M.I.A. – /\/\/\Y/\
(XL Recordings)
4
Sri Lankan vocalist/activist/designer Maya Arulpragasam (aka M.I.A.) unleashes her much-awaited 3rd full-length, and it begins strikingly heavy with the clever agit-political intro, "The Message." She's off to a running start, already, which is followed by the proto-industrial "Steppin Up," which could almost be Skinny Puppy with a female vocalist. Granted, her use of abrasive sampled elements in pop isn't unique, but it's especially jarring here. She wisely follows the harshness with what could be the most commercial track of her career, "XXXO." Sadly, this one's a tepid electro-R&B bit that proves her pop savvy, but somehow seems concessionary to these ears. Or could it be she's having a laugh at radio's expense?
Either way, M.I.A. does better with the thumping "Teqkilla" - a more balanced mesh of odd experimental cut-up weirdness and bass-pumpin' club sounds. The remainder of the album is as varied as a pop album can rightfully claim to be, and that's certainly a good thing. "Story To Be Told" is a dub/electronic workout, while "It Takes A Muscle" is a slice of island calypso/reggae. "Meds And Feds" is heavy digital-thrash ala Atari Teenage Riot, but "Space" is light and airy ambient pop. "Born Free" is unashamedly based on Suicide's classic 1977 electro-punk anthem, "Ghost Rider," and it's this kind of clever, in-the-know, and hip pilfering that makes M.I.A. a darling in indie circles. The fact that she lined up Suicide's Martin Rev to play this track on a recent TV appearance lends even more credibility to her cause.
Ambitious musical lexicon aside, it's M.I.A.'s truly worldly outlook that makes \/\/\Y/\ work so well, despite some slight mis-steps. She points the finger at international government politics, examines human rights, and critiques technology, but its all set to some amazing grooves and beats, so this album works both the mind and booty. Her considerable talents and wisdom are rare among pop stars, and M.I.A. challenges her audience, rather than placates. She is cause for great hope, and \/\/\Y/\ is a true pop gem.
-- Todd Zachritz
The New Czars – Doomsday Revolution
(Samson Records)
3.5
The New Czars shouldn’t suffer the same fate as the Russian rulers of the early 20th century. They do deserve a much happier fate. I have to fess up, after listening to this largely formulaic, modern hard rock effort, that The New Czars ain’t too shabby. Sure, it’s a lot of rock paint-by-numbers, but it does indeed rock. Although I’d like to take away the Whammy-Wah pedal that gets used too much. Dimebag used it enough for every player everywhere, after all.
The opening track “Keep on Goin’” gives off a vibe like Stone Temple Pilots and Downward Spiral-era Trent Reznor got together over drinks to put together a radio-friendly tune. “Confessions” maintains the heavy, with a catchy batch of riffs. “Desperate” downshifts a bit, but keeps the crunch coming, although its bridges are a bit boring; it sounds a little like the quiet/loud/quiet perfected over 20 years ago by the Pixies… but it’s not as good… and some guitar wankery is a bit off-putting. And the chorus doesn’t quite fit. “Why Do You Have 2 Lie” doesn’t belong here, although it’s an obligatory “ballad.” It’s just not a spectacularly great one.
“Don’t Watch Me” brings it back around, and conjures Velvet Revolver’s better moments, though the double-bass drumming is a bit too much. Were it to stay a simpler four-on-the-floor, I’d like it more.
“Brush With the Devil” has some elements that remind me a little bit of a Soundgarden/Buckcherry/Monster Magnet hybrid, which is weird, because I like two of those bands very, very much. The other, not so much. But this track, I enjoy.
After a while, the disc begins sounding a bit the same. But track 13, “Tell Me,” goes off in a bit of a different direction. And “Funky Detour,” the 15th of Doomsday Revolution’s 16 tracks, is a pretty splendid instrumental jam. “Crotch Critters” rounds out the whole thing, and for a final song, it’s definitely no “Rocket Queen.”
All told, while derivative and at times, frankly, a little boring, The New Czars know how to bring the rock. I’d have personally been better off with several tracks left on the cutting room floor, but the 3/4 of Doomsday Revolution that’s good is quite good. Recommended for fans of Stone Temple Pilots, Queens of the Stone Age, Velvet Revolver and crunchy guitars in general. A decent, solid effort.
