CD Reviews
Arctic Monkeys
Whatever People Say I Am, That’s What I’m Not
Domino, 2006
4½ out of 5
The thunderous buzz about Sheffield quartet Arctic Monkeys in 2005 was certainly justified. With their debut, Whatever People Say I Am, That’s What I’m Not, these New Englanders deliver 13 tracks of Brit rock sprinkled with gleaming guitar chords and dry, scratchy vocals.
Although frontman Alex Turner sings about “dirty dance floors,” “dreams of naughtiness” and getting “thrown in the riot van,” the disc still manages to have a bit of a romantic flavour. It’s not of the “oh-darling-let’s-have-a-candle-lit-dinner” variety; rather, Whatever People Say I Am has a glimmer of the “gee-lookin’-good-in-your-new-jeans-let’s-sweat-together-in-close-proximity” sentiment. This is evident on their number one UK hit, “I Bet You Look Good On the Dance Floor,” a song about a girl who is making eyes at someone. With its punchy beats, jangle-y guitars and references to dancing like a “robot from 1984,” this single is what busted them out of Sheffield and into the UK spotlight.
The only drawback is that if you don’t have a good ear for a British accent (it’s not that pronounced, though) or Brit slang (I had to research the meaning of mardy bum) you might be left wondering about the subject matter of some of the songs. Nonetheless, Whatever People Say I Am is flawless Brit rock that beams unpretentious lyrics, anthemic phrases and inventive time changes.
Jeanne Fronda Staff
We Are Scientists
With Love And Squalor
Virgin/EMI, 2006
3½ out of 5
Members of the Brooklyn trio We Are Scientists all claim “Not one among them can read.” So why such a quirky moniker? Keith Murray, guitarist and lead vocalist, bassist Chris Cain and drummer Michael Tapper insist that their name was spawned from something a U-Haul rental salesman once said while they were touring. The salesman thought the crew looked like a bunch of scientists, so they replied and the band name was created.
Geek rock aside, all 12 songs on their debut major, With Love and Squalor, are smart and cleverly written. The formula to each song includes loud guitars with pounding snares mixed with crashing cymbals and smooth but repetitive bass. But each time, the band doesn’t disappoint.
The hardest-hitting songs have persuasive choruses. Murray commands the music and makes you feel like you’re in a rush to do something. It is obvious why “Nobody Move, Nobody Get Hurt” and “The Great Escape” are their first two singles: they both have choruses where Murray’s voice hits, nails and holds some high notes so well you just wish you could sing along. But you can’t.
“Can’t Lose” and “Textbook” belong in the modern new wave rock trend that the Killers and the Bravery started and We Are Scientists borrow. Moreover, they go beyond just that mold, with an appealing art rock sound. They don’t mellow out once; it is just melodious but frenzied vocals over crunchy guitars.
Navin Bahl Staff
Shout Out Out Out Out
Shout Out Out Out Out EP
Normals Welcome Records, 2005
4 out of 5
The chaotic harmony known as Shout Out Out Out Out have given toe-tappers and thigh-slappers alike a fresh beat to jam to. These gifted individuals rose out of Edmonton’s independent rock scene in 2004. Nik Kozub and Jason Troock, fathers of Normals Welcome Records, joined up with Whitey Houston members Lyle Bell (also known as Whitey) and Rob Hoffart (also known as Gravy), Will Zimmerman and free radical Clint Frazier. (I can only imagine the heat generated by these guys during the long, cold winter season in Edmonton.) The band’s recipe includes two drummers, four bass players, two samplers, five — yes, five — synthesizers, five cowbells and one vocoder.
The EP is comprised of two distinct tracks: “Nobody Calls Me Unless They Want Something” and “Tiiiired,” but believe me it’s pretty much a full-length CD if you take into account its obvious replay value. I would like to provide a brief disclaimer before you listen to this EP: You may experience the sudden urge to dance in an uncontrollable robotic manner, so please consult a massage therapist for a speedy recovery. Ultimately this CD will make you want to dance.
Melissa Turner
Dem Franchize Boyz
On Top of Our Game
SoSo Def/Virgin/EMI, 2006
3 out of 5
Recently signed to SoSoDef by Jermaine Dupri after several fall-outs with other major labels, Dem Franchize Boyz are trying to right the wrongs but still keep the three spelling errors in their name. The Georgian foursome, who met in college, claims that they have something to say, but not one song on the album is introspective or positive.
The clumsy lyrics always reiterate the fact that these “boyz” wear diamonds, white tees and designer clothing. And that they ride on rims, pimp, shoot guns and sell drugs for a living. How about being a rap artist for a living?
Last-year’s smash anthem “White Tees” made most think that the group was a one-hit wonder. But the newest single from On Top of Our Game, “I Think They Like Me (Remix)” is on heavy rotation on most urban and Top 40 stations across North America.
Their debut major release is pounding with bass and bouncy synth beats. Unlike most current hip hop that is sample-based, this Southern rap album only has one sample to give credit to. Out of the 12-song set, songs that standout usually have guest appearances by established artists like Bun B or Trey Songz. Check “Stop Callin’ Me” and “Lean Wit It, Rock Wit It” if you are looking for that crass but club-friendly crunk song that has lyrics so ignorant that you can’t help but smile and bounce along with the “Boyz.”
