Back to DG's Entertainment Beat
| WWWWW- You can’t go wrong with this |
| WWWW- Excellent, worthy of attention |
| WWW- May not change the world, but it’s still good |
| WW- I’m not so sure about this… |
| W- Well, it makes a great Frisbee |
See all reviews |
||
| New: | ||
| Artist- Album | Rating (out of 5 W's) | Description |
| Candiria- What Doesn't Kill You Will Only Make You Stronger (Type A/Red) | WWW | Brooklyn, NY's Candiria's fourth album and first since 1999's "Process Of Self-Development continues the diverse sound that Candiria have been known for. Their sound- a mixture of melodic hard rock mixed in with pop-metalcore stylings- is presented here as a vibrant and thoroughly refreshing entity, presenting a band that will one day earn the chart success that it deserves. The best song here- and probably the catchiest number- is the melodic, poppish "Remove Yourself", which mixes some emotive screaming amazingly timed with a mid-tempo rock beat and melodic singing. Other highlights include "Dead Bury The Dead" and "9MM", the strangest song here as it's a lone rap-rock song among mostly hard rock songs (although "1000 Points Of Light" has a rap in it). There are times when it does degenerate into rather unimpressive and generic metalcore (the beginning of "1000 Points Of Light" comes to mind) but for the most part the band is refreshing to listen to and shows themselves with a lot of potential to build on in the future. |
| Coheed & Cambria- In Keeping Secrets Of Silent Earth: 3 (Columbia/Sony) | W | The latest album from emo upstarts Coheed & Cambria is a boringly verbose affair, the kind of album that feels deep but really isn't. It's also pretty boring, making the forced drivel even more painful to bare. In fact, it's almost like AFI's dreadful "Sing The Sorrow" last year only that it's more pointless than immature. For example, in "Three Evils (Embodied in Love and Shadow", singer Claudio Sanchez (who sounds a little too much like Geddy Lee) sings of "leveled malfunctions" (last I checked, malfunctions don't have any order to them) and, in the title track, natters "Man your own jackhammer/Man your battle stations" (would it be so hard to have simply stated "man your battle stations" twice? Oh, and why would a soldier fight with a <i>jackhammer</i> of all things). This all while the band meanders play rather unemotionally and robotically in the background, giving the poetry all the urgency of watching the paint dry. The worst song here, though, is "The Camper Velourium II: Backend of Forever", where Sanchez concludes a wordy, whiny rant with "I have no luck with girls", with that last line given so much emphasis that it drains the feeling right out of the poetry (they built the whole rant to conclude with that? Something's not right here). It's not all lost- "A Favor House Atlantic" is very catchy and pretty entertaining- but for a band with so much potential in that song and last year's "Devil In Jersey City", the wordy "In Keeping Secrets of Silent Earth: 3" is a major, major letdown. The band should realize that there isn't anything wrong with poetic flair or really descriptive, vivid imagery- but if all they do is meander endlessly to wind up to a rather silly conclusion all while delivering it with the same energy as a sloth, who will care what they have to say? |
| Cradle Of Filth- Nymphetamine (Roadrunner/Universal) | WWWW | One of black metal's more enduring bands have been British stalwarts Cradle Of Filth, who emerge with their sixth album and third since their breakthrough single "Her Ghost In The Fog" in "Nymphetamine". While "Her Ghost In The Fog" remains CoF's overall standout, "Nymphetamine" boasts a couple of standouts of its own, like the anthemic and haunting "Gabrielle", the mid-tempo "Absinthe with Faust" and "English Fire", which begins with a compelling piano sequence, which, if nothing else, shows CoF frontman Dani Filth's classical influences. Still, nothing on the album compares to the title track, which comes in two versions- one, a five-minute "single" version and a nine-minute-plus epic which contains the single version right in the middle of the song. The latter (titled "Nymphetamine Overdose") begins with the band charging full-speed ahead, then slowing down for the single version then speeding up again to close off. It's a wonderful juxtaposition as it highlights what appears to be a struggle to cope with an addiction ("Nymphetamine" means "beast-like addiction to beautiful, classical women", at least according to CoF). The sped-up parts show an addiction that is consuming Filth, with the sombre middle part showcasing the dark results of this addiction, one that ultimately consumes Filth in the end. It's also a great microcausm for the album itself, as the varying tempos over the length of the album (which CoF seems to intend as a collective unit, although individually the songs work just as well) suggest varying degrees of Filth's battle- all coming to a head with the single version of the title track, which is the album's slowest and most sombre track but also its most powerful. Here, Filth gets reflective on the addiction, which, depending on your interpretation is either liberated from it or has to live with the fact there is nothing he can do to overcome it. Regardless, it still shows CoF are, this deep into their careers, are in full form, and, with a new, larger home at Roadrunner are poised for an even bigger breakthrough. |
| David Francey- Live at the Millpond Cafe, Alliston, Ontario (Live Review) | WWWWW | (For review, click on the link) |
| Eminem- Encore (Shady/ Aftermath/ Interscope/ Universal) | W | (For review, click on the link) |
| Hilary Duff- (Self-Titled) (Buena Vista/ Hollywood/ Universal) | WW | Last year, 17-year-old Hilary Duff came onto the music scene with mixed reviews- there were those who howled that she used her fame gained from her "Lizzie McGuire" days to land a music deal without any effort, and there were those who saw Duff as an ambitious young girl out to challenge herself and provide something new to her
fanbase. Personally, after listening to her debut, "Metamorphosis", I took the latter side- "Metamorphosis" was a fresh, quirky album that may have sold a bit too much to her fanbase and not to everyone else but still showed an artist who was ambitious and really wanted to make an album. Whatever side you take, it's indisputable that Duff is currently the only person in the music industry who can do both music and movies successfully, even if she hasn't gained a highly reputable position in either field. Fast forward to this year, with another Duff album (this one) and another Duff movie ("Raise Your Voice"), and you still see that ambitious young girl, looking to step up to the next level. The only difference is that on this album, which is meant to show Duff as a bit more grown-up, Duff may be overshooting herself. For starters, she's not the greatest of singers, and all the effort in the world (which she again shows) can't hide the fact she doesn't have that much power or range in her voice. Secondly, the material itself either devolves into cliches or comes out hopelessly caught between tweeny and seemingly adult. For example, songs like "Who's That Girl?" and "Do You Want Me?" have a more refined, smoother musical progression suggesting material that has more depth (as opposed to, for example, "Why Not?"'s squeaky, hyper-active and rather frivolous beat), but lyrically they are rather childish- the chorus of the former, for example, has Duff exclaiming loudly "who's that girl living my life?", almost half whining as she does it. Then there's "I Am", which is meant to be an inspirational song acting as a declaration of independence, but falls prey to the fact that Avril Lavigne not only beat her to it but also plays that act better. It's not like there isn't anything worthwhile on this album- "Fly" and "Someone's Watching Over Me", for example, are rather compelling pop songs that do show Duff can get to the next level musically- but the truth is Duff has clearly overshot herself this time and needs to work on her craft before attempting another (for her) progressive album. |
| Talib Kweli- The Beautiful Struggle (Rawkus/Universal) | WWWW | Talib Kweli entered with quite a storm in 2002's debut "Quality" and keeps the pace nicely on this album. "The Beautiful Struggle" showcases Kweli with a bit more omph and potential for widespread success but without the loss in quality that may suggest. There's still Kweli's trademark anger and super-fast delivery- it's just delivered with a poppier feel, which isn't a bad thing as the message is not skewed at all. For example, "Broken Glass", the best song here, is an instant club track produced by the likes of The Neptunes, but details the very real (and scary) story of a girl going to New York hoping to realize her dreams only to have it shattered in her face. This kind of song- the "hit with a message", more or less Kweli's trademark- is found throughout the album (e.g., "Going Hard", "Beautiful Struggle", the uplifting first single "I Try"), as well as the simple party tracks that Kweli has done before ("Back Of Offa Me", "A Game"). It may not be as revolutionary as "Quality" was, but "The Beautiful Struggle" should do what "Quality" didn't- deliver Kweli's message to the masses, something he- and his fans- want and deserve. |
| The Calling- Two (RCA/BMG) | WWW | Yeah, there were many willing to write off Los Angeles-based The Calling after they put forth their forgettable debut "Camino Palmero", but the band, instead of giving up smartly wisened up: "Two" is a more focused and more lively album than their first album, showing some obvious growth. For example, the overwrought anthemicness that brought down the last album is replaced by youthful energy and an earnestness to make a good album- in the best song here, the first single "Our Lives", the band sounds revitalized and more focused, using their youthful spirit to create a single that rivals "Wherever You Will Go" as the band's best ever. The rest of the album is full of this spirit, coming from songs like the mid-tempo opener "One By One" to ballads such as "Things Will Go My Way" and "Dreaming In Red". Yeah, the album can be a bit more radio-friendly than it should be and songs can sound a little too similar at times, but the biggest point regarding the album is that The Calling have realized what made the last album fail and changed their perspective: instead of trying to go for grandioise rock, they've opted instead for youthful, anthemic pop-rock, as that's what suits them best; and they're all the better for it. |
| Other Reviews: | ||
| Artist- Album | Rating (out of 5 W's) | Description |
| 3 Doors Down- Away From The Sun (Republic/ Universal) | WWW | Yeah, this came out in 2002…but 3 Doors Down keep releasing singles from it and somehow stay successful. It's not that they're a bad band- they're quite enjoyable actually, knowing how to craft solid rock singles like "When I'm Gone" and "Here Without You"- it's just that they don't have much to set them apart from the likes of, say, Default and Matchbox 20. They make up for it in honesty, as shown by the best song here, the catchy "Going Down In Flames", but it would be nice if they made a little more of an effort to be distinctive. |
| A Perfect Murder- Unbroken (Victory) | WW | Quebec-based outfit A Perfect Murder come out with their second album in as many years with "Unbroken", which does not live up to its title. "Unbroken" is really an uneven, rather boring listen with a few flashes of brilliance thrown in between. The band's greatest asset is their energy, as no matter what they're presenting, they do it with a lot of gusto and at least sound as though they enjoyed making the album (see, for example, the title track or "Speak Without Faith"). However, it still doesn't change the fact much of this album is basically rehashes of what's been done before in the contemporary metal world, as basically they do not present much more than screaming and chugging guitars. It also doesn't help that a lot of this album is basically the same song over and over again- you really have to listen closely to find even the remotest of differences in a lot of songs here. The band does seem to have a little hope though- the reflective mood of "Die With Regret" shows a band that is capable of making music worth listening to, and if they really work hard at it, they just may make a name for themselves in the contemporary metal world. However, if all they're going to do is rehash a watered-down version of the likes of Shadows Fall, few people will be willing to give them a chance. |
| Ahcri- Why Ahcri? (Ahcri Music) | WWWWW | Beck Hansen once mused that the best music was being made in people's living rooms and that we'd probably never get a chance to hear it. Well, "Why Ahcri?", the brilliant new album from Ahcri- the stage name of Victoria, B.C. native Chris A. Lin- is pretty much as close as you can get to a living room creation. Created almost entirely by computer, "Why Ahcri?" is a vivid, compelling and very charming endeavor, a very different mix of music that's very full of surprises. There's the baby-talk sounds of the title-track, the very U2-ish "Atmosphere" (which is also very heavy on the bass) and the carpenting-like sounds of "It Spits (Rhymes)!" that provide just some of the highlights on this very impressive work. Listen to it and try putting it down. I couldn't. (To buy: music.ahcri.com) |
