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'I don't know who you're talking to with such fucking disrespect.' Artist: Alanis MorissetteAlbum: Flavors of EntanglementTRACKLIST:. 'Citizen of The Planet' – 4:22. 'Underneath' – 4:10.
'Straitjacket' – 3:08. 'Versions of Violence' – 3:36. 'Not As We' – 4:45. 'In Praise of The Vulnerable Man' – 4:07. 'Moratorium' – 5:35. 'Torch' – 4:50. 'Giggling Again For No Reason' – 3:48.
'Tapes' – 4:26. 'Incomplete' – 3:30I've been a long time fan of Alanis, though she's run me hot and cold over the years. Sometimes she seems profoundly honest, and other times, merely whiny. But you can't say that she doesn't put all of her heart (and all of her hurt) into her songs. It's the same for this album. But something's different on Flavours of Entanglement.And I like it.You know why?
Two words: Guy. Sigsworth's an utter genius of a producer, responsible for producing much of the output from Imogen Heap (and acted as half of their duo Frou Frou), Kate Havnevik, Bjork, Madonna and even Britney Spears' new album (where the production was the most praised part, above even Spears herself). I wouldn't say that Sigsworth overtakes Alanis here; indeed, it's because he and Alanis work so well together that his part here is so treasured.A problem with Alanis' work before was its focus on the words, with the music often a slow, sad piano-driven backdrop to Alanis' very emotive lyrics. The effect was often overpoweringly droppy and depressing, making both words and music seem overdramatic. Sisgsworth rectifies this, helping Alanis show some real fire on 'Straitjacket', giving her a lush background to underscore (instead of belabour) the message of 'Citizen of the Planet', give an understated sadness to 'Torch', an apocalyptic landscape backing the synthed-up 'Versions of Violence', and adding a sense of rolling, content joy to 'Incomplete'. The music is, here, just as much part of the message as the songs.And the songs, well, they're the strongest set Alanis has had, possibly ever. Part of this is restraint; she produced almost three times as many songs as featured here, with the best getting a spot on the album.
She also allows herself to properly address the shared experience as well as her own experiences. Songs from previous albums like 'That Particular Time' ( Under Rug Swept, 2002) were good but very specific. Many of her songs were the same way, not quite tapping into that 'everyone knows' feeling that rocketed her into fame with 'You Oughta Know'. In fact, her last album ( So-Called Chaos, 2004) was a misstep because, though so many of the songs were of a high quality, they were also very, very personal; they didn't have that universal factor needed.Compare that to 'Straitjacket', which while clearly a song drawn from personal experience taps into the very common feeling of your partner seeing you as someone completely different, and taking aim at the hypocrisy in so many relationships. Or 'Citizen of the Planet' and 'Underneath', which tap more into idealism (a global community vs. Nationalism and personal responsibility effecting things on a grand scale, respectively) instead of personal problems. These hark back to 'Utopia' ( Under Rung Swept) and b-side 'Symptoms' ( Hands Clean Single, 2002).
The latter I've featured before, in fact, praising its writing.The most accessible and moving song from So-Called Chaos was its lead single 'Everything', which tapped into the idea that we can only be loved when loved for everything within us, good and bad. This was even preceded by 'You Owe Me Nothing in Return' ( Under Rug Swept), admitting the idea of selfless, independent and unconditional love. She even explored the theme in 'Still', her contribution to the Dogma Soundtrack in 1999, three years before Swept.