-- Dylan Gibbs
Watain – Lawless Darkness
(Season Of Mist)
5
Sweden's Watain have quickly ascended to a leading position within the insulated and stagnating black metal scene. "Lawless Darkness," their fourth album, further cements the band's malevolent throne. Watain aim exponentially higher (or is it lower?) than their brethren, and "Visible Darkness" is a masterpiece of terror and unrelenting darkness. It's a charred, fiery blast furnace of bleak and impenetrable heaviness that may end up redefining the genre.
Purists have criticized "Lawless Darkness" for sounding like traditional metal ala Motorhead (maybe true somewhat on tracks like "Reaping Death" or "Total Funeral"), therefore bastardizing the sacred "black metal" genre. I say hogwash. On the contrary, Watain have singlehandedly advanced the scene with their melding of classic metal inspirations (just listen to some of the guitar solos here), furious cut-throat aggression, dark mood and melody, and, last but not least, a crisp, punchy, and thunderous production (sorely lacking in a lot of the genre's stalwarts).
The intensity never wanes, from the opener, "Death's Cold Dark," through the bold instrumental title cut, and all the way to the stunning end. The surprise guest vocal cameo on the closer, "Waters Of Ain," by Carl McCoy of occult-rock act Fields Of The Nephilim is mostly token, but it does emblazon Watain's sincerity and genre-crossing fearlessness. Vocalist Erik Danielsson has stated that this contemplative 14-plus minute finale is the soundtrack to his own demise. And true to black metal tradition, this rollercoaster of emotive texture, quiet contemplation, and enraged bombast is wholly appropriate. There are elements of intense sorrow, poetic depth, and fiery resolution. It's a powerful and truly magnificent tour-de-force.
Limited editions of the album include a bonus track, a furious cover of the Death SS song, "Chains of Death." It's a worthy addition to the album, and brings it all to a brilliantly epic 80 minutes. "Lawless Darkness" is essential to any fan of modern metal, and may well bring the essence of black metal to a whole new audience.
-- Todd Zachritz
My Life With The Thrill Kill Kult – Sinister Whisperz
(Rustblade)
3
Subtitled "The Wax Trax! Years (1987-1991)," this 13-song collection harkens back to the glory days of this Chicago-based glam/dance/industrial act. And as a tribute to Wax Trax! founding fathers Jim Nash and Dannie Flesher (R.I.P. gentlemen), it's a fitting set, keeping the group's trademark mix of horror/occult themes and kitschy glam-club disco. As it turns out, "Sinister Whisperz" is not as much a compilation as a remix, from the early "And This Is What The Devil Does" or "Do You Fear For Your Child" to the more undeniably classic aggressive club sounds of "The Days Of Swine And Roses" and "Kooler Than Jesus."
And truth be told, TKK founders Marston Daley (aka Buzz McCoy) and Groovie Mann (Frankie Nardiello) have kept just about everything as I remember. Perhaps there are some minor tweaks here and remasterings there, but these cuts are oddly similar to the original tracks. Not that it's a bad thing, but fans expecting a modern mash-up of great Chicago dance cuts apply elsewhere. As a collection of the TKK's best tracks, this one hits the spots perfectly. The only thing missing is "Sex on Wheelz," but that's a minor complaint. Cooler than Jesus indeed, this one's a must-get for old-school, die-hard Wax Trax! fans like me.
-- Todd Zachritz
Shonen Knife – Live At Mohawk Place 2009
(Good Charamel Records)
3.5
Possibly the best-known (and most beloved) Japanese rock act on these shores, this Osaka-based trio have, for 25 years now, cornered the market on cute garage pop-punk. Yes, the three ladies of Shonen Knife sing songs about jellybeans, giant kitties, banana chips, and how much they love chocobars. It may sound silly, but it's somehow endearing, and not forced or childish. And as cute as Shonen Knife may be, they prove that they have the musical chops to match. Imagine a collision of the Ramones with the Monkees, add some Hello Kitty, and you shouldn't be far off the mark. Shonen Knife's catchy, melodic, and energetic tunes are full of spunkiness and upbeat vibes. They are simply adorable, and their heavier songs kick ass, too. This live DVD was filmed in Buffalo on the band's 2009 tour, and shows a small but enthusiastic audience soaking in Osaka's favorite daughters' energy and infectious charm. It's well-filmed, the band were on fire, and this one should please just about anyone. I am left more a fan now than before, if that tells you anything!
