A bidding war took this overdue debut from Emperor Norton through Grand Royal right to Virgin itself, and it's no surprise. The Mexico City trio called Titan have dropped the most ridiculously on-point release of the season, abetted by the production skills of DJ Me DJ You--picture Trans Am playing a Repo Man video game in the corner of a seedy Acapulco disco circa '77, arguing over who gets to "eat the worm." What?! Silly-ass barrio playboys in trucker shades and sleeveless Ts, borrachos, pendejos and proud of it, shouldn't be capable of this degree of self-aware cool. Call it budgetronic sleazegroove abstract rock, or analog sci-fi muscle-car sexbeat, or polyester sampledelic kung-fu housecore, or plain stone-cold foolishness--this is the shit. Uno, dos, trés, quatro, motherfuckers. 10/10 (Rupert Bottenberg)
The album cover looks like low-rent Whitesnake, their Franken-tag is "Air meets Air Supply," and Phoenix can write a disco ditty up there with compatriots like Cassius (whose Philippe Zdar mixes this debut joint). God love the French! Or at least, God love the recent spate of limp-wristed Gallic guit outfits: if you thought Tahiti 80 were le cul du chat when it comes to discophrenia compounded by manic-regressive rock, well, they don't hold a candle to Phoenix's rise from the ashes of jumpy Eddie Van Halen riffs (guitar and synth!) and 100 early-'80s Haircuts. Meanwhile, "Definitive Breaks" does for Kenny G what "Kelly Watch The Stars" did for Richard Clayderman, and "Funky Squaredance"--oh, use your imagination. 8/10 (Chris Yurkiw)
The sixth album by this Australian band--their first in 12 years--has a clean, warm pop sound with a timeless quality fit for an act whose career spans three decades. With the help of Sleater-Kinney (whose drummer Janet Weiss co-produced), Elliot Smith and Pavement's Stephen Malkmus, the Go-Betweens put together a string of unpretentious, melodic pop tunes that could easily be on the radio, or not be on the radio at all. Despite some weak spots, the album's tight guitars, occasional keyboard and string flourish and a marked focus on songs make it a pleasant listen and a successful return. 7.5/10 (Lorraine Carpenter) The Mystick Krewe of Clearlight self-titled (Tee Pee) This instrumental metal supergroup, members of Eyehategod, Crowbar and Down, deliver some of the best instrumental grooves to come out of their stomping grounds of New Orleans since the Meters. Having more in common with Booker T and the MGs than any of their previous bands, the Clearlight groove like a monster and stick in some southern-fried boogie fusion to keep things interesting. The organ of Ross Karpelman is what keeps this psychedelic locomotive on the tracks, but the rest of the band prove to be no slouches, while managing to not step on any toes. Trip out! 8.5/10 (Johnson Cummins)
Les Nerds self-titled (BeanMan) You know what the world needs more of? Cartoon rock. Metallo bands with beatboxes. Metallo bands with a sense of humour. Cartoon metallo bands who can drop a scratch/rap break into a cover of Kiss' "I Love it Loud." Cartoon metallo bands with a beatbox who can do an aggro version of "You Spin me Round." Neo-aggro-industrio bands with a sense of humour who are stylists and stylistic enough to ape Filter and then Bad Religion with a flick of a Super Fuzz Big Muff--and a tip of the hat. Neo-metallo-industrio bands with a sense of humour who do a tribute to the year 1984, in a bar, who have their own cartoon, and maybe some all-terrain vehicles, and a beatbox. That's what the world needs more of. 7.5/10 (Chris Yurkiw)
Reflection Eternal Talib Kweli & Hi Tek (Rawkus/Virgin) I can honestly say that Kweli and Hi Tek have the kind of rare balance that so many producer/MC duos have tried to capture over the years. Instead of one upstaging the other, they have a sort of symmetrical line that respects the talents of both and allows them to come as a tight unit. This record may be a little more cerebral and thought-out when it comes to Kweli's lyrical choices, but it's matched by Hi Tek's imaginative array of skull snaps and melodies. The varied, 20-track effort stacks guests like Rah Digga, Mos Def and De La Soul, but for the most part, and the best parts, it's just Kweli and Hi Tek. 9/10 (Scott C)
Mr. Dibbs Primitive Tracks (Cease and Desist/No) This is actually the soundtrack for an Alien Workshop skate video called Photosynthesis, and features five tracks and a 20-minute live set. Kind of nice to hear beats programmed by Dibbs. He's obviously a competent DJ as the founder of 1,200 Hobos, but should really put some more time into production. I would've have liked to have seen the video this accompanied, or even a CD-ROM snippet, but no dice. This is by no means a complete album, but enough to make you search out some of Dibbs' other titles. 7/10 (Scott C)
