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Jesse Malin, "The Heat"
Artemis
On this second album from the former D Generation frontman he provesthat his debut was not a fluke, and even betters it wherever possible.Maybe it's the fact that he produced it himself, or maybe because hedistanced himself from Ryan Adams on this release more, but Malin'ssongs have more power, more flavor, and definitely more presence thanbefore. This may also be attributed to the stellar guests thatcontribute, from Eli Janney of Girls Against Boys to formerReplacements and Guns N' Roses bassist Tommy Stinson. Where his lastrecord concentrated on self-destruction, this record seems to centermore on self-healing through sympathy. Malin reaches out to himself andto others on this record with equal strength, much in a way ofidentification, but also as a cry for help so that he doesn't go downalone. Anchoring it all is a sometimes plaintive, sometimes gale windforce of country-fed rock, with Malin's unique voice front and center.He's always been adept at telling stories, and this record is nodifferent, with tales of beauties and delinquents alike, successful ornot. There are concerns about the way our country is going intermingledwith the story of the girl who left a mark, and there's never a jarringmoment. Malin does rely a bit too much on couplets in his songs, and itdoes annoy after a while, but the quick rhymes are all part of hisappeal. Where Springsteen was all about songs for and chronicling theworking man, Malin's are for and about the freaks and castaways, thelate night lounge lizards and the men who dress up in their mother'sclothes. The beautiful thing is that there is no judgment in his words:he simply presents things as they are, and with a quasi-endearmentwhich embraces while it informs. Already more successful solo than heever was in a band, Malin is proving to be one of the new rock and rollpoets, whether he likes it or not. The Heat is on, all the time, and the streets are ripe with more to tell. -
On this second album from the former D Generation frontman he provesthat his debut was not a fluke, and even betters it wherever possible.Maybe it's the fact that he produced it himself, or maybe because hedistanced himself from Ryan Adams on this release more, but Malin'ssongs have more power, more flavor, and definitely more presence thanbefore. This may also be attributed to the stellar guests thatcontribute, from Eli Janney of Girls Against Boys to formerReplacements and Guns N' Roses bassist Tommy Stinson. Where his lastrecord concentrated on self-destruction, this record seems to centermore on self-healing through sympathy. Malin reaches out to himself andto others on this record with equal strength, much in a way ofidentification, but also as a cry for help so that he doesn't go downalone. Anchoring it all is a sometimes plaintive, sometimes gale windforce of country-fed rock, with Malin's unique voice front and center.He's always been adept at telling stories, and this record is nodifferent, with tales of beauties and delinquents alike, successful ornot. There are concerns about the way our country is going intermingledwith the story of the girl who left a mark, and there's never a jarringmoment. Malin does rely a bit too much on couplets in his songs, and itdoes annoy after a while, but the quick rhymes are all part of hisappeal. Where Springsteen was all about songs for and chronicling theworking man, Malin's are for and about the freaks and castaways, thelate night lounge lizards and the men who dress up in their mother'sclothes. The beautiful thing is that there is no judgment in his words:he simply presents things as they are, and with a quasi-endearmentwhich embraces while it informs. Already more successful solo than heever was in a band, Malin is proving to be one of the new rock and rollpoets, whether he likes it or not. The Heat is on, all the time, and the streets are ripe with more to tell. -
