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ENTERTAINMENTpage 15 Technique • Friday, March 1, 2002 • 15 Looking for break action? It’s on his business card The Live List is your place to check out “Voice of the Yellow Jackets” is one of ENTERTAINMENT the many options for live entertain- Director of Broadcasting Wes ment if you’re staying in the ATL this Durham’s titles. Read up on this Technique • Friday, March 1, 2002 spring break. Page 16 member of the Tech family. Page 24 Morisette’s ‘Under Rug Swept’ not to be discarded Alanis Morissette has found her inner angst again with her newest single, “Hands Clean,” from her newest CD, with which she proves her growth from early releases like Jagged Little Pill which brought her fast fame. By Rob Hill and Danielle Bradley off the deep end. Staff Writers Some of the middle tracks are where listeners may become bored, Artist: Alanis Morissette distracted, or even sick of the mo- Album: Under Rug Swept notony of a “not so newly rich” girl Label: Maverick complaining about the same things Rating: yyy 1/2 we heard about three years ago. Per- sonally we got our fill back then. The angst is back. With Alanis Even the instrumentals of the fourth Morissette’s newest record, Under track, “Flinch,” remind the casual Rug Swept, we have a record closer listener of every Matchbox Twenty in spirit to her smash debut, Jagged song ever written. Fame and for- Little Pill. Well, at least that’s what tune certainly need not detract from she’s trying for. Perhaps trying a bit the value and agenda of an artist, too hard in the process. but much of the success of Moris- It is difficult to approach any of sette’s raw unflinching lyricism came these tracks without thinking of Pill, from the unpolished anonymity that which defined Morissette as a twen- comes from being a struggling emer- ty’s something woman that would gent artist. not be ignored. Pill was a break- Pill was quite literally a jagged through record for Morissette in production and frankly a stronger the tumultuous time when wom- album for it; some of the obvious en’s rock came into it’s own. Though polish in Swept does not suit Moris- never having taken part in Sarah sette’s style. We wonder if Moris- Mclachlan’s Lillith Fair, Morissette sette has fallen into a cookie-cutter is nonetheless inextricably associat- angst pattern. When we hear her ed with the empowered women of sing lines like:” soon I’ll grow up the mid 90’s. and I won’t even flinch at your name” The album starts strong with the or “somewhere along the way/ I think track “21 Things I want in a Lover,” I gave you the power to make me a rather appropriate follow up song feel/ the way I thought only my for the album Jagged Little Pill. It father could” in the seemingly sing- By Rankin / MAVERICK RECORDING COMPANY has a sound reminiscent of the 80’s song manner of “Flinch” and “So As a child, Alanis Morissette made her TV debut on ‘You Can’t Do That On Television.’ Now, continuing a one hit wonder “88 Lines about 44 Unsexy,” we are temporarily lulled musical career begun with ‘Jagged Little Pill,’ she recently released her latest CD, entitled ‘Under Rug Swept.’ women” by the Nails but in the char- into the calm of catchy rhythms some distant past for a no longer success. Classic Morissette, orating ing it more like an echo of the pas- acteristic dark and serious voice of and a sweet voice, but we are then existent rage that made her first al- about something she honestly feels sion of Pill and the introspection of Morissette. The last track, “uto- suddenly snapped back into the re- bum the hit it was. The lyrics of is worthy of writing a song about, Former Infatuation Junkie. pia” offers a captivating, almost ide- alization that these are the same lyr- these songs convey a sense of dis- “Hands Clean” provides the listen- Morissette is at her best when alistic, ballad with a guitar played ics we have heard from the seemingly honesty, an impure deception while er with the rich sounds of cynicism, she is engaging with issues that speak like a mandolin with a definite Lat- endless copycat artists that sprung Morissette hints of the potential for passing the blame, as well as a non- t o her itediate experiences. Junkie in influence carried through out. up after the incredible success of a near future sell out. chalant evaluation of whatever sit- was a reflection of Morissette’s bur- Certainly uncharacteristic in in- Pill. These tracks leave the listener Luckily for Morissette and for uation it is that she is singing of. geoning the spirituality and politi- tensity and delivery “Utopia” is not wanting to scream “Grow up al- her fans, the first single off the