By Jared Buchholz
If there’s one thing for certain about I.R.M (M.R.I backwards. The album a concept based upon Charlotte Gainsbourg’s hospital visit two years ago for cerebral hemorrhaging), Beck produced it. From the lyrics, co-written, to at least an instrument per song, with his backup vocals all throughout, it‘s all Beck. And it sounds like Beck, only this time around there’s a pretty voice in front. I keep thinking along the lines of how this voice I’m listening to in comparison to itself is connected to a much prettier face. I remembered watching the dreadful “Science of Sleep“, and upon seeing Charlotte Gainsbourg for the first time I thought, “I wonder who that is……………my what a pretty face.” She was the best aspect of the movie, acting and looks to go with it, but I’m not going to go off in a tangent.
In relationship to the many other solo female “indie” rock acts out there, Charlotte Gainsbourg’s voice is just not as interesting as the so many singer/actress that spawn each day to cries of joy from their suburbia sally supporters, spending daddy’s money for coffee and a CD placed conveniently to the left of the cash register. It’s still pretty though, and what else does a pretty voice need besides a few Beck catch phrases and one or two of his ingenious beats. However the album is little more than that.
Now don’t get me wrong, Gainsbourg singing in her native tongue at times, is quite enjoyable, and her voice in combination with the continuous barrage of dark guitar, synth, and piano, is even eerily beautiful at times, example in “Le Chat Du Café Des Artistes” and the wonderfully crunchy, head shaking “Trick Pony”. And Beck, even the Beck of today, is still Beck, and still better than almost anyone out there, even though gone are the days of his rather fun pointless rap’s of word play, one can still see the brilliance of his production abilities in “Greenwich Mean Time”. It spurts out one of the coolest lines I’ve heard in some time, “We’re all fine, we’re all fine, we fit together like nickels on a dime….” This one of my favorite songs of the year so far. Everything placed together perfectly, in the mathematic perfection that is Beck. It’s simple overall, but there’s beauty in simplicity, something Beck’s history as a musician proves in retrospect.
But “Heaven Can’t Wait”, is as much an itunes song as it is, catchy as all hell, but missing the intricacies for any long term value, this the most common negative aspect of the album. The problems arise when the music leaves or when I guess Beck stops trying, shown in the draining almost unbearable “Vanities”, and an ill attempt of western tone in “Dandelion”. “La Collectionneuse” is an emotional attempt that does more to dull/bore me than raise anything in the realm of the senses, and systematically leads my fingers to change the song.
I’m not entirely sure as to why this album in fact disappoints me, I had no expectations whatsoever and upon listening to the first three tracks I became rather excited, understanding Beck was the producer, I‘ve been living under a rock, reading the back of the case and all proved what my ears were hearing. I hadn’t skipped a song yet, how enjoyable. But the rest of the album besides a few keepers, had about the same affect on me as Beck’s last album “Modern Guilt”, yes it’s good, but what’s lasting. Is there anything I’ll want to hear two or three years from now? No, and chances are if I do happen to hear anything from this album two years from now, I‘ll smile looking off into the distance remembering where I was upon first hearing it, ignoring the music for the memory of these concrete buildings and a drive through the rain. Chances are I’ll forget about it about two days from now.The simple truth is that there is no real lasting value for this album, and similarly to, more so the actress than songwriter, Scarlett Johansson’s album, produced by one of the guys from Tv on the Radio, it’ll probably disappear without any lingering hype unless a sex video is released, or whatever it is that sells albums these days.
I’d watch it, but I wouldn’t advise anyone to buy this album in it’s entirety. Downloading the keepers, a much better option. Looking into the future I could see as to how Charlotte Gainsbourg will probably never accomplish something such as this album, her lack of participation in almost everything but vocals, only credited with two tracks instrumentally, shows she couldn‘t remake anything this good, as non amazing as it is. And yes, the instance of Beck just being present makes it at least decent, but as I said Beck is now growing old. His intentions in music, or as in Charlotte Gainsbourg, are now probably much more monetary than anything, but who could blame him, after pushing out some of the best music around for the better part of sixteen years, old age demands comfort, and comfort demands cash. I’m much more excited to learn, with help from the musical genius of a mind Professor Meatheart, that Beck is teaming up again with another large group of musicians for another random cover album that will be featuring the likes of St. Vincent. A much more interesting voice for Beck to play with. Maybe this is a sign of things to come. The headlines reading, “Beck says he’ll never play again without a beauty of a body and face singing next to him.“ Could you imagine a Beck, Joanna Newsom combo? God, that’d be something lasting.
Keepers: “Trick Pony“ “Greenwich Mean Time” “Le Chat Du Café Des Artistes” “IRM”
3.25 out of 5
