Disc of the week

Raekwon
Only Built 4 Cuban Linx Part II (Ice H2O/EMI)
After a long three-year buzz build-up, the sequel to Raekwon’s 1996 cornerstone coke-rap-and-crime-tales classic brings everything fans were hoping for and more. Just as cinematic and imaginative as the first, this new chapter of Cuban Linx offers Dr. Dre beats that match RZA’s production and even a couple Dilla joints that won’t be forgotten. Best record of the year thus far. 9/10 Trial Track: “Black Mozart” (Morgan Steiker)

Amy Millan
Masters of the Burial (Arts & Crafts)
The Stars co-singer/songwriter follows up 2006’s Honey From the Tombs with another record of lovelorn regrets, laments and portents. Lovely arrangements of guitars, percussion, strings and horns, occasionally evoking country music, complement Millan & co.’s vocals—this record’s guest list is a who’s who of Canada’s breaking-even and famous—on her seven compositions and four covers. 8/10 Trial Track: “Finish Line” (Lorraine Carpenter) With Bahamas, My People Sleeping at Ukrainian Federation, Wed., Sept. 30, 8 p.m., $17, all ages

Xavier Caféine
Bushido (Indica/Outside)
Packed with power chords and plinky-plonk keys, the new one from Montreal’s bigwig of bubblepunk is a grand and emphatic affair, a fulmination against church, state and stupid people that owes as much to Meat Loaf as to Sid Vicious. With his heart laid bare and his fist in the air, Caféine displays the conviction—and the capable songcrafting—to sail over the puddle of molten cheese this might have been in lesser hands. 7.5/10 Trial Track: “Vive la mort” (Rupert Bottenberg)

Islands
Vapours (Anti-/FAB)
If Return to the Sea’s sunnier side could be considered nauseatingly wholesome, and Arm’s Way’s meandering too bloated, Islands’ third effort is a middle ground of Weezer-esque power pop. The basic drum loop-and-synth backdrop feels like a summery Handsome Furs, while Nick Thorburn’s more emotive vocals and stricter adherence to pop structure allow the songs to rise above his quirkiness. 7/10 Trial Track: “Shining” (Erik Leijon)

The William Blakes
Wayne Coyne (Speed of Sound/A:Larm)
This Danish band is the next Arcade Fire, according to AskMen.com, and although their record pays homage to the Montreal band’s self-professed nemesis, the statement isn’t totally stupid. The William Blakes produce gaudier, goofier and more scatterbrained pop, but they’re equally prone to high pitches, group chanting and grand statements about religion. It’s the band’s obvious ambition and enthusiasm, though, that could expedite their ascension. 8/10 Trial Track: “Wayne Coyne” (Lorraine Carpenter) At O Patro Vys, Thurs., Oct. 1, 11:45 p.m. at Metropolis Sun., Oct. 4, 1 p.m. (details at popmontreal.com)

Jamie T
Kings & Queens (Virgin/EMI)
So many groups are in the business of driving young people into even more introverted shells through self-pity/loathing. This streetwise, quick-witted Londoner has solidified his role as a torchbearing beat poet/rocker for a generation of hard-partying, emotionally headstrong and unduly cynical young Britons, desperate for someone to not monetize their confusion. He’s an earnest character and storyteller. 8/10 Trial Track: “Stick ‘N’ Stones” (Erik Leijon)

Om
God Is Good (Drag City)
This downtrodden duo, headed up by ex-Sleep member Al Cisneros, is back, and even with new kid Emil Amos stepping in behind the traps, Cisneros doesn’t deviate from his chosen path. Om continues to lay down some seriously epic, hypnotizing, raga-infused heaviosity, keeping their pedals off the metal more than ever here, and Steve Albini’s clinical production makes this sparseness work, alleviating the need for decibel crunching. 8.5/10 Trial Track: “Meditation is the Practice of Death” (Johnson Cummins)

Champion
Resistance (Saboteur/Universal)
Low-lit, prowling passages punctuate the Camaro-rock cacophony of Max Morin’s fuel-injected hesher house on this darker, sharper sophomore album. Betty Bonifassi, whose vocals ruled 2005’s Chill ’em All, is busy with Beast now, and the multiple singers who make up for that further diversify a disc that struts, stomps, staggers—but never stumbles. 8/10 Trial Track: “So Big” (Rupert Bottenberg)

