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 T.I.
Vs. T.I.P. (Atlantic/Warner)
T.I.’s three-act concept album about his dual personalities is the Steppenwolf (or Adaptation) for the hip hop generation. T.I.P. is his young and brash side, while T.I. is his mo’-money-mo’-problems side, and the ostensibly contrived plot of a schizophrenic fight to the death works because of the well-defined characters. The production is adventurous for a mainstream release, especially the light-speed percussion on “Hurt” and the mysterious keyboards and backing vocals on “Tell Em I Said That.” As a lyricist, T.I. is more personal (mostly during the act breaks) and the story is easy to follow. He has exceeded the parameters of mainstream hip hop. 9/10 (Erik Leijon)
 PISSED JEANS
Hope for Men (Sub Pop)
With a whole lotta kids doing the wangdang- doodle over the current crop of hardcore rehashers, Pissed Jeans easily rise to the top and give a good swift kick to the rotting corpse of punk. Having more in common with pioneers Scratch Acid and the more recent Wrangler Brutes, Pissed Jeans are all about sticking the knife in and giving it a twist. Kinda like the Fall’s Mark E. Smith with a full set of chompers in his mouth, or Darby Crash loaded on codeine instead of China white. On songs like the sombre and sick “Scrapbooking,” the droning “The Jogger” and the dirge “My Bed,” though, it’s obvious that P.J. are far more than just college kids sucking on the teat of Gang of Four. This is exactly what punk rock should sound like in 2007. 9/10 (Johnson Cummins)
 NICK DRAKE
Family Tree (Tsunami/Fontana North)
CHRISTOPHER O’RILEY
Second Grace: The Music of Nick Drake (World Village/Fusion III)
The estate of revered British folk singer Nick Drake has released 28 home recordings from the late ’60s, pre-dating his three studio albums. The collection includes an early version of “Way to Blue” and other original compositions, as well as traditional blues covers and songs by Jackson C. Frank, Bob Dylan, Bert Jansch, even Mozart. Drake’s sister and mother make vocal cameos, and snippets of conversation, laughter and squeaky doors further set the family scene. But these are surprisingly solid, crisp recordings, a welcome addition to a discography stunted by Drake’s death at age 26. After interpreting the songs of Elliott Smith, Drake wasn’t too far a stretch for Christopher O’Riley. The classical pianist, who has released two records of Radiohead covers, spent five years capturing the tones and colours of 14 Drake songs, stripped of those iconic vocals and guitar stylings. But, as usual, O’Riley is up to the task. Family Tree 8.5, Second Grace 8/10 (Lorraine Carpenter)
MARNIE STERN
In Advance of the Broken Arm (Kill Rock Stars)
Stern has cooked up one of the strangest hybrids, pop melody countered against a non-stop barrage of fretboard tapping à la Eddie Van Halen, and prog elements as well. Oddly enough, it actually works. Stern can most definitely shred, but it’s catchy and angular songs like “Vibrational Match” and “Logical Volume” that really take the hot air out of her obvious technical prowess. Finally, a record for those of us who like Van Halen as much as Melt-Banana and Don Caballero. 8/10 (Johnson Cummins) With the Blow, Republic of Safety at la Salla Rosa, Sat., July 7, 9 p.m., $15
SIMON WILCOX The Charm and the Strange (MapleMusic/Universal) The daughter of musicians David Wilcox and Sadia Sadia, and three-time winner of SOCAN’s No. 1 Song award (for recordings by Jorane, Three Days Grace and Projet Orange), Simon Wilcox is firmly entrenched in the business end of the music world, and it shows. As far as chart-bound pop/rock goes, it’s not terrible–I’d give anything to hear this rather than Nickelback and co. when I’m subjected to the radio dial. But in the end, it’s still a melting pot of lifted melodies and lyrical clichés, possibly a primer in British rock for maturing Avril fans. 5/10 (Lorraine Carpenter)
 VIDEOHIPPOS
Unbeast the Leash (Monitor)
I was promised 8-bit sounds, and all I got was this Strokes-y jangle rock album. On the band’s MySpace, an animated .gif of Contra is used to describe their musical style, so it’s odd that an old Nintendo game would have anything to do with muted keyboards and atonal guitar riffs. There are brief interludes of interesting sample playing and strange dolphin noises, but every song degenerates into boring noise rock. Not a bad record—it’s just far too reserved (and short), especially when the best moments suggest Liars’-type potential. 5/10 (Erik Leijon) At la Sala Rossa, Wed., July 11, 8 p.m., $12
LIVA
De Insulis (Stoke/Outside)
Celebrating its 10th anniversary this year, the Sherbrooke quartet Liva releases its second album, and shoots for a prime position in the classical-metal crossover realm. Playing the guitar chug, subtle electronic experimentation and death-metal growl of Pier Carlo Liva off the plaintive viola and operatic wail of Catherine Elvira Chartier, the band creates a dramatic, dynamic, at times embarrassingly bombastic sound that’s at once highly original and grounded in established metal tropes. This will certainly appeal to fans of Apocalyptica, but as for the all-Latin lyric sheet, jeez, I dunno… ask a priest for help? 7.5/10 (Rupert Bottenberg) CD launch with God:Zero, Hollow Grief at Petit Campus, Fri., July 6, 8 p.m., $15
