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 Overmars
Born Again (Crucial Blast)
What we get here is one single composition, “Born Again,” for a devastatingly pitch-black 45 minutes. Although there is a lot to gnaw on here, there is nary a boring moment as the band push sections dynamically, throwing in hairpin twists and turns while delivering one of the most punishing listens to come from industrial, metal, noise or anything else. Easily the most crushing record of the year. 9/10 Trial Track: “Born Again” (Johnson Cummins)
 Gossip
Music for Men (Columbia/ Sony)
Aside from the soulful force of Beth Ditto’s vocals and traces of gender/LGBT themes, there’s little to link Gossip’s Rick Rubin-produced major label debut to their blues-punk roots. Like le Tigre before them, they’ve failed to take political music to the mainstream, and succeeded in making a decent dance record. 7.5/10 Trial Track: “Men in Love” (Lorraine Carpenter) With Men at le National, Tues., Oct. 13, 9:30 p.m., $20
Grand Archives
Keep in Mind Frankenstein (Sub Pop)
A Seattle-based folkish group led by a former member of the equally earthy and ethereal Band of Horses. A starlit sky and the hum of a weary engine is about all that separates their sophomore record from a quiet, reflective night drive along a deserted one-way road through the country. Slide guitars and reverb-soaked vocals abound. 6.5/10 Trial Track: “Oslo Novelist” (Erik Leijon) With Zeus at Green Room, Wed., Oct. 14, 8 p.m., $12
 You Say Party! We Say Die!
XXXX (Paper Bag)
You wouldn’t think that a band that so casually throws about exclamation points and infers a party with morbid consequences could make disorderly, jerky dance rock sparse and uncomfortable. The awkward emptiness is filled with frontwoman Becky Ninkovic’s menacing shout-singing and some consistently punchy drums. Stretches one’s beliefs as to what can be classified as danceable music. 7/10 Trial Track: “Laura Palmer’s Prom” (Erik Leijon)
 Manic Street Preachers
Journal for Plague Lovers (Columbia/Sony) With lyrics left behind by their long disappeared (and recently presumed dead) comrade Richey Edwards, the Welsh band revisits the rock ferocity, cultural iconography and nihilistic despair of their early days. That said, this is an easier listen than their last record with Edwards, 1994’s The Holy Bible, reflecting the pop appeal and relative refinement of their latter-day material. 8.5/10 Trial Track: “Marlon JD” (Lorraine Carpenter)
 Les Trois Accords
Dans Mon Corps (Indica/Outside)
Quebec’s quirky breakthrough boys return with a record that, musically, scores decently in the tangle-of-jangle, bells-and-whistles prog-pop department. Production work by Me Mom & Morgentaler’s Gus Van Go helps. The band’s noted knack for snide wit energizes the album’s theme of shifting personas, but the arch, flat vocals, a symptom of the inability to remove tongue from cheek, grates before the first track’s done. 6.5/10 Trial Track: “Dans Mon Corps” (Rupert Bottenberg)
Dominique Leone
Abstract Expression (Important)
While doffing his hat to XTC, Brian Wilson, Miles Davis and Steely Dan, this avant-pop artist takes these inspirations and pushes them in the most unlikely directions. Although Leone’s compositions can appear a little overbaked at times, his sense of fearlessness, his innovative production and his unnatural knack for melody are guaranteed to win over even the staunchest pop-ophobe. 7/10 Trial Track: “Sometimes You’ve Got to Be Happy” (Johnson Cummins)
 Saosin
In Search of Solid Ground (Virgin/EMI)
Another strange circumstance of a new vocalist (Cove Reber) sounding like a former (Anthony Green, now of Circa Survive), only this time, the results aren’t quite as good as with Alice in Chains. Their fifth album and second with Reber finds Saosin sounding generic, perfect for emo high school drama. Musically, Saosin knows what works, sticking with what gets radio play. 6.5/10 Trial Track: “I Keep My Secrets Safe” (Lateef Martin)
 GusGus
24/7 (Kompakt)
The creepy, meticulous and cold production of Reykjavik’s highly fashionable and somewhat cheesy GusGus gets me every time with its masterfully spacious, pulsating synthesizers and deep, thick, insistent beats. This is six tracks of occasionally-vocal techno spanning the epic, big-room hypnosis of “On the Job,” the in-vogue acid revisionism of “Bremen Cowboy” and the obligatory funky club banger, “Add This Song.” 8/10 Trial Track: “Hateful” (Jack Oatmon)
 Brother Ali
US (Rhymesayers)
This new effort by Brother Ali is his most complete so far. The soulful production on tracks like “Crown Jewel,” with its mournful horn loop, the hypnotic strings and handclaps of “House Keys,” or the violins and vocal samples of “You Say (Puppy Love)” blend smoothly with Ali’s honey-coated voice—sometimes seeing him half-crooning—and his truthful, spiritual rhyme style. 8/10 Trial Track: “Breaking Dawn” (Morgan Steiker)
M.O.P.
