Cursed
Two (Goodfellow/Sonic Unyon)
Truly blistering hardcore from Montreal's loudest. Things start off with a two-minute calm before the storm, but after blaster "Fatalist," Cursed crush and obliterate throughout. Marrying an early Converge/Unsane sound with Accused/Negative Approach larynx shredding, these local hardcore heroes prove to be the band to watch out for in 2005. They switch gears on "Model Home Invasion," digging in to a dirge, but more often than not Cursed seem more content to crush your cranium to a fine powder. This no-holds-barred assault is the way hardcore is supposed to sound. 9/10 (Johnson Cummins)
Stinking Lizaveta
Caught Between Worlds (At a Loss)
This Philly trio is one of the most pleasant surprises to come along in a while. This all-instrumental record merges metal chug, Sabbath sludge and noise with moments of outside music that brings to mind Black Flag's stellar Process of Weeding Out. Fans of Neurosis and Eye Hate God will surely get on board, but it's the stoner grooves and bowed double bass that really put Stinking Lizaveta in a league of their own. The production, or rather lack thereof, does hold them back a bit in really delivering the K.O. punch, but these guys definitely have something going on here. 7.5/10 (Johnson Cummins)
The Fiery Furnaces
EP (Rough Trade/BMG)
Only a band so excessive would call a 10-track, 40-minute disc an EP, and only a band so devoted to the fringe would leave their most accessible songs for an outtakes comp. Lightly warped by the dizzy circus sounds introduced on last year's Blueberry Boat, EP shines and shimmies with catchy pop. However, out of sheer perversion, the duo dots these tunes with gross guitar farts, awful synths and other irritating devices, like the chorus of "Duffer St. George," sung to the tune of "Jimmy Crack Corn." You'll love to hate these flashes of horror, and love the rest. 7.5/10 (Lorraine Carpenter)
Viva Voce
The Heat Can Melt Your Brain (Mintyfresh/ Fusion III)
Their moniker may not ring many bells, but you've probably heard this Portland duo on TV. Suggesting styles ranging from lively krautrock to plodding prog to Britpop to R&B, their catalogue has proven to be ripe for soundtrack picking. On this third album, Kevin and Anita Robinson build palpable moods with perfect portions of antique synths and pianos, bold and ambient guitars and a wide array of beats and percussion. Despite its eclecticism, the record is unified by the duo's velvety lead vocals, harmonies, twangy riffs and swathes of soft atmospheric ornamentation. 8.5/10 (Lorraine Carpenter)
naw
Green Nights Orange Days (Noise Factory/Outside)
If you're looking for swirling delay and ghostly synth ambience à la Basic Channel, combined with more driven flirtations with minimalist techno, leave it to Montreal native naw (aka Neil A. Wiernik) to deliver. While some minimal techno artists perpetually play catch-up with the latest must-have software patches and the hottest new sound, naw opts to refine his hypnotic, dubwise production, continuing his explorations in a mindbending world of filters and echoes. Kudos to naw for staying true to a sound the listener can tell he truly loves. 8/10 (Raf Katigbak)
Roni Size
Return to the V (V/Fusion III)
Remember when drum & bass was supposed to be the sound of the future? Well, here we are 10 years later and, aside from a relatively small army of hardcore ragga jungle fans, drum & bass in Montreal has gone the way of really, really huge pants. A decade ago, Roni Size seemed to have it locked down with New Forms, an album that broke out of the traditional D&B mould with its jazz-tinged flavours. After a few rather misguided albums, Size's latest, a "return to his soulful roots," is hindered somewhat by the rhythmic limitations of the genre, but mostly by the lacklustre performances of the guest U.K. hip hop and R&B vocalists. For hardcore fans only! 5/10 (Raf Katigbak)
Ludacris
The Red Light District (Island/Def Jam)
Ludacris has perhaps capitalized on his big personality, sense of humour and ability to keep it fresh and unique more than anyone else in hip hop right now, and these strengths are front and centre on The Red Light District. Lots of people try, but it's hard to match his Southern-fried style, one that spawned a slew of imitators. Although people got "Get Back" stuck in their heads pretty quick, I'm partial to the Green Lantern-produced "Number One Spot," featuring a familiar tidbit from Quincy Jones's "Soul Bossa Nova." Timbaland fades 'em all, though, with production that brings out the best in Luda on the outrageously tight "Potion," a song that nobody with an ounce of flavour could possibly front on. 8.5/10 (Scott C)
Various
Coach Carter Soundtrack (MTV/EMI)
