Numbers Numbers Life (Tigerbeat6/Forced Exposure)

Straight outta the shit-hot future-tronic label Tigerbeat6 (run by IDM badboy Kid606) comes a much needed injection of punky no-wave in the form of San Fran trio Numbers. One part loopy, dissonant, wrenching guitars, one part playful synth bleeps and bloops, one part punky, four on the floor drumming and shouted female vocals all generously sprinkled with raw disco energy and
a refreshing sense of humour. Too silly to be mathrock, too abrasive to be pop, Numbers nicely strides the line between wonk and wank. Think Kraftwerk and Gang of Four getting drunk in a basement and you’re halfway there.” Numbers: definitely on the nex nex. 9/10 (Raf Katigbak)

The Vines
Highly Evolved (EMI)
Straddling sleaze rock, shouty punk, stoner pop and piano ballads, Australia’s the Vines go at the dessert cart like a starved schizo. The repeated Strokes/
White Stripes/Hives comparisons are as lazy and invalid as the tiresome linking of the three, despite singer/guitarist Craig Nicholls’ sporadic Casablancas drawl. Essentially, this is an unfocused debut by pot-laced, Aussie punk fans with its high points – like the heat stricken pop-punk anthem “Sunshinin” and the grit assault of “Get Free” – and its low – such as Sugar Ray-brand ska track “Factory” and “Country Yard,” one of the sad-little-boy-with-a-joint ballads. 6/10 (Lorraine Carpenter)

My Vitriol
Finelines
(Epic/Sony)
After over a year on the high seas, this highly lauded U.K. quartet’s debut has washed up on our shores, not much worse for wear considering it could’ve been released anytime in the past five, six, seven years. Reminiscent of both the dark, melodic ring of Mansun and the thick rock sheen of the Foo Fighters, My Vitriol’s flanged-out guitar slabs also slide into shoegazing, offering a slice of nostalgia for all ’90s Brit-rock fans. Unfortunately, 16 tracks is an overly confident leap for a young band clearly short on ideas. 7/10 (Lorraine Carpenter)

Bedouin Soundclash
Root Fire (independent/Stomp)
Coming correct from the other Kingston, the one in Ontario, this quartet deliver what might be described as Canadian campfire reggae. Doubled percussion (drums vs. djembe) carries the reserved bass bounce, guitar strum and singer Jay Malinowski’s weary rasp through a batch of tunes that would suit a nighttime unplugged session on the beach with the Clash, Costello and the Police. A couple of tunes stray from the folk-ska formula, to their detriment, but winners like “Natural Right (Rude Bwoy),” with its crypto-disco bassline and echoes of Men at Work, make up for that. An interesting and original addition to the Canadian ska scene. 8/10 (Rupert Bottenberg)

At le Swimming, Thurs., Aug. 15, 10pm

Nasty On CitySick (Stutter Records)
This Vancouver quartet gets off to a rawkus start with the full-length follow-up to their cult EP, Lester Bangs. Heavy drums, driving guitar and vein-popping vocals fuel the orgasmic rock ’n’ roll numbers, while glammed-out rhythm, riffs and lecherous basslines set the midtempo. With lyrics revolving around urban decay, societal meltdown, slimy introspection and throwaway rockisms, the boys crank it into the red on songs like “C’mon, C’mon (Bring Me Down)” and “Amphetamine, Now!” Less impressive is the finale “Citysick pt. 2,” an oddly weepy end to a disc that begins by ripping off the Clash’s “Police on My Back.” 7.5/10 (Lorraine Carpenter)

Trust Company The Lonely Position of Neutral (Geffen Records)
Take Deftones, suck out their killer hooks, drain them of their wicked riffery, put Chino’s voice through the wash with some fabric softener and dump in a king can of extra sweet pop and there you have it. So it sounds good, and thanx to top notch production, the pseudo menacing bite is honed by sonic wizardry, but the choruses make me wanna puke. And the video for the single “Downfall” (included if you gots a compyu) is gawdawful, like sugar on your Frosted Flakes. Like Flavor Flav said, can’t trus’ it. 5/10 (Lateef Martin)

