janesaddiction.org

Worcester Telegram & Gazette (MA)
November 4, 1990
JANE'S ADDICTION'S PERRY FARRELL PROBES THE DEPTS AND THE HEIGHTS
Author: Craig S. Semon

RITUAL DE LO HABITUAL Jane's Addiction (Warner Bros.) ***

Is Perry Farrell a perverted visionary, the ultimate poser or just the overdue shot of adrenaline that rock "n' roll needs?

As lead singer, lyricist and creative guru of the controversial Jane's Addiction, Farrell has made his unrelenting passions, furious viewpoints and tangent-ridden poetry into an absorbing, complex mixture. It's as if Farrell is continually trying to create the perfect musical personification of a gooey, hot-fudge sundae, with lots of whipped cream and extra nuts. In the band's short existence, Farrell has developed a sense of not making music but creating art.

"Ritual de lo Habitual," Jane's Addiction's latest, translates loosely to "happy habit," and clearly distinguishes the band's hipness from the hype. Jane's Addiction, which is currently on a 32-date U.S. tour (with a Nov. 23 stop at the Orpheum in Boston,) has followed its 1988 Warner release, the much-ballyhooed "Nothing Shocking," in compelling fashion. Edging its way toward the Top 20 on Billboard's Top 200 Pop Albums chart, "Ritual de lo Habitual" keeps making promises about the future without faltering on the band's past.

Bidding War

Before signing with Warner Brothers in the summer of 1987, this Los Angeles based band was the center of an intense bidding war among major record companies. Jane's Addiction was considered the best unsigned band, although something of a creative oddity. Now, the band constantly finds itself the center of controversy as a result of its two Warner Brothers releases, "Nothing Shocking" and "Ritual de lo Habitual," primarily due to the record covers.

Although cover art, especially in today's petit size CD and cassette jacket world, is not necessary important for interpretation of the group, in the case of Jane's Addiction it is essential to the band's persona. "Nothing Shocking" featured a sculpture of Farrell's girlfriend as nude Siamese twins with their heads on fire. On the band's latest, a paper mache menage a trois, complete with exposed genitalia and religious symbols, is represented. If this wasn't enough, there are inside linear notes on censorship addressed "To the Mosquitoes."

Noisy and Chaotic

However, all this controversy is extended and fully realized in the music. It is noisy, abrasive and chaotic, but with a certain grace, a sincere and creative process at work. Farrell achieves his results with strong backing from his often inspired but sometimes messy bandmates - bassist Eric Avery, drummer Stephen Perkins and guitarist David Navarro. Further, if it weren't for Farrell's conviction (especially when the songs lack clarity or direction,) some of the songs would border on the insipid. Instead, the songs come off as abstract, original pieces.

"Stop" begins the album with Navarro's choppy guitar, Avery's twangy bass and Perkins' punchy drums. This is topped off by Farrell's piercing voice and his lyrics that offer a new slant of interpretation every other line. The song trembles with uninhibited excitement, over-layered with loud noise. The song, like most of the tracks on the album, caters to the spontaneity of the tangent, both musically and lyrically.

"No One Leaving" jabs at the ignorance and hostility directed towards those in mixed romances. Through high intensity rock 'n' roll, Farrell taunts and screams angrily, while occasionally delivering key phrases calmly. The result is bizarre, fantastic prayer of love and its endless boundaries. The song concludes by borrowing Ian Dury's "Sex and Drugs and Rock "n' Roll" anthem as a direct attack at the Parents' Music Resource Center, censorship and unconstitutional behavior in general.

A Hostile Romp

"Ain't No Right" is a hostile romp, with biting lyrics clashing with the instruments' hypnotic mix. Farrell creates a glossy growl as he expresses the song's philosophy "Ain't no wrong now. Ain't no right. Only pleasure and pain." "Obvious" deals with resentment toward individuals for social, fundamental reasons. The song is crisp with its siren-like guitar and Farrell delicately thought-out singing.

The album's standout "Been Caught Stealing" is rock 'n' roll's definitive pro-shoplifting song. From its inspired use of dogs barking and hands clapping, this song is a gem. Farrell's commanding vocals, Navarro's choppy rhythms and the song's engaging brassiness creates a strong interplay for this truly distorted vision. The lines "When we want something, we don't want to pay for it. We walk right through the door," emphasizes this offbeat bohemian view of survival.

Farrell teeters on unfocused self-indulgence on the ambitious "Three Days." Twangy guitars and fiery vocals highlights the creation of this spiritual/sacrilegious experience with multiple love partners. Farrell's uninhibited poetry seems to reflect what he feels as man's deepest desires. The song tries to elevate these ponderings to a higher level with a louder and louder jam session.

"Then She Did" is a moody ballad laced with images of a past relationship with a female artist. Farrell creates an interesting analogy between the ex-lover and his mother, concluding that both are "unhappy." "Of Course," with guest artist Charlie Bisharat's fevered violin playing, sounds like a Gypsy-flavored psychotic bash. The song focuses on physically abusive brotherly advice through the unusual combination of rock and classical instruments.