Eminem, “Recovery” (Aftermath)
Detroit rapper has an obvious penchant for literal album titles, and his latest, “Recovery,” often sounds like an empowering self-help book written by Em himself. Sure, there’s still plenty of critical vitriol and outward hate spewing from the MC’s mouth, but this time it’s clear that he’s out for personal changea welcome switch- up, though it’ll be interesting to see how it affects the rapper’s thuggish, brutish image.
Aside from the mantra-like lyrics here — “I’m not afraid/to take a stand/everybody/come take my hand” from the lead single, “Not Afraid” — the rest of this comeback record is quintessential Eminem. The head- scratchingly clever rhymes (“lay ’em/say ’em/mayhem/damn”) and the melodic, sing-songy rap choruses that fans love are all over “Recovery,” and while “Not Afraid” is an obvious single — one that borrows from the Dirty South with its militaristic chorus and production — this album has more ready-for-radio bangers.
“Cold Wind Blows” is a natural hit with fierce attitude and pop culture references galore — Michael Vick and Elton John (again), included. “25 to Life” is a fine album track worth a careful listen. And “Won’t Back Down” is a rock-tinged blast of new life that features Pink and has Em sounding refreshed, rejuvenated and, dare we say, recovered? — Ricardo Baca
The Indigo Girls, “Staring Down the Brilliant Dream” (Vanguard Recordings)
Live recordings are tricky, especially because many artists prefer to capture one special evening on tape — even if the entire night wasn’t all that special. are veterans at this whole game, and “Staring Down the Brilliant Dream” is their second two-disc live recording, following 1995’s “1,200 Curfews.” They smartly selected their favorite 31 recordings from 2006-2009 for the comp, and the result is a lovely collection of special moments.
The song-ending harmony that closes “Closer to Fine.” Amy Ray’s casual, F-bomb- dropping storytelling in “Shame on You.” The rarity “Wood Song” and its nuanced delivery by Emily Saliers. Ray’s slinky “Sugar Tongue,” which is much better than the original CD recording. And the girls wink when they kick it all off with “Heartache For Everyone,” a dub-influenced good-times jam that is proof that these ladies aren’t just relying on their decades-old work — they’re still writing great music. — Ricardo Baca
Wolf Parade, “Expo 86” (Sub Pop)
It’s tough to imagine Montreal indie rockers ever besting their 2004 debut, “Apologies to the Queen Mary.”
“Apologies” was a subtle masterwork of yelping, paranoid indie rock as shaped by producer Isaac Brock (leader of Modest Mouse — a band to whom Wolf Parade owes some sonic debt). Singers Spencer Krug and Dan Boeckner set an enduring template for vintage synth blasts, figure-eight instrumental clatter and smart, darkly funny lyrics.
But on “Expo 86,” the band’s third record for Sub Pop, Wolf Parade asserts that it doesn’t need to imitate past work. “Expo 86” is certainly a more assured, expansive record than sophomore full-length “At Mount Zoomer,” which fumbled with claustrophobic production and occasionally tepid songwriting.
And “Expo” is also more instantly accessible, focusing on a restless creativity that’s constantly at risk of being diluted or overshadowed (see the band’s numerous side projects).
It’s no “Apologies,” but with lines like “We built this city on cocaine and lasers” (!!) and the ripping melodies and guitar lines of “Pobody’s Nerfect” and “Little Golden Age,” it doesn’t really need to be. — John Wenzel
The Smashing Pumpkins “Teargarden By Kaleidyscope 1: Songs for a Sailor” (Rocket Science)
have fallen off the map since they dissolved in the late ’90s. Despite what Billy Corgan may say about writing all the songs and playing every instrument on their past work, the Smashing Pumpkins have not been the same band since the departure of James Iha, D’arcy Wretzky and Jimmy Chamberlin.
“Teargarden By Kaleidyscope 1: Songs for a Sailor” should more appropriately bear a different band’s name, like the Billy Corgan Band, or something a little catchier. Using the Smashing Pumpkins moniker comes across sounding like a marketing ploy and immediately sets an unachievable high standard. The continuation of the Smashing Pumpkins makes very little sense except to the man in the driver’s seat, Billy Corgan.
Casting the name aside, “Teargarden By Kaleidyscope 1: Songs for a Sailor” offers very little to the listener with only four tracks in total. “Stitch in Time” stands alone in coming the closest to capturing the band’s early aura. As for the other three, “Widow Wake My Mind” would fit better on a Zwan album, “Song for a Sun” appears more content with rubbing it in the listener’s face that the band still exists and “Astral Planes” has a synthesized pop sound which does not work. The “boxed set” does include another track and a nice case, but the mid-$20s price tag doesn’t seem justified.
Nothing has really worked for the Smashing Pumpkins since the album “Machina.” “Teargarden By Kaleidyscope 1: Songs for a Sailor” represents nothing more than Corgan’s vain attempt to stay in the limelight. If anything, the lyrical simplicity and layer upon layer of sound scream, Corgan has lost his edge. — Greg Stieber
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Ricardo Baca is the founder and co-editor of and an award-winning critic and journalist at The Denver Post. He is also the executive director of the , Colorado’s premier indie music festival. Follow his whimsies at , his live music habit at and his iTunes addictions at .
John Wenzel is the co-editor of Reverb and an A&E reporter for The Denver Post. His book was recently published by Speck Press. He also maintains a of random song titles.
Greg Stieber is a Denver freelance writer and regular contributor to Reverb.
