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Review: Nine Inch Nails, With Teeth - Slant Magazine

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Review: Nine Inch Nails, With Teeth

3.5

Published

14 years ago

on

May 3, 2005

By

Sal Cinquemani

It’s hard to believe that Trent Reznor has only managed to release four albums in over 15 years, the last being 1999’s The Fragile, which was long on songs (23 to be exact) but short on depth, alienating many of those who came to the pity party after the crossover success of 1994’s “Closer.” By the end of the decade, Reznor’s introverted self-loathing had become as rote as Courtney Love’s self-extortion. (Love is another artist, come to think of it, who’s managed to squeeze out just enough product to remind us she, however irrelevant, still exists.) Reznor, though, doesn’t seem in danger of imminent self-destruction or irrelevance (there’s always going to be tormented, pimple-faced 16-year-olds, right?). The time gap between each new Nine Inch Nails album makes his shtick stick, even while the lapse in time magnifies the adolescence of his angst and ups the musical stakes to heights he can never reach. And with his new album, With Teeth, he doesn’t even seem to try. Instead, he sounds content with self-satisfaction, only subtly aware of what’s going on in the world outside his studio.

That’s not necessarily a bad thing. There’s something comforting in knowing that an artist will always be there the way you left them. Reznor has become like a reliable old uncle, never married, never changing, except the lines on his face are deeper and his perpetual frown is getting a little depressing. There are hints at evolution (or should I say adaptation?): In the midst of the new new wave, it’s not surprising to hear Reznor fall back on his synth-pop past. The opening track “All the Love in the World,” with its house-y second half, and the first single “The Hand That Feeds” hark back to the pop sensibility of Pretty Hate Machine. And it’s refreshing to hear him singing in a melodic falsetto. It’s too bad the whole album isn’t like these tracks and “Only,” a bouncy synth-popper that finds Reznor actually poking fun at himself. He could have put a big yellow smiley face on the front cover and watched the music world divide itself over his newfound sound.

But just in case you forgot that Reznor’s still a self-absorbed manic-depressive, along come song titles like “Love Is Not Enough” and “Every Day Is Exactly the Same” and solipsism like “I think I used to have a purpose/But then again that might have been a dream.” Reznor’s lyrics have always been a bit nebulous, but the exception here is “The Hand That Feeds,” a pointed slam against U.S. foreign policy: “What if this crusade’s a charade…Justified in the name of the holy and the divine?” And then there’s “Sunspots”: A lyric like “She turns me on” seems so puritan compared to “I wanna fuck you like an animal.” I suppose there’s something nice about Trent Reznor the traditionalist. It’s cute when he hums the piano melody at the end of the album’s final track, “Right Where It Belongs.” It’s not his best “slow jam,” but the second half of the song is its redemption. Again, while With Teeth satisfies in all the expected ways, not much has changed in Reznor’s world: He still goes out like a lamb.

Label: Interscope Release Date: May 3, 2005 Buy: Amazon

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Review: Yola’s Walk Through Fire Feels Like a Musical Time Capsule

The British soul singer’s debut seems to have emerged from a time capsule circa 1969.

3.5

Published

7 days ago

on

February 9, 2019

By

Zachary Hoskins Photo: Alysse Gafkjen/Nonesuch

Everything about Yola’s debut, Walk Through Fire, seems to have emerged from a time capsule circa 1969—from the album cover, with its muted color palette and chunky vintage fonts, to the musical arrangements, which mix baroque-pop signifiers like glockenspiel and pizzicato strings with more timeless organ and pedal steel. The album’s session musicians are of a similar vintage: Drummer Gene Chrisman and pianist Bobby Wood are both veterans of the house band from American Sound Studio in Memphis, ground zero for Elvis Presley’s “Suspicious Minds” and Dusty Springfield’s Dusty in Memphis.

