Disk of the week

ARCTIC MONKEYS
Favourite Worst Nightmare (Domino/Outside)
A year removed from ending world hunger and curing AIDS, the Arctic Monkeys have predictably gone from party animals to sullen introverts. Alex Turner’s Yorkshire accent isn’t as forced, and the lyrics aren’t as immediate. Less ebullient, although ultimately more rewarding because tunes like “Do Me a Favour” and “505” demonstrate a band realizing their immense potential as the voice for the disenfranchised Facebook generation. “This House Is a Circus” starts slowly but ends with their most ferocious instrumental yet. An excellent, moody response to their meteoric rise that also proves they are capable of living up to the hype. 9/10 (Erik Leijon)

AVRIL LAVIGNE
The Best Damn Thing (RCA/Sony BMG)
The pint-sized, cockteasing coquette’s cheerleader twist is as calculated an attempt at monolithic crossover appeal as Nelly Furtado’s relinquishing of her career to Timbaland. Both Canucks suffered the same sophomore slump by falsely assuming we cared about their personal woes, so understandably, Avril hiked up her skirt, took off her underwear and made many a creepy music exec proud. She runs out of ideas and frequently resorts to self-plagiarizing, especially on the unbearable ballads, but she’s so girly when she’s whining about picking up the tab on a date that one can’t help but appreciate its cuteness. 5.5/10 (Erik Leijon)

THE NIGHTWATCHMAN
One Man Revolution (Epic/Sony BMG)
Rage Against the Machine/Audioslave guitar god Tom Morello is still on a mission to awaken the masses. Problem is, many may fall asleep to this acoustic effort. At times, Morello channels Johnny Cash in his storytelling stylem and a voice that’s surprisingly deep and robust but still needs a bit of work. Folk-tinged songs of sacrifice, protest and resistance with titles like “Battle Hymns” and “Union Song” shows a man aiming for the people out picketing in the rain. Where Rage appealed to the young’ns looking to mosh, the Nightwatchman takes the quieter road in hopes of finding the fans who are serious about change. 7.5/10 (Lateef Martin)

THE WOODEN STARS
People Are Different (Sonic Unyon)
It’s been seven years since the Wooden Stars’ last LP, a collaboration with Julie Doiron, but they’ve been keeping busy, particularly frontman Mike Feuerstack, who’s had his solo project, Snailhouse, and stints with bands like Islands to occupy his time. This short and sweet record is a blend of new material and refurbished odds and ends from the vault, book-ended by a jittery post-punk tune about “putting the heart back in heart attack” and a careening break-up song that constantly threatens to tip over. Balancing smooth harmonies and cracked David Byrne-isms, tough post-punk guitars and randomized riffs and hella-tight rhythm with acute ADD, the Wooden Stars will keep you entertained and on your toes. 8/10 (Lorraine Carpenter)

MOUTHFUL OF BEES
The End (Afternoon)
Alongside “new-fangled indie rock,” this Minneapolis quartet takes its cues from olde-tyme rock ’n’ roll, and not the kind pimped by Bob Seger. We’re talking primordial groove and twang, a lo-fi approach that matches their often weighty walls of guitar and thunderous percussion. Considering this is a low-budget, largely self-produced debut by kids who still need fake ID, it’s amazing how the crude mix lets the songs shine, from the adrenal bangers to the slow-boiling scorchers, with Chris Farstad’s sweet voice as the cherry on top. Keep it up, kids! 7/10 (Lorraine Carpenter)

KEN ANDREWS
Secrets of the Lost Satellite (Dinosaur Fight/Fontana)
Andrews proved he knew his way around a studio in the ’90s with the sombre rock of Failure. As a solo artist, he lets the songs sell themselves, but the heaps of spit and polish may have gone a little overboard. Andrew’s baritone seems richer these days as he tests his vocal range, giving his lyrics new impact, but again, he occasionally shoots himself in the foot with lofty production. Andrews’ signature plodding tempos are a given as well. Detours from his tried and true formula would’ve given this record more depth instead of just density. 6.5/10 (Johnson Cummins)

THE TWILIGHT SAD
Fourteen Autumns & Fifteen Winters (FatCat/Fusion III) These up-and-coming Scots could be contenders for the sad-bastard throne, recently vacated by Arab Strap, but how sad can a bastard really be if he’s writing arena-sized hooks and frequently rising above his grim brogue to shout along with gargantuan riffage? It’s like the missing link between post-rock and power ballads, something to raise your lighter to and still feel comfortable at a godspeed show or an anti-corporate demo. If even a faint whiff of Foreigner is enough to turn your stomach, forget about it, but I predict that even your neighbourhood cynic will latch onto the Twilight Sad, if only in secret. 8/10 (Lorraine Carpenter)

