We know her, if anything, by her 1995 single “You Oughta Know,” with it’s prominently bleeped out lyrics about somebody doing something naughty to someone else in a movie theater. Since the release of her first album Jagged Little Pill, Alanis Morissette continues to mock the tamer end of the “riot grrl” label she is often slapped with. Her latest release, under rug swept, is an evolved collection of 11 songs produced and mainly orchestrated by Morissette herself.
under rug swept is evidence of how much an artist can grow when they finally have the knowledge to produce exactly what they had in mind. The hostility, cynicism and anger is still there, but it’s hidden well enough to change things. The first single, “Hands Clean,” is a standard tune with a simple breakdown. But Morissette adds her vocals and a melodious, fast-paced mixture of acoustic and electric guitar and piano, giving it a spin that would otherwise leave the song lacking.
“21 Things I Want In a Lover” is the old Alanis, an inventory of what she chooses to choose with rhetorical questions that are sung and not spoken. “Flinch,” on the other hand, is a slow, bitchy ballad that, while it does prominently feature Morissette’s unique vocals, leaves a somewhat ingratiating imprint. It cannot be denied that despite her provoking lyrics, which most can relate to, her voice can go from an agreeable invitation to an overstayed welcome in the space of three minutes. However, “That Particular Time” displays her voice just as prominently and is nowhere near as annoying.
Both “So Unsexy” and “A Man” are interesting standouts sounding nothing at all like the older, angrier Morissette and even more like the well-produced artist. Harmonious background vocals add a better understanding to the already indignant tracks. “You Owe Me Nothing In Return” is a drawn-out laundry list, sung like poetry, but slightly forgettable. “Surrendering” and “Utopia” bring back Morissette’s capabilities.
under rug swept is much like the black and white photo of Morissette featured in the middle of the album’s liner notes. She is sprawled on a leather couch, sporting her gravity-defying long hair, suede pants, and Converse all-star sneakers. She blends the new school, more upbeat and produced sound, with the old, old school bitterness and anger, and leaves a surprising, if not memorable vocal imprint behind.
— Sharon Steel
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