The Enigma of I Megaphone
Written: Jun 26 '02 (Updated Jun 26 '02)
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Product Rating:
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Pros: "Come Here Boy"
Cons: Confusing and lacks cohesion.
The Bottom Line: I Megaphone is muddled at best and not worth it despite a few fresh tracks.
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| JennJoy's Full Review: I Megaphone by Imogen Heap |
The cover of I Megaphone shows Imogen Heap in the back seat of a car with flaming red hair and outrageous clothes. In contrast, if you find a promo version of this album you will see a black and white photo of a laid back Imogen sitting on a stool wearing black clothes and holding a coffee cup and cigarette. On one she looks a lot like a transvestite while the other shows a striking young woman. When I compare the two covers i think Imogen must either take great interest in playing dress-up or have been pressured by her record company to be eccentric to grab the public’s attention. Either way, by photos alone Imogen is an enigma.
Imogen Heap’s 1998 album, I Megaphone is an odd beast like the musician. Just as the album’s title is an anagram for the English musician’s name, the songs here seem like a little mystery waiting to be unraveled. The first few times I listened to this album I found myself confused—the style’s Imogen employs from one song to the next are so different that the album seemed to lack any sort of cohesiveness. It’s clear that Imogen, although barely 18 at the time this album was released, is an accomplished songwriter and musician; however, the direction she wished to take these songs in is nearly indistinguishable.
I Megaphone has elements of pop, rock, folk, blues and more that draw off Joan Baez, Janis Joplin, Tori Amos and a host of other female musicians. This is not to say that Imogen is unoriginal as everything about her music screams at independence. Whatever she’s trying to do with this album just doesn’t work though. I chalk it up to first album jitters and her age—Imogen seems to still be searching for that comfortable spot within her skin where she can just be.
I was warned though (see note at end of this review for an explanation) that this album wasn’t stellar. I picked it up anyway, on the strength of one track, because I had to hear it for myself. While I don’t recommend I Megaphone with any gusto, there are a few tracks here worthy of hearing.
The first is “Getting Scared,” a courageous ditty about reclaiming one’s self and exacting revenge on an abusive relationship. The song has quite a bit of electronic embellishment that makes me think of trip-hop a la Portishead without the ultra-bluesy melancholy. Favorite lyrics: Yeah you’re gonna stamp me down now boy, yeah you’re gonna crush me down now boy, you think you’re gonna threaten me now boy, well somehow I don’t think so.
”Sweet Religion” opens with some sweet classical style piano by Imogen that slips into a pop-rock groove that really makes me think of many a Tori Amos song. Imogen’s piano is fierce instrument with the percussion and background vocals only adding to the urgency of the track. The lyrics are also reminiscent of an Amos song, such as Written in that book of love, does it say your name above, the name by which they call me and is it written in liquid red, cause nothing else will do instead for reassuring eternity.
”Come Here Boy” is the lone track which prompted me to buy this album. This lovely song is purely original pop-rock at its finest. The song is about a lover Imogen can’t be with and it’s full of heartache and longing. I think I’m drawn to the song, as it doesn’t drip with the cheese like so many other songs of this ilk do. Favorite lyrics: Why are you taking so long, you need to come and find me, honey, to set your mind at rest and let your dreams run free.
So, I mentioned that I was warned about this album. Yes, it’s true! A version of “Come Here Boy” was on a mix sslabs sent me and he cautioned me that the album as a whole was nothing like the song. I found myself too drawn to the song to resist though and I had to find out for myself. I’m glad I satiated myself and don’t regret the purchase, but I wouldn’t recommend this album to anyone. It’s muddled at best despite the few standout songs. Once Imogen finds a solid foundation to expand from I imagine she’ll do great things with her music. As far as I understand, this album is out of print and took some searching to find, so if you are like me and you must know for yourself this can probably be had at half.com or someplace similar.
Recommended:
No
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JennJoy
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