Disc of the week

VIEUX FARKA TOURE
self-titled (World Village)
This debut from the son of the late Malian guitarist Ali Farka Toure, a musician whose legendary, haunting guitar sound earned him the name the “bluesman of Africa,” shows that the apple doesn’t fall far, as it were. “Diallo” and “Tabara,” two duets recorded shortly before Farka Toure Sr.’s death last year, show Vieux to be just as dextrous a player as his dad. Elsewhere, the record also takes advantage of a wide swath of Malian musical talent, not the least of which being Toumani Diabate, master of the kora and mentor to Vieux. With tunes ranging from the raucous to the relaxing to the reggae-tinged, this is a remarkable album in that it doesn’t just see an artist following in his father’s footsteps, but continuing a musical tradition that Martin Scorsese has called “the DNA of the blues.” 9/10 (Erin MacLeod) At Kola Note, Fri., Feb. 9, 8:30 p.m., $23.50

APOSTLE OF HUSTLE
The National Anthem of Nowhere (Arts & Crafts) Andrew Whiteman and company deliver a sophomore record that’s a little livelier and, let’s say, spicier than 2004’s Folkloric Feel. As tempting as it is to make fun of its stretches of Spanish vocal, tropical shuffle and fiery percussion, your elderly relatives in a conga line are no match for a member of Broken Social Scene. Amid the echoes of breezy surf, ballroom rock and other brands of lazy pop music, as possibly played by bands inside a shell, are a rich and fluid succession of rhythms, punctuated by sassy beats and brass. Gotta give “Whitie” credit for pretty much pulling this off. 7.5/10 (Lorraine Carpenter)

AEREOGRAMME
My Heart Has a Wish That You Would Not Go (Sonic Unyon)
Back when I described this Scottish band’s sound as “frilly metal for elvish drama queens,” my heart had a wish that they would never have come. Now they’ve hit the brakes big time, the drama has become melodrama and the elvish tendencies veer away from metal toward, not surprisingly, prog rock. The guitars still go alpha now and then, but this is much nearer Death Cab for Cutie than Napalm Death (let alone Death, that dead Norwegian guy). And with as much maudlin verse and melodic clichés as there are lyrical treats and orchestral pop ambrosia, Aereogramme merely break even. 6/10 (Lorraine Carpenter)

ISIS
In the Absence of Truth (Ipecac)
Already one of the most challenging and inventive bands in aggressive metal, Isis continue their paradoxical tradition of not repeating themselves, while still showing themselves able to draw out the drama with expert use of tension before finally dropping the hammer like no one else. On this new one, their punches are pulled slightly to leave more elbow room for psychedelic tendencies, but they’re no less lethal on songs like “Not in Rivers, but in Drops” and “Holy Tears.” Amid the current crop of heel-biters and cheap imitators, Isis show us who has their hands firmly on the leash with this early contender for metal release of the year. 9/10 (Johnson Cummins)

DEMON’S CLAWS
Satan’s Little Pet Pig (In the Red)
Although these local miscreants have inked a deal with one of garage rock’s most respected labels, and laid down the tracks in the sunny locale of California, fear not. The recording still sounds like a giant treble blast and the band are as loose as ever. Thank God too, because songs like “1000 Pounds” and “Wrong Side of Town” (complete with a direct rip-off of Love’s “7+7 Is”—nice!) still explode in a childlike tantrum while they cover the tracks of their swampy blues with speed, a tremolo guitar that will shake the blood and arrangements that ring out with dementia. If you’re lamenting the glory days of the Gories, then look no further than your own backyard. 7.5/10 (Johnson Cummins)

ALKALINE TRIO
Remains (Vagrant/Universal)
In spite of being a collection of b-sides and rarities amassed over the past decade, Remains rarely sounds like sloppy seconds. Never reinventing the wheel, the Chicago pop punkers sound like another ’90s trio—Green Day, before the delusions of grandeur. The lyrics are tragically comical, the songs are catchy and the recording flows nicely, despite being a hodgepodge of various times in their history. If anything, the b-side format gives them a prime opportunity to experiment—“Don’t Say You Won’t” is rooted in ’80s alternative pop, and “Buried” is an ode to the Jesus and Mary Chain. 7.5/10 (Erik Leijon)

ULTRAMAGNETIC MCS
The Best Kept Secret (DMAFT)
You’d think that Ultramagnetic would have reunited some time ago, but instead they’ve waited until 2007, almost 20 years since Critical Beatdown. This is by no means that record, with too many tired and lazy tracks lacking in both the production and flow-delivery departments. “Party Started” has the potential to clear any dancefloor already bumpin’, while “Underwear Pissy” has Keith listing places he’s ready to shit in. Ced-Gee is eclipsed by Keith on the mic, and the entire record seems like a very bad idea. Not bad for a nostalgic chuckle, but c’mon. 6/10 (Scott C)

WU-TANG CLAN & FRIENDS
Unreleased (Nature Sounds)
I had no idea that the Wu had gone adultcontemporary. Shouldn’t there be a Dionne Warwick collab in the mix? All jokes aside, here’s a chance to catch another side of the Wu, with beats provided by Allah Mathematics. It seems, though, like Mathematics saw an opportunity to get his out-of-Clan affiliations on here—M-Speed, Bad Luck, All Day, Superb, Allah Real, Hell Razah, Streetlife, Shyhiem, Drama and Eyes Low seem like another clan entirely. But the classic Wu bounce is maintained and everyone in the clan but Ol’ Dirty Bastard (RIP) is here. Just stay the hell away from “Queens Day ’88.” It sounds like they pulled a crackhead off the street to sing the hook. 7.5/10 (Lateef Martin)