This was an issue Morissette has struggled with as a young pop star, being constantly derided for her weight and not allowed to write her own songs, and a feeling that has followed her throughout her adult life. This is followed up on Entanglement with 'Incomplete', which challenges the goal-based idea that we are constantly 'incomplete', always struggling to become better, freer, stronger and never accepting ourselves for who we are. It struggles with the dichotomy of it, realising that it both propels us through life and also disallows up from ever being truly happy with ourselves, and you feel that Alanis is finally accepting this and urging us to as well.If 'Incomplete' was a continuation of themes explored in 'Everything' (and, to a lesser degree, Under Rug Swept's 'Precious Illusions'), then 'In Praise of the Vulnerable Man' is a direct sequel to songs such as 'Knees of My Bees' ( So-Called Chaos), '21 Things I Want in a Lover' ( Under Rug Swept), and maybe even 'Unsent' ( Supposed Former Infatuation Junkie, 1998). In the earliest, she praises the men she left behind; in 'Lover' she illustrates the man she wants, and in 'Bees' and 'Vulnerable' she revels in having found him.
We can tie both of the latter to beau Ryan Reynolds, who was reportedly responsible for the happy tone of Chaos - and whom Morisette split with during the writing of this album. 'Vulnerable' may have been written during the relationship or after it had ended, but either way it works as a nice tribute to him and their relationship.
This is not the woman scorned of Jagged Little Pill (2005), but a more mature, grown up woman.Last record, Morissette's 'This Grudge' ( So-Called Chaos) declared her angst over the mystery relationship that fuelled her anger during Pill, Junkie, and Swept to be over, moving forwards into a happy relationship with Reynolds. Reynolds might be gone, but Morissette has shown here that she's ready, once and for all, to move on.BUY: (NOTE: Thank you to 'Anonymous' for providing me with a copy of 'Moratorium' when my copy was defective.). Said.After the somewhat disappointing So-Called Chaos in 2004, Alanis Morissette returns in top form with Flavors of Entanglement and is, by far, her best album since Jagged Little Pill (if only she released Sister Blister, Fear of Bliss and replaced That Particular Time with Simple Together on her 2002 outing, Under Rug Swept).
While many will argue that the tracks feel over-produced by Guy Sigsworth (Madonna, Bjork), they still maintain that Alanis sensibility with the use of Eastern instruments and those unforgettable - and imaginative - lyrics! Said.I loved the way Alanis Morissette showed so much heart with her music. Flavors of Entanglement lyrics and music, expresses with such heart felt emotions that you feel them too.
With the help of her producer, Guy Sigsworth, Alanis has put together a sole full album in Flavors of Entanglement. These songs have more edge and grit than anything she's released since the '90s. I have waited a long time for this album but it has proven to be worth the wait. Alanis has repeatedly said in interviews that she had hit 'rock bottom' upon her engagement ending to actor Ryan Reynolds and how that is reflected in her album 'Flavors of Entanglement'. The album certainly reflects death - in this case, death of a relationship. Never hiding her bruises, she moves forward in her career by releasing this soul full album. My favorite tracks were, 'Citizen of the Planet' and 'Straitjacket'.
I felt these songs were telling a story from heart. Morissette proves herself yet again, to be a poet with lyrics for this generation's contemporary singer and songwriters.
She invites listeners along on her journey of her life as she helps them gain feelings of themselves. She is both enlighting as well as entertaining. I think this album proves beyond a doubt that Alanis Morissette is a voice to be reckoned with.
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This project is purely our way of helping spread the word about our favourite artists and, in our small way, help them out the best we can. Hurting their business is the exact opposite of our intentions here.
If an artist has concerns about anything being made available on this blog, feel free to contact us at thebringerofsong@hotmail.com and we'll be happy to take it down. This blog showcases the musical tastes of. Alden (The Alden): A 17-year-old Canadian male who initiated the blog, Alden loves music. Many of his favourite singers and bands use instruments like the piano and violin over the common guitar-based band template, and values vocals and lyrics over instrumentation. Practically worships Andrew Bird. Marelly (Wendy77): Alden's cousin, who keeps him in line and polices his tastes to make sure he doesn't embarrass himself in the indie hipster scene. Will have her own blurb soon, she promises.
PAST BLOGGERS Jordan (CitizenofBalance): Joined Alden at tBoS in early January 2008, Jordan's interests cover a very different spectrum to his blogging partner. Prefers to listen to such genres as heavy and progressive metal, doom, psychedelic and underground Hip-Hop. Was last seen on a quest into the heart of psytrance. Exited February 2008.
