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 SPANK ROCK
Fabriclive.33 (Fabric/Fusion III)
Tricked out and tracked right, the latest in the London club’s reliable line of mixes, due out Tuesday, successfully compresses the rowdy, irrepressible energy of Baltimore’s bellwethers of bounce as they trot out a treasure trove of proto-techno and neo-disco, iPod e-clash and grade-A b-boy TNT. Kicking off on Kurtis Blow and CSS, they roll through Mr. Oizo, Yello, Mylo and Kano (what, no Yoko Ono?), pull a no-no with Yes, right that wrong with Zongamin’s “Bongo Song,” touch on Tangerine Dream and check in on Chicks on Speed, Miss Kittin and Bonde do Role. A mighty mélange of the timely and the timeless, served up with pride, panache and a substantial side order of zesty hijinx. 9.5/10 (Rupert Bottenberg)
 KAISER CHIEFS
Yours Truly, Angry Mob (B-Unique/Universal)
With longtime Britpop producer Stephen Street at their side again, Kaiser Chiefs have made a two-faced sophomore record that more or less manages to be tough enough for a smidgeon of street credibility, and pop enough to win a Brit Award. Equal parts gruff, punk and vaguely political (like the Jam) and poncey, tender and über-melodic (like Duran Duran), with chart-seeking choruses and radio-bound ballads a-plenty. It’s albums like these that drive home how tiresome the LP format is, when most bands don’t have a dozen solid songs in them. These guys could’ve made an excellent EP. 6.5/10 (Lorraine Carpenter) With the Walkmen at the Spectrum on Tues., April 17, 9 p.m., $27
 VARIOUS
Quentin Tarantino’s Death Proof Original Soundtrack (A Band Apart/Maverick/Warner)
Quentin Tarantino has made a name, led a movement even, predicated on mining gold from the garbage heap of lowbrow retro cinema, and with his latest, half of the Grindhouse double feature, he’s nasty as he wanna be. He’s always applied the same cool-crap connoisseur’s instincts to music, and the Death Proof platter maintains the winning formula of his previous outings—sleazy strutters, rough rockers, searing soul and arch yet appreciable kitsch (the latter inevitably in the service of cruel contrast), peppered with snatches of dialogue and requisite goddamn flute. 7.5/10 (Rupert Bottenberg)
SISTER VANILLA
Little Pop Rock (Chemikal Underground)
Sister Vanilla is Linda Reid and her older brothers Jim and William, of the Jesus and Mary Chain. Linda’s sugary vocals and opiate-laced rock ’n’ roll ballads take the lead, but Jim dominates their handful of duets with that breathy rasp, and echo-chamber drums and leathery riffs come with it, mimicking the brothers’ old band. “K to Be Lost” is actually about listening to the JAMC, referencing albums and songs by name. It’s as if the brothers finally gave in to their sister’s pestering to let her play with them, in a time machine set for 1988. 7/10 (Lorraine Carpenter)
KINGS OF LEON
Because of the Times (RCA/Sony BMG)
It seems that on this third effort, these furry preachers’ sons are only too eager to finally shake their “Southern Strokes” tag once and for all. Unfortunately, they’ve only exchanged the Lou Reed derivations for something more sinister—U2. The Edge-y guitars, Bozo’s sense of selfimportance and U2’s uncanny knack for being just a year behind the curve are all here. Not all is lost, as Ethan Jones’s production breathes and actually contributes to the record’s brighter corners, but if you are buying a record based on production merits, you’re kind of fucked from the get-go. 5.5/10 (Johnson Cummins)
 LOW
Drums and Guns (Sub Pop)
Coming off their bassist’s defection, their frontman’s nervous breakdown and subsequent experimental solo work, Minnesota’s Low are back with a lean and icy eighth record that evokes military lockstep, war machinery and funerals. Alan Sparhawk and Mimi Parker’s familiar harmonies lend a little warmth to proceedings, otherwise dominated by synthetic beats and disjointed, sometimes sinister soundscapes. Like its predecessor, the album was helmed by auteur-ish producer Dave Fridmann, who lets the sound breathe and sigh, yielding something dark but surprisingly pretty. 8/10 (Lorraine Carpenter)
JEAN-MICHEL JARRE
Téo & Téa (Warner)
Electronic music can now safely be said to have its own equivalent of a classic-rock sound, and few are better suited for the category than French e-pop pioneer Jarre, whose late-’70s Oxygene and Equinoxe albums, and concerts of unprecedented scale, wrote the book for rave culture. His latest bears all his hallmarks—pleasantly propulsive tempos, tasty analog tone-twisting, warmly emotive melodies and a balance of classical complexity and pop appeal that makes visiting his macroscopic edifices of sound a consistent joy. 8.5/10 (Rupert Bottenberg)
 COBNA
Garde un oeil ouvert (13Deep)
Cobna is definitely not a new face in Montreal hip hop, and this album reflects not only how long he’s been involved, but the continued evolution of his rap persona. Armed with back-up from producers Cast, Manifest, Criollo, Kyle and more, Cobna takes it to the street, painting a picture that isn’t too pretty for the most part. While he does reveal parts of himself in his music, the absence of any standout tracks makes this an MTL hip hop release that will only ring true with a select number of heads. 7/10 (Scott C)
PAUL WALL
Get Money Stay True (Atlantic/Warner)
