STEFIE SHOCK
Le Décor (Atlantis/Select)
Another round of international-calibre, francophone adult pop from Montreal’s Shock, meeting and surpassing the standard set by his debut disc Presque rien. With his collaborators Dimitri Tikovoï and Mathieu Dandurand, Shock works his shuffling chic and calculated cool, tossing around neo-retro touches of reggae and mambo, synth-pop and soundtracks, American roots and vintage French chanson - while keeping it all fresh and up-to-the-minute. His witty lyrical legerdemain and can’t-miss melodies are couched in capable, inventive production and arrangements that are spacious without sparing the clever detailing. Just try getting the funky psych-rock riffs of "Salut Chantal," the escalating refrain from "Il, elle" or the horn line from the lead single "L’amour dans le désert" out of your head. 9/10 (Rupert Bottenberg)

RICOCHETS
The Ghost of Our Love (White Jazz/Fusion III)
Just when it looked like Scandinavian rock ’n’ roll had dwindled down to the dregs, these Norwegians crawled out of the woodwork (like they do), sounding fresh and feral after the latest wave of dull Svens and lame Majas. Each Ricochets tune is tightly wound and intensely soulful, coloured with surf reverb, psychedelic flutters and wall-to-wall hooks and grooves. Singer Trond Andreassen is a truly dynamic centrepiece, at times recalling Ian McCulloch, Jim Morrison, Iggy Pop and Tom Waits, voicing desperation and anger, tenderness and longing, engaging listeners like a champ (a champ in need of a drink). 8.5/10 (Lorraine Carpenter)

JOSH ROUSE
1972 (Rykodisc/Outside)
Aspiring to the likes of Marvin Gaye, Tom Waits, Nick Drake, Al Green, Neil Young and Carole King, this Nebraska-born singer-songwriter has devoted his fourth album to the year of his birth. More specifically, it’s a personal pop album, his most upbeat yet, crafted with the dreamy folk, groovy soul and airborne rock sounds of ’72. Like That ’70s Show, the album’s modernity isn’t erased entirely, yet its retro-isms are usually accurate. And unlike that Psycho remake, this isn’t a perverse, pointless re-hash, it’s an eclectic, easy-listening pop record. (By contrast, the DVD is hard watching.) 8/10 (Lorraine Carpenter)

DESTROY ALL DREAMERS
self-titled EP (independent)
This local, instrumental rock quartet weaves a dark, gauzy web of supple textures cut from the shrouds of Slowdive, godspeed, Mogwai and Joy Division, among others. Their walls of sound are planted between shoegazing and post-rock, with goth lingering ominously on the outskirts. Over five tracks, one of which features the half-buried spoken words of Elayne Safir, the band demonstrates their arch songcraft, guitar witchery, unhinged drums and shadowbound bass with feeling and vigor. Hopefully their first LP will tell the story with more colour and detail. 7/10 (Lorraine Carpenter) At Saphir, Sat., Aug. 30, 10pm, $5

KEVIN DRUMM
Land of Lurches (Hanson)
Chicago’s leader of black metal noise, Mr. Drumm does it again with yet another heavy and engaging release. Drumm is an expert at building mood, as anyone who witnessed his heart-stopping performance at this year’s Mutek can attest. With his distorted guitar and digital squeals, Drumm summons ninth-level demons your ears have never heard. The first track starts sort of clean and minimal and then descends into chaos - pretty soon you’re swimming in bloodcurdling squeals and distorted drones as waves of digital noise wash over you. Somehow, in all the twisted cacophony, your ear starts picking out minute details, subtleties that normally would go unnoticed coming to the fore. A great exercise in noise for lovers of John Cage and Slayer. 8/10 (Raf Katigbak)

GHETTO NUNS
Intoxicus Maximus (Ampkiller)
What’s up with Montreal’s busker situation? Do we really need another medieval flute rendition of "Sounds of Silence"? That’s where Ghetto Nuns come in. Although not officially a street busker, this one-man band does do rare, live guerrilla performances (one of which I was lucky enough to catch) where he plugs his ghetto blaster and amp into a public outlet and basically goes mental, "channelling the spirit of rap-rock." His self-produced record is tight: heavy, over-the-top electro-ish beats, distorted guitars and ample scratches by local hip hop DJ DR-One give the backbone to Versus’s growling flow. While some might not be into the lyrical content of songs like "Pirate Bichz" or "Turbopimp," this guy’s sheer energy and charisma are infectious. Look out for him in the parking lot across from Foufounes on Sunday, Sept. 7. 7.5/10 (Raf Katigbak)

VARIOUS
Nine Majesty Mixtape Vol. 1 (Rip Off)
Montreal’s hungriest unsigned underground hip hop crew comes out hard with the first volume in the Nine Majesty Empire. Opting to stand tough as a unit, Nine Maj reap the benefits of sharing the spotlight and in turn succeed in enticing listeners with their furious styles. Most of the cats on this record have been rapping since they were 12 or 13 years old, and it’s really amazing to see them representing their own evolution with in-house production and multiple aliases. Shining stars include the rapid-fire rhymes of Narcicyst, the franglais juggling of Maybe Watson and the clever ramblings of Loe Pesci. Shades of Culture make a cameo appearance, but the stars of this show are definitely Mottolo, Rugged Intellect, Prophecy, Apokalyptik, Nofy Fannan, Habillis, Oddeo and the aforementioned standouts. Keep an eye out for these guys, winners of the 2003 Movieless Soundtrack Awards. 7.5/10 (Scott C)

