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 BLONDE REDHEAD
23 (4AD/Select)
If you enjoyed the scenic route Blonde Redhead took with 2004’s Misery Is a Butterfly, you’ll love the ride this time around, with its snowy peaks and Lush valleys (that’s a capital L). It’s pretty from end to end, with singers Kazu Makino and Amedeo Pace working melancholy pop magic, backed by guitars swimming around in their own juices, riffs ringing, bending and echoing, while synths produce ambient sparkles and eerie static. It’s a wintry record, just in time for summer, with gothy overtones that may scare very small children. 9/10 (Lorraine Carpenter) With Fields at Club Soda, Sat., May 12, 9 p.m., $25
 BJÖRK
Volta (Atlantic/Warner)
Following three thematically stringent efforts, the Icelandic sound sorceress loosens up and lets her imagination run wild. As it unfolds, Volta’s hodge-podge of moods and materials echoes every stage of her career, and her collaborators (including Timbaland, Antony, Konono No.1, pipa player Min Xiao-Fen and drummers from Sunburned Hand and Lightning Bolt) are likewise literally all over the map—“Can you spot a pattern? /Relentlessly restless,” she sings in “Wanderlust.” Lyrically, the personal and political bleed into one another, and angry assertions of the essential, bone-deep commonality of our species recur throughout. 8.5/10 (Rupert Bottenberg)
RUSH
Snakes and Arrows (Anthem/Universal)
First, let me come out of the closet and say that I’m a big vintage- Rush fan. Unfortunately, what I love about Rush is when they’re wanking up a storm, as Lee, Peart and Lifeson are all obviously masters of their instruments. Over the past 25 years or so, though, Rush have actually tried writing choruses while nipping at the heels of whatever the contemporary music of the day is—and Snakes and Arrows is sadly no wank. Rush obviously have the skills to show young bucks like the Mars Volta how it’s done, but this just sounds like an I Mother Earth reunion. 5/10 (Johnson Cummins)
BLACK REBEL MOTORCYCLE CLUB
Baby 81 (RCA/Sony BMG)
After going acoustic with Howl, their 2005 sophomore album, California’s BRMC has returned to what they do best, being a link on the Jesus and Mary Chain. There are other forces at work, like sleazy blues, speedy garage rock and ’60s psychedelic pop, but the shadow of the Reid brothers still looms large. This wouldn’t be a bad thing if the sum of all their parts felt fresh, even remotely, but this sounds like music specifically tailored for people whose definition of cool still involves leather pants. Should go over big with Plateau yuppies and Hells Angels. 6/10 (Lorraine Carpenter)
JOEL PLASKETT EMERGENCY
Ashtray Rock (MapleMusic/Universal)
PETER ELKAS
Wall of Fire (MapleMusic/Universal)
Two records from these young vets—just think of Plaskett as the Tom Petty/Randy Newman of the two, while Elkas’s role is closer to the ’70s sides coming out of Muscle Shoals studios. Plaskett’s songs harken back to the transistorized days when AM radio ruled the roost, and he manages to squeeze in 12 here that are aimed squarely at the radio dial. Without a doubt, Plaskett has delivered his career-making record. Former Local Rabbits guitarist Elkas, meanwhile, is getting groomed for the big time, what with Charlie Sexton ushered in on production, but Elkas’s blue-eyed soul goes far beyond his years. Get ready for the Cancon ride of your lives. Plaskett 7, Elkas 7.5/10 (Johnson Cummins)
SHAPES AND SIZES
Split Lips, Winning Hips, A Shiner (Asthmatic Kitty)
Following up their very-recently released eponymous debut, this album by Montreal-based B.C. ex-pats Caila Thompson- Hannant, Rory Seydel, Jon Crellin and Nathan Gage plays indie rock excess off orchestral pop beauty. At their most fluid, the band’s guitars and keys complement each other with their disparate approaches to central melodies, as do the often outré vocals and conventional brass, while their rhythmic mood swings strike with varying results. But all too often, their off-kilter ways feel forced, quirky for quirkiness’s sake. That said, there’s something here that’s clearly worth honing. 6.5/10 (Lorraine Carpenter) Co-CD launch with Miracle Fortress at Friendship Cove on Wed., May 16, 9 p.m., $10
 FISHBONE
Still Stuck in Your Throat (Sound in Color)
The new millennium has seen these longstanding Los Angeles lunatics return to fine, fierce form on stage, ditching the metallic sluggishness that blighted them through the ’90s. However, it’s only with this outrageously dense and energetic album that they’ve achieved the same on disc. With its hyperactive, highly unpredictable mish-mash of scary-larious ska, funk, punk, dub, jazz, hardcore, cabaret and whatever the hell else strikes their fancy, and the great Angelo Moore on fire again (he and Norwood are the last originals standing), Still Stuck… fits in fine with their early classics In Your Face and Truth & Soul. 8.5/10 (Rupert Bottenberg)
THE DETROIT COBRAS
Tied and True (Bloodshot/Koch)
Although losing sight a bit with their last record, Baby, the pride of Detroit put things back on track here. Rachel Nagy’s husky croon still leads the charge every step of the way as she puts her own stamp on this collection of dusty ’60s covers. Once again, they prove their record collection is key, with great renditions of these forgotten chestnut—their ballsy take on James Brown’s “If You Don’t Think” is the only identifiable one of the bunch. If this don’t make your shimmy shake, best check your pulse. 9/10 (Johnson Cummins)
