SUPER FURRY ANIMALS
Phantom Power (XL/Beggars)
From Wales with hair, Super Furry Animals have written their share of killer songs over five discs, but this sixth effort is probably their first truly solid album. The lyrics linger in darkness, not unlike Radiohead's latest, but the tunes hover above ground in gorgeous, hazy mists of psychedelia, orchestral pop, country rock, electronic wow and flutter and the heavy tangents they call "pre-metal." On the first listen, fans may miss the acute, freewheeling fun of the brightest highlights from SFA's back catalogue, but each pensive midtempo number is pretty and smart, and each California sunshine acid adventure is a super sonic wonder. 9/10 (Lorraine Carpenter)

BLOODSHOT BILL AND THE HUBCAPS
Crazy Fever! (Killer)
If you like your music bloody raw, this proper, improper debut from Montreal's raunchiest rockabilly act is hot off the grill and crawling with bacteria. Mr. Bill squeals and warbles as his guitar gently sizzles, gangsta drummer Dom wails away on the skins, and the newest and lone lady Hubcap, Kit-Kat, sings backup and co-lead and shakes that tambourine, among other things. Unearthly echoes and primal riffs mix like magic on zombie rockers like "Cemetery," and Bloodshot's sensitive side rings out on ballads like "Can't You See?" Get yer sex, moonshine and shock rock 'n' roll here. 7.5/10 (Lorraine Carpenter) CD launch with Jerk Appeal at Petit Campus on Monday, August 11, 9pm, $3

SELF MADE MAN
The Daylight Robbery (Smallman records)
These Montrealers steer their leaky boat into the already overcrowded ports docked with Hot Water Music/Jawbreaker types but, thanks to some good songwriting and earnest performances, they manage to stay afloat. Production is helmed by Greg Dawson (The End) who gives J.P. Matte's melodic scream a sense of urgency while treading water over driving guitars that easily switch from down-stroke punk to discordant chime. The acoustic "When Everything's Dead We Come Alive" reminds us that SMM aren't afraid to take chances and break out of the mould while unabashedly wearing their hearts on their sleeves. 7/10 (Johnson Cummins)

JERSEY
Generation Genocide (Virgin/EMI)
The creeper shoes brigade should be all over this. These working class yobs - ex-Grade guys ditching saccharine punk pop for street sounds à la Rancid and Bombshell Rocks - scream about the important things, like dead-end factory jobs, broken families and a cold pint. Every song packs a panoramic sing-along chorus guaranteed to drag you by the ear through Jersey's back alleys, but it's the songwriting and layered back-up vocals that'll keep you coming back. Apart from selling CDs at affordable prices, major labels would benefit from dropping the Sum 41 and Avril Lavigne knock-offs and taking more chances with bands like Jersey. 8/10 (Johnson Cummins)

RIPCORDZ
What If They Held a Revolution and Nobody Came? (Mayday/Union)
God love Ripcordz main punk Paul Gott. Like a cockroach in army boots, he's weathered the trends for 23 years and just sticks to his three-chord blitzkrieg. Okay, so he sneaks in a fourth chord now, but he's still full of piss and vinegar, getting major corporations, media, WTO and other pesky subjects in his crosshairs and firing away with those tortured tonsils. The fact that Gott's "kidnoise" hasn't really changed adds to the ballast when he screams from his pulpit on "Punk Rules." This may be their latest but I guarantee that it's far from their last. 7/10 (Johnson Cummins)

DELERIUM
Chimera (Nettwerk)
With a tendency to slip into the unnecessary, Delerium mix rock, folk, dance and world beat into syrupy sweet electronic cheese. I'm talkin' teeth melting in deep-fried sugar. Although there are nicer moments like the Garbage on Prozac-style "Truly" and the happy little sunshower-afternoon-murder-in-Paris song, "Stopwatch Hearts," Delerium falters more than conquers. Let's look forward to Rhys Fulber and Bill Leeb getting back to post-apocalyptic angst with Front Line Assembly. 4/10 (Lateef Martin)

CRESCENT
By the Roads and the Fields (Fatcat/Fusion III)
Members of Bristol's Flying Saucer Attack and Movietone conspire on Crescent, a little known, decade-old collective dealing in back alley jazz and mystery mantra tones. Organs, horns, invented percussion and other homemade instruments are gently grafted to singer Matt Jones' monotonal intimations, which rarely, barely rise above an ethereal hum. At its slightest, like the tinkling and tapping instrumental "Mica," this sounds like the score to a tea party at a monastery. As shadow-bound mood music goes, Crescent rocks. 7.5/10 (Lorraine Carpenter)

YES
Remixes (Rhino/Warner)
I don't remember anyone saying the world needed this, but here it is, the grand wizards of epic, flighty, unicorns-in-space prog rock, reconstructed for the cyborg age. The remixer's mom named him Virgil but his DJ name is The Verge - that'll give you an idea of his obtuse cleverness. Using only the finest vintage mid-'70s material (holy shit, check out "Starship Troopers"!) his dumb 'n' bass mixes are frantic, goofy and frankly kinda fun. 7.5/10 (Rupert Bottenberg)