Simian Mobile Disco
Temporary Pleasure (Wichita)
The virtuosic and prolific U.K. duo’s unmistakable production style, pitting shrill, spacey, echo-filtered analog synth hooks against hammering bass beats and coating the whole thing in toe-tapping pop R&B, is here in unrelenting measure. So is their occasional penchant for overstating a cheesy vocal or letting an embarrassing flop like “Audacity of Huge” mar their LP. Even so, they remain in a class by themselves. 8.5/10 Trial Track: “Cruel Intentions” (Jack Oatmon)

Basement Jaxx
Scars (XL/Select)
The cameos are again copious (Santigold, Kelis, Sam Sparro etc.) but Buxton & Ratcliffe’s latest garish barrage of deviant disco lacks the stack of knockout tracks found on 2003’s Kish Kash. It beats out 2006’s Crazy Itch Radio for quirks and queasy flourishes, though—operatic oomph on “Scars,” Auto-Tuned pan flute on the Daft Punk/Pet Shop Boys pastiche “Raindrops,” their beloved Balkan brass blasts and a bounty of other bright ideas. 7/10 Trial Track: “Day of the Sunflowers (We March On)” feat. Yoko Ono (Rupert Bottenberg)

deadmau5
For Lack of a Better Name (Ultra)
Aside from checking in a couple years too late with the sloppy Ed Banger knockoff tracks (see “Ghosts n Stuff”), not to mention the unfortunate presence of Auto-Tune on a club track, again some years tardy, there are some redeeming qualities here. The production is thick and slick, while relentless, bloodthirsty electro-tech track “Hi Friend” is arguably deadmau5’s best single yet. 6/10 Trial Track: “Hi Friend” (Jack Oatmon) With Burns at Metropolis, Fri., Sept. 25, $35, all ages

Typecast
self-titled (Savoir Faire)
This new effort by the Montreal-based live hip hop group marries several different musical influences to create its unique blend of hip hop. Hints of jazz, funk, blues and Latin music are peppered throughout the album, and tunes like “In Due Time” and “Green Eyed Blues” offer something genuinely new. The vocals by Jess Steiner are a highlight. 7/10 Trial Track: “Spot to Call My Own” (Morgan Steiker) CD launch with Preach Ankobia, Sikh Knowledge, DJ Sarcastic at Petit Campus, Sat., Sept. 26, 9 p.m., $10, $6 for students

Pleasure P
The Introduction of Marcus Cooper (Atlantic/Warner)
This former member of R&B quartet Pretty Ricky steps into the solo spotlight with a set that dials down the overtly sexual themes that his past band was so fond of. Instead, tracks like “Did You Wrong” put the emphasis on making relationships work. Elsewhere, some enticing beats make songs like “Tender Roni (Handcuffin)” and “Gotta Have You” entertaining. 7.5/10 Trial Track: “Under” (Gerard Dee)

MINI CD REVIEWS

Tim Brady My 20th Century (Ambiances Magnétiques) The local composer/guitarist’s latest is a long work for nine musicians, video and theatre, paying homage to the likes of John Lennon and Rosa Luxemburg. 7 (GA) CD/DVD launch at Espace Dell’arte, Tues., Sept. 29, 8 p.m., $25

Nightwood Carta Marina (independent) Another alluring calling card from Montreal’s Amber Goodwyn & co., who cement their sassy, blues-based indie raunch. 7.5 (LC) CD launch with Cotton Mouth & guests, Green Room, Thurs., Oct. 1, 9 p.m.

The Nymphets self-titled 7” EP (Signed by Force) There wasn’t a dry eye when Montreal’s best-kept secret moved outta town, and this is so good, it just pours salt in the wound. 7.5 (JC)

LCD Soundsystem 45:33 Remixes (DFA/EMI) Padded Cell delivers the best of these mixes mining and refining James Murphy’s epic 2006 supertrack for Nike. 7 (RB)

The Features Some Kind of Salvation (429 Records/Bug Music) Kings of Leon foundlings don’t sound like archetypal Southern rockers, but more like Counting Crows. 5 (EL)

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