Various
Only in Canada, Eh (77-81) Vol. 1 (Punk History Canada)
A collection of Canada’s snottiest punks from the glory years of ’77 to ’81, with even Montreal’s Chromosomes and the 222’s (featuring a 16-year-old future Mirror columnist Chris Barry) making an appearance. The usual suspects are here, including Teenage Head and D.O.A. (who coined the phrase “hardcore,” don’t ya know), but the Viletones and the Demics are left off in favour of amazing unknown blasters like Nostrils’ “I’m Vile,” Hot Nasties’ “Get Away From Me” or the Beefheart/Sex Pistols hybrid of Newfoundland’s Da Slyme. A lot of the fun, too, is tracing respectable Montrealers back 25 years, like Main Hall/MIMI man Dan Webster in Edmonton’s Diefenbakers or promoter Shaun Pilot’s snarl in Thunder Bay’s the Negatives. 9/10 (Johnson Cummins)
Calla
Collisions (Beggars Banquet/Select)
Those who love NYC’s Calla for their tense, driving deadpan may be disappointed to learn that they’ve sprouted hooks and cranked tempos on their latest LP, possibly losing some of their mystique by broadening their appeal and uncovering some once-obscured influences (David Bowie, My Bloody Valentine etc). Naysayers will be in the minority, however, because the changes aren’t radical, and they work. Aurelio Valle’s vocals remain hard and hushed, with guitars, strings and rhythm forming foundations as sturdy as ever, whether loud or quietly looming. Their melodies might get stuck in your head, that’s all. 8/10 (Lorraine Carpenter) With Celebration and Christina Frances at Main Hall, Thurs., Nov. 3, 9 p.m., $15
The Brains
No Brain, No Pain (Crazy Love)
Gutter Demons
Room 209 (Pirates)
Just in time for Halloween, here’s new releases from a pair of local psychobilly acts who would make for the perfect back-alley switchblade fight of the damned—zombies versus demons, fuckin’ A! While both these corpse-obsessed acts come at rockabilly from a punk-rock point of view, it’s the zombified trio the Brains who betray the stronger hardcore leanings (note the closing Charged GBH cover), with accelerated, thundering drums dominating the disc’s mix. There’s a greater accent on melody over in the Demons’ corner, playing counterpoint to singer/guitarist Johnny Toxic’s guttural growl, and it’s the hollow thump of the stand-up bass that rules this roost. Both 7.5/10 (Rupert Bottenberg) The Brains CD launch is at Hémisphère Gauche, Sat., Oct. 29, 9 p.m., free, Gutter Demons CD launch at Foufounes Électriques, Mon., Oct. 31, 8 p.m., $6
Whitey Houston
self-titled (Rectangle/Universal)
For an overdriven bass/drum duo, comparisons to Death From Above 1979 are inevitable. If anything, though, DFA ’79 should be shaking in their boots as these far-uglier mofos out-rock them every step of the way. Like their aforementioned competition, Houston do pepper their sound with some bleeps and blips every now and again, but generally just fuel up on sweat and blood as a lead foot puts the pedal to the metal. With hits like “I Got Fucked by Liberty Mutual,” “Liarbird” and “Heavy Metal Parking Lot,” you’ll easily forget about those pretty boys from the Hogtown. 9/10 (Johnson Cummins)
The Black Angels
self-titled (Light in the Attic/Koch)
With a name copped from a Velvets song and titles like “The First Vietnamese War” and “Winter ’68,” you know this Austin quintet is coming at you from the dark side of the Age of Aquarius. There’s a distinction between rehash and revision, though, and the Black Angels fall on the right side of that fence. Their menacing mantra-rock recalls the drone zones Spacemen 3 once dragged the unwary into, albeit with that tough, greasy Texan backbone that once took Roky Erickson and co. to the 13th floor. 7.5/10 (Rupert Bottenberg) With the High Dials at Petit Campus, Tues., Nov. 1, 8 p.m., $8
Boards of Canada
The Campfire Headphase (Warp/Outside)
After 1998’s pulsing underground IDM hit Music Has the Right to Children and the darkly gothic Geogaddi three years ago, the Scottish duo (brothers, actually) have returned with a slower yet more uplifting album. While they can still be counted on for crazy, original analog-synth sounds and wistful electro nostalgia, the use of guitar has become a new focal point for the tunes (most prominent on the My Bloody Valentine-esque “Dayvan Cowboy”). Unfortunately, after setting the bar so high, the tracks here miss the mark, albeit not by much. While still a great afternoon listen, their latest album fails to achieve the compelling warmth of their previous efforts. 7/10 (Raf Katigbak)
Books on Tape
Dinosaur Dinosaur (Alien8/Sonic Unyon)
A messy, grungy, fist-pumping lo-fi blast from L.A. noisemonger and self-proclaimed “beatpunk” Todd Drootin. Recreating the frenetic guitar strumming and bass-guitar pounding of punk and the head-bobbing pulse of hip hop is nothing new to Drootin‚ whose previous releases on No Type and Deathbomb Arc exploded the staid preconceived notions of so-called IDM. With a decidedly cheap and energetic aesthetic, Drootin’s live gigs have become likened to watching a mad scientist off his Ritalin. Think Kid 606 on cough syrup—fun-filled and furious! 8/10 (Raf Katigbak)
Ms. Dynamite
Judgement Days (Polydor/Universal)
