That she would be good...
June 16th 2008 07:19
Following on from her previous record, Under the Rug Swept, Alanis Morissette is back in the mix with her latest instalment of self developmental lyrics on her new album Flavours of Entanglement. Flavours focuses on her brooding and melancholic state as she wills herself back to positivity after her very public split from ex fiancé. Though one would imagine this to be a great catalyst for the deeply emotional and self confessed “sensitive in a public crooner’s body” to deliver an album full of angst and feisty lyrics, Morissette instead delivers a strangely despondent and detached collection of songs.
Songs such as Citizen of the Planet and Versions of Violence are prime examples of why Morissette only scratches the surface of what used to be her niche musical market. The angry rock music and acutely sharp lyrics (which catapulted her to stardom and gave her an allegiance of fans) seem to be a distant memory that cannot be reproduced on this album.
Once fraught with extreme pain and the need to externalise all of her darkest emotions, Morissette has aged (like most) into a more mellow creature. Perhaps it would have been easier to entertain these lesser songs had they been more folksy than rock; perhaps it would have been more consistent with her previous records had she stayed on with the same production partners. It is easy to presume that these slight changes would have made a difference to this record, but maybe it’s time to realise that Morissette has rid herself of her demons and her anguish. Maybe it’s time to realise that Morissette has peaked in her chosen area and the angry rock persuasion is no longer her game. Unfortunately, the grain which used to define Morissette and place her above all other female pop rock musicians has disappeared.
This album pales in comparison to the likes of Supposed Former Infatuation Junkie and Jagged Little Pill. With each contrived song that passes, one can only hope that Morissette finds her new self and a new sound soon.
Songs such as Citizen of the Planet and Versions of Violence are prime examples of why Morissette only scratches the surface of what used to be her niche musical market. The angry rock music and acutely sharp lyrics (which catapulted her to stardom and gave her an allegiance of fans) seem to be a distant memory that cannot be reproduced on this album.
Once fraught with extreme pain and the need to externalise all of her darkest emotions, Morissette has aged (like most) into a more mellow creature. Perhaps it would have been easier to entertain these lesser songs had they been more folksy than rock; perhaps it would have been more consistent with her previous records had she stayed on with the same production partners. It is easy to presume that these slight changes would have made a difference to this record, but maybe it’s time to realise that Morissette has rid herself of her demons and her anguish. Maybe it’s time to realise that Morissette has peaked in her chosen area and the angry rock persuasion is no longer her game. Unfortunately, the grain which used to define Morissette and place her above all other female pop rock musicians has disappeared.
This album pales in comparison to the likes of Supposed Former Infatuation Junkie and Jagged Little Pill. With each contrived song that passes, one can only hope that Morissette finds her new self and a new sound soon.
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