COLLEEN
Everyone Alive Wants Answers (Leaf)
Parisian Cécile Schott effortlessly blends organic samples of traditional Asian music (Koto and tuned percussion) with organ, live drums and looped vinyl samples to create a sweetly innocent, atmospheric album. Although some sonic elements are by now a little played out (if I hear one more sample of children's voices I swear I'll hurt somebody) the layered tones and harmonies and the lack of a rigidly defined melody gives the music a smokey quality. Schott combines childlike innocence and sentimentality for the perfect rainy day listen. 7/10 (Raf Katigbak)

KIKO
Midnight Magic (Goodlife/PIAS)
Shortly after opening his now famous record shop Ozone in Grenoble, Kiko decided he'd had enough of playing other people's music and began cooking up the hottest blend of flavours since that kid dared me to drink that Dijon Tabasco and chilli pepper concoction in the second grade. Alongside Ozone regulars the Hacker and Oxia, Kiko's become a leader in French electro. The album itself (a re-release that includes the future-disco anthem "Monique") is a punchy mix of Italo-disco, NY electro and Detroit techno-soul that would rock any late night dance session to the early morn. 7.5/10 (Raf Katigbak)

HEADHUNTERS
Evolution Revolution (Basin Street)
Headhunters are back, scraping the funk from the inside out on their latest excuse to have fun playing off each other, with guests Wah Wah Watson and Harvey Mason bringing up the rear. They're clearly still enjoying themselves after playing together for two decades, as the Headhunters and in other incarnations, but despite their well-oiled chemistry, it's also clear that their greatest musical accomplishments have already come to pass. Songs like "Fonkyfried" and "Take No Prizzonerzz" don't reach the heights that you'd like them too, while other songs get bogged down with vocals and wonk. Damn good try though. 7/10 (Scott C)

JAMES BROWN
In the Jungle Groove (Universal)
This remastered re-release features songs recorded between '69 and '71, capturing the Godfather at his creative peak. Backed by his house band in the earlier sessions, and the JBs in the later ones, the roster of musicians is mind-boggling - Maceo Parker, Fred Wesley and William "Bootsy" Collins, to name a few. The mixture includes remixed tracks "Give It Up, Turn It Loose" and "Talkin' Loud & Sayin' Nothing" (which appeared in their original versions on this album's '86 release), the re-edited "Soul Power," and the previously unreleased "Blind Man Can See." Add that to classics like "Funky Drummer" and "Hot Pants," and it's obvious why this jungle groove is so damn hot. 9.5/10 (Gerard Dee)

GODS OF TASTE
self-titled (Sinistresound)
The sublime sounds of this local jazz ensemble will make you stop and listen closely. Deftly crafted passages evoke reflection and contemplation, though they're also prone to fits of frenzy and jagged energy. I hope to see Andrew Schinasi (alto sax), Richard White (guitar), Kate Wyatt (rhodes), Adrian Vedady (bass) and Greg Ritchie (drums) sharing stages with the likes of Cinematic Orchestra and Metalwood, celebrating the balance between musical proficiency and bona fide style. This eight-song intro to one of Montreal's legends in the making is the beginning of what will hopefully be a long and fruitful musical journey. 8.5/10 (Scott C)

CARLA BLEY
Looking for America (Watt/Universal)
A big band outing with the usual mix of the serious and the tongue-in-cheek. Ms. Bley takes on America with "The National Anthem," which includes quotes from "O Canada" and "The Star Spangled Banner." There's also a great send-up of "Old Macdonald Had A Farm," a couple of Latin-flavoured items and one fairly straight-ahead swinger. The band includes usual suspects Gary Valente, Steve Swallow, Andy Sheppard, Wolfgang Puschnig, Don Alias and Carla's daughter Karen Mantler, along with Gary Smulyan and Billy Drummond - the trumpet of Lew Soloff is an added attraction. Great arranging and composing from the always surprising leader. 9/10 (Len Dobbin)

Mini CD Reviews

PEE WEE RUSSELL Ask Me Now! (Impulse/Universal) The late, iconoclastic clarinetist in a quartet setting, playing works by Trane, Ornette and Monk. Yes! 9.5 (LD)

VARIOUS Ragazza Pop (Ragazza Pop/Triage) This Italian label blasts off with a fine mess of '60s-dipped tunes from "the female pop underground" (Mo Tucker, Aislers Set, April March etc). Bene! 8 (LC)

ILYA Poise Is the Greater Architect (Second Nature) Cave-dwelling, trip hopping, indie rocking, mood-swinging sounds, or Tori Amos and Björk on tranks. 7 (LC)

BIG DAVE MCLEAN Blues From the Middle (Stony Plain) McLean invents a new genre of "Prairie Blues." 7 (JC)

ONRY OZZBORN The Grey Area (One Drop) This guy sounds like he really like his own stuff. The trick involves me and you liking it too. 7 (SC)

ALEXANDER KOWALSKI Response (Kanzleramt) German Dance Press' "album of the year" is, in the end, only a decent pop techno album. Remember, these guys loved David Hasselhoff. 6.5 (RK)

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