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 Various
DIY: The Rise of the Independent Music Industry After Punk (Soul Jazz/Fusion III)
The indie-rock ethos of uncompromised creativity at or beyond the margins of the commercial music machine came into its own, as a culture rather than just a cultural tactic, with the four-eyed zine keeners of the ’90s. An important earlier stage, though, was the British post-punk recording scene that ignited with the Buzzcocks’ Spiral Scratch EP in ’77. They’re here along with Swell Maps, Kleenex, Blurt, the Flys, Throbbing Gristle and 16 others, never to mention a booklet packed with useful info and interviews with the sort of nuts ’n’ bolts figures—Rough Trade founder Geoff Travis, engineer George Peckham—usually left to even greater obscurity than the bands. 8.5/10 (Rupert Bottenberg)
 The Stooges
The Weirdness (Virgin/EMI)
It’s been 37 years since the Stooges released what’s arguably the greatest rock ’n’ roll record ever, Funhouse, but if you’re looking for the nihilistic guitars of Ron Asheton and Iggy Pop’s howl from the precipice of the abyss, don’t look here. Not all is lost, as Steve Albini’s warts-and-all production is crisp as ever and Iggy’s lyrical take on Americana is so sharp it draws blood, but too much mediocrity takes up most of the record. Asheton’s guitar playing seems tossed off, songs are half-baked and neutered, and worst of all, Iggy gives a performance with no cojones. Things do pick up near the end, on “Mexican Guy” and “I’m Fried,” where Asheton finally frees himself up and Iggy gives us a glimpse of greatness, but overall, they come across as a band that just doesn’t have much to say anymore. Sad. 6/10 (Johnson Cummins)
The Great Lake Swimmers
Ongiara
(Nettwerk)
There’s a mysteriously serene quality in Tony Dekker’s voice, at once intimate and distant, earthy and heavenly, like Neil Young if he were a monk instead of a rocker, and it’s always been the centrepiece of Great Lake Swimmers. It doesn’t hurt that he’s got melancholy melodies, genteel harmonies and a perfectly complementary acoustic backdrop behind him. On their third album, and major-label debut (in stores on March 27), the band also benefits from strings by part-time Arcade Fire-man Owen Pallett (aka Final Fantasy) and cameos by Sarah Harmer, Serena Ryder and Blue Rodeo’s Bob Egan. 8/10 (Lorraine Carpenter) With Basia Bulat at Casa del Popolo tonight, Thurs., March 15, 9 p.m., $15
 Mika
Life in Cartoon Motion (Casablanca/Universal)
Amid his pouting emo and synth-punk peers, 23-year-old Mika is a bright-eyed, big-haired anomaly, an anachronism even. He’s thoroughly versed in the language and lore of ’70s prog-pop, from the disco inflections and overcooked optimism to Freddie Mercury’s falsetto and 1910 Fruitgum Co.’s calculated cuteness. Extending the bubblegum reference, Life in Cartoon Motion’s track list could fill the audio needs of a dozen vintage Wrigley’s ads. Problem is, for all the spectacular flash and flourishes, nothing here has a mnemonic hook, and catchiness, in Mika’s corner of the game board, is key. 6/10 (Rupert Bottenberg) At Club Soda, Mon., March 19, 9 p.m., sold out
The Operation M.D
We Have an Emergency (Aquarius)
Sum 41’s bassist and H2O’s guitarist have teamed-up for a needless pop-punk side project. There are bush-league sound effects added for colour, but the stench of latter-day Mooney Suzuki non-rock engulfs all 30 putrid minutes of this dryly-produced bit of Cancon. Singer Todd Morse might have the most aggravating voice of recent times—he has a weak, nasally off-key yelp, but delivers his insipid lyrics (which never expand on their supposed doctor personas) with unflinching self-confidence. It’s an uncomfortable listen and actually makes one look forward to Sum 41’s new record. 1/10 (Erik Leijon)
Zozobra
Harmonic Tremors (Hydra Head/Sonic Unyon)
If you’re a fan of heaviosity, you have to admit, we’re indeed living in very good times right now. Cave In bassist Caleb Scofield’s new joint is rife with heavy-handed doom and psychedelic blips and bleeps, but it’s his melodic howl that really earns the points here. Scofield proves to be king of the low end with his bass wrapped up in fuzz, while stomping from the drums gives the songs the atmosphere and drama they need. Songs like the incredibly catchy “Levitate” and the naked dirge of “Silver Ghost” redefine aggressive music while songs like “Soon to Follow” just plain crush. Fucking great! 8.5/10 (Johnson Cummins) With Isis and Jesu at le National, Sun., March 18, 9 p.m., $15
 The Ataris
Welcome the Night (Isola/Sanctuary)
The band has done away with their old label, two members and their modern-rock radio sound, but a complete overhaul has done little to make the Ataris interesting. Singer Kris Roe is now the unquestionable leader of the septet, and has chosen to expand his muse with a cello, keys and a wall of guitars. The songs are moody and dense, owing much to the Cure and Echo & the Bunnymen. If anything, the brooding atmospheric rock on “Secret Handshakes” and “A Soundtrack for This Rainy Morning” are similar to the Doves’ languid interpretation of British post-punk. 5/10 (Erik Leijon)
Type O Negative
Dead Again
(Steamhammer/Fusion III)
