Album Review: Guns N' Roses--Chinese Democracy

So last night, I cued up "Chinese Democracy", "Shackler's Revenge" and "Better" and would not tell my girlfriend what record it was, or what band it was. She realized it was Axl in the middle of "Better."

Her reaction: "That's Axl! Is this Chinese Democracy?"

I grinned and nodded.

"It doesn't suck!"

From Axl's entry on the title track, a high electronic buzzing whine that spirals down into the mix and blossoms into his trademark yowl, special effects and studio tricks are the cornerstones of this long-awaited album. "Shackler's Revenge" really establishes this album's sound, a searing blend of electronic effects, chugging vocals and searing guitar solos over a fast groove that recalls the punky songs on Use Your Illusion I. Only Axl could tell you which of the five guitarists (Robin Finck, Buckethead, Ron "Bumblefoot" Thal, Richard Fortus, and Paul "Huge" Tobias) plays what, and he ain't talking.

"Street of Dreams" (leaked as "The Blues") recalls Axl's bad obsession with Elton John, right down to the "Tiny Dancer" string samples. "If The World" opens with an astounding flamenco part (gotta be Buckethead) and one of Axl's best vocal performances. "There Was a Time" is a strong, nostalgic ballad. "Catcher in the Rye" echoes "Yesterdays" and "Breakdown" on Use Your Illusion II. Axl works out his anger issues (again) on "Scraped", which has a great headbanging groove. Then into bluesy territory with "I.R.S." the best song on the record. "Madagascar" is the epic among all these other epics, a climactic track which finds Axl mining Cool Hand Luke in the spirit of "Civil War." In fact, Democracy constantly references the Illusion records the same way those albums borrowed from Appetite.

The biggest flaw with Chinese Democracy is its "everything but the kitchen sink" approach to songwriting, which makes one yearn for the simpler days of "Mr. Brownstone." Each note, chord, and snare crack was carefully assembled, digitally processed and placed exactly where Axl wanted it. It's the same kind of total environment control that led James Cameron to create Avatar. Songs start, riff, groove, turn left, another riff, a sample, electronic drums, solo, yowl, etc. This process of digitally building an album is nothing new--but this is the first time that these techniques have been applied on such an enormous scale.

It all gets a little exhausting, especially after 14 songs.
But no, it doesn't suck.