Rogue Wave
Out of the Shadow (Sub Pop/Outside)
Maybe there's something exclusive to California that inspires so much ethereal indie pop. I'd suggest the deserts, if only for the common ground with New Mexico's the Shins - whose fans are sure to dig this band - but the answer likely lies somewhere in Zach Rogue's hometown (and psychedelic-folk hub), San Francisco. When not harmonizing in delicately woven, acoustic guitar-based balladry, Rogue's endearingly plain vocals levitate above pedal steel, Moog and upright bass, ingredients for a few great moments in timeless pop. Rogue's sing-song tendency mars a few tunes, but this debut disc's minor flaws are heavily glossed over by its charm. 8.5/10 (Lorraine Carpenter) With A.C. Newman and the Neins at la Sala Rossa, Mon., Aug. 9, 9 p.m.

Champion, Alberta
The Silk Purse (independent)
Lovers of bleak rock and brisk pop, open your hearts to Champion, Alberta, an Edmonton trio grappling with the same indie and new wave influences as so many of their peers, and pinning their sound down with finesse. Inspired by New Order, My Bloody Valentine, the Zombies, Pavement and the Clientele (their own list), Rob Wood, Jason Stronciski and Tim Rechner fuse driving riffs, mimicking synths, breezy vocals and tight rhythm, wrapping each of their five songs in gorgeous melody with a strong pulse. 8/10 (Lorraine Carpenter) At Balafré on Mon., Aug. 9, with People for Audio at Petit Campus on Wed., Aug. 11, 9 p.m., $5, at Sergent Recruteur on Thurs., Aug. 12

Dana Edmonds
Hybrid Being (Hotcomb/Nuff)
Hybrid being, hybrid sound. A tasteful balance of featherweight funkiness and gentle indie pop is what Edmonds has aimed for with her solo debut. Montrealers might remember this ex-pat from her time with local trio P.E.Z. in the mid-'90s, in which she handled bass and vocals. A fun band, but not as elegant and refined as what Edmonds is doing now. In fact, the closest thing that comes to mind is latter-day St. Etienne, except that Edmonds' vocals are far more grounded and true than the overly precious cooing of St. E's Sarah Cracknell. 7/10 (Rupert Bottenberg)

Blue States
The Soundings (Memphis Industries/Fusion III)
Last heard on the 28 Days Later soundtrack, Britain's Blue States has undergone another metamorphosis. What began as Andy Dragazis's downtempo project (you'll find Blue States on any number of chillout comps) became a five-piece band with a female singer, then a trio with guitarist/co-songwriter Chris Carr on vocals. Shifting their weight to light strumming, synth washes, sporadic strings and drums, their featherweight pop occasionally pays off (as on "Across the Wire") but often meanders into echo-laden laziness. Carr's guitar benefits from some breathing room on "Alright Today," a textured instrumental that takes its cues from homegrown post-rock. 7/10 (Lorraine Carpenter)

The Orb
Bicycles & Tricycles (Sanctuary/BMG)
For better or worse, techno's original fuzzy-headed New Agers are still working the same angles they have for, what, 15 years? That means, unfortunately, lame efforts to incorporate hip hop (that's done with by track 3, thankfully) and an odious and long since outdated sort of pseudo-spiritual, feelgood techno devoid of kick ("Perpetual Dawn"? Perpetual yawn.). On the other hand, when the Orb get it right, it's satisfying. "Hell's Kitchen," the surprisingly dark "Prime Evil" and the dubby "Tower Twenty Three (Spud vs. Creature Mix)" benefit from the inventive production and engaging melodies that Dr. Alex Paterson and co. display on occasion. 7/10 (Rupert Bottenberg)

Mocean Worker
Enter the Mowo (Hyena/Fusion III)
Mocean Worker's jazz-sample-heavy debut of several years ago, Home Movies From the Brainforest, with its psychedelic Miles Davis take on breakbeats, was an instant hit with phat-panted drum & bass heads, bearded jazz enthusiasts and scraggly soul-patched Ninja Tune fans. Sadly, those days are over and Mocean Worker's latest has takes the jazz sample down a path so often travelled it's become a cliché - background downtempo that bring to mind the slower St-Germain. If you're a restaurant owner looking for an inoffensive, "hip" CD to put on as you serve up $13 hypoallergenic organic avocado hummus and soy cheese pickle sandwiches with a side order of blueberry oxygen, this CD may be for you. 5/10 (Raf Katigbak)

Various
Beach House 04.04 (Hed Kandi)
Sometimes you just don't need a dancefloor storming mix of in-your-face, circuit-party progressive techno house. Sometimes you just want to lay back in your hammock with a mojito or cruise to the beach in your convertible with the top down. Sometimes you want to stay upbeat without blowing your musical load in the first five minutes. The fourth installment in U.K.'s Hed Kandi label is Tantric listening at its best. Deep, soulful vocal house as smooth as a fresh Brazilian wax. With elements of Latin percussion, jazzy guitar riffs and wispy vocals, Beach House features tracks by acts like Miguel Migs, Hird, Mood II Swing, Ian Pooley and A Man Called Adam. 7/10 (Raf Katigbak)

OMFO
Trans Balkan Express (Essay/Fusion III)
Certifiable Ukrainiac German Popov, aka "Our Man From Odessa," pulls off a startling stunt here. The Kraftwerk nod of the title (and thus the eminently noticeable opening track) hints at what's inside - sharply flavoured East European instruments and melodies getting a highly tweaked electro treatment. Add to that a penchant for Jamaican riddims and dub production and you've got an incongruous amalgam that works amazingly well. The midsection's a bit dull, but the goofy fun of "Gutsul Electro" and "Magic Mamliga" make up for it. Na zdorovia! 8/10 (Rupert Bottenberg)