al- The sound we have come to ex- cal agenda, and the omission of such what the typical Morissette fan ex- ready!” bum, “Hands Clean” and a few other pect of Morissette is apparent here, issues from Swept is felt. The al- pects, yet the range of stylistic influ- The angst present seems forced, songs like it on the album will be however, it lacks a bit in intensity. bum, however, is still worthy of lis- ence between tracks never ventures as though Morissette is reaching into enough driving force for it to be a So too does the entire album, mak- tening, even for non-Morissette fans. Australia’s Kasey Chambers makes bluegrass hip with latest album By Chris Webb non-American to headline Austin City Limits in Contributing Writer the show’s 26 year history. The album was award- ed two ARIA’s, the Australian version of the Gram- Artist: Kasey Chambers my. The first single from this album, “Not Pretty Genre: Bluegrass Enough” has already earned some U.S. airplay. Album: Barricades and Brickwalls Performing country music has always been a Rating: yyy 1/2 family tradition in the Chambers household. Her father plays lead guitar, her brother Nash pro- Amidst the success of last year’s O Brother duced both of her albums and her mom some- Where Art Thou soundtrack, bluegrass musicians times joins the band on the road. Chambers are breaking through with mainstream recogni- acknowledges her father as a major influence, “He tion. Kasey Chambers is the newest in a wave of probably didn’t think how weird it was that in the alt-country rockers revolting outback of Australia we’re play- from the pop-infused world of ing Gram Parsons albums in- country music. From start to stead of Neil Diamond albums finish Barricades and Brickwalls Chambers or something.” makes a strong case as to why The album is a mixture of rock- radio is taking a listen and why manages to convey abilly and bluegrass with a hint the public should too. emotional impact, of grunge. “Not Pretty Enough” Ms. Chambers grew up on a is the most pop-friendly song on dose of country hailing from such emphasizing her the album. Chambers admits the legends as Johnny Cash, Em- torn loyalties. song was directed towards radio mylou Harris and the Carson stations, but it also maintains an family. “A Little Bit Lonesome” emotional level because “every- sounds like Hank Williams could body goes through that feeling... have written it. She could just as easily yell “I where they feel like they’re invisible to some- grabbed a glass, I said ‘kiss my ass.’” from any body.” Texas bar, but this cowgirl hails from Australia This album is for the people who want more and Hank never had a voice this sweet. from their country music than country pop songs Barricades and Brickwalls may be the catalyst offer. Fans of artists like Ryan Adams and Gillian By Carlotta Moye / WARNER BROS. RECORDS for huge success in the States. Her first album, Welch might find it a good addition to their Kasey Chambers may not fit the stereotype of a bluegrass artist but with her new The Captain, was one of Rolling Stone’s “Top 50 ‘Bluegrass and Barricades,’ the Australian newcomer sets out to prove otherwise. Albums of Year 2000.” She also became the first See Kasey, page 16 16 • Friday, March 1, 2002 • Technique ENTERTAINMENT violence in the news and claims to Kasey from page 15 not listen to the radio, but lyrics in other songs illustrate her desire to ...10101010 10 10101010100101010... ...Two Bits collections. Often cited as her greatest get onto the radio. talent, Ms. Chambers’ voice is sweet, Chambers’s use of collaborations What makes a good friend? Hon- Tall, it is without a doubt within are few and far between. lightly taking a dark lyric and turn- help make the album great. “Cross- esty, loyalty, respectfulness, mon- these size couplings that the grand- In our search for answers, let us ing it into a lullaby. fire” is a number performed with ey, of course, but probably one of est friendships blossom. examine the monogamy of a Big Her impulse to make almost ev- the punk rockabilly group Living the most overlooked factors of friend- For those who are skeptical Guy-Little Buddy pair. In most of erything rhyme sometimes makes End. She also performs with one of ship is size. of the two bits man and his fac- the cases aforementioned, monog- her lyrics lack in depth. She does, her musical idols, Lucinda Williams, The two bits man has become tual basis for this claim, I en- amy seemed to be prevalent in the however, manage to convey emo- in “On a Bad Day.” Gram Parson’s aware of an unmistakable trend in courage you to observe history relationship.

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