|
 Li’l Andy
All Who Thirst Come to the Waters (independent)
Local yokel yodeller Li’l Andy does his own version of the Cowboy Junkies’ Trinity Sessions and records directly from the altar of Église St. Jean Baptiste, with the huge room spilling into the microphones. The natural ambiance of the holy studio is the perfect setting for the limping tempos as Andy’s tales of desperation, death and redemption careen over the rich sound. If this doesn’t tingle yer spine, best check you still have one. 8.5/10 Trial Track: “On My Way to Heaven Anyhow” (Johnson Cummins) Record launch with Katie Moore at la Sala Rossa, Wed., May 12, 8 p.m.
Broken Social Scene
Forgiveness Rock Record (Arts & Crafts)
Tortoise’s John McEntire mans the Toronto collective’s comeback/reunion, a superior work to 2005’s dubious eponymous record, one that comes close to recapturing the energy of You Forgot It in People. Members of Pavement, the Sea and Cake and Do Make Say Think join the supergroup to amble through uptempo indie rock, orch-pop anthems and breezy adult contemporary ballads, piling on the guitars, strings, back-up chanteuses, bleeding hearts, cynical witticisms and shabby chic aesthetics. 7.5/10 Trial Track: “Chase Scene” (Lorraine Carpenter)
The New Pornographers
Together (Matador)
Vancouver’s indie rock supergroup (plus guests from Beirut, Okkervil River, the Dap-Kings and St. Vincent) outdo themselves (and their East Coast counterparts) with a record that rivals 2005’s Twin Cinema, the band’s high watermark. The songs are crisp and clean-cut, hanging on Carl Newman and Dan Bejar’s classic pop songwriting, and the former’s harmonies with Neko Case and Kathryn Calder. 8/10 Trial Track: “If You Can’t See My Mirrors” (Lorraine Carpenter)
 The Flaming Lips & Stardeath and White Dwarfs
Dark Side of the Moon (Warner)
Oklahoma’s benevolent lysergic overlords join forces with frontman Wayne Coyne’s nephew’s band to jam out a dirty, dizzy, damaged recreation of Pink Floyd’s keystone album. Substantial liberties are taken, like their hilarious “Money” sounding as though it was fed through a pocket calculator. Along for the moon-ride are Henry Rollins and, shrieking her way admirably through “The Great Gig in the Sky,” Peaches. 8/10 Trial Track: “Brain Damage” (Rupert Bottenberg)
Man Man
Rabbit Habits (Anti-/FAB)
Five fine Philly freaks return with more of their eccentric elaborations, cementing their perch in the canon of crackpot pop-rock. Singer Honus Honus’s grievously gravelly growl is entirely of the school of Beefheart and Waits, and “Big Trouble” certainly owes too much to the latter, but more often than not, the band’s baleful, bunglesome buffoonery, abetted by assorted friends and other household objects, distinguishes itself with its nimbly manic inventiveness. 7/10 Trial Track: “Hurly/Burly” (Rupert Bottenberg) With Bass Ma Boom Sound System, Mad’MoiZèle Giraf, Fyah Flames at Global Marijuana March at Parc des Amériques (Rachel & St-Laurent), Sat., May 8, 3 p.m., free
The National
High Violet (4AD/Select)
Exquisite, mature and demure—qualities one might appreciate in a fine wine, but perhaps less so when it comes to anthemic indie rock. There’s quality in the deep, elegant compositions, but if consumed as a whole piece of work, High Violet comes across as a series of near-crescendos that never quite arrive. The subtle shifts are pretty special if you gush over minor touches. 6.5/10 Trial Track: “England” (Erik Leijon)
Twilight
Monument to Time End (Southern Lord)
This black metal supergroup, headed up by Nachtmystium’s Blake Judd, just obliterates on this sophomore release. Rounded out by members of Leviathan, the Atlas Moth, Isis and Minsk, this is as epic as black metal can get, with less concentration on blast beats while the band hunkers down and explores every nook and cranny of their dark atmosphere. 8.5/10 Trial Track: “The Catastrophe Exhibition” (Johnson Cummins)
