The Black Crowes Lions (V2/BMG)
Depeche Mode Exciter (Mute/Warner)
REM Reveal (Warner)
The Go-go's God Bless the Go-go's (EMI)
Hi-Tek Hi-Teknology (Rawkus)
Various Sona Massive (YUL) Various Swirl Deep Progressive Mix 01 (YUL) The second and third releases from the 514-affiliated label YUL, marking the triumphant return of 514 to Sona and accompanying 514's seventh annual Swirl mega-event, are now available. Ironically, although both mixes are inspired by events fueled by the music and skills of DJs, both were mixed and mastered by machines in a laboratory-like setting (with the help of a skilled engineer, of course). No DJs were harmed in the making of these comps. Sona Massive seeks to capture the "divine and suave" vibe of Sona today, while Swirl Deep Progressive Mix attempts to "set the tone for the summer." Translation: if you like your music heavy, dark, trancey and heady, then either one (or both) of these CDs is right up your alley. Sona Massive ingredients: Mark Anthony and Alain Vinet as Afterlife, Medway, X-Press2, Trevor Rockliffe and a lot of bass. Swirl ingredients: Jamez, Kybosh, Sean Cusick and a driving kick drum. Both 7.5/10 (Krista) Swirl, with Laurent Garnier, Ritchie Hawtin, Tony Touch and more, at the Big O on Sun., May 20, 10pm, $50+ The Incredible Melting ManNo Tomorrow Soundtrack (2 Wars and a Revolution/Koch)
GreyboyMastered the Art (Ubiquity) It must be both a blessing and a curse to have once been hailed as the leader of American acid jazz, but if this album is any indication, Greyboy has managed to keep his chops even if acid jazz has been put to sleep. The San Diego-based hip hop producer has returned after some years in hiding and he's obviously been hard at work. Mastered the Art is a mixture of the moody instrumental tracks that made him a household name in the mid-'90s, and collaborations with notable lyricists (MOOD's MainFlow) and musicians (Dave Pike and Elgin Park). With the onslaught of "every-producer" over the years, perhaps the genius of Greyboy is much more questionable now than it was in 1995, but he's still workin' the boards in 2001. 7.5/10 (Scott C) Various Destination House (Topaz) When one thinks of locales associated with deep house jams, Texas does not quickly come to mind. In the land of Dubya and Friday-night H.S. football, DJ Deepfeel has spread the gospel of funky, soulful club music with fist-pumping verve. His turntable hero status in the Lone Star State caught the attention of New York's Topaz label and he was commissioned to whip up this compilation. Maintaining an uplifting edge, Deepfeel presents kickers usually heard at stellar NY throwdowns like Shelter and Body and Soul--not bad for a guy who hails from a place more given to gun shows. Roland Clark, Jasper St. Company and Lovetronic figure prominently among some great selections. 8.5/10 (Peter Lightburn) Case Open Letter (Def Jam/Universal) No need to ask whether R&B crooner Case was influenced by Stevie Wonder. It's evident on this, his third set, especially on tracks like "Wishful Thinking" and the brilliant "Shine," the latter almost matching Wonder's musical and vocal patterns right down to the harmonica solo. Elsewhere, Case shines on the well-constructed lead single "Missing You" and "A Song For Skye," which is dedicated to his daughter. It's not brilliant all the way through, but Case provides enough bright spots to make his Open Letter a good read. 7/10 (Gerard Dee) The Slackers Wasted Days (Hellcat/Sonic Unyon)
Roswell Rudd/Archie Shepp Live in New York (EmArcy/Universal) Back on December 10, 1966 I caught a band featuring Shepp and Rudd in Ottawa. These many years later, their music remains excitingly vibrant. This is the first in the scheduled Soundscape series, recorded September last at NYC's Jazz Standard. The leaders are joined by a second trombonist, Grachan Moncur III, with Reggie Workman and Andrew Cyrille. In a throwback to the New York Art Quartet, they are also joined by Amiri Baraka (aka LeRoi Jones) on "We Are The Blues." Besides the usual tenor playing, Shepp moves to the piano (Monkish) and also adds his voice. Accessible yet cutting-edge music! 9/10 (Len Dobbin) |
With a voice one part Ice-T and one part Chuck D, Michael Franti (who formerly fronted the equally conscious Disposable Heroes of HipHoprisy) comes again with another album with Spearhead. With lyrics like, "We need to hear the words of the Dalai Lama/ Or at least the words of yo mama," Michael Franti is that uncle whose house you were sent to for a little moral education on a warm Sunday afternoon. Tracks range from hot, buttered funk like opener "Oh My God" to hype-hop like "Rock the Nation." Spicing the disc up with segments from a community radio station, Mr. Franti covers just about everything on the political plate today without being preachy, wrapping it all up in a pita-full of orchestral backdrops, backup singers, a '70s sensibility and a hip hop approach. Soup's on. 9/10 (Lateef Martin)
