Motoerhead We Are Motoerhead (CMC International/EMI)
Nada SurfThe Proximity Effect (Mardev/Flydaddy/FAB) It's gotta be tough to follow-up the self-fulfilling prophecy of a hit song called "Popular," and New York emo-rockers Nada Surf know it. So they left out any neo-novelty numbers about high-school angst for their second album, and things only got tougher: a kiss-off from Elektra compounded by legal wranglings that have delayed this self-release in North America for two years. Still, the trio hired N.Y. guit-god Fred Maher to produce, and the sum produces a major-quality record that would have had execs skimmying their shorts back in the alt early-'90s of yore. There's a leanness and tautness to Nada Surf's songs which make them pop--if only they'd applied that stuff to the construct of the album. 7.5/10 (Chris Yurkiw)
Ladytron Commodore Rock (Emperor Norton/Outside)
(Hed)p.e. Broke (Jive/BMG) When a band or two become the "chosen ones," a genre's darlings, there are also a few that are worthy of equal if not greater praise that fall through the cracks of fickle fancy, simply because they missed that oh-so-crucial window. And when they come correct, they are accused of following the trend. Thusly, welcome to the dilemma that is (Hed)p.e. (for "planet Earth"), cominatcha with a diverse album that approaches the raprock aesthetic with bluesy riffs, drum loops and scratchin', crunching guitars, pummelling drums, gangsta-like raps, stomach-powered growls, high-end singing and surprisingly catchy choruses. Check this CD out and forget about the flavours of the month 'cause these guys'll be around for a while. 8/10 (Lateef Martin)
Only Child Satellites and Constellations (Grand central Records/Fusion III) This is some super-poppy electrofunk, with some MCs thrown in for good measure, along with a grounded dose of applaudable downtempo chill. I'm pretty sure it was in the plan for Only Child to be musically all over the map and he makes no excuses here for an apparent love of many styles. This is hardly a record I could get annoyed with, but it's the sort of album where you definitely skip to your favourite songs without hesitation. As a complete listen, it doesn't quite make the team. 7/10 (Scott C)
Thievery CorporationThe Mirror Conspiracy (4AD)
DJ Marques Wyatt Sound Design Vol. 1 (Om/Fusion III) These days any DJ can and is putting out a mix CD. However, that just makes it harder to find a really good one. Luckily, the crew at San Fran-based Om Records, who started their mix CD ball rolling with the mystical Mark Farina's Mushroom Jazz series, know which DJs to look to for the real goods. For their latest Sound Design series the kids at Om have chosen none other than L.A. house legend Marques Wyatt. Marques has sewn together 14 tracks of house bliss ranging from serious vocal biz to the stuff that gets you way deep down inside, from respected names like MAW, Sylk 130, Stereo People and more. 8.5/10 (Krista)
Bobby Trafalgar In Person (Repap/Fusion III)
Brenda Russell Paris Rain (Sony) A mainstay of R&B and contemporary jazz for over a decade, Brenda Russell delivers her first set in years, replete with her trademark jazz-urban fusion sound. Best known for the emotive track "Get Here" (recorded and popularized by Oleta Adams), Russell reaches deep into the jazz pool and surfaces with a completely satisfying adult R&B set that includes standout pieces like "Walkin' in New York" and the gentle title track. The perfect combination of style and substance. 8/10 (Gerard Dee)
Wyclef JeanThe Ecleftic 2 Sides II a Book (Sony/Columbia) I'm kinda getting the feeling that Wyclef is just a tad bitter about the fact that people keep harassing him about another Fugees album. This record is a constant reminder to Lauryn, Pras, Canibus, John Forte, and whoever else's success Wyclef thinks he's responsible for, that they wouldn't be there without him. Clef is the king of the egomaniacs who thinks everybody else is just dead wrong, can't rhyme, don't remember where they came from and so on. He also thinks he can sing, which he demonstrates on this record a lot more than he should. Cameos from Whitney Houston, the Rock, Earth Wind & Fire, Youssou N'dour, Mary J Blige, and, uh, Kenny Rogers make for a comedic first listen, but c'mon. 6.5/10 (Scott C)
Sabah Habas Mustapha & the Jugala All Stars So La Li (Omnium/Outside)
Scott DunbarFrom Lake Mary (Fat Possum/Sonic Unyon)
Alive and Well Way Out East (Perimeter) This is a trio working out of Halifax consisting of American drummer Jerry Granelli and two Haligonians of the first order, reedman Don Palmer (who was once a student of Lee Konitz) and bassist Skip Beckwith. There are 10 tracks on this adventurous CD, ranging from standards like "I'm an Old Cow Hand" and "Sweet Lorraine," through to some Ellington and Monk, to originals by the trio. Well worth a listen! 9/10 (Len Dobbin)
