REVIEW: Idoru – Demo

By Manda L. Earp

Chain Border

IdoruI'll say it like this: had American soldiers forced Saddam Hussien to listen to Idoru in his capture, they would have known every Iraqi secret from the past twenty years within ten minutes. Of course, if you like all of your songs to sound disturbingly similar, and enjoy listening to singers who cannot sing in tune, then Idoru is definitely for you.

Idoru is made up of three artists, a male and two females, and each get to sing one song on their three-track, self-titled techno demo. But with the repetitive nature of each track, combined with the lyrical depth of a five year old trying desperately to rhyme words for the first time, it's a shame that their recording is so long – and it's only ten minutes in length.

16 ft. of Broken Glass, the first song on their demo, is as painful to listen to as walking on 16 feet of broken glass actually feels. The techno beat is boringly consistent throughout the entire three minutes of the song and is simple in composition. Worse than the beat, however, are the vocals. The female singer drones on, out of tune, about trying to find love and trust with the lyrical intensity of a Hallmark card. “16 feet of broken glass / we see our lives move so fast / and if we die before we wake / then tell me now that this is love," not only sounds trite, but makes absolutely no sense whatsoever.

The second song on Idoru's three track demo, entitled The Brink, has the listener standing on the brink of sanity. Although the techno beat is a little more interesting and engaging, the male singer sounds like a flat 1980's British vocalist (which might not be so bad, except for the fact that he is Japanese). And, in a manner similar to the previous song, the lyrics are bland and senseless. Most of this song has the singer calling out for a woman named Michelle (presumably one of Idoru's two female singers). However, I'm hoping that Michelle is the patron saint of lyric-writing; if that is the case, he better damn well keep calling out for her.

The third track, The Bitter Fruit, has a very long, and admittedly catchy, introduction. Unfortunately, thirty seconds into the song one of the two female singers starts vocalizing in the most out of tune singing that I have ever encountered. Obviously, even studio magic could not fix the flat quality of her voice. Combined with the severely trite lyrics, The Bitter Fruit is intolerable and not worth the three minutes of track time it takes up.

Honestly, there is nothing about Idoru that I could recommend to anybody, unless you are looking for a good eye-roll and a hearty chuckle. With a lack of style and lyrical quality, it is as though the artists purposefully tried NOT to allow for any individuality and seriousness within their music. The worst part of all, however, is that none of the singers displayed any vocal talent whatsoever. Drunk wannabes at 2 a.m. in a karaoke bar sound like professionals in comparison. That sad fact is a clear sign that Idoru should hang it up while they still can.

Contact Information:
Post: 450 Haight St. #2, San Francisco, CA, 94117, USA
Phone: (415) 552-7066
E-Mail: ghundi@earthlink.net

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