Spring Break
REVIEW: Lewis has a 'Tongue' to be reckoned with
4 out of 5 stars
Fernando Dutra
Issue date: 10/2/08 Section: Focus
Rilo Kiley frontwoman Jenny Lewis has gotten more confident with each album release, and her latest solo album, "Acid Tongue," is her most self-assured to date.
Last year's calculated "Under the Blacklight," saw Rilo Kiley attempt to reach for crossover appeal and mainstream success in an overly produced, polished record. When deciding the direction for "Acid Tongue," Lewis said in an interview with Reuters' magazine that "Under the Blacklight" would serve "as a reference point to go in the complete opposite direction."
While her first solo album, "Rabbit Fur Coat," featured gospel-tinged country rock and focused on soulful ballads, "Acid Tongue" is more rock-oriented, particularly on "See Fernando," "The Next Messiah," and "Jack Killed Mom." The closest the album gets to its predecessor is on the title track itself.
Though "Rabbit Fur Coat" was billed with the Watson Twins, they do not provide backing vocals in this album. Much like "Rabbit Fur Coat," which featured the likes of Death Cab for Cutie's Ben Gibbard and Bright Eyes' Conor Oberst, "Acid Tongue" features several collaborations. Elvis Costello appears on "Carpetbaggers." Other performers like Chris Robinson of the Black Crowes, singer/actress Zooey Deschanel and M. Ward from She & Him contribute to the album.
This assortment of revolving door musicians makes the album sound like a family is playing together, contrasting with "Rabbit Fur Coat's" despondent and detached sound. Unlike the contained "Rabbit Fur Coat," these collaborations give the album a fuller feel, alongside recordings being done live with a full band. The liberation can be heard in Lewis' voice.
The centerpiece of the album is Rolling Stones-influenced "The Next Messiah," an almost nine-minute romp that is actually three songs in one. This technique has been used by other musicians as well-almost making it a trend (for mainstream examples see Weezer's "The Greatest Man That Ever Lived" or Green Day's "Jesus of Suburbia") - but Lewis uses it effectively. Its building progression doesn't feel forced and, better yet, was one of the tracks that was fully recorded live. Lewis claims that it was written out of her love for Barbra Streisand medleys.
Lewis' themes of loneliness, religion, kinship, and loss have shifted subtly over the years. Instead of offering apologetic lyrics or searching for revealing meanings, Lewis offers no apologies for why she is how she is, causing her to become a figure for female empowerment.
As Jenny Lewis becomes more self-assured, her voice rises to the challenges she sets for herself. Her voice is still the anchor for her tracks and often makes up for staid lyrical subject matter. That being said, "Acid Tongue" as an album features her most versatile and dynamic vocals yet. "Acid Tongue" has the occasional misstep, but it is representative of the progress Lewis has made over the years in her singing and songwriting. Whether she chooses to continue the solo route or to make another Rilo Kiley record, there is a lot to look forward to from Lewis.
Last year's calculated "Under the Blacklight," saw Rilo Kiley attempt to reach for crossover appeal and mainstream success in an overly produced, polished record. When deciding the direction for "Acid Tongue," Lewis said in an interview with Reuters' magazine that "Under the Blacklight" would serve "as a reference point to go in the complete opposite direction."
While her first solo album, "Rabbit Fur Coat," featured gospel-tinged country rock and focused on soulful ballads, "Acid Tongue" is more rock-oriented, particularly on "See Fernando," "The Next Messiah," and "Jack Killed Mom." The closest the album gets to its predecessor is on the title track itself.
Though "Rabbit Fur Coat" was billed with the Watson Twins, they do not provide backing vocals in this album. Much like "Rabbit Fur Coat," which featured the likes of Death Cab for Cutie's Ben Gibbard and Bright Eyes' Conor Oberst, "Acid Tongue" features several collaborations. Elvis Costello appears on "Carpetbaggers." Other performers like Chris Robinson of the Black Crowes, singer/actress Zooey Deschanel and M. Ward from She & Him contribute to the album.
This assortment of revolving door musicians makes the album sound like a family is playing together, contrasting with "Rabbit Fur Coat's" despondent and detached sound. Unlike the contained "Rabbit Fur Coat," these collaborations give the album a fuller feel, alongside recordings being done live with a full band. The liberation can be heard in Lewis' voice.
The centerpiece of the album is Rolling Stones-influenced "The Next Messiah," an almost nine-minute romp that is actually three songs in one. This technique has been used by other musicians as well-almost making it a trend (for mainstream examples see Weezer's "The Greatest Man That Ever Lived" or Green Day's "Jesus of Suburbia") - but Lewis uses it effectively. Its building progression doesn't feel forced and, better yet, was one of the tracks that was fully recorded live. Lewis claims that it was written out of her love for Barbra Streisand medleys.
Lewis' themes of loneliness, religion, kinship, and loss have shifted subtly over the years. Instead of offering apologetic lyrics or searching for revealing meanings, Lewis offers no apologies for why she is how she is, causing her to become a figure for female empowerment.
As Jenny Lewis becomes more self-assured, her voice rises to the challenges she sets for herself. Her voice is still the anchor for her tracks and often makes up for staid lyrical subject matter. That being said, "Acid Tongue" as an album features her most versatile and dynamic vocals yet. "Acid Tongue" has the occasional misstep, but it is representative of the progress Lewis has made over the years in her singing and songwriting. Whether she chooses to continue the solo route or to make another Rilo Kiley record, there is a lot to look forward to from Lewis.
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