 4Hero Play With The Changes 4.2/5 Who It’s For: Those looking for a fix of blissful drug-swooning sunshine music before summer actually hits. Sounds Like: Psychedelic Funk Soul for the 21st Century. But without the wanky jazz bits. Zero 7 cranked up. As consistent as the street meat outside the Horseshoe (only better), 4Hero are stuck in a career-long rut. Luckily for us that rut is shining brilliance. After 6 years the duo are back, with more guest vocalists than a Kanye West album. As you would expect from the 90’s jungle/drum n bass pioneers, Play With The Changes is sonic sculpture come to life and moving its feet. A bit like Parliament Funkadelic on ecstasy, “Morning Child,” “Look Inside,” even the cover of Stevie Wonder’s “Superwoman,” glow from the inside. These boys are so good at this now you’d think it was simple to write a modern classic. - Kid Lupin  Baba Brinkman Lit-Hop 3/5 Who it’s for: Anyone looking for a change from popular rap music. Sounds Like: Intelligent Hip-Hop I’m guessing most Canadians don’t get exposed to that much homegrown hip-hop on a daily or monthly basis. A lot of the time you have to go out looking for something more than K-Os. In my experience I’ve found that Canadian hip-hop tends to be more intelligent and insightful then the 50 Cent played on the radio. Baba Brinkman joins a list of great talent that has yet to be discovered by the masses. His album Lit-Hop has got messages and beats abound that even a light listener can enjoy and understand. He’s added a few friends to his disc which are logical choices for each track instead of just places to put his buddies. It’s not all a downer, there are a few fun rhymes thrown into the mix, but for the majority Baba Brinkman has got something to say and anyone who comes across this album is going to listen. - Stephanie Joudrey  The Carps The Young and Passionate Days of Carpedia EP 3/5 Who It’s For: People who want a teenage riot. Sounds Like: A thrashy R&B band. Scarborough’s The Carps are not shy with their opinions. The duo starts off their album dedicating “Let’s Fall in Love” to Condoleezza Rice and Jean Chretien warning the listener that this might be the rawest thing you’ve ever heard. While they fall a bit short off their promise, it’s nice to see such a young band have such lofty ambitions. Over frantic break beats and funky but thrashy bass, The Carps make quite an impression on their debut album. Everything about The Young and Passionate Days of Carpedia is big, from the sound to its subject matter. The band sings impassioned songs about gun violence on “Compton to Scarborough” and impressively makes thrash sound a little bit seductive. - Andrew Chin  Daphne Loves Derby Good Night, Witness Light 2.5/5 Who It’s For: Fans of the band, that’s about it. Sounds Like: Your average Pacific northwestern indie rock group. Daphne Loves Derby’s second full-length album is the type of album that does nothing to stand out from the rest of the pack; in fact, they may even be in the lower portion of it. The one thing that is most memorable about Good Night, Witness Light is “Marching Band Intro” which leads into “That's Our Hero Shot.” The only reason it does stand out though, is because I haven’t heard a marching band in a pop song since Gwen Stefani’s “Hollaback Girl” which isn’t necessarily a good thing. Maybe this Kent, Washington quartet can reclaim the glory they had as PureVolume’s number one unsigned band long ago for their next album; this album won’t be helping them too much. - Dan Bilicki  Kaiser Chiefs Yours Truly, Angry Mob 3/5 Who It’s For: People who really liked Blur’s The Great Escape Sounds Like: Brit-Pop that went to the circus but sort of forgot what happened Playing fun, dance rock with political messages is the trendiest thing going in Britain these days. Case in point Kaiser Chiefs: Giant pop rock songs with hot back up vocals and girls names for titles like “Ruby.” Oh Ruby, why are you giving singer Ricky Wilson such a hard time? Just tell him whether you like him or not so he can get on with his life and write a goofy song with dueling guitar solos and a synthesizer that belongs in an early 90’s gangsta rap song. Oh wait, Wilson already did that. “Love’s Not a Competition, But I’m Winning” is a sad acoustic track that sounds like a Smiths song with electric pianos. This album is an infectious