Roy Ayers
Virgin Ubiquity (BBE/FusionIII)
This is a great story. BBE label head Peter Adarkwah had the opportunity to record with jazz-funk vibraphone master Roy Ayers for Marley Marl's Beat Generation LP in 2001, and it was from there that their relationship began to grow. Ayers went on to give BBE access to literally hundreds of unreleased recordings, and this record is the first in a slew of albums to come. From a studio take, you can hear some of the questionable notes and progressions that perhaps landed some of these songs in the vaults, but overall, it's still the vibraphonic genius of Roy Ayers, and some monster tunes for a starving generation of fans. I look forward to each and every release in this unearthed cache of gems. 9/10 (Scott C)

Franz Ferdinand self-titled (Domino/Outside)
Finally, a new U.K. band worth listening to. They're a Glasgow-based quartet with generous slabs of post-punk and funk in their bedrock, and their album (out March 9) is easily the best British debut since Ikara Colt. Hot Hot Heat, Interpol, Radio 4 and Strokes comparisons are warranted, but this band is no carbon copy. Their LP is wonderfully short on filler, and their influences - probably Talking Heads, Gang of Four, A Certain Ratio - are abstracted by actual talent. They set out to get girls dancing, but maybe they'll also do the likes of the Libertines a favour and embarrass them into retirement. 8.5/10 (Lorraine Carpenter) At la Sala Rossa, Sun., Feb. 22

The High Llamas
Beet, Maize & Corn (Drag City)
When Sean O'Hagan and his High Llamas popped up some dozen years ago, they were for all intents and purposes a Brian Wilson tribute band. A damn good one, too, generating exquisite fluff from strings, vibes, piano and soft harmonies. Then they chummed up with Stereolab and mimicked that band's increasingly electronic direction. Beet, Maize & Corn is less a return to form than a reconsideration thereof. While certain tracks still scream Pet Sounds or Smile, this decidedly organic album (not a blip, click or beep in earshot) reconfigures Wilson's wisdom to suit snowbird sambas, string-laden cinematic syrup and pre-war pop. More than anything, O'Hagan's never been so conscious of the sonic properties of the instruments themselves, or rather never showcased them so lovingly. 8/10 (Rupert Bottenberg) With the Field Register at El Salon, Tues., Feb. 24, 9pm, $12

Damageplan
New Found Power (Elektra/Warner)
Rising from the ashes of Pantera, Dimebag Darrell and Vinnie Paul have a lot to live up to. With their former singer and bass player laying down some of the most intense metal ever with Superjoint Ritual and Down, all eyes are on these Texas jarheads to utterly destroy or die. Pantera fans will be happy but this just can't stand up to Superjoint, Down or even their old band. The telltale Pantera chuggy-chug moments are there but you can't help but miss Phil Anselmo's white hot rage, especially when singer Pat Lachman is caught trying to find a style. The listener isn't the only one thinking about ol' Phil throughout the 45 minutes here - the surly lyrics to ‘‘Fuck You" and "Pride'' seem pointed directly at Anselmo. Sadly, Damageplan just come out as sore losers. 7/10 (Johnson Cummins)

L'Attack
Before We Were Millionaires (R.A.T.)
Triumph the Insult Comic Dog wouldn't have anything to say to singer/guitarist Bruno Lamoureux and bassist Sébastien Goyette, former members of les Marmottes Aplaties and founders of this (mostly) English-language spin-off act, also featuring the Fearless Freep's Rob Stephens on lead guitar and Charles Comeau on drums. Produced by one Jonathan "Trimble" Cummins, this debut EP features five slices of passionate, hook-heavy rock, channeling classic punk and glam with its shithead lyrics, smoke-stained vocals and unrelenting sleazy riffs. I can't predict how Marmottes fans will take the anglo tongue twist, but why deny such solid, local rock 'n' roll? 8/10 (Lorraine Carpenter) CD launch at Petit Campus, Wed., Feb. 25, 5pm, free

Phantom Planet
self-titled (Epic/Sony)
Well, you can't accuse these guys of making the same album twice. First came Weezer-isms, then came beach-bum rock, and now the L.A. quintet (minus drummer/actor Jason Schwartzman, plus ace producer Dave Fridmann) are going for full-on New York nu-garage and epileptic funk. The shift to shabby chic is a clearly contrived move, and singer Alexander Greenwald's unapologetic Strokes slur will rub people the wrong way. That said, tracks like "Big Brat" and "Making a Killing" bring it on with buffed basslines and synthetic backdrops, while the less belligerent songs reveal the band's sweeter side once again. 7/10 (Lorraine Carpenter)

Sweatshop Union
Natural Progression (Battleaxe)
Building on the flows and cadence of groups like Jurassic 5, Sweatshop Union seems determined not to come across as your average hip hop group. The seven-man crew is made up of four groups (Dirty Circus, Kyprios, Innocent Bystanders and Creative Minds), enough of a gathering to ensure some variety, right? Well, I can't exactly say that any of the seven MCs got me even remotely excited, despite the fact that I could envision an extremely hype live show in this equation. Funny, right? S.U.'s strength and weakness are in their lyrical content, strengthened by the absence of guns, cars and hos, but weakened by the absence of a standout MC in the bunch, making you wade through an awful lot of positivity for a mediocre result. 7/10 (Scott C)

