Boy – Every Page You Turn
(MapleMusic Recordings)
Aside from having the worst band name to begin with a ‘B’ since Boomkat, Boy-that is, Whitehorse-born singer-songwriter Stephen Kozmeniuk and his band-don’t really distinguish themselves in any way. On Every Page You Turn, the follow-up to Boy’s self-titled, largely solo debut, Kozmeniuk rocks out… unspectacularly. Bland in the grand old Canrock tradition, the album generally sounds like watered-down Sloan (whom our Boy thanks in the liner notes), with occasional (and regrettable) turns toward the Sam Roberts combo: dull vocals and homogenous melodies. The album’s first single, “Same Old Song,” lives up to its uninspiring title. Title track “Every Page you Turn” lifts its hook from Sloan’s “Losing California” and features clichéd lyrics about the modern age and turning over a new leaf. By far the best track on the album, “Up in this Town,” features what the press blurb describes as an “indelible ‘guitorgan’ hook,” but once you get past that description, it’s really quite infectious. Too bad the rest of the album is so ordinary. Bonus marks to Kozmeniuk, though-dude played eight different instruments on the record, which has gotta be pretty hard.-DEBORAH PERKINS-LEITMAN
Boy plays the Horseshoe March 5 for Canadian Music Week.
Peter Elkas – Party of One
(MapleMusic Recordings)
Despite the title of Peter Elkas’s debut solo album, the former Local Rabbits multi-instrumentalist has had no trouble finding friends, with artists like Ron Sexsmith, Joel Plaskett, and K-OS (all of whom he’s played with recently) singing his praises. On Party of One, Elkas hovers between genres, blending indie-rock with folk, blues, jazz, and soul, but retains a sense of cohesion through his characteristic crooning and slippery guitar licks. The sparse production of local legend Don Kerr (drummer for The Rheostatics and Ron Sexsmith) lends intimacy to Elkas’s 70s-inflected indie-pop gems, tempering musical complexity with refreshing modesty. While nearly every song on the record drips with ear-catching melodies, a few highlights include the swagger of “In My Den,” the country twang of “Gone, It’s Gone,” and “Build a Harmony,” which boasts the finest use of a kazoo in recorded music this decade. Party of One is an accomplished solo debut that establishes Elkas as one of the best new Canadian artists around.-TRISTAN SAMUK
Flogging Molly – Within a Mile of Home
(SideOneDummy Records)
The next time you and your friends are enjoying a pint of Guinness or a shot of whiskey, put on Within a Mile of Home. Irish septet Flogging Molly are known for their fusion of traditional Celtic music with punk rock, and their third album does not disappoint. The band’s sound has a fast, guitar-heavy beat overlaid with classic Celtic instruments like the tin whistle, fiddle, accordion, and mandolin. The album also contains several ballads that showcase lead singer Dave King’s vocal abilities-which are definitely more suited to the band’s faster songs. The album’s energy is contagious from start to finish, and the numerous tunes about pirates and drinking will definitely keep toes tapping and the drinks flowing. Some of the lyrics are actually rather poignant, but it would spoil the fun to let them depress you. Instead, have another beer, and dance a wee jig to “Tobacco Island.”-JENNIFER FABRO
Jin – The Rest is History (Virgin Records)
People who know Jin likely recognize him as the ridiculously talented Chinese-American freestyle rapper who, through great lyrical displays on BET’s 106 & Park TV show, gained a legitimate claim to fame-one which entailed, among other things, a loyal fanbase, respect and credibility, and an invitation to join the Ruff Ryders hip-hop crew. So this being Jin’s first official full-length release, a lot of questions are thrown up in the air: Can he fit the Ruff Ryder mold even though he doesn’t exactly represent that whole gangsta/crack-slinging/Glock-toting contingent? And more importantly, does he have what it takes to make the leap from freestyler to rapper? Well, unsurprisingly, the album itself is wildly inconsistent. There are a handful of good songs, some skillfully capturing the characteristic aspects of Jin’s best freestyles: spontaneity, his sense of humour and playfulness, and eye for detail. But, unfortunately, for each above-par, clever song, there are more that sorely lack these elements-songs which eventually steer the album in the wrong direction. This is where it fails-where Jin’s thuggish posturing surfaces, where he overplays the whole “I’m Chinese and I rap” angle, and particularly, where he strays from what made him so enjoyable and well-liked in the first place.-MICHAEL BACAL
