Flavors Of Entanglement - Dark Publications

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Editorial Reviews:

Amazon.co.uk
Though the mainstream might have all but abandoned Alanis Morrissette since her mid-90s breakthrough as the MTV grunge generation's Madonna, she has forged on with a handful of albums of a reasonably steely consistency, although even kindly ears would recognize her output since Jagged Little Pill as reduced strength versions of that celebrated album. Its slightly convoluted follow up, Supposed Former Infatuation Junkie, remains her most intriguing if long-winded work, and with her most recent record (2004's So Called Chaos) more or less finding peace with itself--filing down the angsty internal dialogues and sounding almost content even at its loudest points--the future seemed to be heading on a downward spiral. But talk about an about turn. With Flavours Of Entanglement the bronco is very much bucking once more, often causing whiplash-inducing stylistic swerves. "Citizen Of The Planet" opens the album, erupting out of eastern strings and a sequenced underlay with blunt, compressed guitars and thumping beats, sweeping through desolate plains previously inhabited by nu metal fantasists Evanescence. The dark tension is upheld through the robotic techno of "Straightjacket" and dark string-laden drum `n' bass of "Moratorium." Landing amid the lonely Tori Amos balladry of "Not As We," Texas-pop of "In Praise Of The Vulnerable Man," and the more typical Alanis fare of "Underneath," this is an often unsettlingly mixed bag achieving varying levels of success, but it is also probably her most emotionally satisfying work for a decade. -- James Berry

Amazon.com
The first studio album from Alanis Morissette since 2004, Flavors Of Entanglement fuses the organic and the techno—prompted by producer Guy Sigsworth (Madonna, Bjoerk). Incorporating beats, loops and synthesizers, the album was designed, says Morissette, so listeners can "dance your face off." Balancing introspective confession and delirious joy, the global and the personal, Flavors Of Entanglement is a tasty new musical feast from one of pop's most intriguing artists.

Album Description
Japanese pressing of full-length from Alanis Morisette. This version comes with one bonus track, '20/20'. Warner. 2008.

Customer Reviews: Read 78 more reviews...

5 out of 5 stars

'Flavors' That Satisfy June 10, 2008
50 out of 57 found this review helpful

The best thing about Alanis Morissette is that she wears her heart on her sleeve through her music, and new album "Flavors of Entanglement" is no exception. She realizes there is strength in vulnerability, and with that knowledge shares her growth as an individual as well as a musician.

The pearls of wisdom beyond her years typical of Morissette abound in this new collection, but thanks in large part to producer Guy Sigsworth these songs have more edge and grit than anything she's released since the '90s. These songs sway, caress, mesmerize and most definitely rock. Those seeking a return of the so-called "angry" Alanis from 1995's "Jagged Little Pill" will probably never come any closer to it than this new record, but this time around she is older and wiser, and the songs are stronger for it.

Morissette is able to be thoroughly autobiographical yet remain accessible. She will easily resonate here with those struggling to cope with death, whatever kind of death that may be. She has mentioned repeatedly in interviews hitting "rock bottom" upon demise of her engagement to actor Ryan Reynolds and how that informed "Flavors..." The album certainly reflects death - in this case, death of a relationship. Never hiding her bruises, she nevertheless moves forward toward the light at the end of the tunnel.

Rockers like the righteous "Citizen of the Planet" (My frontier is on an airplane/My prisons: homes for rehabilitating) and "Versions of Violence" rub shoulders easily with sunny melodies like "In Praise of the Vulnerable" and melancholy ballads like "Not As We," but despite the variety there are no particular standouts amid the album's slim 11 tracks, and that is a benefit here; "Flavors..." is thoroughly an album in the classic `70s sense. These songs, while certainly able to stand alone, unravel in succession, letting Morissette narrate a story. Because of this, a selection like lead single "Underneath" with its radio-friendly production and insightful lyrics ("Spotlight on these seeds of simpler reasons/This core, born into form, starts in my living room") sits comfortably aside the angry, swirling "Straitjacket" ("One day I'll introduce myself and you'll see you've not met me.")

This album may have been a long time in coming, but lyrics like these from the urgent, chest-pumping "Moratorium," which snap and jerk amid Sigsworth's spellbinding production, prove it was worth the wait:

"I declare a moratorium on things relationship/I declare a respite from the toils of liaison/I do need a breather from the flavors of entanglement/I declare a full time-out from all things commitment."

The loss she chronicles reaches its apex on the downcast, revelatory "Torch" ("I never thought I'd have to lay down my torch for you") but simmers down on "Giggling Again For No Reason," where she clears her head with a spontaneous drive out of LA to take in the California sunset and feel the ocean against her skin. "I can feel the bones are smiling in my body," she sings. "I can see the meltings of inhibition." Sigsworth's sparkling production and the rapturous melody fit the song like a glove, making it an ideal summer tune.

