Music Review

Morissette sweeps her rage away

by Ryan Mac Donald

Editor in Chief

Alanis Morissette should require all of her future companions to listen to her albums, not excluding her latest addition, "Under Rug Swept." Doing so should clear up any possible confusion as to why she sets forth such unreachable standards for those interested in loving her.

It is because of her newest release that listeners will understand why she says things like, "do you have a big intellectual capacity but know that it alone does not equate wisdom?" And when she claims how one should "derive joy from diving in and seeing that loving someone can actually feel like freedom," audiences won't think that she is asking too much from those interested in becoming something more.

Apparently, Morissette is just a girl who knows what she wants.

Even those not interested in becoming romantically involved with Morissette (the large majority of her listening demographic) will find "Swept" refreshingly poetic, as she reclaims her status through 11 four-minute tracks as the mellow (yet still aggressive) heroine.

On "Swept," Morissette continues to sing about the things "you oughta know," and while she revisits her experiences with love, she demonstrates her strongest lyrical gift turning tender songs into aggressive ballads.

As if the first two albums didn't expose her private, personal issues enough, Morissette's current attempt further explores her life experiences with her trademark confidence, control and authority. This time, however, she has somewhat mellowed out her act not only through her expressive vocal ability but also by going solo with every producing and writing credit.

Asking potential lovers to fulfill her emotional and intellectual requests is a brave demand, but after all, Morissette, who established herself as the queen of '90s rock with the success of "Jagged Little Pill" and "Supposed Former Infatuation Junkie," can afford to keep her standards above average.

With this third studio release, however, she falls short of creating a musical revolution. Perhaps she has exhausted the sounds, tones and notes that once marked her music as influential. Still, she has developed as an artist by experimenting with a more reserved approach. She shares her advise about what she learned from living through heartache and visiting India, even though she fails to ignite the passion that once dominated her musicality.

Her theories about life and love seem lost underneath her vocal ability that is

drowned out by her infamous nasal pitch. The guitar work and the keyboard solos spark special notes and hooks, but the overall composition of the music lacks the pace heard in her first two efforts. She shines on tracks "Hands Clean" and "That Particular Time" as her lyrics and music balance each other, creating harmonies and melodies that stay with the listener.

Before, Morissette sang with anger and hatred towards those individuals who played with her feelings, and though she explains that she has 'swept' those past lovers into a special place, it would be nice to hear more songs devoted to the explosive emotions and uncontrollable rage that comprises her inner thoughts.

Now, with a reserved approach, Morissette sings with an understanding of how these places and people influenced the person she has become. But, some of her religious rant and perfect idealism does not mesh with the personal issues that the rest of the album deals with. She requests her companions to have numerous "Utopian" qualities, and as she preaches in that final track, "we would share and listen and support and welcome."

Sadly Alanis, that would only work in perfect world, so stop dabbling in all of the soft, introspective sentiment; and for the sake of listening audiences everywhere, we request that you to take another dose of your rage before you start working on future projects.