Emmy Rossum - Inside Out
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CD Details
Artist: Emmy RossumEdition: Music CD
CD Release Date: 2007-10-23
Music Label: Geffen Records
Soundtracks:
- Slow Me Down
- Inside Out
- Stay
- Falling
- The Great Divide
- Lullaby
- Don't Stop Now
- High
- A Million Pieces
- Rainy Days And Mondays
- Anymore
Music reviews of Inside Out
Music Review: Better than I expected in many ways
Rating: 4 Stars
Like a lot of reviewers I was intrigued by Emmy Rossum's performance in 2004's "The Phantom of the Opera" and I wanted to see how she would develop as a singer. Her debut album "Inside Out" bypasses the classical crossover genre which many would expect from her- some will probably disappointed, and draws inspiration from the likes of Imogean Heap, Enya, Sarah McLaughlin, Sarah Brightman and a host of others. Some reviews call it a "rip off" of artists like Enya and Heap, however I think that Rossum has a younger, pop-ier, less synthisized sound. Rossum wrote all the lyrics and cowrote all the music (with the exception of a cover of "Rainy Days and Mondays") and sang every vocal including all the harmonies and backing without using any synth. That definately gives the album a feeling of being truely about the artist, that few albums in the contemporary pop genre have. The result is a strong, though slightly flawed first effort.
The single "Slow Me Down" is a blend of 150 tracks of Rossum singing the song and harmonies. Her voice runs fast and breathless as she sings of "Rushing and racing and running in circles moving so fast I'm forgetting my purpose" and then draws out the chorus where she pleads to stop before she misses out on life. As a concept it works but in execution it feels cluttered and hard to listen to. Maybe that was the intention but I doubt this was the wisest choice of a single. The layed vocals also interfere on "Falling" a pop infused song about the heady sensation of infatuation. The technique fares better on "Stay" a song that opens with several tracks of Rossum's voice in an eerie whisper peading "hush now, close out the light, no need to speak, time will slow if we surrender..." and a new wave of vocals come in on the chorus "head rush, careful don't stop now, shiver" The vocals are arranged in waves as if a tide is coming in and receading and slowly buidling to a climax until we are given a final plea to "stay" almost like a siren's call. "Lullaby" is what the title says. Here Rossum's solitary voice sings each verse adding only a layer or two on the chorus. "Don't Stop now" features a creeping sound as Rossum sings of a lover's infidelity, and the "The Great Divide" has very simple lyrics ("Are you listening?" and "I need you now" for the most part) though it achieves an almost epic feel. At nearly seven minutes long it really divides the first and second portion of the album. The cover of "Rainy Days and Mondays" stands out by virtue of being the only cover on the album. Rossum makes it her own by recording the song itself and overlapping it with "dum, dums" that sound like raindrops plonking down. Perhaps the most notable track is the last one "Anymore", which again features solitary vocals, and instrumentals playing a childish tune as Rossum sings about her younger self wishing for her absent father to come home, realizing that he won't: "When she was younger- Stood staring at the door waiting for the day that she knew would surely come...But as time ticked away promises fade one by one and now she's all grown...". Many reviews have noted that Rossum's CD cover suggest nudity (and for the record all it does is suggest it) Yes, she's not dressed in the pictures, but they aren't about her body by any means. Perhaps it was intended as a metaphor for the way she strips herself bare on these songs, singing about her own (sometimes painful) experiences.
On one hand I commend Rossum for trying something different, and taking an active role in the creation of these songs. However, it sometimes seems that in the process she forgets that she as a lovely voice. The best moments on this album are when she allows her voice to be as bare as the rest of her. While I'm glad Rossum didn't take a "look what I can do" approach to her songs, singing as high as she can, I wish she'd shown us a bit more of what she sounds like. The layered vocals provide a lush tapestry on songs like "Stay" they threaten to overwhelm songs like "Inside Out" that would benefit from a more acoustic sound. Also while Rossum doesn't use synthesizers the effect of multiple vocal tracks often sounds like that of a synthesizer and using it on too many songs makes the album start to feel a bit repetitive.
Overall I give this album 4 stars for it's lyrics, and some lovely songs that reveal Rossum as a dreamer, a romantic, and an awkward kid (some of the album's charm lies in it's awkwardness- while it aspires to adult contemporary genre some of the lyrics give away the fact that Rossum is barely out of her teens). It loses a star for being slightly overproduced on some songs and obscuring the vocals. I do think it's worth checking out despite it's faults and I'm interested to see what musical directions Rossum head in the future.
Description of Inside Out
Emmy Rossum, the actress best known for her acting roles in `Phantom Of The Opera,' `Mystic River,' and `The Day After Tomorrow,' has her diversity validated with her release of debut album, Inside Out, Despite her being known primary as an actress, music has always played a major role in Emmy Rossum's life.When she was seven years old, she was singing with the Metropolitan Opera, and by the time she was a teenager, she had auditioned, and won, the part of Christine in the film version of `Phantom of the Opera,' for which she received a Golden Globe nomination. Rossum recorded her new music with producer Stuart Brawley, with whom she co-wrote all of the songs, and it represents a showcase for her remarkable vocal range. "I feel a real emotional connection to these songs," she says. "It's a real expression of my innermost thoughts and feelings, hence the title Inside Out." "It's about finding a respite from all the craziness," says the performer about the song. "I wanted to create a kind of music that would allow me to use my voice as an instrument. I tried to discover the boundary of the human voice.
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