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 Lily Allen
It’s Not Me, It’s You (Capitol/EMI)
A little older, no less the wiseass. The U.K.’s eminently likable it-girl Lily Allen returns with a fresh batch that shows a musical upgrade, thanks in large part to producer Greg Kurstin of retro swankster unit the Bird and the Bee. The post-ska goofin’ is dialled down while echoes of sugary ’80s mall pop, and even McCartney’s jolly music-hall motifs, pervade the rich and fattening spread here. Not that Allen’s any less bouncy, or any more wary of the obtuse lyric in her scattershot critiques of anything and everything—don’t expect the Bush-basher “Fuck You” on radio anytime soon, for instance. Of course, it takes a voice as charming and affable as Allen’s to pull off couplets about wet spots and wasted blowjobs in the oddly country-inflected “Not Fair,” a diss to a quick-shot nice guy. 8.5/10 Trial Track: “The Fear” (Rupert Bottenberg)
 Woodpigeon
Treasury Library Canada c/w
Houndstooth Europa (Boompa)
Quantity and quality converge on this 24-track double album, the folky big-band’s sophomore LP, more than living up to the promise of their 2006 debut, Songbook. Born of a break-up that forced band leader Mark Hamilton to cut short his new life in Scotland and return to Calgary (ouch?), the nebulous themes of home and heartbreak are Woodpigeon’s foundation, and Hamilton’s lovely voice and wafting melodies are perfectly suited to express romantic misery, prettily. Even on the relatively stark second disc, his lilt and lyrics, never corny or clumsy in their earnestness, will hold you in their tender clutches. 8.5/10 Trial Track: “Now You Like Me How?” (Lorraine Carpenter)
 Bruce Peninsula
A Mountain Is a Mouth (Bruce Trail/Outside)
This 10-piece Toronto band makes traditional bangers, moaners, ballads and bluesers, with one stomping foot in roots (from plainly sung folk to clanging choral music), the other grounded at the crossroads of rigid indie rock and free post-rock. Lead vocalist Neil Haverty emits a gruff warmth complemented by the coo of co-singer Misha Bower and an all-female back-up choir, while acoustic and electric guitars roll alongside, and drums (used sparingly) build from a mere beat to a thunderous crash. As the tourism site for the band’s namesake (a little piece of Ontario between Georgian Bay and Lake Huron) says, “There is no end to the worlds you can discover in this wondrous place.” 8/10 Trial Track: “2nd 4th World War” (Lorraine Carpenter) With Timber Timbre at Il Motore on Sat., Feb. 7, 9 p.m., $10
The Hylozoists
L’Île de Sept Villes (Outside)
With 2001’s La Nouvelle Gauche, displaced Maritimer Paul Aucoin and his opulent pop ensemble announced themselves as Canada’s answer to Stereolab’s sumptuous allies the High Llamas, brandishing banjos and vibraphones as proof. A rich listen, it nonetheless suffered from the Llamas’ flaw—much to soothe, little to grip. Eight years and the follow-up La Fin du Monde later, the Hylozoists have rectified the matter. Following a textured opening abstraction, these instrumental tunes display not only an even stronger francophilia (the titles, the nods to Michel Houellebecq, Expo 67 and Acadian history) but often a lot more insistence and consistence in melody, structure and drive. Best part is this shit’s as rich and luxuriant as ever. 8.5/10 Trial Track: “The Island of Seven Cities (FSR)” (Rupert Bottenberg)
 The Fray
self-titled (Epic/Sony BMG)
A Christian pop band capable of appealing to non-believers through generic piano singer-songwriter-driven schmaltz, the Fray would be painfully boring even if their songs were about devils and dinosaurs. Frontman Isaac Slade has the kind of mumbling, unintelligible vocals one might compare to those out-of-body experiences featured prominently during evangelical sermons, the kind that involve convulsing and fellow parishioners holding out their arms. Every so often, though, Slade will deliver an audible message about waiting for someone or believing in something—just to remind you he’s not some lascivious James Blunt cooing you into removing your panties. 3/10 Title Track: “Enough for Now” (Erik Leijon)
 Nickel Eye
The Time of the Assassins (Rykodisc)
Fronted by Strokes bassist Nikolai Fraiture, Nickel Eye’s debut record is largely inspired by the same source material as his day job—although Fraiture’s stationary presence on stage with his other band has translated to a wooden solo enterprise, very minimal sounding and largely acoustic. Lyrically and stylistically, there’s a lot of coffee-shop songwriter attitude even if Fraiture doesn’t sing beyond a lackadaisical nasal whine. At times the arrangements are tacky in their prettiness—jovial guitar strumming, bouncy harmonicas and whistling. Other tracks, like the final cut, ape Leonard Cohen’s iciness to unflattering excess. 5/10 Trial Track: “Back From Exile” (Erik Leijon)
 Maegashira
The Stark Arctic (Spare Change)
Doom is quickly becoming one of the big movers among metal subgenres, but more often than not, the detuned Sabbath sludge gets stopped in its tracks by predictability and retread riffs. Hailing from New Jersey—a place that surely knows the meaning of doom—these boys know how to build tension, but when their hammer drops, they aim to kill. The Kyuss/Saint Vitus grooves and atmospheric interludes are as stoner-friendly as it gets, but it’s when the band hunkers down and just pummels really, really slowly that this really stands out from the throng of Tony Iommi imitators. 8/10 Trial Track: “Ammonia for Sweat” (Johnson Cummins)