It’s tempting to ascribe this studious retro sensibility to producer Dan Auerbach, whose 2017 solo album, Waiting on a Song, treaded similar territory with some of the same musicians. But Yola, whose colorful backstory includes a brief stint with trip-hoppers Massive Attack, has a voice that lends itself to the analogue treatment: rich and mellifluous, adept at both caressing the melodies of a lilting ballad like “Shady Grove” and blowing the roof off of a belter like “Lonely the Night.” The British singer simply sounds like the product of another era, closer in spirit to the likes of Mavis Staples than to 21st-century R&B stylists like SZA.

If Through the Fire sounds like it’s from 1969, that’s because the late ‘60s were the golden era of country-soul, when a small but significant group of artists, songwriters, and producers were blurring the boundaries between working-class black and white roots music. Yola, who’s cited Dolly Parton as a crucial influence, is right at home in this space, sounding as natural singing atop the fiddles and pedal steel of lead single “Ride Out in the Country” as she does over the organ and horn section of “Still Gone.” The ease with which Yola, Auerbach, and their collaborators blend these genres is a powerful reminder of their shared roots—particularly at a time when musical styles feel at once more amorphous and more rigidly segregated than ever.

While Through the Fire’s facsimile of ‘60s country-soul is uncanny, the sturdiness of its songcraft is even more impressive. Yola and Auerbach composed the majority of the album with seasoned songwriters—most notably Dan Penn, who as the co-writer of standards like “The Dark End of the Street” and “Do Right Woman, Do Right Man” played no small role in the creation of country-soul as a genre. None of the songs on Through the Fire are of quite that caliber, and some feel like they’re trying too hard to be: The subject matter of “Ride Out in the Country” is a bit too bucolically on the nose, while a few stray lyrical references to “across the great divide” and “love [is] a losing game” come across as distracting tips of the hat to more canonical—and, frankly, better—songs. But on tracks like “Keep Me Here” and “It Ain’t Easier,” Yola seems capable of not only expertly mimicking the sounds of the past, but also creating something that will itself stand the test of time.

Label: Easy Eye Sound/Nonesuch Release Date: February 22, 2019 Buy: Amazon

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Music

Review: Tedeschi Trucks Band’s Signs Points to Better Times Ahead

The band’s raw, crowd-pleasing blues-rock remains as rousing as ever on Signs.

3.5

Published

7 days ago

on

February 9, 2019

By

Pryor Stroud Photo: Shore Fire Media

Tedeschi Trucks Band’s raw brand of blues-rock is a thrilling resurrection of bygone genres endemic to the southeastern United States, and they play with the freewheeling improvisatory energy of hallowed country-rock bands like the Allman Brothers, Little Feat, and Black Oak Arkansas. The group’s sound hasn’t noticeably evolved since their 2011 debut, Revelator, but their craft—particularly the electrifying, full-throated howl of singer Susan Tedeschi—remains as rousing as ever on their fourth album, Signs.

Lead single “Hard Case” fuses Americana, Memphis soul, and New Orleans swamp funk to tell the story of lovers who can’t quit each other. Tedeschi’s wails seamlessly intertwine with Matt Mattison’s gruff warble. “You’re a hard case to refuse,” Tedeschi sings, her voice tinged with both overwhelming desire and a creeping sense of self-doubt. Like most Tedeschi Trucks songs, “Hard Case” attempts to capture the blistering kinetic energy of the band’s live performances, and it mostly succeeds: The drums pummel, the solos meander, and the guitars, expertly played by Tedeschi’s husband, Derek Trucks, unexpectedly leap forward.

“Hard Case” is the closest Signs comes to matching the unbridled dynamism of “Part of Me,” a soaring standout from 2013’s Made Up My Mind. Yet the album also contains a handful of irrepressible trad-rock jams that allow Tedeschi’s vocals to take center stage, as on the Motown-inspired “I’m Gonna Be There” and “They Don’t Shine.” On “Walk Through This Life,” her voice veers from exuberant and unrestrained to subtle and declarative, yet it never loses its luster, evoking, at turns, that of Bonnie Raitt, Stevie Nicks, and Gladys Knight.