one though because of its simple riffs and hooky back ups. It’s silly but smart, it’s not brilliant but you can sing along to and tap your foot. - Jackson Main  Mason Proper There Is A Moth In Your Chest 3.5/5 Who It’s For: People who wish The Shins would liven up a bit Sounds Like: James Russell Mercer trying out some new bands (some of which want to be The Shins) If you’re one of those people who didn’t believe Natalie Portman in Garden State when she said The Shins will change your life, because you thought maybe they were too boring, or too slow, well Mason Proper may be the band for you. At times, the band does tread very close to Shins territory with tracks like “Life’s Cornucopia” and “Carousel! Carousel!.” When the band breaks free and does their own thing, it makes TIAMIYC quite an enjoyable listen. Admittedly, it is kind of hard when you have a singer who sounds like James Mercer to sound original but they definitely make the most of tracks like “Lights Off” and “Mr. Charm.” However, Shins comparisons aside, the album is a decent listen but just makes you wish you had put Oh, Inverted World or Chutes Too Narrow on instead. -Ryan O’Shaughnessy  MuteMath Flesh And Bones: Electric Fun DVD 3/5 Who It’s For: Fans of live shows where the band goes crazy onstage Sounds Like: Almost exactly like MuteMath’s latest CD The difference between live concert DVDs and music videos is usually the way it’s shot. Live concerts have a tendency to be extremely clear so that you can see every movement onstage. But for some reason MuteMath didn’t go the clear route. Whoever shot Flesh And Bones obviously wasn’t thinking of how the final product would look and as a result, the constant blur, black and white and all the other effects used make it really difficult to keep watching. And since the songs themselves sound like they were overdubbed from the band’s previous recordings (even though they aren’t), there’s not much to catch your attention. Granted the band is definitely becoming one of the best live acts of the year, but you’re probably better off catching a concert instead of the DVD. - Alyssa Caplin  James Morrison Undiscovered 4.1/5 Who It’s For: People who watch X-Factor/American Idol and think “these people are talentless, bring back old-school songwriting and musicianship” Sounds Like: A street musician who’s spent years refining his skills. Which is exactly what it is. “Former busker makes quality debut.” It’s hardly a headline you read daily. Perhaps that’s what has gotten Morrison virtually unprecedented praise from all quarters, not to mention the awards. Perhaps it’s because Undiscovered is a brilliant album just in time for the sun coming out. Where it succeeds is the balance. For an album of organic pop, Morrison steers us between being too archly knowing (which would lose him his pop audience) and being too mawkish, which would lose him the credibility. Undiscovered has landed as a sincere, often uplifting, record that’s a million miles from the forced melodrama of James Blunt et al. Of course “You Give Me Something” is a golden age love song, but you’d be mistaken to think that Undiscovered is a one-song wonder record. It’s a bit like a guilty pleasure, except you’d be proud to tell your friends about it. - Kid Lupin  Sick Puppies Dressed Up As Life 4/5 Who It's For: Fans of mainstream rock Sounds Like: Typical top-40 rock with a little edge When you get a CD from a label and the word most associated with it is “explicit,” you automatically prepare for lots of swearing and probably some weird shit that shouldn’t be played around the kids. But how they came to the conclusion that explicit should be the main descriptor for Dressed Up As Life is beyond me. Sure there’s some mature subject matter “Howard’s Tale” and “Asshole Father,” but the rest of the album is regular mainstream rock that will likely put them on tour with bands like Shinedown or Seether. The album as a whole will likely appeal to a wide audience, especially the typical top 40 rock listeners and though it has it’s forgettable moments, it’s more interesting than some recent releases. And to top it off “All The Same,” the lead single off this Australian band’s latest album is featured in the Free Hug Campaign. Yeah, that sounds explicit to me. - Alyssa Caplin |
