John Legend
Get Lifted (Sony)
Not even a month into 2005, and one of the best urban albums of the year is here. The buzz surrounding Legend’s debut on Kanye West’s new label has been deafening, but the singer/songwriter/musician overcomes the hype via solid song structures and thoughtful lyrics. His set resembles recent soul albums—most notably Donnie’s The Colored Section and Anthony Hamilton’s Comin’ From Where I’m From—which feature extraordinary songs delivered by singers with refreshingly unpolished yet intensely personable vocals (think Bobby Womack or Bill Withers). The album is especially impressive during the West-produced lead single “Used to Love U,” the gospel-influenced “I Can Change” featuring Snoop Dogg and the stripped-down, piano-driven “Ordinary People.” To quote Snoop himself: “This is legendary shit right here, baby.” 9/10 (Gerard Dee)
Marianne Faithfull
Before the Poison (Naïve/Anti-Epitaph)
In the twilight of a spotty music career propped up by dubious achievements, Marianne Faithfull continues to attract stars to her cause. Like 2002’s Kissin’ Time (but better), this is a product of the alternative idiom—PJ Harvey pens, produces, plays and sings on five tracks, Nick Cave marks his territory on three (a lofty drama, a murky ballad and a raunchy blowout) and Blur’s Damon Albarn and producer/composer Jon Brion offer one song each. It would be hard to stumble with such talent on board, and despite her deteriorating voice, Faithfull brings character to this powerful piece of work. 8.5/10 (Lorraine Carpenter)
M83
Before the Dawn Heals Us (Mute)
The French buzz band returns quite promptly, again mining terrain gone over by Air and, in the case of the propulsive, unshakable lead single “Don’t Save Us From the Flames” in particular, My Bloody Valentine. There’s a vague theme of love and car crashes here (paging J.G. Ballard!), but the main development is the scope of M83’s rich synthrock symphonies and ghostly, galactic oratorios. Before the Dawn Heals Us isn’t just widescreen or even IMAX, it’s as big as the aurora borealis, looming above and all around the listener. 8.5/10 (Rupert Bottenberg)
High on Fire
Blessed Black Wings (Relapse/Koch)
One of the most anticipated current metal releases, Blessed Black Wings actually raises the bar after High on Fire’s last effort Surrounded by Thieves and delivers a wallopinging assault deserving of the hyperbole. Following the old-school metal path even farther, earmarking Venom, Celtic Frost and Motörhead along the way, High on Fire leave no prisoners and sling riffs that draw blood. Although his Lemmy-meets-Venom vocals sometimes bite off more than they can chew, Ex-Sleep member Matt Pike’s pure sludge riffage on songs like “The Face of Oblivion” and “Anointing of Seer” is utterly crushing. 9/10 (Johnson Cummins)
[nara]
Prélude au hasard (Cellar)
This is the first full-length from a Montreal quartet working the angle of abstract rock instrumentals. Framed by chunks of gentle ambient noise, the tunes here are marked by a determined push, whether they’re circumscribing clouds of contemplation, fighting back a tear or glancing nervously over their shoulders. Carefully cross-stitching bass, drums and crystalline guitars, [nara] have a solid sense of push and pull, give and take, passive and aggressive. Still, they seem as yet unready to take what they’ve got as far as they could, erring on the side of discretion. They’ve got their bearings, let’s see some daring. 7/10 (Rupert Bottenberg) CD launch at El Salon, Fri., Jan. 28, 9 p.m., $5
Psapp
Tiger, My Friend (Leaf/Fusion III)
As if to counter London’s climate, Gaila Durant and Carim Classman have created a homespun electro-pop sound, a sweet, warm oasis from their grey, wet urban reality—ironically, their studio has since been flattened for railway expansion. For a producer whose credits include Einstürzende Neubauten and Natacha Atlas, Classman’s concoctions are very intimate and inviting, employing pitter-pattering beats, drums, assorted keys, guitars, strings, squeaky toys, rain, beer cans and cats. Meanwhile, Durant’s lovely lyrics and vocals tend toward contented and genteel, yet she manages melancholy without missing a beat. 8/10 (Lorraine Carpenter)
Natacha’s Recordings Soundsystem
Dans nos cheminées (Natacha’s Recordings)
Natacha’s Recordings Soundsystem
Regional Touch Flame (Natacha’s Recordings)
To celebrate three years in motion, Natacha’s Recordings, a local collective of lo-fi sound hounds and tonal tinkers, in fact make up for the absence of new releases this past year with these two items, with Natacha’s founding figures Francis Amireault, Simon Bélair and Léon Lo at the core of both. Recorded live for CBC Radio’s Brave New Waves (the first at Sala in ’03, the other in T.O. last year), each is a mélange of beeps, clicks, strums, hums, tinkles, pings, squawks, chirps, chimes and the requisite wow, flutter and hiss. These discs perfectly illustrate the Natacha’s paradox—savvy craftsmanship meets naïve wonderment, quiet politesse meets roguish unpredictability. Both 7/10 (Rupert Bottenberg) CD launch with Natacha’s Recordings Soundsystem, Heart and Soul, Ste-Sophie and Emanuel Côté at le Local, Sat., Jan. 29, 9 p.m., $8