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The big man from the Bronx needs no introduction, and this collection of some but not all of his best work spans from '88-'97. KRS epitomizes the walking, breathing and thinking spirit of hip hop culture, as immortalized in songs like "My Philosophy," "The Bridge Is Over," "Criminal Minded," and "Sound of Da Police." It kind of goes without saying that a KRS retrospective is deserving of more than one single volume of unforgettable tracks, but this compilation has a little bit from every album. If anything, this record is a reminder to those who don't own the entire KRS catalogue to go back and "edu-tain" themselves with one of hip hop's most important MCs. This is, of course, all overseen by DJ Scott La Rock. 10/10 (Scott C)
With their umpteenth release, Lemmy and company can still deliver the goods and thus, as the title so proudly boasts, can still announce that they are indeed Motoerhead. No curveballs here, just fast and unrelenting rock 'n' roll that leaves a lot of the current crop of rockers in the dust. Opener "See Me Burning" sets the pace before the band launches into the slammin' "Slow Dance," which has Lemmy's bourbon-soaked croak hitting new highs. "Out to Lunch" and the title track are some of the best tunes Lemmy's penned in years and ballad "One More Fucking Time" shows some growth [music ed. note: What about the growth on Lemmy's face?]. The real clincher is their version of the Sex Pistol's "God Save the Queen." When Lemmy screams, "No future!" you'll get goosebumps all over. God save Motoerhead. 9.5/10 (Johnson Cummins)
I'll respect these poly-Euro electro-moppets' insistence that they aren't simply aping (and competently so) the minimalist, synthetic chic of early new wave, and will therefore refrain from mentioning Kraftwerk, OMD or Visage. Oh, or the Flying Lizards. I will mention the Bulgarian cold war soapboxing on the title track, the shopping mall public address of "Paco," the carefully asymmetrized hair, the moody middle-finger melodies and that icy, asexual robo-drone thing. You do the deliberately abstract and impersonal math. Bonus question: novelty band or extrapolated art-school project? 8/10 (Rupert Bottenberg)
Many people will try to like this album, the second full-length of original music from the D.C kings of swank, suits 'n' stirred martinis, known for their stoned, trippy, dubby bossa beats. It sounds a lot like their first album ('98's Sounds From the Thievery Hi-Fi), but somehow the magic's gone missing. Kinda like a disappointing sequel: the themes are the same (Brazilian, dub and soundtrack jazz) but the original thrill is gone. Even the Euro-touch (French lyrics), forays into shades of breakbeats and Bebel Gilberto's sweet vocals can't save this from being so so-so. Okay for a backdrop, but nothing to get lost in. 6.5/10 (Genevieve Paiement)
Nice try, guys, but I'm wise to these fake soundtrack deals now. There ain't no Bobby Trafalgar, and there's no reliable third-party proof saying otherwise. There is, however, a wildly inventive "life story" in the liner notes, right down to the never-were film titles and bogus dust jackets of his discography. And then there's the tunes, boss pastiches of the exotica-moog-funk evolution of low-rent cinemaphonica circa '65-'75, bolstered by modern beat-ology. Fantastic stuff, and it's the main body of the thorough, clever forgery of not just a single film but an entire personal history. Unless I'm wrong, in which case Mr. Trafalgar has my apologies, and my thanks for the dope sounds. 8.5/10 (Rupert Bottenberg)
Does anyone remember those ethno-illogical sideshow freaks 3 Mustphas 3? Ever wonder where they went? Well, one member has been getting down to business in Indonesia, putting some of those splendrous Javanese musical ideas into a western pop context. Drawing on traditional texts and benefiting from backup from West Java's finest players, fleshed out with occasional Cuban rhythms and Nigerian high-life guitar chime, Mr. Mustapha pulls off a distinctive and engaging boxful of mystery. A beautiful CD, and food for my pet hunch that, once the fuss over Cuba and Brazil subsides, Indonesia will be worldbeat's Next Big Thing. 8.5/10 (Rupert Bottenberg)
Dunbar, born in Mississippi in 1904, was one of the last direct links to the unpolished, pre-war blues. Traditional vocal/guitar accompaniment make From Lake Mary the real deal, ensuring Dunbar's position as one of the last true blues masters--too bad he died in '94. Previously released in 1972, Fat Possum have taken the dust off of this forgotten classic. Crossing country, blues and roots folk, Dunbar plays the classics he grew up with, like "That's Alright Mama" and Leadbelly's "Goodnight Irene" as well as some stunning original compositions. Dunbar plays blues with no compromise and despite this being a posthumous nod, he can be considered a great contributor to this rich American music. 8.5/10 (Johnson Cummins)