Plumbiferous Media

Juice Water - Quitzow

Jun 3rd 2010
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Juice Water - QuitzowQuitzow
Juice Water
Score: 83








Juice Water, the third album by singer/songwriter Eri­ca Quitzow’s solo project Quit­zow, was released on Tues­day. With Juice Water, Quit­zow has cre­at­ed a delight­ful­ly ener­getic, elec­tric album that, while defin­ing its own elec­tron­ic-art rock genre, dis­plays every bit of her cre­ativ­i­ty in a way that makes the album extreme­ly enjoy­able. Juice Water is alter­nate­ly a sim­ple and a very com­plex plea­sure, but it nev­er ceas­es to be a plea­sure.

The often sim­ple lines of Juice Water clear­ly come from pure elec­tron­ic dance music, lend­ing them their out­stand­ing lev­els of ener­gy, even on the slow­er, lighter tracks (which them­selves, are per­haps slight­ly over­whelmed by the hard edge of the per­cus­sion). Vari­a­tion, how­ev­er, is always extreme­ly present through Juice Water, from the unex­pect­ed and out­stand­ing use of the gui­tar on “Race Car,” to the dras­tic dif­fer­ences between the com­plex and the sim­ple, even in the course of sin­gle tracks.

But what equal­ly defines Juice Water is the tran­si­tions between the many, com­plete­ly con­trast­ing sec­tions of every sin­gle track. Not only does this place Quitzow’s style in a genre of its own, but it also keeps the entire­ty of Juice Water engag­ing and com­plete­ly inter­est­ing (save per­haps for “The Cut,” Juice Water’s longest track by near­ly a minute). Juice Water has more than a few odd issues, from the some of the less suc­cess­ful­ly mesh­ing synth parts of “Cher­ry Blos­som,” to the occa­sion­al over­sim­plic­i­ty of tracks like “Talk to Me.”

Quitzow’s voice is quite pos­si­bly one of the most vari­able ele­ments of Juice Water, thanks to an array of well-placed effects. How­ev­er, one thing stays con­stant through­out the album: the incred­i­ble lev­el of ener­gy Quit­zow express­es in every word. Whether her voice is tak­ing on the elec­tron­ic buzz of “Cher­ry Blos­som” or the sweep­ing sound of “Race Car,” Quitzow’s voice directs the music expert­ly. Fad­ing changes between vocal effects, such as on “More Kei­th Richards,” add a very unique sound that is simul­ta­ne­ous­ly flu­id and edged - an elec­tric wave of sorts, car­ry­ing the pow­er of Juice Water behind it.

Quit­zow tends towards sim­ple, expres­sive (and often quite amus­ing) lyics, putting the same ener­gy into the words of Juice Water as she does the voice. The lyrics alter­nate between the descrip­tive: “Cher­ry blos­som / Missed by a rag­ing storm” and the sim­pler, hon­est: “It’s 3 AM / We’ve drank too much whiskey.” What­ev­er the tone, Quit­zow does an excel­lent job match­ing the words to the tone of the music - whether it’s the ques­tion­ing tone of “Talk to Me” or the aggres­sive non­cha­lance of “What­ev­er.” Occa­sion­al over-rep­e­ti­tion does slight­ly weak­en the lyrics, but it’s gen­er­al­ly made up for by the skill with which they’re woven into the music. All togeth­er, Juice Water is quite well-writ­ten, and always enter­tain­ing.

Even with its few flaws, Juice Water would be entire­ly mer­i­ta­ble sole­ly on its unique­ness. As it is, Juice Water is also an extreme­ly catchy, engag­ing album. Lyrics such as the play­ful tran­si­tion­ing between num­bers, let­ters, and words on “The Cut:” “A, B, you know what I see?” and “One, two, I know you / I know that you know me too, three four…” mix per­fect­ly with the ever-chang­ing vocals. Addi­tion­al­ly, except in one or two cas­es, the entire­ty of the tran­sient sound some­how match­es the sto­ries Quit­zow tells per­fect­ly. Juice Water is, for all its puri­ty, an incred­i­bly com­plex album, and is in all set­tings, more than worth the lis­ten.


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