Well, we've reached the halfway point of 2011, and if you're a fan of unfortunately named politicians tweeting photos of their bulges, terrorists getting shot in the eye and Austrian strongmen who have a thing for the help, well, congratulations on having the best six months of your entire life.Of course, for the rest of us, there's been plenty to help pass the time in 2011 — namely, a whole bunch of really excellent albums, from folks you probably know (Eminem, Lady Gaga) and some you more than likely don't (the Weeknd, F-ed Up). But whether they're household names or not, they've all helped make the first 180-or-so days of the year practically fly by — a feat that's pretty amazing considering all the crap that's happened up to this point. So, like I've done in, I've compiled my favorite albums of the first half of 2011 — a traditional top 10, followed by some honorable mentions too. If there's something you haven't heard, well, you've still got six months to rectify that.
And the same goes for me: If there's an album that I've missed (a definite possibility), I'd love to hear about it in the comments below. So, let's get right to it. Here's my list of the Best Albums of 2011 (So Far):The Top 1010. Stephen Malkmus and the Jicks, Mirror Traffic: The elder statesman of erudite rock and good diction has been heading in a jammier direction for years now (on songs like '1% of One,' 'No More Shoes' and, more recently, the ), but thanks to the production work of Beck, he's finally honed those tendencies into an album that's every bit as elastic as his previous efforts, yet oddly focused too.
Songs like 'Tigers' and 'Senator' prove he's still not averse to an angular verse (or in-depth investigations into the sexual proclivities of elected officials), but it's on '28 Forever' — when he warbles, 'There's no parade/ I cannot rain on with my poison eyes' — where he finally seems to be coming to terms with his past as an oft-noted sourpuss. Call it clarity, call it maturity, call it whatever: It all makes for the best Malk record in years.9. Foo Fighters,: The year's best major-label rock record was born out of risk: Dave Grohl eschewed the sanitary confines of the big-bucks studio to record an album in his own garage, on tape, warts-and-all. And then he brought in to oversee the proceedings. The end result is an effort that positively rips, one equally packed with crackling rockers ('Rope,' 'White Limo') and muscle-y, medium-rare mopers ('I Should Have Known').
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In the process, he not only reinvigorated his band, but set the bar impossibly high for any of his contemporaries. As if they'd have the balls to try something like this.8.
The Weeknd, House of Balloons: Mysterious, majestically paced R&B courtesy of 20-year-old Canadian Abel Tesfaye, whose sensibilities (gorgeously layered atmospherics, keenly placed Siouxsie and the Banshees samples) belie his years. The trope of the troubled loverman isn't exactly new, but rarely are matters of the heart played out as honestly as they are here. A constant cycle of druggy nights, desperate flings and depressing dawns, Balloons makes no apologies, and, really, it doesn't need to.
Not when the scenery is this engrossing, this sumptuous. Mood music for increasingly moody times. And, best of all, it's.7. Beastie Boys, Hot Sauce Committee Part Two: Really, this one could have gone either way. Especially after forced the Beasties to scrap the first record (and, of course, To the Five Boroughs).
But, somewhat shockingly, they delivered an album that's a total blast, a mishmash of boom-bap rattle and pop-culture flotsam that, like all the best Beastie albums, manages to tread the line between highbrow rap and lowbrow entertainment. So even if Mike D did open up a restaurant with Ted Danson, you still believe he's got enough swagger to go toe-to-toe with Nas.
And on Hot Sauce, he does both.6. Fleet Foxes, Helplessness Blues: The folks over at called it 'the year's most beautiful album,' and they're probably right. Swooning, wide-screen vocal harmonies ebb and expand into the warm, finger-picked acoustics, creating atmospheres that are summery one minute, wintery the next. But it's not all ethereal. In fact, frontman Robin Pecknold spends the majority of the album rooting through problems that are, in fact, very real: finding his place in the world and coming to terms with his disappearing youth.