| Alpha- Stargazing (don'ttouch/Nettwerk) | WWWWW | Words cannot simply describe just how incredible this album is. A soothing mixture of trance and electronica, "Stargazing" becomes a completely other-worldly album, leaving its listeners in an entranced state full of beauty and wonder. For one, there is the incredible bassline of "The Things You Might", making it a brilliant trance song that, if released as a single, might just have the effect Energy 52's "Cafe Del Mar" does. Then there's the great, smooth vocals of Kevin Swaybe on "Elvis", as well as the moody "Horses***". The album's back end also impresses, with the mesmerizing "Vers Toi" and the correctly-titled "A Perfect End" with some great vocal work by Helen White. Words just can't describe just why everyone should have this- it's literally one of the best albums to come out in a while, and easily 2004's best. You just can't make trance and electronica that's better than this. |
| Alter Bridge- One Day Remains (Wind-Up/Epic/Sony) | WW | After three albums and several annoyingly overplayed songs later, Creed decided that the music listener had endured enough torture and broke up earlier this year. The break-up led to the spawning of a new band called Alter Bridge, composed of everyone in the original Creed line-up except lead singer Scott Stapp (meaning bassist Brian Marshall is in). This led to even more groans as it seemed that this was Creed with a new name, but guitarist Mark Tremonti said that without Stapp he and his band are not as "limited" as they once were, and the hope was that we may be able to see a newer, different side of the former Creed bandmates. Well, aside from a few highlights, Alter Bridge essentially IS Creed, especially in their lead-off single "Open Your Eyes". Singer Myles Kennedy plays the same "I'm so hurt" card that Stapp used ad naseum, complete with excessive amounts of distortion and lots of overdone "emotional" music playing in the background that was Creed's, ahem, "signature" sound (e.g. "Watch Your Words"). There are a few eye-poppers- Tremonti actually performs solos on this album and does them pretty decently for example (e.g. "Down To My Last"), and the album does have an edgier, harder feel than Creed's more recent singles- but there's really nothing here (especially after Nickelback and you-know-who blew up) that not even pop radio wouldn't touch. That said, "Metalingus" is pretty catchy, while "In Loving Memory" is pretty touching, showing that this band does have potential. However, if the band wanted to show that they're more than the over-emotional sissies Creed became with this album they're out of luck, as no matter how adventurous they may think they are, they still can't think past their past associations. |
| American Idol Season 3: Greatest Soul Classics (19/RCA/BMG) | W | Perhaps this should be expected. Another new American Idol season, another garbage single and another garbage compilation album. There's a bit more production so at least these songs at least sound like songs, but, apart from a very impassioned performance by George Huff (who sung "Me and Mrs. Jones"), there's hardly any passion or anything remotely memorable on this album. It's not as bad as the tuneless, plain warbling of the season before it, but it's still a painfully boring experience. The singers at least present their voices so at least these soul classics are not as painful to listen to as last year's love songs, but several times- like on John Stevens' "You Are Everything" and Leah Lebelle's "Betcha By Golly, Wow"- the singers and the production teams seem uninterested beyond ensuring that people at least don't think there was at least some effort. It's nice to see that BMG is actually trying here, but it's obvious that they are not trying hard enough. |
| Avril Lavigne- Under My Skin (Arista/BMG) | WWWW | (Click On Link To Read Further) |
| Barenaked Ladies- Everything To Everyone (Reprise/Warner) | WWWW | The Barenaked Ladies may be in the twilight of their careers, but at least they're not fizzling out, if the fun, energetic "Everything To Everyone" means anything. The comical and light-hearted songs which dominate like "Another Postcard (Chimps)" and "Unfinished" are again delivered with amazing charm, with the best light-hearted song being "Aluminum", where the band displays their disgust for the metal type. The best song here though is the touching and serious "War On Drugs", showing the side to the Ladies that isn't widely known. It may not be their best, but BNL are far from done. |
| Billy Talent- (Self-Titled) (Atlantic/Warner) | WWW | At first, Billy Talent are another in a huge brigade of pop-punk wannabes and kiddie rock stars brought in by the likes of Good Charlotte and Lifehouse. However, Billy Talent show potential to be so much more, with exceptional lyrics and an eagerness and honesty with which to sell them. It's just a matter of making it musically stimulating, as that only happens on the up-tempo tracks like "Try Honesty" and "The Ex" (its sequel) and on the warm, fresh feel of nostalgia on the '90s-esque "This Is How It Goes". The band no doubt has potential- it's just a matter now of using it. |
| Black Label Society- Hungover Music Volume VI (Spitfire/ Eagle /EMI) | W | As much as it pains me to do this, I must: Zakk Wylde's highly anticipated follow-up to the breakthrough "The Blessed Hellride" is a testament to sheer boredom. It's supposed to be a Southern Rock album in the style of the previous year's title track, but the truth is that this album is merely dressed-up radio-ready rock with some wailing guitar solos. Wylde himself is still able to play guitar like the rest of them, but his songwriting here just borders on the tedious, writing, essentially, the same song over and over again for 15 songs. That doesn't mean there's nothing worth noting- "House Of Doom" is a pretty cool Ozzy-ish song, and "She Deserves A Free Ride (Val's Song)" is pretty touching, but every other song sounds almost exactly like them that they just merely seem pointless. "Hungover Music VI" is being billed as an album that will change everyone's minds about Zakk Wylde, which it might, but it won't be what Wylde wants. They'll all just be wondering where the magic has gone, wondering if Wylde could ever produce something as diverse and brilliant as" The Blessed Hellride" ever again. |
| Brad Johner- Free (Royalty) | WWWW | One of Canada's leading country stars (yes, there ARE Canadian country stars beside Shania Twain) steps up again and produces a beautiful and multi-faceted album. It showcases Johner in all sides- from the cute ("That's What Little Kids Do") to the uplifting and joyous (the title track) to the rebellious and political ("The Farmer's Back" and "The Last Saskatchewan Pirate"). Another fine effort from one of Canada's brightest country stars. |
| Brainstorm- Soul Temptation (Metal Blade) | W | Do you remember that old Labatt's commercial where Tom Cavanaugh kept on asking "if I wanted water, I'd ask for water"? Well, think that for Brainstorm- "if I wanted Iron Maiden, I'd ask for Iron Maiden". The German band tries so hard to produce an epic metal album like the British band did that it comes out a contrived and dull mess. "Rising" sounds a lot like Lacuna Coil, while "Leaving" actually pulls the hook right from Jennifer Lopez's "Waiting For Tonight" (I'm being serious about this one). Very little here is honest and real- it's all mostly rehashes and posing, showcasing a band that can't be anything other than "a pretender". |
| Brooks & Dunn- Red Dirt Road (Arista/BMG) | WWW | It may be hard for some to realize that this is Brooks & Dunn's tenth album, maybe because B&D make things look so easy. They're at it again with their familiar, catchy country-pop/rock sound, reflecting a lot about life in general. They're best when Kix Brooks plays lead guitar and when Ronnie Dunn is the lead singer, as this is when both are their most expressive, like on "Believer". The apogee is "I Used To Know This Song By Heart", where the somewhat silly lyrics (not written by either of them, by the way) are saved by an amazing vocal performance by Dunn and amazing guitarwork from Brooks. It may not redefine country as we know it, but it shows that the duo haven't missed a step this far into their career. |
| Candiria- What Doesn't Kill You Will Only Make You Stronger (Type A/Red) | WWW | Brooklyn, NY's Candiria's fourth album and first since 1999's "Process Of Self-Development continues the diverse sound that Candiria have been known for. Their sound- a mixture of melodic hard rock mixed in with pop-metalcore stylings- is presented here as a vibrant and thoroughly refreshing entity, presenting a band that will one day earn the chart success that it deserves. The best song here- and probably the catchiest number- is the melodic, poppish "Remove Yourself", which mixes some emotive screaming amazingly timed with a mid-tempo rock beat and melodic singing. Other highlights include "Dead Bury The Dead" and "9MM", the strangest song here as it's a lone rap-rock song among mostly hard rock songs (although "1000 Points Of Light" has a rap in it). There are times when it does degenerate into rather unimpressive and generic metalcore (the beginning of "1000 Points Of Light" comes to mind) but for the most part the band is refreshing to listen to and shows themselves with a lot of potential to build on in the future. |
| Celebrity- Lovesick (Doghouse) | WWWWW | Rock's most promising act is Doghouse Records' own Celebrity, who, with "Lovesick" have written 2003's darkest and gloomiest album yet. They have a lot of the same sound as many of today's more popular and more respected rock outfits like Audioslave, but use a variety of textures and studio effects, as well as a lot of honest emotion, to capture a spirit like no other rock band has done this year or very recently for that matter. There's the gut-wrenching "Son To A Father", the energetic single "Disconnected", the ultimately uplifting "So Long Farewell" and the "unplugged" title track. An impressive debut from a band who will be going places. |
| Charlie's Angels Original Soundtrack (Columbia/Sony) | W | Most movie critics agreed that "Charlie's Angels", the movie, was an overblown mess of cheekiness, one that sought a little too hard for that summery, old-time vibe. I never saw the movie so I don't know for sure, but the album certainly emanates that mess. Clunkers from the likes of Andy Gibb, Donna Summer, Natalie Cole and The Beach Boys prove that the '70s had their fair share of crap, with new material from the likes of Pink and Nas (unexpectedly here) also falling short. Perhaps it should be fitting that the best song here is Edwyn Collins' "A Girl Like You", a 1994 song. Make whatever you will of that. |
| Chumbawamba- Un (XL/Koch) | WWW | I'll admit it, Chumbawamba have a special place in my heart- "Tubthumper" was the first album I ever bought, just because I loved their only chart success "Tubthumping". Back then I had no clue what "Tubthumping" meant as a word (it is, essentially, a public speaker), as I was just a clueless, naive 16-year-old. Fast forward seven years (yes, it's been THAT long) and here I am with Chumbawamba again, this time on Koch Records with their latest album "Un". They're still the firey, politically-charged bunch that they were back then (if you recall, Alice Nutter once told fans to steal the album from the shelves, something then label Universal didn't appreciate. Heh), all done with their tounge-in-cheek charm- "On eBay" has the band sarcastically singing the praises for being able to find all these world treasures on the famed auction Site, while "A Man Walks Into A Bar" details the story of a man who says he'll "beat this drink" but everyone knows he won't. Other times they simply indulge in rather hooky and upbeat pop, such as the vibrant opener "The Wizard of Menlo Park". However, despite their charms and their intentions, they're still not much of songwriters, as far too often they're just strumming along with some old chants that merely keep the pace going and doing nothing else, meaning there's a bit too much filler. Still, Chumbawamba was never about chart success but the message, and at least they deliver that well. |
| cLOUDDEAD- ten (Big Dada/ Mush) | WWWWW | Halfway through 2004 and already we have a three-horse race for top album of the year- Dimmu Borgir's "Death Cult Armaggeddon" (first video/single, "Progenies Of The Great Apocalypse" appeared in 2004), Alpha's "Stargazing" and now "ten" from the incredible hip-hop group cLOUDDEAD, featuring Anticon's why? and Dosenose. Their second album is a trippy, metaphorical work, featuring some experimental electronica laced in the hip-hop style while the group spews seemingly nonsensical lyrics that just make sense. When they rhyme in "The Velvet Ant", "A rattlesnake caught in the wheel well/Strawberry in an ostrich throat", you know that it's supposed to mean something but you just don't know what it is. Some of the metaphors are more direct- for example, in "Pop Song" where they state, "Cotton candy...spun any way you like it" or in "Sun of a Gun", where they list a whole bunch of assassinated people and say they all "jumped the gun" and then state that "G-Dubyu might just jump the gun". The group says that this was an emotional record, but I just think that they were having fun making this- it's very varied, with a lot of effects present to keep things interesting and sounding as though this album was very improvised. This album may be unfortunately passed up by many in today's world, but eventually the true genius and excellence of this work will shine through. |