 8 Ball and MJG Ridin’ High 3/5 Who It’s For: The pimps Sounds Like: A Playa Party 8 Ball and MJG are legends. They’ve been holding down Memphis since 1993 and watched as the Southern hip hop scene they helped grow slowly turn from regional oddity to a national powerhouse. Now that peers like UGK are finally getting their due, 8 Ball and MJG return with their ninth album to regain their share of the spotlight. On Ridin’ High, the duo sticks to the pimp anthems that have become their signature, most evidently on the song, “Alcohol, Pussy, Weed.” However, as the saying goes, “pimpin’ ain’t easy,” and this weariness can be heard on Ridin’ High, as the album isn’t easy to listen through. With 19 songs, 8 Ball and MJG produce some fantastic parts – from the Notorious B.I.G. sample on “Relax and Take Notes” to the electro party feel of “Ridin’ High” to the celebratory anthem of “Memphis,” but these gems are hidden within too many songs that are just missing that extra polish. - Andrew Chin  Brassmunk Fewturistic 3/5 Who It’s For: The children Sounds Like: A sweet stew of funk and soul After getting some exposure a couple of years ago with their music video, “Big,” Scarborough’s Brassmunk is back with their sophomore disc. However, the crew has undergone a member change and come back with what seems like their serious statement. Fewturistic is a sprawling album that broadens Brassmunk’s musical and lyrical template. They experiment with guitars on “Do You Believe,” sweet soul on “Who’d Have Thought,” retain their big beat funk on “Devil’s Playground,” and get contemplative on “One, 2 Many Problems.” While there are many impressive moments, the album gets bogged down with so many stylistic changes. However, through it all you can’t help but notice how talented this Scarborough crew is, especially producer and Big Black Lincoln member, Agile. An album that showcases the promise of one of the country’s most intriguing hip hop groups. - Andrew Chin  Chevelle Vena Sera 3.5/5 Who It’s For: Everyone who misses early 90’s Alt rock Sounds Like: Tool, Quicksand, and Helmet Chevelle, it seems, have always been something of a musical anomaly. They came into being at the tail end of the grunge-era and at the beginning of the rap-metal craze. Yet, they manage to sound like neither genre. As a band, Chevelle have spent the last 3 albums unapologetically amalgamating the best parts of the bands they grew up loving. On their new disc, Vena Sera, it seems they’ve added a few new tricks. Returning is the band’s familiar punchy guitar/drum sound, which is never to be without the ultra-thick bass groove we know and love. But now, singer Pete Loeffler’s fluid vocals are even more melodically haunting than ever before. He screams less, but manages to convey even more emotion in these new songs. The songwriting is a touch uneven on this disc, with a few of the tracks becoming repetitious, and in the end, forgettable. If you’ve loved them in the past, don’t stop now. If you don’t know who they are, I’d recommend you give them a chance. You don’t know what you’re missing. - Spencer Lavigne  Crime Mob Hated On Mostly 2.5/5 Who It’s For: People who love that Southern thug music Sounds Like: Junior (Three 6) Mafia If you are a person who doesn’t like hip hop because it’s too thuggish and is too braggadocious, then this isn’t the album for you. Crime Mob made some noise with their self-titled debut album. Originally backed by Lil Jon, Crime Mob returns to the crunk sound and are very competent in what they do. The group’s youth shines through on songs like “All Madden” that uses the popular video game as a metaphor for their street credentials. However, the five piece do show their promise on songs like “Circles,” where they make a welcome respite from their sluggish beats. While the album is a step up from their last album, the Southern beats don’t bounce enough and Crime Mob don’t quiet match the hypnotic sticky flow of acts like Three 6 Mafia that are a tier above them. - Andrew Chin  Junior Boys Dead Horse EP 2.4/5 So This Is Goodbye was last year’s flawless masterpiece of arctic electronica, drawing as much from the minimalist majesty of Kraftwerk as from the sleek climes of Scandinavia. What any of this has to do with Hamilton is beyond me, but clearly something is in the water. Improving on So This Is Goodbye was going to be nigh-on impossible, so all Dead Horse should have been trying