VARIOUS
Rugged Radio Saturday: Mixed by DJ Craze (Audio Research)
The Audio Research label may keep a low profile, even in their hometown Montreal, but that approach has produced some of MTL’s truly classic hip hop joints since the label’s inception in 1997. Here, the incredible DJ Craze wades into the AR catalogue, pulling out some of the key assets while neatly running them alongside new joints for impatient fans. While the attention to quality is quite apparent in the variety we find here, it becomes clearer to me that it’s high time for the Obscure Disorder full-length to descend on Montreal ears. This is a tight, seamless mix of "upper echelon" hip hop, featuring the AR roster flexing, but I can’t help but think that this is a well-crafted distraction to take some of the heat off OD. 8.5/10 (Scott C)

MARY J. BLIGE
Love & Life (Geffen/Universal)
Mary’s sixth album reunites her with P. Diddy, so not surprisingly the majority of tracks here are sample-based. To his credit, Diddy’s savvy enough to intelligently mine the rich old-school catalogue, bringing up some gems that effectively compliment Mary’s always soulful phrasing. Though the Tribe Called Quest "Hot Sex" sample is the best part of lead single "Love @ First Sight," other samples prove more effective, including Bohannon’s "Singing This Song for My Mother" for "Ooh!" and Atlantic Starr’s "When Love Calls" on "Willing & Waiting." The bonus DVD showing Mary and Diddy in studio is the cherry on the icing. 8/10 (Gerard Dee)

ROBERT RANDOLPH & THE FAMILY BAND
Unclassified (Dare/Warner)
Pedal steel guitar hero Randolph and crew (bass, drums, B-3 and backup vox) can get the joint jumping live, no question, but can they put that riot on record? Ass-kickers like "I Need More Love" and "Squeeze" show the plateaus they can reach with their funky, hyperactive jam-band blues-rock, putting Randolph’s party-time pedal-steel pyrotechnics and unshakeable good cheer front and centre. But then turgid, wank-by-numbers tunes like "Nobody" or "Calypso" remind you that, oh yeah, it’s funky, hyperactive jam-band blues-rock. Half of this is forgettable if not regrettable, but when Randolph & co. are on, they’re on. 7.5/10 (Rupert Bottenberg)

VARIOUS
Rough Guide to South African Gospel (World Music Network)
When people in North America think gospel, acts like Kirk Franklin or the Mississippi Mass Choir immediately come to mind. But in reality, gospel is universal, impacting souls worldwide. This intriguing compilation covers the diverse shades of South African gospel, gathering performances from the last 40 years. They vary from the virtually a cappella "Namhla Niyabizwa" by the S.A.C. Choir to more rhythmic tracks like "Lefatshe La Dikhutsanyane" by Vuyo Mokoena & Pure Magic and "Tumelo" courtesy of I.P.C.C. Even the legendary Ladysmith Black Mambazo prove they have the spirit with the very traditional "Baba Wethu Singenile" (meaning "Our Father We Are All Here"). The language may be different, but the message remains the same. 7/10 (Gerard Dee)

BRIAN DICKINSON
Soul Mission (Elan Jazz)
VIRGINIA MAYHEW
Phantoms (Renma)
Two musically exciting releases, the first featuring one of Toronto’s top pianists with Jim Vivian and Ted Warren, joined by one of the great unsung reedmen, Jerry Bergonzi, a superb player who gained some international repute while working with the Dave Brubeck - they appeared at Expo Theatre during the second edition of the FIJM. Mayhew is also a reed player to be reckoned with and on this outing, she’s joined by the always adventurous Ingrid Jensen and a strong rhythm team of Harvey S. (aka Harvie Swartz) and drummer Allison Miller. On the former Brian and Jerry contribute four originals each, while the 11 tracks on the latter are a mix of originals by the leader and the drummer and material by the likes of Monk, Kenny Barron, Steve Swallow and Cole Porter. Both 9/10 (Len Dobbin)

Mini CD Reviews

OSCAR PETERSON Vancouver, 1958 (Just A Memory/Fusion III) Volume 2 of the trio in B.C. with Herb Ellis and Ray Brown. Great live action. 9.5 (LD)

THE RAMBLIN’ AMBASSADORS Avanti (Mint/Outside) Fresh new pipeline punk, big twang theory and spaghetti western al dente from Huevos Rancheros’ Brent J. Cooper. 9 (RB)

RED ASTAIRE "Follow Me" 12" (Gamma) I’m there. This cheeky D’Angelo flip makes brothers say "Ho!" and ladies say "Ow!" 9 (SC)

VARIOUS Teutonik Disaster 2 (Gomma/Fusion III) A shorter, apocryphal follow-up of further obscure German funk-punk, new wave and "hobbyrock." Sometimes dope, often awkward and grating. 7 (RB)

AVRIL That Horse Must Be Starving (F Communications/Select) With the charm of a collapsed soufflé, this Frenchman puts wispy electro flutters and parched funk where a soul should be. 5 (LC)

CLIENT self-titled (Toast Hawaii/Fusion III) Through his Mute label offshoot, DM’s Andy Fletcher presents the incredibly limited electro talents of two northern English damsels. Day jobs, anyone? 4 (LC)

BT Emotional Technology (Nettwerk) This poster boy for commercial trance is trying to pass off schmaltzy techno-muzak as "sonic innovation" and "cutting edge music." He must be stopped! 4 (RK)

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