The Dears – Gang of Losers (Maple Music)
Montreal indie-rockers The Dears have always shown a lot of potential. Earlier singles like “End of a Hollywood Bedtime Story” and “Lost in the Plot” are good songs that hinted at something more impressive. But now, after three years of waiting, and watching them receive a bunch of hype from their long list of more successful musical friends, we get Gang of Losers, a disappointing collection of meandering, mid-tempo songs that finds the band shedding almost everything that was ever interesting about them.
The sound is polished and radio-ready, but singer Murray Lightburn hasn’t written any decent songs to back it. While there are some nice moments throughout the album, nothing gels into a single standout track. The lyrics also disappoint, usually coming off as contrived or ridiculous. “Everyone is almost done with me,” Lightburn sings on “Ticket to Immortality.” He’s right, and this album should finish the job. -L.H.
Rating: Vv / VVVVV
TV on the Radio – Return to Cookie Mountain (Interscope)
New York City’s coolest industrial-blues outfit TV on the Radio have their roots firmly planted in experimental electronic music. While 2002’s OK Calculator (yes it’s a Radiohead nod) was more on the abstract side of things, 2004’s Desperate Youth, Blood Thirsty Babes brought them critical acclaim and contained their first masterpiece, “Staring at the Sun”. Return to Cookie Mountain sees TVOTR continue in their quest to combine cacophonic percussion with haunting vocal loops and innovative synthesizer lines. They also make a bid for the indie-rock dance floor with the instant hit “Wolf Like Me” (which sounds more like a Bloc Party single than anything off of OK Calculator). Other highlights include the atmospheric guitar work on “Province” and the syncopated drum programming on the industrial-meets-orchestral opener “I was a Lover.” -J.B.
Rating: VVVV / VVVVV
jacksoul – mySoul (Sony)
In his ongoing mission to sleep with your mom, jacksoul lays down his glossy reinterpretations smooth and easy. There’s no doubt the guy has musical chops-it’s just what he chooses to use this talent to accomplish that makes for trouble. The first problem is the title, mySoul, which is inappropriate considering that this is an album of other people’s music. Another bold misstep sees him covering “Been Caught Stealing” by Jane’s Addiction and “High and Dry” by Radiohead. While not quite as bad a Bedouin Soundclash’s “New Year’s Day” massacre, these two tracks are still seriously embarrassing to listen to, and almost work as comedy. Hearing jacksoul main man Haydain Neale scat all over Perry Farrell’s outsider anthem makes me think that this musical shoplifter should be prosecuted. As for Radiohead, I seriously hope their label just slipped this shameful Seal-esque abortion past them, I can’t see Thom Yorke agreeing to allow this kind of tripe out into the world. While your parents might love this disc for Christmas, its artistic merit is nearly zero. mySoul is jacksoul jacking off. -J.B.
Rating: V / VVVVV
Lupe Fiasco – Lupe Fiasco’s Food & Liquor (Atlantic)
When Lupe’s unfinished album leaked online several months before the late June release, many felt that he would be hard-pressed to improve on what was already being hailed as a classic. But Lupe comes back even stronger on the finished project, rapping over an album that’s musically fascinating. Food & Liquor takes the approach of a film score, each beat fitting in perfectly with the themes and ideas presented. From the dramatic “Intro” to the shout-out filled “Outro,” this debut offering makes few mistakes, relying heavily on Lupe’s lyrically sharp rhymes like, “The books that take you to heaven to let you meet the lord there/Have become misinterpreted reasons for warfare.” In-house producer Prolyfic outshines contemporaries Kanye West and Pharrell as he contributes his services to the high-energy track “Just Might Be OK,” the gritty Jay-Z collab “Pressure,” and “American Terrorist.” The passion Lupe Fiasco brings to his work is unmatched, and the only thing more intriguing than this near-perfect showing is the prospect that this 24-year-old MC from Chicago can do even better. -S.S.
Rating: VVVV / VVVVV
Anagram / The Creeping Nobodies – 12″ Split
(Dead Astronaut/Blocks)
This vinyl and digital-only split EP is a collaborative release between Toronto imprint Dead Astronaut Records and the always-eclectic Blocks Recording Club. Sporting simple, yet attractive handmade packaging, the record offers four new songs from the militant wing of Toronto’s indie-rock scene. Side A features two new songs from agro-indie-punks The Creeping Nobodies. In step with their manic live show, the first track “Sacrosanction” alternates between soothing female vocals over a hypnotizing bass riff and frantic guitars that shake and shimmer through loads of reverb and distortion. On “Psychic Weapons” the Nobodies’ frontman Derek Westerholm gruffly stakes out his belief in government-sanctioned mind control, and describes its use on civilians and enemies during a future time of war. Whispered verses give way to feverish, paranoid choruses which build into a breathless finale. On side B, belligerent post-punk fanatics Anagram offer up two tracks that didn’t make it on to their acclaimed January debut After Dark. Devoid of the signature saxophone accompaniment from their album, reclusive singer Matt Mason still speaks and screams his brooding, confessional lyrics with reckless abandon. The second track, “Manic Indulgence,” tells the story of a pointless after-hours bar fight, and is easily the stronger of the two. -J.B.
Rating: VVVv / VVVVV
Uncut – Modern Currencies (Paper Bag)
Modern Currencies, the second full-length from Toronto techno-turned-rock quartet Uncut, begins with “Dark Horse,” an awesome and infectious evolution from their previous work. Driven by bendy Jay Mascus-style guitar solos, they sound more instep with Broken Social Scene than Joy Division on this anthemic opener. While their last record, Those Who Were Hung Hang Here was one of 2004’s best, Uncut has refused to use the easy recipe of retracing their past success. Drawing on everything from the shoegazer sounds of Swervedriver and The Jesus and Mary Chain (especially on “Kiss Me”), as well as more modern noisemakers like former tour mates Read Yellow and Trail of Dead (which is evident on full-out rocker “Out of Sight”) helps keep their sound fresh. At their lyrical best when founder Ian Worang (who is about to start moonlighting on bass with the Diableros) is on vocal duty, Modern Currencies also features strong singing by guitarist Sam Goldberg and bassist Derek Tokar on roughly half of the 12 tracks. “Hideaway” sees Goldberg presiding over some hyper hi-hats, killer Thunderbird bass work, and soaring guitars during an intensely awesome instrumental pre-chorus near the song’s beginning. This gives way to some eerie atmospheric backing vocals from former Hole bassist Melissa Auf Der Maur that are reminiscent of “Loveblind” by Secret Shine, or Loveless era My Bloody Valentine. Another highlight is “Chain Fight,” which offers up some fantastically frantic twinkling guitar picking that creates the catchiest verse on the record. Despite the obvious sonic growth between albums, fans of Those Who Were Hung will be pleased that tracks like “Never Say Never,” (which sounds like “Buried with Friends” on Valium) and “Minus One” (which sounds kinda like “Evil” by Interpol, but on speed) are far from unfamiliar territory. Production by drummer Jon Drew (Paper Bag’s unofficial “Producer on Record;” he’s twisted the knobs for label-mates Magneta Lane, Cities in Dust, and Toyko Police Club) is of his usual high caliber, highlighting thick and unique drum sounds, deep and driving bass lines, and razor-sharp guitar melodies. While nothing on this record clearly trumps their previous highs of “Taken in Sleep” or “Day Breaks Red Light” Modern Currencies is one of the year’s best, and makes for the perfect fall and early winter soundtrack. -J.B.
Rating: VVVV / VVVVV
