Customer Reviews

I Megaphone

5 star:		(38)
4 star:		(22)
3 star:		(5)
2 star:		(4)
1 star:		(0)

 

 

This is not the Imogen Heap of Frou Frou. This is Imogen Heap solo, in her enchanting debut "I Megaphone." So don't expect silky, slinky trip-hop -- Heap opts for a darker, more raw kind of music that reflects the pain in the songwriting. Sort of a Tori-Amos-meets-Fiona-Apple sound, but with a spirit all its own.

Trip-hop/piano opens the album in "Getting Scared," starting off soft and transforming into a rocker. There's a dark, intense edge to the music -- the sensuality and fire of "Come Here Boy," the rage in "Rake It In," and the snarl of "Angry Angel." While there are some softer-edged ballads, the sound is of a young woman with some emotional scars.

When you hear how polished "I Megaphone" sounds, it's surprising that Heap was only nineteen when it was made. The English musician (the title is an anagram of her name) takes a different musical road from 95% of the pop singers out there, opting for passion and enigma, mixed in with some strong vocals and a unique blend of pop, rock and electronica.

The music is a pleasant blend of the organic piano, and the gentle trip-hop beats. Several songs are piano-based, with classically trained Heap playing her own piano melodies in songs like "Candlelight," or the percussion-piano blend of "Shine." Other songs are more based in electronic beats, but don't lose that grounded edge.

Heap's voice was a bit "young" here, though very close to maturity. It's an unusual voice for pop music, husky and quite sultry in the sexier tracks, but capable of lashing out in songs like "Getting Scared." That fire also keeps her from seeming too woe-is-poor-li'l-me. "Shine - I will not cry and I will be mine/I'll shine - shine," she tells us, right before talking about how "madness moved into my shadow." And let's not forget the angrier bits: "Who's getting scared now/Tell me, tell me how does it feel/It feels so good from where I'm standing!" she lets rip.

Imogen Heap's debut album has hints of Fiona Apple and Tori Amos, but "I Megaphone" is its own kind of music. Raw, sensual and thoroughly beautiful, this is a lost gem.

I found this at a used record store in New Orleans and picked it up solely due to the reviews I had read here earlier. Considering how difficult it is to obtain a copy of this CD these days (its now officially out-of-print), I was truly thrilled and couldn't wait to hear Imogen's music. Usually, when I listen to a musician's music based on their reviews at Amazon, I tend to be disappointed - both Fisher and Julia Darling have disappointed me as they seem like Lilith Fair rejects, yet they were given undue praise.

Imogen, on the other hand, deserves all the praise she can get. This girl has now formed a band called Frou Frou, but her one and only solo album stands out as one of the forgotten gems of the last decade - a combination of Fiona Apple's 'When the Pawn' and Tori Amos's 'From the Choirgirl Hotel' is what it most closely resembles. Also, I was glad to note that for ONCE there was a performer who could deservedly be compared to Tori and Fiona, and most remarkably, even sound like them on different tracks.

The first song that I listened to was Track 2 - 'Sweet Religion'. The opening vocals are very Apple-esque, and the production is very reminiscent of Fiona's first producer Andrew Slater's style. This track deals with one of my favorite themes - organized religion and its futility, and if you're even mildly religiously inclined you may be put off by Imogen's lyrics. While Fiona and Tori play to the woe-is-me crowd, Imogen strikes out at society and the establishment, and is a more pertinent role model for wannabe rebels, in my opinion.

The best track here is undoubtedly the first one - 'Getting Scared'. This multi-layered eclectic combination of electronica and rock works wonderfully, and is bettered only by Imogen's thoughtful lyrics and quaint British accent. 'Getting Scared' is also my favorite because it starts out relatively sombre and plink-plonks its way through the first few minutes, and then launches into a semi-death metal groove that is really frightening. This is an amazing track.