| Coheed & Cambria- In Keeping Secrets Of Silent Earth: 3 (Columbia/Sony) | W | The latest album from emo upstarts Coheed & Cambria is a boringly verbose affair, the kind of album that feels deep but really isn't. It's also pretty boring, making the forced drivel even more painful to bare. In fact, it's almost like AFI's dreadful "Sing The Sorrow" last year only that it's more pointless than immature. For example, in "Three Evils (Embodied in Love and Shadow", singer Claudio Sanchez (who sounds a little too much like Geddy Lee) sings of "leveled malfunctions" (last I checked, malfunctions don't have any order to them) and, in the title track, natters "Man your own jackhammer/Man your battle stations" (would it be so hard to have simply stated "man your battle stations" twice? Oh, and why would a soldier fight with a <i>jackhammer</i> of all things). This all while the band meanders play rather unemotionally and robotically in the background, giving the poetry all the urgency of watching the paint dry. The worst song here, though, is "The Camper Velourium II: Backend of Forever", where Sanchez concludes a wordy, whiny rant with "I have no luck with girls", with that last line given so much emphasis that it drains the feeling right out of the poetry (they built the whole rant to conclude with that? Something's not right here). It's not all lost- "A Favor House Atlantic" is very catchy and pretty entertaining- but for a band with so much potential in that song and last year's "Devil In Jersey City", the wordy "In Keeping Secrets of Silent Earth: 3" is a major, major letdown. The band should realize that there isn't anything wrong with poetic flair or really descriptive, vivid imagery- but if all they do is meander endlessly to wind up to a rather silly conclusion all while delivering it with the same energy as a sloth, who will care what they have to say? |
| Confessions Of A Teenage Drama Queen- Original Soundtrack (Disney/ Hollywood/ Universal) | W | There's two ways to look at the "Confessions Of A Teenage Drama Queen" soundtrack- one as a vehicle to showcase star Lindsay Lohan and another as a collection of mildly amusing pop playthings Disney wants you to believe are actual songs. Lohan obviously came to play, as all her songs- "Drama Queen (That Girl)", "What Are You Waiting For", "Don't Move On/Living For The City/Changes Medley", and "A Day In The Life"- show a genuine effort on both Disney and Lohan to create something worthwhile, only really succeeding in the album's single "Drama Queen" and "What Are You Waiting For", with the medley simply being out of place and "A Day In The Life" falling flat despite its best intentions. The rest of the album is either misplaced (as is the case with Simple Plan's "Perfect" and Lillix's "Tomorrow") or complete utter trash (Wakefield's "Un-Sweet Sixteen" and Diffuser's "Only In The Movies", which says you can only "rewind in the movies" *nods nonchalantly*). The worst song here, though, is easily fan_3's "Boom", which is a song that's all about the places where fan_3 would like to "boom" their boom box, including the bedroom (making a perhaps unintentional sexual reference as a result). The result is a tangled mess that buries the good material- particularly from a shining Lohan, who shows she'll have a longer career than Hilary Duff- under a steaming cesspool, making a truly painful experience that perhaps only diehard Lohan fans and/or masochists should take part in. |
| Cradle Of Filth- Nymphetamine (Roadrunner/Universal) | WWWW | One of black metal's more enduring bands have been British stalwarts Cradle Of Filth, who emerge with their sixth album and third since their breakthrough single "Her Ghost In The Fog" in "Nymphetamine". While "Her Ghost In The Fog" remains CoF's overall standout, "Nymphetamine" boasts a couple of standouts of its own, like the anthemic and haunting "Gabrielle", the mid-tempo "Absinthe with Faust" and "English Fire", which begins with a compelling piano sequence, which, if nothing else, shows CoF frontman Dani Filth's classical influences. Still, nothing on the album compares to the title track, which comes in two versions- one, a five-minute "single" version and a nine-minute-plus epic which contains the single version right in the middle of the song. The latter (titled "Nymphetamine Overdose") begins with the band charging full-speed ahead, then slowing down for the single version then speeding up again to close off. It's a wonderful juxtaposition as it highlights what appears to be a struggle to cope with an addiction ("Nymphetamine" means "beast-like addiction to beautiful, classical women", at least according to CoF). The sped-up parts show an addiction that is consuming Filth, with the sombre middle part showcasing the dark results of this addiction, one that ultimately consumes Filth in the end. It's also a great microcausm for the album itself, as the varying tempos over the length of the album (which CoF seems to intend as a collective unit, although individually the songs work just as well) suggest varying degrees of Filth's battle- all coming to a head with the single version of the title track, which is the album's slowest and most sombre track but also its most powerful. Here, Filth gets reflective on the addiction, which, depending on your interpretation is either liberated from it or has to live with the fact there is nothing he can do to overcome it. Regardless, it still shows CoF are, this deep into their careers, are in full form, and, with a new, larger home at Roadrunner are poised for an even bigger breakthrough. |
| D12- D12 World (Shady/ Interscope/ Universal) | WW | It's difficult to really judge the second effort from D12. On one hand, it's a competent collection of party gangsta rap that shows that the group really is developing into their own and is not just Eminem's sideshow. On the other hand, the songs on "D12 World" are rather safe and unassuming, doing enough to provide sound-lovers with that bass line they crave and the clubs with catchy songs but without much that is worth listening to years from now. That doesn't mean there isn't anything worthwhile- "How Come" details the dark side of a relationship gone south and may even be a reference to some lingering pain in Eminem regarding ex-wife Kim, "My Band" playfully engages the question of Eminem's influence in D12, "Good Die Young" is a great song paying tribute to the late Bugz, and Bizarre gets, well, bizarre on "Just Like U", where explains just why can't be a father. It's just that there's little here that hasn't been done better before, and, in a pop culture world that's almost completely overrun by hip-hop, playing it safe doesn't cut it anymore. |
| Dakona- Perfect Change (Maverick/Warner) | WWW | So they're essentially a teeny rock act- so what? Dakona have a lot of life and energy behind them, knowing greatly their way around a hook and being somewhat thoughtful to boot. The bassline to the single "Good (I've Got A Lot To Learn)", the foil-like sounds to the anthemic "Beautiful Thing" and other effects in "Waiting" show some inventiveness and thought, while songs like "Trampoline" and "The Richest Man In The World" show a pensive, reflective side to Dakona and singer Ryan McAllister, the chief songwriter. The best song here though is "In God's Name", a song where McAllister tells someone "you don't become the cross you wear" because the person used religion to murder someone. Dakona may not be a revolutionary act, but they sure have the potential to get there- meanwhile, they've still left an entertaining debut. |
| Darude- Rush (16 Inch/Popular/EMI) | WWW | You remember him from 2000's monster smash "Sandstorm", so predictably Darude's up to his old tricks and not much else. The singles- "Music (Bostik Radio Edit)" and "Next To You" (f/Eleana Mady)- follow the same dark grooves that "Sandstorm" did and are pretty much the only worthwhile tracks here. There's enough here to make an interesting dance recording, but there's way too much here that's been beaten to death before to really make "Rush" stand out. |
| David Francey- Live at the Millpond Cafe, Alliston, Ontario (Live Review) | WWWWW | (For review, click on the link) |
| David Francey- Skating Rink (Laker) | WWWWW | Many people may not know David Francey, but in Canada's folk circles he is very celebrated and accomplished, holding songwriting workshops for the likes of the Ennis Sisters and the Be Good Tanyas. There's a very good reason for this, if the excellent "Skating Rink" is any indication. It is a very immediate and intimate record, very raw in its production using very little except Francey's voice, an acoustic guitar and a minimal support from fiddles. Plus, the songs are very well written- there's the very touching 9/11-inspired "Grim Cathedral", "Come Rain Or Come Shine", a very happy song dedicated to the love of his life, his wife, and "Nearly Midnight", a beautiful song about searching for love that he wrote for his daughter. Yet another winner from Canada's very accomplished folk leader. |
| David Francey- The Waking Hour (Jericho Beach Music) | WWWWW | (For more, click here) |
| Deftones- (Self-Titled) (Maverick/Warner) | W | They look 30, but they certainly don't act like it. Chino Moreno cries and whines about girls who dumped him, throwing a temper tantrum at pretty much every opportunity, while the band chugs along monotonously with the same clichéd trash-compactor-like nu-metal sound, clashing and chugging with little variation or inventiveness. Perhaps what sums up "Deftones" best are two songs- "Anniversary of An Uninteresting Event" and "When Girls Telephone Boys". Just the titles alone should tell you what's wrong with this album. |
| Descendants- Cool To Be You (Fat Wreck Chords) | WWW | The first new album from Descendants in seven years is a pleasing blend of pop-punk. Singer Milo Aukerman snarls about wanting to watch TV all day ("Nothing With You"), scoffs at a girl who's "got it all" ("Cool To Be You"), is sarcastically proud to be American ("'Merican") and, in the best song here, reflects on "what could have been" on "One More Day", while the band plays at full speed and ensuring the album has a really good pace. There are some rough moments here and there and quite a few of the songs lack the punch they should have, but it's still a pretty solid work and shows that the band hasn't missed a step in seven years. |
| Dido- Life For Rent (Arista/BMG) | WWW | "Life For Rent", Dido Armstrong's follow up to the massively successful "No Angel", doesn't really improve much on its predecessor but still provides an entertaining finish. Songs like the anthemic "White Flag" and "See The Sun" give the album a lot of life, while the whispering cooing in "Who Makes You Feel" provides another level of enchantment. It may be more of a continuation, but it's still a solid piece of work. |
| Dierks Bentley- (Self-titled) (Capitol/EMI) | W | Inexplicably country's biggest newcomer last year, Dierks Bentley's self-titled debut touches upon nearly every country cliché you could think of, from the incessant twang to the gratingly schlocky ballads. Songs like "My Love Will Follow You" and "My Last Name" are very contrived and cookie cutter, while "I Can Only Think Of One" is irritatingly bland. Not even the up tempo tracks like "Bartenders Etc." work, and it's only at the ends of the album- opener "What Was I Thinkin'" and closer "Train Travellin'" (featuring the Del McCoury Band)- where there's really anything interesting. Maybe if Bentley actually grew a personality I just might care the next time around. |
| Dimmu Borgir- Death Cult Armageddon (Nuclear Blast) | WWWWW | One of death metal's leading bands has struck again with another fine effort. The anthemic, engaging ninth album from Norway shows that the band is still as powerful and as relevant as they are now as when they were starting out back in 1993. The guitarwork of Silenoz and Galder weave a timeless epic into the proceedings, one that will ring true several decades from now as it does today, with drummer Nicholas Barker keeping the pace going nicely and the strings adding a very nice, surreal touch. The songs themselves may fade into the background, but that's a small complaint on an album as thrilling as this one and there are a few which do stand out- like the obvious Iron Maiden-influenced "Progenies of The Great Apocalypse", the battle cry of "Lepers Among Us", and the amazingly-fast and precise drumwork of "Cataclysm Children". All told, this is a solid, wonderful work that shows that Dimmu Borgir are not slowing down one bit. |
