By Spencer Wilking
By Christina Black
By Calum Marsh
By J. Pablo
By Phillip Mlynar
By Jenna Sauers
By Brian McManus
By Elliott Sharp
The Detroit (via Arizona) Dylan, who earned his Prince of Darkness title from being Miles to Jim Morrison's Bird, on his new Eyes of Alice Cooperreflects on his career achievement of midwifing "inauthentic American rock music." He'd been hung, electrocuted, guillotined, flushed, and mutilated by a zipper years before Ben Stiller, and he came back with the T-shirt he's wearing on the back cover, depicting himself on the end of a rope. These Eyesare both the infernal desiring machines of Love It to Death's inner-pic and the thousand-yard-starers of From the Inside's outer, retinal imprints, peeled off the tracks from under those wheels.
"Detroit City" tastefully buries Ted "Death by Misadventure" 's hatchet; "Be With You Awhile" comes back from hell with candy canes for diabetic Muppets; "Spirits Rebellious" and "I'm Angry" briefly revisit AC's Slow Train Coming gospel period, so chickens may not die in vain. Screws are gleefully tightened on high culture again with "This House Is Haunted" 's equation of Euro-textures with horror filmsthe same fate that awaited 12-tone serialism, to no one's surprise save clueless classical composers'. Best of all is "Man of the Year," a reprise of Flush the Fashion's "Model Citizen" in which Alice commits suicide again (Cobain-styledespite the album title, no "gibbeting" here. That's when a wire is tightened around somebody's neck until his orbs pop out. 3-D stage atrocity awaits!) As usual, the main non-electrocution question re "current AC output" is, "Does the guitarist sound like Glen Buxton this time?" Answer, thankfully, is, "Sometimes, yeah!" Without any Cure covers, the man comes around.
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