|
 Jarvis Cocker
Further Complications (Rough Trade)
Steve Albini has produced the sophomore solo record by Pulp’s former frontman, sporting a more raw, raucous sound than 2006’s Jarvis. Ballads like “I Never Said I Was Deep” don’t bear Albini’s mark, but gutter glam tracks like “Fuckingsong” definitely do. Cocker, a self-proclaimed lyrics expert who lectures on the subject, is as clever, incisive and sleazy as ever. 8.5/10 Trial Track: “You’re in My Eyes (Discosong)” (Lorraine Carpenter)
 New York Dolls
Cause I Sez So (Rhino/Warner)
The Dolls’ triumphant return with 2006’s One Day it Will Please Us… surprised everybody and this new one proves it was no fluke. With the producer of their classic, eponymous debut, Todd Rundgren, once again manning the board, singer David Johansen comes across like a sleazy Dorian Gray who can still make most modern rock frontmen seem sexless and insipid. 8/10 Trial Track: “Trash” (Johnson Cummins)
 Green Day
21st Century Breakdown (Reprise/Warner)
The California stoner punks have “grown up,” ditching catchy choruses and songs about masturbation in order to write an absurdly pompous three-act rock opera with overt but puerile political rancour, slow down their catchy riffs to a burdensome crawl, meander with metronomic instrumental sections containing the musicality of an R. Lee Ermey boot camp march and develop an unbearable smug sense of self-righteousness. 1.5/10 Trial Track: “Peacemakers” (Erik Leijon)
The Black Crowes
Warpaint Live (Eagle)
Last year’s studio version of Warpaint was a little stilted, with the departure of guitarist virtuoso Marc Ford definitely being felt. But like anything the Crowes do, it’s in the live context that things really make sense. In fact, it’s on the second disc here that things really take off, with expert improvisation, especially on the Stones’ “Torn and Frayed.” 8/10 Trial Track: “Torn and Frayed” (Johnson Cummins)
 Maxïmo Park
Quicken the Heart (Warp)
The third album by this Newcastle quintet is an equally compelling and fresh, clichéd and boring, pretentious and annoying mish-mash of pop schmaltz, synthetic glitz and post-punk pretension. The band’s poor lyrics and uncomfortable juxtaposition of anthemic melodies and angular jolts do nothing to help their case—a criminal prosecutor could prove them to be Britain’s equivalent to the Killers. 5/10 Trial Track: “Calm” (Lorraine Carpenter)
 Au Revoir Simone
Still Night, Still Light (Our Secret)
This trio of Brooklyn babes produce another lo-fi, guitar-free record, twee tunes made up of budgetronic keyboards and drum machines, and vocals as silky and wan as their ’70s hair. They cross warmth and frost, darkness and light, coaxing pretty, melancholy melodies out of their machines and throats, singing love songs, sad songs and grim fairy tales. 7.5/10 Trial Track: “Shadows” (Lorraine
Carpenter) With Jeffrey Lewis at la Tulipe on Fri., May 22, 8 p.m., $15
 Nir Blu
Sleepyhead (Blue Zula)
A title like Sleepyhead suggests a relaxing experience, yet Montrealer Nir Blu’s debut is darker and more ominously textured than the innocent name implies. Although Blu’s piano figures prominently, tracks like “So Fucking Happy” and “Something Wrong” owe a great deal to Pink Floyd’s better spatial jams, especially when the David Gilmour-esque guitar solos dramatically enter. “Apologetic Casanova” is an unexpected, fun gypsy romp. 7/10 Trial Track: “Something Wrong” (Erik Leijon) CD launch at Il Motore, Wed., May 27, 8:30 pm, $10
 Misstress Barbara
I’m No Human (Bonsound)