Goodie Mob
One Monkey Don't Stop No Show (Goodie Mob/Koch)
Goodie Mob has essentially always existed in the shadow of Outkast, save for an industry moment during the '90s when it seemed like their gritty, musical Atlanta sound would actually eclipse André and Big Boi. It never happened, with Outkast blowing up bigger than anyone could've imagined, Cee-Lo deciding to leave the group for greener pastures and Goodie Mob leaving the comfort of Laface Records. One Monkey... refers to getting along fine without Cee-Lo, despite the fact that his charm and presence are missing from the new Goodie Mob equation. This is old-style Atlanta meets new-school crunk, with a few musical musings holding court next to loud, audacious productions. I know it's been five years, but I don't know if this LP can launch these crunk brothers out of the shadow of Outkast in 2004. 7.5/10 (Scott C)

Prince Po
The Slickness (Lex)
It must suck being heralded as one of the dopest MCs in hip hop, then having nobody buy your records, endless record label hassles and your group going splitsville. That's Prince Po in a nutshell, but there's no indication of past hard times on this fully realized leap into now by the former Organized Konfusion MC. Teaming up with Danger Mouse, Madlib and J-Zone for the brunt of production, Po takes a note from MF Doom (who also guests) and does his thing with lyrical ammunition and a solid and interesting array of beats. This isn't exactly the Prince Po that you heard on "Fudge Pudge" or "Stress" but c'mon, it's been years. He's still rocking the clever stutter-step delivery, but the cartoony clowning has been replaced by true punchlines. Now we just have to get Monch on track. 8/10 (Scott C)

Amel Larrieux
Bravebird (Bliss Life)
As part of the duo Groove Theory, Amel Larrieux, with partner Bryce Wilson, constructed challenging songs that liberally mixed jazzy riffs with funky beats. Larrieux's 2000 solo debut Infinite Possibilities held the promise of even broader musical landscapes, though the album didn't quite live up to the anticipation. But much of that is achieved with Bravebird, an accomplished set of songs that draw from intricate writing, diverse musical influences and Larrieux's urgent though light vocal style. Cuts like "We Can Be New," "Congo" and the title track represent another step forward for an artist who refuses to be caged in by musical boundaries. Now that's a brave bird. 8.5/10 (Gerard Dee)

Etta James
Blues to the Bone (RCA/BMG)
James' voice has weathered the years well and, while old blues singers take schmaltzy detours in their career, James proves to be boiling over with the same sense of urgency that she laid down in her Chess Records days. This is all covers of material from John Lee Hooker, Sonny Boy Williamson, Jimmy Reed, Jimmy Rogers, Robert Johnson, Lightnin' Hopkins etc. - familiar, but it's how James brings a woman's perspective that really makes these dusty jewels shine. Every syllable is delivered straight from the gut. When she sings lines like "the sky is crying/ look at the tears roll down the street," the conviction in her voice is guaranteed to raise some hairs. 8.5/10 (Johnson Cummins)

Various
Happy Birthday Newport! (Columbia-Legacy/Sony)
It hardly seems like 50 years since a friend and I boarded the bus that would take us to the first Newport Jazz Festival in 1954. As suggested by the title, this three-CD box is a celebration of that milestone. Nothing was recorded that year but this set does have a track of Miles Davis with Zoot Sims and Mulligan with Monk. Some highlights: a 1956 all-star band with Buck Clayton, Coleman Hawkins, J.J. Johnson and Dick Katz doing a great "Newport Jump," Billy Strayhorn's exquisite "Chelsea Bridge" with the composer, Ben Webster, Oscar Pettiford and Sonny Greer, and a 1957 Basie band joined by alumni Lester Young, Illinois Jacquet and Jo Jones. Interesting asides from organizer George Wein and many photographs make this an appealing set. 10/10 (Len Dobbin)

Mini CD Reviews

Scott Hamilton & Harry Allen Heavy Juice (Concord/Koch) A must for two-tenor fans. Like Ira Gitler says, the closest to Zoot and Al you're going to get today. 9.5 (LD)

The Marxmen Marxman Cinema: MOP Mixtape (Family First/FusionIII) Two full discs of the Mash Out Posse and family, including Primo, and a bunch of rare and unreleased rawness. 8.5 (SC)

Slow Six Private Times in Public Places (Habit of Creation) Three neo-classical compositions stretched out to ambient infinity. 8 (LC)

Das Bierbeben No Future No Past (Shitkatapult) Moves from fist-pumping techno, mixing the brattiness of Le Tigre with the throb and bite of T.Raumschmiere, to bouncy pop lying at some sexy point between Kompakt records and the Slits. Riot. 7.5 (RK)

Nouvelle Vague self-titled (Peacefrog/Fusion III) Via seven girlish chanteuses and a slick acoustic band, classics by the likes of the Dead Kennedys, the Sisters of Mercy, the Specials and the Cure go bossa nova! 7.5 (LC)

Various Bluegrass Roots (Tradition/Ryko) A great starting point to test the water but slim pickings for the seasoned bluegrass fan. 7.5 (JC)

Pygmy Love Circus The Power of Beef (Go Kart) Okay, it pretty much sucks, but that's one hell of a title, huh! 6 (JC)

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