Though she's giggling again, she can't turn off the "Tapes" in her head that fill her with inaccurate, unfair self-appraisals ("`I am someone easy to leave/Even easier to forget'/A voice, if inaccurate") that continue to foster her insecurities. Nevertheless, on the disc's hearty conclusion, the bittersweet, rousing "Incomplete," she proudly owns her flaws and the humanity they underscore with a new outlook on life:

"I have been running so sweaty my whole life urgent for a finish line/I have been missing the rapture this whole time of being forever incomplete."

Morissette continually proves herself to be the underappreciated poet laureate of this generation's contemporary singer/songwriters. She has a sharp insight into the human condition that is uniquely hers. By inviting listeners along on her journey of self-discovery she helps them gain insight into themselves as well, all the while entertaining. She is certainly a force to reckon with.

The few extra dollars are worth investing for the deluxe edition, which comes with 5 leftover compositions from the album's sessions in addition to 6 eye-catching photograph/lyric cards. The bitter, self-critical "The Guy Who Leaves" sizzles with tingly electronic beats and swirls amid Morissette's urgents vocals, while "Orchid" and "Madness" are both understated, poignant, positively beautiful ballads. Bittersweet coming-of-age tale "Limbo No More" has a profoundly moving orchestral arrangement, while the joyous, folksy "On the Tequila" is set to turn more than a few heads. It is not for lack of quality but simply because they do not fit the scheme of the album that these songs are not included on this standard version. Nevertheless, the above average fan will certainly find them worthwhile.

5 out of 5 stars

The right Flavor! June 10, 2008
15 out of 20 found this review helpful

I have all Alanis' studio albums, from her mega selling debut, to "So-called chaos". My favourite though was her sophomore, the sprawling "Supposed former infatuation junkie", which found her exploring new musical ground.

The adventure continues on her fifth CD. Produced by one time Madonna producer Guy Sigsworth, as expected there's more of an electro sound especially on songs like "Straightjacket" and the ambient sounding "Moratorium" (on which she declares a moratorium on things relationship/a respite from the toils of liaison).

That's not to say she's abandoned her rock roots. She still rocks but with electronic flourishes, especially on songs like the uplifting "Incomplete", "Underneath", and the moody yet raging "Versions of violence". Opening cut "Citizen of the planet" has an Indian/Eastern feel (much like "Baba" from "Supposed former infatuation junkie"), with quiet verses and a raging chorus.

Lightening things somewhat are the Poppy pair of "In praise of the vulnerable man", and the atmospheric "Giggling again for no reason".

For ballads, we get the piano ballad "Torch", the absolutely gorgeous "Not as we" (another piano ballad with a light, yearning vocal delivery - a bit like "That I would be good" from "Supposed former infatuation junkie"), and my favourite song on the album, the swirling "Tapes". Lovely moody synths in the verses, and a rocky chorus with vocal gymnastics towards the end. Awesome!

Every song is a standout really, and I think the pairing with Sigsworth was an inspired one. Having just come out of a high profile relationship/engagement, some lyrics are angry and cathartic, but that's Alanis, able to make angst sound great. My second favourite Alanis album.

5 out of 5 stars

A return to form...and then some June 12, 2008
15 out of 17 found this review helpful

My biggest worry, when I learned that Guy Sigsworth would be producing the album, was whether Alanis would, indeed, still "rock." With Guy Sigsworth, a man known for his work with Bjoerk, Frou Frou and the occasional Madonna/Britney Spears song, I was afraid we'd have an album of electronica that lost what made Alanis...well, Alanis. I'm glad that I was wrong.

Flavors of Entanglement opens with a familiar Alanis song, "Citizen of the Planet," that espouses the virtues of identifying not with the country you live but to embrace the world as a whole, blooms into a bass-heavy chorus that rocks like anything she's written. But it's the tiny little flourishes and the electronic additions that makes it feel fresh.

Things continue on this pace, moving into "Straitjacket," a song that's probably my favorite for not only its lyrics but for its swirling electronics. It seems ironic that the songs I like best are the ones that utilize Alanis' innate rock sensibilities, but spins them through a techno/electronic sheen. But it's the truth. Then we have "Versions of Violence," which further spirals and teases but also interweaves careful lyrics about violence, both hidden and seen.

Things slow down for the beautiful (and heart-breaking) "Not as We." Here is where you can recognize Alanis' sometimes awkward lyrics that, for whatever reason, work in the context of the song: "From scratch begin again / but this time I as I / And not as we" sounds awkward when written, but in the context of the song works beautifully.

