Clipse
Hell Hath No Fury (Re-Up/Sony BMG)
The second Clipse album has been in label purgatory, but four years after Lord Willin’ made the Virginia Beach duo and the Neptunes household names, Pusha T and Malice return with a seriously fun record. The rhymes are easy-flowing and the Neptunes’ sound rejuvenated after an off year. “Trill” is a wall of cacophonous synths that requires multiple listens to fully digest its dissonant brilliance, and “Wamp Wamp” channels the Spanish Harlem vibe of N.O.R.E. The Neptunes take advantage of having such talented MCs by bringing some off-the-wall beats, like the harp action in “Ride Around Shining” or the eerie sci-fi beat of “Mr. Me Too.” 9/10 (Erik Leijon)

The Discord of a Forgotten Sketch
self-titled (New Romance for Kids)
These Montreal musical miscreants owe as much to Albert Ayler as to techy hardcore or some of Mike Patton’s latest projects. Only settling on sections for milliseconds, the songs here show that the growing pains present on their debut EP are far behind them, while their arrangements are more bipolar than ever. DOAFS’s real strength is not overstating the angst in their angular, cut-and-paste arrangements, which veer into unbridled noise while discordant guitars ring with commitment and purpose. Production does get a bit spotty, but the band manages to knock sonic ineptitude aside with a clear vision that eludes pigeonholes. 7/10 (Johnson Cummins) CD launch with Murder Ave., Bone Eater, Milanku at Katacombes, Fri., Dec 1, 9 p.m., $6

The Stolen Minks Family Boycott (New Romance for Kids)
No offence to New Romance for Kids, but it’s shocking that this isn’t a Sympathy for the Record Industry product (then again, who wants a half-swastika on their record?). The Stolen Minks are Halifax’s answer to the Gossip and the Detroit Cobras, an all-female four-piece with the enthusiasm (and somewhat amateur technique) of over-caffeinated teenagers. Rooted in ’50s rock ’n’ roll and ’60s garage, from Ray Charles to the Music Machine to Link Wray, their songs also pay homage to Charles Bronson and Batman, with a little butch/femme chemistry and political vigour (“We don’t need a classroom to have a class war”) on the side. 8/10 (Lorraine Carpenter)

Bobnoxious
Rockaholics (Wannabe/Universal)
If you like your rock dumb as dirt (see: Motörhead, Ramones), then Bobnoxious—aka Bob J. Reid of Canadian metal icons Razor—is ready and waiting. What we have here is some four-on-the-floor, knuckle-dragging rock ’n’ roll about getting wasted, being hung over, turning “it” up to 10 and the true entertainment that can only be had by trying to chat up a rock slut wasted on coke. Although Bobnoxious proudly wears his stupidity on his sleeve, he shouldn’t sell himself too short, as songs like “C’est la Vie,” “Blow” and “Good Intentions” are near gems, rife with hooks galore. Give’r till ya quiver! 7/10 (Johnson Cummins) With the Broken Hearted at les Saints, Fri., Dec. 1, 10 p.m.

The Coast
self-titled (Aporia)
With limber, chiming guitars and vocals that hover pleasantly overhead, this Toronto four-piece has instilled their six-song EP with pop energy and abstract nostalgia, never evoking one band or even one style too strongly. Their grand-ballad tendencies touch on U2, their guitars tap into pedal-steel melancholy, their most uptempo tunes bring Cure and Echo and the Bunnymen singles to mind, and if they laid on any more reverb, waves of shoegazing would surely flow forth. But the band is focused enough to side-step all these camps and conjure up half-remembered music videos and seaside vacations instead. 7.5/10 (Lorraine Carpenter)

Killswitch Engage
As Daylight Dies (Roadrunner)
Fast, furious and frothing, Killswitch Engage keep your attention on their fourth full-length release. Some songs wreak havoc on your logic circuits, while others tear you from the present and bury you in the ’80s with retro riffage. Plumbing the depths of human misery and loss, vocalist Howard Jones delivers with the power of Bruce Dickinson, but goes a little been-there-done-that come chorus time. And that’s where the disappointment lies—many of the choruses here tend to sound like remixes of each other. KSE are onto something, but need to find new ways to hook fans when it comes down to the cold, black heart of it all. 7/10 (Lateef Martin)

Rockstar Supernova
self-titled (Epic/Sony BMG)
In case you’ve been living under a rock, this is the band from the hit TV show of the same name. Members are Gilby Clarke of GNR, Tommy Lee of Mötley Crüe, Jason Newsted of Metallica and some fauxhawked little imp from Toronto. If you think the name is lame, wait till you listen to this giant lump of shit. The songs are so predictable you can set your watch to them, with production way overbaked in hopes of hiding the stinkers that lie beneath the gloss. Even Nickelback sound more adventurous than the torturous retread of “Leave the Lights On” and the stench of “Underdog.” Even the top-shelf writing staff can’t save the blatant imitations of (gulp) Bush X, Coldplay and NIN. Rockstar Supernova could replace waterboarding as America’s favourite form of torture. fuck you/10 (Johnson Cummins)