-- Todd Zachritz
Albert Castiglia – Keepin On
(Blues Leaf Records)
4.5
The latest, highly anticipated release from Albert Castiglia is a great Electric Blues record with shining moments of acoustic mastery. Castiglia told me in June that he felt the album is the best he’s ever done. Listening to the work that he and the band put in on Keepin On, I’m not inclined to disagree. Castiglia set out to record Keepin On with the fewest number of overdubs possible, opting to see what grew out of the organic, live in the studio sessions. He brought in AJ Kelly on bass and Bob Amsel on drums for the record, and enlisted the help of some fantastic guests like Toby Walker and label mate Sandy Mack.
Things kick off strong with “Cadillac Assembly Line,” a Mack Rice penned song at one time done up Funky by the great Albert King, but performed here at a blistering pace. Castiglia has really mastered his version of this tune since first recording it on his self-released 2002 CD Burn.
Bill “Mighty” Quinn’s B3 Organ provides a great sonic backdrop to Bob Dylan’s “Till I Fell In Love With You.” Of the 12 songs on Keepin On, seven are covers. If I had one complaint about the disc, it’s that I enjoy Albert’s original music so much that I would have loved for more of it to appear here. He has a wonderful ability to select covers, though, and more often than not, tailors them into his own unique versions. Other covers on Keepin On include music from T-Bone Walker, Peter Green, Robert Nighthawk, and John Lee Hooker. “Do You Love Me?” was written by Iowa guitarist Jack Fickel, and features fellow Blues Leaf Records artist Nicole Hart singing backup.
The Funky instrumental “Mojo 305” is the first of five original tunes on the album. The song has an almost Latin element to it, no doubt inspired by Castiglia’s Miami, Florida home. Emedin Rivera guests on congas for the track, and returns later in the album for “Do You Love Me?” Sandy Mack lends his amazing talent on the harmonica for “Could Not Ask For More,” a Slow Blues that clocks in at seven-and-a-half minutes. There’s also a great solo from Bill Quinn on piano here.
“Keep On Keepin’ On,” the song that this album takes its name from, is an inspired track that features scathing social commentary about the current economic climate. It’s some of Albert Castiglia’s best songwriting work, and you can hear the emotion in both his vocals and his playing. Castiglia’s songwriting gets stronger with each album he puts out, and that’s evident when you listen to songs like “Keep On Keepin’ On,” and the terrific ballad “Getting’ By.” The Albert Castiglia penned “Closing Time” is another song pulled off of that 2002 release Burn. It’s grown over the years, going from a four-minute acoustic number to an electric, more than seven-minute Stone Cold Blues masterpiece.
Dobro master Toby Walker sat in with Albert on two tracks, the wonderful original “Sweet Southern Angel,” and Robert Nighthawk’s “Murderin’ Blues.” The pair create some great music together in the acoustic setting, and I’m sure this won’t be the last time we get to hear the product of this great new partnership.
-- Johnny “Full-Time” Luttrell
Raven Soul – 100 Bleeding Hearts
(Arctic Music)
2
Wow. It's a Portuguese goth-metal band who cop more than a view moves from Finnish icons H.I.M.. In fact, this Twilight-ready group are just as melodramatic and love-obsessed as their dark spiritual "fathers." Musically, Raven Soul's melodic goth-metal is light and easy on the ears, replete with plenty of synths, pianos, and guitars that are tuneful and clean. Their production is crystalline and deep, so it all sounds good. However, it would sound better if I hadn't heard H.I.M. first. Vocalist Mac Caetano manages to channel both Peter Murphy and Ville Vallo on the opener, "End Of The World." From there, it's a strong album, but far too derivative to these ears, merely shadowing their H.I.M. heroes. I'll cut them some slack as it's their debut, but I'd expect something more individual next time.
--Todd Zachritz
