Rufus Wainwright: Release the Stars
Oh, who am I kidding?
In the past, I’ve accused Rufus Wainwright of being precocious, calling his voice the strange love child between Thom Yorke and Shiina Ringo. I’ve complained about his debut album being too clever by half, all the while buying up every album he’s subsequently released.
And what’s up with the pork chops on the sides of his face? Such a fabulous little hipster he is.
At some point, my initial skepticism of Wainwright turned into fandom. At some point, the news of a new Rufus Wainwright album became something to anticipate, not that I ever dreaded it.
And so Wainwright releases Release the Stars, and it’s everything listeners come to expect from a Rufus Wainwright album — all lush orchestrations and dramatic climaxes, mouthy lyrics and sweeping melodies.
It’s comfort listening, something of which I’m usually wary when I recognize it. Wainwright set expectations with his previous albums, and he meets all of them with Release the Stars. There isn’t anything really new to point out about this recent set of songs.
"Going to a Town" contains the line every critic quotes: "I’m so tired of America." Given the fashionable jingoism of the last seven years, such a line is titilating enough to see who it pisses off, never mind the song is gorgeous.
About the only thing really to note is how just about every song has some big outburst. "Slideshow" begins pleasantly enough, but that chorus hits like a jackhammer. "Rules and Regulations" also starts off modestly as well, but by the end, it’s a festival.
"Between My Legs" has a clever, off-kilter drum beat, but somehow the song morphs with a conclusion that quotes Andrew Lloyd Webber. I had to check the liner notes to make sure that wasn’t Michael Crawford delivering the spoken work at the end. (It’s Sian Phillips.)
Tracks such as "Tiergarten" and "Not Ready to Love" provide a nice break from the excess, and perhaps the album could have made room for more of those moments.
It may sound like Wainwright is in a rut, but that may not be a bad thing. There’s a richness to his writing that doesn’t necessarily call for a drastic career makeover. Maybe he needs a few less players in the orchestra, but much of the appeal in his music comes from its, well, fabulousness.
Or perhaps his audiences just don’t demand enough.
His songs are still hummable as ever, and his voice just seems to get warmer with each release. I finally broke down and bought the self-titled debut, just to see whether my initial reaction to Wainwright still held true. He does come off heavier, and his voice is quite rough.
Release the Stars is big on the grandeur, but long-time Wainwright listeners should remain pleased.