The other stand-outs are of course 'Sweet Religion', 'Oh me Oh my', and the stunning 'Come Here Boy', which is so rich in its' lush production and vocal delivery that its quite overwhelming to sit through it. The first time I heard it in the car I was blown away - the chorus comes with a sound effect that is so subtle, but one that envelops you and makes you shiver in your car. 'Come here Boy' is THE song to play when driving in the rain. Get this album if only for that pleasure.

This is one of my all-time favorite albums - right up there with Fiona Apple's 'When the Pawn' and Bjork's 'Post. Stunning, creatively dazzling. Heres hoping Imogen someday comes back to make a second album.

This album really took me by surprise. I had just come off a Frou Frou marathon -- had been listening to "Details" exclusively for about a week -- when I found out Imogene Heap had a solo album, so I went ahead and found a copy and bought it. This is totally different from Frou Frou, but really good in a completely different way. It's very raw and dark and angry. This lady has a powerful voice and is using it to its full advantage on this CD. Personal favorites are Sweet Religion, Angry Angel, and Come Here Boy. There's lots of just really primal noises and general emoting in almost all of these songs, just kind of nonverbal stuff, but very powerful. I was very impressed and recommend this to Alanis, Tori Amos, and Fiona Apple fans. Imogene Heap isn't really like any of those artits, but if you're into dark, angry chicks with something to say, this CD is definitely for you. Give it a couple listens to grow on you, and you won't be disappointed.

"i Megaphone" is easily my favorite buy of 1999: I've listened to it incessantly. Imogen clearly stands out in the barrage of female singer-songwriters; the comparisons with Tori Amos and Kate Bush don't just hold up in style, but also in quality. I'd say she's generally closer to Tori , though Imogen is less of an eccentric and manages to pull off tempo and mood changes where I find Tori getting bombastic. I wouldn't agree with a previous reviewer that Imogen comes across as a victim--quite the contrary: I'm hearing an opinionated woman who won't be jerked around--though perhaps somewhat obsessed with matters of love and passion. Her website (www.imogenheap.com) seems to have disappeared, but there's a great fansite at http://www.funkyrebel.com/imogen/. Let's hope Imogen tours again soon. [PS: I've had good luck with the "People who liked this also bought..." stuff on this page, especially liked Veda Hille.]

Excelent album. Be aware, it was re-released in 2002 in Japan and IS currently in print (despite what some sellers want you to believe). The Japanese re-release has several bonus tracks and is cheaper than the original despite being an import.

check here for info on the re-release:

http://www.hmv.co.jp/product/detail.asp?sku=141691

I first bought this album when it (briefly) appeared back in the late 1990s. Years later, it's gratifying to see the resurgence of interest following the Frou Frou album and Imogen's latest release. But, if you're looking to drop $50 on a used copy of this album because you like what you've heard so far, you should know that I Megaphone is a very different musical experience.

Though released in the late 1990s, I Megaphone feels like the missing link between the early '90s grunge movement and the late '90s Lilith Fair era. It's odd to hear Imogen backed by a grungy guitar and drums, but even odder to adjust to the emotional tone of these early songs, which are frequently jaded and angry, more akin to Tori Amos meets Fiona Apple in some ways than to the Imogen Heap we've all come to know. This is not to say that the album feels ingenuine. Imogen's distinctive voice always sets her apart from the pack, and the songs can, at times, be quite unusual and distinct, especially in their use of synthesizers (early experimentations that pave the way for the more mature "Speak For Yourself" album). It just may not be the polished Imogen sound you're used to.

All that being said, nearly every track on this album soars, from the creepy, haunted "Getting Scared" to the overwhelmingly powerful "Useless" and the angst-ridden, voice-breaking "Angry Angel". This album is incredible, but it sure is different. Consider yourself warned (and encouraged!).

Imogen Heap is one of only a few artists that make me ache for their next album, like with Urban Species, Tori Amos, and Portishead. I found "I Megaphone" a hard record to get hold of, but after much searching I found it. You might have more luck, and to anyone that tries, I hope you get it. This is really great. By far, this record is too good to be out of stock anywhere.