Jay-Z
Kingdom Come (Roc-a-fella/DefJam)
It’s only natural that the buzz surrounding this release has worked pure magic for Sean Carter. But everybody who downloaded “Show Me What You Got” and got excited about an older, wiser Young Hove is in for a padded letdown, because Kingdom Come is a yawn in the park as far as Jay-Z standards go. If you believe he’s come back to save hip hop, like “The Prelude” or the Kanye-produced “Do U Wanna Ride” might have you think, songs like “Beach Chair,” produced by Coldplay’s Chris Martin, and Swizz Beats’ “Dig a Hole” might have you wishing for days gone by. Jay is still the king, able to clearly vocalize his own life and the world around him with a million-dollar eye for detail, but let’s hope that future comeback LPs (and there will be more) will allow more time for quality beat selection. 8/10 (Scott C)

Plastic Little
She’s Mature (Tonearm/Statik)
Blogaholics, and those who caught this Philly trio at this past Pop Montreal, know full well what they have to offer. She’s Mature doesn’t just tread the idiot/savant axis, but strives for the extreme poles thereof. Their rhymes are rude, crude and oversexed—and ridiculously clever and funny to boot. The productions (including a Diplo joint with Spank Rock guesting) they’re working over are likewise hype and hilarious, jacking the Cure and PJ Harvey to excellent effect. Their flagship track, “The Jumpoff,” isn’t just a laff riot, it’s the catchiest damn thing since OutKast’s “The Rooster.” 8.5/10 (Rupert Bottenberg)

Hi-Tek
Hi-Teknology 2: The Chip (Babygrande)
Although Hi-Tek may have been working under the Aftermath/G-Unit umbrella for the last little while, most fans will remember the pure genius of the first Hi-Teknology LP without question. Tek is truly a versatile and skilled producer, straddling 50 Cent and Mos Def tracks and even grabbing the mic on occasion, but here we find fewer big tunes and more of a varied approach to his musical skill set. Tek does it right for Jadakiss, Papoose, Kweli and Raekwon on the low-key “Where It Started At (NY).” The Game makes a quick appearance on the interlude “1-800-Homicide,” and Busta Rhymes provides the only real banger with the stepper “March,” but the keeper features Hi-Tek’s son Lil’ Tone rapping over a sample from one of his toys on “Think I Got a Beat.” 8/10 (Scott C)

Akon
Konvicted (SRC/Universal)
Supposedly, it’s a big deal that Akon wrote, arranged and produced all 11 songs on his second album—it says so on the cover. Akon has an ear for catchy tunes that accurately reflect the current musical landscape. There’s gangsta hip hop, club-ready thumpers, R&B, reggae and police sirens blaring at random times. It’s a recipe for success, but everything is too perfect and lacks the necessary grime. His effeminate voice notwithstanding, Akon merely absorbs the styles of others, especially R. Kelly (check “Don’t Matter,” which lifts “Ignition (Remix)”). 5/10 (Erik Leijon)

Solomon Burke
Nashville (Shout! Factory/Sony BMG)
At 70 years young, this pioneer of ’60s soul is still willing to take risks to achieve musical satisfaction. While touches of blues and bluegrass resonate throughout this set, this is all about country music at its most sincere. Burke’s ease with the genre is apparent, especially when sharing vocals with the likes of Dolly Parton, Emmylou Harris and Gillian Welch (their poignant “Valley of Tears” is a standout). But his ever-powerful voice is the real star here, sounding just as potent on tracks like the effervescent “Ain’t Got You” and the done-me-wrong song “Honey Where’s the Money Gone” as it did over 40 years ago. 8.5/10 (Gerard Dee)

Joe Sullivan
Big Band (Effendi/Fusion III)
Richard Gagnon
Trombones Actions Intro (XXI)
Trumpeter/educator Sullivan leads one of the best bands anywhere, peopled with superb players like Remi Bolduc, Andre Leroux, Donny Kennedy, Al McLean and Jean Frechette (and that’s just the reed section) playing a number of forward-sounding originals, mostly by the leader. These include “One for Dave,” for trombonist Dave Grott, who’s joined in that section by Rob Ellis, youngster Jean-Nicholas Trottier and Richard Gagnon. The latter is joined on his own outing by a team of five other trombonists, including Grott, Trottier and Ellis, and a three-man rhythm section of Gaetan Daigneault, Frédéric Grenier and Ugo DiVito in a program of compositions by the likes of Vic Vogel, Tony Mastrull, Trottier and the leader. The large-ensemble fancier should be happy with both sessions. Sullivan 9/10, Gagnon 8.5/10 (Len Dobbin)

Mini CD Reviews

Jaki Byard Hi-Fly (New Jazz/Universal) An early outing (1962) by the late pianist, joined by Ron Carter and Pete (La Roca) Sims. Try the Randy Weston title piece or “Tillie Butterball.” 9 (LD)

Think Twice “People Wanna Know” 12” (TTP/Guinness) More MTL hip hop straight out of Japan! Producer Think Twice teams up with Manchilde, Golden Boy and Lotus and Karma for a super solid 12-inch release. 9 (SC)

Frida Hyvönen Until Death Comes (Secretly Canadian) Nico’s brain, Tori Amos’s piano and Joni Mitchell’s vocal chords. 8 (LC)

Los Abandoned Mixtape (Vapor/EMI) Guileless, energetic, inventive, bilingual pop rock from L.A., alternately sweet and snarky. Vamanos! 7.5 (RB)

Gyroscope Bûche (Abat-jour/9+6) From casual jazz to searing rock to the outer limits of prog, this local instrumental quartet spins another inviting web. 7 (LC) CD launch at Missy Bar tonight, Thurs., Nov. 30

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