The Flaming Lips
At War With the Mystics (Warner)
At points, the Lips’ latest seems like a deliberate go at classic rock, to the extent that their warped, wounded, wonderstruck way with things would permit. It did begin as a prog-a-delic concept album, something about a space wizard reaching God through a cosmic vagina. But reality gradually punctured their fantastic fabric with shards of the political (Bushworld’s pox Americana and the global zeitgeist of dread and defeat) and the personal (the death of frontman Wayne Coyne’s mom, addressed by the velvety “Mr. Ambulance Driver”). The tragic and the magic, the obtuse and the oblique, the pugnacious and the pacifistic bleed together in the band’s groping for something like hope or peace of mind. Again, Coyne and co. deliver a complicated, cluttered, disorienting and deeply stoned work that defies direct dissection, yet spits forth ever greater rewards, listen after listen. 9/10 (Rupert Bottenberg)
The Yeah Yeah Yeahs
Show Your Bones (Interscope/Universal)
The label clearly wanted more “Maps,” and the Yeah Yeah Yeahs deliver a few contenders, but that doesn’t stop the trio from playing rough and taking chances. Rather than safely packing their sophomore LP with club cuts (à la Franz Ferdinand), the band breaks out the acoustic guitars, references lullabies and LL Cool J, and flirts with folk, funk and death metal. Produced by Squeak E. Clean (Spike Jonze’s brother, incidentally), this record won’t be as memorable as Fever to Tell in the long run, but it’s no slouch. 7.5/10 (Lorraine Carpenter) With Blood on the Walls at Metropolis, Sat., April 8, 8:30 p.m., $24
Morrissey
Ringleader of the Tormentors (Attack/EMI)
Maybe that violin’s for the seal pups we love to club, a practice that’s driven the elder statesman of sorrow, and longtime PETA supporter, to give Canada a pass on his next tour. Morrissey fans can console themselves with this new album, a so-so follow-up to his superior 2004 comeback. The record ranges vastly in both tone and quality, with epic, soulful ballads and Britpop gems on one end, and forgettable, soy-ham-handed songs on the other. But while it’s speckled with weak lyrics and strained vocals, Ringleader still rouses enough passion and melodic flair to keep the Mozzer in play. 7/10 (Lorraine Carpenter)
Parts and Labor
Stay Afraid (Jagjaguwar/Sonic Unyon)
Being a Jagjaguwar release, it’s a safe bet that you’re in for some better than average psych-rock with this one. This Brooklyn trio has a sound akin to a poppier Big Black or Comets on Fire, or maybe a noisier Hüsker Dü, while setting their phasers on kill. Good ol’ punk-rock abandon dukes it out with broken electronics as the twin vocals of Dan Friel and BJ Warshaw look down at the mess they’ve created and try and make sense of it all. Parts and Labor’s true crowning achievement is balancing pop sensibility and melody with just enough electronic noise to make it sound like they could careen off the rails at any time. 7.5/10 (Johnson Cummins) With Wilderness and Young & Sexy at la Sala Rossa, Fri., April 14, 9 p.m., $12
Mates of State
Bring It Back (Barsuk)
Bitter singles, steer clear. The supremely jubilant and ardently telegraphed love of married couple Kori Gardner and Jason Hammel—the drums-’n’-organ duo Mates of State—is liable to bring bile to your throats. If you can hack that, though, their latest is rich (their richest yet, in fact) in fabulous, charming, ridiculously memorable pop jewels. What puts this pair ahead of the pack, though, isn’t just the admirably executed ambition of their songcraft or the way they mine gold from a rather minimal set-up, but the fierce intent, the confidence, the utter certainty with which they pound out every chord, bang out every snare snap and belt out every big, shiny, full-throated harmony. They sure mean every word and note here. 8/10 (Rupert Bottenberg)
The Concretes
In Colour (EMI)
Prior to its recent rock ’n’ roll eruption, Sweden was known for its sublime pop music and high suicide rate. The last album by the Concretes tapped into the latter more than the former, but the octet’s aptly titled follow-up, co-produced by Mike Mogis of Bright Eyes fame, is all sunny orch-pop, back-porch sing-alongs and a couple of casual ballads. Filler rears its forgettable head here and there, but the wealth of gold is a great distraction. If you only check out one song, make it the Sgt. Pepper’s-meets-VU “Fiction”—it’s a celebration, bitches. 8/10 (Lorraine Carpenter)
The Wood Brothers
Ways Not to Lose (Blue Note/EMI)
Fans of Medeski Martin & Wood are definitely going to want to give this CD a listen—one half of the Wood Brothers is MM&W’s Chris Wood, while the production duties are handled by John Medeski. Although there are shades of their main gig here, it’s really singer/guitarist (and older brother to Chris) Oliver Wood’s show. His soulful drawl gives away his Southern roots while Chris’s bass keeps the tempo and fills up some holes, with drums tucked underneath. Fans of MM&W’s more adventurous moments may get bored, but Oliver’s songwriting easily stands up. Medeski’s use of space deserves a mention, as he manages to let the songs breathe while giving extra dimension to the skeletal arrangements. 7/10 (Johnson Cummins)
