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 Kevin Saunderson
History Elevate (KMS)
Sublime remixes of club essentials both classic and contemporary fill out the first disc here, from the Christians’ ‘93 jam “The Bottle” and Cerrone’s “Supernature” to the Presets and Hercules & Love Affair, all retrofitted with Saunderson’s movement-defining meld of robot funk and Motor City soul. The second disc sees Carl Craig, Simian Mobile Disco, Matthew Jonson and others of the ilk masterfully rehashing staple cuts by Saunderson and his aliases, from Inner City to E Dancer. Essential listening. 10/10 Trial Track: “Big Fun (SMD remix)” (Jack Oatmon) At la Panthère Noire, Sat., Aug. 1, 10 p.m., $15/$10 before midnight
 La Roux
self-titled (Cherrytree/Universal)
Sneer all you want at the obvious musical and stylistic nods to the great ’80s co-ed duos Yaz and the Eurythmics, and scoff at the lead singer’s blazing red crème glacée molle coiffure—there’s simply no denying this is one of the most infectious, impeccably structured pop masterpieces in recent memory. Besides, great pop, synth or otherwise, is always en vogue. 9/10 Trial Track: “Bulletproof” (Erik Leijon) At Osheaga at Parc Jean-Drapeau, Sat., Aug. 1, 1 p.m., $75, all ages
 Miike Snow
self-titled (Downtown/Fontana North)
Also known as Bloodshy & Avant, the writers of Britney Spears’ schizophrenic hit “Toxic,” this Swedish duo possesses the same genetic predisposition for gooey, near-embarrassingly tender pop hooks shared by so many of their Scandinavian compatriots (call it bloodtype ABBA). Although filled with catchy, memorable moments, the album is surprisingly sparse and melancholic. A stark contrast to their previous mercenary work. 8/10 Trial Track: “Silvia” (Erik Leijon) At Osheaga at Parc Jean-Drapeau, Sun., Aug. 2, 1 p.m., $65, all ages
 Yacht
See Mystery Light (DFA)
DFA signed Jona Bechtolt and Claire Evans thanks to “Summer Song,” a tribute pastiche for tour-mates LCD Soundsystem, and the gawky worship is sustained on See Mystery Lights with its detail-oriented disco reconstitution, compressed rock licks and candid lyrical dictation. Clever, toe-tapping stuff, fine, but while James Murphy may have been “Losing [his] Edge” as the millennium flopped over, these kids are still clearly finding theirs. 7/10 Trial Track: “It’s Boring/You
Can Live Anywhere You Want” (Rupert Bottenberg)
 Art Brut
vs. Satan (Downtown/Fontana North)
Eddie Argos is “The Depressive Dandy,” according to a recent Berlin University lecture, or a convergence of Jarvis Cocker and Mark E. Smith, reciting droll, self-deprecating narratives (“I fought the floor and the floor won”) and socio-cultural commentary (“If we can’t change the world, let’s at least get the charts right”) over sharp punk-pop produced by Black Francis (aka Frank Black). 9/10 Trial Track: “Alcoholics Unanimous” (Lorraine Carpenter)
 After the Weather
By Flashing Lights and True Love (independent)
After the Weather make “psychedelic power pop,” they say, a reasonable assessment of the eclectic rock on this impressive but imperfect sophomore release. One track shimmers like early ’90s shoegazing, another is just a few bong hits shy of reggae, yet another revels in lean blues angst and several songs find the local trio rearing their (early) Radiohead. 7/10 Trial Track: “It’s Too Loud” (Lorraine Carpenter) With On Bodies, Black Hat Brigade, le Trouble at la Sala Rossa, Fri., July 31, 8:30 p.m., $12
 Moss
Tomb of the Blind Drugged (Metal Blade/Rise Above)
Just three songs of utterly brutal, bleak and grim power drone and doom, stretched to the limits and strewn over 20 minutes here. This year has definitely been the biggest year for doom, with numerous killer releases slinging the sludge, but the tortured and blackened vocals of Olly Pearson and bowel-emptying low end on this has to make you wonder just how much heavier can the genre possibly get? 8.5/10 Trial Track: “Skeletal Keys” (Johnson Cummins)