THE TOASTERS
One More Bullet (Stomp/Warner)
Time to toast the Toasters—a quarter century in and New York City’s founding fathers of American ska haven’t lost the knack. Never quite the refined jazzbos their Big Apple brothers the Slackers became, nor surly ska-core galoots like Boston’s Bosstones, Rob “Bucket” Hingley and his crew remain among the most faithful to the 2-Tone template of reggae that rolls with a rock ’n’ roll punch. The bubbling “Where’s the Freedom?” and a bumping take on the Dave Clark Five’s “Bits and Pieces” are standouts here. 7.5/10 (Rupert Bottenberg) With the Briggs and One Night Band at Petit Campus tonight, Thurs., May 10, 9 p.m., $12
 CHROMEO
Fancy Footwork (Last Gang/Turbo)
You laughed and said they were corny, and never thought they would make it to album number two, but here they are. Montreal’s Chromeo may still have people cracking up over lyrical content, but Dave 1 and P-Thugg have strategically cornered the market on production-heavy electro-funk. Returning to their signature catchy choruses, analog flex and sublime sonics, these are new sounds with extremely familiar leanings, evoking the mass appeal of pop hits gone by. This is a tight LP that will undoubtedly live on through the numerous remixes to follow. I’ve got love for “Tenderoni” and “My Girl Is Calling Me (a Liar).” 8/10 (Scott C)
OMNIKROM
Trop Banane! (Saboteur/Koch)
With their precision-tooled, crunk-a-licious electro-bounce, affably clownish delivery and hilarious horndog neologisms, Montreal’s Omnikrom could be the transatlantic answer to France’s TTC, who join MCs Jeanbart and Linso Gabbo on the tentpole track, “Danse la poutine.” As you might guess, Omnikrom grasp the goldmine of goofy fun that Québécois pop culture constitutes, and mine it mercilessly. To keep things lively, producer Figure8 hands much of the album to Pierre Crube of labelmates numéro#, though the mighty Champion, likewise a Saboteur hand, and Ghislain Poirier each take command of a jam. 8/10 (Rupert Bottenberg)
MARK RONSON
Version (Columbia/Sony BMG)
Celebrity DJ and producer Mark Ronson has slowly gained the respect of a largely skeptical public by crafting solid records that feature undeniable talent. Version, his second LP, borrows from the same magic dust he sprinkled on Amy Winehouse’s latest, bringing the rhythm section and the horns into a whole new light. Who knew funky, soulful cover versions of Coldplay, Britney Spears and Kaiser Chiefs wouldn’t make me want to jump off a balcony? Robbie Williams had to come along singing the Charlatans’ “The Only One I Know” and screw things up, but with appearances from Lily Allen, Old Dirty Bastard and Amy Winehouse, it’s all good. 7.5/10 (Scott C)
ANGÉLIQUE KIDJO
Djin Djin (Razor & Tie)
Benin-born singer Kidjo is in great company on her eighth album. As usual, her music defies description, combining a variety of styles with strong African beats and a decidedly international pop flavour. Her guests are put to good use— Peter Gabriel perfectly complements Kidjo on the melodious “Salala,” while Joss Stone adds her robust vocals to “Gimme Shelter.” On the title track, which roughly translates to “seize the day,” Alicia Keys and Branford Marsalis contribute vocal and musical support to Kidjo’s rallying cry. And her cover of Sade’s poignant “Pearls” proves that even with Carlos Santana and Josh Groban on the assist, Kidjo really doesn’t need any support to deliver enjoyable music. 8/10 (Gerard Dee)
PHIL WOODS/LEE KONITZ
Play Konitz (Philology)
PHIL WOODS/LEE KONITZ/ENRICO RAVA
Play Rava (Philology)
Both titles—sessions recorded live in Italy in July, 2003, at the Umbria Jazz Festival—are misnomers somewhat. The former basically contains music associated with Lennie Tristano and includes compositions by he, Konitz and Warne Marsh, plus Tadd Dameron and Benny Carter as well as a pair by Jobim that feature the voice of Barbara Casini. She is also heard on the latter title, which adds the great Italian trumpeter Rava to the front line. Besides his music, we have a medley that includes “What’s New,” “Laura” and “Nature Boy”—there’s also an extended version of “Poinciana.” The piano of the wonderful Stefano Bollani adds to the excitement on this one. Both 10/10 (Len Dobbin)
Mini CD Reviews
ANDREW HILL Compulsion (Blue Note/EMI) A remastered 1965 session from the late Hill—an unrecognized jazz giant as both a pianist and a composer—with Freddie Hubbard and John Gilmore in the front line. 10 (LD)
REDNOSE DISTRIKT “Best DJ” 12” (Kindred Spirits) Dominic Stanton, aka Domu, comes through to rinse this party bumper to the next level. 10 (SC)
CHRIS WHITLEY AND JEFF LANG Dislocation Blues (Rounder) This posthumous release only underlines the fact that we’ve lost a true songwriting genius in Whitley. 8.5 (JC)
VARIOUS Colombia! The Golden Age of Discos Fuentes (Soundway/Fusion III) Dizzying energy, a tough backbone and audacious expression all characterize this solidly annotated spread of dancefloor detonators from Colombia, 1960–1976. 8 (RB)
COCO ROSIE The Adventures of Ghosthorse and Stillborn (Touch and Go) Album three by this eccentric sister duo sounds like a trip-hop opera co-starring Björk and Eraserhead’s Lady in the Radiator. 7 (LC) At la Tulipe, Tues., May 15, 8:30 p.m., sold out
PATTI SMITH Twelve (Columbia/Sony BMG) An ill-advised batch of covers by the Village witch, feat. songs by the Stones, Stevie Wonder, Nirvana and Tears for Fears. 4 (LC)
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