Here's yet another review that's about four months behind the rest of the pack from me. It's becoming a trend, no? Reality shows for unknown celebs serve one purpose: exposure. The type of artist that normally goes for one are transitional artists: artists that have done something in one field of work but need a vehicle to escalate their second profession. It'll dispell myths about entertainers who pull double careers plus, it's pretty costless round-the-clock satire-ready promo, which is always nice.
By now, we've all heard of Ashlee
Overexposed Simpson, quasi-celeb little sis, Cecelia on
7th Heaven, brunette firecracker who's ravaged the entertainment industry with countless storylines this year. Her success is definitely thanks to her top-rated MTV reality show that depicted her in a relatively good light; she had no truly brainless moments during its run like big sis, though. This record went triple platinum, though currently on the downswing.
Tracklisting:
Autobiography (**** 1/2)
Pieces of Me (*****)
Shadow (*****)
Lala (**** 1/2)
Love Makes The World Go Round (*****)
Better Off (**** 1/2)
Love Me For Me (**** 1/2)
Surrender (*****)
Unreachable (*****)
Nothing New (*** 1/2)
Giving It All Away (*** 1/2)
Undiscovered (****)
Autobiography, the theme song from her reality show and now-botched third single, is one of those self-assuring driving rockers that creates a mantra-ish hookline that immediately sticks in your head. A slithery Hole-ish sunny guitarfest, this anthemic opening track is an admirable meshing of thunderous, chopping electrics, sly complementary bassline and effects-ridden keyboarding, all held together by Simpson's no-holds barred normal girl schtick, only enhanced a bit with her semi-snotty poseur-punk tones at times. Simpson isn't the most powerful vocalist (insert SNL-related joke here) but her normalcy and endearing-within-reason attitude keeps you hooked. This is a personal favorite because of how free she is with herself (both lyrically and vocally) as well as the fact that its the most balanced attack present. The brooding second single
Shadow is a wake-up call for those who didn't think the younger Simpson could emotionally connect with an audience. A heartwrenching tale of a neglected childhood for the raven-haired vixen (and how she's ok now), this power ballad lives up to the hype presented about it. In between the steady feathery acoustics, angry frustrated electrics, humanistic piano and stormy production, Simpson lays it out onto the table and opens a door her older sister hasn't come close to as of yet. Her naturally raspy, more introspectively controlled voice is more melodic than given credit for while the emotion and genuine power given off during this song makes it a highlight.
Despite my ratings, the song I listen to most is in-the-pipeline official third single
Lala, an earthquake-y percussion heavy suggestive jamfest with a mindlessly fun hook. Simpson's most sexually aggressive track, this stunningly charismatic attempt at being a sex kitten is totally balls-to-the-wall and I love it. She goes for what she wants, semi-shrieky vocals and all, so many props. She makes the best use of the track possible, especially the shredding elastic electrics, tribal-esque superpercussion and riot grrl bassline; she's bigger than life and just makes this deliciously over the top.
Love Makes The World Go Round, despite the blandly
We Are The World-ish title, is a very fine track, a lush acoustic-and-bassline lef slice of chick pop heaven in the same vein as Hilary Duff's
Come Clean. Over a desolate bass riff, toned down electrics that offer more of a melody and vibeable percussion, Simpson offers one of her most positive sounding vocal performances, a cross between pop chick chic and angst-y rock girl thats one of the most complex parts of the song. This track, mainly focused on the earworm karaoke-ready hook, is also one of the more pop-friendly, so prepare for another
Breathe situation soon.
Better Off heads into thr world of acoustic femme pop on a more pure, unobstructed level, as this is one of the most natural sounding tracks on the record. Ready-made for any WB program, this track is basically built around the chunky anthemic hookline, almost forgetting the Unplugged-esque verses. Simpson sounds great, a calm mesh of doe-eyed innocence and carefree liberation. Amidts a track most current female singer-songwriters would kill for, SImpson offers a very charming, not-as-cutesy tale that shows her realistic she can come off.
