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 Bad News Brown
Born 2 Sin (Trilateral/Universal)
Snappy and lighthearted, the title track of the debut from Montreal’s “harmonic hip hop” man is at odds with the predominating slinky, deep-blue club thumpers, many of which are produced by Zoobone’s capable Haig V. Sly raps and a functioning fusion of house, hip hop and R&B vibes abound, and Brown’s secret weapon, his harmonica—plaintive and insistent as a hungry housecat—integrates itself effortlessly (though the occasional auto-tuning doesn’t). 8.5/10 Trial Track: “Too Deep” (Rupert Bottenberg)
 Arctic Monkeys
Humbug (Domino/EMI)
It was over an arak that a friend of mine best described the Arctic Monkeys. “Why does every song they make sound like the theme from Pulp Fiction?” he joked. Although not entirely off-base, the lads have developed considerably since their much-discussed 2006 debut. They’ve moved on to Tarantino’s Grindhouse—desert-dry Tex-Mex stoner rock with slowly fading traces of British smugness and wit. 8/10 Trial Track: “Potion Approaching” (Erik Leijon)
 Still Life Still
Girls Come Too (Arts & Crafts)
The rhythm section is key for this Toronto band, what sets them apart from the Conor Obersts, the Ben Gibbards and the Kevin Drews. The latter signed and recorded the quintet, perhaps imparting some of Broken Social Scene’s songwriting finesse and energy. Whatever the cause, their pretty pop melodies, raucous eruptions and abstracted arrangements make up a promising debut. 7/10 Trial Track: “Danse Cave” (Lorraine Carpenter) With DJ Heidy at Divan Orange, Fri., Aug. 21, $10, 10 p.m.
Julian Plenti
Is Skyscraper (Matador)
Aka Interpol’s Paul Banks, with a beard, glasses and phony bio. The voice is a giveaway, as is the presence of Interpol drummer Sam Fogarino and the ominous quality of odd piano ballads and propulsive rockers alike. The variety of sounds and ideas here set the record apart from a relatively one-track Interpol creation, and in this case, “Plenti’s” sonic adventures pay off. 8/10 Trial Track: “Fun That We Have” (Lorraine Carpenter)
 Young Galaxy
Invisible Republic (Young Galaxy/Fontana North)
The dreaminess of the Montreal quartet’s previous output is consciously lanced right from the opening notes of their urgent sophomore record. Dual vocalists Stephen Ramsay and Catherine McCandless have always been soulful and introspective, but now have a tinge of desperation and impassioned purpose. The big Arcade Fire verses and bigger U2 choruses are ambitious, yet Young Galaxy emerge as earnest and intense. 8.5/10 Trial Track: “Queen Drum” (Erik Leijon)
 Throw Me the Statue
Creaturesque (Secretly Canadian)
Overly dainty and harmless alternative pop rock so perky it’s largely incapable of eliciting any strong emotions. The occasional, ill-suited studio add-ons like the cheesy horns on the opener, and the wickedly bouncy “Dizzy from the Fall,” might irritate slightly, and an album of entirely chipper tunes might infuriate the perpetually dour, but it’s mostly marginally suitable late-summer calm listening. 5.5/10 Trial Track: “Ancestors” (Erik Leijon)
 Jay Reatard
Watch Me Fall (Matador/Select)
The thing that really made Reatard’s debut Blood Visions so fuggin’ brilliant was his “spit to the see the shine” approach to pop that really transcended its punky confines. On this new one, Reatard holds his loogies and more or less just concentrates on his popcraft, which had always been tucked under his lo-fi mixes. Although less amped-up than his stellar live show, Reatard seems well groomed for stardom on this one and could possibly drag real rock ’n’ roll from the mire it’s currently in. 8.5/10 Trial Track: “It Ain’t Gonna Save Me” (Johnson Cummins)
 The Wicked Awesomes
Punk Holograms (Psychic Handshake)
Another killer slab of wax from local household solvent huffers Psychic Handshake. Edmonton’s Wicked Awesomes prove to be aptly named, combining the psych-punk of Simply Saucer with the chutzpah of the Wipers and the demented garage of the Black Lips. The bored-as-fuck monotone vocals keep everything in check as discordant guitars gives you a case of the queasies and the boys hit and quit it in timely fashion. 8/10 Trial Track: “Death Sunglasses” (Johnson Cummins) Album launch with Double Dip, Dead Wife, Futensil at Squalor House, Tues., Aug. 25, $5-$10, 9 p.m.
