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Flavors of Entanglement By Jeremy Grand It has been quite some time since Alanis Morissette was an angry, little, early 20-something, spreading supposed dirty rumors about Full House actors, giving the finger with one hand in her pocket and spewing out quirky near-ironies. Years later, after many an album and a slew of different hairstyles, Morissette is back with an adult contemporary attitude that has a thankfully modern twist. Call it a mid-life crisis, or call it smart marketing, but her latest album Flavors of Entanglement is a fresh, far cry from the past few albums, which were seriously lacking anything really interesting. Take "Straitjacket," for example, bringing back that caustic mouth that people had embraced in the beginning ("I don't know who you're talking to with such fucking disrespect."), surrounded by a 2000ds deep synth sound. "Underneath," the first single from the album, is nothing much to rave about. It has the same kind of feel as "Hands Clean" from Under Rug Swept, but it's not as interesting. It's good as a filler, but not particularly good or memorable as anything else. There are more interesting songs on the CD. The more memorable songs have that same electronic background as "Straitjacket." "Citizen of the Planet," "Versions of Violence," and "The Guy Who Leaves" are some great examples, and with this self-reinvention, the entire album would probably be slightly more entertaining than it already is. Morissette is on the right track, and with the acceptance that she is a decade-and-a-half away from her angst-ridden beginning, Flavors brings back some of that innovative taste that everyone ought to know. |
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