Pete Yorn & Scarlett Johansson — Break Up
There is a special place in hell for actors-turned-musicians. Don Johnson will end up there, as well as Jada Pinkett-Smith. As of last year, it seemed inevitable that Scar-Jo was headed in that direction. Surprisingly, Anywhere I Lay My Head, her debut album of Tom Waits covers, fared better than expected, though perhaps it’s easier to surpass expectations as an unproven vocalist who seemed only interested in indulging her own ego.
Now, nearly a year since her debut, Johansson’s second effort has come to fruition. Break Up, a “record about relationships” and collaborative project with Pete Yorn, is easy listening. As with Anywhere I Lay My Head, though, Johansson did not write any of the songs on the record, and most—if not all—of its magic comes from her collaborator (in this case, Yorn).
The songs are cute, but lack depth both lyrically and sonically. Not that there is anything wrong with this approach, but considering the subject—perhaps the most widely covered topic in songwriting—one would expect something stronger and more heart-wrenching. Yorn leaves quite a few loose ends instrumentation-wise, especially on his overdubs.
Scarlett Johansson’s performance here is textbook Scarlett Johansson. Like her acting, her singing is pleasant to the ear, and we let some of her more elementary mistakes slide past unnoticed. Her voice has a soothing, breathy quality to it, like Norah Jones, but lacks the conviction and confidence that one would expect from more experienced singers.
Despite the marquee name on the cover, it is likely that Break Up will be relegated to EZ listening stations across the continent.—Michael Di Leo
The Balconies — The Balconies
If the tracks on The Balconies’ self-titled album sound familiar to you, it’s probably because this band is about as generically indie as it gets. The Ontario trio is known for their live shows, but the band’s charming on-stage persona fails to translate to the recording studio.
Lead singers Liam Jaeger and Stephen Neville’s twangy voices are reminiscent of Interpol’s Paul Banks, Editors’ Paul Smith, and White Lies’ Harry McVeigh. However, his guitar riffs on “Lulu” lack complexity and rely far too much on repetition. Jacquie Neville adds sexiness and sunshine on “Hollow Bones” and “Serious Bedtime,” and it’s a real shame that you don’t hear more of her throughout the album—the band’s male/female dynamic could easily be explored in a more interesting way. “Rest Up” stands out as a terrific track, but it’s lost in a sea of more mediocre songs.
Maybe it’s only a coincidence that The Balconies’ album art looks like the inside of Dance Cave, but this album has a lot in common with the Bloor Street hot spot. Although both have fun and upbeat tempos, it’s pretty hard to distinguish The Balconies’ work from anyone else’s in the Toronto scene.—Felicia Moursalien
Considering the subject—perhaps the most widely covered topic in songwriting—one would expect something stronger and more heart-wrenching
David Guetta — One Love
Forget your latest bad break-up, your student loan, and any other problems that are troubling you—David Guetta’s One Love can provide the sugary pop escapism that you need. Guetta’s fourth album, the follow up to 2007’s Pop Life, overflows with catchy beats, infectious melodies, and hooks that will ring in your head all day long.
The French super-DJ takes you on a fist-pumping journey through 15 hook-filled tracks that feel more like an upbeat singles compilation than a coherent album. Guetta’s self-produced disc brings a fusion of pop, dance, and house with a more mainstream flow than his previous albums. Featuring high profile collaborations from the likes of Ne-Yo, Kid Cudi, Akon, the Black Eyed Peas, and Estelle, Love appeals to a much broader audience than Guetta’s usual dance enthusiast crowd.
Kid Cudi’s catchy “Memories” is destined to dominate dance floors, just like the album’s second single, “Sexy Bitch,” which features Akon (the club anthem’s hypnotic hip-hop electro blend has been a fixture on nightclub playlists since its debut). The most striking cut, however, is the summery hit “When Love Takes Over,” which revives Destiny’s Child songbird Kelly Rowland’s strong vocals on the most memorable collaboration on the album. It’s clear that Guetta has a knack for pairing the right vocals and melodies with driving beats. However, the synth-heavy tracks get stale halfway through the album, and some of the beats get redundant.
Though Will.i.am’s three toxic appearances, including “I Wanna Go Crazy,” will have you skipping to the next track, One Love is a solid effort on Guetta’s part, if not exactly groundbreaking.—Lisa Marie Nagapen
