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 DIGITALISM
Idealism (Astralwerks)
Representing the most complete conceptual catharsis of electro-rock’s uphill struggle to define itself, Digitalism’s debut LP is an exhaustive foray into the uncharted potential of electronic composition. Artfully evoking the full spectrum of sound qualities, from lo-fi bleeps and low-res interference upwards into sophisticated, esoteric conglomerations of organic and digital instrumentation, the disc stands out on almost any scale of production. Couple that with an uncannily developed emotional arc throughout the album and clever, shifty-eyed songwriting, and you’ve got the dance music album of the year, if not the decade. 9.5/10 (Jack Oatmon)
 CEPHALIC CARNAGE
Xenosapien (Relapse/Koch)
CC made their mark with jazz-infused grindcore, but on Xenosapien, these kings of tech-grind chuck the jazz shtick and just jump at the jugular. Technically, the band is mind-boggling, with cut-and-paste arrangements, typewriter blast beats and twin discordant guitar arpeggios that could make even Dillinger Escape Plan seem sloppy. On songs like “Divination & Volition” and “Molting,” the band has more spills and chills packed in per second than anybody else in the field. Many are currently trying to marry virtuosity and velocity, but no one can touch this. 9/10 (Johnson Cummins) With Necrophagist, Decapitated and more at Foufounes Électriques, Wed., July 4, 3 p.m., $25
PRIDE TIGER
The Lucky Ones (EMI)
With two ex-members of Three Inches of Blood and S.T.R.E.E.T.S. on board, these Vancouver heshers pick up the baton from Montreal’s own Tricky Woo and lay down some serious ’70s-style boogie. Unlike most bands rehashing the hesh (see Small Stone Records roster), Pride Tiger put some balls behind the riffs and prove their record collections were plucked from garage sales on the awesome Thin Lizzy/Cactus- inspired “What It Is,” while “The White Witch Woman Blues” prove that you best not be knockin’ ’cause this boogie van is most definitely rocking. 8/10 (Johnson Cummins) With Die Mannequin and guests at Foufounes Électriques, Fri., June 29, 8 p.m., $10
JENNIFER GENTLE
The Midnight Room (Sub Pop)
What sounds like a marching band designed and directed by Fellini and orchestrated by Kurt Weill, Link Wray and Syd Barrett (with at least one uniformed monkey in the bunch), is actually the creation of Pavoda, Italy’s Marco Fasolo, the lone singer, songwriter and musician on this record. Fasolo’s first solo recording, following the drummer’s departure, is Jennifer Gentle’s fourth album overall, and second for Sub Pop. WFMU listeners and other fans of vaguely transcendental sideshow psychedelia, take note. 7.5/10 (Lorraine Carpenter)
 PERCY FARM
The End’s in the Beginning (Ships at Night)
What would have been a new record for Montreal’s Shoot the Moon turned out a debut for Percy Farm, following a fracture over artistic differences—the lead singer and viola player from that band quit, leaving co-singer Daniel Schachter in the lead. It’s an ambitious record, with its orchestral epics, carnival-barker narratives, meek love songs and straight-up Pavement worship (an old Shoot the Moon track, actually). The tunes—the more theatrical efforts in particular— don’t always achieve their desired effect, though the arrangements are sound. With time and better circumstances, though, Percy Farm could go some ways. 6.5/10 (Lorraine Carpenter) With Ideal Lovers at Main Hall tonight, Thurs., June 28, 9:30 p.m., $7
 SHITDISCO
Kingdom of Fear (Fierce Panda)
With bared teeth, bitter venom and a guerrilla stomp, this Glaswegian quartet punch their way into the dancefloor-punk resurgence. They’re hardly rewriting the book passed down to them by Radio 4, Gang of Four and of course final-phase Clash (Joe Strummer’s scary bird shriek from “London Calling” is accurately aped on the ass-kicking opener “I Know Kung Fu”). That said, they deliver their grooves with abrasion and abandon, and capture that post-millennial fear and loathing with simple efficacy. 8/10 (Rupert Bottenberg)
BLACK STROBE
Burn Your Own Church (Playlouderecordings/Select)
Over a quarter of a century after its release, Depeche Mode’s Speak & Spell has still got a lot to answer for. After lurking around the Parisian electro scene for a decade, the irreverent Burn Your Own Church is Black Strobe’s first LP. Arnaud Rebotini’s sleazy ranting pairs up with a grating cocktail of synth trance, crunchy riffage and compressed house beats to bear a unique if monstrous child. But through the sleek production, which doesn’t seem to have suffered too heavily the loss of former member Ivan Smagghe, you can still hear the self-flagellating mire of a new romantic disenchanted by his own love of technology. 7.5/10 (Jack Oatmon)
 BEASTIE BOYS
The Mix-Up (Capitol/EMI)
A decade and change after 1996’s The In Sound From Way Out (and three years after their ill-advised return to rap with To the 5 Boroughs), the Beastie Boys again round up keyboard king Money Mark and revisit the all-instrumental record. The menu is hardly mixed up—with the possible exception of the roughhewn “The Cousin of Death,” this is entirely sugary dub soul and sun-kissed, psychedelic jazz-funk. While nothing here’s tremendously notable, as far as easygoing mood music is concerned, The Mix-Up is on the money (and the money shots are all Money Mark’s). 7/10 (Rupert Bottenberg)
