The Weekly Jive

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Posted November 8, 2007 in Music

Insane Clown Posse—Jugganauts: The Best of the ICP (Island)

The sad part is that Insane Clown Posse became at least ten times more significant than The Beatles ever did, because while The Beatles hypothesized love as a panacea for humanity ICP actually proved the state of its utter depravity. Make no mistake, the fact that this disc exists at all is a killable offense, but for the million-strong army of Juggalos who like popping their spunk in the mayonnaise jar this mo-facko would appear to be a lock to become Platinum—after all, psycho-cRap smiley-face misogyny doesn’t easily go out of style. Why the Insane Clown Posse bothers to rhyme at all is the question, and it’s one that’ll wind up in existential vertigo if pursued too long. Fuck rhymes with suck, yes, but better spitters can at least make that hum-alongable, rather than just obnoxious. By sticking together the 18 “best” tracks from the last decade—including the particularly mutable wristcutters “Fuck The World” and “I Want My Shit” from The Amazing Jeckel Brothers, and the late Ol’ Dirty Bastard’s collab “Bitches”—ICP only hopes the novelty of chattering clown faces and Faygo-worship is enough to resuscitate them as America’s Favorite Sadists. More likely, this collection will serve as the definitive “what-the-fuck-was-I-thinking” moment for Juggalos, kind of like looking at an old yearbook and seeing all that feathered hair. (Chuck Mindenhall)

 

Oslo—The Rise and Fall of Love and Hate (Six Feet Music Group)

LA’s Oslo are both buttressed and bruised by their a-fashionable aura: their stylistic single-mindedness is admirable, yet they’re neither up-to-the-minute critic-friendly nor sufficiently slavishly retro to please the ironically-hip crowd. Interpol comparisons are inevitable (‘Pol drummer Sam Fogarino even plays on a couple of tracks on the special guest-loaded The Rise and Fall of Love and Hate), but apply less to this sophomore effort than Oslo’s ‘05 eponymous debut. Rise and Fall offers a more organic take on Oslo’s Anglophile musings, with frontman Mattia Borrani sounding a little frayed at the edges and his bandmates (who include longtime No Doubt touring muso Gabrial McNair) taking more chances. Guitars and bass rub each other up like velvet on Velcro while insistent, yearning songcraft is focused through stark arrangements. This collection evokes long goodbyes in sidewalk cafes; deeply significant strolls by the Seine; a bleaker Blur; and a jollier Joy Division. Oslo still creates in black and white, only now they’re painting portraits. (Paul Rogers)

 

The Spill Canvas—No Really, I’m Fine (Sire)

The only reason another whiney emo album replete with bitchy-boy vocals and quasi-powerful chords would come to pass would be to feed the mundane, money-hungry corporate music mechanism. The genre has become such a banal treatment of emotions, angst and depression that it rivals the likes of the goth-rock resurgence for unoriginality and conceit. With songs that could have been written from a cut-and-paste “Write Your Very Own Emo Song” book, The Spill Canvas serenades us with an entire album of unimaginative swill. Songs about death, lost love, hypocrisy and reckless abandon dance across a floor of unremarkable tunes and shies away from anything that might resemble innovation or surprise. They get props for their use of trombones, trumpets and piano but—alas—the horns are too timid and certainly not enough to save listeners from the malaise that probably inspired No Really, I’m Fine. (Phil Fuller)


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