 Sean Paul
Imperial Blaze (Atlantic/Warner)
S. Peazy is back with a record chock full of gal tunes. Stephen McGregor has taken on the bulk of the production duties, each dancehall tune blending into the next. Sean Paul, however, is at his best riding Delano Thomas’s one drop riddim for “Straight From the Heart” and the surefire hit “Pepperpot”, a shiny pop number produced by his bro. 6/10 Trial Track: “Pepperpot” (Erin MacLeod)
 Slaughterhouse
self-titled (E1)
This four-man group is made of battle lyricists—Royce 5’9”, Joe Budden, Joell Ortiz and Crooked I—who are industry underdogs either due to lack of marketability or really bad label situations. They joined forces because of this common bond and their revenge on the industry ends up being one of the best rap records of the year. Check “Sound Off,” “Microphone,” and “Killaz.” 8/10 Trial Track: “Microphone” (Morgan Steiker)
Felix Da Housecat
He Was King (Nettwerk)
A combination of overused kitsch and needless rehashing of past albums make Felix’s latest identity experiment weak on the whole, seeming rushed and directionless. But it still includes some salvageable moments. Examples include the intoxicating “We,” a sugary synth gem with breathy, addictive vocals and a punchy hook, and the cutesy, mellow “Do Not Try This At Home.” 6/10 Trial Track: “We” (Jack Oatmon)
 Will Downing
Classique (Concord)
On his latest, Downing once again mines the smooth R&B well that he’s frequented for most of his career. Among contemporary soul vocalists, his eloquent baritone still puts him miles above the competition, and allows him to infuse tracks like the playful “Love Suggestions” and the Barry White cover “I’m Gonna Love You Just a Little More Baby” with characteristic emotional exuberance. 8.5/10 Trial track: “Something Special” (Gerard Dee)
 Tinariwen
Imidiwan: Companions (Independiente/Outside)
There’s a newfound sweetness, smoothness and Western pop sensibility to these Tuareg tribesmen’s blistering brand of Saharan hypno-blues-rock, but the desert grit is always close to the surface. A half-hour documentary DVD is included, giving a better picture of the rise of this world-music phenomenon. 7/10 Trial Track: “Kel Tamashek” (Rupert Bottenberg)
MINI CD REVIEWS
The Antlers Hospice (Frenchkiss) Hushed and haunting, with an ambient/pop/noise ratio and novel theme (palliative care), this Brooklyn trio’s debut is a pretty post-rock lullabye. 8 (LC)
Dusted Angel self-titled 7” EP (Corruption) This sledgehammer of a single from an ex-member of Bl’ast succeeds at what every good seven-inch does—gets you salivating for a full-length. 7.5 (JC)
Various Inglourious Basterds Soundtrack (A Band Apart/Warner) German cabaret and beer-hall tunes, spaghetti Western dramatics, weird funk and Bowie. Another quintessentially quirky QT mix. 7.5 (RB)
The Wooden Sky If I Don’t Come Home You’ll Know I’m Gone (Black Box Recordings) Roots meets indie on a weepy, workmanlike rock odyssey. 6 (LC) At Interstice (242 Young) on Fri., Aug. 21
Cobra Starship Hot Mess (Fueled By Ramen/Warner) Indeed a hot mess of ADD electropop with dim, distracting lyrics. 3 (EL)
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