These are probably some of my favorite songs on the album, but I have to say there's not one on here that I don't like. Truthfully, all the songs seem familiar and typical Alanis lyrics/themes. In "Not as We," I feel hints of "Simple Together." From "Incomplete," I feel the longing wish that one day everything will be okay, a la "That I Would Be Good." With "In Praise of the Vulnerable Man," there's "Head Over Feet"'s praise of a man who treats people right. She writes these songs because she's good at them; she's masterful at taking her own life's experiences (as in "Not as We," for example) and, while making it a fiercely personal song, making them universal.

The difference, though, between this CD and a lot of her post-Jagged Little Pill CDs, is that Flavors of Entanglement feels honed to a perfect shine. While going over sometimes familiar territory, this album is full of masterpieces. Instead of taking away, Guy Sigsworth's production only adds to everything I've enjoyed about Alanis, taking her in different directions. One song even sounds like it could be on a Dido album ("Giggling Again for No Reason"). In a career that's seen a few ups and a few downs, Flavors of Entanglement probably wouldn't win over any of her staunch critics, but it did renew my interest and reminded me why I loved her music. Definitely a must buy.

5 out of 5 stars

Alanis Greatness June 11, 2008
13 out of 18 found this review helpful

Watch Video Here: http://www.amazon.com/review/RE062R1K3L0NV My name is Jeremy Gloff. This is my review of the Alanis album "Flavors Of Entanglement".

4 out of 5 stars

LOVE HER OR HATE HER, THIS MUSIC CAN HARDLY BE CALLED 'BLAND' June 10, 2008
12 out of 16 found this review helpful

Even though her only other album that I have is 'Jagged Little Pill', I'm quite a fan of Alanis Morissette; but her distinctive music is an acquired taste and will not appeal to everyone. 'Flavors of Entanglement' is a collaboration with Guy Sigsworth - electronica whizz kid from my own sunny shores; he produced the album and co-wrote the songs (but AM wrote the lyrics - and can't you just tell). Her vocals sound a little mellower than on 'Jagged', but they still retain much of her earlier quirkiness - and she is definitely in fine form vocally.

The combination of electronica and AM's idiosyncratic style isn't quite a 'marriage made in heaven' (more a burgeoning love affair), but I think the balance is about right - thanks, in no small part, to some gutsy vocals from AM, which she projects with laser-guided precision. The synthesized sounds are both interesting and exhilarating, but there can be no denying that the real substance of this album, is in the songs (especially the lyrics) and AM's delivery of them. One only has to listen to 'Not As We' and 'Torch', to realize that AM is still more than capable of rendering some stirring songs with well crafted lyrics, without resorting to an over-reliance upon electronic wizardry.

Some comments about may favourite tracks :

CITIZEN OF THE PLANET - The song starts with synth laden strains of 'Arabian Nights' - pleasant, 'easy on the ear' stuff. However, don't get too 'cumfy', because the chorus which follows, with its fusion of powerful vocals and high density synths, will literally blast you into the cosmos. Strange lyrics (but great to listen to) - something to do with sacrificing family ties to go forth and seek 'enlightenment' by experiencing the wider world (I think).

VERSIONS OF VIOLENCE - Another high-octane offering, with pulsating electronic pyrotechnics aplenty - including some noteworthy bass harmonics. AM sings in two different keys on this one. The overall sound is somewhat reminiscent of Evanescence and, arguably, the track is a little over-produced.

NOT AS WE - A wistful, slow tempo song with piano accompaniment only, and featuring ethereal vocals and exceptionally fine lyrics. AM reflects, with sadness, upon (yet another) relationship which has crumbled. She puts on a brave face ('I'm faking it, 'til I'm pseudo making it') - but, at the same time, the song is tinged with a sort of 'life goes on' resilience ('...... begin again but this time I as I, And not as we'). 'Torch' has a similar theme, and is also fairly light on the electronics.

MORATORIUM - Fans of sequenced drum loops (at least, I think that's what they are) should enjoy this track; also, listen out for some ghostly chorals (electronic, of course) in the background. I liked the song for its lyrics - AM is telling us that emotional relationships are all 'getting a bit too much' for her, and she needs a break. Scarcely original, but she manages to convey this sentiment in four different ways by her colourful use of words - and besides, any songwriter who can work a word(?) like 'focusless-ness' into the lyrics, gets my vote.

Of the remaining songs, only 'Underneath' comes as a disappointment; it's due for release as a single, so it must have something about it. I guess a lot of people will like it, but I'm afraid it didn't push many of my buttons. I don't dislike 'Incomplete', it's a pleasant (almost folksy) song but, within the context of the album', it's a bit too 'pretty' for me.

To sum up, 'Flavors of Entanglement' is a rather mystifying melange of disparate vocals, sharp (if occasionally impenetrable) lyrics, frequent tempo changes and techno trickery. It's an album that can be enjoyed in it's entirety - but I found it easier to take in small doses. 'Flavors of Entanglement' is a good example of well executed modern pop-rock (but for grown-ups only?). Apart from maybe 2 or 3 tracks, not recommended for lovers of soothing music.

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