Lions opens up with a cacophonous feedback swell that holds promise, but with all of the change-up pitches here, only about 75 per cent get over the plate. Seeing as the Crowes are usually all killer and no filler, this is a bit of a bummer. It seems that last year's sojourn with Jimmy Page has really rubbed off on the Robinson bros., ending these glimmer twins' exile on main street for a bit of Zep grandiosity--Rich Robinson even sounds a bit like ol' Percy now. The really cool thing here is you are given a personal password which allows you to download live shows as they happen. A really good record that any band would be more than proud of, but Lions can hardly compete with their immaculate back catalogue. 8/10 (Johnson Cummins)
After 20 years of top tunes and creative hiccups, astonishing success and massive heroin addiction, Depeche Mode persist, retaining their dark new wave overtones while continuing to evolve. Unfortunately, this 10th studio album, produced by Björk collaborator Mark Bell, doesn't quite live up to its name. The Gahan and Gore tag-team is still strong, but fans might be disappointed by the downtempo, understated nature of most songs, which feature minimal guitars, muted beats and atmospheric washes. Clear favourites will be the current single "Dream On" with its skittering beats and guitar plucks, and the lone dancefloor-friendly track "I Feel Loved." 6/10 (Lorraine Carpenter)
Now an even 20 years going, REM spent their first decade defining college rock with their soft-focus, rootsy psyche-demia. After forays into rockier turf generated a couple of overground hits, the next 10 were invested into pursuing that angle--to the increasing frustration of fans and the band alike. With Reveal, all is forgiven and rifts are bridged. Dig it, Stipe, Buck and Mills are pals again and looking forward, reconciling their rep as neo-psych godfathers with the flavours that pop-rock has absorbed since their glory days. In particular, echoes of the Beach Boys and Air's analog dream-tones are heard throughout these strong, often piano-based tunes (can't rightly jingle-jangle with one of those). Stipe's lyrics, meanwhile, are less abstract and more resonant than ever. Welcome back. 8.5/10 (Rupert Bottenberg)
Picking up where they left off in 1985, Belinda and co. have cranked out that long-awaited fourth Go-go's album, and it's pretty decent Go-go's fare. With all the punk-pop power and lush vocal harmonies of their back catalogue, the only real indicators of a time lapse are the more experienced nature of the lyrics and a little extra crunch thanks to Lenny Kravitz guitarist Craig Ross. Green Day's Billie Joe Armstrong co-wrote "Unforgiven," the current single and one of the album's strongest tracks, while the Bangles' Susanna Hoffs and That Dog's Anna Waronker help out elsewhere. 7.5/10 (Lorraine Carpenter)
I'm happy to announce the first authentic summer record with back-to-front satisfaction, and a little something for just about everyone. Hi-Tek, no doubt the meticulous craftsman, has made production perfection sound so easy on this record that it's almost annoying. From the git-go, "The Sun God" with Common and Vinia Mojica lets you know you're gonna get rocked by whatever comes next, and sure enough, it doesn't stop there. Donte and Main Flow from MOOD bless the Primo-esque "Breakin Bread" with help from Digby and Crunch, while Cormega, Mos Def, Slum Village, Buckshot, Jonell and of course Kweli do their bit to tighten things all around. The drums hit, the MCs spit, and my man's sample-nuance is definitely the shit. 9/10 (Scott C)
Going on this, the soundtrack to a Canadian indie flick about Y2K party meltdown (dated now, for sure), it's hard to gauge what'll happen when T.O.'s funky-breakmaker Melting Man oozes onto the decks. This is 20-odd short, modular little ideas, each fully and effectively encapsulating a particular party-zone headspace, from main-room rush to borderline kitsch from the lounge. Simplicity and clarity make this background sound that manages to snag your attention repeatedly. Good stuff, Mr. Melty--now let's hear you spin. 8/10 (Rupert Bottenberg) At Blizzarts tonight, May 17, 10pm, $5
Nothing wasted about the days invested in this, the latest from the prolific, terrific Slackers. As well-schooled as this longstanding NYC bunch are in the traditions of ska and rock steady, R&B and jazz, this album suggests neither forced nostalgia nor obligatory revisionism. Suffused with an indefinable spirit of "Brooklyn soul," these mid-tempo balcony anthems seem to ooze out of one's speakers with the same consistency as July humidity at dusk or high-grade cheeb smoke, thick but not impenetrable. A summer album so good, you'll even forgive the Bon Jovi cover. 8/10 (Rupert Bottenberg) At Jailhouse Rock on Sat.-Sun., May 19-20, 8pm, $10