Three years ago, Ms. Dynamite beamed herself into the spotlight with A Little Deeper, an album that represented a then-healthy garage scene and all its potential in U.K. urban music. Judgement Days has abandoned the garage pretense in lieu of standardized R&B/pop beats, but Ms. Dynamite has chosen to go on the attack with lyrics that sting. No one is safe here, with tongue lashings for parish priests on the title track and on “Father,” a big middle finger to her ol’ dad, sniffing around Ms. D’s success after 23 years of absence. Even Tony Blair gets raked over the coals on the powerful, acoustic “Mr. Prime Minister.” Lyrics are key here, with Ms. D going above and beyond the call of duty, but the beats are shamefully generic. 7.5/10 (Scott C)
Mathematik
No Division (Urbnet)
I can’t tell you how happy I was to see that one of Toronto’s most talented MC/producers had resurfaced with a brand new LP after many years of silence. While Mathematik’s claim to fame has been his double threat on both the mic and the beats, No Division makes some room for additional production, but no guests. Crisp drums bless the foundation of the strong, Math-produced “Was is Will,” while Da Grassroots’ Mr. Attic serves one up on “Letter 2 John.” Saukrates rolls out the stomp on “Attack” and DJ Serious helps out with a beat for “Toronto.” Math has still got skills, but it’s apparent that his best tracks involve beats he’s rigged himself. I hope it doesn’t take too long before he drops a little bit more. 7/10 (Scott C)
Rihanna
Music of the Sun (Def Jam)
Rihanna thanks Jay-Z in her liner notes, writing “I am honored to have you oversee my career.” That said, it really doesn’t matter what I think about this “Carter Administration”-produced record—which, incidentally, makes the 17-year-old Bajan sound like the Jigga’s g-friend trilling over tropical-tinged beats. It’s already blowing up all over the place. Sure, I’ve danced to “Pon de Replay,” and yeah, it’s especially catchy when Ele adds his lispy, frantic touch. The rest is pretty sub-standard R&B fare, including a grating take on El Debarge’s “Rhythm of the Night” and a useless re-do of the famous “No, No, No” featuring Vybz Kartel that left me shaking me head. 5/10 (Erin MacLeod)
Stevie Wonder
A Time to Love (Motown/Universal)
Must be something in the water, because the last time Al Green, Earth, Wind & Fire and now Stevie Wonder released such masterful music was in the golden era of ’70s soul. This is Wonder’s first album in a decade, and since his waning creativity in the ’90s left many fans cold, there was a certain nervous anticipation. But with the first funky beats of “If Your Love Cannot Be Moved,” he assuages any doubts about his musical prowess. Whether waxing poetic on “Moon Blue” and “Sweetest Somebody I Know,” delivering bass-bottom grooves on “So What the Fuss” and “Please Don’t Hurt My Baby,” or trading social commentary with India.Arie on the tour-de-force title track, Wonder is back at the top of his game. 9/10 (Gerard Dee)
Papua New Guinea Stringbands with Bob Brozman
Songs of the Volcano (Riverboat)
Mastery of the shiny, elastic tones of the National guitar isn’t enough for Brozman, a globetrotting musical matchmaker whose interactions always seem to add up to more than the sum of their parts. Possibly inspired by the Cooder/Toure Afro-blues collab Talking Timbuktu, Brozman’s spent the last few years seeking out obscure offshoots of guitar culture in India, Hawaii, Okinawa and now Papua New Guinea. One might dare file this thing under “blues,” but pain and bitterness are in short supply on these bright, boisterous numbers, bursting with warmth and resilience—all the more remarkable for the rough circumstances of Brozman’s co-creators. A bonus DVD fleshes things out with a look at how this gem came to be. 8/10 (Rupert Bottenberg)
Stan Hope
Put On A Happy Face (Savant/Koch)
Richard Whiteman
All or Nothing at All (Cornerstone)
Here’s two outings that will appeal to lovers of good, swinging jazz piano. Hope, born in Atlantic City in 1933, should be better known, and this outing from last fall would be a good place to discover his talent. He’s joined by Ray Drummond and Kenny Washington (with Houston Person guesting on three tracks) on a nice mix of standards (“My Ship”) and originals (“K.W. Groove”). Montreal-born Whiteman is a busy member of the Toronto jazz community and is joined here by Brandi Disterheft and Sly Juhas. The opener, Gershwin’s “Oh, Lady Be Good” sets the pace for close to an hour’s worth of playing. Both 9/10 (Len Dobbin)
Mini CD Reviews
AFX Hangable Auto Bulb (Warp/Outside) A reissue of the amazing and rare eight-track EP that solidified the dark, intricate Aphex Twin sound back in ’95. 8.5 (RK)
Jessica Molaskey Make Believe (PS Classics) A new voice full of vibrancy and élan—try her “Stepsisters’ Lament” or “Guys and Dolls.” 8.5 (LD)
The Expectorated Sequence Hairbomb (New Romance for Kids) Fans of Daughters, the Locust and other children of John Zorn’s Naked City are going to worship this. 7.5 (JC)
Sinead O’Connor Throw Down Your Arms (That’s Why There’s Chocolate and Vanilla) Produced by Sly & Robbie, the bald one goes Rasta with solid covers of Rodney, Perry, Tosh etc. 7.5 (LC)
Buddy Guy Bring ’Em In (Silvertone/Sony BMG) Things start off great, but the inclusion of Santana and other bloodsuckers dash any hopes for the greatness Guy pulled off on Sweet Tea. 6 (JC)
Black Rebel Motorcycle Club Howl (RCA/Sony BMG) Imagine the Backstreet Boys, 2020, grizzled by years of hustling and jail time, making a comeback with a Jazz-Fest mash of soul, blues and classic rock. 5 (LC)
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