Mammatus
self-titled (Holy Mountain)
Easily the best surprise of this year’s Suoni Per il Popolo fest, these heavy psych “dudes” are guaranteed to pulverize your senses. They kick off with the Hawkwind-meets-krautrock of “The Righteous Path Through the Forest of Old,” evading predictability every step of the way before launching into the raga-fuelled “The Outer Rim.” Like all great psych, Mammatus obscure the destination and prove that the real rewards are in the trip. Their transitions into Sleep-style doom are masterful, but it’s their use of improv while moving into stop-on-a-dime prog rock that really makes these guys stand out amid the recent flood of heavy psych bands with too many effect pedals. With four songs clocking in at over 45 minutes, you know these guys are getting the good bud, and for those of us who aren’t kickin’ and screaming for a chorus, it just doesn’t get any better than this. 9/10 (Johnson Cummins)
Celtic Frost
Monotheist (Century)
Whenever original black metalists reunite and try to relive their glory days, you have to proceed with trepidation (consider Venom’s last stinker). Celtic Frost’s Tom Warrior may have gone grey around the temples, but he sounds vital throughout. Before the first verse of Monotheist opener “Progeny,” he squeezes in two trademark ooohs, but outside of that, this detuned doomy metal hits new ground on all 11 tracks. Previous red herrings like Cold Lake are chucked out the window as Warrior flirts with his early days of Emperor’s Return and To Mega Therion, while managing to write some new chapters. It may be their first record in 13 years, but Monotheist could very well be their darkest moment yet. 8.5/10 (Johnson Cummins)
The Evangelicals
So Gone (Misra)
First, don’t be put off by the name. These small-town Okies make sure to define “evangelical” at the top of their bio: characterized by ardent or crusading enthusiasm; zealous. Sorry to disappoint Christian rock fans, but they sound more like a Midwestern Belle & Sebastian with a touch of ADD, their pretty, boyish vocals wafting over ’60s pop riffs, hand-claps and occasional chiming beats and mini-explosions of dissonant clatter. Guitar solos and garbage-dump synths make cameos, as do melodies reminiscent of game-show theme songs—kids love the kitsch, especially when it’s couched in this much blasé beauty. 8/10 (Lorraine Carpenter)
The Futureheads
News and Tributes (679/Warner)
From Sunderland, U.K., the Futureheads deliver a sophomore album brimming with the thinking man’s pub anthems, a perfect soundtrack for downing five pints before the day’s demo. Their sound doesn’t exactly scream “future,” recalling the era of the Jam and the Police, though frontmen Barry Hyde and Ross Millard are neither as sharp as Paul Weller nor as goofy as Sting. In any case, the combined strength of their angular post-punk tension, political undertones, solid ballads and occasional bombastic flailing make for a fairly solid, albeit flawed record. 7.5/10 (Lorraine Carpenter)
Mojave 3
Puzzles Like You (4AD)
Almost halfway through their fifth record, Mojave 3 revert to a familiar slack tempo and put the pedal steel to devastating use. The preceding tracks, and a few more towards album’s end, are surprisingly upbeat, ranging from giddy hip-shakers to gooey head-bobbers. The British quartet are trying their hands at that brand of ageless pop born in the ’60s, and they do an adequate job of it. But the whole album feels a little airheaded, lacking the substance of previous Mojave 3 records, not to mention Neil Halstead and Rachel Goswell’s old band, Slowdive. 6.5/10 (Lorraine Carpenter)
Hot Chip
The Warming (EMI)
Hot Chip are one of those sweet bands with the brains and the balls to skip over genre limitations and put out records with just enough variety to be engaging, without sounding too random. The fresh style of their second full-length is proof that they don’t plan on just riding out the sound of their earlier tunes. It’s unabashedly moody, with everything from sleepy drum & bass lullabies to full-on anthemic bangers. Honest almost to a fault, it’s got attitude, versatility and, most importantly, originality. Perhaps the only chink in their armour would be the industry-standard heavy dose of ’80s nostalgia. 8.5/10 (Jack Oatmon)
Jeff Mills
Blue Potential (Uncivilized World)
Since the music’s earliest days, Detroit’s Mills has always had an ambitious and expansive vision for techno, taking it not only to new heights but to new places as well. This live performance in France from about a year ago, captured on both CD and DVD, has him revisiting his extensive catalogue with the 70-member Montpellier Philharmonic Orchestra. A risky venture, when you think about it—reinterpreting techno tracks in a classical setting could potentially collapse into a grand puddle of cheese. But by virtue of focus, discipline and restraint, Mills and the MPO deliver an exciting and accessible set to be remembered. 8/10 (Rupert Bottenberg)
Les 2 Tom
Têtes dans la lune (Districk Music/Select)