| Diverse- One A.M. (Chocolate Industries) | WWWWW | There may be a few- hold it, many- who listen to rap radio and wonder if there really is anything in the rap world worth listening to outside of rappers describing their favourite sexual positions. While I contend some of the mainstream works can be pretty fun, sometimes the dirge of repetitiveness gets tiring and the need for something new and fresh becomes apparent. Well, in comes the underground scene, a place for quite a lot of the creativity mainstream rap seems to have lost. Chicago's Diverse may not embody all that is underground rap, but, on his debut "One A.M.", he does a very fine job of being a leader in a genre known for followers. A fiery, very energetic and enigmatic performer, Diverse can be just as great on entirely danceable tracks like the single "Explosive" and "747 Flyin'" and on the more reflective and angry tracks biting society like "Jus Biz" (which slams mainstream rap), "'Ain't Right" and "Blindman". A truly compelling debut from a truly compelling performer. |
| Eminem- Encore (Shady/ Aftermath/ Interscope/ Universal) | W | (For review, click on the link) |
| Felix Da Housecat- Devin Dazzle and the Neon Fever (Emperor Norton/Rykodisc) | W | There's two reasons why Felix Da Housecat's newest album came out as the disaster that it is: 1) it is released by Emperor Norton Records, who can never get anything right outside of Ladytron and 2) it is an album rife of '80s synth retreads. Songs like "Short Skirts" and "Everyone Is Someone In LA", which are mildly catchy, are undone by rather bland and dated music (the latter seems like it came straight from a video game), but the biggest culprit is "Ready 2 Wear", with its protracted drum beats and smoothed-over synth beats and vocals that make it sound as though it actually was recorded in the '80s (I couldn't stop thinking of the Human League's "Don't You Want Me" when listening to this song and this album in general, but they're not all that similar). The problems don't stop at the overuse of '80s synth pop beats- "Romantique" uses a quick buzzer-like sound to sound "inventive" but it's been used so much that it comes out as a putrid cliche. Don't get me wrong- there's nothing wrong with producing a retro album and/or reliving the past- it's just that one has to ensure that they remember it's not the past anymore. |
| Finger Eleven- (Self-Titled) (Wind-Up/Sony) | W | Oy. Talk about being redundant. F11's third album continues to display the band as nothing more than Canada's version of KoRn, presenting nothing at all honest or real, using fake angst and trash compactor like sounds just to sound "heavy". There's the very tiring "Panic Attack" and the confusing "Therapy" for starters, and the fact that every song is either like "Good Times" or "One Thing" really compounds things. Truly embarrassing. |
| Franz Ferdinand- (Self-Titled) (Domino Records) | WWWW | One of music's most-hyped new bands delivers on all the hype with their self-titled debut. Franz Ferdinand- which may be a reference to the Hapsburg heir that was assassinated in the event that started World War I- come out of Britain with the dance-rock sound that countrymen The Music introduced to the public with last year's less-than-stellar release. In this go around, Franz Ferdinand are full of ideas and gusto- there's the first single, "Take Me Out", a rousing, feel-good "get-ready-to-party" rocker on one side, and the dark "Auf Achse" on another. There's also a swipe at their critics in "The Dark of The Matinee", as singer Alex Kapranos explains how he got the last laugh from people who said the band wouldn't make it. There's also some soul-searching involved, as evidenced on "Cheating On You" as the final chorus reads "I'm cheating on you/I'm cheating on me" instead of "I'm cheating on you/You're cheating on me" as the other choruses state. The best song here though is the ultra-catchy, danceable and daring "Michael", as Kapranos explains how the title character enamoured him so much that he wants to dance with him and feel his "stubble on my sticky lips". Just more proof that Franz Ferdinand are destined for a long, illustrious career and have started off nicely with a fantastic debut. |
| G-Unit- Beg For Mercy (G-Unit/Interscope/ Universal) | W | Perhaps this should have been expected: 50 Cent's "Get Rich Or Die Tryin'" was cliché-ridden, so it should come as no surprise that 50's crew also produces a cliché-ridden album. It's also a lot sillier than what 50 produced, like in "Salute You" where the chorus reads "I salute you/I'll shoot any n**** that shoot you" and in the horrendously sexed up "I Smell P****". Perhaps 50 should learn to use his talent before unleashing his own version of the unoriginal posse. |
| H.I.M.- Razorblade Romance (RCA/BMG/ Universal) | WWWW | Once upon a time, it was next to impossible to find anything by this fine Finnish band. However, now that a video has surfaced under Universal Music Group in the U.S. for "Join Me In Death", 1999's "Razorblade Romance" is getting the promotional treatment. It's not hard to see why: this is a thoroughly engaging and entertaining album, being a very dark and enthralling album. The "love metallers" have essentially created a concept album detailing lead singer Valo's love for a girl- from the beginning of the end (the fiery "I Love You (Prelude To Tragedy)"), the loss of hope ("Join Me In Death"), the girl running back to Valo in despair ("Heaven Tonight") and the pledge to restart things (the reprise of "Join Me In Death" in the album's closer, called "One Last Time"). The material could get a little whiny at times and it may take a while for the songs to really sink in, but the breadth of the material the band covers, from the up-tempo rockers like the opening track, to soft rock ballads ("Join Me In Death") to power ballads with stunning, emotive solos ("Right Here In My Arms", "Razorblade Kiss") and the power and brilliance of the material make this album worth it. |
| Hanson- Underneath (3CG) | WW | From the band that gave you infectious pop singles such as "If Only" and "Where's The Love?" comes a work that's not nearly as memorable or as infectious as its predecessors. Granted, there are a few moments where the Hanson of old do show up, as on the up tempo opener "Strong Enough To Break" or on the pensive "Misery" but, for the most part, these songs are rather faceless and forgettable. Plus, whenever they do hit a groove, it's because they ripped it off someone else- does anyone else notice a few similarities between "Deeper" and Jason Mraz's "The Remedy (I Won't Worry)"? There's a few glimpses of hope that shows that maybe this is just a funk, but this is easily the worst Hanson have done in their careers. |
| Hilary Duff- (Self-Titled) (Buena Vista/ Hollywood/ Universal) | WW | Last year, 17-year-old Hilary Duff came onto the music scene with mixed reviews- there were those who howled that she used her fame gained from her "Lizzie McGuire" days to land a music deal without any effort, and there were those who saw Duff as an ambitious young girl out to challenge herself and provide something new to her
fanbase. Personally, after listening to her debut, "Metamorphosis", I took the latter side- "Metamorphosis" was a fresh, quirky album that may have sold a bit too much to her fanbase and not to everyone else but still showed an artist who was ambitious and really wanted to make an album. Whatever side you take, it's indisputable that Duff is currently the only person in the music industry who can do both music and movies successfully, even if she hasn't gained a highly reputable position in either field. Fast forward to this year, with another Duff album (this one) and another Duff movie ("Raise Your Voice"), and you still see that ambitious young girl, looking to step up to the next level. The only difference is that on this album, which is meant to show Duff as a bit more grown-up, Duff may be overshooting herself. For starters, she's not the greatest of singers, and all the effort in the world (which she again shows) can't hide the fact she doesn't have that much power or range in her voice. Secondly, the material itself either devolves into cliches or comes out hopelessly caught between tweeny and seemingly adult. For example, songs like "Who's That Girl?" and "Do You Want Me?" have a more refined, smoother musical progression suggesting material that has more depth (as opposed to, for example, "Why Not?"'s squeaky, hyper-active and rather frivolous beat), but lyrically they are rather childish- the chorus of the former, for example, has Duff exclaiming loudly "who's that girl living my life?", almost half whining as she does it. Then there's "I Am", which is meant to be an inspirational song acting as a declaration of independence, but falls prey to the fact that Avril Lavigne not only beat her to it but also plays that act better. It's not like there isn't anything worthwhile on this album- "Fly" and "Someone's Watching Over Me", for example, are rather compelling pop songs that do show Duff can get to the next level musically- but the truth is Duff has clearly overshot herself this time and needs to work on her craft before attempting another (for her) progressive album. |
| Hilary Duff- Metamorphosis (Buena Vista/Hollywood/ Universal) | WWW | There are those who would be surprised (and maybe disgusted) that Hilary Duff came from nowhere to land a multi-platinum album, but the truth is that it was expected. "Metamorphosis" may not be a landmark pop album, but it's still an invigorating and fun experience, a light-hearted ride that's very enjoyable to take part in. Duff shows off her charms on tracks like "The Math" and "So Yesterday", while her passion and determination to getting the songs right sell songs like "Where Did I Go Right?" Sometimes things do get a little too silly and Duff doesn't employ her personality enough at times here, but it shows a lot of promise and leaves an entertaining end product. |
| Houston- It's Already Written (Capitol/EMI) | W | Most of you are probably aware of his huge hit "I Like That" with Chingy, I-20 and Nate Dogg but it wouldn't be surprising if most of you had no clue who sang it- and, with good reason. While "I Like That" is a great single (I have to say, it's really grown on me), Houston- the man behind the song- doesn't do anything at all that hasn't been done fifty billion times before, and the utter repetitiveness and stupidity of the album is what makes Houston's project suffer. There is the annoying "I love girls" song in "Twizala", the overwrought and cliched "Bye Bye Love" and, in the worst song here, "Allright", featuring the overused and very lame "introduction" by a bellower that's done several annoying times throughout the song. Perhaps Houston may prove to be as distinctive as he wants to be, but if run-of-the-mill urban songs is the best he can do, then he shouldn't be surprised that no one will know- or care- about him in a few years. |
| Howie Day- Stop All The World Now (Epic/Sony) | W | Well, so much for promise. The sophomore jinx has claimed yet another one this year, as Howie Day- like The Strokes and Sam Roberts before him- became fixated on being huge and forgot to do what got him there in the first place. "Stop All The World Now" is an impersonal, contrived and overproduced morass, as Day uses the studio effects not make an artistic statement like he did on "Australia" but to sound as grandiose as possible and thus sucking the individuality and life that his music once had. He's also working with a bunch of co-writers, who obviously are cluttering his work- he's so much better off alone. Worst song: "You & A Promise", a clunker of a fist-pumping anthem, coming off very overwrought and cheesy. It should also be worth noting that the best song here is a track from "Australia" redone here- "She Says". Too bad he's left all his ideas behind. |
| Ja Rule- Blood In My Eye (Murder Inc./Def Jam/Universal) | WWW | Ja Rule may never be known as a talented rapper, but somehow his silly but serious approach manages to sell even the most lightweight of material. He's got a lot of passion, which makes up for the lack of talent, plus the beats on this album (like the Nintendo-like beat on "N****s & B*****s") make for a solidly entertaining experience, even if they've been rehashed. Ja Rule's no talent, but at least he's able to put out something palatable. |
| Jane's Addiction- Strays (Capitol/EMI) | WWW | The comeback album from a band who hasn't had a studio recording since 1990 comes out as a pretty entertaining rock album that's short on depth and substance. When the band is rocking out and just having fun, like on "Superhero" and "Wrong Girl", it's great, but when they try to be serious, like on "Price I Pay" and "The Riches", it fails. "Strays" shows that Jane's Addiction have what it takes to stay relevant but it doesn't show much else. |
