Carol Welsman
The Language of Love (Savoy Jazz/Koch)
This Toronto-born singer/pianist is way overdue for the big time. Diana Krall and Norah Jones may reap the ink but this is a world-class singer well worth checking out. After a number of CDs on Canadian-based labels, this is her debut for a well-known U.S. company. A graduate of Berklee and a former student of Christine Legrand, she is abetted here by the producing talents of Oscar Castro-Neves, whose acoustic guitar playing is also an asset. The baker's dozen heard herein include the standards "The Man I Love," "Just One of Those Things," "On a Slow Boat to China" and a moving version of "A Nightingale Sang in Berkeley Square." 9/10 (Len Dobbin) At Upstairs, Fri. & Sat., March 14–15, 8pm and 10pm, reservations recommended
Joe Jackson Band
Volume 4 (Restless/Outside)
After successfully revisiting his biggest commercial success, Night and Day, in 2000, Jackson's seen fit to go even further back. It's 25 years now since Joe & co. dropped their debut Look Sharp!, a shining example of the smart, spiky, post-punk pop-rock that flourished as the '80s dawned. Volume 4 tries to dust off that skinny-ties-and-wraparounds sound. It doesn't deliver the energy promised by the rambunctious opener "Take It Like a Man," and stabs at pop-ska ("Thugz 'R' Us") and glam ("Little Bit Stupid") come off forced. There are tracks where Joe's popcraft shines - "Love at First Light," "Bright Grey" - but many fans will likely give the bonus live EP disc more spins. 7.5/10 (Rupert Bottenberg)
The Aislers Set
How I Learned to Write Backwards (Suicide Squeeze)
With its layers of girlish vocals, lo-fi production prone to thick, ethereal outbursts, and evidence of a deft hand at pop, this is another fine product of Amy Linton's garage. The San Francisco band's third album doesn't match its predecessor, The Last Match, but fans will surely appreciate Linton and her bells, horns and handclaps. Hard, speedy strumming and morose minimalism tint about half of the album, recalling the Smiths at their most punk and ESG at their most moody (respectively). And despite some limpness and poor sequencing, the band still delivers penniless indie pop's answer to Phil Spector. 7.5/10 (Lorraine Carpenter)
New Wet Kojak
This Is the Glamorous (Beggars Banquet/Select)
Five discs deep into their career, this Girls Against Boys spin-off quintet - featuring singer Scott McCloud and bassist Johnny Temple - unleashes their pretentious concept album. First and foremost, there's McCloud's über alt-drawl, big bass, heavily fingered riffs and sinewy electro noise, a less avant-jazzy affair than previous albums, despite the sax. The sex is there too, in the groove and in the lyrics exploring the flipsides of glamour, its grotesque depths and everyday frivolity. Sure, it's not the most original or satisfying concept (no wizards?), but the band's unique sound stands up like quality silicone. 7.5/10 (Lorraine Carpenter)
Hellride
...And Then the Earth Moved... (White Jazz/Fusion III)
Hailing from the same town as Glucifer, it seems that Hellride share a lot more than just the neighbourhood bar with the "kings of rock." This is straight-up rock 'n' roll with '80s metal urges rearing up every now and again. Hellride's biggest asset is that, instead of just rehashing the same Motörhead riffs, they actually prove to be quite the little tunesmiths and make the rawk memorable with some catchy choruses. They even change things up a bit by putting Bad Religion harmony vocals over their Hellacopters-style arena-rock pretensions. They won't become the next Scandinavian sensation but should keep you busy until the next one comes along. 8/10 (Johnson Cummins)
Apocalyptica
Reflections (Island/Universal)
These scary Finnish characters began as a cello-quartet Metallica tribute, breathing fresh, raw life into Hetfield's classically-based compositions. Don't laugh too hard, it actually worked. The second disc branched out to Sepultura, Faith No More and even originals. Apocalyptica's third album sees them down to a trio now and focused on their own works exclusively. Filling the gap of the departed fourth cello is the rolling thunder of Slayer's Dave Lombardo at the kit. How's that for a pinch hitter? Of course, between the drums and the fancy production tricks and shit, this is as close to a traditional metal album as they've come. Still, for that perfect balance of meaty, martial chug and heartrending delicacy, these guys fuckin' rule. 8.5/10 (Rupert Bottenberg)
Freeway
Philadelphia Freeway (Rocafella)
When Freeway rolls up on you with his charismatic delivery and brash storytelling, you'd better hope that this kind of style is backed up with the illest of beats. Luckily for Freeway, Just Blaze is in his corner, making sure that the tracks are elevated to the next plateau. Songs like "All My Life" with Nate Dogg and "Victim of the Ghetto" with Rell smell like 'hood epics laced to the gills with the best of Just Blaze in full effect, while "What We Do" with Hova and Beans sounds like something you might have come across before. Sounds to me like Freeway and Just Blaze may have stumbled onto a winning one-two combo, but lets hope they keep it there. 8/10 (Scott C)
Various
The Future Sounds of Jazz Vol. 9 (Compost/Fusion III)
