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 Fucked Up
Year of the Pig EP (What’s Your Rupture?)
This vinyl-only release could be the musical turning point for this much-ballyhooed band from the T-dot. Their last record, Hidden World, helped elevate hardcore from its recent mire, but 18-minute a-side here, “Year of the Pig,” is nothing short of an epic feat. The song starts off with the band doing their baddest Bad Seeds while guest vocalist Jennifer Castle coos in your ear, but the calm before the storm doesn’t last long. Bongos mix it up with hardcore guitars while strings clash with hammering beats, rising to a panoramic peak. The b-side, “The Black Hats,” is equally complex, but knows its place alongside the explosive title track. 9/10 (Johnson Cummins)
 Radiohead
In Rainbows (independent)
This record will probably be remembered more for its innovative distribution (a pay-what-you-can download from radiohead.com, with a conventional release due in December) than its contents. It’s not a bad album, or even a mediocre one, just more of the same with little to distinguish itself from their last couple of releases. Anyone who jumped the Radiohead ship circa Kid A may be inclined to revisit the band now, as they’ve tipped the organic/synthetic balance strongly in favour of the former, but the guitars don’t reign and the propulsive, melancholic ebb and flow remain the same. 7.5/10 (Lorraine Carpenter)
 Shout Out Louds
Our Ill Wills (Merge)
For anyone who misses the ’80s Britpop steez of defunct Vancouver darlings the Organ, and who may be in the market for softer, happier music to treat impending seasonal affective disorder, Stockholm’s Shout Out Louds have concocted quite the tincture for you. Imagine a merger of “Just Like Heaven”-era Cure (the singer sounds just like Robert Smith) and “William, It Was Really Nothing”-era Smiths with piano at the forefront and strings not far behind. These crafty Swedes, produced by Björn of Peter, Björn and John, make it their own with a perpetually pretty lilt, be it a romantic sway or breathless bop. Do it. 8/10 (Lorraine Carpenter) With Johnossi, Nico Vega at Cabaret, Tues, Oct. 23, 9 p.m., $15
 Architecture in Helsinki
Places Like This (Polyvinyl)
This vivacious Australian sextet take a slightly more electro approach on their third album (fourth, if you count last year’s remix joint), without giving up their inclination towards oddball instrumentation. In any case, the bubbly charm and inspired switch-ups of their kaleidoscopic kook-pop remain fully intact. Band leader Cameron Bird’s relocation to a largely Latino corner of Brooklyn explains the hints of tropical heat hiding here—dig the steel pan on the adorable “Heart It Races,” reminiscent of the excellent “Do the Whirlwind” off the previous LP, In Case We Die. 8.5/10 (Rupert Bottenberg) With Lo-Fi Fnk at la Tulipe, Fri., Oct. 19, 6 p.m. (early show), $18
 Electric Six
I Shall Exterminate Everything Around Me That Restricts Me From Being the Master (Metropolis)
More disco-rock dementia from Detroit’s diabolically clever Electric Six. The shameless bombast and ego inflation first apparent in their name-making 2003 hit “Danger! High Voltage” has yet to be dialed down (note the title, for fuck’s sake!). One should hope it never is, given the sheer brilliance of the licks and lyrics that make up these supremely sleazy Saturday night fever dreams. Just listen to singer Dick Valentine roll his R’s on “Rip It!”—one of three titles punctuated with an exclamation mark—and ask yourself where the serious craftsmanship ends and flat-out foolishness begins. Then ask yourself if you even give a damn. 8.5/10 (Rupert Bottenberg)
 Jesu
Lifeline EP (Hyrda Head/Sonic Unyon)
Jesu main man Justin Broadrick is still best known for his devastating wallops with Godflesh and Head of David, but in keeping with Jesu’s last release, he continues to erase his past with yet another foray into shoegaze pop. His mope and gloom is replaced with light and a sense of hope, and the inclusion of Swan’s Jarboe on “Storm Comin’ On” is stunning. Fans of My Bloody Valentine and the Besnard Lakes are sure to go gaga. Whether Hydra Head is the right vessel is another thing altogether. 8/10 (Johnson Cummins) With Torche, Tim Hecker at la Sala Rossa, Wed., Oct. 24, 9 p.m., $15
She Wants Revenge
This Is Forever (Interscope/Universal)
When SWR first came out, I couldn’t stand them, and said that although their name was cool, they wouldn’t last. Turns out Depeche Mode practically passed the torch in having them as an opener on last year’s tour. This sophomore release’s “True Romance,” with its “Personal Jesus” beat, sealed the deal. I’ll be the first one lurching on the dancefloor when a DJ spins this one. Then again, I figured a second album and a couple years of touring would rid them of their DM hero worship. But with songs driven by guitar, sombre beats and stiff, almost monotone, vocals, She Wants Revenge just can’t shake the disease. 7.5/10 (Lateef Martin) With Kenna, Io Echo at le National. Sat., Oct. 20, 9 p.m., $24
Jully Black
Revival (Universal)
