 |
Disc of the week |
|
 Jay-Z American Gangster (Roc-A-Fella/Island Def Jam) Let me start by saying that even though this record shares the same name as the movie starring Denzel Washington and Russell Crowe, it is not the official soundtrack. Jay-Z’s imaginative and inspired narrative is actually superior to the recently released movie, once again showing that his early retirement hasn’t diminished his passion for skilled execution. Conceptually, this album is a great fit for the storied lives of Jigga, who shares much with Harlem’s integrity-based heroin hero Frank Lucas, concentrating on product quality above everything else. Check “Ignorant Shit” with Beanie Sigel, “Sweet,” or “Success” featuring Nas for classic Shawn Carter. 8.5/10 (Scott C) Champion et ses G-Strings Live (2 Hoboes/Saboteur) Competently shot and cleverly edited, the DVD half of this two-disc set ably captures the sweaty essence of an in-the-flesh appearance by Montreal’s megalomaniacal DJ Champion, aka Maxime Morin, and his praetorian guard of guitarists. It’s all in there—the fist-in-the-air frazzle dazzle, the goofy grins and go-get-’em grooves, the faux-gasmic gee-tar faces on the four six-stringers. The extras include fan-cam footage and some follow-that-dream documentary stuff, focusing on their ’05 outdoor overload at the Jazz Fest. 8.5/10 (Rupert Bottenberg) The Killers Sawdust (Island/Universal) A collection of non-album cuts culled since the group’s inception, so naturally it’s a mix of songs either not good enough for their respective records or simply too weird to fit. Sam’s Town was such a dichotomous undertaking, aiming to be relatable while simultaneously arena-proofing their sound, so it’s refreshing to hear them merely strive for catchy on the hard-rocking “All the Pretty Faces” or the uncomfortably restrained “Where the White Boys Dance.” Their duet with Lou Reed is more for shock value than artistic merit, and their cover of Joy Division’s “Shadowplay” is respectable but very straight-laced. 6.5/10 (Erik Leijon)  Duran Duran Red Carpet Massacre (Epic/Sony BMG) If it weren’t for Simon LeBon’s voice—rendered timeless by vocal-enhancing technology, I suspect—you wouldn’t know this was Duran Duran. Co-produced with Nate “Danja” Hills, and featuring his mentor Timbaland and Justin Timberlake on a track each, the record relies on contemporary club production rather than the electro/new wave/post-punk revival that rules the indie end of the dancefloor. There’s still ample room for ’80s nostalgia, however, and a little filler, and LeBon’s various lyrical faux pas, from banal sleaze to brazen absurdity. But tunes like the title track and “Nite Runner” find a winning balance of club cuts and classic spark. 7/10 (Lorraine Carpenter) Avenged Sevenfold self-titled (Warner) Proof that the theatrical metal genre will live long after Dio and his golden dragon fly off into the sunset. Equally pillaged is ’90s rapcore, especially in M. Shadows’ self-analyzing lyrics (his repeated calls of “I’m not insane” on “Almost Easy”). Children singing ominously, string sections, falling rain effects, endless guitar solos that would make Steve Vai blush—all the signs of excessive spinal tapping are here. Shadows breaks out the Cher vocoder on “Lost,” followed by the Dixieland band from hell on “A Little Piece of Heaven,” and I can’t tell if any of this is a joke or not. 4/10 (Erik Leijon) Tusk The Resisting Dreamer (Tortuga/Sonic Unyon) With three quarters of “instru-metallists” Pelican in tow, Tusk raises expectations, but their psyched-out, avant-garde metal really soars here. Traces of their day jobs with Pelican are obscured, but you’ll find them if you listen hard enough. Tusk perfectly mixes metal muscle with Coil’s sense of abandonment and Wolf Eyes’ teeth-gnashing intensity. The real gem though is the 15-minute drone fest “The Lewdness and Frenzy of Surrender.” 8.5/10 (Johnson Cummins)  Fiery Furnaces Widow City (Thrill Jockey) The Friedbergers are back with their sixth album in four years, another twitchy bohemian experiment tempered by dabs of melodic sugar and sonic serenity. Their bio spews some mildly amusing nonsense about employing Ouija boards and scratched Van Morrison CDs, but the bit about a general “Paul McCartney-izing” sounds like an admission that the Brooklyn band are coyly coming out of the pop closet. Regardless, their distinctive melting pot is still bubbling away, fusing proto-metal, punk, funk, electroacoustica, spoken word, British glam, goth, noise, ’60s psychedelic oddities and free jazz into something messy, rich, surprising and satisfying. 