Kano
Home Sweet Home (679/Warner)
The Mitchell Brothers
A Breath of Fresh Attire (679/Warner)
A week shy of 679’s release of its flagship act the Streets’ third album, a pair of proteges of Mike Skinner’s set the grimy stage for Brit-hop’s next burst of hype. Kano you may know from copious guest verses, while the Mitchells raised their, um, profile with “Routine Check.” Aside from Skinner cameos on mic and/or mixing board, the two CDs match in their adherence to the U.K.’s now-standardized garage formula: jagged digital beats and convoluted, gear-stripping choruses; slasher-flick synths, kindergarten choruses and nauseous Nintendo melodies; lyric books light on bullshit but big on balls. The devil is in the details—the Mitchell Brothers aren’t afraid to get silly (though the guitar solo on “She Got It All Wrong” is unpardonable), while Kano’s got his Diplo joint, metal macro-samples and robo-mambo goof “Remember Me.” Both 7.5/10 (Rupert Bottenberg)
DJ Format
If You Can’t Join ’Em... Beat ’Em Remix EP (Genuine/Select)
Aging b-boy DJ Format relinquishes all production responsibility to let some of his close friends try their hands at remixing tracks from his last LP. Connie Price and the Keystones rework “The Turning Point” with more cowbell, some horny horns and a dirty guitar solo, while Little Barrie flips D-Sisive’s “Another One of Those Songs” so that D is rapping over some live grit. The mellow tones of “Black Cloud ” are revisited by Nostalgia 77 with impressive results, and Format remixes his own “Talkin’ Trash ” featuring D-Sisive, making it sound like an old Big Daddy Kane beat from the vaults. Format continues to keep classic hip hop alive with new productions and innovative collaborations every time. 7.5/10 (Scott C)
Birdy Nam Nam
self-titled (Uncivilized World/Koch)
Although DJ Pone, Little Mike, DJ Need and Crazy B are all DMC World Team Champions, this is perhaps the first record featuring scratch DJs I’ve heard where I actually forgot that they were using turntables as a primary source to create the music. Birdy Nam Nam, named after an unforgettable line from Peter Sellers’ film The Party, straddle turntablism, live instrumentation and forward-thinking hip hop beats, even attempting to flip some broken beats on a track called “Migration.” California contemporaries D-Styles and Mike Boo join the crew on “Il y a un cauchemard dans mon placard,” a downtempo journey into darkness, sitting nicely beside a few takes on reggae and even jazz. 8/10 (Scott C)
Ne-Yo
In My Own Words (Def Jam/Universal)
If you like Ne-Yo’s radio-friendly single “So Sick,” you’ll probably enjoy the rest of this set. If not, don’t bother. Ne-Yo, aka Shaffer Smith (the stage name is a variation on that of The Matrix’s lead character), is a competent singer and writer—he’s penned hits for artists like Mario and Mary J.—but neither his vocal style nor his songs have any distinguishing qualities. There are still moments when his potential shines through—“It Just Ain’t Right” builds nicely on a sample of Switch’s “I Call Your Name,” and “Let Me Get This Right” bounces on an interesting, off-tempo rhythm. But mainly, Ne-Yo’s songs have words we’ve all heard before. 6.5/10 (Gerard Dee)
Paul Bley
Early Trios (Fresh Sound)
Montreal-born Bley today ranks as one of the jazz world’s most influential pianists. Before he was 21, he had recorded with Oscar Pettiford and Kenny Clarke, and then with Charles Mingus and Art Blakey. The former is a never-released (“lost”) session, while seven tracks from the latter are included here and, for a hint of where he was headed, go to “I Can’t Get Started.” That 1953 date was followed in ’54 by three sessions that were released as an LP on the Wing label. Twelve of those rare sides are here—drummer Al Levitt is a constant with the bass chores shared by Percy Heath (on seven tracks) and Peter Ind. An extended version of Gershwin’s “My One and Only” is a standout track. A valuable look at the early career of a native son. 9/10 (Len Dobbin)
Mini CD Reviews
Duke Robillard Guitar Groove-a-Rama (Stony Plain) One of the best blues guitarists out there takes on schmaltz with tongue firmly in cheek—and still sounds unbeatable. 8.5 (JC)
Various 50 Sublimes Chanteurs de Jazz (Body & Soul) Frank, Mr. B and Bing are here as well as lesser-known gents like Leo “Scat” Watson, Ernie Andrews, Sugar Chile Robinson and Dave Bartholomew. 8.5 (LD)
DJ Revolution Class of ’86 (Nocturne/Fusion III) Not your average ’86 mix. Revolution digs deep for rap tracks from Steady B, Just Ice, Original Concept, Tricky Tee and B Fats, as well as Whodini, Ultramagnetic MCs and BDP. 8 (SC)
Various Late Night Tales: Belle & Sebastian (Azuli/Fusion III) From Big Star to Stereolab, Johnny Cash to RJD2, the cardigan-clad Scots know how to pick ’em. 7.5 (LC)
Various The Aaargh! Annual Year One (Aaargh!) A collection of homespun pop oddities from Victoria, B.C., packaged with a loving hand. 7 (LC)
Various Maximum Cowbell (Sony BMG) Got a fever and there’s only one prescription? Here’s the Dionysian guh-donk of the cowbell in bulk—BÖC (natch), Mountain, War, Santana, ELO, the Nuge, Wild Cherry and more. In other words, CHOM on any given day. 6 (RB)
>> Music Listings
