Havoc and Bright Lights (Deluxe Edition) Alanis Morissette
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- 2woman down03:34
- 3'til you04:04
- 10win and win04:57
- 12edge of evolution04:29
- 13will you be my girlfriend?04:09
- 14magical child05:07
- Live in Berlin Concert:
- 15i remain (segue 1)02:49
- 16woman down03:31
- 17you learn04:44
- 19hands clean04:47
- 20citizen of the planet04:46
- 22head over feet04:57
- 23You Oughta Know05:29
- 25Hand in My Pocket05:14
Info for Havoc and Bright Lights (Deluxe Edition)
On her album 'Havoc and Bright Lights', Alanis Morissette distills her entire body of work into its closing track “Edge of Evolution”.
“…we’re ready to push envelopes into full-blown consciousness,” she declares in the final verse. “The evolution of our consciousness can be such a lofty, overly heady, and, frankly, confusing conversation for people,” Morissette says, “so the song is an invitation to clarify and support what growth, healing, connection and self-expression really means for each person. Ultimately, supporting people’s next courageous step is all I really care about. I think that's what my contribution is - to engage musically, lyrically and publicly in the conversation about my and our humanity. This movement toward wholeness, rather than perfection or goodness, and deepening intimacy, connection and authenticity is such a big part of what I'm here to contribute.”
Over the course of her two decades in the music industry, Morissette has never shrunk from that goal. In the process, she has become known as many things: an introspective confessionalist, a relentless seeker, and a hardcore truth-teller among them. She continues her quest for authenticity and emotional connection and healing on 'Havoc and Bright Lights'. Set against a musical backdrop of bright, bold melodies, adrenalised guitars, and lush sonic textures, the album lays out Morissette’s mission in her swooping confident voice, while the urgent rock rhythms drive home her themes: misogyny and the gender wars (“Woman Down”), the price of fame (“Celebrity”), the shame that comes from self-defeating thoughts (“Spiral”), the consequences of several addictions (“Havoc”), and the deep divisions created by people’s differing religious and political beliefs (“Lens”). “A song starts with the seed, or the essence of an idea,” she says, 'and is written in under an hour. I far prefer writing about the personal and the micro in a concise way. That’s what interests me. Rather than paint overly broad strokes, I’d rather write about the one-on-one of personal interactions. And then allow it to be a commentary on the more macro effects we see in the world, from there.”
As always, Morissette plays with a duality in her songwriting - a hard-won equanimity that has come from having achieved a balance in her personal and professional life since the 2008 release of her epic break-up record 'Flavors of Entanglement'. Since then, Morissette married rapper Souleye (born Mario Treadway) and gave birth to their son Ever.
Naturally, these transformative events are reflected on her new album, providing a softness and vulnerability that has always been present in her work, but filled with even more conviction. The album’s first single “Guardian” is about her relationship with herself as well as with her son. “It’s about the care I have to offer myself in a way I never have in the past in order to sustain wifehood and motherhood,” she says. “Til You” is an open-hearted love song for her husband, while “Empathy” thanks him and her closest loved ones for truly seeing her. “I really do think that empathy is the cornerstone of what will not only raise the consciousness of the planet, but will also provide profound healing. And perhaps these are one and the same.” she says.
Morissette began writing the songs on Havoc and Bright Lights shortly after giving birth to Ever. “Once my son was born, I immediately felt this surge of ‘I have to write this record’,” Morissette says. “Of course the timing couldn’t have been worse. Post-partum is not the time to be doing anything other than post-partum-ing. Because I'm an attachment parent, I wanted to be near him 24 / 7.” She turned the first floor of her home into a makeshift studio, inviting her Flavors of Entanglement collaborator Guy Sigsworth over from London where the pair would knock out a song a day. “It was this unusual but perfect blend of mom-hood and artist,” she says. “It was a challenge to do both at the same time, but I had no other option. I was called to show up 100 percent for both, so this was the only way to do it. I developed a deep affinity and gratitude for coffee and falling asleep sitting up, for the first time in my life”, she says with a laugh.
The results include the darkly swirling rock songs “Woman Down”, “Celebrity”, and “Numb”, which throb with Sigsworth’s adventurous synth textures and drum loops, and the softer-edged “Win and Win”, “Receive” and “Guardian”. Together Morissette and Sigsworth, who has also worked with Björk and Madonna, wrote between 25 and 30 songs. To warm up the electronic vibe, Morissette brought in producer Joe Chiccarelli (Jason Mraz, White Stripes, The Strokes), who gave the songs a grounded, organic feel. “Guy contributes this otherworldly, technologically savant-esque, limitless magic,” Morissette says, “and then we have Joe, who honors the narrative and creates this incredibly modern, kick-you-in-the-teeth rock sound. The blend of both of these producers was the perfect integration for me. I wanted the album to have the fantastical aspects of what technology can build, combined with a human earthiness, and I think that’s what we achieved.”
Even the title is a reference to the album’s overall balance, though Morissette admits it was a challenge to come up with something that reflected the variety of subject matter. “‘Havoc’ refers to the song with that title and the challenges and consequences of taking responsibility and recovering from different addictions,” she explains. “‘Bright Lights’ speaks to both the spirituality that pervades all the songs, with us all being ‘light’ at our core, and the hot heat (or bright lights) of being famous and in the public eye, as in the song ‘Celebrity.’'
Morissette, of course, knows a thing or two about that. The Ottawa, Canada, native first rose to international fame in 1995 with her four-time Grammy Award-winning album 'Jagged Little Pill', which at 16x-platinum remains the best-selling debut release by a female artist in the US and the highest-selling debut album worldwide in music history. She has scored a series of memorable singles off her subsequent studio albums 1998’s 'Supposed Former Infatuation Junkie' (which debuted at No. 1 on the Billboard’s Top 200 Albums chart and featured the international, Grammy-nominated smash single “Thank U”), 2002’s 'Under Rug Swept' (which also debuted at No. 1), 2004’s 'So-Called Chaos' (featuring the Adult Top 40 mainstay “Everything”), and 2008’s Top 10 'Flavors of Entanglement'. She has sold more than 60 million albums worldwide, won seven Grammy Awards (and received an additional 14 Grammy nominations), and won 12 Juno Awards.
Yet despite the accolades, the one thing Morissette has always craved most is connection. “In my teen years, I thought fame would afford me more connection but the opposite wound up being true,” she says. “Instead I became a screen upon which people could project their ideas, and it actually pushed them further away from me, which was devastating. The reason this new album represents such a celebration for me is that I can still exist in the context of popular culture, but I'm also experiencing connection because the climate now allows for it. Whether it’s through social media, tweeting, or blogging, it's enabled me to achieve the intimacy with my fans and peers that I've always wanted.”
Alanis Morissetten, vocals
Jeff Babko, keyboards
Joe Chiccarelli, keyboards
Zac Rae, keyboards
Guy Sigsworth, keyboards
Chris Elms, electric guitars
David Levita, electric guitars
Tim Pierce, electric guitars
Lyle Workman, electric guitars
Mike Daly, acoustic guitars
Chris Elms, acoustic guitars
Tim Pierce, acoustic guitars
Paul Bushnell, bass
Sean Hurley, bass
Matt Chamberlain, drums
Victor Indrizzo, drums, percussion
Joe Chiccarelli, drum programming
Guy Sigsworth, drum programming
David Campbell, Woodwind Arrangements (on 'Havoc“)
Lili Haydn, violin (on 'Numb“)
Recorded at Sunset Sound, Hollywood, CA and The Bank, Burbank, CA
Produced by Guy Sigsworth, Joe Chiccarelli
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This album contains no booklet.