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 Mastodon
Crack the Skye (Reprise/Warner)
With Mastodon’s behemoth 2006 record Blood Mountain, it seemed unlikely that these good ol’ boys could get any more epic, but Crack the Skye splits the, er, “skye” wide open. The prog-o-phobic may get a little itchy over this brazen display of riff-o-rama, but for the diehards, this is easily the band’s greatest moment. Mastodon let it all hang out on the 13-minute opus “The Czar,” but on songs like album closer “The Last Baron,” the stop-on-a-dime changes could give even Robert Fripp a brain hemorrhage while the barraging heaviosity could make Neurosis (whose Scott Kelly guests on the title track) blush. This is definitely going to be a big year for metal’s most innovative band, and with any luck, it might just wake some people out of their pop stupor along the way. 9/10 Trial Track: “The Last Baron” (Johnson Cummins)
 Joel Plaskett
Three (MapleMusic/Universal)
It may seem antiquated nowadays to present a package of Plaskett’s three distinct moods on separate discs, but similar to fellow Nova Scotians Sloan’s 30-track epic Never Hear the End of It, there’s something about the smooth aging of vaguely traditional and uniquely tasteful Maritime alternative rock that allows for a consistent experience irrespective of modernity (or lack thereof). The second, folkier disc is the highlight, as the maturing Plaskett strums and croons with a symbolic night sky full of stars hovering overhead. Don’t be intimidated by this 104-minute, three-disc behemoth—it’s the best Canadian-sounding rock record in years. 8.5/10 Trial Track: “In the Blue Moonlight” (Erik Leijon)
 The Burning Hell
Baby (Weewerk/Outside)
The Canadian parade of populous, populist, pots-’n’-pans orch-pop continues. Musically, this Peterborough, ON crew, led by ukulele-slinger Mathias Kom, play their game straight with an affable, upbeat folksiness. It’s Kom’s lyrics that merit attention. Steering just clear of outright bad taste, Kom’s morbid musings on the natal, the fatal and a thing or two in between betray an incisive, irreverent wit and a wily way with words. Hey, lil’ peeps + the big sleep = comedy gold, no? The closer “When the World Ends” is among the more jocular apocalyptic evocations to pop up of late. 7.5/10 Trial Track: “Precious Island” (Rupert Bottenberg) With FemBots, Weird Weather at Divan Orange, Sun., Apr. 5, 9 p.m.
 Ramblin’ Jack Elliot
A Stranger Here (Anti-/Epitaph)
With blues music currently plugged into life-support, the battle-scarred drawl of Ramblin’ Jack Elliot should resound like a siren for any blues fan. His take on these 10 country blues classics from Son House, Rev. Gary Davis and more takes liberties with the dusty sides but never lets them veer away from their original spirit. Instead of sleepwalking down the same old 12-bar blues path, Elliot gently guides songs like “Death Don’t Have No Mercy” and “Falling Down Blues” down dusty, dirty roads. 7/10 Trial Track: “Rising High Water Blues” (Johnson Cummins)
Peter Doherty
Grace/Wastelands (Parlophone/EMI)
Famous for being the British guy dating Kate Moss and doing drugs all the time, Doherty’s first solo album is too insignificant to squelch his reputation as the reincarnation of Keith Moon. The theoretically sober Doherty sounds like he’s in the midst of a comedown, waxing Britpop on his acoustic guitar. But like how one can stay a junkie long after going clean, Doherty’s inner American blues Libertine is still coursing through his veins. Stephen Street’s excessive production tries to beautify a pretty disappointing shell. Without the bluster, it’s clear he doesn’t have a great British rock album in him. 4/10 Trial Track: “Sweet By and By” (Erik Leijon)
 Glasvegas
self-titled (Columbia Europe)
With Arab Strap split, Belle and Sebastian hibernating and Camera Obscura’s My Maudlin Career still three weeks away, it might feel as though the Scottish sad-bastard music well has run dry. But no. This Glaswegian outfit combines the balladry of nascent rock ’n’ roll (from doo-wop to girl groups) with shimmering shoegazer guitars (echoing fellow Scots the Jesus and Mary Chain) and lyrics about cheating hearts, after-school fights, absentee fathers and getting stabbed. But unlike the deadpan darkness of the Raveonettes’ similarly oriented Lust Lust Lust, this record is ultimately uplifting, thanks to James Allan’s ascending vocal melodies and assertive, emotive croon. 8.5/10 Trial Track: “Geraldine” (Lorraine Carpenter) With Von Iva at la Tulipe tonight, Thurs., April 2, 9 p.m., $17, all ages
 Automelodi
Fait ses courses EP (independent)
Fresh from producing such promising local electropop acts as Plaza Musique and Jef and the Holograms, Xavier Paradis is back, bearing plastic of his own. As with his old band Echo Kitty, Automelodi is driven by a pop sensibility, wrapped in frosted French vocals (save for “Out of Sync,” Paradis’s English-language debut) and warped by moody synthetic sounds. Yet this record is a step ahead, with tunes that wrestle rather than punch, as well as more varied, textured arrangements. Alongside a wondrous array of synths are jangly guitars, saccharine piano and live drums, which make songs like “Ciao! Ciao. Ciao?” come alive. 8/10 Trial Track: “Buanderie Jazz” (Lorraine Carpenter) CD launch with Postcards, Bernardino Femminielli, DJ Heidy at Green Room, Sat., April 4, 8:30 p.m., $6
Obscene Kidz