That balance is key to the album's strength. Because for a band that indulges so much in the space of the studio, Helplessness Blues is rarely, if ever, self-indulgent.5. Lykke Li, Wounded Rhymes: Psychoanalytic, somnambulant pop from the prodigiously talented 25-year-old Swede, Wounded Rhymes expands on the themes that she laid out in her stunning debut (2008's Youth Novel) and imbues them with an otherworldly spirit.
Not to mention the torchy leanings of the greatest of girl groups (the Ronettes, the Crystals, etc.). So while Li is still preternaturally somber (like on 'Sadness Is a Blessing,' on which she keens, 'Sadness is my boyfriend'), she's also not afraid to get dirty, either, and it's when she's doing the latter — like on the aptly titled 'Get Some' — that she truly shines.4. Lady Gaga,: It's not a stretch to call BTW the year's most-anticipated album, and perhaps in a nod to those expectations, Lady Gaga delivered an effort that doesn't leave anything on the cutting-room floor. From the piston-pumping electronics of 'Marry the Night' and the tarantula tango of 'Americano' to the twitching, 'Transformers'-huge techno of 'Heavy Metal Lover' and the epic balladry of 'You and I' and 'The Edge of Glory,' this truly is an effort that tries very hard to be everything to everyone. And sure, it's probably too long, but that's sort of the point, isn't it? And if she didn't please everyone, well, she came pretty darn close, didn't she?3. Bon Iver, Bon Iver: Justin Vernon has done the impossible: follow up a beloved, much-mythologized debut album (you know, the one that was recorded in a cabin) with a record that's just as good — if not better.
He's always been one for atmospheres, but never before have those atmospheres been so dense. Or so compelling. Here, he creates a singular, breathless world, building it with layers of echoing instrumentation and his own ghostly falsetto. There are moments where the sun shines through the cracks — a horn crescendo, a silvery sliver of bell — but for the most part, Bon Iver is a mesmerizing trip through a dewy dreamscape. And, in that regard, it's a momentous achievement — even if the last song does sound like Bruce Hornsby.2. Adele,: It's nice when the year's best-selling album also ends up being one of the flat-out best, but, in the case of Adele's 21, we should've seen it coming. After all, she's got the.
But this time out, she's grown, and become a singer capable of both tremendous power (like on the smash 'Rolling in the Deep') and terrifying tenderness too (like on the smash ing 'Someone Like You'). A roiling collection of breakup ballads and revenge fantasies, there truly is no album quite like 21, and not only is its success justified, but it probably guarantees Adele will only add to her Grammy collection come February.
Some things are inevitable.1. F-ed Up, David Comes to Life: A wrecking-ball sorta rock opera courtesy of Toronto's hardest-working (and, most likely only) six-piece punk collective, David Comes to Life tells the story of a downtrodden factory worker who may or may not have killed his true love. Because, along the way, there's also betrayal, heartache, bomb blasts, fisticuffs and a whole lot of plot-twisting shifts in narration too. Of course, the story behind the album is largely unimportant (if you want to keep score at home, here's a ) especially when the album itself hits so hard. The (multi-multi-multi-)tracked guitars squeal and chug for days, and frontman Pink Eyes' screams are so visceral you can practically feel his blood welling up in your headphones. It's an ambitious, ringing, raging success, the kind of record you'll listen to over and over again, either to try and follow the plotline or just get pummeled by the sheer might of the thing. Either way, you'll enjoy yourself.Honorable MentionsBad Meets Evil,: Reunited with (and recharged by) Royce Da 5'9', Em reminds us that he's still capable of littering the scene with lyrical shell casings, and Nickel Nine matches him shot for shot.
