A Camp self-titled (Stockholm/Universal)
Grant Lee Phillips Mobilize (Zoë/Universal)
The Unireverse Katron EP (Total Zero) A pretty speedy follow-up (read that as you want) from these local Moog-totin' masterpiece manglers, this vinyl EP sees them again having a go at Hawkwind's "You Better Believe It," tackling godspeed!'s "F#A#()()" from a different angle and--wait for it--resurrecting the Silver Apples (the Philip Glass-ish "Lovefingers"), whose minimal electro-buzz, way ahead in its day, is deeply imbedded in the genetic material of the Unireverse. Where this EP one-ups the debut disc is in the factoring-in of recent addition Kid Suzuki's frenetic beats, perfectly complementing the raw, radioactive tones of the Moog and Casio. Humour, dedication and a knowledge of, but not submission to, history is what puts these guys at the front of the current lo-fi, analog komputer-muzik wave. 9/10 (Rupert Bottenberg)
Detroit Grand Pubahs Funk All Y'all (Jive Electro/BMG)
Various SolebeatsOne (Sole/Nice) I gotta say that, up until this point, I had generally associated any and every release that's come out on Steve Sole Middelton's Sole Records with the soulful garage and broken-beat rhythms that they've become known for. Forever surrounding himself with the cream of the crop, Steve flipped a page in his Rolodex and corralled the next-men in downtempo grooves and instrumental bump for this compilation, securing tracks from Black Science Orchestra, DJ Spinna, Guiro, Benny Blanco, Tony Free and the Silent Poets. Surprisingly, almost all of these beats dip from the hip hop school of thought, taking a break from the many atmospheric, lounged-out comps that lack any sort of dancefloor relevance. Fresh boom-bap with a Sole clap. 9/10 (Scott C) Appliance Imperial Metric (Mute/Fusion III)
Moodsaver Drop (Disktrick/DEP) Extra! Extra! Former Analog Junkie leaves band and opts for solo career! Formerly one half of the techno duo Analog Junkies, Montreal-based producer Eric Monte has cast off the Analog moniker in favour of a new pseudonym and a new sound to go along with it. As Moodsaver, Monte has created a solo album consisting of 12 tracks of textured, melodic tech-house rich in style and depth of sound. Which leaves me asking the question, "What took him so long to start working on his own career?" This debut solo effort puts Monte up along side Montreal tech-mavens like Mateo Murphy, Mad Max and Elsonic. I think we may have another star on our hands. 8.5/10 (Krista) Luke Solomon & Derrick L. Carter Thanks for Coming By (Classic/Fusion III)
Roger Sanchez First Contact (Defected/Sony) Dear Roger,Thanks for having the kids at Sony send me over a copy of your new album. I have listened to it several times and I have to say that while it certainly sounds very good, ultra-produced and crisp, it lacks that real, raw power you've built your image on. I mean, the Toto sample in track two is a nice touch, I like the N'Dea Davenport joint you did with Armand because it's very catchy and I can sing along, and tracks eight and nine are very sexy. However, those filtered-out tunes like "The Partee" and "Ventura" haven't aged too well and all in all the album sounds a little watered down. I hope you don't think I'm being too harsh. You're a good producer, but I can only give this album a 7/10. Kind regards, (Krista) Ursula Rucker Supa Sista (K7/Fusion III) Is there room in this world for yet another voice that sings the praises of softspoken, seductive lyricism? I say yes, and it doesn't hurt that she's coming straight out of Philly either. Ursula has had the good fortune of having worked with people like Bahamadia, the Roots and Japan's Silent Poets, making the stylized departure from the norm on her debut full-length no surprise. This is mood music in the first degree, where poetic vision asks the questions we never ask and answers the way we never would. Joining forces with the musical soundscapes of Alexkid, King Britt, Robert Yancey III, Phillp Charles and frequent collaborator 4Hero, the stage is set for Rucker to strike chords in the hearts and minds of mesmerized listeners everywhere. 8/10 (Scott C) Toya self-titled (Arista/Warner) Blu Cantrell So Blu (Arista/Arista) While Clive Davis enjoys enormous success with newcomer Alicia Keys on his breakaway J Records label, the former Arista president's successor, L.A. Reid, attempts to replicate Keys' success with debut releases by a pair of soulful divettes. Ironically, Keys doesn't come to mind when listening to either of these releases, though Toya and Blu Cantrell do conjure images of other artists. With her pop-funk vocal-lite style, Toya is a Mya in the making. "I Do," the funky lead single and the dance-inspired "The Truth" are typical of a set that favours jams over slow numbers. Meanwhile, Cantrell has Faith Evans written all over her. Like Evans, she favours a more adult-oriented R&B sound, evidenced in tracks like the be-bop style "Swinging" and the jazz-influenced "Blu is a Mood." The monster "Hit 'Em Up Style" is one of a few jams that add flavour to this low-key set. They won't win anything for originality, but both Toya and Blu Cantrell should fill the gap until Faith and Mya come back around. Toya 6.5/10, Blu 7.5/10 (Gerard Dee) Red Garland Red's Good Groove (Jazzland OJC/Universal) Duke Pearson Dedication! (Prestige OJC/Universal) Two overdue reissues, both featuring the late Pepper Adams along with Harry Carney, the greatest exponent of the baritone saxophone in jazz history. Garland was important to a classic Miles Davis Quintet and is joined on this 1962 recording by Blue Mitchell, Sam Jones and Philly Joe Jones. Pearson was a pianist and composer and this 1961 session released under his name features the only recorded appearance of trombonist Willie Williams plus Freddie Hubbard, bassist Thomas Howard and Lex Humphries. Both feature a mix of standards and memorable originals. Both 9.5/10 (Len Dobbin) |