Langue Sale (BBT Wreck-Hurdz)
The high-pitched chipmunk effect used on “Reste Poli,” the first track of this debut album, makes you cringe and fear a very cheaply produced record. In fact, this album does sound pretty cheap and badly mixed, but there’s also something about it that’s infectious and undeniable. The repetitive, clubby synths and 808s that find them rapping about chatting on MSN on “Elle ou Elle,” or seeing tits on “Janet Jackson,” are really entertaining and catchy, as long as your intellectual expectations are kept low. This sounds like a bunch of kids that aren’t old enough to get into the club, but if they did, they would rock the shit out of it. 6.5/10 Trial Track: “Savoure Mon Steeze” (Morgan Steiker) CD launch with Jarco Weiss at SAT, Fri. April 10, 10 p.m., $10 ($20 w/ CD)
 Lady Sovereign
Jigsaw (Midget/EMI)
It’s hard out here for an imp. Be warned, the sophomore album from irascible, chav-tastic British MC Louise Harman is no Public Warning, though this patchwork of price-of-success palaver (think of Jigsaw as her version of the Streets’ Hardest Way) does start out strong. The addled come-on of “Let’s Be Mates” matches wobble and bounce while the record’s standout jam, the drink-sick “So Human,” hijacks the Cure to grand effect. The title track’s a surprisingly good girl-and-her-guitar gripe fest, but then “Bang Bang,” short on concussive force, signals a downturn—the stunned, flat “Guitar,” the vocoder-ous “I Got You Dancing” (which won’t) and the mediocre ska of “Student Union” follow, though the feast-or-fuck foolishness of “Food Play,” with its helium vocals, brings a spark back. 6.5/10 Trial Track: “So Human” (Rupert Bottenberg)
Various
Fabriclive.45 Mixed by A-Trak (Fabric)
Montrealer A-Trak meanders though a miscellany of 25 songs in an hour and 10, stumbling upon a few great tracks but never managing to establish any sort of flow or natural groove. Highlights include a three-track run early on with a Daft Punk remix of Scott Grooves followed by a Voodoo Chilli disco banger and a spooky, tropical Skepta break—a rare period in which the listener is not overly aggressed by the hugely awkward, seemingly random jumps. But great selection doesn’t make up for all the premature mix-outs and obnoxious samples. A cautionary tale about the abuse of new DJing technologies. 4.5/10 Trial Track: Scott Grooves “Mothership Reconnection” (Daft Punk remix) (Jack Oatmon)
 UGK
4 Life (Jive/Sony BMG)
Although Pimp C passed away over a year ago, this UGK album seems to find the duo as seasoned as ever. “The Pimp & the Bun,” featuring Ron Isley, and the catchy “She Luv It,” show them at their best with hard-hitting rhymes, smooth delivery and the thick bassline production that puts them in the zone. The only noticeable downside is the fact that a lot of these beats were tailored for a cappellas found after Pimp C’s death, which makes some of his verses sound a bit offbeat on tracks like “Hard as Hell” or “Used to Be.” In contrast, Bun B simply murders every track with flawless delivery. 8/10 Trial Track: “The Pimp & the Bun” (Morgan Steiker)
Incognito
More Tales Remixed (Bluey)
Last year’s Tales From the Beach gets the remix treatment, to varying effect. Incognito’s brand of jazzy soul lends itself nicely to the right remixing, though the most satisfying results are when the band’s soulful vibe isn’t overwhelmed by all the additional bells and whistles. For instance, DJ Day’s horn-driven interpretation of “I Come Alive (Rimshots and Basses)” could easily pass, and is as enjoyable, as the original. Elsewhere, “Freedom to Love,” one of two tracks to appear in two versions here, suffers from Simon Grey’s abstract restructuring, but excels with Yam Who?’s energetic adaptation. Fortunately, most of the remixes here build on the originals without losing their initial flavour. 7.5/10 Trial Track: “Happy People” (Gerard Dee)
Pierre François
Blackboard Tunes (Rare Bird)
Eddie Higgins
In Chicago (Solo Art)
Two fine and very different players are heard here—François is joined by fine musicians from the Montreal scene, Remi Bolduc, Guy Boisvert and Greg Ritchie, on seven tracks, with Morgan Moore and Phil Melanson on the remaining three. The standard “It Could Happen to You” is here along with originals by the leader. An excellent outing, as is the Higgins trio recording, done in his former musical digs. There are 12 tracks including three medleys plus Bix’s “In a Mist” and O.P.’s “Nightingale”. Both 9/10 Trial Tracks: François “Blackboard Tune,” Higgins “Duke Ellington Medley” (Len Dobbin)
Mini CD Reviews
Ezra Weiss Alice in Wonderland (Northwest Children’s Theater) A perfect way to introduce your youngsters to jazz—a children’s story with some excellent jazz arrangements to keep adults happy as well. 9 (LD)
Jeremy Jay Slow Dance (K/SC) Still wooing listeners with nonchalant, Beck-ish pop charms, Jay adds synths and “slows” to the mix, with sweet results. 8 (LC)
Per Gessle Party Crasher (Elevator/EMI) Scandinavian synth cheese-pop courtesy of the male half of Roxette. Another Swedish-made pop record I’m ashamed to love. 8 (EL)
Great Lake Swimmers Lost Channels (Nettwerk) Canadiana’s past and future collide on the fourth record by these Wainfleet/Toronto boys, now up to radio speed. 7 (LC)
Bob Mould Life and Times (Anti-/FAB) Would somebody give this guy a hug so we don’t have to hear his whining anymore? 5.5 (JC)
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