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 NOVELLER/AIDAN BAKER
Colourful Disturbances (Divorce)
Admittedly, I jumped for joy to hear Nadja’s
Baker lay it down thick on his 20-minutelong
“Disturbance,” but as much as I love
everything he does, he actually loses out to
A-sider Noveller, aka Sarah Lipstate. With<
just guitar, voice and tapes, Lipstate’s tapestry of sound is rich, warm and luscious. Although Baker isn’t the victor on this split, he still scores serious points with his drone as he weaves movements and shades. Eno would be proud. 8.5/10 Trial Track: Noveller, “White Rabbit” (Johnson Cummins) Aidan Baker with Animal Hospital, Ghidrah, le Chat Blanc Orchestra at Casa Del Popolo, Sat., Nov. 28, 9 p.m., $7
 Lady Gaga
The Fame Monster (Interscope/Universal)
This Christmas cash-in double-disc compilation re-packages her competent 2008 debut, The Fame. It also sports a CD of eight new cuts more reflective of her rapidly developing fashion-absurdist, hermaphroditic, disco-vamp diva persona—as opposed to the apprehensive New York disco duck finding her footing on The Fame. She’s honing her craft as a visual artist, the music is becoming more or less secondary. 6.5/10 Trial Track: “Bad Romance” (Erik Leijon) With Kid Cudi, Semi Precious Weapons at Bell Centre, Fri., Nov. 27, 7:30 pm, $49.50, all ages
 Them Crooked Vultures
self-titled (Interscope/Universal)
If you don’t already know, this is the supergroup to beat all supergroups, with the king of the Queens, Josh Homme, Led Zep’s John Paul Jones and Foo Fighter Dave Grohl. Everybody, individually, is on fire and in the pocket when it counts, but nothing really reaches out and grabs. Grohl and Homme even live out their Zep fantasies on more than a couple of tracks, but I’ll be damned if I can remember one song once it’s over. These monsters stick a little close to stock modern-rock formula when, in theory, they should be taking off our heads. 7/10 Trial Track: “Scumbag Blues” (Johnson Cummins)
 Shakira
She Wolf (Epic/Sony BMG)
Hips don’t lie, and neither do hits. The Colombian queen of Latin pop bellydances to her most conventional MJ-disco-infused English crossover yet, her Middle Eastern gypsy-cooing and rump-shaking Latin rhythm forging a unique bond with Pharrell Williams’ best production work in years. Shakira’s Rosetta Stone-level ESL/mixed-metaphor lyrics and Kermit-tuned vocals remain as mesmerizing as her gyrating midriff. 8/10 Trial Track: “Why Wait/Años Luz” (Erik Leijon)
 Jets Overhead
No Nations (Microgroove/Warner)
Consider it fallout from a Harper-led government, but Canadian indie rock achieved a paradigm shift where it became less about jittery pop sensibilities and awkward pacing urban campus radio types love, and more about lush, grain-elevator mood setting befitting our vast stretches of flat, wheat-husking terrain. These British Columbians dig slow build-ups with occasional rough outbursts. 6/10 Trial Track: “Fully Sled” (Erik Leijon) With Lights at Studio JPR, Sat., Nov. 28, 8 p.m., $18, all ages
 Sea Wolf
White Water, White Bloom (Dangerbird/Fontana North)
I ended my review of this L.A. band’s indie folk/rock debut by calling its main man, Alex Brown Church, a douche. Though still afflicted by cloying cuteness and tepid timidity, this record (produced by Omaha hotshot Mike Mogis and written here, after Church shacked up with a local lady last year) feels less contrived, with more punchy tunes, more vivid lyrics, more inventive arrangements. 7.5/10 Trial Track: “O Maria” (Lorraine Carpenter)
Kurt Vile
Childish Prodigy (Matador/Select)
Unlike the majority of his indie peers, this Philly musician revels in classic rock—imagine the better CHOM fare defibrillated, dirtied and stripped of clichés. Packed with gripping tunes, Vile’s Matador debut treats its vocals, acoustic and electric guitars, drums, piano, trumpet and harmonica with hot fuzz and reverb. As a bonus, Vile sounds deep and leathery, born of the Jim Morrison/Iggy Pop/Richard Hell axis. 8/10 Trial Track: “Overnite Religion” (Lorraine Carpenter)
