Aerosmith‘s new ’Dimension‘ same old story
Aerosmith
``Music from Another Dimension!’‘
(Columbia Records)
In the decade since Aerosmith last released an album of new material, the band survived a near-breakup after 40 years as classic rock’s preening and persevering hitmakers, while Steven Tyler became an ``American Idol‘’ judge and did Burger King commercials. Said a collective nation: ``Sure, why not.‘’
Now comes ``Music from Another Dimension!‘’ -- the first Aerosmith output since 2001‘s ``Just Push Play,’‘ which was forgettable even by the band’s own standard of wringing a handful of singles from each album. ``Music‘’ likely won‘t fare better on the radio -- and even if it does, that’s not necessarily a compliment. But Aerosmith can be mostly proud of this trip down many memory lanes.
There‘s a head-bopping rudeness to the dirty riff that kicks off the opener, ``LUV XXX,’‘ and ``Street Jesus’‘ starts with a strutting Joe Perry lick that harkens back to the band’s creative heyday. That much is explainable: Back for this pseudo-comeback is producer Jack Douglas, who was behind 1970s monsters like ``Toys in the Attic‘’ that propelled the band to superstardom.
It‘s too bad Aerosmith didn’t stick to rehashing that era. Because borrowing from its overwrought pop ballads of recent years does ``Music‘’ no favors, particularly Tyler‘s bland country duet with Carrie Underwood on ``Can’t Stop Loving You.‘’
The new album is really just tunes from different Aerosmith eras. The trick is navigating the album to the right ones.
(AP)
Chaos, calm meld nicely on Maus Haus‘ EP
Maus Haus
``Light Noise’‘
(Lavish Habits)
San Francisco-based Maus Haus has winnowed itself down from seven band members to four, yet retains a collision of chaotic sound on the group’s latest EP, ``Light Noise.‘’
Dour melodies battle for dominance with nearly tribal drum patterns to cast a gloomy pall over some tracks. Others, however, like ``Hey Jean,‘’ benefit from a lighter approach, with a perked-up pace and smoothly sung vocals that give a nod to the band‘s acknowledged Beach Boys influence.
Things stay dreamy and fuzzy with ``Mouth,’‘ which feels more like indie electronica than indie rock. But truth be told, there’s no cubbyhole in which this unique sound will comfortably fit. ``It‘s been a long time since I kissed your mouth, and I want it back, I want it back now,’‘ goes the hook, against a wall of everything deftly distorted.
There is simply no predicting the next sound from minute to minute of each track here. Just when you think you’ve caught a beat, Maus Haus throws it in a blender of guitar feedback and wraps the whole riddle up in curious drum patterns that make you throw up your hands and dance.
It‘s an honest and inventive approach that Maus Haus has arrived at with ``Light Noise.’‘ They’re doing what suits them, and doing it well.
(AP)
Cellist and pianist speak as one
Hélène Grimaud
Sol Gabetta “Duo”
(Deutsche Grammophon)
The combination of piano and cello is always pleasant and the duo of Hélène Grimaud and Sol Gabetta is no exception.
The two, who met in 2011 at the Menuhin Festival in Gstaad, Switzerland, create a sound that is so intimate listeners will be led to think they have known each other for a very long time.
On “Duo” the two perform Schumann’s “Drei Fantasiestucke” op.73, Brahms’ Sonata for Piano and Violoncello No.1 op.38, Debussy’s Sonata for Violoncello and Piano and Shostakovich’s Sonata for Violoncello and Piano op.40. Gabetta’s cello is airy and smooth while Grimaud’s piano embraces the cello beautifully.
Listening to their performance is like listening to their conversation -- light, passionate, grave and vibrant.
This is especially the case on Shostakovich’ Sonata for Violoncello and Piano in D minor op. 40 1st movement “Allegro non troppo,” an excellent example of the aforementioned traits.
(
baejisook@heraldcorp.com)