CAROLYN MARK
Nothing Is Free (Mint/Outside)
More mournful country fare from B.C.’s Carolyn Mark, who somehow retains her sense of humour and love of partying amid all the romantic disappointments and dead-end debauchery depicted in her songs. With a couple of exceptions, the record lacks the knees-up energy on display at her weekly hoedown in Victoria, or her annual cross-country Hootenanny tour, instead ruminating on growing old alone, losing yourself to benders and boredom and other such classic “tear in my beer” topics. But with wry, insightful lyricism and an inviting country-rock framework (with a truly surprising trip-hop closer), Mark makes it work. 7.5/10 (Lorraine Carpenter)
 DJ VADIM
The Soundcatcher (BBE)
DJ Vadim is no stranger to genuine experimentation on record, often taking hip hop around the world before bringing it home for the heads, and although international, The Soundcatcher seems to focus on inspiration and feel more than anything else. On a production record away from Ninja Tune, Vadim stretches his legs with some key hip hop, soul and reggae, sure to turn the heads of jaded music lovers with an ounce of hope. Guests include the always cryptic and complex Abstract Rude, as well as mile-a-minute French lyricist Big Red. Not really feeling the single, “Like the Wind” with Spanish MC Deuce Eclipse, but the plodding “Ballistic Affairs” made me take notice. 7/10 (Scott C)
 J RAWLS & DECLAIME
It’s the Dank & Jammy Show (Hardboiled)
Rawls and Declaime met each other back in 2001 on the European leg of the Superrappin’ Tour, and the two realized that they shared a love for the foolish and lighter side of hip hop, as well as the occasional weed break. Not surprising, then, that after their reuniting to record It’s the Dank & Jammy Show, the result is some nonsensical fun featuring Dank Sinatra (Declaime) and Jammy Davis Jr. (J Rawls) doing what they do best. There’s also more than a few moments of clarity on songs like “Call Me,” featuring Middle Child, the melancholy “Last Lash Out, and “One Million Ways.” Declaime still has marbles in his mouth, but his special flow works well with Rawls. 7.5/10 (Scott C)
 AMEL LARRIEUX Lovely Standards (Blisslife) On last year’s Morning, Larrieux offered a forward-sounding set of contemporary soul, but her latest looks all the way back to the golden years of the American songbook. Larrieux’s voice is always a soothing instrument, and no doubt this song selection reflects a solid set of standards. But while her delivery is on point, she’s traded experimentation for familiarity, and comes up short. The problem is that while her interpretation of songs like “If I Were a Bell” and “Wild Is the Wind” is faultless, it’s just too safe. And although it’s all lovely indeed, safe is something this former Groove Theory vocalist has never been. 7/10 (Gerard Dee)
KENNY BURRELL
75th Birthday Bash Live! (Blue Note/EMI)
Burrell, one of the most distinctive guitarists in jazz history, has been a favourite of mine since his 1951 recording debut with a Dizzy Gillespie combo that included John Coltrane. The material here, recorded last July, certainly doesn’t disappoint. It presents the leader in four different settings. The first six tracks feature him with a great big band led by Gerald Wilson. Flutist Hubert Laws joins Kenny on two sets, the first featuring the wonderful bassist Roberto Miranda. Organist Joey DeFrancesco and the superb (brush) drummer Clayton Cameron are also here. Highlights include Wilson’s “Viva Tirado,” Wayne Shorter’s “Footprint” and the usual pieces of Ellingtonia that one associates with Burrell. A must for guitar fanciers! 10/10 (Len Dobbin)
Mini CD Reviews
Trio Derome Guilbeault Tanguay Étymologie (Ambiances Magnetiques) A DVD of one of the city’s finest trios shot live at last year’s Off Festival, doing material by Dolphy, Mengelberg, Tristano, Ellington, Waller and Derome. 9.5 (LD)
Drumlabz Diggin 24 Seven (Drumlabz) Montreal’s beat-heads should take note of this second volume of 1,000+ sounds and rare breakbeats. Tools for the trunk. 9 (SC)
Weedeater God Luck and Good Speed (Southern Lord/Sonic Unyon) Steve Albini-fuelled heaviosity—and best of all, they’re called Weedeater! 8 (JC)
André Ethier On Blue Fog (Blue Fog/Sonic Unyon) The third solo LP by this Deadly Snakes alumnus strives to step away from Dylan toward sparser, more adventurous arrangements. 7.5 (LC)
Room Eleven Six White Russians and a Pink Pussycat (Universal) Jazz goes pop on this Dutch band’s debut, with its girlish vocals, funky grooves and stray-cat strut. 7 (LC) On the Jazz Fest’s Alcan Stage on Sat., July 7, 8 and 10 p.m., free
Ulrich Schnauss Goodbye (Domino/Outside) Schnauss made a fortmidable entry with his valentines to My Bloody Valentine, but this new one owes more to say, uh, Jan Hammer and Yanni. 5 (RB)
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