There are some obvious Alanis Morisette comparisons a person can make, but so what? An unusual voice doesn't make her a carbon copy and worthy of being passed up. There are only 12 possible musical notes ~ does that mean if you've heard one song, you've heard them all?

I first heard of her on the song "Blanket" by Urban Species, and the album of the same name simply MUST be a part of your collection. Her voice at its most mellow is smoky and rolling, and maybe I'm not very bright, but I was actually tricked into taking her for a black female American for some totally unknowable reason. I soon found out she was white, very tall, and English - and there's something about that contradiction that made me anxious to hear more of her stuff.

"I Megaphone" (anagram of her name - very interesting!) is great... I like all the songs, even on first listening, although "Candlelight" isn't a favourite of mine. That status is saved for "Useless". God, it makes me want to see her live! The other tracks too are wonderful, and you can't fail to love "Come Here Boy".

I can't rate this album highly enough, partly because even now, I can't really classify it. That's a rare thing. It's a bit of a copout to call her a neo-Alanis - that's far too easy a comparison. She has passion. She gets tunes and melodies out of her voice that surprise you: "how did that voice do THAT?" This album is great, and I fully intend to get out and get the version with the two bonus tracks.

You will be doing yourself a great favour to buy this album - not like the same kind of favour as going to University, or entering a big cash competition and winning... but a favour nonetheless. It'll occupy your personal stereo for days without you wanting to change the CD, and THAT's got to be what it's all about.

A friend who worked a music store told me to check out this CD and I'm so glad she did. This CD quickly became one of my all time favorites, and to this day I still get shivers down my spine from "Candlelight" and "Come here boy." Imogen is without a doubt one of the most talented musicians I've ever heard. She can easily be compared to Tori Amos, Fiona Apple, and Poe. However, it would be more correct to say that she is the perfect combination of all three.

I've been listening to this album everyday (sometimes twice) for two months. It is totally addictive : it is made of so different sounds and influences, and her voice is so absolutely original and interesting, her melodies are outstanding of quality and complexity, of rythm and breaks, of softness and harshness, of anger and lament. Don't buy it if you like mainstream, this is no radio-friendly music : this is totally and truly original. Well done imogen

When this CD originally came out, it barely made a splash. And yet I was so knocked out by it that I ended up buying a lot of copies and giving them to people, including to some studio engineers I knew, all of whom were equally excited by it.

In this, her solo debut, an Imogen just out of performing-arts-high-school filled an album with raw energy, dark, dramatic, low-register vocals, fierce piano playing, great songwriting, and several different producers for different tracks, creating a real feast for the ears. Just put on some headphones and listen to something like "Rake It In" or "Sweet Religion" to hear the kind of production that will delight the most discriminating of listeners and keep you fascinated, listen after listen.

This is still one of my favorite albums of the past 10 or 15 years. And while I've liked most of what she's done since, there's no denying that I far prefer the darker, edgier, piano-driven Immi to the trippier, synthier, lighter-singing-in-higher-registers Immi that has predominated from Frou Frou on (although the darker, more pianistic version of Immi still emerges at times, such as in the recent "Speeding Cars" single).

I know many people will probably disagree, but I think this is still Imogen's finest album, by far, with the newer solo album SPEAK FOR YOURSELF in second place and FrouFrou a distant third. I suspect that some of her best work is still ahead of her, because she is still quite young and obviously an mega-creative artist and a curious, never complacent person. But for now I MEGAPHONE is still her most sophisticated album in terms of variety of approach, sophistication of production style and texture, and overall energy. It is an album brimming over with talent and top-notch performance, infectiously dramatic, ambitious in scope, and the document of a hugely talented young woman proving herself.

I have great affection and respect for the Imogen of today, but there's something about this first album which is rare, fierce and valuable. If you are a fan of Immi's at all, you really owe it to yourself to have this CD, not just because this is how her whole career began, but because in certain ways this is the strongest, most audacious project she has done to date.