Jared J. H. CatapanoAcid Tongue
December 13th 2008 23:26
Among the feminine swath of 20 to 30-somethings trying to make a record deal, Jenny Lewis stands alone. Surely, your Sara Barielles has a distinctive voice apart from your Feist, but what this musical generation is seeing are far too many arrows at the same target. Lewis provides variety for the listeners searching for something apart from female singer/piano player X.
Acid Tongue runs more like a genre sampler if nothing else. From chord progressions of late-era Beatles to the soulful sounds of a Keys record (Keys and generic contemporary female singers not mutually exclusive). The voice of Lewis in her first track “Black Sand” is almost indistinguishable from “The Next Messiah, which is only two tracks following. She’s malleable, and I don’t think you find much of that among the other female singers of her ilk. The differences with these tracks are where the move from silent, reserved guitar strumming moves to a hard-rock southern feel for the first time. “Is this the same record? Do I have my iPod on shuffle? Who is this now?” No indeed, we are still listening to Jenny Lewis. She throws us off with her progressions from track to track and always keeps her audience wondering what the next three minutes will hold. “The Next Messiah,” probably the most exploratory tune on the record, illustrates Lewis’ melodic voice along with her breathy, sultry sound. Not only that, but she introduces the male singer Jonathan Rice who provides an interesting take on this southern rock run around. As with most other contemporary female singers, you don’t hear anyone else other than the artist herself with maybe a backup singer or two. Allowing Rice to throw his voice on the cut for more than two lines is something I certainly don’t hear very often. For the best example of this, go no further than “Carpetbaggers” where Lewis sings lines with the inexorable Elvis Costello who, of course, sings lines of his own.
Her implementation of backup choral singers along with strings in her songs gives the record more flexibility and intensity. As noted earlier, I see a lot of the 1970s Beatles in this record as evident in my previous statement. The title track, “Acid Tongue,” stays in this throwback era feel. What we hear are the sounds of Janis Joplin without all the whiskey and cigarettes. Perhaps Joplin would’ve been overlooked if this were her sound, but it’s different. I think that’s what Lewis is going for here. Something old with the spices of something new giving music the distinct flavors many are looking for. Paying homage, whether intentional or not, is always a good idea.
Take a ride with Jenny Lewis on her 2008 release. You’ll be pleasantly surprised after each track hits you. Unless, of course, all of the above has made you say, “Beatles? Feist? Joplin? BLECH.” In that case, stay far, far away. Also, consider therapy.
Acid Tongue runs more like a genre sampler if nothing else. From chord progressions of late-era Beatles to the soulful sounds of a Keys record (Keys and generic contemporary female singers not mutually exclusive). The voice of Lewis in her first track “Black Sand” is almost indistinguishable from “The Next Messiah, which is only two tracks following. She’s malleable, and I don’t think you find much of that among the other female singers of her ilk. The differences with these tracks are where the move from silent, reserved guitar strumming moves to a hard-rock southern feel for the first time. “Is this the same record? Do I have my iPod on shuffle? Who is this now?” No indeed, we are still listening to Jenny Lewis. She throws us off with her progressions from track to track and always keeps her audience wondering what the next three minutes will hold. “The Next Messiah,” probably the most exploratory tune on the record, illustrates Lewis’ melodic voice along with her breathy, sultry sound. Not only that, but she introduces the male singer Jonathan Rice who provides an interesting take on this southern rock run around. As with most other contemporary female singers, you don’t hear anyone else other than the artist herself with maybe a backup singer or two. Allowing Rice to throw his voice on the cut for more than two lines is something I certainly don’t hear very often. For the best example of this, go no further than “Carpetbaggers” where Lewis sings lines with the inexorable Elvis Costello who, of course, sings lines of his own.
Her implementation of backup choral singers along with strings in her songs gives the record more flexibility and intensity. As noted earlier, I see a lot of the 1970s Beatles in this record as evident in my previous statement. The title track, “Acid Tongue,” stays in this throwback era feel. What we hear are the sounds of Janis Joplin without all the whiskey and cigarettes. Perhaps Joplin would’ve been overlooked if this were her sound, but it’s different. I think that’s what Lewis is going for here. Something old with the spices of something new giving music the distinct flavors many are looking for. Paying homage, whether intentional or not, is always a good idea.
Take a ride with Jenny Lewis on her 2008 release. You’ll be pleasantly surprised after each track hits you. Unless, of course, all of the above has made you say, “Beatles? Feist? Joplin? BLECH.” In that case, stay far, far away. Also, consider therapy.
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