| Janet Jackson- Damita Jo (Virgin Records America/EMI) | W | There's no denying that the "wardrobe malfunction" at the Super Bowl bought one of music's biggest superstars more time in the spotlight. Say what you will about it- that it was staged, it was accidental, etc.- but you can't deny that it was a great publicity stunt. The problem is, the stunt exposes "Damita Jo", Janet Jackson's eighth studio album, for the album it is- a terribly weak album that shows just how far Jackson herself has fallen, as she (and probably Virgin Records) knew she needed a stunt to sell something as bad as this. Where once glossy hooks shined all over Jackson's music, making it very catchy (whether you liked it or not), "Damita Jo" is just a mess of music and mostly whispered vocals, without much inspiration. There's the lame attempt at old-school in "R&B Junkie", the off-the-mark attempt at being "hip" in "Strawberry Bounce", and the sleep-inducing "Thinkin' About My Ex", which ends off with Jackson saying "it's not who you think it is," as if she thinks we care about that anymore. Sequencing is also a problem: the only lively- and memorable- song here is "Just A Little While", the first single, is the last song, by which time you're bored to tears. Then again, I'm not sure putting it anywhere else in this 22-song mess would change much. Then again, I'm not sure putting this album anywhere except back on the shelf will serve any kind of purpose. |
| Jason McCoy- Sins, Lies & Angels (Open Road/Universal) | W | The fourth album from Canadian country artist Jason McCoy is a classic example of why people just don't take Canadian country seriously: it is full of cliches, overusing the same woe-is-me, down-in-the-dumps love songs without much of an effort to make them his own. McCoy's own problems get exacerbated by the presence of the single "I Feel A Sin Comin' On", a macho single which presents a man who seems strong, but, as the rest of the album shows, McCoy is really one big, boring wimp. Witness for example, the dirge that is "It Ain't Easy Being Me", whose first verse reads "There oughta be a town somewhere named for how I feel/I could be the mayor down there and say welcome to Sorryville/You won’t find it on a map nowhere, you might say that it don’t exist/But if you make enough wrong turns it’d be hard to miss", or "I Lie", featuring such musings as "They offer a shoulder to cry on/Anytime, I just have to call/But little do they know, the river that would flow If I let the first teardrop fall" and "So I lie, I tell them I’m alright I lie, I tell them I’m fine/I don’t think they really want to know the truth". Oh, and don't even get me started on the first single from the album, "Still". It may be surprising to think that a veteran like McCoy would produce something this awful, but then again, this album shows why most Canadians care about Shania and not about him. |
| Jason Wilson & Tabaruk- dREaD & BLUE: A Canadian Suite (Wheel) | WWWW | One of Canada's ongoing struggles seems to involve identity and what it means to be "Canadian". It is a subject tackled many times, with everyone providing their own, unique take. Torontonian Jason Wilson is no different: on his new album, "dREaD & BLUE: A Canadiana Suite", he provides a myriad of mostly reggae and jazz influenced sounds that retell the story of his childhood within Toronto, with highlights coming aplenty here. For example, on the poppish "Walk On A Sunday Morning", he recounts a childhood in a rough neighbourhood, where he found safety within his "daddy's arms", while on "Hands In The Water", he angrily chastisizes the society for its divisions and insists they resolve their differences. The best song here, though, is "Those Long Winters", where he tells the story of people from Ayrshire, Manchester and Calabria recounting their experiences with their first taste of Canadian winter. Wilson sings: "For those long winters came make you homesick...But come springtime, you start to wonder/Maybe here can be home", echoing the sentiment many other Canadians feel. This may not be "the" definitive album of Canadiana, but Wilson does come close, and comes close admirably. |
| Jay-Z- The Black Album (Roc-A-Fella/ Universal) | WWWWW | If this is Jay-Z's official retirement, he couldn't have made a better last statement. It’s a stunning, vibrant and biting album where Jay-Z shows off his immense rapping skills, whether to make a catchy club song ("Encore"), gangsta rap (the Eminem-produced "Moment Of Clarity") or a biting attack on his critics ("99 Problems"). For those who've never experienced Jay-Z before- and those who have- "The Black Album" is simply brilliant, showcasing a legend leaving at the top of his game. |
| Jewel- 0304 (Atlantic/Warner) | WWW | It’s a bit uneasy to take in "0304" considering Jewel's alt/pop/folk past, but she's got enough charisma and dedication to making this project work. It's an entertaining adult pop-dance album, with songs like "Stand", the Lionel Ritchie-esque "Run 2 U" and the joyous "Sweet Temptation" being the real standouts here. There's a few clunkers (like "Haunted") but there's enough here to make this album worthwhile. |
| Jimmy Rankin- Handmade (Song Dog) | WWWWW | Jimmy Rankin is a travellin' man, and on "Handmade" he continues his excellent, folk-pop journey. Predictably, it deals with a lot of soul-searching through the use of journeying, with songs like "Colorado" and "Sweet Wheels". It's also another stunning and soothing work, from the catchy songs "The Tower Of Letherdy" to the moving, reflective "One Last Ride". Rankin shows that he's got a lot left in the tank and that one of Canada's musical greats is still at the top of his game.' |
| Joss Stone- The Soul Sessions (S-Curve/Virgin/ EMI) | WWWW | It may be nothing more than a glorified "American Idol", but "The Soul Sessions" presents an absolutely stunning singer with a lot of potential and a lot of stunning material to boot. Stone has a lot of poise and confidence, able to sell the covers as if they were her own. Best moment- "Fell In Love With A Boy". Hearing Jack White's song go from a messy jumble to smooth, beautiful soul is something you never forget. |
| Liberation- Songs To Benefit PETA (Fat Wreck Chords) | W | A little story about this album: I saw it for $5.99 (Cdn.) and thought it was a pretty good deal. You don't ever get albums running that cheap, so I thought I had nothing to lose so I bought it. I should have bought more batteries for my CD Player- that would have more use than this crap. Aside from some rare highlights, including the pretty humorous fare from Goldfinger ("F*** Ted Nugent"), some less humorous fare from NOFX ("Clams Have Feelings Too") and a brilliant, danceable song from The Faint ("Agenda Suicide"), the album is a testament to boredom, with a virtually interchangeable array of punk and emo songs from the likes of The Used, The Eyeliners (who perform the most run-of-the-mill track here with "I Could Never Hate You") and Anti-Flag that really doesn't whet the interest much. It would have been nice to say that this was a steal, but, alas, all that was stolen from me was my money. |
| Liz Phair- (Self-Titled) (Capitol/EMI) | W | Yeah, yeah, it's a cliché: Liz Phair's 2003 release is a horrible, contrived album that shows the once strong Phair at her lowest point yet. So much has been said about how un-Phair like this album sounds and how shocking pathetic she let herself go in creating sellout pop singles like "Why Can't I", and, while it's all true, the real problem is that Phair can't even get the pop singles right. You see, not only is "Liz Phair" not a Liz Phair album, it's also not a good pop album either. "Favourite" and "Rock Me", two Matrix-collaborations, are the worst songs here, as The Matrix believe that by putting in as many sexual references into a song it makes it "playful". Note to The Matrix: no, it doesn't. Oh, and don't get me started on "H.W.C." Not an inch outside of "Little Digger" is this album at all honest or real, and that's its real problem, as Phair can't even get the pop right. This should serve as a reminder to any aspiring singer-songwriters- DON'T sellout, or you just might end up like this. |
| Ludacris- Chicken 'N' Beer (Disturbing Tha Peace/Def Jam South/Universal) | WWWW | Okay, I'm sold: Ludacris is cool, "Word Of Mouf" was a blip. Ludacris has come back from recording a dud with the brilliant and hilarious "Chicken 'N' Beer", as Ludacris rediscovers what made him great and decided not to have a care in the world. This looseness really makes for an entertaining album- there's the skits, which, for once, are actually funny (the best one is "Black Man's Struggle", which is just a toilet being flushed), "Teamwork", a song about, you guessed it, sex and 2003's most hilarious moment, "Screwed Up", a stoner's anthem that rivals only Murphy Lee's "Red Hot Riplets" in quality over the past year. Sample line: "I see dead people/Oh wait, that's just my homies passed out in the Regal." Fun stuff. |
| Maroon 5- Songs About Jane (Octave/J/BMG) | WWW | Admittedly, there's a glut of slick pop-rockers these days with the likes of Dakona, 3 Days Grace, The Calling and Truman occupying the radar screen, but Maroon 5 show that they at least have something that sets them marginally apart. Their sound is a mixture of funk/rock, pure pop-rock and soul-rock, with each type done very well. There's the funky grooves of the live "Not Coming Home", the ultra-catchy and bouncy "This Love", the soul-rocker "Secret" and the album's best number, the emotional "Shiver". Some songs do get lost in the shuffle, but make no mistake- Maroon 5 have quite the future ahead of them. |
| Martina McBride- Martina (RCA/BMG) | WWW | Puppets in the country scene are nothing new, but few have the lasting appeal that Martina McBride does. This is largely because of McBride's powerful and very emotive voice, able to sell pretty much any song and make it her own from the touching "God's Will" to the cheery "This One's For The Girls". What McBride's work may lack in originality she makes up for in passion and it's on full display here. It can't cover up all the flaws (like the rote material she's forced to sing on "Learning To Fall"), but McBride's voice and passion make "Martina" a solid country winner. |
| Metric- Old World Underground, Where Are You Now? (Last Gang/Factor) | WWW | Canada's answer to Radiohead provide just that and not much else, going short on originality but not enough to stop being at least mildly entertaining. "Calculation Theme", with its one continuous electronica loop and the up-tempo and vibrant "Combat Baby" provide some of the best moments here, but those are really few and far between. It's a quasi-interesting blend of Radiohead-esque pop, but with the potential for so much more in songs like "Calculation Theme", it could have been so much more. |
| Mindy Smith- One Moment More (Vanguard/Welk) | W | Mindy Smith couldn't have given a better title to her latest album, as the album plays out as not just a plea by Smith for an unnamed lover to give her a chance (as she intends here) but also a plea by Smith for everyone to give her music another chance. The singer, who emerged on the scene with a decidedly Deric Ruttan-ish take on Dolly Parton's "Jolene", basically plays out her diary on this album, detailing the pains of a lover rejected by everyone else in "It's Amazing", building up the lover in "Come To Jesus" and "saving" the same lover (I'm presuming) in the Alanis Morissette-ish "Hard To Know"...and those are just the mildly entertaining songs. The rest of the album is just bland, clichéd and contrived folk-pop, being the kind of folk-pop that someone desperate for a career would cook up instead of letting, as Jimmy Rankin is able to do, let their natural talents take them there. Smith may have scored a hit with "Jolene", but no one's going to be reading her diary any time soon. |
| Miss Kittin- I Com (Nobody's Bizzness/Labels/EMI Music France/Astralwerks) | WWWW | To many in the electronica community, France's Miss Kittin is the genre's most recognizable figure. She's been in many guest spots- including one on T. Raumschmiere's brilliant "Radio Blackout"- but she's never, until now, made an album (well, a proper one). As soon as word got out that she was making one, there was a lot of hype being generated, and, needless to say, "I Com" delivers. Instantly clever and catchy, "I Com" is full of danceable entites, such as the T. Raumschmiere-esque leadoff single "Professional Distortion" or "Meet Sue Be She", the catchiest number here where Miss Kittin rhymes off her favourite cars. It's not all full-speed ahead- she slows things down nicely with "I Come.com", where she comes up with nice, reflective one-liners like "The ancient net-world is gone/You say it's gone/S***". The best song here, though, is "Allergic", a trance-like, easy-going dance song that could prove to be her biggest hit if it's a single. Simply put, you can't go wrong with Miss Kittin. |
| Murphy Lee- Da Skool Boy Presents: Murphy's Law (Fo' Reel/Universal) | WWWWW | Few may have figured Murphy Lee as capable of producing a landmark album, but then again there really hasn't been much that's been as fun as "Murphy's Law". Following the familiar patterns of party-rap tracks- like the stoner's anthem "Red Hot Riplets", the "get freaky and dance" songs like "Shake Ya Tailfeather" (reprised from the Bad Boys II soundtrack), the loose party gems like "What Da Hook Gon' Be?", and the somewhat reflective "I Better Go"- Murphy Lee delivers with reckless abandon and seems to be enjoying himself. Plus, the appearance of the relaxing "Cool Wit It", with it's trumpets, drums and saxophones, really makes the experience worthwhile. Finally, Murphy Lee isn't in Nelly's shadow. |
