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`Teenage Dream’
(Warner Music Korea)
The 25-year-old pastor’s daughter from Santa Barbara has made heads turn ― in malice or admiration ― since the release of her single ``Ur So Gay’’ in 2007. Katy Perry has continued to grow in popularity and with her third studio album (the first was a Christian release), the singer-almost-songwriter ― Perry is known to contribute her written skills in every track ― is attempting to show that no, really, she “IS” a star.
Unfortunately, ``Teenage Dream,’’ wrapped in artwork by Will Cotton and his usual pastel-colored confectioneries, is as trite as it is offensive in its idolizing depictions of young stupidity and objectification of both genders.
Though citing muses ranging from Alanis Morissette to Freddie Mercury, Perry’s lyrics fail to transcend the intellectual level of junior high. Some examples from ``Last Friday Night’’: ``I smell like a mini-bar/DJs passed out in the yard/Barbies on the barbecue/This is a hickey or a bruise.’’
The unsurprising tagline to ``Peacock’’ is the equally uninspired ``I wanna see your peacock, -cock, -cock’’ (trust me, there’s no Peaches-like wit in there) followed by an even more depressing, ``Don’t be a chicken boy, stop acting like a bee-otch.’’ So while Perry, who has said in interviews that she wants pop stars to be ``cool’’ again, may be pulling in insipid hordes of pre-teens by the masses, she is quickly losing the audience that actually validates that goal: everybody else, above the age of 12.
Even her gospel-singing background doesn’t save this album, with the majority of the tracks stubbornly stuck in a monotonous range. The closing ``Not Like the Movies’’ is the only number that showcases a bit of her talent, but listeners must first wade through 42 minutes of predictable beats and crack-catchy pop numbers that are somewhat addictive, yet nutritionless.
Perry has enjoyed plenty of hit singles and this album has seen one already with the ``California Gurls’’ featuring Snoop Dogg (why, Snoop?), but, that’s where the biggest insult lies. Are the world’s youth and top stars truly being won over by a girl who attaches cans of whipped cream to her breasts in a music video and open fires?
Really?
One star out of four.
Why we don’t recommend it: Katy Perry is possibly the most vapid culmination of modern pop culture gone wrong. Beautiful but empty.
Acceptable tracks: ``Not Like the Movies’’
― Ines Min
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`Beatles Over Zeppelin’
(RubySalon Record)
The indie label who brought the public such hit groups as Guckkasten returns with the debut album of The Finnn.
Frontman and lead vocalist Kim Jang-hyun provides the creative direction in this garage-rock band that attempts to cross the divide with English tracks. Kim’s scratchy voice is endearing to the heart-on-my-sleeve lyrics, which mostly steer clear of cliches (though not always Konglish). Instead, his lyrics maintain a humorously poetic quality, particularly in ``Basic Blue’’: ``I do my best to kiss the girl. Y’hear?/Don’t walk in on us for a while.’’
Sadly, a gargled accent detracts from The Finnn’s sound ― which bounces from Weezer to Ben Folds Five and other late ‘90s (alt-)rock ― something native ears will have difficulty adjusting to. Fortunately, the last three tracks on the release are Korean versions of the songs, enabling listeners to hear what the music should sound like, sans marshmallows.
Two stars out of four.
― Ines Min
Lang Lang`Live in Vienna’
(Sony Classical)
Simply put, Lang Lang sells.
This recording of the pianist’s sold-out Vienna recitals this spring marks the first fruit of his new $3-million contract with Sony. An array of shiny, overproduced collectibles thus awaits fans, ranging from a limited edition photo book to LP Vinyl and even Blu-ray in 3D.
For the big night at the prestigious Musikverein, the 28-year-old opted to tackle the big boys in the piano canon: Beethoven (Sonata Nos. 3 and 23), Albeniz (``Iberia’’) and Prokofiev (Sonata No. 7).
It’s a balanced collection that showcases everything you love ― or hate ― about Lang Lang’s raw, extroverted performance. The Chinese artist’s flair for drama peaks in Beethoven’s ``Apassionata’’ Sonata and the darkly elegant yet dynamic Prokofiev. ``Iberia,’’ however, lacks the sweeping atmospheric touch of Impressionism while he responds to the mad ovation with a rather oddly contrived trio of Chopin, among which Etude Op. 25 feels particularly labored.
Three and half stars out of four.
― Lee Hyo-won
