Over the Mountains, Across the Valley and Back to the Stars
JENNIFER O'CONNOR
Matador
Former Bay area resident (and Vinyl Fever employee) O'Connor's third album is out on Matador Records, a label generally better known for hipster-friendly indie eccentricity than straightforward singer-songwriter fare, which Over the Mountains essentially is. Still, there's something undeniably edgy to O'Connor's superior take on the form, an in-the-know eclecticism that nods more to the all-ages scene than folk (or even strum-pop) traditions, yet remains warmly unpretentious.
Whether dealing with relationships ("Perfect Match"), family tragedy ("Sister") or her own interior monologue (the standout "Exeter, Rhode Island"), O'Connor always sounds like the girl down the bar from you at the cool Orpheum show. And not the cool girl — the one who just loves music and isn't trying too hard to be anything but herself.
Yo La Tengo bassist James McNew's fluid, melodic lines and Jon Langmead's minimalist drumming certainly add to the contemporary indie-music feel (as does the vocal presence of Spoon's Britt Daniel). But more than anything it's O'Connor's willingness to build on more left-of-center influences, and her compellingly unguarded personality, that make Over the Mountains such an original and satisfying twist on singer-songwriterdom. 4 stars —Scott Harrell
20 Years Old
Janet Jackson
Virgin
Two decades after Control — which I put on my Top 10 of '86 (and took much shit from colleagues) — Janet Jackson's career is built almost completely on brand recognition. She's Janet Jackson. She puts out a new album. Let the hype begin. Nice trick if you can pull it off. Her new album's title commemorates the 20-year anniversary of Control, while (of course) looking ahead. Too bad the music has none of the same restless, youthful verve of its long-ago predecessor — 20 Years Old sounds meticulously processed and manufactured, written and produced by a committee that includes Jimmy Jam and Terry Lewis; Janet; her man, Jermaine Dupri; and an array of sidekicks. There's nothing objectionable about the album — except for Janet's mousy voice — but there's virtually nothing distinguishable either. In her conversational intro, Janet declares her intention to "keep it light." She succeeded; 20 Years Old is so light it virtually floats away. 2 stars —Eric Snider
The Lemonheads
THE LEMONHEADS
Vagrant
I never got the loathing that lead Lemonhead Evan Dando inspired. Was it his fault People picked him as one of the 50 most beautiful people in the world? I thought the band was always a decent if unspectacular post-Replacements alt-pop group. This release — Dando's first under the Lemonheads moniker in a decade — is more of the same: pleasant, vaguely alternative guitar ditties. Alt-rock HOFers like J Mascis and Spot make appearances, but Dando's MO pretty much remains the same from start to finish. 3 stars —Cooper Levey-Baker
The Letting Go
BONNIE "PRINCE" BILLY
Drag City
Recorded in Reykjavík, The Letting Go puts some meat on Oldham's normally sparse indie-folk bones. The album kicks off with 15 seconds of oceanic strings, and "Cursed Sleep" is built around the interaction between the guitars and the violins, while Dawn McCarthy provides harmonies on several tracks. Nevertheless, the focus remains (as always) on Oldham's near-Biblical lyrics and his crackling Old World voice. Maybe more than any of his contemporaries, he has mastered the art of being soft and quiet, and yet unquestionably intense and spellbinding. 4 stars —Cooper Levey-Baker
Avoiding The Consequences
A SHORELINE DREAM
Latenight Weeknight Records
My iTunes player says it clocks in at 60 minutes, but this album feels more like an eight-hour good night's sleep. While meatier and more dynamic than most of the soundscapes with which it will inevitably be compared (hello, Sigur Ros), Avoiding The Consequences nonetheless floats above the traditional concept of songcraft, drifting through the ether between Dreamtime-era Cult and twangy, reverbed-out David Lynchian soundtrack fodder. (www.latenightweeknight.com) 3 stars —SH
I Sometimes Think
STEVE BASKIN
Power-pop aficionados looking for some new stuff from the deep underground, try out Atlanta-based singer-songwriter Baskin's new effort. All the touchstones are in place: grabby tunes, stacked (but not heavy) guitars, shiny vocal harmonies. Lyrics lack imagination, but does it really matter? Baskin throws in a welcome surprise by covering "A Hard Days Night," transforming it into a jazz-tinged ballad. (www.stevebaskin.com) 3 stars —ES
This article appears in Oct 4-10, 2006.
