Blackalicious
The Craft
(ANTI/Epitaph)
Like many other artists who spit a more conscious style of rap, Blackalicious is burdened with the “nerd rap” stereotype. But in reality, these are the artists who are talking the truth about everyday life in their musings. On The Craft, you won’t hear lyricist Gift of Gab rhyming about bustin’ a cap in someone’s ass. Though he tones down his signature fast-paced rhymes, he’s still keeping it innovative by delivering his thoughts on people’s aspirations and individual tragedies and triumphs. While The Craft walks a fine line between old-school and just plain dull on some tracks, the songs seem to get progressively tighter throughout the album. Producer Chief Xcel makes up for looser tracks by setting up a funk’n’soul feel (with the help of guest vocalists George Clinton and Floetry) on many other songs, including “Black Diamonds and Pearls” and “Lotus Flower.” In addition, “Powers” has an Andre 3000-esque feel to it with a pop/dance/hip-hop vibe. But while The Craft is certainly a refreshing and thought-provoking album, Blackalicious needs to tighten up some before they’re in the Outkast league.
-JAYANI PERERA
The Burdocks
What We Do is Secret
(Black Mountain Music)
Upon first listen to “What We Do is Secret,” you think to yourself that it certainly sounds like a great Modest Mouse record. The same kind of disjointed guitars and world-weary lead vocals are employed on the fourth release by Halifax indie mainstays The Burdocks, along with whip-smart lyrics like, “You’re in love with yourself/And I’m not.” But then you play it again because you want to hear the ending of “Let’s Cut Each Other Up” and the Strokes-ish chord progressions in “Turn the Century,” and realize that it’s only like one band-The Burdocks-that just happens to remind the listener of a hundred amazing others (like Pavement!). This makes you like it even more. The album combines an oddly accessible mix of indie rock-out guitars and punk screaming with sparse synth beats that happily swim in and out of the mix. Is it post-punk, prog-rock, or indie? Do we even need to care? What We Do is Secret is ferocious and tender whether it’s blowing your mind or breaking your heart.
-CHANDLER LEVACK
Cowboy Junkies
Early 21st Century Blues
(Latent Recordings)
For what is essentially a CD of cover songs, Early 21st Century Blues is a remarkable piece of work. In an effort to touch at least some souls in this era of unrest, veteran local act Cowboy Junkies have pulled a number of songs from different artists all having to do with “war, violence, fear, greed, ignorance, loss,” as they put it. Some of their takes on these tunes actually sound better then the originals. Maybe it can be chalked up to better current recording technology, but the Junkies seem to add elements that were missing from the originals. The harmonies and melodies are much clearer, and have that much more of an impact. If there’s one flaw to be found in this record, it’s the hazy vocals, which are occasionally indecipherable from the instrumentals. Whether by intention (singer Margo Timmins is known for her dusky murmur) or not, it still got on my nerves.
-PETER CIURCZAK
Cowboy Junkies play Massey Hall February 4.
For The Mathematics
The New Science
(Independent)
Having professed an admiration for now-defunct indie-rock legends At The Drive-In, vocalist Robb Barnes and the rest of this Ottawa five-piece pull no punches on their debut LP. A sweet falsetto mixed with sharp screams counterbalances wailing guitars and thunderous percussion, all the while drawing sharp comparisons to ATDI and its prog-rock successor, The Mars Volta. The latter’s influence is especially noticeable on opener “Redlightexitsignpastiche,” as Paul Frangione’s Latin-tinged drumming complements Barnes’ ever-shifting vocals. “Unter Ihrem Sitz” also enters Mars Volta territory, beginning with a burst of psychedelic, spacey ambience before quickly delving into a surprisingly welcome shriek-fest. Frangione’s phenomenal drumming acts as a fierce pulse by which the rest of the ensemble respond and rise to the occasion. That tight cohesiveness prevents this extremely promising band from resembling yet another mediocre ATDI-wannabe act.
-BJ EDWARDS
Hiretsukan
End States
(G7 Welcoming Committee Records)
The second EP from G7’s Hiretsukan puzzles me. Its musical arrangements verge on a unified symphony of rock rage, but vocalists Michelle Proffit and Dave Sanders vomit all over it with nonsensical screeches. A karaoke version of this album would be a pleasure to listen to, but with the vocalists barreling through the half-hour disc with shouts of unbridled scratchiness, listeners will be left wondering what the hell they are trying to say. This is a decent album to listen to when you are in a very sour mood. The rage comes through, even if the lyrics don’t. You can jump up and down in the invisible mosh pit on your bed, grimacing as these New York noisecore kids blast the eardrums out of your head. Once the record is over, you’ll feel much better. If you are into the hardcore scene, you ought to check this disc out. If not, remember-you have been warned.
