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New CD reviews for Eagle County

Daily Staff Report
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4:13 Dream Geffen3.5 stars of 5The Cures latest effort, 4:13 Dream, is, at times, the best of both worlds. When Robert Smiths haunting, strung-out vocals begin to lumber across the outer-space soundscape of Underneath The Stars, its easy to think were about to be immersed in the more depressing, angsty Seventeen Seconds-era Cure of yore. Then, when the follow up track The Only One kicks in, were tricked into thinking this might be the fake-smile, radio-friendly Cure of the early 90s.By the albums fourth track, Freakshow, with its wah-wah pedal-guitar effects and prominent, pulsating bass line its clear that nothing is set in stone and the band is trying to take the listener on a kind of sonic journey of varying moods and constructs.One could say that the best thing about 4:13 Dream is that it sounds like vintage Cure even when it doesnt. It has its challenging moments songs like The Scream and Its Over veer away from the pop territory the rest of the album is rooted in while offering a look at the broad canvass these post-punk icons can paint their sound on but its still The Cure, and a more raw-sounding Cure at that.Unlike Metallica, who squandered the last couple decades releasing crap album after crap album, making it necessary to revisit their early stuff to find a reason to like them, The Cures latest will give you plenty of reason to be glad theyre still making music. Charlie Owen, High Life writer

Cardinology Lost Highway Records4 stars of 5Ryan Adams love affair with rock, country and blues continues on Cardinology, the latest work with his backing band The Cardinals. Only instead of Adams sounding like his heart is constantly broken by some devil-woman, he sounds like hes started to get over some of the pain, pick up the pieces, and learn to forgive those who have wronged him.Go Easy finds Adams trying to comfort the woman he loved and lost by telling her not to worry about him anymore because hell be fine without her.On Fix It he sings about trying to repair a relationship rather than just watching it all slip away while feeling sorry for himself. I know its not a game/ But it feels like losing when someone you love throws you away, Adams sings before declaring he would fix the relationship if only he could.Throughout Cobwebs we see Adams struggle to place his faith in a woman, and his voice makes it clear he really wants to take that step. Let Us Down Easy delves into the acceptance of things that cant be changed, while not necessarily being happy about them.The 12 songs on Cardinology seem to be running on a platform of forgiveness, redemption, faith and new-found wisdom and it all feels fresh. Even Adams voice sounds stronger, more robust, grown-up even, than on previous releases. Of course, Adams has always been able to tackle any subject matter and own it, but Cardinology sounds sincere and its nice to know that he can do the mending heart thing just as good as the broken heart. Charlie Owen, High Life writer

Funhouse LaFace RecordsFans and musicians alike complain that the notion of artist development letting a songwriter have a few albums to find his or her way is dead these days. Unless theres a hit right out of the box, that second, third or fourth album never happens.Pink, fortunately, got to have it both ways. Her debut album, Cant Take Me Home, sold millions and attracted enough attention and airplay to keep her career moving forward while she found her voice. That happened with her fourth album, Im Not Dead, with its social commentary, be it tongue-in-cheek (Stupid Girls) or cuttingly insightful (Dear Mr. President).A divorce earlier this year gave Pink plenty of fodder for a new album, and she didnt resist. Funhouse hardly lives up to its title, as Pink explores the loss and occasional liberation of her circumstances.She can combine fun with deeply personal lyrics; the single So What is about irreverently moving on despite the loss of her husband. I Dont Believe You doesnt bother with bravado; in a heartbroken voice she sings gently over strings, Its like youre a swing set /and Im the kid who falls . . . I dont believe you when you say you dont need me anymore. Please Dont Leave Me explores similar territory, but with Pinks moxie back, self-assured yet vulnerable: How did I become so obnoxious? . . . Ive never been this nasty. . . . Please dont leave me. The title alone of Its All Your Fault sums it up.Shes found her voice both lyrically and literally, singing better than she ever has and moving away from some of the gimmicky production that marred earlier work, though the revolving door of producers (including No Doubts Tony Kanal, who co-wrote the title cut) keeps a slick sheen across the disc. Theres enough catchy, seasoned songwriting here to keep the career going for as long as Pink wants. Mark Brown, Rocky Mountain News


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