BENNY BENASSI
Cooking for Pump-Kin (Pump-Kin)
This new mix from Milan’s Benny Benassi pushes a little cheesiness across that thin line toward cleverness, or at very least catchiness. It’s a head-nodding retrospective on developments in the big-room, mid-tempo techno of late 2006, featuring frequent mood changes and the odd stretch of fluffy vocals, brought to us by the guy who made that “Satisfaction” track with Stephen Hawking singing. Paying respects to trance, electro and house, the mix is neither here nor there, which sometimes proves to be a saving grace, while being a bit annoying at others. 6.5/10 (Jack Oatmon) With Mini at Stereo, Fri., Feb. 9, 2 a.m., $35

DIANA ROSS
i love you (EMI)
The original dream girl releases her first album in seven years, just in time for Valentine’s Day. With the exception of the disarming title track, this is an album of covers, ranging from Marvin Gaye’s “I Want You” to Dusty Springfield’s “The Look of Love.” Ross has never been a powerful singer; rather, her delicate vocals are best suited to material that doesn’t demand too much range. Still, her middling interpretations of many of these songs borders on the mundane. Thankfully, there are a few tracks—“Lovely Day,” “To Be Loved”—on which she shows shimmers of the sparkle that made her the darling of Motown in the first place. 7/10 (Gerard Dee)

BRIAN MCKNIGHT
Ten (Warner)
Brian McKnight is invigorated on his 10th release, infusing this collection of love jams with genuine vocal energy. His unsuccessful attempts to suffuse his music with hip hop beats came to a full stop with ’05’s excellent Gemini, and continues here with some quality “grown-people’s grooves,” including the first two singles “Find Myself in You” and “Used to Be My Girl.” He also gets props for the cleverly-worded break-up track “Unhappy Without You” and the equally impressive “A Little Too Late.” His one misstep is “Red, White and Blue” with Rascal Flatts, the type of over-the-top flag-waving yarn that only plays well in the red states. 8/10 (Gerard Dee)

ELENI MANDELL
Miracle of Five (Zedtone)
It’s no surprise that this Los Angeles-based chanteuse’s latest record teems with waltzes and allusions to songwriting giants like Cole Porter (tell me the opener isn’t “So in Love” in different trousers). Over six albums, Mandell has learned to let her smoky cabaret compositions merely hint at the classics, never crossing the line into revivalism. But while her nebulous arrangements often form the perfect nest for her soft and supple voice, their diluted quality erases all flavour from the record’s last quarter. 7/10 (Lorraine Carpenter)

THE VANDERMARK 5
A Discontinuous Line (Atavistic) After a decade in the game, the confident baritone sax of Ken Vandermark leads the newest incarnation of his stalwart band into some ambitious nooks and crannies. Whether or not you’re partial to the terms free jazz or post-bop, the fact remains that this very capable group of Chicago musicians have created an eight-track platter that’s teeming with both cacophonous and pensive moments. The Vandermark 5 may be a great show to catch live, but the truth is that this is a particularly engaging studio record, showing the imaginative scope of the talent they’re working with. 7.8/10 (Scott C) At la Sala Rossa, Sun., Feb. 11, 9 p.m., $15

VARIOUS
Billy Strayhorn: Lush Life (Blue Note)
This is a companion CD to an upcoming PBS TV tribute to Strayhorn’s prowess as a composer. Fifteen wonderful tracks of material, of both the well-known and obscure variety. Among those who make this a first-class outing are Joe Lovano with Hank Jones, George Mraz and Paul Motian, the Dianne Reeves Quartet and Elvis Costello with his lyrics to “Blood Count.” Lovano does a beautiful version of “Chelsea Bridge” and a cooking “Johnny Come Lately,” and Jones and Bill Charlap’s four-handed piano romp on “Tonk” is yet another highpoint. A must! 10/10 (Len Dobbin)

Mini CD Reviews

KENDRA SHANK A Spirit Free: Abbey Lincoln Songbook (Challenge) A relatively new vocalist pays tribute to a well known singer-songwriter. With assistance from the likes of Ben Monder, Frank Kimbrough, Billy Drewes, Tony Moreno and Gary Versace, this is another one to own! 9 (LD)

JACK DEJOHNETTE Golden Beams Collected Volume 1 (Kindred Rhythm/Koch) With help from friends Bill Frisell, Don Alias, the Ripple Effect and that ragged ol’ DJ Logic, Jack is still the centre of attention. 7 (SC)

JULIE DOIRON Woke Myself Up (Endearing/Universal) Don’t expect it to indie-rock, but Eric’s Trip reunite here, lending a certain spark to Doiron’s latest batch of solo musings. 7 (LC)

+KID All Cities Look the Same (Plus/Outside) There’s room for improvement, but this local band’s instantly memorable melodies, Britpop guitars and pro production are easy on the ears. 7 (LC) With Around Joshua at le Vaet- Vient, Fri., Feb. 9, 9:30 p.m., $10

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