Various
Postonove 3 (Milan/Warner)
With all due respect to Bebel Gilberto and the late, great Suba, the last thing the world needs is another comp of mushy Brazilian downtempo. So all due respect to Gringo De Parada, DJ at the hot Favela Chic club nights in Paris. His third anthology of Brazilian brilliance is supposed to focus on the northwestern recife sound, but I'll be damned if it isn't all over the map, in terms of both time and place. You got samba funk-rock from the '70s, Carioca classics, Bahian D&B, South American psychedelia, booty-esque baile funk and some surprising Paulista hip hop (dig the entirely a cappella "Beatboxsamba"). In short, the most lively, varied and informed Brazilian comp in ages. 8.5/10 (Rupert Bottenberg)

Vitaminsforyou
I'm Sorry Forever and For Always (Intr_version)
Instead of using words like "meta-narrative" and "microstructure" when talking about Montrealer Bryce Kushier's first full-length, I prefer "pretty" and "really, really good." On I'm Sorry…, pastoral vocals, playful piano, synth and guitar melodies are looped, fractured and reversed, while light, crackling beats, found sounds and chunkier breaks provide a much appreciated rhythmic undulation. While some of the sonic experimentation has roots in the Raster Noton tradition of glitch and the all too familiar IDM school of granulation, through his honest delivery and delicate ear for pop arrangements, VFY manages to wrangle a sound all his own. 8.5/10 (Raf Katigbak)

Musiq
Soulstar (Def Jam/Universal)
If you liked Musiq's first two releases (2000's Aijuswanaseing and '02's Juslisen), you'll be happy with this one. That's because Musiq doesn't make any bold moves, he simply continues down the road of well-heeled soul, lyrical dexterity and old-school inspiration. His most creative production here, "Womanopoly," is a clever urban tale that puts one sister's life experiences into the context of a board game. Conversely, his questionable remake of the Rolling Stones' "Miss You" is uninspired and unnecessary. But with contributions by Kindred and Bilal, and his trademark retro vibe intact, Musiq succeeds in at least being consistent, if not innovative. 7.5/10 (Gerard Dee)

Joe Sullivan
Big Band (Effendi/SRI)
Finally, a document of one of Canada's great big bands. Joe, a Timmons, Ont., native, has been an important part of the Montreal scene since the early '90s. Recently, teaching and this large ensemble have been his main creative outlets. The band is peopled by the cream of the city's jazz folk, including Janis Steprans, Remi Bolduc, André Leroux, Ron DiLauro, Aron Doyle, Bill Maher, Dave Grott, Kelsley Grant and Mike Berard. André White, Alec Walkington and Dave Laing provide the rhythmic thrust and solos are spread around the band on the 11 tracks contained here. Other than Jean Frechette's "Looping," the compositions heard here are the leader's - try "Pete Power," written for Joe and Ann's son. If you're a big-band fancier, you'll want this one. 9/10 (Len Dobbin)

Viktor Krauss
Far From Enough (Nonesuch/Warner)
Long-time musical associate and labelmate to Bill Frisell, Viktor Krauss strikes out on his own and brings some heavyweights with him. Steve Jordan is on drums and Jerry Douglas expertly handles the dobro, but again it's Frisell, one of the most talented guitarists out there, who really shines on this. Krauss's compositions prove him no fool as he tucks his bass in the back of the mix, letting Frisell and Douglas take flight - his real talent as a composer is providing the space for these monster players to do what they do best. In a bizarre choice of cover song, Krauss lays a fresh new coat on Robert Plant's ‘‘Big Log," stamping his signature all over it and adding Alison Krauss's velvety-smooth vocals, which will have you swooning. 8.5/10 (Johnson Cummins)

Mini CD Reviews

Michel Côté Lapon Balèze (Effendi/SRI) An impressive and overdue CD from this marvelous reedman from Quebec City - Aron Doyle is an added bonus. 8.5 (LD)

Boggs Stitches (City Rockers/Fusion III) Does anybody remember that Australian band the Scientists? These U.K. pretty boys certainly do. 8 (JC)

Jens Lekman Maple Leaves (Secretly Canadian/Sonic Unyon) Swedish boy wonder pours promising, bittersweet indie pop from the heart. 8 (LC)

Old Crow Medicine Show O.C.M.S. (Nettwerk) Not since the Pogues has fiddle playing merged so well with punk-rock vitriol. 8 (JC)

QSO Orchestra/Nas "Get Down" 12" (Rebuttz) Quantic and the band sink their teeth into this Nas tale, and flip it grimy. 8 (SC)

Bus Middle of the Road (Scape) Another German shot at hip hop/dub/minimal cross-pollination. While MC Soom T has some shining moments, for the most part I'd say it's skiptastic. 6 (RK)

The Cure Join the Dots (Elektra/Warner) Four discs of B-sides and rarities, arranged chronologically for full downward-spiral effect. Disc 1 8, Discs 2-4 5 (LC)

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