 Tournament
Years Old (Forcefield)
Yet another heavy hitter out of Brooklyn. Tournament make no bones about borrowing quite liberally from noiseniks of the ’90s like Unsane, Polvo and the Jesus Lizard, and definitely push some envelopes, but thankfully they pull back the reins before things get too mathy. Fans of any era of noise rock should be all over this. 8/10 Trial Track: “Washcloth” (Johnson Cummins)
 A-Trak
Fabriclive 45 (Fabric)
What’s remarkable about this mix is not only the track selection but more importantly the mixing and sequencing skills that keep local hero A-Trak in a league of his own. He knows to pace himself, starting off with mid-tempo hip hop, going into house, Afrobeat, scratch numbers, indie dance-rock and juke, and back to hip hop. All flawlessly executed. 8/10 Trial Track: Scott Grooves feat. Parliament Funkadelic, “Mothership Reconnection” (Daft Punk Remix) (Morgan Steiker) With Treasure Fingers, Peanut Butter Wolf, Mayday at SAT, Sat., Aug. 1, 10 p.m., $20
 Melanie Fiona
The Bridge (SRC/Universal Motown)
Toronto-based vocalist Fiona is clearly a disciple of old school 1960s R&B. She informs her vintage sound, however, with a contemporary edge designed to bridge the gap between yesteryear and the present. Not surprisingly, tracks like “It Kills Me” and “Give It to Me Right” (which deftly samples “Time of the Season”) sound classic, but are firmly planted in the now. 8/10 Trial Track: “You Stop My Heart” (Gerard Dee)
 Ousmane Kouyaté
Dabola (Universal)
Dabola marks the fourth album for Guinean guitarist Kouyaté. Picking up various strands of musical inspiration, from Mandigo to salsa to funk, the record is a wide-ranging showcase for not only Kouyaté’s great talents (the instrumental track “Yarabi” makes this clear), but those of guests including Toumani Diabaté, whose kora appears on “Molagna,” and Franklin Lozada, pianist on “Djeliya.” 9/10 Trial Track: “Dabola” (Erin MacLeod)
 John Kameel Farah
Unfolding (Dross:tik)
Toronto’s Farah is a leading young Canadian classical pianist and composer, one unafraid to incorporate jazz, drum & bass and the occasional witty pop-culture fragment into the complex whole of his creations. Frenetic but not scattered, Unfolding may be a lot brighter and more accessible than its predecessor, Creation (2006), but it’s nonetheless tremendously busy and unpredictable, even confounding. The title suits, given the numerous spins required to unpack this dense delight. 8/10 Trial Track: “Crystalline” (Rupert Bottenberg)
Mini CD Reviews
Blue Roses self-titled (Salvia/XL/Select) With ethereal vocals and eccentric frills, the U.K.’s Laura Groves is one of Kate Bush’s more accomplished descendants, though this LP is a little soft around the edges. 7 (LC)
Sizzla Ghetto Youth-ology (Greensleeves)
With the exception of a couple of tracks, this is a return to form which, if you were into the pre-falsetto, non auto-tuned, slightly less daft Sizzla 10 years ago, you just might like. 7 (EM)
Job For a Cowboy Ruination (Metal Blade) Although their execution hits like a nailgun, you can’t help but think you’ve heard all of this before. 6 (JC)
Taking Back Sunday New Again (Warner) This would have been an emo rock triumph if not for a few painful attempts at catchy, danceable singles. 6 (EL)
Jennifer LFO Songs From the Alien Beacon (independent) LFO packs this almost-interesting pop-rock LP with Canadian MOR middleweights she met during her days as a session back-up singer. 5 (LC)
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