Home > josh freese, mastodon, Melissa Auf der Maur, review > Review – Melissa Auf der Maur’s Out of Our Minds

Review – Melissa Auf der Maur’s Out of Our Minds

Note: Last year, when the “This Would Be Paradise” EP was released, I reviewed that as well.

In 2004, Melissa Auf der Maur released her first solo album. While being fantastic on a musical front, it was a little… well, we’ll say immature. The lyrics, in particular, have a certain art-school pretension to them. “Surely,” I thought, “someone with as much education and talent as Melissa Auf der Maur can come up with things that don’t sound like they came out of a middle school girl’s diary. If she moved past that, this album would be amazing.” Considering Auf der Maur’s massive bass chops, fantastic voice (her harmonies were the best part of Hole’s Celebrity Skin album), and knack for surrounding herself with other talented musicians, I still stand by that opinion.

Yet now, six years later, I have much the same feeling. Though, thankfully, most of it has filtered out of the music, and into other projects in the same orbit as Out of Our Minds, Auf der Maur’s newest release. The album itself is a mild concept album that fits into a full array of media, including a full-length feature film (which is where most of my feeling that things haven’t changed much comes from) and a graphic novel.

The irony is that since most of that artsy stuff has leeched out into other media, the music that is left is much more focused. The songs are definitely there, and the more questionable lyrics simply seem cryptic here than on the last record, where they just seemed bloated and heavy-handed. Now, that’s not to say that Auf der Maur doesn’t lay it on thick now and then, but overall it’s a much less infuriating experience than the 2004 release, and that’s a great development.

Musically, there’s a lot to be happy about on this album. Melissa’s melodic and rhythmic sensibilities are still as pleasing as on the last album. While this leads to a feeling of familiarity, it’s not boring by any stretch. While the last album was a fairly straightforward rock record, this has more of a prog feel, and there are some other incorporations like electronic drum loops in a few songs, and some pretty interesting instrumentation. There’s some interesting harpsichord-like sounds on “Meet Me on the Dark Side,” and the instrumental “This Would Be Paradise” features what I think is a glockenspiel, or at least a sampled, processed one. The latter also features some tape loops of late Saskatchewan politician Tommy Douglas, who spearheaded the national health care movement in Canada in the 1960s. The inclusion is an obvious reference to the US health care reform, which Auf der Maur wrote in support of several times on her blog. While this is the obvious reference, it’s also a great plea for equality and basic human rights in general.

The album also seems a bit heavier than the last album, and I expect a lot of it comes from playing in her Black Sabbath tribute band Hand of Doom. I wouldn’t say Out of Our Minds sounds particularly doomy, or even sludgy, but it definitely has more weight than its predecessor. Part of that is because Auf der Maur’s bass tones play a much larger part of the mix than previously, but some of it is composition, as well. The title track, for instance, has some rather Mastodon-like moments (not the chorus so much, but most of the rest of it. If Brann Dailor was drumming. Instead, it’s “only” Josh Freese on most songs.)

While a few of the cuts, including the title track, are damn good, the duet with Glenn Danzig(!) is far and away the best song on the record. “Father’s Grave” is a brooding, expansive song, with Danzing singing the part of a gravedigger with whom Auf der Maur seems to build a relationship with. I’m still not sure exactly what the implication is from the story of the song, but honestly, the thing I’m most enthralled by is the performance. Both Danzig (who I don’t follow terribly closely) and Auf der Maur are riffing off each other, and this is well and truly a duet. The chemistry they have is quite evident, the song just builds and builds on itself, and I recommend getting this album even if this is the only song you listen to. It’s that good.

Overall, the album doesn’t particularly drag, and it’s a satisfying length. Clocking in at just under an hour, it’s certainly not as jam-packed as many albums are these days, but its relative brevity does sort of make me wish there were another song or two to make up for the six-years between albums. Though, to be fair, she was also touring, performing in Hand of Doom, traveling, and shooting a movie to go with the project, so I’ll let it slide.

Finally, the full album is up for streaming and purchase at the MAdM website, and is available from most online retailers. Unfortunately I can’t seem to get it locally, and I haven’t settled on whether I want it on vinyl or not. In any case, I whole-heartedly recommend this album.

I think I might give the movie and graphic novel a miss, though.

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