Various
XXX soundtrack
(Universal)
Who better to open up an overblown Hollywood production than the über-dramatic Rammstein? Like a McDonald’s commercial, the double CD soundtrack for XXX is split between white and black. The first is composed of hardcore, rock and its sister-in-drag, hardcore industrial rock, featuring Mushroomhead, Drowning Pool (remixed nicely by Chris Vrenna), Flaw and, for a change of pace, Moby, Orbital, Fermin IV and Orbital. The second disc is full of hip hop & R&B chart toppers like Nelly, N.E.R.D., Missy Elliot (with P. Diddy—Jesus why?!), Joi, Dani Stevenson and more. The bottom line is snaggin’ the yung’uns with a double dose of what Mommy and Daddy hate. Of course it works. 7/10 (Lateef Martin)

Various Gilles Peterson Worldwide Programme 2 (Talkin’Loud)
With what may very well be the last release from London-based Talkin’ Loud Records, the U.K.’s premier tastemaker Gilles Peterson extends his musical influence to all corners of the spectrum. Featuring some lesser known tracks from well known artists like Sun Ra, Cinematic Orchestra and Charlie Hunter, GPWP2 also unearths the gems to come, with tracks like Dwele’s “A.N.G.E.L,” Terri Walker’s “Drawing Board,” and Dudley Perkins’ “Flowers.” Always a wide variety of spirited and soulful music, Gilles Peterson has a great ear for something fresh to get you excited about music again. Recommended listening! 8.5/10 (Scott C)

Prefuse 73 The ’92 vs ’02 Collection EP (Warp)
Prefuse definitely has his own sound. It’s nice when a dude comes along with music as instantly recognizable as his. His hip hop subtleties sound like an afternoon barbecue with Art of Noise, Herbert and Jay Dee all lined up for seconds of the bacon-burger-dog. There are so many artists who could benefit from the instrumental accompaniment of such a reserved young producer, but we’ll have to give them some time to actually digest just how much of a creative machine Prefuse is. Until then, relax and enjoy this four-song EP that’s every bit as satisfying as a full-length LP, and a bacon-burger-dog. 7.5/10 (Scott C)

Various Electroklash
(Urban Theory/Fusion III)
The latest in the soon to be ubiquitous “electroclash” compilations, this two-CD set does an admirable job representin’ that whole ’80s punky retro revival thing. From the art-house techno babblings of Chicks on Speed’s “Euro Trash Girl” and the fantasy rap of NYC duo Crossover to the blasé lilt of French femme fatale Miss Kittin, and dancefloor-killing Felix Da Housecat remix of Ladytron’s “Playgirl,” there’s plenty of tracks to please anyone who likes their vocals on the double-x chromosome tip (even Canadian ex-pat Peaches represents with three dope tracks). A nice quick fix for those who can’t wait the 2.2 nanoseconds it’s gonna take for the next electroclash comp to be released. 8.5/10 (Raf Katigbak)

Darius Rucker
Back to Then
(Hidden Beach/Sony)
On his solo debut, Hootie & the Blowfish front man Darius Rucker infuses much soul into his rock ’n’ roll. He’s a credible soul man, who seems quite at home sharing vocals with Musiq on the thoughtful “Exodus,” or infusing some contemporary flavour into Al Green’s “I’m Glad You’re Mine.” “Sleeping in My Bed” with Snoop Dogg comes dangerously close to commercial formula, but he redeems himself on the outstanding “Sometimes I Wonder,” with label mate Jill Scott. This one will win over the Hootie haters and lovers. 9/10 (Gerard Dee)

Focus “Having Your Fun” 12”
(Versatile)
Focus is the newest development in the long-running career of producer/DJ Phil Asher and his Restless Soul productions. Slowly revealing that the Focus project is really less about genres and more about great music, Asher’s latest concentrates on getting you up and out on the floor. “Having Your Fun” features London boy Kaidi Tatham playing an upright acoustic piano on an upbeat groove that reminds me of some old George Duke stuff, capped by the vocals of Maiya James. The flip contains a premium broken-beat rework courtesy of 4Hero, as well another downtempo mix by the Dollis Hill duo. Definitely keep your ears open for the Focus full-length Sweet and Sour, due out later this year. 8.5/10 (Scott C)

Kenny Barron
canta Brasil (EmArcy/Universal)
This glorious celebration of Brazilian-inspired music was recorded in February of this year. Barron, 58 at the time of the session, is a pianist and composer who consistently comes up with material both musical and stimulating. He is aided and abetted by the wonderful Nilson Matta on bass, the flute of Anne Drummond, Romero Lubambo on guitars and percussionists Valtinho and Duduka DaFonseca. Eight tracks of beautiful music played with a quiet passion. Ranks with Charlie Haden’s Nocturne. 10/10 (Len Dobbin)