YOUNG GODS
Super Ready/Fragmente (Ipecac)
Along with bands like the Swans, Switzerland’s Young Gods were one of the most innovative, aggressive bands of the ’80s, but have been grossly unsung outside the realm of Wire subscribers. If you are looking for a repeat of past achievements, though, don’t look here—this new release is anything but a nostalgia trip. Rock now comes more to the forefront with fuzzed-out guitars taking centre stage, while their psychedelic electronic moments hover overhead. Ex-Swans lowend thumper Roli Mosimann takes the production chair and goes for the throat while steering clear of a claustrophobic mix. Fans of NIN might want to look into this—Trent Reznor has had his hands in Young God’s cookie jar for quite some time. 8.5/10 (Johnson Cummins)

BASSNECTAR
Underground Communication (Om)
Sometimes hinting at a potential lifejacket for the thoughtful artists left on the sinking ships of hip hop and drum & bass, San Francisco’s Lorin Bassnectar dispenses a psychedelic cocktail of club breakbeats, Yankee rap and stoner worldbeat on his latest release. The weakness here is that too much genre affiliation ends up sounding, well, generic at times. The production and concepts are there, the killer low-end is most definitely there, and with a bit more fleshing-out and distillation, the devoted following will be there too. 7/10 (Jack Oatmon)

J BRU
Identity Crisis (Urbnet)
Canada’s East Coast hip hop legacy continues with yet another talented MC stepping up to the plate. J Bru likes to utilize his down-home flow to rap about his own personal experiences, often sounding like a dude who’s seen it all. Songs like “Put My Work In” and “What R We Doin” showcase the complementary production of fellow MC and producer Classified, who has generously produced six tracks on this LP. Bru also drops a couple of beats to show his versatilty, but the imbalance comes with lyrical content that starts to sound redundant. J Bru is a good MC who still hasn’t found his stride, but this is a great start. 7/10 (Scott C)

BEN WESTBEECH
Welcome to the Best Years of Your Life (Brownswood)
Young Bristol native Ben Westbeech not only had the luxury of having three of his singles pushed and played by the BBC’s Gilles Peterson almost two years before the appearance of this debut, but the record is on Gilles’s own Brownswood Recordings as well. I have to admit that despite his slight voice, far from a strong vocal presence, the reach and feel of this record touches a slew of influences that keep the listener from passing judgement too quickly. Beats range from D&B to hip hop/soul and broken-beat jazz, all iced with Ben’s inoffensive voice. There’s a few big tunes here for sure. 8.5/10 (Scott C)

VARIOUS
Interpretations: Celebrating the Music of Earth, Wind & Fire (Concord/Koch)
The problem with song tributes is that they either don’t live up to the originals or they imitate them without any creativity. The latter is a problem here for artists like Mint Condition and Musiq, who offer solid but imitative versions of “After the Love Is Gone” and “Reasons,” respectively. Thankfully, that’s not true throughout. For instance, Chaka performs “Shining Star” with a raw passion that she hasn’t shown in years. Elsewhere, Ledisi puts her own soulful stamp on “Devotion” and Dwele successfully infuses a low-key jazz vibe into “That’s the Way of the World.” But Meshell Ndegeocello gets the nod for most offbeat interpretation with her funk-rock fusion take on “Fantasy.” 8/10 (Gerard Dee)

ERDEM HELVACIOGLU
Altered Realities (New Albion)
Fans of Dan Lanois, pay attention. Turkish guitarist Helvacioglu isn’t just an exquisitely capable and adventurous player, he’s a bit of a daredevil too—Altered Realities was recorded without overdubs or alterations, just a real-time session with six strings and a stack of effects pedals. The rich, expansive, emotionally evocative soundscapes that result are things of remarkable beauty, expansive in their scope and vivid in their detailing. 8/10 (Rupert Bottenberg)

Mini CD Reviews

D.O.A. Punk Rock Singles 1978-99 (Sudden Death/Scratch) At least up until ’83, D.O.A. were one of the best hardcore bands around—’78’s “New Wave Sucks” and the ’83 cover of Subhumans’ “Fuck You” makes this mandatory for any self-respecting punker. 8 (JC)

THE MANHATTAN TRANSFER The Symphony Sessions (Rhino) One of the great jazz vocal groups, joined here by the City of Prague Symphony Orchestra on items like “Birdland,” “Route 66” and Thad Jones’s “To You.” 8 (LD) With Bet.e at Place des Arts, Salle Wilfrid-Pelletier, Thurs., May 3, 8 p.m., $45–$85

SHARON BROOKS Defining Me EP (independent) Local voice Sharon Brooks opens up her soul for a hot minute on this glimpse of more to come. Just a taste, but it tastes good! 8 (SC)

ARIELLE DOMBASLE C’est si bon (Sony BMG) American Francophile and actress spins pop standards as soft and sugary as pink cotton candy. 7.5 (LC)

KITTIE Funeral for Yesterday (X of Infamy/Merovingian/ EMI) Ontario females make metal for the emo-inclined on their fourth LP, sure to be embraced by morbid mallrats and random Japanese. 5 (LC)

GOOD CHARLOTTE Good Morning Revival (Epic/Sony BMG) If you need a laugh, download “All Black." 1.5 (EL)