KRS-ONE AND MARLEY MARL
Hip Hop Lives (Koch)
In what is both a strong and welcome addition to Nas’s Hip Hop Is Dead concept, this 14-track LP from two of hip hop’s living legends is both a response to that notion and proof positive that quality hip hop music that reflects the diversity of the culture never actually bit the dust. Pretty tight stuff from guys who were making music back in the late ’80s, complete with some tight skits as well. “Hip Hop Lives” and “Musika” are particularly good, but KRS goes to work on Marley’s beats, making tunes like “Over 30” and “This Is What It Is” lyrical gems that speak volumes as to where we are now. Old school heads take note, and new school cats, dig in. 7.5/10 (Scott C)
 SNOOP DOGG
Presents the Big Squeeze (Doggy Style/Koch)
Who would have thought Snoop Dogg, a.k.a. Niggaracci, would be as proficient a producer as he is with the mic? Even if it’s just a mixtape meant to provide his friends and relatives some exposure, there are at least a half-dozen potential hits on this grab-bag of icy cool West Coast hip-hop. It’s surprising that the rappers, across the board, are actually decent enough to roll with Snoop, and perhaps even more shocking is how a disjointed mixtape could gel so smoothly. Chalk it up to Snoop’s stoical demeanor. 8/10 (Erik Leijon)
PHAROAHE MONCH
Desire (SRC/Universal)
Pharoahe Monch has always made my shortlist of consistently amazing MCs, and it’s really great to hear him coming back to the table with fearless innovation on this new record. Although you want to hate him for not blessing every track with his precise, rhythmic flow and machine-gun wordplay, Monch chooses to sing in his own special way on “Push,” and somehow it works. He gets intricate on “Bar Tap” over a golden Black Milk beat, sets the stage for some drama on “Trilogy” with Mr. Porter, Dwele and Tone, and goes a little rock ’n’ roll crazy on “Body Baby,” but all in all, he still clearly conveys why he’s one of the best there is. 8/10 (Scott C)
DAWN TYLER WATSON & PAUL DESLAURIERS En Duo (Justin Time/Fusion III) These two local musicians have teamed up for an album that celebrates folk music at its most melodious. Armed simply with his six-string guitar and a sturdy voice, Deslauriers lays the foundation for a stripped-down musical affair with Tyler, Montreal’s own queen of the blues, and the combination is pure delight. Strumming through songs like “The Tracks of My Tears” and “Trouble in Mind,” they provide a completely different frame of reference for these tried and true favourites. When the duo opened for Maya Angelou at Place des Arts in May, they brought down the house with their spirited version of the Beatles’ “Come Together,” which appropriately closes this seemingly effortless set. 8/10 (Gerard Dee) At Club Soda, Mon., July 2, 7 p.m., $22.50
 PINK MARTINI
Hey Eugene! (Audiogram/Select)
Clearly, Montreal has a crush on Pink Martini, the Portland band whose original tunes mix and match with well-selected covers of jazz and pop standards. On their third album, China Forbes’s vocals and the band’s arrangements make a sublime pair once again. More multilingual than ever, this album includes several Spanish songs, one in Japanese and one in Arabic. Amid the classic tropical rhythms, sleek torch songs and Chopin cameos is the surprisingly contemporary title track, a colourful tale of a half-remembered NYC house party. 8/10 (Lorraine Carpenter) At Place des Arts (Salle Wilfrid Pelletier), Fri., June 29, 6 p.m. (sold out), 9:30 p.m., $52.99–$67.80
BILL CHARLAP
Live at the Village Vanguard (Blue Note/EMI)
Pianist Charlap leads one of the best trios currently on the
jazz scene. He’s joined in this 2003 session from the
renowned Vanguard by regulars, the unrelated Washingtons,
Peter on bass and Kenny on drums. Great standards (Bill’s
dad was a songwriter, his mother a singer) including Alec
Wilder’s classic “While We’re Young,” Arlen’s “Last Night
When We Were Young,” Rodgers and Hart’s “The Lady Is a
Tramp,” Jim Hall’s “All Across the City” and a pair from the
Birth of the Cool sessions, Wallington’s “Godchild” and Mulligan’s
“Rocker.” A must for Charlap fanciers and all lovers of
great jazz piano trio playing. 10/10 (Len Dobbin)
Mini CD Reviews
MILDRED BAILEY The Radio Shows (Nostalgia Arts) Three radio shows from 1945, with guests including Tommy Dorsey and Cozy Cole, from one of the great jazz singers. 8.5 (LD)
SIR RICHARD BISHOP While My Guitar Violently Bleeds (Locust Music/Sonic Unyon) Solo acoustic raga improvisations that will get the top of your head tingling. 8.5 (JC)
METRIC Grow Up and Blow Away (Last Gang) I curse the scum who shelved this long-lost album by Metric, predating Old World Underground, now resurfacing with its ethereal levity intact. 8 (LC)
BRYAN FERRY Dylanesque (Virgin/EMI) Not sure the world needs another Dylan tribute, but Ferry does a fair job of covering the classics, killing time before the Roxy Music reunion record. 7 (LC)
FINEPRINT self-titled (independent) DJ Stutter, San Miguel and MC Astonish rep their Toronto sound made up of lush samples, tight cuts and dope lyrics. 7 (SC)
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