Their friendly competition makes for a thrilling listen, and basically everything here burns with varying degrees of intensity — even the track with Bruno Mars.Bright Eyes, The People's Key: Unjustly overlooked for reasons not apparent to me, Conor Oberst's seventh studio album is a latticework of sonic strips, wide-eyed (yet sorta hazy) ponderances of faith and science and, on 'Ladder Song,' raw, positively aching ruminations on death. Not as great as some of his earlier works, but close. And that's still better than 95 percent of everything else.Curren$y,: One of approximately 750 albums he plans to release this year (and not the one that with 'Weekend at Bernie's' either), Coup bubbles along on producer the Alchemist's hazy beats and Curren$y's laconic, chronic delivery. If you couldn't tell, this is the weed-iest album of 2011, by a smoky mile.Death Cab for Cutie,: Ben Gibbard finally gets happy, only, y'know, within reason. Because even the sunniest moments are dotted with dark clouds, and ultimately, this is an album that's as much about alienation as anything else. After all, falling in love doesn't fill the emptiness inside; it only makes it more pronounced.PJ Harvey,: The iconic Brit shape-shifts with seemingly every record she releases, and on Shake, she's reborn as an old-fashioned protest singer.
The sad thing is, the subjects she's singing about (conflict, bloodshed, man's unending cycle of self-immolation) are just as timely now as they were 50 years ago.Portugal. The Man, In the Mountain, In the Cloud: Guys from the same town that (Wasilla, Alaska: Population 7,831) more than atone for that fact with an album that's sprawling, psychedelic and crawling with ambition — the latter of which is also a pretty apt description for Ms. You-Betcha's machinations too.Radiohead,: Maybe the most divisive Radiohead album of all time (or at least since Hail to the Thief), it may not necessarily rock, but that's because it's not supposed to. Instead, its main focus is creating a world that's atmospheric and amniotic, and even if it doesn't contain guitar solos like 'Lucky' or 'Just,' there's still plenty to give you chills. Just not the chills you're probably used to.Tyler, the Creator, Goblin: Terrifying meta-commentary or simply the angry rantings of a 20-year-old kid who doesn't know any better? Probably both. How about all of the above.
It's also visceral, wince-inducing, frightening and sorta funny too. But perhaps nobody does a better job of summing it all up than Tyler himself, when, on the (sorta) hook to 'Radicals,' he growls, 'Kill people, burn sh-, f- school.' Now that's a mission statement.YACHT, Shangri-La: The new-age dance duo ponder the existence of the hereafter and discover that it may very well exist on earth (or within our own minds). Too bad we're busy destroying both. A postapocalyptic party as foreseen by the Talking Heads and Giorgio Moroder, Shangri-La is as heavy on subject matter as it is on lithe, limber rhythms, so even when things get too heady, you can still let your hips do all the thinking.Yuck, Yuck: The year's best debut, one that channels the stray slack and sonic stumblings of Dinosaur Jr. And Sonic Youth.
And considering it all comes from a quartet of kids too young to remember prime-era indie rock, it's all the more noteworthy. Maybe the stuff can make a comeback.What did we miss? Share your favorites in the comments! ViaJurors aren't talking. Prosecutors are stunned that they lost. Defense attorneys are lashing out at the media.
And Casey Anthony could be free by the weekend.A case that involved years of forensic investigation, weeks of often highly technical testimony and untold hours of media analysis turned out to be a quick decision for the jurors weighing whether Anthony killed her toddler daughter. Early in their second day of deliberations, the 12 men and women concluded Tuesday the 25-year-old lied to investigators but wasn't guilty in her child's death. Now Anthony waits to learn if she could spend her first night out of jail in almost three years since she was first accused in the case. She was only convicted of four misdemeanor counts of lying to investigators, and it's possible that Judge Belvin Perry could sentence her Thursday to time already served for those crimes. The four counts of lying to sheriff's deputies each carry a maximum sentence of one year.