Am I a snob because St. Lunatics leave me unresponsive and blasé? Am I jaded because Letoya's "What Love Can Do" sounds unapologetically like Mary J Blige's "Family Affair"? Who knows. What I do know is this kid Carl whom I met last week almost fainted when he saw me take this CD out of my bag. He insisted that Fabolous, who incidentally has a song here called "No Need for Conversation," was by far the best MC out there today. Like many soundtracks, people will check this if they like the movie, but, save for Van Hunt's "Your Love" and Kanye West's "Wouldn't You Like to Ride," the rest of this record provided little inspiration for me. 7/10 (Scott C)
Fantasia
Free Yourself (J/BMG)
Third-season American Idol winner Fantasia Barrino's debut disc has succeeded in doing something other AI alumni have failed miserably at: delivering a set that makes her involvement in the show irrelevant. Crafted by producers - Rodney Jerkins and Missy Elliot among them - who compliment her raspy vocal style rather than bury it under a mound of generic pop, the album is a testament to fresh urban flavour. And while the obligatory AI songs like show-stopper "Summertime" are here, it's the potentially controversial "Baby Mama" that steals this show. It's a celebration of single motherhood that'll have the religious right in a tizzy and everyone else cheering for a real winner. 8.5/10 (Gerard Dee)
Jason Miles
Miles to Miles (Narada Jazz/EMI)
Contrary to what you might think, keyboardist Jason Miles hasn't gone and dropped another Miles Davis cover record. And why would he? He was part of the 1986 Miles Davis band and recording ensemble that was responsible for the genre- and technology-bending Tutu. Davis was treading on new jazz ground, and Jason Miles was right there with his synths and an MPC 2000. On Miles to Miles, the music tries to reflect what Miles Davis might have been up to if he were alive, but it feels like that same mid-'80s fusion that overstayed its welcome. I personally would have thought that Miles would move on by now, but who knows. Guests include Me'Shell N'degeocello, Bernie Worrell, the Brecker brothers and DJ Logic. 7/10 (Scott C)
Paris Combo
Motifs (DRG/Koch)
This is one of those remarkable acts that can sound same-day fresh while making you nostalgic for a time and place you never saw. A lounge jazz act in that fairy-tale French tradition, Paris Combo incorporate understated touches - couleurs, if you will - of Gypsy jive, ska, Latin and Arabic music. The band's deft and dexterous stylings lay a carpet out for the lyrical flair of singer Belle de Berry, often global in scope. A couple of numbers are a little too smooth and muzak-ological, but most betray an uncommon liveliness and curiosity. 8/10 (Rupert Bottenberg) At Centre Pierre-Peladeau, Fri., Jan. 21, 8 p.m., $37.40
George Russell
The Outer View (OJC/Riverside)
A reissue of an important 1962 session by this pianist/composer's sextet of the time (Don Ellis, Garnett Brown, Paul Plummer, Steve Swallow, Pete LaRoca Sims) with, adding to the importance, an astounding version of "You Are My Sunshine" - a long track, one that introduced Sheila Jordan, one of the great singers in jazz history, to most listeners. This is "Sunshine" of the Pennsylvania-coal-mining-town, Saturday-night-tavern variety. There's more - a great Russell recasting of Bird's "Au Privave," Carla Bley's "Zig Zag" and two then-new Russell compositions. 9/10 (Len Dobbin) Sheila Jordan is at Upstairs, Fri., Jan. 21
Hong Ting
Chinese Traditional Zheng Music (Oliver Sudden/ Festival)
The talented Ms. Hong has brought the zheng, an outsized zither comparable at times to the harp, the piano, the mandolin and even the Indian sarod, into a variety of contexts over her career - dance pieces, theatrical scores, collaborations with artists Chinese and otherwise. Here, however, her solo set focuses entirely on (as the title suggests) the instrument's venerable, established compositions of yore. With a gentle yet certain touch and a relaxing rhythmic flow, Hong coaxes the zheng's warbles and trills into a highly pleasing tonal tapestry, rich but never excessively busy. 8/10 (Rupert Bottenberg)
Mini CD Reviews
Cul de Sac/Damo Suzuki Abhayamudra (Strange Attractors) Can's Suzuki joins forces with Cul de Sac, a perfect meeting as these live improv "instant compositions," while never rickety, sound like they could fall off the rails at any minute. 8.5 (JC)
Shelly Berg Blackbird (Concord/Koch) The leader, Chuck Berghofer and Gregg Field, in a terrific piano trio outing. Try the title tune or "Estate" for starters. 8 (LD)
Thee Moths Sand in Our Pockets (Total Gaylord) With one foot in Dundee and one in Montreal, Thee Moths' darling boy and girl vocalists mingle over four tracks of lo-fi, folky, foggy indie rock. 8 (LC)
Behemoth Demigod (Olympic) These Polish black metallists go a little easier on the Nile-like epic stuff this time around, and just get back to the roots of going for the throat. 7.5 (JC)
Triola Im Fünftonraum (Kompakt) In his every guise (Burger/Ink, the Modernist, the Bionaut) Köln techno minimalist Joerg Burger somehow manages to pull off gorgeously playful and blissed-out beats. This is no exception. 7.5 (RK)
The Doldrums/Vital Pink Ariel Pink's Haunted Graffiti 2 (Paw Tracks) Tinny, twisted no-fi tuneage from a faraway dysfunctional wasteland. 6 (LC)
>> Music Listings