John Digweed
Fabric 20 (Fabric/Fusion III)
Digweed was quoted as saying that he “hopes this disc surprises a few people” and quite frankly, it does. Although I’ve never been a huge fan of the big room superstar DJ (even prompting a Digweed-rhyming moniker amongst my friends) the fact that he’s on one of the most consistent labels around and involved in one of the most forward thinking clubs in the world, gives him bonus points in my book. The mix itself begins with a beatless 16b cover of Pete Moss’s “Strive to Live” and continues through new bombs and old classics including tracks by Angel Alanis, Slam, Bobby Peru, the Glass and Superpitcher. Excellent! 8/10 (Raf Katigbak)
Tumi and the Volume
At the Baseline (District Six)
You would think that hip hop culture at its core would have more respect for the live show on record, but save for a few talented groups and even fewer releases, there seems to be some apprehension about rocking it live. Backed by Roots-tight band the Volume, capable MC Tumi does a lot to restore faith in the live hip hop LP, while bringing the South African point of view to bear. If you were yearning for the spirit of struggle and empowerment in your hip hop, look no further than At the Baseline, where Tumi and the Volume utilize the music as a real tool for social change, combining rap, spoken word and jazz, all in front of a live audience. This is honest and real, and worth all of your attention. 8/10 (Scott C) With K’naan, Zaki Ibrahim and DJ Nana at le Swimming, Fri., Jan. 28, 10:30 p.m., $12
Xzibit
Weapons of Mass Destruction (Columbia/BMG)
When he’s not busy pimpin’ your ride, Xzibit falls back on his first calling as an MC, also assembling a crack team of specialists to try and put a smile on your face at the end of the day. This is a solid record with X to the Z employing all his talents as a serious MC, rarely faltering or coming sideways with the music. But strangely, with few standout songs, this album doesn’t stick like it should, even with the production mechanics of Sir Jinx, Jelly Roll, Battlecat, Hi-Tek and Timbaland at work. I suppose “Hey Now” has “single” carved in stone on it, but I was hoping for at least one or two more sleepers from this stalwart, strongarm steady. 7/10 (Scott C)
Dean Fraser
Kill Dem Wid Sax (Ras)
Jamaican music has changed over the past 25 years, but there has been at least one constant—Dean “Cannon” Fraser. From Bob Marley and Jackie Mittoo to Luciano, Sizzla and Sanchez, Fraser has appeared on over 1,000 records—more than a few of which are his own productions. He also tours tirelessly with the Xterminator crew. The man is undeniably a legend. Sure, at first this collection of instrumental tracks might feel a little syrupy, but once you start to recognize and appreciate Fraser’s trademark tone, you’ll find yourself listening to the horn parts in so many classic tunes and asking yourself, “Could it be Dean?” 9/10 (Erin MacLeod)
Martial Solal
A Bout de Souffle (EmArcy/Universal)
Martial Solal
European Episode(Cam Jazz/Sony)
Two releases here by this wonderful, Algerian-born pianist/composer. The first is music written for films by people like Goddard and Orson Welles, played by groups of varying sizes. The second is a ’60s meeting between Solal and Lee Konitz, with Henri Texier and Daniel Humair, released on CD for the first time. It includes a delightful “Collage on Standards” as well as memorable versions of “Anthropology” and “Lover Man.” Different, but both worthy of your attention. Both 9/10 (Len Dobbin)
Mini CD Reviews
Ralph Sutton Oh Baby (Sackville/Trend) The late, great stride pianist in a pair of concert recordings from 1949 and 1952. A must for lovers of the genre! 9 (LD)
Mr. Goodvibe “3Rough” (independent) Think twice about this one when you hear it. A Montreal anthem in the making. 8.5 (SC)
Jennifer Gentle Valende (Sub Pop) Affected by past abuse of post-rock and acid, this Italian band swerves from sober classical guitars and pensive vocals to kazoo orchestras and infantile sing-alongs. 7.5 (LC)
Mad Professor Crazy Caribs (Ras) Send some recent dancehall records to outer space, where I like to imagine Mad Professor’s studio is located, and they’ll come back all crazy cosmic-like. 7.5 (EM)
The Black Maria Lead Us to Reason (Victory) Ex-Grade member leaves his old outfit in the dust. 7 (JC)
Lou Barlow Emoh (Merge) One of indie rock’s elders builds a sturdy, well-insulated singer-songwriter’s dwelling that could use some solid colour and sunlight. 6.5 (LC)
Death Angel Archives & Artifacts (Restless/Ryko) This three-CD-plus-DVD box set contains the first two records, video extras and rare B-sides and demos. Can you handle this much Death Angel? 6.5 (JC)
Tiesto Parade of the Athletes (Nettwerk) Obnoxiously blistering prog breaks and big-room beats composed for, and performed at, the 2004 Summer Games. Olympic flamers unite! 5 (RK)
Various XXX: Music From Thinking XXX (Emperor Norton/Outside) Dull, long-since-expired electroclash (Peaches, Tiga, Felix) to accompany Timothy Greenfield-Sanders’ porn-portrait project. Like Jenna Jameson’s tits, fake and uninspiring. 5 (RB)
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