Maxim Hell's Kitchen (XL/Select) Phat, twisted, neo-dark beats are being cooked up in Lucifer's culinary pit by Prodigy vocalist Maxim--y'know, that crazy guy in the "Breath" video with the cat eyes and tribal tattoos. Maxim disappoints when he pulls that Timbaland stylee on "Scheming," with help from Prodigy main man Liam Howlett. The other collabs, however, produce interesting results: soulmetal vocalist Skin from Skunk Anansie represents on "Carmen Queasy" and Divine Styler tears it up on "Spectral Wars." Hell's Kitchen is a decent template for future work--if Maxim tightens his vocal phrasing and digs below the simple surface of dark, polished breaks, shit could get interesting. 7/10 (Lateef Martin)
Various djmixed.com/Micro (Moonshine/Koch) Back in the day when I'd lace up my platform shell-toes and jump on the nine-hour rave bus down to wherever to hear a set by DJ Micro and the other members of Strong Island's Caffeine crew, they'd all play the funkiest of funky breaks. I'd be captivated for hours, doing my mashed-potato dance like Sufis do that spinning-for-God thing. Well, the sound of yesteryear has been replaced, by and large, by something called trance, and Micro has replaced his funky breaks records with ones by names like Ferry Corsten, Paul Van Dyk and BT. His mix for the latest installment of Moonshine's djmixed.com series features mediocre yet uplifting, moderately cheesy tunes from these names and more, and leaves me wondering what he did with all the killer breaks. Trance on. 7/10 (Krista)
Jega Geometry (Matador/FAB) Dylan "Jega" Nathan's debut Spectrum covered just that, running the gamut of tempos, tones and timeframes. Leftfield electronica fans were duly impressed. The latest from this former architecture-school classmate of Aphex Twin and u-Ziq is narrowcast, though, selecting an angle and working it. Skipped-disc rhythms and chewing-on-tin-foil beats chatter and ping frenetically over filtered sonic grind and morose synth motifs. Less tuneful than the first one perhaps, but the calculations and number-crunching are dead on. 8.5/10 (Rupert Bottenberg)
Various Another World (Mixed by Paul Oakenfold) (Perfecto/Warner) In the 15 or so years since beginning his career in the underground (a term I now use very loosely) music industry, London's Paul Oakenfold has brought urban rap to the British Isles, "discovered" the now-hedonistic-island-clubland that is Ibiza and pretty much invented trance music. Oh yeah, and he's the world's highest-paid DJ as well. Oakie's latest gift to the world of dance music is a double mix CD (similar the Global Underground series) of epic, driving trance which floats bits of film soundtracks, classical scores and specially commissioned remixes alongside tomorrow's hits. Very "next big thing." 7.5/10 (Krista)
Enough with the future shit! That's so 10 minutes ago! I'll admit, though, that these two boss German comps have serious playtime in the cards. Vol. 7 keeps the faith of the outstanding Future Jazz series, boasting delicious downtempo and house tracks (many exclusive) from folks like Peter Kruder, Burnt Friedmann and Bonobo, and a bang-up Bollywood remix by Badmarsh & Shri. Future Lounge, meanwhile, does right by the prestigious Stereo Deluxe imprint, flaunting Mutabaruka, Only Child, Astrud Gilberto and Montreal's own Jaffa. Rich, stylish grooves, right here today. FSoJ Vol. 7 9/10, FL Vol. 3 8/10 (Rupert Bottenberg)
It's gonna be a tough haul for newcomer Toni Estes. The Barbie doll looks, sweet-smooth vocals and on-point production are all in place. So are the notable guest appearances (producer Teddy Riley pens several tracks, rapper Lil' Zane guests on "Independent Lady"). That being said, there's nothing particularly remarkable about Estes. Lead single "Hot" will probably get her some spin, but it'll take more than that to keep her ahead of the pack. 6/10 (Gerard Dee)
Dave Young Tale of the Fingers (Justin Time/Fusion III) Young, a premiere bassist, is showcased in a session with drummer Barry Elmes. These two Canadians, who are always a joy to hear, are joined at the piano by an import, Cedar Walton, another exceptionally talented player and composer of note. The leader is heard both pizzicato and arco in a varied program which is made up of the title piece (penned by fellow bassist Paul Chambers), half a dozen originals and three standards--"Sweet and Lovely," "Just in Time" and Kurt Weill's "Lost in the Stars." First class! 9.5/10 (Len Dobbin)
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Titan Elevator (Virgin/EMI)
Phoenix United (Astralwerks/Virgin)
The Go-Betweens The Friends of Rachel Worth (Jetset)
Various Future Sounds of Jazz Vol. 7 (Compost/Fusion III) and Future Lounge Vol. 3 (Stereo Deluxe/Fusion III)
Toni Estes Two Eleven (EMI)