Not By Choice- Secondhand Opinions
(MapleMusic Recordings)
When is irony not actually ironic? When it’s exactly true. The title of Not By Choice’s sophomore album tells you all you need to know about this uninspired effort from ‘the other band from Ajax.’ It starts off pleasantly enough, with poppy melodies and good production values, while solid drumming anchors the songs. But you’ve heard it all before-by the time you get to the third or fourth track, you’re already tired of the whole damn thing. It’s the same formula played out over an entire album. Which is why the boys slow things down for the fifth track-y’know, to show their deep and meaningful side. Bolstered by a piano melody (now who would have thought of that?), “So Close” is sure to be a favourite of 13-year-old girls everywhere. The press release boasts, “Secondhand Opinions finds Not By Choice realizing their adoration of punk rock with deeper ties to fundamental rock’n’roll roots.” That’s label-speak for “it’s not punk and it doesn’t rock either.” More like really bad emo. This stuff reminds me of a lot of young bands pushed by major labels-the fundamentals are executed well, but with absolutely no personality. Not By Choice will probably sell just enough albums to warrant the expense of a third effort before they break up. The drummer, at least, should have no problem finding work.-BRETT RHYNO
Projet Orange – Megaphobe
(Vik Recordings)
Transcending the language barrier in music is not an easy task, but Quebecois duo Projet Orange has done well with their second release, Megaphobe. Hugely successful at home, the Boies brothers decided to branch out with this largely English release, though remained true to their roots by including some French tracks as well. Beginning with the title track, the album starts out with an upbeat, high-powered sound, moving through to first single “Tell All Your Friends.” Towards the middle of the record, the songs become mellower, but sadly almost indistinguishable from one another. Thankfully, the CD picks up again with the funky beat of “Hell to Pay,” and the fun “Yeah! Yeah!” With its fairly common blend of alt-rock and pop, Megaphobe may be initially lumped together with other similar-sounding albums, but Projet Orange’s willingness to mix it up musically and linguistically sets them apart from the rest of the bland Edge 102 crowd.-AMY SMITHERS
Projet Orange plays the Horseshoe March 5 for Canadian Music Week.
Xavier Rudd – Solace
(Universal Music)
Australian folksinger Xavier Rudd’s self-produced album Solace is a travelogue of song. The journey begins in the Deep South with mischievous harmonica-infused bluegrass, then proceeds to the Australian Outback where pulsing digeridoo rhythms accompany Rudd’s characteristic wistful vocals and clean acoustic guitar. Docking in the Caribbean, Rudd performs a worthy cover of Bob Marley’s “No Woman No Cry” that respects Marley’s original sensibility, yet confidently presents a personal interpretation. Rudd’s playful Paul Simon-like experimentalism retains interest throughout-he even manages to use wave sounds without descending into New-Age soundscape hell. At points, his environmentalist polemic aggravates, as with the refrain, “It’s such a shame that all this shit exists/Here on this Earth, this magical place.” But his obvious sincerity excuses his lack of subtlety. Warning: Rudd’s catchy songs evoke a Huckleberry Finn-like innocence that will induce whistling.-LIZZIE MCNEELY
Xavier Rudd plays the Phoenix March 3.