Mr. Comically-Large-Grill is a terrible MC, but working with main producer Mr. Lee, the pair’s knack for catchy yet notcompletely- insipid beats and the ability to maximize return on a bevy of guest rappers are displayed here. Snoop Dogg works his elder-statesman angle better in one verse on “Everybody Know Me” than he did on his last album. Wall and Juelz Santana try to out-suck each other on “I’m Real, What Are You?” but the final result is unabashedly fun. Paul Wall’s lyrics aren’t worth analysis, but his flow complements the music so it’s never jarring or annoying. 7.5/10 (Erik Leijon)
 CHICO MANN
Manifest Tone Vol. 1 (Kindred Spirits)
Antibalas guitarist Marquitos Garcia introduces the dirty, lo-fi world of Chico Mann on this release, a slightly grimy marriage of Afro-funk and drum machine beats. While on hiatus from Antibalas, Marquitos was able to experiment with the syncopated sounds of this project, and in the end this is a raw, much needed addition to the growing international sound of Afrobeat. Proof positive can be found in the filthy stomp of “Hot Foot,” or the future dancefloor classic “Say What.” This record is a must for anyone who has ever been remotely inspired by Fela Kuti. 9.5/10 (Scott C)
ANTHONY B
Higher Meditation (Greensleeves)
Anthony B rises above the crowd of “singjays” to create a record that’s surprisingly consistent for a guy who’s released 10 records in the past two years. Parisian producer Frenchie, as usual, demonstrates skill in crafting a strong roots sound that’s got a great mid-’90s dancehall energy. Chanting down Babylon through and through, pure consciousness and one drop vibes reign on this record. But don’t worry, there are a couple of dancehall bangers thrown in for good measure. Natty King and Turbulence offer a little bit of help, but it’s Anthony B that shines here, reminding reggae fans that he’s one of the genre’s best. 9/10 (Erin Macleod)
 CORINNE BAILEY RAE
Live in London & New York (EMI)
It’s easy to picture Rae as a jazz singer in the ’40s, casting sultry glances around a small, smoky club, entrancing the audience with her almost lazy vocal drawl. But while her auspicious 2006 self-titled debut suggested a relaxed, classic stylist, this CD/DVD combo shows the U.K. soul singer to be a dynamic performer who’s very much at home in the now. This especially comes through on the DVD, which captures her London performance. Backed by a full band, Rae effortlessly runs through songs from her debut, as well as a cover of Led Zeppelin’s “Since I’ve Been Loving You,” with a stage presence that reveals a truly timeless entertainer. 8/10 (Gerard Dee)
JOHN RAUHOUSE
Steel Guitar Heart Attack (Bloodshot/Outside)
Best known as Neko Case’s sideman, Rauhouse’s solo efforts have been sadly relegated to the shadows, but this new one should change that. Rauhouse throws thematic consistency out the window and tries on many hats here—for instance, with the great Texan swing of “Idaho,” tipping its 10-gallon to Bob Wills while expertly taking on the theme from Mannix, with Rauhouse’s careening steel guitar leading every step of the way. He proves himself an expert arranger here by leaving room for his many guests, including Case and Calexico’s Joey Burns, John Convertino and Jacob Valensuela, but with the blatant talent on songs like “Holiday for Strings,” this is his show all the way. 7.5/10 (Johnson Cummins)
MICHEL DONATO
Et Ses Amis Européens (Effendi/Fusion III)
MICHEL DONATO
Et Ses Amis Européens Volume 2 (Effendi/Fusion III)
These two quintet recordings, done two years apart, are led by a Montreal bassist whose C.V. includes work with Oscar Peterson, Oliver Jones, Bill Evans and Paul Bley. He’s featured here with four musicians he met while living in Europe. Drummer Karl Jannuska and reedman François Theberge are Canadians living in France, guitarist Michael Felberbaum and trumpeter Piotr Wojtasik are Europeans by birth. The 21 tracks scattered over these two CDs are all by the group members. Try “NHOP Blues” by Donato, “When Iris Eyes Are Smiling” by Jannuska, the trumpeter’s “Dolphy’s Coming,” the guitarist’s “Italian Waltz” or Theberge’s “Vin Neuf.” 9/10 (Len Dobbin)
Mini CD Reviews
Various If You Ain’t Got the Do-Re-Mi (Smithsonian Folkways) These 27 songs of destitution from Guthrie, Seeger, Leadbelly and others are stunning, but the exhaustively researched booklet makes this mandatory for any folkie. 8.5 (JC)
Michael Felberbaum Sweet Salt (Fresh Sound New Talent) Nine originals by a European guitarist well worth multiple listens—Karl Jannuska, a drummer who impressed Montrealers during his stay here, is a decided asset in this quartet outing. 8 (LD)
Lydia Lunch Deviations on a Theme: A Retrospective of the Artist’s Career (Provocateur/Fusion III) Two discs’ worth of material by the post-punk medusa who “gazes into the infernal abyss of the unconscious.” In other words, she crazy. 7.5 (LC)
Mike O’Brien self-titled (independent) Leaving no style of roots music unmined, this singer-songwriter and guitarist gives it his all, with lots of cameos by familiar fellow Montrealers. 7 (LC) With Brad Barr at Divan Orange tonight, Thurs., April 12, 10 p.m., pay-what-you-can
The Academy Is… Santi (Atlantic/Warner) …not even worth six words. 2 (EL)
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