CD REVIEWS In order to be considered for review in the CD Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section. Lupe Fiasco Food & Liquor II: The Great American Rap Album Pt. 1 Atlantic Records Producer: Various Conscious hip-hop. That’s how most people categorize Lupe Fiasco. But you won’t find a “go out and vote” or an educated elitist rapping on this, the second installment of the Food & Liquor series. Instead, Lupe brings back Ayesha to set the stage for 16 tracks that plead, “Wake up and make a difference.” Those who felt the message was lost in the pop-driven Lasers should give this deeply-detailed piece of art a few spins (specifically “Around My Way,” “Bitch Bad” and “Unforgivable Youth”). As Lupe proves once again, hip-hop can be about more than just bouncing your ass on a greasy pole—like anti-establishment, world peace and chivalry. Wayne, Drake, and the like should take note. ——Andy Mesecher Trapt Reborn Epochal Artist / EMI Producer: Various Armed with a refreshed attitude borne out of their newfound freedom from label encumbrance, the aptly titled fifth LP from these nu metal melody smiths marks a new era for the band. Featuring fuzzed-out guitars and deft instrumental interplay, the disc brims with primo grade hooks, most notably on standouts “Livewire,” “Bring It” and “Strength In Numbers.” The downside is a creeping superficiality, where the persistently mediocre lyrics fail to elicit a core emotional response. The unavoidable truth is that we’ve been here before and also had it better. Look past elitist critiques, though, and you’ll experience a deviously catchy, high-voltage collection that will inevitably find you singing along. ——Andy Kaufmann Neal Schon The Calling Frontiers Records Producer: Neal Schon Eric Dill Forever Is Not Enough Vigil Records Producer: Various Between The Buried And Me The Parallax II: Future Sequence Metal Blade Records Producer: Jamie King, BTBAM Neal Schon’s melodic guitar playing has helped make Journey one of the most successful bands in history. The Calling has some of his most vibrant playing to date. It’s a blend of rock fusion with lush production, epic textures and stellar guitar tones. He gets help from drummer Steve Smith and keyboard legend Jan Hammer. The title track combines thick multi-tracked riffs, swirling melodies and Schon’s idiosyncratic guitar style. “Irish Field” offers Celtic melodies, while “Fifty Six (56)” takes us to India where tabla meets rock-fusion drumming, sitar and wah interplay. This CD demonstrates that Schon has still got it. His signature style remains intact, while the years have broadened tonal palette and artistic vision. ——Oscar Jordan Former lead singer of teen pop heartthrobs the Click Five, Dean left the group in 2007 presumably hoping for greener pastures. This first solo fulllength offering from the handsomely chiseled crooner tries to will that garden into existence but instead things mostly wither on the vine. The album’s radiotargeted ditties are sprinkled generously with hummable phrases and grin inducing moments, yet every stretch of sweetly expressed emotion is soon weighted down by a bumpy patch of syrupy dross that will needle jaded eardrums. Maybe there’s a market for this brand of elegantly packaged, blow dried ephemera, but it’s a struggle envisioning an effort this nonthreatening birthing a star. ——Andy Kaufmann Since 2002, BTBAM have released an album just about every two years. However, with their 2011 release The Parallax: Hypersleep Dialogues being the first in a two-part series, we have now reached The Parallax II: Future Sequence. This band are like nothing you’ve ever heard, and everything you know at the same time. While prog-thrash-metal-surf-psychedelicclassic-jazz-acoustic, slightly defines their sound, it doesn’t begin to categorize the soundscapes of this record. “Astral Body” keeps listeners guessing the down beat while “Bloom” takes die-hard fans to the beach with a subtle surfer vibe—but no track should be ignored. Like previous records, The Parallax II honors the idea of an album: 72+ minutes of spacey metal serenity. ——Andy Mesecher ——Andy Mesecher Brian Eno Lux Warp Records Producer: Brian Eno Colbie Caillat Christmas In The Sand Universal Republic Producer: Various Soundgarden King Animal Seven Four Entertainment/ Republic Records Producer: Adam Kasper How does one determine a successful ambient album when it’s not measured by incredible hooks, infectious choruses or engaging lyrics? Ambient music has the sometimes impossible task of moving you mostly just by letting you be. And yet, it can’t do nothing, because then you feel as if you’re hearing nothing; and that can’t be good, can it? Can it? What if it were the nothing, between the reverb on the tenderly massaged piano and the soft voice of a stringed-synth, that moved you? Simultaneous movement and still life. This is why Brian Eno has had a venerable history providing music for installations, be they in airports, art galleries, and so on. This is why Lux is his best “ambient” work in years. ——Daniel Siwek The pop songstress may declare “Baby, It’s Cold Outside” in a charming duet with Gavin DeGraw, but otherwise she’s all super-sunshiny and Cali-centric as she offers Christmas to the millions who live in climes without the glistening treetops. Particularly playful is the notion of “Santa in his bathing suit,” taking a break from his duties on the title track. While many will focus on Caillat’s appealing duets with Brad Paisley, Justin Young and Jason Reeves, what stands out is the cool, free-flowing way her dusky vocals interpret secular classics––and the songwriting strength of the four originals which fit snugly alongside tried and true songs that are somehow fresh through her sunswept eyes. ——Jonathan Widran A dose of urban angst mixed with a touch of lyrical genius, King Animal proves that grungy rock isn’t just a ‘90s phenomenon. Kim Thayil’s explosive, resonating guitar licks (“Blood on the Valley”) and lyrics imbued with explorative, philosophical wisdom (“Bones of Birds”) exude a fresh, mature sound still branded with Soundgarden’s trademark rhythmic-grunge feel. Chris Cornell’s throaty, dreamy vocals vividly expose a thoughtful array of inner tribulations and anxieties, marked by cryptic and insightful acoustical undertones (“Black Saturday”). The electric-groovy lead single “Been Away for Too Long” testifies to their unique grunge roots, while celebrating the band’s thriving rock & roll revitalization. ——Danica Bellini 68 December 2012 www.musicconnection.com
December 2012 www.musicconnection.com 69
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