John Mayer
Battle Studies

The Connecticut guy with the warm voice and blues soul is back. Dedicated to sugary ballads (sometimes a bit cloying), verbose and provocative press conferences, quirky YouTube videos, and famous conquests, he gifts us at the end of 2009 with his latest album: "Battle Studies".

"Battle Studies" is not, contrary to what one might imagine, an album with an aggressive sound, but rather the opposite. In a sort of concept, our singer-songwriter dissects all the battles that take place within ourselves: from the scruples we have about winning over a girl just for the thrill of it, to exaggerating without reason, wondering why we feel happy being alone, to a nice reflection on what murder is for our dignity.

The first song "Heartbreak Warfare" has a very "U2" sound; effected guitars and a hint of ultra-polished. It doesn't drive you crazy, but it's not displeasing either. Supporting it all is his masterful warm baritone timbre, which effortlessly transitions to a fitting falsetto. The highlight of the LP once again is Mayer's delicate and seductive voice and his dreamy atmospheres.

The former Berklee College of Music student has a meticulous attention to sound, both in the studio and in concerts, and he demonstrates it throughout the album: moving from a sweet and delicate ballad like "All We Ever Do Is Say Goodbye" to the soft tapestry of "Half Of My Heart" (with which he duets with Taylor Swift) without particular leaps, as if everything were connected by a melancholic sigh.

Fingers warm up on the first single release: the pop-folk air of "Who Says" is very beautiful and engaging, and it has been associated (for the lyrics "I don't remember you looking any better/But then again, I don't remember you") by the British press to a confession where the author candidly admitted to often smoking marijuana. The next song, "Perfectly Lonely", is also very sunny and catchy but not as predictable as the times would demand. Unfortunately, after the fifth track, the successful hits decrease, and the melodies that the songwriter has accustomed us to over the years fail to surprise us as they once did. The last noteworthy track is indeed "Friends, Lovers or Nothing", where we find the spirit of the past and a perfect arrangement.

Even "Crossroads", the cover of Robert Johnson, lacks passion, and the atmosphere it conveys is even impalpable; it definitely could have been better. But perhaps the fault is not solely his, because behind Mayer indeed stand manager Michael McDonald and the head of Columbia America Don Ienner, keen to preserve his enormous commercial potential. Highly influential, as seen from the artist's blog, are the songs of Passion Pit. His music avoids sharp corners and roughness partly due to their advice, sure, but after his worldwide success, he could have dared to step out of the established path and explore territories more congenial to his creative vein.

Next time, dare more Johnny, you can afford it.

Considering his past albums: "Room for Squares" (9/10), "Heavier Things" (7/10), "JM Trio" (8/10), "Continuum" (8.5/10) this one gets a 6.5.