Gwen Stefani – Love Angel Music Baby
(Interscope)
One of the most eagerly anticipated releases in recent memory, Stefani’s solo disc actually lives up to the hype. Starting with the fabulous, frenetically paced first single “What You Waiting For,” it keeps the tempo up with the Fiddler On The Roof-inspired “Rich Girl.” The best tracks are the most 80s-inspired, an era that suits Stefani well, judging by No Doubt’s recent hit remake of Talk Talk’s “It’s My Life.” While her distinctive voice thrives in a dance track, the two slower numbers, “Luxurious” and “Cool,” work just as well, making it the perfect record to throw on while getting ready for a night out. Stefani has said she set out to make an album where every song could be a single, and it shows. Like her L.A.M.B fashion line, it’s sexy and fun, and you’re bound to encounter it everywhere.-MARK MERCEREAU
Ember Swift – Disarming
(Independent)
At first blush, you could easily make the mistake of branding independent singer-songwriter Ember Swift “Toronto’s answer to Ani DiFranco,” or even worse, cast her record aside based on the impression that she’s ‘just another politically driven feminist with an agenda.’ You could dismiss her work as unoriginal in this way, but that would mean you’d never actually heard of her or her independent label, Few’ll Ignite Sound. Disarming is the latest of seven recordings released by FIS since Swift formed the label in 1997. Armed with an anti-corporate message and fellow bandmates Lyndell Montgomery (bass guitar/electric violin) and Adam Bowman (percussion), Swift skillfully adapts her jazzy, folk-inspired vocals to a myriad of musical genres. From blues to reggae to spoken word, funk and punk, the trio’s sound is all over the map, refusing to be categorized. More than just art for art’s sake, or wannabe activism, this is good music working for real change.-LAUREN GILLETT
Various Artists – New Glue Vol. 1: Sniff Compilation
(New Glue Records)
Imagine you’re driving across a desert with Karen Kain and Hunter S. Thompson (R.I.P.) and they’re fighting over which music to put on next. This is the CD they would agree on. The first compilation by Toronto-based and artist-operated New Glue Records, this nice balance of the bizarre and the beautiful is filled with a mixture of aggression, lush soundscapes, pared-down pop, and stream-of-consciousness lyrics. While it would be nice to see some more of Lullabye Arkestra’s metal-meets-soul, there are more than enough good tracks from bands like Pop Quiz (imagine Beatles-meets-The Royal Tenenbaums) and Winterbloom (featuring members of Do Make Say Think and Broken Social Scene) to go around. But all in all, it’s really mostly just music to play in the background, not the feature presentation. In short, good driving music to satisfy both your inner artiste or gonzo wild child.-CAITLIN STAROWICZ
Rufus Wainwright – Want Two
(Geffen/Universal)
“And they all lived,” reads the inscription on Want Two, cabaret crooner Rufus Wainwright’s highly anticipated follow-up to last year’s Want One. This epigraph neatly encapsulates the dark fairy-tale motif that permeates both Want sets, and also fits in nicely with the mood of the album, wherein Wainwright accepts life’s adversities and uses them to fuel his art. More operatic and irreverent than Want One, this collection features everything from Wainwright griping about the “ogre in the Oval Office” to a bluesy elegy for the late, great Jeff Buckley. Wainwright is at his strongest on the lighter, melodic chamber pieces, such as the baroque “Little Sister” or the simple, bittersweet ode to Montreal, “Hometown Waltz.” His vocal skills shine on the gorgeous piano-based “The Art Teacher,” and he displays his knack for catchy hooks in “The One You Love.” The album’s centrepiece, “Gay Messiah,” is a folksy, biting jab at gay culture that showcases the singer-songwriter’s clever lyricism. Fleshed out by two bonus songs and a full-length DVD concert, Want Two is a stunning work of artistic achievement that manages to be both introspective and accessible.-EMILY LANDAU
Chris Warren – Beautiful Ruins
(Independent)
Local songsmith Chris Warren performs a wonderful array of folky troubadour rock that will put a smile on your face. Warren’s material brings the best of Neil Young’s acoustic work to mind, but does so with a varied approach that manages to maintain interest for the duration of the entire album. Intelligent lyrics, at times extracted right from the landscape of Toronto, add colour, such as on “Hole on Bloor Street” (“There’s a hole on Bloor St. where Rebecca used to be/For a block or two around the Future Bakery/Oh, you should have seen the kindnesses she did for strangers on the street”). The use of horns adds diversity to Warren’s catchy, melodic sound, and his solid vocals are complemented by female back-ups that add either a dark or cheerful vibe depending on the mood of the song. Beautiful Ruins is generally gentle and strummy (see the title track), though a nice kick of electric guitars finally erupts on “Outside Time” just when you need it. With perhaps the one exception of “Something (That Feels) New,” my interest was held throughout the whole record, and for this type of music, that is quite a compliment indeed. Highly recommended to anyone looking for music that is relaxing, thoughtful, and passionately performed.-ADAM McAULEY