What makes Type O Negative work is that despite the grand strings, gothic metal and evil vocals, they’ve never taken themselves too seriously (remember the video for “Black No. 1,” for example). Four years after their last release, Life Is Killing Me, TON retain their dark wit and penchant for raw metal. They’ve stuck to their sound, treating trends and flavours of the month like garlic and mirrors. Add to that the archaic samples, brooding melodies and a lot of rolling Rs, and you have a band that after 17 years (!) proves that they’ve still got a few more wrists to slit. 7/10 (Lateef Martin)
 Gruff Rhys
Candylion (Team Love/Outside)
Between Super Furry Animals albums, the band’s singer presents his sophomore solo record, a largely English follow-up to the entirely Welsh Yr Atal Genhedlaeth. Exceptions include the current single, “Gyrru Gyrru Gyrru,” an especially silly use of the odd, lyrical language. The record is dotted with child-like lyrics and choruses (not to mention the cover art), but Rhys and his gang of guest players provide a batch of songs that adults will love too, such as the Ennio Morricone-esque “Lonesome Words” and the Beta Band-ish epic closer “Skylon!” 7/10 (Lorraine Carpenter)
Money Mark
Brand New By Tomorrow (Brushfire/Universal)
Keyboard capo Mr. Ramos-Nishita comes ambling back into our lives, again in a good-natured slack-a-daze, with a permagrin plastered on his puss. This time, the wonky jazz-funk excursions take a back seat to a definite post-Pepper’s Beatles feel, as Monsieur Money monkeys around with light but sturdy bong-pop nuggets, soaked in sangria and sunshine. Yes, he crosses into the cringe zone here and there (“Black Butterfly” just hurts), but for the most part, Brand New… is nice, lazy summer listen. Disclaimer: summer not actually included with CD7/10 (Rupert Bottenberg)
 DJ Jazzy Jeff
The Return of the Magnificent EP(BBE/Rapster)
In this neatly packaged precursor to the full-length LP that should turn up some time in the spring, Philly DJ/producer Jeff Townes, aka Jazzy Jeff, shows once again why he gets more musical respect than the Fresh Prince in 2007. Tight productions with mic powerhouse Rhymefest, Little Brother, CL Smooth and Raheem DeVaughn make this well worth it, plus a killer additional track called “Bossy Nova” that takes the Philly touch to Brazil with futuristic, soulful vibes ready for the dancefloor. Apparently Jeff’s got the Midas touch. 8.5/10 (Scott C)
Rise Ashen and Blissom
Something Wicked
(Fossil Fuel)
Longtime production partners Rise Ashen and Blissom (Eric Vani and Stephane Lefrancois) have combined to bring their rhythmic worldview to serious dancers everywhere with this ambitious, 12-track release. With sounds that incorporate funky house, samba, dub and broken beats, and vocal help from Andrew Carter, Andrea Figueiredo and Hadiya Roderique, this duo is able to lead the listener to the floor with layered style and syncopated soul. Ottawa is in the house! 8/10 (Scott C)
Brand New Heavies
Elephantitis: The Funk & House Remixes
(Traffic)
On paper, remixes of tracks by the U.K.’s premier funk/soul band should be a slam dunk. The reality is less exciting. Covering Heavies favourites from ’91 through ’97, this double disc is evenly split between funk and house mixes, with most tracks doing double duty on both discs. Some mixes work: “Never Stop” and “Stay This Way” get the funk disc off to an energetic start, and Q-Tip adds ghetto fabulousness to “Sometimes.” The house disc is less impressive, with only a few tracks like “You Are the Universe” and “You Can Do It” living up to their potential, which isn’t enough to make this the kick-ass compilation it should be. 7.5/10 (Gerard Dee)
Jackie Cain & Roy Kral
Echoes
(Jazzed Media)
Wynton Marsalis
From the Plantation to the Penitentiary
(Blue Note/EMI)
Welcome new releases for the vocal collector—the first is a newly released concert performance from 1976 by one of the great pairings in jazz-vocal history. This is particularly welcome, as Kral died in 2002. They met while working with Charlie Ventura in the ’40s, and this is a gem in their extensive recorded legacy. Alec Wilder, Tommy Wolf, Dave Frishberg and Fran Landesman are among the composers represented here. The Marsalis release—seven originals played by his current quintet—introduces us to an important new jazz voice in Jennifer Sanon. Take note of that name—impressive! Both 9/10 (Len Dobbin)
Mini CD Reviews
Larry Willis
Blue Fable
(HighNote/Koch)
The latest from this veteran pianist. The trio becomes a quintet with the addition of Joe Ford and trombone great Steve Davis on four tracks including a “Prayer for New Orleans.”
8 (LD)
DJ Low Key
Mixing in Action 2
(ASAP)
Low Key gets Tanya Morgan to host this ill mix that features Main Flow, Black Sheep, Exile, Von Pea, Kidz in the Hall and even more buttas.
8 (SC)
The Cinematics
Break EP
(TVT/Universal)
Britpop and new wave butt well-coiffed heads on the debut EP by this sleek Scottish band, whose debut album, A Strange Education, is out now.
7.5 (LC)
Mother Mother
Touch Up …
(Last Gang)
Spazzy, jazzy B.C. trio Mother, who played last year’s jazz fest, have squared their name, retooled their eponymous LP and re-served their succulent roots pop on a cool indie label.
7.5 (LC)
Gilby Clarke
self-titled
(Spitfire/EMI)
This Guns N Roses dropout has long born the rock dinosaur title, but given the especially stinky “Punk Rock Pollution,” he can claim douchebag status as well.
3 (JC)
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