Deftones
Diamond Eyes (Reprise/Warner)
Six albums in, Diamond Eyes returns to a heavier and more brutal sound, something lacking in 2006’s Saturday Night Wrist. Still, songs like “Beauty School” and “Sextape” deliver on the chill side of things in epic fashion. Following a car accident in 2008 that left bassist Chi Cheng in a “minimally conscious state,” his heaviness has been temporarily replaced by ex-Quicksand’s Sergio Vega, who brings the groove well. 8/10 Trial Track: “Rocket Skates” (Lateef Martin)
Crystal Castles
self-titled (Fiction)
They’ve mostly dropped the chiptunes and limited the tracks consisting of guttural screeching and squealing synths. There’s more dreamy digital disco and subdued, heavily treated vocals. At times, such as on “Suffocation” and “Celestica,” the duo’s simple, catchy pop style really shines. For the most part though, this is still sonically and stylistically narrow, insanely overhyped and frankly irritating stuff. 6.5/10 Trial Track: “Suffocation” (Jack Oatmon)
muGz
I Co-sign Myself: The Mixtape (Black Rose)
I’m trying to figure out how this is a mixtape and not an album. Crisp, fresh, club-ready beats and well-mixed, textured vocals from Montrealer Mugz doesn’t reinvent the genre but serves to solidify the relevance of properly executed party/Jeep hip hop. At once decadent and honest, Mugz won’t be everyone’s cup o’ joe, but if you’ve ever wished that club rap could be more, homeboy heard you. 7.5/10 Trial Track: “Life I Chose” (Darcy MacDonald)
 Toni Braxton
Pulse (Warner)
Braxton’s first album since 2005’s Libra finds the singer in fine form. A well-balanced blend of slow, mid-tempo and club jams allows her still-potent smoky alto to flex comfortably through heartbreak (“Yesterday”) and rejuvenation (“Hero”), and still have energy to work the dancefloor (“Make My Heart”). The robust title track is further proof that Braxton’s pulse is stronger than ever. 8/10 Trial Track: “Wardrobe” (Gerard Dee)
Jah Cutta
A Me Dis (Stomp)
Just in time for summer, Montreal’s Jah Cutta has cooked up an album of roots reggae with a pinch of dancehall (check “Fight You Down”). Mixed by Jamaica’s Bobby Digital and backed by a strong band, smooth tunes like “Girl” and “Naturally” have Cutta playing crooner, while “Tribute” and “Serious Time” provide the essential cultural vibes we have come to expect from this committed, competent artist. 8/10 Trial Track: “Tribute” (Erin MacLeod)
 The Element Choir
At Rosedale United (Barnyard)
It’s silly to write about a 52-voice choir in these confines, to tell you what illuminating music these singers (plus four instrumentalists) make under the guidance of Toronto’s Christine Duncan. How can you understand sounds you’ve never heard, music that could inspire you in new ways? All you can really do is search out these musicians and this recording and hear what there is to be found. 9/10 Trial Track: “As the Crow Flies” (Gordon Allen)
MINI CD REVIEWS
Aluk Todolo Finsternis (Public Guilt) Charred black ambient that is equally disturbing as it is rewarding. 8.5 (JC)
Black Francis Non Stop Erotik (Cooking Vinyl) A hoary rock ’n’ roll record from the Pixies frontman (aka Frank Black), with his trademark pop sensibility and lyrical eccentricity in place. 7.5 (LC)
Elliott Smith Roman Candle, From a Basement on the Hill (Kill Rock Stars) The late singer-songwriter’s first and last records re-released, a bittersweet reminder of a great talent. 7, 8 (LC)
Inner Circle State of the World (Warner) There’s no “Bad Boys” on this record, and it ain’t enough to make anyone “Sweat,” but it’s a worthy collection of tunes nonetheless. 7 (EM)
Mantler Monody (Tomlab) The WKRP in Cincinnati theme song, in all its bland ’70s glory, stretched out over an oddly enjoyable cornball record. 6 (EL) |