| Murs/9th Wonder- 3:16 The 9th Edition (Def Jux/ Caroline) | WWWW | Billed as a collaboration of titans, "3:16 The 9th Edition" by rapper Murs and beatmaker 9th Wonder lives up to the hype it is given, as it is a fiery, impassioned and highly entertaining rap album. 9th Wonder's beats are simple bassline-heavy beats, but they're infectious, providing the backdrop that allows Murs to let loose on what's bothering him, which is mainly girl problems. For example, there's "Bad Man!" where Murs explains that girls get him wrong when he's viewed as simply a player, and "Freak These Tales" where, after talking about several problems he's had with women (including one who was "lousy in the sack" due to her laziness), he finally finds someone who appreciates him and mesmerizes him so much he doesn't care about any other girl. He tackles other issues too- like the gut-wrenching he goes through in contemplating vengeance against his enemies (he knows it's wrong but his "soul won't rest" until revenge is met) in "And This Is For..." and "H-U-S-T-L-E", where he explains that he pushed aluminum cans instead of real drugs because he really cared about his music career and didn't want to end up in jail. Finally, guest Phonte of Little Brother adds some great rhymes in the final track, "The Animal", as he says "n**** I listened to your album and I fell asleep." The only real problem is that this album is too short- it's about 35 mins. long and the music doesn't mask its length well, but the upshot is that it's so good, you'll be listening to it over and over again, so its running time becomes a minor complaint. An album worthy of attention. |
| Mushroomhead- XIII (Filter/Universal) | WWWW | Mushroomhead's fourth album and first for Universal, XIII, represents why they are one of alternative metal's leading acts. Continuing the trail that allowed the likes of Evanescence to emerge, Mushroomhead's album is a brooding but very reflective album, one which is very diverse. For one is the album's leadoff single, "Sun Doesn't Rise", a very punishing but very melodic and catchy slab of alt-metal. Then there are the album's best tracks- "Mother Machine Gun" and "One More Day"- which bring Evanescence to mind with their extensive use of the piano to set the mood. The album also moves along nicely, with each song being woven into the next so that you can't miss a beat. If there is any problems it's that sometimes it does get repetitive and that some better lyrical choices could have been made- the word "eminence" is used prominently in "Sun Doesn't Rise" and "One More Day", and, while it doesn't effect much, it does sound as though they ran out of ideas. Still, it's an amazing album that should give Mushroomhead the success they deserve. |
| Nelly Furtdado- Folklore (DreamWorks/ Universal) | WWWWW | I admit, I wasn't Nelly Furtado's biggest fan back when she was doing "I'm Like A Bird", because her songs were just so annoying. However, if "…On The Radio", the only single of hers I actually like, was any indication, it's that she can be funky and fun without being annoying, and, on "Folklore", she does. Like "Whoa, Nelly!" it's an insight into Furtado's life, but here she's having a lot more fun. There's the nice, Iberian-feel to the ultra-catchy "Forca" and "Island Of Wonder", which shows off Furtado's multi-cultural flair, the Canadiana-vibe of single No. 1, "Powerless (Say What You Want)" and the hip-hop tinged, "Fresh Off The Boat", the album's most lively track. The best song here though is "Childhood Dreams", a beautiful ballad where the bass kicks in during the final quarter which ends beautifully the album. Finally, the winner- at the very least- many knew she could pull off. |
| Norah Jones- Feels Like Home (Blue Note/Capitol/EMI) | WWWW | (Click on link for details) |
| Otep- House Of Secrets (Capitol/EMI) | W | In just about any genre, you'll find there are those who pine for "the better earlier days", waxing nostaligic about the bands of yesteryear and slamming the bands of today. However iffy that proposition may be- times do change and if a genre wants to progress as a viable sound they have to as well- the latest album from veterans Otep just may have most death metal fans digging out their Cynic or Atheist albums, trying to remember a time when death metal was more than just "Cookie Monster vocals and lots of lyrics about pain". That is essentially all that's on display here on "House Of Secrets"- a lot of yelling and a lot of talk about how bad life is (one song- "Buried Alive"- has the line "I hate my life" blurted out front and center). The two worst songs though are the two most pointless screamfests on the album that are "Nein" and "Warhead", the latter seemingly an anti-war song of some kind but gets lost in a lot of pointless passages and, of course, the screaming. It's not ALL lost- the last song, "Shattered Pieces", actually comes off as touching and reflective- but if you're really looking for a death metal winner, go back to Cynic or Atheist or pick up Dimmu Borgir's "Death Cult Armaggedon" and skip this screaming cesspool of an album. |
| Popjoy- Anyone Who Cares (Popjoy.ca) | WWWW | You may not have heard of them, but London's Popjoy are destined to become a household name. Having a very huge knack for hooks and fitting right in with the Avril Lavignes and Pinks but holding a special kind of distinctiveness to them, Popjoy have "superstar" written all over them. For example, there's the fun, vibrant, ska-like "Family Man", which displays at great force their tenacity for hooks and is very, very catchy. At the same time, it's very direct- singer Sarah Smith asks a hypothetical man to take her home with him right then and there- the kind of eye-catching lyrics the all-too-safe pop stars seldom ever dare try to attempt. Then there's the reflective rocker in the title track, the album's single, which adds steel drums to a very nice effect. Production may be bad in some areas, but that's understandable as they're independents. However, Popjoy have left their mark in the pop-rock world, and can only improve on their position by leaps and bounds. |
| Prefuse 73- One Word Extinguisher (Warp Records) | WWWW | The second album for this particular pseudonym for Scott Herren for Warp Records shows that Herren has come into his own as one of turntablism's up-and-coming stars. "One Word Extinguisher" is an interesting and captivating barrage of sounds, an album whose randomness gels into a coherent and mesmerizing work that gets more intriguing with every listen. Highlights include the glitzy metallics of "Storm Returns", the weird innuendos of "Female Demands" featuring glitchy noises surrounded by women panting (even if he's a little narrow-minded here) and a great collaboration with Jenny Vasquez on "Why I Love You". The best song here though is "Plastic" with one of underground rap's best rappers Diverse, as it is a rapid-paced, up tempo song that's every bit as danceable and enjoyable as the rapper's own hit "Explosive". This may take a while to digest, but with "One Word Extinguisher", Herren has shown that he will be a force in the electronica world. |
| Puddle Of Mudd- Life On Display (Geffen/Universal) | W | Garbage. Complete garbage. Think of all the possible rock clichés, up the annoyance factor with things like Wes Scantlin's voice, and throw them into an album and you get this mess. There isn't a hook or any kind of bite to be found on this album, just lifeless, tuneless, boring rock songs. There's "Think", with its monotonous repetition for a hook and "Timeflies", undone by Scantlin's yelling. It all comes to a head in "Sydney", where Scantlin cries for this girl to come back to him and using the tired "Sydney don't leave" line for the "hook". Just like the rest of the album, tell me you've heard it before. |
| Ruben Studdard- Soulful (J/BMG) | W | Well, the antithesis to Ryan Malcolm's brilliant "Home" is Ruben Studdard's plain "Soulful", an album full of retreads it's not even funny. Everything from the beats to the songs are tired clichés, with Studdard- like Clay Aiken before him- singing as if the laundry were simply more interesting. There's "After The Candles Burn", which is a really bad attempt at Barry White, "No Ruben", a horrible song in all aspects where Studdard fantasizes about a world that doesn't have him (as in, what, the world three months from now?) and the mild Brian McKnight rip-off, "We Have Not Forgotten". The epitome of the all the crap found here is, maybe fitting, found on single No. 1, "Sorry 2004"- complete with Casio beats, a bored Studdard and a lame chorus that reads "I'm sorry for 2004", it's really the worst song on the album. Horrible by all accounts. |
| Ryan Malcolm- Home (Vik./BMG) | WWWWW | I'll admit: at first, I wasn't one of Ryan Malcolm's biggest supporters. The one who desecrated classics from Elton John and Dobie Gray certainly didn't sit well with me when the likes of Toya Alexis and Tyler Hamliton were, more or less, giving those classics their due. However, maybe the Canadian public was on to something when they kicked Alexis and Hamilton, among others, out and selected Ryan Malcolm as the first Canadian Idol if Malcolm's excellent debut is any indication. Bold, brash and beautiful, "Home" is the kick in the teeth the pop world needed- an album which wreaks of personality and distinctiveness, being maybe not completely the antithesis to the likes of the "normal" John Mayer and Jason Mraz (and, by extension, much of the "Idol" graduates on both sides of the border) but certainly possessing something that's ultimately more interesting. There's the desperado, sinister-like "October Skies", the Sugar Ray-esque "I Gotta Be Me" and the self-explanatory "Ride" which shows a very cocky and vibrant persona, without getting overboard into the "wild-child" area the likes of Fefe Dobson and Avril Lavigne stray into. The ballads- like "Absolutely Perfect" and "You Made This Fool A Man"- also show a sensitive but confident side to Malcolm, who sings every song with conviction that he takes every song (even those which he doesn't help write) and makes them his own. The best song here though is the first single, "Star Of All The Planets", a brash and bold song that's pop's most compelling single in quite a while. The pop music world needed an album like this- now's a matter of people hearing it. |
| Sarah Brightman- Harem (Angel/EMI) | WWWWW | Most probably know Sarah Brightman as the inspiration behind former husband Andrew Lloyd Webber's "The Phantom Of The Opera" and "Requiem", but her own music proves to be just as good- if not better than her stage work, as witnessed by 2003's brilliant "Harem". Taking a Middle-Eastern theme, Brightman goes through a wonderful epic, with the uplifting "The War Is Over", the self-explanatory "Beautiful" and great effect-creating tempo changes in the epic "Arabian Nights". She's also got quite the voice, which helps give the album a lot of weight and energy. A beautiful effort. |
| Sarah McLachlan- Afterglow (Nettwerk/Arista/ BMG) | WWWW | Perhaps it's not Sarah McLachlan's best work to date, but the first studio album in six years shows that Lilith Fair founder is still doing what she does best. "Afterglow" is a stunning, vibrant pop album, from the sweeping "Fallen" to the vibrant, infectious "Time". The album is best summed up by this line in "Train Wreck": "In your sweet embrace/all my pain's erased". So much said with so little. How many times do singer-songwriters manage to do that, and do that well? |
| Shadows Fall- The Art Of Balance (Century Media/ FAB) | WWWWW | There may be a debate over Shadows Fall's "realness" today, but there's really no denying that "The Art Of Balance" is a genre-breaking album. It may not be as "heavy" as traditional death metal and it may be really poppy, but the truth is- at least for me- metal (at least the more commercial kind) has needed something this fresh and invigorating, something that actually sounds like it came from today's generation and not ten or twenty years before. Highlights include the catchy and vibrant singles "Thoughts Without Words" and "Destroyer Of Senses", the Pink Floyd cover "Welcome To The Machine" and the memorable, nice title track, plus some nice guitarwork by Jonathan Donais and drumming from Jason Rittner (though he's no Sean Reinert). Brilliant all around. |
| Sky- Picture Perfect (Sextant/EMI) | W | It's finally come down to this. Antoine Sicotte, searching desperately for a successor to the irreplaceable James Reinald, hit a new low in teaming up with Reinald sound-alike Karl Wolf, producing sad attempts at pop songs. There's the forgettable attempt at Daniel Bedingfield on "15 Minutes Of Fame" and "Slide", a pathetic attempt at reggae. They sound contrived and off-balance overall, as the two have a complete lack of chemistry together and show that Reinald really was the brains behind Sky and that Sicotte should stop trying. Look, you're never going to replace him. Just give it up already. |
| Slick Shoes- Far From Nowhere (USA Side 1) | WWWW | Orange County emopunks Slick Shoes produced another fun, vibrant album with "Far From Nowhere", the band's debut on USA Side One Records. The very energetic, up-tempo attack plays equally well on light-hearted fun ("Sleep In") and on the torn, angry side ("Down Hill"). The best song here is the potent and biting "Hello Stupid", which grinds then suddenly stops for its B-section. Like the rest of the album, it's simply brilliant, vibrant stuff. |
