Rating:
Is there another mainstream pop star who
flits between lights-on likeability and pouty-lipped empty vesseldom
as dramatically or frequently as Gwen Stefani?
In the three years since abandoning the MTV rock ghetto she inhabited with No Doubt, and her subsequent self-reinvention as a certifiable pop celeb and fashionplate mogul, she's been doing wind
sprints between these two incompatible personae. Nonetheless,
since going solo with 2004's patchy but single-rich Love.Angel.Music.Baby., Stefani's remained above the fray of the ongoing clusterfuck between commerce and art-- and she's done it by brand-building
in both the abstract sense (via her quest for pop cultural memes) and in the more
traditional sense (with her clothing line L.A.M.B. scoring bonus
cross-promotional hits with every in-song mention).
Of course, Stefani also deserves credit for her gutsy
musical choices. The spazzy, overcaffeinated electro of past
singles like "What You Waiting For?" and the sparse drumline squibbles of
"Hollaback Girl" suggest she's not content to merely rack
up hits; she also wants her game to be the freshest around. That's a desirable
instinct in a pop star, and despite her predilection for hijacking what feels
like every single empty space on The Sweet Escape to play her own hypegirl ("How sick is this?" she beams in the
intro to "Breakin' Up", minutes before declaring "Don't Get It Twisted" "the
most craziest shit ever"), her single-minded interest in smuggling the weirdest
sounds onto TRL results in some of The
Sweet Escape's finest moments.
Case in point: Lead single "Wind It Up", which wraps a
"Lonely Goatherd" yodel sample from Stefani's beloved The Sound of Music around a wriggly Neptunes
beat. As mainstream singles go, it's an absurd-sounding concoction that skates
perilously close to the edge of utter ridiculousness, but something about the sheer
nerviness of the idea ultimately sees it through. If I had to guess at a
single from this year that eventually ingratiated itself to the highest number of first-time haters, this
would probably be it, and in Stefani's world, that's like the Holy Grail. Unlike
most pop singers, Stefani aims to win you over with oddity. (There's a reason Alice in Wonderland was her last album's most recurrant theme.)
It's a high-risk, high-reward strategy, but most of The Sweet Escape's other gonzo pop songs
yield some degree of payout. "Now That You Got It" surfs on a loping hip-hop beat
and a staccato piano sample while Stefani splits wailing time with a chorus of
alarms. The Neptunes-produced "Yummy" earns Best Song status by moving from a
skeletal rhythmic backbone and resounding "Milkshake"-pinching triangle hit
into a spiralling melody line that sounds like a Sherman Brothers outtake. Also, "Don't Get It Twisted" sounds like
reggaeton-polka.
Thing is, it takes real time to wring genius out of the
obscure and unseemly, and time is not a luxury that Stefani the entrepreneur affords
herself. As such, most of The Sweet Escape's problems arise as a result of her schedule-dicated slog back
towards middle ground. With the exception of the spazzy, Akon-produced doo-wop
track "The Sweet Escape" and the Keane-penned "Early Winter"-- which proves that
Stefani still has the ability to elevate an otherwise ordinary rock song to another level--
everything else here has the vague whiff of tossed-off album fattener. The
unofficial sequel to "What You Waiting For?", "Orange County Girl" boasts
another self-writing lyric ("Don't know what I'm doing back in the studio/
Getting greedy cause he said he had another sick flow/ So I had to hollaback
cause I didn't get enough/ Still feel the Wonderland, Alice and the tick
tock") that, in a Charle Kaufman-aping stylee, mistakes meta for content. Elsewhere, "4 in the Morning" and "U Started
It" exhume the ghosts of S Club and Debbie Gibson respectively, in turn
destroying the mallpop cred that Stefani accrued with L.A.M.B.'s
impeccable "Cool".
By now you get the point. One step forward, three steps
sideways, one step back, The Sweet Escape
continues in Stefani's proud tradition of being caught somewhere between the
vanguard and the insipid. Considering this is the same person who once rolled
out "Hollaback Girl" and the Harajuku girls in one fell swoop, it's not the
least bit surprising, but the pockets of brilliance here are compelling enough to
warrant holding out hope that Stefani's best as a boundary-pushing pop singer
still lies ahead.
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