Much like their good friend Daniel Russo Garrido, les 2 Tom have had much success with their choice of introspective lyrics and decidedly musical hip hop production laced with soul, jazz and much acoustic guitar. On this, their second LP, the quality of production works seamlessly with a genuine passion to do things their way, with the help of friends like Boogat and Accrophone. Combining humble insight and some spirited hip hop grandstanding, les 2 Tom have crafted a record that people will undoubtedly listen to over and over again. Check “Du pareil au même,” with la Case Nègre, or “J’regarde la terre tourner” for the sounds of two guys making great hip hop right here at home. 8/10 (Scott C)
Self Scientific
Change (Angeles)
The L.A. team of producer DJ Khalil and MC Chace Infinite will always be remembered as the duo responsible for some deep and prolific hip hop grooves towards the end of the ’90s. The underrated Khalil is at his best building beats for Chace, whose raspy, earnest tone has always translated into a crisp and perceptive view of the world around him. The biggest change here is the inclusion of live instrumentation over the course of this 15-track piece, with Khalil getting the opportunity to showcase his keyboard talents alongside the Divine Order Horns and the vibraphones of Stefon Harris. Chace trades bars with old fam Planet Asia, Kombo and even UGK’s Bun B for good measure, making for a more than satisfying return. 8/10 (Scott C)
Father Downbeat Vs. Father Rodigan
The Most Decent Clash on Earth (Non Stop)
This past April saw two legendary selectors—the U.K.’s David Rodigan and NYC’s “The Ruler” Tony Screw—go head to head. While many contemporary clashes toss around profanity left and right, this match-up lives up to its billing. But just because decency rules, it doesn’t mean that there are no injuries. Sound-boy killers abound on this recording of the event and, tune after tune, these veteran selectors demonstrate that there’s more power in a deep dub box than a rude statement. And though Rodi was declared the winner, DB put up a good fight. Round for round and dub fi dub, you’ll certainly enjoy listening to a bout that showcases a type of clash I’d like to see more of. 9/10 (Erin MacLeod)
Gigi
Gold & Wax (Palm Pictures)
With Bill Laswell producing and the likes of Bernie Worrell, Karsh Kale, Buckethead and Nils Petter Molvaer throwing in, hopes run high for the latest from Ethiopian singer Gigi. Her flexible vocals are a joy throughout, but sadly, too much of Gold & Wax slithers by inconsequentially in the manner of most such mushy, new-age world pop. The album’s not without high points, however, which arrive when the electronics are reeled in. Be it the gentle bump of “Acha” or the tougher Afro-beat sweetness of “Salam,” the revisionist moments are the clearest. 7/10 (Rupert Bottenberg)
The Isley Brothers
Baby Makin’ Music (Universal)
Many Isley Brothers albums have alluded to sex—’83’s Between the Sheets and ’89’s Spend the Night are two prime examples—so it was only a matter of time before they called their music what it really is: baby-making music. Their first album since 2003’s Body Kiss finds Ronald’s ageless falsetto and Ernie’s skillful guitar work once again delivering a solid album with a few standout cuts. Lead single “Just Came Here to Chill” has the type of laid-back groove you want to hear when you walk into a cool lounge, while “Heaven Hooked Us Up” puts a contemporary twist on an age-old romantic story. 7.5/10 (Gerard Dee)
Rick Wald
16/NYC (Glowbow)
John Warren
Park Bench Story (Jazzaction)
This pair deserves to be in any big-band fancier’s collection. Wald and Warren are top-notch arrangers and composers. Wald has been leading a large ensemble since 1974 and this addition also has some memorable solos from the likes of Gary Smulyan, Valery Ponomarev and the reed-playing leader on seven of his charts. Warren, who whetted his musical chops in Montreal, resides in the north of England and has contributed original material to sessions by the likes of John Surman. Here he leads the Voice of the North Jazz Orchestra through eight of his charts, including J.J. Johnson’s wonderful ballad “Lament” and his own “You Blue? Me Too!” A number of soloists are spotlighted—none, as yet, household names. Both 10/10 (Len Dobbin)
Mini CD Reviews
Enrico Pieranunzi Special Encounter (CamJazz) Fifty-six-year-old Pieranunzi (who’s at the Jazz Fest, July 5 and 8) ranks as one of Italy’s finest musicians. This superb trio outing has his piano joined by Charlie Haden and Paul Motian. 10 (LD)
Stuart A. Staples Leaving Songs (Beggars Banquet) Tindersticks singer Staples returns to the dreary loveliness of yesteryear on his second solo LP, featuring a duet with Lhasa de Sela. 8 (LC)
Asobi Seksu Citrus (Friendly Fire/Sonic Unyon) Shibuya sugar meets shoegazer shimmer in the persons of this Japamerican daze-pop duo. 7.5 (RB)
Sizzla Ain’t Gonna See Us Fall (VP) Though the title track is wicked and there are some other okay tunes here, I want Mr. Kalonji to spend more time with Bobby Digital. 7 (EM)
Tony Ezzy Greatest Hits (Don’t Bite) The hairy chest is real, the hairdo and moustache are real, and like the song says, “I Ain’t Trying to Be Funny.” Behold, 12 tracks of Tony E’s slept-on genius 7 (SC)
Wyrd Visions Half Eaten Guitar (Blue Fog) Seriously fucked up acoustic songs here. If you like Nick Drake as much as your Norwegian black metal, check out the cover of Mayhem’s “Freezing Moon.” 7 (JC)
The Ditty Bops Moon Over the Freeway (Warner) Still charming as sophomores, despite the Broadway glitz, this boy/girl duo made a better first impression. 6 (LC)
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