to do was hear the songs a little differently. Of the five tracks here, only the two takes on “FM” are rewarding, with Tensnake’s crisp chart-bothering vibes retaining that Junior Boys sinister edge. Hot Chip’s work on “In The Morning” sounds like a nasty mash-up, Carl Craig on “Like A Child” is all a bit too Thom-Yorke tweaky to be worthwhile, and Kode 9 on “Double Shadow” is nicely atmospheric, albeit without direction. Dead Horse EP is completist-only fare, trading on the luminaries reputation methinks. Everyone is being remixed these days, and not many are giving it a good reputation, this included. - Kid Lupin  The Klaxons Myths Of The Near Future 3.5/5 Who It’s For: Pot smoking ravers and people who throw their beer onstage Sounds Like: See above. The power of a trio shines brighter than a nuclear blast. It’s energetic, it’s not muddy, doesn’t force too much sound and is symmetrical. The Klaxons are all this, layered with electroclash. The prog outfit from Britain is the simplified, dance influenced version of Mars Volta. Stretching as far as saying they are a rave act is slightly inappropriate, but music these days is reinventing classics so quickly that the early to mid 90’s are already back. Maybe people really want someone to charge in carrying the rave flag? Outside the rave vibe, The Klaxons seem to beef up every genre and make it their own. “Golden Skans” is a melancholy, acid based version of a Tears For Fears sad sack love ballad. When writing “Totem On The Timeline” Klaxons remember British innovators Joy Division by snorting speed and covering “Transmission” failing triumphantly and twisting the idea into a sloppy, punk dance number. Epic and experimental, this will be the band that leads us into a hazy and electric summer. - Jackson Main  Mobb Deep Infamous Archives 4/5 Who It’s For: People who feel that hip hop is dead Sounds Like: The Rotten Apple, circa 1990s Has there been a more maligned act in hip hop than Mobb Deep? From Tupac Shakur’s revelation that Prodigy has sickle cell to Jay-Z showing pictures of a young Prodigy dressed like Michael Jackson at the 1997 Summer Jam festival to being the recipient of the public’s backlash to G-Unit with the dismissal of their last album, Mobb Deep can’t seem to get a break these days. However, people forget that when they first emerged from the Queensbridge housing projects in the early 1990s, Mobb Deep were one of the hottest acts around. For people who have been missing that early Mobb Deep sound, the Infamous Archives unearths unreleased material mainly culled from this early era. The beats are grimy and cinematic, the flows are gritty, the lyrics are dark, and the songs are strangely captivating. - Andrew Chin  Olympia Emergencies 2/5 Who It’s For: Anyone willing to give an indie band a chance Sounds Like: Rock, plain and simple, nothing fancy. I wish I had something really nice to say about Olympia. They are good musicians. They play well. Phil Williams can sing very well. But when it comes to making a CD that people love, as opposed to being the opening band we can handle, that is not enough. Emergencies starts off strong. “Chorus! Chorus! Chorus!” is a great song and gives hope to the rest of the disc. “Olympia Is A Motherfucker” is pretty good too. But every time I listen they lose me after that and I need to come back to the disc later. Maybe it’s that Olympia doesn’t make good background music for walking or driving or taking the bus. Maybe you need to study or watch Olympia to get it. Maybe it’s just so damn good as background music that you forget it’s playing. I have hopes for Olympia’s future. I hope they come back in a year or so and make me eat my words about their music being boring, but for now I have nothing else to say. - Stephanie Joudrey  Poison The Well Versions 4/5 Who It’s For: Open-minded folks (ie: not scene kids) Sounds Like: Failure, Norma Jean and Zao Forget everything you know about Poison The Well. They’re NOT the same band that wrote “Opposite Of December” anymore. There, that’s better. Now you might actually enjoy what looks to be not only this year’s best band reinvention, but one of the most innovative discs from a band of this caliber. Frantic from beginning to end, Versions contains some of the best vocal performances singer Jeffrey Moreira has ever given; Soft enough to evoke tears one