| Sloan- Action Pact (Vik./BMG) | WWWW | Okay, so it's a bad title, but Halifax's Sloan still present the sunny, vibrant and fun album that they've always been known for. Their brand of power pop is very infectious yet carries a lot of substance, something bands like The Sounds lack. There's the plea for timelessness (that Sloan no doubt will get) on "Fade Away", the dark undercurrents of "False Alarm" and "Nothing Lasts Forever", showing that Sloan can be reflective and personal. Twelve years after they started and moved on to BMG after so many years as independents distributed by Universal, Sloan prove that they haven't missed a beat. |
| T. Raumschmiere- Radio Blackout (S**tkatapult/ Novamute) | WWWWW | 2003's best new artist, Marco Haas- A.K.A., T. Raumschmiere- has produced one of music's most creative pieces of recent memory. There's the Trent Reznor-ish, truck-like beat to "Monstertruckdriver", the "Flat Beat"-like rhythms in "Wir Kinder Vom Bahnof", the most accessible song here and "Questromzerspaner", which starts off with some basic "metallics" and then explodes into an up tempo, pulsating rhythm. It's also very catchy too, which makes it easier for anyone to like. Definitely recommended. |
| Talib Kweli- The Beautiful Struggle (Rawkus/Universal) | WWWW | Talib Kweli entered with quite a storm in 2002's debut "Quality" and keeps the pace nicely on this album. "The Beautiful Struggle" showcases Kweli with a bit more omph and potential for widespread success but without the loss in quality that may suggest. There's still Kweli's trademark anger and super-fast delivery- it's just delivered with a poppier feel, which isn't a bad thing as the message is not skewed at all. For example, "Broken Glass", the best song here, is an instant club track produced by the likes of The Neptunes, but details the very real (and scary) story of a girl going to New York hoping to realize her dreams only to have it shattered in her face. This kind of song- the "hit with a message", more or less Kweli's trademark- is found throughout the album (e.g., "Going Hard", "Beautiful Struggle", the uplifting first single "I Try"), as well as the simple party tracks that Kweli has done before ("Back Of Offa Me", "A Game"). It may not be as revolutionary as "Quality" was, but "The Beautiful Struggle" should do what "Quality" didn't- deliver Kweli's message to the masses, something he- and his fans- want and deserve. |
| Tantra Lounge, Volume 2- More Exotic Electronica (Water Music/Universal) | WWWWW | In a genre known for continually pushing its boundaries, it may come across as a surprise to some that an album advertises itself as "exotic" electronica, as, for most people anyway, even the electronica of Felix Da Housecat is exotic. However, make no mistake about this one- the Tantra Lounge, combining the sounds of the Middle East with electronica (done not so long ago by contributors Thievery Corporation on "The Richest Man In Babylon") into a very pleasing and highly enjoyable mix. The Washington duo are the most recognizable artists here, with their song- "Indra"- being the most "poppish", but the rest of the artists still make a big splash: check out, for instance, the fast-paced "Matter" from Govinda and the drums that Omar Faruk Tekbilek uses in "Shashkin". The most interesting pieces goes to Karsh Kale's "Analog Mood Swings" and Natacha Atlas' "This Realm", the former being a hip-hop and turntablism influenced, Middle Eastern sounding track while the latter infuses some very Sash!-like sounds to create a riveting experience. A minor flaw exists in that at times the songs are very interchangable, but every song is great and flows well together, so the flaw doesn't mean much in the long run. In the end, if you're looking for an electronica piece that defies expectations and delivers a solid, creative product, you can't go wrong with this. |
| The Ataris- So Long, Astoria (Columbia/Sony) | WWW | The long-awaited major label debut from a band destined to get there, "So Long, Astoria" is actually a pretty entertaining concept album where singer Kris Roe (who wrote all the songs) muses about the path from independents to Columbia Records. There's the "I'm leaving" song in the title track, the "take life by the horns" song "In This Diary", the fight for other bands to get a chance ("Radio #2") and the reflective, "was this the right choice" track "Eight Of Nine". It's not a really gripping piece and relies too much on clichés at times ("The Hero Dies In This One") but it's still a good start to a major label career the band was destined to have. |
| The Calling- Two (RCA/BMG) | WWW | Yeah, there were many willing to write off Los Angeles-based The Calling after they put forth their forgettable debut "Camino Palmero", but the band, instead of giving up smartly wisened up: "Two" is a more focused and more lively album than their first album, showing some obvious growth. For example, the overwrought anthemicness that brought down the last album is replaced by youthful energy and an earnestness to make a good album- in the best song here, the first single "Our Lives", the band sounds revitalized and more focused, using their youthful spirit to create a single that rivals "Wherever You Will Go" as the band's best ever. The rest of the album is full of this spirit, coming from songs like the mid-tempo opener "One By One" to ballads such as "Things Will Go My Way" and "Dreaming In Red". Yeah, the album can be a bit more radio-friendly than it should be and songs can sound a little too similar at times, but the biggest point regarding the album is that The Calling have realized what made the last album fail and changed their perspective: instead of trying to go for grandioise rock, they've opted instead for youthful, anthemic pop-rock, as that's what suits them best; and they're all the better for it. |
| The Coral- Magic And Medicine (Deltasonic/Sony) | WW | The Coral have received much hype in Britain for having a very diverse and multi-textured sound, a lot like their peers in Radiohead. However, if "Magic And Medicine" is any indication, The Coral still have quite a bit of work to do if they want to be taken seriously. You see, this album is pretty much just a lot of noise without much purpose, as songs like "Confessions of A.D.D." and "Talkin' Gypsy Market Blues" meander without really any point, or great instrumentation for that matter. Though there is hope- "Don't Think You're The First" is a hook-filled gem and shows that The Coral are able to put together something that's coherent and interesting. Now they just have to make an album doing it. |
| The Darkness- Permission To Land (Atlantic/Warner) | WWWWW | There's a lot of hype surrounding The Darkness, so much so that you probably can't go a day without hearing something about the British band. However, unlike so many before them, The Darkness actually deliver on all the hype- and then some. Playful but also very serious, The Darkness truly rock on songs like the anthemic "Black Shuck" and really do "kick ass" on "Friday Night", while songs like "Get Your Hands Off Of My Woman", where Justin Hawkins does his best Freddie Mercury impression, and the wry humour of the "power ballad" "Growing On Me" show the band do have what it takes to get to the next level. Simply put, there just hasn't been a rock band this invigorating in a long time, and it's about time they showed up. |
| The Killers- Hot Fuss (Island/Def Jam/Universal) | WWWW | Yeah, they may be bragging, but The Killers have earned the right to call their album "Hot Fuss". The Las Vegas band's first album is a great collection of up-tempo, slightly dark and reflective rock songs that showcase a band that's full of hunger and a lot of potential to boot. There's the sad but optimistic, healing feel of "Everything Will Be Alright" as one bright spot, as well as the very danceable and catchy "Mr. Brightside" for another. Those two songs are the closest- and they get real close- to topping the lead single, "Somebody Told Me" on the album, but don't think The Killers produced a fluke with the single: it's just merely the best song on a collection of many amazing songs. The pace does drag a little toward the middle, but "Hot Fuss" still shows a band that's ready for the big time and will go on to bigger and better things. |
| The Punisher- The Album (Wind-Up/Sony) | W | It's too bad that an incredible single like Seether's "Broken" is included in an album as horrible as this one, but considering it's a movie soundtrack, it's par for the course. Like the rote, forgettable material that dominated the "Daredevil" soundtrack (just like many other rock-oriented soundtracks), "The Punisher- The Album" is filled with tons of nu-metal and grunge, being the kind of music that makes you think you're listening to something heavy until you actually listen to something heavy. Highlights include both Seether songs, Nickelback's "Slow Motion" and a pretty-cool effects-laden song from Ben Moody with Jason Miller and Jason "Gong" Jones called "The End Has Come", but after that the material- a lot of which comes from hopeless Wind-Up bands who need to be stuck on album like this because nobody gives a crap about them- is bland, boring and ultra-repetitive. If you're a fan of the Seether song or a completist of any of the bands on the album, then maybe the album is worth it, but if not, leave these wannabe rockers to cry, whine, clash and chug alone. |
| The Rasmus- Dead Letters (Playground/ Motor/ Interscope/ Universal) | WWW | They came in with such a storm it's a shame they leave barely a whimper. Finland's The Rasmus, who came out with one of the year's best singles off this album in "In The Shadows", an ultra-catchy, highly danceable rock song which provides some of the best fun in all of music over the past few years, fail to produce anything but moderate entertainment elsewhere. This isn't to say that "Dead Letters" is a washout- far from it actually: it's a very good electronic/dance-rock album, with a good range of upbeat, fun tunes like "The One That I Love" and reflective pieces like "The Funeral Song". The problem is that the rest of the material isn't as gripping as "In The Shadows", the strength of which turns these good but not great songs into simply satisfactory and pedestrian numbers. The band might be able to squeeze another quality single out of this album (with the best chances being the catchy "F-F-Falling" and the energetic "Back In The Picture"), but in failing to get anything that's even close to "In The Shadows" quality-wise here they risk being a hit-or-miss band: either the world will give them one more shot or, more likely, denounce them as one-hit wonders (albeit being one of music's greatest one-hit wonders) and pass on them once they're tired of "In The Shadows". Overall, "Dead Letters" is worthy of attention, but the band has to prove that they've got another "In The Shadows" in them or else the public won't care about them anymore. |
| The Salads- Fold A To B (Maui Wowie/Kindling/ EMI) | W | They enjoy themselves, but it doesn't mean that The Salads actually present anything worthwhile. Not one track here is good on any level- "The Roth Kung Fu" is simply the least annoying- as the band goes through every lame cliché they could think of, like the lame "2 Kool 4 School" and the Fred Durst rip-off "Who We Are". They're like that MAD TV sketch with Will Sasso (as Durst) and Jessica Simpson, where Sasso pleads the case for a bad dancer to keep trying: "he sucks- but that doesn't stop him from trying." At least The Salads have the right attitude- now what about good songs please? |
| The Trews- House Of Ill Fame (Bumstead/ Sony) | WWW | Perhaps the unexplained flop that was Sloan's "Action Pact" raised alarm bells throughout Canada that the band needed a successor. There have been several claimants to the throne that Sloan built as Canada's leading power-pop band, with one of those claimants being The Trews, who provide a pretty solid case. Their brand of up tempo, simple rock certainly holds the essence of Sloan's work, but after the first three songs- "Every Inambition", "Not Ready To Go" and "Confessions"- the songs do become a little plain. Still, the first three songs do show that they have potential, especially the ultra-catchy "Confessions", and the rest of the album isn't a complete washout, even if you'll be struggling to remember them once they're done. The Trews haven't yet succeeded Sloan, but they do have a pretty good shot. |
| The Vines- Winning Days (Capitol/EMI) | WWWW | There's a few ways one could take the latest offering from Australia's The Vines. It could be seen as merely yet another in the myriad of Beatles-esque albums, as songs like the relatively raw ballad (and best song here) that is the title track do have that Beatles flair, or as an attempt to make an album that would sound like Johnny Rotten doing Radiohead, as seen by the rather snarly "Animal Town" and "F.T.W." (guess what that stands for). Whatever it is, there's no denying that there's some growth within The Vines. This is no longer the band that just screams and wails without any direction- the screaming and wailing finally has a purpose, whether it's to make some interesting noise ("Autum Shade II") or a catchy single ("Ride"). It may take a while for it all to set in, but once it does, the album engages like few can. |