Love Me For Me, or baby
Back In Black, is a cool song to hear because she completely flips the script and goes all hellcat-y on us, using the jagged, shapeless melody to put some more bounce in her step. This done-me-wrong track with a totally empowering, universal twist allows for Simpson to put on some bravado and exaggerate more than normal while straight-lacing the powerful hookline. Its a well constructed track (thanks, John Shanks) with a kickin' percussion section, chilling bridge, thrashing electrics and all around bad a*s sound. Kudos.
Surrender, a song prominently featured on her show, is delicious 80s new wave synth pop thats all about spinning around and singing at the top of your lungs. With firmly chugging guitars, progressive percussion, stylish production and flirty perforances all around, its one of the more poppy pieces on the record,a smart blast of delectable catchiness. Amidst the hidden double-chorus, Simpson gets a little funky on us, almost making this the pre-cursor to the now-infamous hoedown, totally playing up the spunkiness. For those looking for escapism at its finest, I suggest this.
Unreachable reeks of Fiona Apple circa
Tidal, a brooding almost sullening array of crashing semi-paranoid piano, well disguised teensy strings, stable percusson and gorgeously introspective melody. Simpson emotes beautifully on this hyper-poetic quasi-teeneage break-up ballad, able to draw well on the experience that provided the inspiration for this song to be written; she heartbreakingly distraught, seemingly straining to keep her composure on the taxing ad libs. She's able to make you picture things as she sings, drawing the story out in a painstakingly meaningful way.
The rest of the record is pretty forgettable and something that could've been tweaked a little bit.
Nothing New is actually kind of monotone, projecting a degree of disinterest that you don't expect from Simpson. She picks things up on this hearty rocker and chucks them in the air, especially on the revved-up bridge and dismissive hook. Its not as bouncy or energetic, going instead for a darker melody that is almost needed, given the rest of the record's atmosphere.
Giving It All Away isn't a bad track, necessarily. I mean, I listen to it and all. Its just that its not as much of a crack-esque track as the rest of the record; she tries to be socially conscious for the first time on the record (a plus) but this is a case of right intentions, wrong place, wrong sound. Aside from the supremely fluffy melody and affected performance, its a track that blends together and lulls you to sleep.
Undiscovered is peppier and more energetic than I personally expected, a nuance-y misty introspective analytical gabfest that fits in more with earlier tracks than the last two. The steady, chopping bass riff is awkwardly beautiful while the tribal-ish percussion keeps the pace enough to where you're still interested.
In conclusion, this is a pretty good chick pop record that sets Simpson up as a serious contender to the Avril-Michelle-Vanessa throne, since none of the three are as popular as they once were. She's got a larger than life, extremely captivating presence about her that kindof makes you listen while her song selections seem to be extremely natural and unforced. While her voice isn't the greatest of the new school rocker girls and her depth as a writer is probably still untapped into, she'll learn more as she grows, which is more reassuring. Look out guys, another Simpson is on her way.
Great Music To Play While: proving stupidity/blatant media savvy aren't genetic
Pay Attention To: Shadow, Surrender, Unreachable
Don't Pay Attention To: Giving It All Away, Undiscovered, Nothing New
Last Three Reviews:
Vanessa Carlton- Be Not Nobody
MPress- Suddenly
Princess Diaries II: Original Soundtrack
Disclaimer: Ok, first off, I didn't talk about her first single for obvious reasons. I do realize that, since I first wrote this, she was caught using a guide track on SNL but y'know, I didn't change a thing about this review since we found out. Why? This is the state of the music industry at the moment, like it or not. People do use guides (most everyone in the pop world, for that matter) nowadays but that doesn't mean their music's bad; it just means they aren't as strong of a live performer as they would like us to admit. I personally don't look at her any differently than I did beforehand. As for her blaming her band, I thought that was totally stupid, most certainly uncalled for. But that doesn't mean you should hate her music; music's separate from the artist itself, like the baseball hall of fame isn't full of all saints and such.
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