 Underworld vs. the Misterons
Athens (K7)
Riding a jazz thread, English prog-tronic titans Karl Hyde and Rick Smith, with pals Darren Price and Steven Hall, situate their own characteristic “Oh” amid astral jazz and art-rock artifacts (Alice Coltrane, Roxy Music, Soft Machine) and contemporaries like Laurent Garnier, Osunlade and Squarepusher. The wisely programmed comp—the first of a series—bows out on a new jam from Hyde and Brian Eno, both in fine form. 8/10 Trial Track: Brian Eno & Karl Hyde, “Beebop Hurry” (Rupert Bottenberg)
Modeselektor
Art & Cash EP (Get Physical)
“Art” is a grating, headache-inducing, teeth-clenching sawtooth wave that oscillates and climbs from eardrum-bashing clicks to a low buzz to a heart-monitor flatline hiss over two minutes. Keep your hand on that volume dial. “Cash” is likewise deliberately named—a funky, freaky, dubby techno track the likes of which keep the Berlin wunderkind at the top of the DJs’ stacks. 8/10 Trial Track: “Cash” (Jack Oatmon)
 Rihanna
Rated R (Def Jam/Universal)
The R&B world’s youngest diva almost has it all: the looks, the attention, the controversy, a voice that stands apart, an army of hooks that nobody can escape and big power players on her side. The only thing she’s missing is soul. She’s the MP3 to Aretha’s vinyl. Somehow, some way, all the substance and texture got lost. 3/10 Trial Track: “Russian Roulette” (Morgan Steiker)
 Dramatik
La Boite Noire (7eme ciel)
Pioneering MC from one of Quebec’s golden hip hop groups, Muzion, and a trailblazer in the Montreal rap scene, Dramatik delivers his first solo album and lifts the weight of the world off his chest. With profoundly honest and open rhymes, he tackles personal aspects of his life as well as social realities like the struggles of Montreal-North on the single “L’oubli.” 8/10 Trial Track: “L’oubli” (Morgan Steiker)
 Ryan Leslie
Transition (Casablanca/Universal)
Can’t say Leslie isn’t ambitious. Hot on the heels of his highly anticipated self-titled debut, he delivers his sophomore effort only nine months later. He’s a skilled singer-songwriter who’s credible enough in both roles so that one doesn’t overshadow the other. And he’s particularly adept at combing clever lyrics with just the right groove, like on “You’re Not My Girl.” 8/10 Trial Track: “Never Gonna Break Up” (Gerard Dee)
Nick Ayoub Quintet
The Montreal Scene (Ear This/RCA Victor)
This reissue offers a journey back to 1964, when the city’s jazz scene was hopping. Saxophonist Ayoub had a taste for hard bop and brought a clear Arab influence to his work. Nothing revolutionary here, but the music puts swing and individuality first. Today’s Montreal scene could learn from this music. Excellent notes from 1964 and 2009 by Len Dobbin, a true friend of jazz if ever there was one. 7/10 Trial Track: “Ya Habibi” (Gordon Allen)
MINI CD REVIEWS
Black Breath Razor to Oblivion (Southern Lord) This four-song rager is going to have fans of Cursed, Trap Them and Entombed dropping to their knees. Need full-length now! 8.5 (JC)
Dog Day Elder Schoolhouse 12” (Divorce) Five hits of Maritime post-punk cut with goth and noise, with one song co-written and four produced by Rick White. 8 (LC)
Adam Lambert For Your Entertainment (Jive/Sony BMG) Glammy pop excess care of last year’s gay American Idol runner-up. Sample lyric: “Open your mouth, open it wide, let the freedom begin.” 4 (LC)
Susan Boyle I Dreamed a Dream (Syco/Columbia/Sony BMG) I did not listen to this record. I gave my review copy to someone who thought their aunt would really enjoy it. Undoubtedly, more than I would. n/a (EL) |