| The Wrens- Meadowlands (Absolutely Kosher) | WWWWW | I admit, I was late in reviewing this. Picked it up in January but got so busy that I never got around to listening it until now...but I tell you, it's worth the wait. "The Meadowlands", The Wrens' third album (and first for Absolutely Kosher Records) is a stunning, emotional work, with lots of lush melodies and textures that create a riveting feeling of desolation that's unique to the album. A few quasi-up tempo numbers- the best of which being "Happy", with it's big drum sound and "She Sends Kisses" kicks off the album, helping to pave the way for the more epic material ahead, like "13 Months In 6 Minutes" and "This Is Not What You Had Planned", the latter one featuring one large and very painful wail. The result is that, overall, "The Meadowlands" becomes a powerful album, the kind of independent album that indies set out to make. It's accessible (e.g. "This Boy Is Exhausted"), but also challenging, making you think at every turn. Look out indie scene, a new star has been born. |
| Therapy?- High Anxiety (Eagle/Spitfire) | WW | Therapy? have been for years relegated to the fringes of radio play, never really getting to the radio but always producing songs like "If It Kills Me" that could get them there. Of course, if they had any bit of distinctiveness they'd actually get there. Most of "High Anxiety" is faceless and indistinctive, being mildly energetic but almost never memorable. The only songs that really stick out are the infectious "If It Kills Me" and "Hey Satan- You Rock!", but the latter only does because of the contrived shock value (as it's a mentally depraved look at Heaven and does have the sound for a B-rated horror flick). Other than that, there's nothing else worth reporting. |
| Three Days Grace- (Self-Titled) (Jive/BMG) | W | If the success of Nirvana wasn't enough for Kurt Cobain to go crazy, then seeing Three Days Grace would have been. Three Days Grace present the tired and overused formula of clichéd angst and polished up grunge found in so many rock bands today and think that by being kids they somehow become original. No, they don't. Just about every cliché is hit- from the excessive distortion of "Drown", the over-yelled "Overrated", the "I hate my home life" song called, um, "Home" and the "I can't go on with my life" song "Take Me Under". To think this is how far grunge has gone in twelve years. Cobain must be spinning in his grave. |
| Toby Keith- Shock 'N' Y'All (DreamWorks/ Universal) | WWWWW | It's a pity that too many choose to focus on Keith's overtly patriotic tunes like "Courtesy Of The Red White And Blue (The Angry American)", because they're really missing out on music's most emotive singer and, thus, on some really amazing and impassioned material. This time, Keith gets to have a little more fun than he did on "Unleashed", recording the hilarious drunken anthem "Sweet" and the even funnier "The Critic" where Keith so greatly lashes out at the music critic establishment for being geeks who'd write "some five star column on some...band you've never heard of". His serious side is still in great gear, on display best in the Ronnie Dunn collaboration "Don't Leave, I Think I Love You" (which sounds very Brooks & Dunn-ish), and, again, his patriotic song- "American Soldier"- is a rousing and very impassioned anthem, solid even if you don't quite agree with Keith's stance (and, for the record, there's only two songs here that are patriotic- "American Soldier" and "The Taliban Song", so, like "Unleashed", they're NOT indicative of the album). All in all, "Shock 'N' Y'All" shows that Keith is at the top of his game and can only seem to get better. |
| Toby Lightman- Little Things (Lava/Atlantic Recording Corp./Warner) | WWWW | Perhaps a flood of neo-soul female pop crooners is expected in the wake of Norah Jones' unexpected success, but for some reason the newcomers- Joss Stone and Toby Lightman- find ways to be extremely successful. Lightman's debut, the very Zero 7-esque "Little Things", is a soothing, relaxing pop album, a nice-chillout album to listen to in your room right after you've had a long day. Lightman's nice, Stone-like voice is central to this, as well as the light electronica flourishes that dominate the album's music. As for the songs themselves, the catchy "The River" and "Devils And Angels" provide the singer's best chance for a pop breakthrough, while the mellow "Everyday" provides the album some versatility. An interesting experience overall. |
| Tracy Byrd- The Truth About Men (RCA/BMG) | WW | Here's "The Truth About Tracy Byrd": he's supposedly a country funnyman out to have a light-hearted good time, but really he's just a ploy by RCA Records Nashville to sell shody country songs. Well, at least "The Truth About Men", the album anyway, is. There are some memorable moments- like the hilarious title track and the oddly touching "When You Go"- but there's too much filler and not enough Tracy. He's capable of so much more. |
| The Tragically Hip- In Between Evolution (Universal) | WWWW | Say what you will about The Tragically Hip- that they're old, that they're washed up, that they're past their prime, but you can't deny that they are legends and still have a stranglehold on the Canadian consciousness. After a bit of a puzzling period- from about the Phantom Power stage all the way up to the single "It's A Good Life If You Don't Weaken"- the Hip are back to the form they displayed when making classics like "Courage" and "New Orleans Is Sinking", continuing the process from their more recent singles like "The Darkest One". There is the very anthemic and gripping single "Vaccination Scar" for one highlight, complete with some impressive guitarwork from Rob Baker. Then the Hip display some of the snarl that's made for some of their better singles in "The Heart Of The Melt" and "One Night In Copenhagen" (where singer Gord Downie details the struggles of a washed up rock star), and top it all off with what appears to be the "sequel" to "New Orleans Is Sinking" in "If New Orleans Is Beat", where Downie displays despair over a falling New Orleans (he must love New Orleans if he's afraid of it disappearing). This may not be "Fully Completely", but it does show that the classic Hip have returned- and not too late. |
| TV On The Radio- Desperate Youth, Bloodthirsty Babes (Touch & Go) | WWW | One of the strangest hits out of leftfield in the indie music scene earlier in the new millennium, Brooklyn's TV On The Radio return to record their first full-length release for Chicago's Touch & Go Records. The result is an album that fades into the background with not much of it really sticking out- "Desperate Youth, Bloodthirsty Babes" is a competent piece of electronic/dancey-rock, providing a kind of dark ambience through a myriad of sounds that sound like the kind of music an industrial outfit might churn out with their amplifiers down halfway. There are a few highlights in the proceedings- the closer, "Wear You Out", which paints a pretty devastating picture of desolation for one, and the slightly hypnotic "Dreams" for another. The best song here, though, is "Staring At The Sun", a lively, energetic seemingly club-oriented rock song that does have a little Chemical Brothers flair (although don't confuse this as a cover of the Chemical Brothers' song). It's the song that sticks out the most here, being the most immediate song on the album. Overall, "Desperate Youth, Bloodthirsty Babes" is not a very stellar release, but songs like "Staring At The Sun" point to a very tantalizing potential. |
| Velvet Revolver- Contraband (RCA/BMG) | W | Ever since the news broke out that the former band members of Guns 'N' Roses had teamed up with Scott Weiland to form a band there has been a considerable amount of hype surrounding Velvet Revolver, what this band would eventually come to be known. There was a hope that, with Axl Rose in a stupefying limbo, Guns 'N' Roses fans might actually get some real music from the classic lineup, and, among rock fans, that this superstar pairing with the perpetually in limbo Weiland would produce something spectacular. Well, not only is it NOT spectacular, it's not very good either: "Contraband" is a mess of dull, lifeless rock songs without an ounce of creativity at all. For one, you won't find any memorable solos from the once mighty Slash on this album, which is probably the biggest knock against this album because of how great Slash was in his GNR days. Then there's the actual songs themselves, most of them being radio-friendly and nothing else, with the band essentially mailing in their performances and not really trying at all. For example, there is the too Stone Temple Pilots-ish "Big Machine", the dull "Sucker Train Blues" and the repetitive "Set Me Free", with the two worst songs being "Do It For The Kids" and "You Got No Right". The former has Weiland fakingly mouth off as if he's trying to show that he's tough but really coming off as stupid, while the latter cops the melody from a crappy Melanie Doane single (whose name escapes me at the moment). "Slither" may have pointed to a band that looked like it was going to be a band that was going to make rock refreshing again, but after listening to this, I really can't say that there really is anything different about Velvet Revolver. Maybe this is just a funk (as we all know the band members can do better), but after underwhelming everyone with this run-of-the-mill, rather indistinctive performance, I'm not sure if the populace will be willing to give them another chance. |
| Wilco- A Ghost Is Born (Nonesuch/ Warner) | WWW | In many ways, a grand, masterpiece album is a sign of things to come- many a successful career was based around undeniable brilliance. The likes of Led Zeppelin and The Beatles all made careers out of a string of successful and brilliant albums, becoming legends to this day. However, a grand masterpiece album can also be a dangerous thing- once you've set your bar too high, there's no looking back. Wilco appear to be in this precarious situation. Two years removed from the clever and utterly brilliant "Yankee Hotel Foxtrot", Wilco have resurfaced shedding their alt/country roots and have begun focusing on the experimental side found on "YHF" in the follow-up, "A Ghost Is Born". "Ghost" has a lot of the same elements that made "YHF" the great album that it was- the direct but enigmatic lyrics from Jeff Tweedy (e.g. "Company In My Back") and the weird effects (e.g. "Less Than You Think"), but it does lose a lot of the urgency and the vibrancy "YHF" had, outside of the most poppy song here in "The Late Greats", coming off as just a band that's out to weird out as many people as they can. Wilco deserve a lot of the credit they do get, but with much more superior work from younger, more hungrier bands like The Wrens, they need to shape up or risk having the shadow of "YHF" cloud them for the rest of their careers. |
| William Hung- Inspiration (XL/Koch/ Beggar's Banquet) | W | Well, the party had to end some day, and now it's over. William Hung created such a stir when he auditioned for American Idol 3 earlier this year, creating many fervent fans who were enchanted by his rather cute performance and his undeniable positivity and charm. The problem was, as Simon Cowell correctly pointed out, the man does not have an inch of talent (at least musically) and thus does not have much of a use in the entertainment industry. Mind you, there's several who can make good music without possessing an inch of talent (just look at the Ramones), but Hung isn't one of them. As "Inspiration" shows, Hung and the team that concocted the album are not much of visionaries, giving Hung a set of cookie-cutter covers from the likes of the Eagles ("Hotel California"), Elton John ("Can You Feel The Love Tonight") and the obligatory material from Ricky Martin ("She Bangs" and "Shake Your Bon Bon", the former being the song that Hung auditioned with), each one very excruciating to listen to (you'll be scrambling to find the originals after hearing these pathetic attempts at covers, which are so bad, they make the American Idol versions great). Hung clearly displays a lot of effort and willingness to make this album, but his clear lack of any negligible singing talent make these songs anything but a pain to listen to. Not only that, the cookie-cutter treatment the arrangements to the songs are given suggest that this was merely a ploy by Koch Records, one of America's largest independent music companies, to earn some money at the expense of the major labels who smartly passed him up (see, they're not TOTALLY incompetent). One song does stick out though- "Free", a rote trance song that the DJs of Europe could do in their sleep but only exacerbates the album's deficiencies, as it shows that if a true visionary led Hung "Inspiration" might not have been a washout. Instead, this visionless, talentless and rather pointless album should be left on the shelf. Let's leave the poor man alone, please? |
| Go To Top Of Page |