Barbara’s heavily processed voice deadpans sweet nothings over thudding mid-tempo beats, matching the indifference of mechanical micro-house with her regal demeanour. As a transition to live-band setup, it opens doors stylistically for the lauded DJ, exposing a more dynamic artist. But it reveals as many limitations, which are sometimes adorned with one too many layers of synthesizer or clicking percussion. 7/10 Trial Track: “Dance Me to the End of Love” (Jack Oatmon)
Eminem
Relapse (Shady/Aftermath/Universal)
We all knew that this guy’s got issues, but living as a recluse millionaire for the past five years hasn’t given Slim Shady any new sources of inspiration aside from the usual prescription drug addiction and mommy issues. This time around, he adds getting raped by his stepfather on “Insane” and mass-murder visions on “3 a.m.” Dr. Dre adds nothing to this dud. 3/10 Trial Track: “3 a.m.” (Morgan Steiker)
 Busta Rhymes
Back on my Bullshit (Flipmode/Universal)
Busta’s transition from Native Tongues leftfield-rap poster child to fitted hats and football jerseys is complete. But Brooklyn’s own can still spit his ass off on pretty much any kind of sonic trends coming out these days. From Ron Browz’s “Arab Money” to Pharrell’s “Kill Dem” or Danjah’s “Shoot For the Moon,” Bussa Bus’s vocals and flow manage to ride with any kind of production coming out today. 7.5/10 Trial Track: “Respect My Gonglomerate” (Morgan Steiker)
Cam’ron
Crime Pays (Diplomat/Asylum)
Harlem, stand up! Killa! After a three-year hiatus and a lot of rumours about him taking the DMX route, Cam’ron is back with the signature style and swagger that put Dipset on top of the game five years ago. Although the production is nowhere near the level of 2004’s Purple Haze, the wordplay and punch lines are as healthy as ever on tracks like “Silky (No Homo)” or “Chalupa.” 8/10 Trial Track: “Get It In Ohio” (Morgan Steiker)
 Allen Toussaint
The Bright Mississippi (Nonesuch/Warner)
New Orleans’ favourite son steps away from his usual brand of Crescent City R&B and offers instead a largely instrumental jazz set. It effectively captures the feel of a small jazz club in a way a more vocal set could not have. The capable band of musicians—including Joshua Redman on “Day Dream”—does justice to classics like “St. James Infirmary.” 7.5/10 Trial Track: “Bright Mississippi” (Gerard Dee)
 Shelly Berg
The Nearness of You (Arbors)
Pianist Berg began listening to Oscar Peterson at the age of seven and also names Keith Jarrett as a more recent influence. This solo outing was done in Florida last year and contains nine superb tracks. Included are medleys from My Fair Lady and Guys and Dolls as well as Dizzy Gillespie’s “Con Alma” and a wonderful look at “Where or When.” Another winner from this great label. 9.5/10 Trial Track: “Guys and Dolls Medley” (Len Dobbin)
Mini CD Reviews
Charlie Parker The Happy Bird (Collectables) With live material from the Boston area, this CD presents two of the greatest bebop saxophonists in “Bird” and Wardell Gray. 9 (LD)
Doves Kingdom of Rust (Virgin/EMI) A solidly crafted, eclectically conceived, stylistically supple record from the Brit-rock masters. 8 (LC)
Gallows Grey Britain (Black Envelope/Warner) Distinctly British aggro-punk metal, so it’s at once unstable and vicious, yet oddly articulate and dignified. 8 (EL)
The Nasty On Squid (La Ti Da) This posthumous, vinyl-only release of pure R’n’R mayhem proves it’s better late than never. Better get the lead out as there aren’t many around. 7.5 (JC)
Apostle of Hustle Eats Darkness (Arts & Crafts) Andrew Whiteman issues a stream of a twisted consciousness, experiments with accessible melodies, enticing arrangements and strange samples. 7 (LC)
Meg & Dia Here, Here and Here (Sire/Warner) This sister combo contains identical dual lead vocals to the Veronicas; guitars less audacious than layers of electro-noise. 6 (EL)
>> Music Listings
|