Many Americana outfits have become sociopolitical observers in the Trump era, and Tedeschi Trucks Band is no different. “Signs, Hard Times” is a blue-eyed soul rave-up that calls on bystanders to get off the sidelines in a time when passivity amounts to complicity. “No more fooling around,” Tedeschi shouts, urging us to take action before it’s too late. Yet, at times, their activist message comes off as stilted. “Shame, there’s poison in the well/Shame, you know we can’t un-ring the bell,” Tedeschi proclaims on “Shame.” It’s a well-intentioned but ultimately shallow truism—a lyric that states the obvious without offering any solutions.

At their best, the songs on Signs bristle with a kind of wide-eyed optimism. On “Still Your Mind,” Tedeschi seems to sum up the album’s mission: “You’re not alone/So many people feel that low/But I’ll help you grow.” While not without its flaws, Signs heals in this way. It’s often so joyous and spirited that, for a moment, it’s easy to envision better times ahead.

Label: Fantasy Release Date: February 15, 2019 Buy: Amazon

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Music

Review: Ariana Grande Embraces Her Flaws on Thank U, Next

The pop princess comes off as a decidedly unsympathetic character throughout her fifth album.

3.5

Published

1 week ago

on

February 7, 2019

By

Sal Cinquemani Photo: Republic Records

Ariana Grande doesn’t care if you like her. The pop princess comes off as a decidedly unsympathetic character throughout her fifth album, Thank U, Next. She fantasizes about her ex while her lover sleeps beside her on “Ghostin,” she picks fights with him for the make-up sex on “Make Up,” and she glibly coaxes a guy into dumping his girlfriend just for kicks on the plainly titled “Break Up with Your Girlfriend, I’m Bored.”

As Grande recently proclaimed on Twitter, “Life is full trash,” and it’s this willingness to reveal herself warts and all that makes it easy to forgive her various indiscretions. She isn’t afraid to admit that she’s “Needy” and—on the very next track—that she simultaneously requires her personal space. “Been through some bad shit, I should be a sad bitch/Who woulda thought it’d turn me to a savage?” she declares on “7 Rings,” which finds the singer boasting of her financial prowess in the key of Rodgers and Hammerstein’s “My Favorite Things.”

Today’s pop stars typically rely on rappers to deliver the kind of braggadocious verses that would otherwise dirty up their squeaky-clean personas, but Grande spits her own rhymes throughout Thank U, Next, and they’re so slick that Princess Nokia and Soulja Boy have both accused her of biting their flows. There are no guest rappers on this decidedly lean follow-up to last year’s Sweetener, and while one might expect it to be filled with at least a few stale leftovers from that album, the songs here rarely sound like sloppy seconds.

Thank U, Next is easily Grande’s most sonically consistent effort to date, even if that means some of the album’s sleek R&B tracks tend to blur together. Aside from a wealth of trap beats and finger snaps, the album’s most notable characteristic is the recurring use of orchestral flourishes. The opening track, “Imagine,” is a dreamy midtempo ballad, with Grande pining for an Instagram-perfect romance that comprises sharing sexy baths and pad thai. The song takes a sudden turn in its final third, as it builds to a hypnotic climax filled with cinematic swells and Grande’s euphoric, Minnie Ripperton-esque whistle notes.

That same tactic makes slightly less thematic sense on the reggae-inflected “Bad Idea,” on which Grande espouses the temporarily amnesiac virtues of casual sex. Elsewhere, the use of a sample by the late soul singer Wendy Rene on “Fake Smile” initially smacks of misappropriation, followed as it is by seemingly mindless lines like “Another night, another party, sayin’ hi to everybody.” But by the end, the song reveals itself to be a modern expression of the blues, about a young woman trying to navigate life in an era where privacy is virtually nonexistent. Grande ultimately earns the use of that sample, and it’s her refusal to fake a smile that proves to be what makes her so damn likeable.

Label: Republic Release Date: February 8, 2019 Buy: Amazon

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