PopMatters home | short takes home | archives

10 October 2005

JibJab, JibJab: Early Years 1999-2004 (Razor & Tie) Rating: 4
JibJab. Remember that name? It was around this time last year that JibJab was the hottest name in the blogosphere, with a link to their parody of Woody Guthrie's "This Land is Your Land" showing up on heavy metal blogs, proud mother blogs, Bush blogs, Kerry blogs, and just about every other blog in the nation. Capitalizing on their sudden success, JibJab put 14 of its favorite shorts onto a DVD, with the assumptive title of JibJab: The Early Years 1999-2004. Now, the genius of "Our Land" was that it took the absurdity of the 2004 presidential election and mocked it relentlessly, without ever actually taking a side, unless you count the side of fed-up observer. It's a perfect snapshot of the time, and it reflects exactly what much of America was thinking in the tense months leading up to the election -- sure it was crude, and it was a touch profane, but it was funny as hell. Jibjab released two more political shorts as follow-ups to "This Land", both of which are included in this collection, but neither approach the good-natured slamming of "This Land", relying too much on forced slapstick gags, gay jokes, and Bill Clinton getting slapped by Hillary. The other shorts in the collection range from the fairly creative (an amalgamation of Al Gore soundbites pasted together in a less-than-flattering way) to the downright stupid ("12 Days of Christmas" via farts). And, you know, given that this is a DVD, a commentary track or a 'making of' featurette would have been nice. Ultimately, JibJab's collection is mildly entertaining, but JibJab's shorts work much better as blog links and e-mail attachments than as entertainment that you actually pay for. [Amazon]
      — Mike Schiller

Neon Blonde, Headlines EP (Dim Mak) Rating: 4
Neon Blonde is the more post-punk-y, dancefloor friendly version of the Blood Brothers (it's comprised of that group's drummer and vocalist/keyboardist). The high-pitched yelping remains, but the music takes on a groove orientation. After the recent trend of bands, apparently Johnny Whitney and Mark Gajadhar picked up their own copy of Entertainment! and decided to do something with it. At this album's funkiest, it offers intriguing sounds and even a hint of New Wave-inspired percussion. When it slows for "Savannah Nights", however, it's just another dull attempt by a group out to prove it's got nothing to prove and can therefore just chill. Dudes, don't chill. The final track, a remix of "Headlines" that offers too little new to be worthwhile. Close, but no cigar, as my colleagues would say. [Amazon]
      — Justin Cober-Lake

Cartel, Safety in Numbers EP (Independent) Rating: 3
Cartel -- not to be confused with the emo band of the same name-- are the antithesis to what is commonly perceived as D.C.-based indie rock. No angular post-punk riffs are to be found here, nor any politically charged lyrics. Instead, Cartel offer remarkably poised, professionally executed modern rock that is ready for FM radio play. The problem is that it is also unbelievably dull. Delivering the same sort of airy, mid-tempo, not too loud, and inoffensive rock of Coldplay at their very worst, Cartel's debut EP quickly becomes lost in a sea of niceness. All the edges have been smoothed, the arrangements made comfortable, and the lyrics simple and forgettable. There is nothing here that is either remotely challenging or even moderately interesting. In fact, everything is so calculated and pleasant that the listener barely has to engage this EP at all. But when the listening experience becomes this passive, and this uninvolved, what's the point? [Amazon]
      — Kevin Jagernauth

Jennifer Greer, The Apiary (Little Athena Productions) Rating: 6
Boston based Jennifer Greer has a delivery that sounds as if it's been culled from an early Chantal Kreviazuk, Natalie Merchant and Carole King if the tender, melancholic "Invited" teaser and the ideal "Hanging On" are measuring sticks. It's the domain that she nails time and time again -- a mid-tempo, somewhat catchy, piano-driven arrangement that makes you sway in your chair as "Honey Bee" does from the start. It's also as if she's hedging her bets that Sarah McLachlan will contact her for a revival of Lilith Fair. Teeming with fine, ambling, moody pop traits, songs such as "Walking Home to You" have a certain bluesy or jazzy feel hovering over them. Throughout it all, Greer's precision and deftness are quite apparent, although "Darkling" and its off-kilter tempo might take a tad longer to settle into as a guitar slowly comes into the fore. Seems perfect for a Sunday afternoon -- mellow and reflective as does the mildly up-tempo and sophisticated pop of "Never". Greer explores the jazzier side of her music during "A Beautiful Face" with better than anticipated results. "Satellite" misses the mark somewhat but "Stupid People Lost In Eden" more than atones for it. A solid and polished piece of adult pop.
      — Jason MacNeil

.: posted by Editor 8:32 AM