What's this? The ugly head of mediocrity has decided to rear its head on one of the holiest of consistent compilations? Maybe it's me, but songs like Savath & Savalas' "Folk Song for Cello" and yet another Joseph Malik rework don't cut it on a comp that I'm used to getting rocked by. This is, after all, volume 9, so at least they made it this far. Redeeming moments include Yellowtail's "Moa," "Juice" featuring the smooth vocals of Ernesto and the Foremost Poets' "Open Season." Not quite rocking as usual, though. I guess I'll have to wait for volume 10. 7/10 (Scott C)
Data 80
self-titled (Force Tracks/Fusion III)
Håkan Lidbo does it again. Hot on the heels of his Trigger Recording release comes a new and completely different sound and persona. This time the prolific Swede enlisted the "help" of a '70s computer program to produce this techno-pop gem. With melodies as infectious and burning as a case of syphilis (without all that icky itchiness) Lidbo takes dance music cheese to a whole new level (think Daft Punk's last album with a generous helping of Brie and Limburger). At first listen, the overt candy-ness may put you off, but give it a chance and listen deeper, it'll grow on you. 9/10 (Raf Katigbak)
Mira Calix
Skimskitta (Warp/Outside)
Employing disguised guitar, buried vocals, analog synths, skipping stones and percussive pebbles, Mira Calix brings a dark, earthy depth to Warp's signature bloops, crinkles and disoriented beats. As on her EPs and OneOnOne LP, you'll hear Calix's own signature, her sinister, brooding sounds, sometimes creeping lowly beneath the surface, other times whipping out in sharp, shrill juts, juxtaposed with quaint piano or faux-symphonic sweetness. Equal parts difficult and charming, this continuous, hour-long piece is like a romantic, lakeside picnic with full view of the bugs and worms under the blanket. 8/10 (Lorraine Carpenter)
FPU
Traxxdata (Turbo/Koch)
After dropping an insane ambient album on Turbo a coupla years back, Peter Benisch returns under his sparse, minimal electro guise FPU. Sounding somewhere between dark, dancefloor electro-pop and a cooled-out, instrumental, emo-lectro Giorgio Moroder score, Traxxdata is the perfect soundtrack for coasting along the San Francisco hills, windows rolled way down. Another solid effort from Benisch and another winner for Turbo. 9/10 (Raf Katigbak)
DJ Gregory & Bob Sinclar
Africanism (Defected/Fusion III)
This two-disc DJ mix involves the labels Yellow (France) and Defected (U.K.), each of which has made a splash on the international house scene like an elephant in a diving competition. DJ Gregory's mix is a smooth tropical romp with a rich musical cartography - selections from Next Evidence and Julie McKnight deliver the goods. The second mix, by Bob Sinclar, is a popular, disco-ish tribal jaunt with varying degrees of intensity, sort of like David Morales at Stereo. Both mixes have monotonous patches, but aside from this slight caveat, Africanism is ideal for that housewarming party. 8.5/10 (Peter Lightburn)
R. Kelly
Chocolate Factory (Zomba/BMG)
Anyone expecting Kelly's music to get buried under his personal problems didn't count on his considerable musical and lyrical skills. Rather than dull with scandal, he rises to the occasion and delivers his best work since '95's R. Kelly. Several tracks on this double disc are examples of innovation through imitation, as they channel, respectively, the '70s ("Step in the Name of Love"), the blues ("You Made Me Love You") and Marvin Gaye ("You Knock Me Out"). He references his problems on "Been Around the World," but mainly this factory is all about the music. Hell, even Willie Wonka would be impressed. 9/10 (Gerard Dee)
John Zorn
Masada Guitars (Tzadik)
Marc Ribot, Tim Sparks and the genius Bill Frisell all dazzle and delight as the three incredible guitarists interpret Zorn's compositions taken from his Masada project. The three are given a lot of room with the songs and despite their distinct styles, Zorn's signature still shines through. All performances are kept in the solo setting and although an ensemble with all three would've been interesting, six strings in these expert hands manage to take up a lot of space. Frisell's take on "Katzatz" alone will have the hairs on the back of your neck standing on end. 9/10 (Johnson Cummins)
Fischerspooner #1 (Capitol/EMI) » The re-release, bolstered by bonus tracks and one fag-tastic DVD. Lights, camera, art! 9 (LC)
Lorraine Foster We'll Meet Again (Philor) » Ms. Foster, a one-time Montreal fixture, is heard supported on more standards by the likes of Oliver Jones and Linton Garner. 8.5 (LD)
Crooked Fingers Red Devil Dawn (Merge) » Ex-Archer of Loaf Eric Bachmann lays way back and charms all the way through. 8 (JC)
Lyle Lovett Smile: Songs From the Movies (Curb/Universal) » The guy may be as ugly as birth but with a voice like this, he ain't goin' home alone. 7.5 (JC)
Manish Kalvakota with Charles Douglas Outer Limits (Voltage/Triage) » So-so, '80s-esque Britpop, now with tablas! 7 (LC)
Radioactive Man Fabric 08 (Fabric/Fusion III) » An insanely high-energy electro breaks mix from the legendary One Lone Swordsman - almost too much, methinks. 7 (RK)
Antipop Consortium vs. Matthew Shipp self-titled (Thirsty Ear/Outside) » Wonky, abstract and inaccessible jazz-rap for people bored with all music. 6 (SC)
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