

Jill Scott, The Light of the Sun
Beyoncé, 4
It might as well be a rhetorical
question on Beyoncé’s fourth album, but she asks it anyway – "who runs the
world?" Her answer, of course: "Girls." Before that dud of a ditty, "Run the
World (Girls)," even plays – it’s tagged on at the end almost like the
forgotten child – it’s obvious that this girl is running her own world. (Queen
Bey, indeed.) This, basically Beyoncé’s bi-curious project, isn’t meant for
radio consumption; it’s not meant for shallow pop listeners or "Crazy in Love"
lovers (which means, yes, there are some sluggish songs). In fact, this
game-changer of an album might totally bomb. But, for better or worse, it will
undoubtedly hold a special place in Beyoncé’s heart forever – and in those of
her fans. It’s off to a low-key start with "1+1," which seems to establish two
things: Girl can sing (duh) and hang with the cool electric-guitar kids. She’s
back to her old man-slaying self on "Best Thing I Never Had," a kiss-off whose
"you showed your ass" line would seem more awkward if Beyoncé wasn’t selling it
within every inch of its soaring, searing life. Other tracks, like the synthy
sweet "I Miss You," come off more Alicia Keys than sass-master. That Beyoncé
doesn’t sound like herself isn’t necessarily a bad thing, especially on "Love
on Top," a jolly jolt of ’80s throwback pop with an easy, breezy style that’s
practically pre-crack Whitney. By the time she gets to Diane Warren’s
penultimate "I Was Here," a powerful ballad about finding your purpose in life,
it’s clear that a big part of Beyoncé’s legacy is in this album.
Grade: B
Jill Scott, The Light of the Sun
For all the happiness Jill Scott
recounts on leadoff "Blessed," her first album since 2007 isn’t exactly a
peachy play. Heartbreak haunts the Philly
neo-soul singer as she practices what she’s been preaching since she dropped
Who is Jill Scott? 11 years ago – resilience and empowerment. Those themes
are threaded throughout this earthy, old-school album, a vastly experimental
project that embraces bold moves (the most ambitious being the jazzy
nine-minute groove "Le BOOM Vent Suite") and a plethora of genres, from soul to
funk and hip-hop, even jazz. On "All Cried Out (Redux)" she’s joined by Doug E.
Fresh’s beat-boxing booms, and her and Eve go all independent woman on the
swaggering "Shame." "Some Other Time" has her second-guessing a good date in a
cool stream-of-consciousness style; she throws out a prayer on "Hear My Call"
and makes musical magic with Anthony Hamilton on
the romantic "So in Love" – both songs are vocal showcases for Scott, who has
absolute control over her wonderfully expressive instrument. And she never lets
it go to waste on The Light of the Sun, effortlessly singing and scatting –
without Auto-Tune. But the disc still drags in parts with too many mid-tempos
that don’t sit and escapable turns at feminist poetry (see "Womanifesto"). Take
away a few tracks and Scott’s return to R&B would truly be as blessed as
her.
Grade: B-
Also Out
Duncan Sheik, Covers ’80s
The absurdity of the title alone
would almost be enough to dismiss Duncan Sheik’s time warp. To contemporize the
synth-pop of that era, the one-hit wonder – remember "Barely Breathing"? –
molds these 12 songs into his minimalistic style. Meaning, he makes them
boring. At least his taste in tracks from that decade is impressive, with covers
of Depeche Mode and The Smiths, but an album of lullabies would have more life
than this batch of snoozy redos. Only one of the familiar covers, Thompson
Twins’ "Hold Me Now," reaches a timbre that doesn’t sound like bedtime music.
The rest requires a Red Bull.
Death Cab for Cutie, Codes and
Keys
On their best album since 2003’s
breakout gem Transatlanticism, the indie rock foursome is in shake-up mode, shooting
for some of their heyday glory before things went so-so. They’re also more
positive than ever. "You Are a Tourist" cranks with swelling ambiance and
optimism, which also finds a place on the semi-acoustic closer "Stay Young, Go
Dancing." But "St. Peter’s Cathedral" is the greatest find among the 11 tracks,
a sprawling exploration of life after death that builds into a moving cacophony
of noise.