums from. While the skittering electronics of “Undisclosed Desires” and the Freddy Mercury swagger of “United States Of Eurasia (+Collateral Damage)” provide the album’s meat and potatoes, Muse have made a record that is light on riffs this time around. As a result, the songs don’t explode like they normally would from these Brits, and it shows. The three-part “Exogenesis” symphony is a nice listen with pulsing beats, sweeping strings, and mammoth sounding guitar, but it’s rather subdued in tone when it should go for the throat. Ultimately, The Resistance is a record that will easily grow on fans but it’s far from the stratosphere this band is capable of reaching.

Key Cuts: Uprising, Undisclosed Desires, United States Of Eurasia (+Collateral Damage)