This post has really been a work-in-progress for about a month. I have no excuse other than my Liz Durrett CD took three weeks to arrive (still haven’t figured out why it took a detour to Jersey City) and I wanted to do a post of album reviews of three female artists. So I held out until now.
Amanda Palmer – Who Killed Amanda Palmer? - I’ve been anxiously awaiting this album for months. And I am pleased to say I was not disappointed. Ben Folds produced this solo effort from the lead singer (and songwriter) of the Dresden Dolls, and he added an extra punch without losing the rawness of Ms. Palmer. Amanda Palmer is amazing to me because she’s writes some fantastic “angry” songs that are perfect for blasting in your car and singing along with until your voice gives out when you’re in a bad mood, and yet she seems like a fairly well-adjusted person who knows how to channel her emotions into her art to make it great. “Runs In the Family”, the single, has the staccato and heat of “Girl Anachronism” from the Dolls’ debut album. Add in some string arrangements, and this song about family illnesses (interpret that as you will) can make you cry. “Leeds United” is another superb track that I love simply for the lines, “But who needs love when there’s Law & Order?/And who needs love when there’s Southern Comfort?” followed by some signature pounding Amanda Palmer piano. Plus it has a Ben Folds-like horn arrangement that adds a perfect touch. I admit I wasn’t so sure if a release from Amanda so soon after the Dolls’ No, Virginia… album would be up to par, but I was dead wrong. This is definitely in my top ten albums of the year.
Jenny Lewis – Acid Tongue - I tend to listen to music during my commute. That used to be in my car, and now it’s on the train. It makes for a good barometer about whether something is good on whether it grabs or not on said commute. And I have to say that Jenny Lewis’ latest doesn’t grab me like her first effort with the Watson Twins. She continues with the country gospel-tinted songs and arrangements, especially with the obvious “The Next Messiah” (*cough*Obama much?*cough*), but it’s missing something without the ethereal Watson Twins adding some vocal support. The title track does make up for it, though. It captures the old sound well. The song “Carpetbaggers” automatically gains 10 Cool Points for Elvis Costello involvement. “Jack Killed Mom” kinda reminds me of some late-sixties/early-seventies band’s anthem they would end up playing during encores for years to come. (I can see a bunch of skinny guys in denim and beards on stage at Madison Square Garden.) Overall the album is fine, and for a sophomore effort not as bad as it could have been, but it could also have been a little better. To continue the “punch” method, it’s just missing the little extra punch of the Watson Twins (or comparable group/artist). Gotta say, though, I still love the girl.
Liz Durrett – Outside Our Gates – Liz Durrett is Athens, Georgia rock royalty. Her uncle is Vic Chesnutt and she sounds like (and I’m being music journalist cliche here saying this) a combo of Beth Orton and Chan Marshall. I’ve adored her tweeness for years. (Should we make that a title? And address her as Your Tweeness now?) This latest album surprised me in a good way. There’s more production to add to Liz’s soft voice and usually soft arrangements. The first track that grabbed me was when I heard a sample of “We Build Bridges.” My friend Amanda Kapousouz (a.k.a. Tin Cup Prophette) added violin accompaniment, and I love strings. (And accordions, for that matter.) “Always Signs” is an awesome little taste of Southern gothic, a genre I love in both literature and music. Past Liz Durrett releases have sounded very soft and simple, and Outside Our Gates sounds like she’s exploring and growing a little more. This isn’t necessarily music I would listen to to help me relax and possibly fall asleep. She’s got more going on in the songs and arrangements to keep you interested. Having lived in Athens and partaken of the scene, she’s got definite Athens influences I can’t pin-point, but I can hear/feel the influences of a few other fellow Athens bands like Hope for Agoldensummer. For me, it’s a welcome taste of home.