Foundation (E1)
M.O.P. drops another dozen bombs on the rap world and, sadly, this will probably go under the radar. Not known for sugarcoating anything, the Brownsville duo get a helping hand from DJ Premier on “What I’m Gonna Be,” Redman on “Riding Through” and Styles P on “Bang Time,” but still shoulder the brunt of the album with their trademark growls and genuine threats. Still potent as ever. 8/10 Trial Track: “Blow the Horns” (Morgan Steiker)
 Mariah Carey
Memoirs of an Imperfect Angel (Island Def Jam/ Universal)
After a pair of albums that reignited Carey’s career, 2005’s Emancipation of Mimi and 2008’s E=MC2, her latest falls short thanks to lackluster production and her tendency to coo her way through half of these songs. Occasionally, on tracks like “Up Out My Face” and “Impossible,” she recaptures the energy that made her previous two sets so good. 7/10 Trial Track: “Up Out My Face” (Gerard Dee)
 Lina Allemano
Four Gridjam (Lumo)
Four of Canada’s best jazz players are heard here leaping nimbly between concise bop and free-flowing sonic adventure. The group plays with agility, momentum and empathy, balancing intelligence and virtuosity with humour and moments of tenderness. Lina has a strong group of supportive agitators, bringing vitality to a great set of tunes. Her solo trumpet track (“Also”) is an intriguing addition to the disc. 7/10 Trial Track: “Cameo” (Gordon Allen) With Ceccarelli/Battikha at l’envers, Fri., Oct. 9, 9 p.m., $7
MINI CD REVIEWS
Envy/Jesu self-titled (Hydra Head) Three from Envy and two from Jesu with Envy winning by a nose. 8 (JC)
Lee Fields My World (Do Right!) Just because Fields’s classic soul sound is pure and unalloyed doesn’t mean he can’t take the Supremes’ “My World Is Empty” to a lush and fascinating new place. 8 (RB)
The Twilight Sad Forget the Night Ahead (Fat Cat) Pleasant melodies, guitar bombast, a Scottish burr and a case of the fear equal sophomore success. 8 (LC) With Brakesbrakesbrakes, We Were Promised Jetpacks at la Sala Rossa, Fri., Oct. 9, 8:30 p.m., $14
Hope Sandoval & the Warm Inventions Through the Devil Softly (Nettwerk) Fans of Mazzy Star in particular, and dark angel music in general, will welcome Sandoval’s first album in eight years. 7.5 (LC) With guests at le National tonight, Thurs., Oct. 8, 8:30 p.m., $25
Madonna Celebration (Warner) In her 26 years as a performer, Madonna has had a lot of hits. This two-disc compilation proves some of them were actually good. 7.5 (EL)
Paramore brand new eyes (Fueled By Ramen/Warner) A stripped-down approach to the young band’s breakthrough follow-up. Faster playing, louder vocals. 7 (EL)
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