Perhaps the country’s most visible R&B and soul personality, Jully Black has released her second full-length LP in time to coincide with a new firm and toned image and a fresh and healthy approach to life. The feel of the album is comparable, cutting out the fast-food tunes for a lean, much more organic style of production and songwriting. Jully’s powerful voice straddles harmonies and range, taking full advantage of working with a live band in the studio, and she’ll certainly see the fruits of solid tracks like the contagious “7 Day Fool” and roller “DJ Play My Song.” 7.5/10 (Scott C)
Kid Rock
Rock N Roll Jesus (Atlantic/WEA)
Kid Rock has settled into a comfortable niche as a harmless Southern trad rocker. He mashes up Warren Zevon’s “Werewolves of London” with “Sweet Home Alabama” on the sure-fire radio hit “All Summer Long,” and the combination is a stroke of genius despite the obvious source material. It’s one of the best-produced records of the year—everything sounds crystal clear—and Kid Rock is both respectable as a country crooner and hair-metal rocker. It’s hard to mock an album so perfectly suited for nights sitting in the back of a pick-up, staring at the stars and chugging Coors, while cleaning your shotgun. Let the man rock, he ain’t hurtin’ nobody. 6/10 (Erik Leijon)
Federation
It’s Whateva (Reprise/Warner)
Bay Area trio Federation’s neo-hyphy style can be described as Lil Jon’s crunk meets Andrew W.K.’s partying till he pukes. The primarily electronic beats are grimier and more schizophrenic than the typically clean and minimalist crunk, and the songs are sped up far beyond the purple-influenced, languid Southern club hits. It’s a long CD, cluttered with unnecessary rap-rock, ballads and second-rate Bush hating that stray from the winning formula: crazy, party-hearty electro-crunk. “From the Bay” and “New Baby Daddy” demonstrate that when producer Rick Rock runs wild with his synths—and the MCs rap for style over substance—it’s a great party. 7/10 (Erik Leijon)
Flying Lotus
Reset EP (Warp)
Los Angeles-based producer Flying Lotus cemented himself as an active participant in the new sound of L.A., known for neck-snapping cosmic hip hop and monster beats, when he released his first LP, 1983, last year. The Reset EP seems to stray away from that sound for a minute, favouring 808 niceties like “Dance Floor Stalker” and the stirring bump of “Tea Leaf Dancers” with vocalist Andreya Triana. Futuristic riddim “Spicy Sammich” builds into a massive dirty break before retreating back to its subtleties, and “Vegas Collie” is a broken-break thought piece. Flying Lotus is a polytropic artist on a sub-space frequency. 8.5/10 (Scott C)
 Chaka Khan
Funk This (Burgundy/Sony BMG)
Her 2004 standards set ClassiKhan notwithstanding, this is Khan’s first new release since the 1998 Prince-produced Come 2 My House, a solid set with a little too much Purple influence. Doesn’t stop her from covering his “Sign ‘O’ the Times” here, or a bunch of other artists, including Jimi Hendrix (“Castles Made of Sand”), Joni Mitchell (“Ladies Man”), and, well, herself, enlisting original Rufus guitarist Tony Maiden for a spirited medley of her old band’s “Pack’d My Bags” and “You Got the Love.” Additionally, legendary producers Jimmy Jam & Terry Lewis oversee some exceptional originals, including sizzling opener “Back in the Day,” the sarcastic “Hail to the Wrong” and the optimistically prophetic “Super Life.” 8.5/10 (Gerard Dee)
 Lee Wiley
At Carnegie Hall, 1972 (Audiophile)
Sarah Vaughan
Live at the 1971 Monterey Jazz Festival
(Monterey Jazz Festival)
Premier releases by two of the great jazz singers. Wiley came out of retirement to join the likes of Bobby Hackett and Teddy Wilson at the Newport in NY Festival with songs like “Indiana” and “I’m Coming Virginia,” plus some bonus tracks from Boston with Johnny Windhurst. Vaughan is joined by Bill Mays, Bob Magnusson and Jimmy Cobb for most of the program before being joined by a JATP All-Star entourage that includes some great Bill Harris as well as Clark Terry, Zoot Sims and John Lewis on “A Monterey Jam,” plus “I Remember You” and “There Will Never Be Another You,” done with the trio. A rich strike for the jazz vocal fan. Both 9.5/10 (Len Dobbin)
Mini CD Reviews
Duke Ellington Live From the 1956 Stratford Festival (Music & Arts) The Ellington band live from the Ontario festival that inspired “Such Sweet Thunder.” Ten tracks including an extended “Harlem” with soloists like Britt Woodman, Johnny Hodges, Paul Gonsalves and the usual suspects. 9.5 (LD)
The Lovers self-titled (Institute) Gallic wit and echoes of Gainsbourg and Birkin on this duo’s bilingual debut, feat. three songs from the filthy mind of Jarvis Cocker. 8 (LC)
Les Savy Fav Let’s Stay Friends (Frenchkiss) NYC band’s convoluted punk/post-punk formula feels as fresh, if not as friendly, as ever. 7.5 (LC)
Witchcraft The Alchemist (Rise Above/Candlelight) Their trademark doom sound is set aside to make room for bluesy electrified soul but these Swedes still know when to drop the hammer. 7.5 (JC)
Shahram & Hafez Nazeri The Passion of Rumi (QuarterTone) A venerated Persian singer and his son soberly salute the iconic Sufi poet’s birth, eight centuries ago. 7 (RB)
All Time Low So Wrong, It’s Right (Hopeless) The band is named after a New Found Glory lyric, and that’s precisely what they sound like. 5.5 (EL)
Boyz in Da Hood Back Up N Da Chevy (Bad Boy/Warner) Ye olde fashioned hardcore rap circa late 20th century. Songs about guns and drugs have been done better. 5 (EL)
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