-AVI WEINRYB
Lenni Jabour & The Third Floor
Les Dangereuses
(Independent)
It’s been a while since Lenni Jabour and her band The Third Floor have graced the Toronto music scene with their vintage sound that’s reminiscent of times past in places visited only in dreams. Imagine yourself in a Parisian cabaret lounge, and there will you find the theatrical and French standards-inspired melodies of Lenni Jabour. Her band, composed of double bass, drums, glockenspiel, accordion, and even a tap dancer and a hula hoop, all greatly add to the charming ambiance. If you enjoy the sounds of local songstresses Sarah Slean and Valery Gore with their sultry and almost fantastical voices accompanied by piano, or Gallic folkie Keren Ann, this bilingual collection of cabaret tunes is sure to please.
-SARAH STUNT
(Lenni Jabour appears live to air on CIUT 89.5 FM’s It’s Alive Nov. 21 at 1 pm.)
Neverending White Lights Act I:
Goodbye Friends of the Heavenly Bodies
(Ocean Records/MapleNationwide)
For his dream project, producer Daniel Victor assembled a talented roster of male vocalists, including Nick Hexum of 311, Dallas Green of Alexisonfire, Daniel Greaves of The Watchmen, and Our Lady Peace’s Raine Maida. The result is a moody masterpiece imbued with a whispered urgency. Every track, sung by a different guest artist, drips with sincerity-by extracting the artists from their bands, Victor garners surprising results. Green displays his versatility outside of his screamo gang Alexisonfire on the track ‘The Grace,” while Maida leaves his “We are all innocent” shtick from recent overblown OLP ballads behind, and instead lays down a powerful track about collective guilt (“Liar”). Highly recommended.-AW
(Neverending White Lights play the El Mocambo Nov. 26.)
The Planet Smashers
Unstoppable
(Stomp Records)
This band makes people happy. The Planet Smashers are the friendliest ska-punk band in Canada, which perhaps explains how they continue to tour and sell records while making music of a genre that many people consider passé. Unstoppable doesn’t break any new ground, but bounds across the playful, up-tempo terrain that they have lorded over for more than a decade. The lyrics are the only thing that have changed, and they incorporate some deeper, more political themes than on previous albums-maybe a sign that the band has matured beyond their “Pee in the Elevator” years? If you haven’t heard the Smashers before, go buy 1999’s Life of the Party or 1997’s Attack of the Planet Smashers. If you already like the band, get this disc. You wouldn’t want them to stop touring because of low record sales, would you?
-JENNIFER FABRO
Precious Fathers
Precious Fathers
(White Whale Records)
As a self-professed lyric whore who counts karaoke as one of her passions, I nonetheless found Precious Fathers’ self-titled debut album to be surprisingly satisfying. Each of the nine tracks from the Vancouver instrumental post-rock quartet is reflective of their laid-back West Coast roots (band members also contribute to other projects like Destroyer and Sparrow). Electric guitars, synth, bass, drums, and the occasional horn unite to take the listener for a mellow ride that flows seamlessly from the beginning of “Prairie Train” to the end of “Purple Mint.” Not tailored towards high-energy tastes, it’s rather the ideal album to unwind to. Precious Fathers has made me an instrumental music convert. Almost.
-ANITA LI
Janine Stoll
This is Where We Bury It
(Independent)
Toronto is just oozing with musical talent these days, and one artist to keep your eye on is singer-songwriter Janine Stoll. Steering clear of today’s highly disposable pop sound, Stoll offers a little of everything-from African rhythms (Stoll often sings with Toronto afrobeat band Mr. Something Something, and seems to borrow a little of their fusion style here) to jazz and funk, to folk ballads and even a country song. There’s also an a capella piece done in a layered vocal style similar to American folk heroine Ani Difranco. More substantial than her 2001 debut release, This is Where We Bury It lacks traditional folkie-style restraint and offers mysterious, intriguing, and thought-provoking songs track after track. Stoll recorded the album at World Records Studio, a century-old home-turned-studio in High Park affectionately known as the Gingerbread House, and you can hear some of that old-fashioned warmth in her music.
-MIYOKO OHTAKE
The Tossers
The Valley of the Shadow of Death
(Victory Records)
The grandfathers of the modern Celtic punk movement, The Tossers deliver another album in the same vein as genre heroes Flogging Molly and the Dropkick Murphys. Of course, The Tossers were there first. The latest album from the Chicago crew doesn’t add any new elements to the Irish punk arsenal but is a decent effort nonetheless. The acoustic guitar takes the place of the electric twanger on this disc, which allows the array of other instruments-banjo, tin whistle, mandolin, strings, and the uilleann pipes-to come across strong and clear. Starting off with the short but punchy “Goodmornin’ Da,” the tale of a wild child who ends up in jail after a bar fight, the record winds its way though similar themes (“A Criminal of Me” takes on alcohol and prison), but also delves into the concept of finding your place in a new country. “The Crock of Gold” is a Pogues-esque tribute to life in Chicago, while “Drinking in the Day” pays homage to Irish balladeer Ronnie Drew. The good mix of faster, punk-influenced songs and slower, folksy ballads should satisfy those looking to get their Celtic fix.
-MATT SOMERS
(The Tossers play the Phoenix November 30.)
