John Mayer
“Battle Studies”
(Columbia Records)
Sounds like: An overproduced, moody James Taylor
Grade: C+
Beginning with “Heartbreak Warfare,” John Mayer’s latest record has a slow, dark sound that defines most of the album. As a whole, the songs are covered in more background sound than John Mayer fans may be used to; the time and energy it took to make each song are evident, but it takes away almost any catchy quality they might have had.
“All We Ever Do Is Say Goodbye” reminds the listener of Mayer’s “Continuum” — a man and his guitar — but the fuller quality of the music creeps back in during the chorus — the backup vocals are reminiscent of those on Jason Mraz’s latest, “We Sing. We Dance. We Steal Things.”
“Half Of My Heart” features the same underlying tones as the previous tracks, but with a secret weapon: Taylor Swift. Swift’s vocals, however, are barely audible, hidden under Mayer’s deeper voice during the chorus and only soloing briefly towards the end of the track.
His single, “Who Says,” features the line “Who says I can’t get stoned?” and sounds as though Mayer was stoned while writing; it sits on the cusp of saying something while never actually doing so. Mayer returns to his strengths on “Perfectly Lonely” — a more optimistic song that highlights his vocal range and guitar playing skills. “Assassin” sounds very similar to some of John Legend’s newest CD, “Evolver,” with a chorus leaning closer towards traditional rock ‘n’ roll than most of the album.
On the other hand, Mayer seems to channel the blues on “Crossroads” (a Robert Johnson cover). Despite its content, “War Of My Life” actually has a lighter sound than most of the album. It is more pure and not weighed down with layers and layers of instrumentals.
The moodiness continues with “Edge of Desire,” with John Mayer declaring, “I’m about to set fire to everything I see.” First-time listeners, please, start with this song. Slowing things down even more, “Do You Know Me” is just sort of blah, which makes the final track “Friends, Lovers Or Nothing” so much more startling.
The last song is befitting: it mixes the old John Mayer with the new, and it has just the right end-of-an-album sound. A smart ending, however, does not make up for the fact that this CD is less than an hour of uninspiring, depressing music. Someone get this guy a puppy, STAT!
— MAGGIE HOLLANDER
Jaguar Love
“Up All Night” (single)
(Fat Possum)
Sounds like: Glow-in-the-dark neon rock
Grade: B -
“Up All Night” is the kind of song that one might love if it were performed by an electroclash-y, riot grrrl punk band, which is something that listeners may be tricked into thinking after listening to the first minute of the song. Soon after that, though, it is revealed that Jaguar Love is mostly just one of those scream-y, lo-fi, two-boy bands from Colorado, a la 3OH!3. It’s not bad, though, if you’re into that kind of thing.
None of this is to say that the band’s sound isn’t interesting. In fact, the song’s opening consists of a buildup of sounds, layering slowly — though not subtly featuring cowbells, synths and what appears to be some sort of animal call. Despite the fact that the song drags on a little longer than any sort of high-powered electronica single should (four minutes 11 seconds), one has to give the boys (Johnny Whitney and Coldy Votolato) credit for their DIY indie style.
The video for the single was made for them compliments of a friend at Nylon Magazine. The clip reflects the absolute absurdity of the song, with various animated neon objects falling through a paper collage sky onto the black-and-white heads of Whitney and Votolato.
Jaguar Love may not be terribly original, but anyone looking for a scream-along party song won’t have to look that much farther than “Up All Night.”
Them Crooked Vultures
“New Fang” (single)
(DGC/Interscope)
Sounds like: Smoking in the bathroom
Grade: A-
Leave it to a supergroup to bring back good old rock ‘n’ roll. Them Crooked Vultures are more than just another Velvet Revolver, with each member competing for attention or trying to restore his former glory. Consisting of Dave Grohl (Foo Fighters), Josh Homme (Queens of the Stone Age) and John Paul Jones (Led Zeppelin — that’s right, Led Zeppelin), Them Crooked Vultures are a band that acknowledge and celebrate the awesome talent of each individual member while remaining a cohesive group, mixing the sounds of the old and the new.
“New Fang” is the single off their self-titled debut album, and, while it certainly has that signature QOTSA bounce, the track is more than just a Josh Homme solo project. Grohl’s return to drumming allows him the strut, flare and ultimate abandon only accessible to a percussionist, but surprisingly, it is Jones who seems to fade into the background.
In true rock ‘n’ roll fashion, the song’s vibe is sexy and ostentatious, with fuzzy rhythm guitars comfortably clashing with Queen-like riffs in the background. With Homme venturing into his falsetto every once in a while (which is also featured on the album’s “Scumbag Blues”), the vocals on the track remain gritty without getting boring. “New Fang” doesn’t claim to be artful or complicated or deep. It knows what it is — a swaggering, smirking collaboration between three monster talents. All at once homage and invention, “New Fang” is reminiscent of old-school, rowdy boys-will-be-boys fun — it’s a little dirty, but it’s irresistible.
— K.C.
— KATRINA CASINO