It's about damn time. Australia's Radio Birdman have long been a legend in punk circles, often mentioned in hushed tones, but, due to the almost criminal rarity of their vinyl releases, rarely heard. A reprehensible shame, because this is some of the most furious, volatile and deadly accurate rock 'n' roll ever committed to plastic. The debt owed to the Detroit protopunk of the MC5 and the Stooges is front and centre (the band's name is pinched from the Stooges' "1970"), but there's a serious surf infusion involved (opener "Aloha Steve & Danno" flat-out steal the Ventures' Hawaii Five-0 theme) and nods to the glory days of Chuck Berry and the like--all shoved up ruthlessly into the red. Geographically isolated and working without much of a template, these guys successfully formulated intense, explosive punk rock before the Sex Pistols even met McLaren, and crashed and burned within moments of the term "punk" being coined, leaving an indelible mark on the landscape and one beautiful fucking corpse. 10/10 (Rupert Bottenberg)
This solo debut by golden-throated Cardigans singer Nina Persson is clearly and logically a very personal affair, which may disappoint fans of her Swede-pop band. Produced by Sparklehorse's Mark Linkous, some of these subtle slow-burners have a steel country twang while others feature sad horns and heavy, funereal keyboards. And the accompanying lyrics, as you can imagine, reveal the dark side of Miss Persson, perhaps hinted at by the hair colour change on the sleeve. Depression, drug addiction, failed romance, questioning God, hating men (on the disc's lone rocker)--ouch, that's one bitter "Lovefool." 7.5/10 (Lorraine Carpenter)
With the Buffalo now roaming elsewhere, Phillips's solo effort explores similar territory with the added attraction of keyboards and drum programming. A British glam-pop sensibility (remember his Bowie-esque addition to the Velvet Goldmine soundtrack) gives a classy shape to the songs, while his characteristic vocals range from a cool Bono sneer to soaring falsetto, dynamic as always. We remember Grant Lee Buffalo for their beautiful yet eerie laments, and Phillips confidently enters the semi-pop arena here with that swoon factor in tow. Hats off. 8.5/10 (Lorraine Carpenter) At Cabaret, Tues., Aug., 28, 9pm, $15
The Motor City once again proves itself as a rich source of ridiculous, over-the-top raunch. In the tradition of Iggy's peanut butter, Rob Tyner's hair, ICP's Faggo chug-alongs and Funkadelic's acid mysticism comes this convoluted business, based around a pair of upstanding gentlemen named Dr. Bootygrabber and Paris the Black Fu (adopting and discarding all manner of stupid personae). Fusing techno, electro and adults-only funk in an idiot-savant fashion, they come off sounding like a goofball-gobbling Fishbone locked in a Future Shop overnight. Then "Real Life" apes the West Coast gangsta shtick, "After School Special" sounds like Human League on a pimp roll, while "The Suture the Future" is Kraftwerk on the crack pipe. Detroit, you've done it again. 7.5/10 (Rupert Bottenberg)
Analog keyboards and slithery electro sounds meet modern techno tweaking and tried-and-true rock staples on the second album by this British trio. The detached vocals and abstract lyrics on some songs evoke seedy and sinister scenes, a mood that's boosted by the often dark soundscapes and low, rumbling rhythm. This mood, along with the wealth of vintage sounds and the occasional looped Goth guitar riff, bring to mind Mute forefathers Depeche Mode, although there's considerably less focus on big pop hooks here. In fact, when the album suffers, it's from being overly understated. 7.5/10 (Lorraine Carpenter)
As a prolific purveyor of second-generation Chicago house, DJ Derrick Carter has mesmerized thousands of punters with his virtuoso turntable performances, sucking the energy out of his dancers like some kind of Count Track-ula. His own music reflects his rabid DJing style and in this release, he and partner Luke Solomon invite everyone to play catch-up with their British-based label, Classic. Over two discs, the Classic catalogue is displayed in a tireless mix of percussive, sampleicious thumpers with splashes of electronic soul and vocals. Many names involved in the material, like Digital Kid, Gemini and DJ Bang, are not exactly household names, which shows the label's commitment to raising the bar with fresh talent. Also included is that unforgettable smoke-out of Isolee's "Beau Mot Plage." 8.5/10 (Peter Lightburn)