 Architects
Hollow Crown (Distort/Century Media)
Although the U.K. has never been known as a hotspot for seething metal-core, Architects could change that. On this third outing, they flex even more technical muscle amid their assault without sacrificing the angst. The only time the band ever fumble is when they insist on trying to sneak a pop chorus under our snouts, like in the punishing “Early Grave” and “Dethroned,” but when things get this crushing, there remains a purpose to their pop. If you miss the days of early Dillinger Escape Plan, before they started reinventing the wheel too much, this record should annihilate you. 8/10 Trial Track: “Left With a Last Minute” (Johnson Cummins)
 Various
Sound From the North Vol. 1 (Biobazar)
The eclectic compilation kicks off promisingly with a suitably frigid and atmospheric trip hop instrumental break cut from Future Sound of Quebec—a solid track, even if perhaps not so much from the future as the late ’90s. In fact, several of the tracks suffer from a touch of sonic dating, such as Tak’s rather archaic, rave-y “Take It Off” and Foule Statik’s admittedly entertaining TTC/Omnikrom clone “La Dynamik.” However, plenty of solid listening remains, with gems including a jilted, jazzy loop from Maxime Robin and an understated, whimsical Detroit-techno-influenced club track from Digitall, appropriately titled “Reconnect To Your Roots.” 7.5/10 Trial Track: Maxime Robin “Wasp Women Express” (Jack Oatmon) CD launch with Biobazar, Neä, Maxime Robin at Salon Daomé tonight, Thurs., Feb. 5, 9 p.m., free
 Erik Truffaz
Rendez-Vous (Blue Note/EMI)
Truffaz took his trumpet to France, India and Mexico, and what resulted from those trips is found on this rather sprawling three-CD set, on which familiar sounds meet with the curious, and it’s obvious that all parts of each track are like puzzle pieces, connecting voices and instruments. Thing is, some moments are more successful than others. Though Paris is pleasant and Mexico warm, it would seem that the most interesting tunes come from Truffaz’s time in Benares, India. Indrani Mukherjee’s voice floats over the trumpet, as well as Apurba Mukherjee’s tablas and Malcom Braff’s odd yet appealing upright piano playing. Benares is the obvious standout here, and fortunately for those who might not need the world tour, it’s possible to pick up any one of the trio on its own. 7/10 Trial Track: “Tarana” (Erin MacLeod)
 Roger Mooking
Soul Food (Warner)
The title of Toronto-based Mooking’s debut disc couldn’t be more appropriate. Not only does he serve up an eclectic mix of familiar and obscure tracks, but the MC/singer/songwriter/producer is also a well-known chef, owner of two Toronto restaurants and host of the Food Network’s Everyday Exotic. Mooking takes a cue from his TV gig and dishes out songs like “Sittin’” (which effectively samples “Sitting on the Dock of the Bay”) with extra spice. Elsewhere, he stirs some folk into “Tinglin’” and lets the tempo simmer on the exquisite “I Wish I Could Find You Diamonds.” Far from being a novelty act, Mooking proves it’s possible to sizzle in the kitchen and the studio simultaneously. 8/10 Trial Track: “Champagne Dreamin’” (Gerard Dee)
Ross Taggart
Presenting the Trio (Cellar Live)
Don Thompson Quartet
For Kenny Wheeler (Sackville)
Two excellent CDs, three multi-talented Canadian musicians. Vancouver-based Taggart, heard on piano here with Ken Lister and Craig Scott, also plays saxophone. Thompson, who was born in B.C. but for years has lived in Toronto, plays both piano and vibes (he is also a fine bassist) and Phil Dwyer is heard on his Wheeler disc on both saxophones and piano, with Jim Vivian and Don’s longtime musical buddy, Terry Clarke. Taggart’s trio plays a couple of standards, “Never Let Me Go” and “There Is No Greater,” among the eight trio tracks, while the solo outing that ends the CD is a high point. It has his usual number of dedications—the title piece plus “For Scott LaFaro” and “Birdbath.” Both CDs are welcome additions to the Canadian jazz library. Taggart 9, Thompson 10/10 Trial Tracks: Taggart, “Lady of the Lavender Mist”; Thompson, “K.T.T.” (Len Dobbin)
Mini CD Reviews
Darkane Demonic Art (Nuclear Blast) As far as technical thrash goes, this is as over-the-top as it gets. Fans of At the Gates, take note. 8.5 (JC) With Soilwork, Warbringer, Swallow the Sun at Foufounes Électriques, Mon., Feb. 16, 7 p.m., $25
Moss self-titled (Sunnyside) Put singers Theo Bleckmann, Peter Eldridge, Lauren Kinhan, Kate McGarry and Luciana Souza together and you get this superb vocal quintet! 8.5 (LD)
Thunderheist “Sweet 16” (Big Dada/Outside) This first taste, sweet indeed, from the Heist’s forthcoming debut LP suggests a subtler, suppler but no less solid sound from the duo. “Cruise Low” is a sexy, slow-burn bonus. 8 (RB)
In-Flight Safety We Are an Empire, My Dear (Night Danger/Outside) The third release by this Haligonian quartet keeps the neo-classic rock rolling, reliably. Ultimately blah. 6 (LC)
Various Voices: WWE the Music Vol. 9 (WWE/Sony BMG) Composed by longtime wrestling-intro guru James A. Johnston, these big, memorable hooks are tailor-made for packed arenas and excessive pyro. 6 (EL)
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