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 Shrinebuilder
self-titled (Neurot)
While supergroup Them Crooked Vultures left me a little high and dry, this underground super-duper-group featuring Wino (Saint Vitus), Dale Crover (Melvins), Al Cisneros (Om, Sleep) and Scott Kelley (Neurosis) delivers on all the promise. All four sing but it’s when the band kick out the space jams that things really ascend. The influence of all of their respective bands shines through but the alchemy takes on a form of its own that goes far beyond doom, trance metal etc. 9/10 Trial Track: “Pyramid of the Moon” (Johnson Cummins)
 Baroness
Blue Record (Relapse/E1)
Getting a leg up on their incredible debut must’ve been no easy task, but this epic sophomore effort is everything Red Album was and much more. Delving even further into their Southern-fried Allman Bros. riffs, along with their bowel-emptying chugging, Baroness leave little doubt that they are indeed a metal band, but never stoop to clichés. If you’ve wondered what it would be like if metal could reflect light and express joy instead of just doom, gloom and aggression, you have to get yer mitts on this one. 9/10 Trial Track: “Swollen and Halo” (Johnson Cummins)
 Kid Harpoon
Once (Young Turks)
Hyped on the strength of his live shows and a pair of EPs, 27-year-old Tom Hull made his debut LP with titanic producer Trevor Horn, who has scrubbed down the Kid Harpoon sound practically beyond recognition. Horn didn’t do Belle and Sebastian any favours with the squeaky clean Dear Catastrophe Waitress, but if Hull has mainstream aspirations, perhaps this whitewashing will work. His folk-pop compositions still shine, but the sheen is too bright, and all strains of art-rock and noise have been excised. 6/10 Trial Track: “Flowers by the Shore” (Lorraine Carpenter)
 Cold Cave
Love Comes Close (Heartworm/Matador)
Members of hardcore (Some Girls, American Nightmare), noise (Prurient) and art-rock (Xiu Xiu) bands combine to conjure up the ghosts of synth-pop past, and while their vintage gear, minor chords, hearty melodies and deep, dark vocals do the ’80s haunting job, so does dollar-store black nail polish. Tourists! But these Philly folks were only feeling nostalgic, and they’re clearly capable of crafting faux-Factory tunes. Which reminds me, is “I.C.D.K.” an acronym (“Ian Curtis Death Kult”?) or an anagram? (DICK?). Either works. 7/10 Trial Track: “Love Comes Close” (Lorraine Carpenter)
 A History Of
Action in the North Atlantic (Noyes)
Nautically themed but firmly grounded in landlocked Maritime barroom indie, A History Of can count themselves as Haligonians with an ear for introverted agitation and calculated explosiveness. In the spirit of Thrush Hermit, the songs are quick and pack power-pop punch, yet tend to shift pace uncomfortably with manic regularity. The start-stop style of playing works alongside some great dual-guitar interplay. 7.5/10 Trial Track: “On the Make” (Erik Leijon)
 Parkas
You Should Have Killed Us When You Had the Chance (Saved by Radio)
A musical living wake, as the Toronto quartet are officially dunzo following the release of this swan song. In that spirit, it does feel like a rock ’n’ roll album with its hair down, jumping between ’80s and ’90s college and alternative rock influences with little continuity. Just as the lights are about to go out, the record ends with four really focused dour rock ragers. 6/10 Trial Track: “Blood Brothers” (Erik Leijon)
 Matias Aguayo
Ay Ay Ay (Kompakt)
An almost fully a cappella techno-mocking cut—beatboxing, hummed synths and all—serves as the opener. The lip music permeates the entire album, giving it a warm, organic, tribal quality and sharply distinguishing it from the machine funk that comprises most Kompakt releases. An adventurous and well executed though somewhat silly and irritating outing from this groovy Chilean. 8.5/10 Trial Track: “Koro Koro” (Jack Oatmon)
 Clipse
Till the Casket Drops (Columbia/Sony BMG)
Although this album is a departure for the group, who previously only recorded over Neptunes production, members Pusha T and Malice prove that they can go neck-to-neck with any MC in the game. The production varies but beats handled by the Neptunes and hooks courtesy of Pharrell still highlight the album, especially on “Back by Popular Demand” and “I’m Good.” Not as potent as the previous opuses but way above average in today’s rap landscape. 7.5/10 Trial Track: “Back by Popular Demand” feat. Cam’ron (Morgan Steiker)
 50 Cent
Before I Self Destruct (Interscope/Universal)
If this album title holds any truth, it may be some of the best news hip hop has had in years. Never has a rapper been so washed up musically after just five years in the spotlight. Although this record was meant to recapture some of the energy of Get Rich or Die Tryin’, it’s filled with tacky numbers that sound exactly like what they are—uninspired tracks recorded in a lonely millionaire’s mansion. Dr. Dre’s production can’t save it. The self-destruction in question is welcome. 4/10 Trial Track: “Psycho” feat. Eminem (Morgan Steiker)
 Various
All-Star Tribute to Maze featuring Frankie Beverly (Brantera)
The stellar line-up of contemporary soul vocalists on this set should make Frankie Beverly proud. These are mainly faithful renditions of Maze classics like “Golden Time of Day” and “We Are One,” and while female singers like Mary J. and Ledisi are on point, it’s the male vocalists, especially Musiq Soulchild, Kem, Raheem DeVaughn and Joe, who really shine here. 8.5/10 Trial Track: “Can’t Get Over You” (Gerard Dee)
 Muskox
5 Pieces (Standard Form)
I listened to this several times before noticing that it involves almost no improvisation. Somehow, though, it all feels improvised. Must be how organically the banjo, harmonium, marimba, bass, saxophone and cello blend together—and how naturally the music unfolds through its many repetitions that constantly refresh and reinvent themselves. This young Toronto six-piece has its own sound and an intriguing potential for boundless future explorations. 8/10 Trial Track: “’72-’76” (Gordon Allen)
 Friendly Rich
Pictures at an Exhibition (Pumpkin Pie)
Already a highly varied work, Russian composer Modest Mussorgsky’s famous 1874 suite—a tribute to the visual art of a deceased friend—becomes utterly phantasmagoric in the hands of Toronto’s crackpot orch-pop innovator Friendly Rich. Metal crunch, cartoon delirium, playful kitsch and esoteric oddity enrich the capable classical playing (note that Mr. Bungle/John Zorn collaborator Trevor Dunn handle bass duties here). Equal parts silly, scary and sublime—ratio may vary according to your grasp on sanity. 8/10 Trial Track: “Ballet of the Unhatched Chicks” (Rupert Bottenberg)
MINI CD REVIEWS
Naam self-titled (Tee Pee) An awesome display of heavy, heavy, trance-inducing psych à la Om played with krautrock precision. 8 (JC)
Jenocide Machines to Make Us Wet (independent) Jen Clarke of Halifax bands Windom Earle and HOTSHOTROBOT steps out with political electro party pop, one fist in the air, the other on a keytar. 7 (LC)
The Zolas Tic Toc Tic (604) Piano-driven art school tomfoolery with show-tune pizzazz and an epic, Passion Play-style structure. 7 (EL)
Half-handed Cloud Cut Me Down and Count My Rings (Asthmatic Kitty) John Ringhofer issues rarities, singles and b-sides just ahead of a new album. Or, Pre-pubescent Beach Boys make a record in Santa’s workshop. 5 (LC) |