minute, and raw enough to have you grabbing for the volume knob the next. Add that to the restrained virtuoso-like performances from drummer Christopher Hornbrook and guitarist Ryan Primack, and I think the sum of their achievement is enough to turn heavy music on its fucking ear. Even at full tilt, this album manages to maintain a strange groovy swampiness throughout. If given a chance, this could very well be your new favorite album. - Spencer Lavigne  Threshold Dead Reckoning 2.5/5 Sounds Like: Dream Theater, Paradise Lost, and Queensryche Threshold, one of the UK’s longest running prog-metal groups makes their return here with Dead Reckoning, on new home Nuclear Blast. And from the moment this album starts, fans of this group will know exactly what to expect. Like most bands of this type, they’re talented, but like to hold back, just maybe a little too much. Keeping their sound aggressively tasteful, they never break into full-on showboating or tangents of noise. Vocally, this disc comes off as a bit uninspired, but it’s the shredding, elegant guitars and pounding drums that really are what saves this album from falling flat. Fans, who love this stuff, are going to eat this up. Anyone outside their intended audience, however, will likely remain unimpressed. - Spencer Lavigne  David Usher Strange Birds 3.5/5 Who It’s For: Those who want to give David Usher another chance and their moms. Sounds Like: Adult contemporary with a heavier feel for those who remember loving Moist. Since 2001, and possibly a little earlier than that, most of us took David Usher off of our radar. We tossed him in a category of soft pop rock that our mothers like and we can handle only because it’s “the guy from Moist.” I think David Usher knew this and has been using his career to gain back the momentum he lost. Strange Birds isn’t the same Usher we reminisce about, but damned if this album isn’t totally solid. It’s not edgy per se, but there is something about it that makes it flow perfectly. The disc’s first single “The Music” is the best Usher tune in a while and it will eventually be stuck in your head. Usher’s trademark soft voice is soothing and the perfect soundtrack to any stressful situation. He’s still got a way of letting you get wrapped up in what he’s saying and the way he’s saying it. We may have written Usher off too early. If you are even a little bit curious, give him a shot…you’ll be pleasantly surprised by the outcome. - Stephanie Joudrey  Waking Ashland The Well 3.7/5 Who It’s For: Fans of Ben Kweller, or if you know who Ben Kweller is. Sounds Like: Indie piano rock This is exactly the type of album you should expect from some guys who majored in music at California State University. Everything about this album screams indie music guys from California from their upbeat cheerful songs to their delicate ballads. Their formal training really shows and while sometimes bands sound more like a group of musicians than a cohesive unit, Waking Ashland sounds completely on the same page. Comparisons to bands like Jack’s Mannequin and Ben Folds Five could be made to their music and is very complimentary to them. Judging by the types of guests that appear on MTV these days, you may just be seeing these boys popping up on air in the not too distant future. - Dan Bilicki Archived Reviews: April 1, 2007: Clutch, Kieran Hebden And Steve Reid, Notorious B.I.G., The Ponys, Type O Negative and more... March 1, 2007: The Ataris, Classic Case, The Fratellis, Nine Inch Nails, The Used and more... February 15, 2007: Bloc Party, Crush Luther, The End, Fall Out Boy, Kenny Wayne Shepherd and more... February 1, 2007: Daughtry, Dustin Kensrue, The Good The Bad And The Queen, The Shins and more... January 15, 2007: Brian McKnight, Tom Waits, Youth Group and more... December 20, 2006: Isis, Justin Nozuka and The Holiday Review Section December 1, 2006: Brand New, Incubus, The Pixies and more... November 15, 2006: Deftones, Lady Sovereign, Matt Mays, The Prize Fighter Inferno, Robbie Williams and more... November 1, 2006: My Chemical Romance, The Rasmus, Sparta, The Tragically Hip and more... October 15, 2006: Evanescence, The Killers, K-Os, Seemless and more..... October 1, 2006: John Mayer, Helmet, Method Man, Ryan Star and more.... February 2006 - September 2006: A-F G-M N-S T-Z © 2007, All Rights Reserved |
 |
 |
 |
 |
 |
 |
