CD Reviews

Danity Kane Welcome To The Dollhouse Bad Boy, 2008 ♥♥	Everything you need to know about Danity Kane can be distilled from the intro track of their newest album, Welcome To The Dollhouse. Sean Combs, who manufactured the group during the third season of MTV’s reality series Making The Band, introduces the five members: “Shannon, Aundrea, D. Woods, Dawn and Aubrey,” while winding them up like dolls. The doll motif has an obvious connotation, as the group was artificially contrived. However, it also elucidates a deeper problem in Danity Kane’s makeup. Every member is without personality when performing. Imagine: the Supremes without Diana Ross or Destiny’s Child without Beyoncé. Each member can effectively harmonize in the background, but none can effectually capture the spotlight. And therein lies the curious need to introduce each member of the group even after they sold over a million copies of their self-titled debut album. They need to remind the audience that there are in fact five disparate humans beings singing — a primer for those listeners who do not belong to the cult of MTV. For, Danity Kane is the epitome of reality television success. Outside of Making The Band, they get marginal recognition and exist as a faceless entity but, on the reality series, they are heavily promoted and their personalities are manifested. The rest of the album is filled with the same characterless R&B and world-pop that can be found on any Top 40 FM station. There are no surprises, and expectations are fulfilled. For, the end was in the beginning. — Ajitpaul Mangat, staff
Ryan Adams and the Cardinals Follow The Lights [EP] Lost Highway Records, 2007 ♥♥♥♥	If you’re a Ryan Adams fan, you have his nine previous albums in constant rotation and hope for 20 more. If you’re not, let me explain why you should be: he is one of the greatest lyricists of our generation, delivering a country-rock sound that abandons modern pop production for something more authentic, soulful and intelligent. Naturally, Follow The Lights is no different. The EP starts off with three new originals, each revisiting the feel of earlier albums. The title track delivers a sound similar to those on Easy Tiger — meaning it’s all around more polished than early Ryan Adams fare but manages to be even more sublime. A real déjà vu moment occurs by the fourth song; similar to Love Is Hell, this album’s true highlight ends up being a cover, this time of Alice In Chains’ “Down In A Hole.” If there is a reason to own this EP, this is it, as it may just excel the original. Rounding it off are three alternate versions of previous releases, with a jaw-dropping rendition of “If I Am A Stranger.” Adams manages to take one of the most touching songs from Cold Roses and, with bare bones instrumentals and maracas in tow, leaves a lingering impression of his genius. All told, this EP has “fan service” written all over it — meaning, if you’re a newbie, let it ride! Look to “Gold, Cold Roses” or “Easy Tiger” first. But if you’re a dyed-in-the-wool “halloweenhead,” you know exactly what you’re getting here: the same old shit again (read: a treat). — Andrew Lacasse
Meshuggah obZen Nuclear Blast America, 2008 ♥♥♥♥♥	When you put on Meshuggah’s latest offering, obZen, be prepared to be encased in steel, shackled in extreme metal ecstasy . . . admittedly, an idea that is not universally appealing. Off the bat, I will state that this album is not for everyone; this is not music for the faint-hearted — this is death metal. Additionally, it is not your run-of-the-mill, blast-beat-soaked gurgle and riff death metal, no. Meshuggah use the heaviest guitars to riff out atonal melodies in the most demented rhythms. Mind-altering stuff; it is truly the best that the genre has to offer right now and perhaps my favourite disc of all time. They sound like a rift in the space-time continuum, a cosmic catastrophe with insane groove. The drums, played by Tomas Haake, are likely the most technical of the instruments on the record. If you’re astute, you may notice that often, fascinatingly, Tomas’ hands (cymbals and toms) are playing in different time signatures than his feet (bass drums), which accent the guitar’s rhythms. The riffs are jagged, interesting and so head-bang worthy (if you can keep up with 15/8 time); eight-string guitars create an infrasonic dimension of heavy. The vocals are unusual by death metal standards, as a monotonous shouting-screaming layers further extremity upon the madness, like hissing steam upon factory machines. It’s not all loud . . . universal tremor gives way to eerie nanoscopic calm. Meshuggah’s style is incredibly unique and impeccably refined on this album. This album has been annihilating my mind space for the last two weeks. I haven’t been dominated by an album like this in years. You, on the other hand, very well might not like this album. Either open your mind or it will be exploded. — Peter Czaplinski
Saosin Come Close Capitol Records, 2008 ♥♥♥♥	Come Close is the latest release from alternative band Saosin — a live DVD with extras, along with a 30-minute album containing five live tracks and three unreleased alternate versions of album and EP cuts. Saosin’s fans, however, deserve better; those who were first exposed to Saosin with their 2005 debut may feel confused and perhaps even a little frustrated. Having said that, what is offered here is high quality. Bursting with energy and tight, off-the-rails riffs, it has that musical sophistication and emotionally compelling honesty that won them their huge fan base in the first place. On the CD, the live tracks smoke and go by far too quickly, while the studio tracks are interesting, if not simplistic; they show a different face and texture to the band’s killer sound. It is clear, however, that the ultimate focus of this package is the DVD — a sold-out concert show with virtually the entire set as it existed on the album tour, displaying Saosin’s best side. They have enough showmanship to offer an authentic portrait of a seasoned live band that understands how to work a crowd. Extras on the DVD include the music videos for “Voices” and “You’re Not Alone”; along with live videos for both songs, you will feel overcooked. No one can deny Saosin’s talent or their incredible songwriting ability. I wonder if spending more time on an entirely new album would have been the better route to go. The look and feel of this compilation seems like a quick money grab for Saosin’s label. Live compilations keep acts from developing aesthetically, often frustrating the fans in the process. If you are a Saosin fan, at least this will keep you on your toes for a little while. — Ian Baxter, volunteer staff