8/10 (Lorraine Carpenter) Fatal Flying Guilloteens Quantum Fucking (French Kiss) This Austin unit returns after a lengthy hiatus to deliver its fiercest attack yet. The noise and punk-rock amalgamation will certainly bring fellow Austin forefathers Scratch Acid to mind, but Quantum Fucking’s frenetic energy is even more fierce, with songs like “Charts” and “Long Distance Reacharound” leaving skid marks with clever time signatures and full-throttle production. If you’re digging the noisier punk rock of the Wrangler Brutes or Pissed Jeans, you’re going to be all over this. 8.5/10 (Johnson Cummins)  Dust Galaxy self-titled (ESL/Select) While echoing elements from the mothership Thievery Corporation—the dub, the sitars and so forth—Rob Garza’s solo project takes the elevator down from the penthouse lounge to the grungy garage. With pals from Primal Scream, Gogogo Airheart, Fugazi and Brazilian Girls, Garza takes a stab at the rock-band formula, with so-so success. “Mother of Illusion” is quality mock Madchester, and “Sons of Washington” is a creepy dub-rock understatement. But other essays at the snotty proto-punk and funereal folk-pop of the late ’60s still come off far too neat and fastidious. 6/10 (Rupert Bottenberg) With DJ Ursula 1000 at Time Supper Club tonight, Thurs., Nov. 15, 10 p.m., $20 Saul Williams The Inevitable Rise and Liberation of Niggy Tardust! (Fader) This is basically Saul Williams backed up by Nine Inch Nails—a more hip-hopped, 808ed NIN. Finding his comfort zone, Trent Reznor doesn’t go far beyond his usual tricks, but is more engaging here than on his last few NIN albums. Williams has become a better vocalist and raps more, although his flow needs more variety. Regardless, Niggy Tardust! is dark, anthemic, fragile, dirty and energizing even for Williams, who has a taste for uncanny production and harder-than-you beats. Smartening up Radiohead’s online distribution model, Niggy Tardust! is available for free or for five bucks (at www.niggytardust.com), as opposed to “pay as you wish.” 8/10 (Lateef Martin)  Seal System (Warner) Marriage must be making Seal nostalgic because he goes back to his roots in a big way here. This is not “Kiss From a Rose” Seal, all vulnerable and moody; this is “Crazy” Seal, full of energy and ready to use it. Producer Stuart Price, the British wunderkind who returned Madonna to clubland with Confessions on a Dance Floor, surrounds Seal’s distinctive baritone with lots of sonic grooves and funky beats. For the most part, it works, particularly on “Loaded” and the sublime title track. Even the potentially tacky “Wedding Day,” a duet with new wife Heidi, isn’t terrible—though it would have been better had he sung it solo. 7.5/10 (Gerard Dee)  Queen Latifah Trav’lin’ Light (Verve/Universal) Latifah has morphed so successfully into an actor/Cover Girl spokesmodel that it’s hard to remember when she was just one of the best female rappers around. And thanks to her convincing turn in Chicago and her equally credible 2004 singing debut The Dana Owens Album, we know the girl can sing. But the novelty has worn off, so now it’s more about what she sings, and this set of mostly jazzy covers is entirely too tame for her. Nothing wrong with subdued tracks like “Poetry Man” and the enchanting “Georgia Rose,” but the rousing “How Long (Betcha’ Got a Chick on the Side)” makes you wish for more of the same. 7/10 (Gerard Dee) Steve Lacy-Roswell Rudd Quartet Early and Late (Cuneiform) The co-leaders here, soprano saxman Lacy and trombonist Rudd, have a long history together—they recorded with Cecil Taylor in 1961 and did a live set of Monk compositions back in 1963. The material on this two-CD set was recorded in 1962, 1999 and 2002, hence the title. The earliest material had Bob Cunningham and Dennis Charles joining them on things like “Think of One” by Monk. The later quartet sides have Jean-Jacques Avenel and John Betsch, heard on Monk’s “Light Blue” and Herbie Nichols’ “Twelve Bars” as well as compositions by the two leaders. Lacy died in 2004 and Rudd turns 72 on Saturday. There’s some superb playing here, very much worthy of your attention. 10/10 (Len Dobbin) Mini CD ReviewsAndy Bey Ain’t Necessarily So (12th Street) It’s been worth it, waiting for this one, Bey’s first since 2004’s superb American Song. Nine wonderful songs including “Brother Can You Spare a Dime.” A must for vocal fanciers. 9.5 (LD) |
 |
|
|
| MIRROR ARCHIVES » Nov 15 Nov 21 2007 : INSIDE - COVER | ARCHIVES INDEX | CURRENT ISSUE |
|
| © Communications Gratte-Ciel Ltée 2007 |