Music Reviews: May 2008

A band as long-lasting as Death Cab would eventually have to regroup and launch their sound into a grittier, more primal direction, shaking off the stigma that comes with entering the Post-Millenial Platinum Club.

Ministry, for what could actually be their last album, give in and just play the songs everybody knows.

Hayden Desser’s recipe for artistic success: He knows what is necessary and when it’s so. Throughout the entirety of In Field and Town, everything is completely necessary and nothing is extravagant.

For their second album, the Duke Spirit have developed into something much clearer and less derivative than their debut.

This wonderful compilation surveys the Brazilian hybrid known as manguebeat, a fusion of rock, hip hop, funk and traditional styles like maracatu and samba.

A fine but not singular record from a tenor saxophone trio that seems intent on evoking the greats of the tradition: Coltrane, Rollins, and Joe Henderson.

Those who can't rock, write? Country music journalist Peter Cooper just might be the exception that proves the rule.

Instead of a side project of the Arctic Monkeys' frontman, the Last Shadow Puppets comes up as a labour of love for newly discovered influences.

Tom Shimura's second solo LP is hip-hop soul food, as funky as you wanna be.

On their sophomore release, this Chicago duo inches closer to post-rock without completely abandoning its metal trappings.

Power-pop/punk hasn't been this fun in a long time!

A hillbilly concept album about a murder trial? By all rights, such a thing shouldn't exist. But it does; and it's great.

Northwest rockers Wake Robin thrive on The Taker, with a flourish of songwriting prowess and musical proficiency.

Bryars’ magnificent treatise on the persistence of sound, and the courage and invention of human beings renders comment superfluous. Listen to it before you read any review.

A five-year break and some fresh blood have proven invigorating for Tindersticks, who pick up right where they left off.

Predictably, adhering to the tacit rules of pop has not produced any surprises but has instead cemented her position in the realm. However, the appeal of her club tracks may deter some who love to hate.

The "minimal" techno innovator's victory lap comes about a decade too late.

Not to be confused with punk bands Rise Against and Against Me!, these guys have been making moody, effective post-punk out of the Midwest for a quarter of a century.

McLachlan is an inimitable vocal talent able to bring her ability to bear on others' material, skillfully interpreting words and melodies in virtually any context.

Footage of the group's live performances shows seas of people shaking their arms, and after listening to Dances of Resistance nothing in that picture feels exaggerated.

It's the versatility of synthesizers that’s on display as much as the specific personalities these musicians created.

One more in the coffin of the record industry. Seven more to go?

Dear Presets: a breakup letter from a former fan

Prodigy has met the demands to make more mature music, but instead of growing up in a traditional sense, his gangster personality has matured into that of a paranoid, nihilistic outsider.

The Submarines solidified their strengths and condensed them into an altogether more accomplished sophomore record.

The gift of the South is that it interrupts any heroic tale the United States tries to tell about itself, even when we have to trace the racism for ourselves from the underside of the electric guitar or the failed exorcism of bongos.

You may already think of them as just an early ‘90s one-hit wonder, and with their new album, the Proclaimers will probably not prove you wrong.

Fifty-seven artists line-up semi-alphabetically to salute those affected by the Minneapolis bridge disaster last year.

For the most part the quartet succeeds in doing what they do best -- blending American music genres with ease and enthusiasm.

Port O'Brien's full-length debut delivers on the promise of previous releases and the forecasts of famous fans.

The Oldest Rock ‘n’ Roll Band in the World proves why they are also still the Greatest on the explosive live soundtrack to their acclaimed Martin Scorsese concert film.

The rising jazz pianist takes a stab at transforming the tone of the 21st century with a visionary album that blends the artistic and the intellectual.

The only thing obstructing Theatre of Disco from wheelbarrows of high praise is the fact that you can only occasionally make out what they are saying.

Ultimately a likeable, if unadventurous, record that manages to recapture what was so great about past pop songs: a keen sense of melody and an ironic sense of humor.

The jazz tradition is the best part of Steve Lantner's music, regardless of whatever other words you choose to slap on it.

Unlike the "release everything we came up with" aesthetic of Ghosts I-IV, The Slip actually sounds like an album.

Infectious, irreverent and playful, Camille's vocal dexterity is more compelling than her comedy.

HBO’s Kiwi sensation serves up some of their strongest material in a CD that could double as a pop-up book.

Ten years after Ol' Blues Eyes exited the world stage, a compilation of his movie songs reminds us of his signature vocal talents, but lacks vital context on Sinatra himself.

On their sixth album, the Finnish metal greats remember to provide a little substance underneath all the flash.

AZ releases yet another high-quality, even accessible album that is sure to fly completely under the radar of the mainstream, fueling the argument that he is one of the most underrated rappers ever.

The most successful world-music-for-dummies label that isn't Putumayo!

