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3.0 out of 5 stars (3 customer reviews)
1 of 1 people found the following review helpful:
3.0 out of 5 stars
Great artists, but ..., 1 Sep 2007
By E. Kimsey - Published on Amazon.com
This review is from: The Dolls (Audio CD)
What first comes to mind are atonal compositions, those of Shoenberg and various avant-garde jazz attempts. An essentially experimental and anti-consumerist element seems to exist at the heart of this album, which excites a tension with an equivocally determined "lounge" mood.
Three stars: when I listen to this album, I hear artists' styles conflicting, where they strive to (or should) complement. Even atonal compositions, the ones worth mentioning, have a sort of "organic wholeness" about them that this album, for the most part, seems to lack.
I bought this album due to a recent and remarkable intrigue (a gravity) toward Vladislav Delay's "ambient" productions ("Demon Tracks" and "Whistleblower" in particular). These albums, among any albums of his other pseudonyms, I highly recommend!
1 of 2 people found the following review helpful:
3.0 out of 5 stars
Craig Armstrong, AGF, and Vladislav Delay all walk into a room..., 23 Nov 2005
By somethingexcellent - Published on Amazon.com
This review is from: The Dolls (Audio CD)
The Dolls is a collaboration between three artists who have no business finding enough time to work together and put out an album. In the past year or so, Antye Greie has released Explode with Vladislav Delay, as well as Before The Libretto as a member of the Lappetites. Vladislav Delay has not only collaborated with Greie on the aforementioned release, but put out The Four Quarters under his own name. Oh yeah, and Craig Armstrong is a constantly-working composer who has released albums under his own name, as well as worked with artists ranging from Madonna to U2 and Massive Attack, as well as doing soundtrack work for films like Moulin Rouge (among others).
Interestingly enough, The Dolls sounds almost exactly as one might imagine it to sound given the three artists involved. Warm, lush piano and string work is layered over the top of crisp, sometimes dub-influenced programming while glitchy sprays burst over it at times. Oh yeah, and Greie adds her half-spoken, half-sung vocals (which seem to be getting increasingly better with each release she works on). In fact, the album opener of "Martini Never Dies" is almost straightforward enough to find itself on an album by Armstrong himself, with slick, dry cracking beats and a wobbly bassline rumbling under minimal piano phrases and some crooning by Greie that sounds almost freestyle at times. "White Dove" chugs out alternating beat patterns under more warm piano and vocals, while frantic bursts of electronics shuffle on the outskirts.
On the album (and group) titled "The Dolls," the group turn in what is basically the theme song from the collaboration as glitch dub beats roll underneath some great interplay between Greie and the ivory tickling of Armstrong. Fortunately, not every single track on the album follows the same pattern as all of the aforementioned tracks, as "Night Active" busts out with a more dancey beat and nary a piano or string to be found while "Choices" rumbles with some poppy electro-krunk and "Motor City" is 4/4 banging with a wobbled-out twist (and some almost doo-wop vocals from Greie). Fans of Armstrong may find The Dolls a bit too strange to digest on first sitting, but those looking for even more unique work from Greie and Delay will find that the collaborative trio (who are all obviously as prolific as hell) has more than enough interesting elements to make it a worthwhile purchase.
(from almost cool music reviews)
0 of 1 people found the following review helpful:
3.0 out of 5 stars
Interesting, but fails to stick with you, 7 Jan 2006
By Manny Hernandez "@askmanny" - Published on Amazon.com
This review is from: The Dolls (Audio CD)
The sum of various talented people does not always equate to the combination of their individual talents. I thought all that Craig Armstrong touched turned into musical gold, but this album failed to stick with me. It sounds too intentional, too engineered, blending in beats and BJork-like voice into the piano and string soundscapes that Armstrong has us used to. In spite of how interesting you may think such a combination may be, it doesn't work out as you'd hope. I am moving on...
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