Janet Jackson is one of the world’s most iconic performers and a member of the world’s most famous showbiz family. With ten studio albums under her belt, a few television and film roles and now even a book, Janet has taken over the mantle as the most famous member of the Jackson family since the death of her brother Michael in 2009.In recent years Janet has struggled to match the success of her earlier albums janet and The Velvet Rope but nevertheless she still has the passion to tour for her fans. Last night saw Janet perform the last of three dates at London’s Royal Albert Hall as part of her Number 1s: Up Close and Personal Tour.As the lights went down in the Royal Albert Hall, a video screen lit up announcing that Janet was dedicating the Nasty video to the audience tonight. Watching the video in its entirety, the audience waited with anticipation for Janet to arrive on stage. Clad in a tight-fitting white catsuit Janet opened her set with The Pleasure Principle before whizzing through a medley of some of her earliest hits.
Control and What Have You Done For Me Lately followed before turning into Feedback. The first 30 minutes of her set felt more like a greatest hits medley than a series of performances of her biggest songs. Some songs weren’t performed in their entirety (most notably You Want This) but Janet threw herself into the choreography interacting with both the audience and her dancers.After the medley section, Janet exited the stage as TV and movie clips of her played on the big screen.
As the last one drew to a close, Janet took a seat centrestage to perform a few of her ballads. It was in this section that her voice really impressed us.
She showcased surprising strength on fan favourite Let’s Wait A While and gave us goosepimples as she sung Again. As the closing bars of the latter arrived Janet left the stage and it was time for a short interval.After 20 minutes the show resumed and it was in the second half that Janet really found her stride. At 45 she performs better than the majority of her contemporaries recreating her iconic choreography to the delight of the fans. Arriving back on stage to Doesn’t Really Matter Janet performed some seriously impressive dance routines as the audience whooped and hollered.The second half was really something special. Janet delivered fuller performances of her bigger hits moving away from the medley feeling of the first half. Escapade, When I Think Of You and All For You got the crowd singing along and on their feet.
For That’s The Way Love Goes Janet performed the song in a way we’ve not seen before with some tight choreography as she slinked across the stage. Next up was the incredible If which contained some of the night’s best dancing. Easily one of our favourite songs, If got one of the biggest reactions from the crowd as Janet showed off her naughtier side. Rhythm Nation provided a timely reminder of how Janet really broke-through as a performer as she energetically moved to the track’s industrial beats.One of the evening’s most spine-tingling moments came when Janet performed Scream. The video for the song featuring her brother Michael played on the screen as Janet sang her part of the song. This moment took us back to 2009 when Janet performed the song in a similar style on the MTV Video Music Awards but this time she was more composed paying homage, rather than tribute, to her late brother.
Images of Michael flashed up again as Janet returned to the stage to perform her final song of the evening Together Again.Number 1s: Up Close and Personal was an incredible experience. Seeing Janet in such an intimate setting was remarkable and she looked relaxed and happy on stage.
We weren’t convinced that she sung the whole set live but the moments when you could tell she was singing live sounded fantastic. With incredible choreography, genuine audience interaction and a catalogue of hits Janet won over the crowd on her last London date of the tour. We hope that she comes back soon with the bigger tour production that we’re used to but as a way of re-engaging with her fans, the Number 1s tour nailed it.SetlistNasty (Video intro)The Pleasure PrincipleControlWhat Have You Done For Me LatelyFeedbackYou Want ThisAlrightMiss You MuchNastyNothingCome Back To MeLet’s Wait A WhileAgainDoesn’t Really MatterEscapadeLove Will Never Do Without YouWhen I Think Of YouAll For YouThat’s The Way Love GoesIfScreamRhythm NationTogether Again. ViaJanet Jackson let it slip that Australia is one of the lucky countries being included in the extension of her world tour.While no official announcements have yet been made Down Under, during a recent interview on the Paul O’Grady show, Jackson spoke about extending her Number Ones: Up, Close, & Personal Tour and said Australia was on her team’s to-do list.“I’m not finished (touring) till next year some time.
I feel like I’ve really just started,” she said.“We went to Asia, to America, I still have to go to Australia, I have to go back to the States, I have to go to Africa, they want us to come to South America.“It’s beautiful. It’s so great. It’s great to know you’re wanted and loved. I’m very fortunate.”.