The legendary post-punk pioneers get Rhino's famous "Best of" treatment. Sadly, we all could have made this album ourselves.

Beautifully recorded, and alive with the unpredictable energy that drives their killer live shows, Kensington Heights demonstrates the band’s maturity, and their well-earned confidence.

Props are in order as the seventh full-length from Ben Watkins defies expectations to be his most complete and diverse record yet.

Like a carnival mask, this public image really isn’t meant to fool you as much as to set the mood. The overriding vibe can be simply described as the sweetness of love.

It's slick. It's stolen. It's scary.

The Russian-born jazz trumpeter makes a deeply felt and beautiful record that sits on the soft edge of the tradition.

Former Jump, Little Children frontman forges on with ethereal, lyrical pop melodies.

A gutsy, experimental record which dares to be different, and proves that the Blondes are one of the more exciting groups around at the moment -- as close to synth-pop perfection as you're likely to get.

Firewater blow up the laboratory and produce… a great pop record.

Margaret Wienk's folk noir enters a new realm, traveling through gorgeous fantasies and inspiring landscapes as she confronts the more sinister aspects of the real world.

The acclaimed minimalist composer’s concept piece inspired by slain journalist Daniel Pearl is just as baffling in execution as it is in theory.

Soulsville USA shows its relevance outside of Memphis with a pair of releases from Stax artists covering London and Detroit in their gritty soul sound.

Building on provocative soul, funk, and jazz, Eric Lau proves to be a heavily talented producer whose love for collaborating and creating shines through on this debut album.

A seamless fusion of Jewish music and Afro-Cuban groove, this project from a Canadian trumpeter and a Cuban pianist is real "world music".

Relentlessly high concept electronic duo relaxes the rules, except for one, and come up with a winning but divided record.

Lush, Beatles-influenced pop that offers a glimpse of what a more well-adjusted Elliott Smith might have sounded like.

Curumin is further proof of Quannum Projects' impressive roster that continues to innovate and diversify popular music.

Americana singer-songwriter Joe Ely and accordion player Joel Guzman are very good in the intimacy of this live setting.

A perfect fit for the Kill Rock Stars label, this Pan-African feminist baroque punk trio shows staggering promise on its debut album.

There's always room for a fun AC/DC rip-off, especially when it's this good.

Post-Smiths, pre-Britpop band the Wedding Present dust off “oldies” for this impressive, satisfying guitar-saturated record, a record you’d be a complete fool to not enjoy from start to finish, top to bottom.

Shifting gears back from political manifesto to unerring personal exploration, it's a moderately better day for Republicans and a great one for hip-hop fans.

Live energy and racing tempos have translated to studio recording very well, but the band's genre decisions, intentional or not, may not be maximizing their potential.

Although it's not as groundbreaking as Endtroducing ..., this album makes a strong case for being one of the top records of the year.

The kids might not be into doo wop, but they should be.

It's clear the Elephant 6's founding ideals are as influential and enduring as ever.

This is some of the best alt-country to come out of Texas since the Old 97s' Fight Songs.

Guru gives us one idea at a time, like he's walking next to Big Bird, and Snuffleupagus is on next. Hip-hop for beginners.

Essential listening for anyone interested in the artistic and emotional depth of American popular music, Redding’s Otis Blue is nothing short of spectacular.

British quintet Foals are not brazenly avant garde on Antidotes, but their intricate and dancey brand of art-punk is no less enjoyable for it.

They are called Awesome Color, they’ve toured with Dinosaur Jr. and Sonic Youth, and they love the Stooges. This really is exactly how you’d expect them to sound.

Groundbreaking British glitch-rockers' debut gets a long-overdue North American release.

With the follow-up to his 2005 debut, Ruby Suns frontman Ryan McPhun tape records his worldly travels to complement his unique brand of psych-pop.

The venerable piano/vibes duo revisits its most vital recording, cloaking it in classical filigree and nostalgia

With Heloise Williams, the old adage that some glitter-punk-dance girls are better seen and not heard rings true.

The second act of Mariah's comeback doesn't wisely expand her sound: it instead succumbs to the blueprint so carefully laid out by its predecessor, a pointless remake that exists only because it has to.

One of the best live bands in the world puts out its first live album, and as one would expect, it turned out pretty great.

Twin Cities duo lacks the charisma and quality production to excel on their latest, obnoxiously named album.

Dead Child pays homage to the golden-era of metal. Heavy enough to please Bay Area thrashers and stoned out bluesmen alike.

The unrelentingly sexy, guitar-driven dance rock and harmony-heavy glam pop American debut from Switches.

With all the genre-hopping the Waybacks do, Loaded is like a mixtape made for you by your infinitely cooler friend.

Most were hoping that Idiot Pilot would play to the strengths of their debut to produce a top-notch follow-up; in reality, they've played to their weaknesses and come out with a sophomore that is little more than average.