Flavors Of Entanglement
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Flavors Of Entanglement (Standard Edition) [Explicit]
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The first studio album from Alanis
Morissette since 2004, Flavors Of
Entanglement fuses the organic and
the techno prompted by producer Guy
Sigsworth (Madonna, Björk). Incorporating
beats, loops and synthesizers,
the album was designed, says Morissette,
so listeners can dance your face
off. Balancing introspective confession
and delirious joy, the global and the
personal, Flavors Of Entanglement is
a tasty new musical feast from one of
pop's most intriguing artists.
Though the mainstream might have all but abandoned Alanis Morrissette since her mid-90s breakthrough as the MTV grunge generations Madonna, she has forged on with a handful of albums of a reasonably steely consistency, although even kindly ears would recognize her output since Jagged Little Pill as reduced strength versions of that celebrated album. Its slightly convoluted follow up, Supposed Former Infatuation Junkie, remains her most intriguing if long-winded work, and with her most recent record (2004s So Called Chaos) more or less finding peace with itself--filing down the angsty internal dialogues and sounding almost content even at its loudest points--the future seemed to be heading on a downward spiral. But talk about an about turn. With Flavours Of Entanglement the bronco is very much bucking once more, often causing whiplash-inducing stylistic swerves. "Citizen Of The Planet" opens the album, erupting out of eastern strings and a sequenced underlay with blunt, compressed guitars and thumping beats, sweeping through desolate plains previously inhabited by nu metal fantasists Evanescence. The dark tension is upheld through the robotic techno of "Straightjacket" and dark string-laden drum n bass of "Moratorium." Landing amid the lonely Tori Amos balladry of "Not As We," Texas-pop of "In Praise Of The Vulnerable Man," and the more typical Alanis fare of "Underneath," this is an often unsettlingly mixed bag achieving varying levels of success, but it is also probably her most emotionally satisfying work for a decade. -- James Berry
Top customer reviews
Alanis' writing is much more coherent this time, with less psychobabble and syntax distrotions. So much so that tracks like 'Straitjacket' come off a little too formulaic and overtly word-processed, the saving grace being its killer dance beat. The story she weaves could not be any more digestible as in the little-too-obvious 'In Praise of the Vulnerable Man,' possibly the weakest track in the album in every aspect (should have been replaced with 'Orchid') and a poror copy of Head Over Feet. Then she ends the album with `Incomplete', no doubt an incarnation of 'Surrendering' from Under Rug Swept, but with a worldlier message. Overall, this chapter of Alanis' music career is a highlight and stands out as one of her best offerings yet, proving that she really is an evolving artist.
1."Citizen of the Planet" 4/5
4."Versions of Violence" 5/5
5."Not as We" 5/5
6."In Praise of the Vulnerable Man" 2/5
9."Giggling Again for No Reason" 5/5
I think it shows artistry when a singer can change things up a bit. Frankly, I'd be disappointed if a singer kept producing the same style, the same sound, and the same lyrics for three years, it gets old.
My main reason for getting this CD were the songs "Not As We" and "Tapes". They're some of my favorites on the album. And after listening to the songs, all the way through, (Not just the 30 second previews) there are others on here that I find I like just as much.
"Torch" is a really pretty, ballad type song, with a catchy chorus. The same can be said of "Limbo No More". "Incomplete" is an interesting song. "Madness" has kind of an ethereal feel about it. "Orchid" starts out soft and turns into something that's not quite ballad, but not as strongly rock or techno, as others.
"Underneath", "Moratorium", and "Praise of the Vulnerable Man" has more of the rock quality to them. Same with "Giggling Again for No Reason", which is my least favorite song of this CD. "Citizen of the Planet", "Strait Jacket", "Versions of Violence" and "The Guy Who Leaves" are the more techno sounding songs of the album.
And lastly, "On the Tequila" is just a fun song. It's not my favorite, but I can't listen to this song and not smile. It's just funny.
Even though I do like some songs on here better than others, I don't hate any of them. I can see myself enjoying this CD for a long time. And I have no problems recommending Flavors of Entanglement to others.
In fact, if you like this album, you'll probably like CD's by Imogen Heap. This album of Alanis's reminds me a great deal of her at times.