Daily Staff Writer

Eels

Beautiful Freak

All music reviewers have a favorite band. I have a favorite producer (two actually).

The Dust Brothers have produced an abundance of awesome records, including Beck’s O-d-elay and Beastie Boy’s Paul’s Boutique. Dust Brother Michael Simpson’s latest project, Eels’ Beautiful Freak, is not one of them.

Singer/guitarist E formed the trio a year ago from a jam session at an L.A. club called The Mint. E’s surreal ideas on depression and individuality are the foundation on which the bands lays their jazzed-up pop melodies.

The music mixture is cool, but the over-exposed themes of isolation and sadness don’t seem to fit. Confusion is intertwined in the music as well as the lyrics, just not cohesively enough.

Simpon’s inventive sampling, strung out over the slow moving hip-hop sounds created by simple guitar and drum work, could be the Aerosmith/Run DMC conglomeration of the latter ’90s. Remember the idea really only worked once.

“Novocaine for the Soul,” the first single off Beautiful Freak, builds great expectations that the record never reaches. E’s falsetto chorus is as catchy on the track as the quick changes in rhythm.

The ability to change gears so quickly is a definite positive on Beautiful Freak, but the changes are made solely in the musical composition and nothing in the lyrics. E isn’t bad, but his particular rough vocal style isn’t effective much longer than a few songs.

Although I like what they are trying to do with the acid jazz/hip-hop/pop thing, Eels would surprise me if they were more than a one-hit-wonder.

** 1/2

—Corey Moss

Booth and the Bad Angel

Booth and the Bad Angel

Bringing together musicians from different generations and cultures can be risky. With the energetic James singer Tim Booth involved, the amount of risk decreases significantly.

Booth and the Bad Angel is the most recent work done by Booth, who earned a fan base with the album and single Laid. Booth’s latest counterpart, The Bad Angel, is Angelo Badalamenti (or Andy Badale).

Badalamenti, a Grammy award winning composer, is known for scoring “Twin Peaks.” He also created music for David Lynch movies Wild At Heart and Blue Velvet. Badalamenti first caught Booth’s attention years ago by writing the music and lyrics to a Julee Cruise album Booth adored.

The first project between the two is as unique as their different backgrounds. Sounding more like a James record than anything, Badalamenti’s most notable contributions are in the darker sounds on most of the tracks.

“Hit Parade” and “I Believe” best capture Booth’s original David Bowie-like vocals. Ex-Suede guitarist Bernard Butler gets a thumbs up for not only playing guitar on five tracks, but for adding bass, piano and also mixing some of the songs.

James fans: buy it. It’s as artistic of a record as I’ve heard all year.

—Corey Moss

Fiona Apple

Tidal

The debut disc by newcomer Fiona Apple, Tidal, is an amazing work of art. Art is the key word. There is no doubt Apple has talent, and the CD is good, but wouldn’t be considered commercial by industry standards. That’s what makes it unique.

Having been called the next Tori Amos or Alanis Morissette, the comparisons are unfounded. If any comparisons could be made it would follow more along the lines of 70s melody makers, Carole King or Linda Ronstadt.

Blending jazz, funk and some blues, Apple has a soulful voice beyond that of her 18 years. The lyrics are intricate and complex. The music is just as ornate.

Piano, flute, bongos, what sounds like a whole orchestra backing her on some tracks, musically Tidal is quite an accomplishment.

But this disc is the kind that almost never gets made. It would be lumped into that category of “mood music.” Mellow to melancholy, Tidal is not the disc to throw on when you need cheering up. In fact, it can get down right dismal. But it’s refreshing and surprising all the same. And, it gives musical musicians a glimmer of hope.

**1/2

—Kris Fettkether