Navin Bahl Staff
Jane Bunnett
Radio Guantanamo: Guantanamo Blues Project Vol. 1
Blue Note / EMI, 2005
4 out of 5
Remember the 1944 Disney movie The Three Caballeros, where a Mexican bird and a Brazilian bird start hanging out with Donald Duck and they have wacky multicultural adventures together? (The film, incidentally, was actually a propaganda piece directly influenced by the American government to build popular support for FDR’s Good Neighbor Policy. History is awesome!) Listening to this album is like that, or at least it’s like that if you don’t actually like Donald Duck all that much. Yeah, I know, everybody likes Donald Duck. But hear me out.
Radio Guantanamo is a concept album from Canadian jazz saxophonist Jane Bunnett, a longtime Cuban music enthusiast who brought this album together as a representation of the modern music scene of Guantanamo Bay.
At its best, this is a magnificent album blending jazz with Cuban changui influences, achieving tremendously catchy results; at its worst, it sounds like The Sims being fed through a smooth jazz blender. To further the Three Caballeros metaphor, it gets progressively better the more we see of the Latin American birds — but when it’s just Donald Duck taking up the whole frame and wearing a silly-ass hat to show how ethnic he suddenly is, it’s kind of aggravating.
Uneven as that is, however, the good well outweighs the bad on Radio Guantanamo. Give it a listen.
James Howard Volunteer Staff
Jay Crocker
Melodies from the Outskirts
ARK, 2006
4 out of 5
Remember when you were a kid and the adults would say, “Don’t judge a book by its cover”? Feel more than free to do that with Melodies from the Outskirts. The debut album’s intriguing title is an apt representation of what’s inside.
This album blends together jazz, rock and Latin influences to create an addictive sound. Just when you start to relax into that finger-snapping vibe, the music becomes powered and you want to dance the night away.
As well, Crocker possesses the unique ability to know when to let the music speak for itself, resulting in numerous instrumental solos on the album. One of the best songs for this is “Strong Arm Down,” in which the trumpet just takes over and takes away.
However, if you’re the type that needs vocals in music, be warned, this album is more instrumental than vocal, and when the vocals are present they’re toned down and taking a back seat. One notable song for vocals is “Framosa Road.”
The 10-piece band creates a full sound that varies from set to set. From the sweeter, slow-paced “Paper Thin” to the West Side Story feel of “Dead Birds,” everything is different in its own right but drawn together with one simple motif: the talented Mr. Crocker.
Chelse McKee
Mark Bragg
Bear Music
Maplenationwide, 2005
3 out of 5
Bear Music is the sophomore album from East Coast indie-rocker Mark Bragg (not to be confused with Billy Bragg); he has a reputation for writing dark and disconcerting stuff, and this album certainly justifies that reputation.
Bear Music is a pretty solid album of minimalist rock songwriting with slight country tinges, carrying what (to understate the matter) can charitably be called a noticeable appreciation for Tom Waits’s early work.
While only two or three of the 11 tracks stand out as terrific, the majority of the album passes by without eliciting complaint. And the instrumentation and performance are decent as well, although Bragg’s voice can get a bit grating from time to time.
Having said that, let me also add an understanding that the production values absolutely carry this album — CARRY them. The mixing and production were done by Daryn Barry, better known for his production work with the Weakerthans and the Cowboy Junkies, and it’s on his watch that these elements elevate the album from a decent collection of off-kilter and slightly charming songs to a swirling, atmospheric rumble of surrealism.
Bear Music is a reasonable and interesting album with no glaring flaws, and the production makes it a far better piece than it otherwise would have been — but it certainly isn’t a very accessible or radio-friendly work, either.
James Howard Volunteer Staff
Onlyforward
Everything’s Perfect
Kindling Records, 2006
3 out of 5
Onlyforward should change their name to Onlynow, because that’s about how long the tunes are going to stick with you.
The music on this album has a nice, upbeat, romantic edge to it, but every song feels like it’s been taken from the movies and placed on an album. Whether this is good or bad is up to you.
My only definite beef with this album is the lack of permanence to the music. I am not saying that it’s doomed to pop purgatory with the likes of K-Ci and JoJo, but it’s not the type of music that gets caught in your head all day so that you obsess over it. However, one song on the album that I found really addictive was “Trees.” The impressive vocals of Dave Martel help to create the summery atmosphere of the song.
Another memorable song on the album is the opening track “Hi,” which has a nice acoustic sound and bit of a ditty-like vocal beginning. It reminds me of skipping through clover hills with a basket and a dress. (Sorry, I just finished watching The Sound of Music.)
I want to have hopes for Onlyforward, I really do. But unless they make their material more memorable, in 10 years people are going to say, “I can’t recall the music you’re talking about.” Hell, that might even be next year.
Chelse McKee Volunteer Staff
Paper Moon
Broken Hearts Break Faster Every Day
Endearing, 2006
3½ out of 5
I’m always amazed when an artist can take the most dismal, heart-splitting subject and still churn out an energetic song that sounds almost cheerful; this is what Winnipeg-based band Paper Moon has done for a lot of the songs on their second album, Broken Hearts Break Faster Every Day.
Perhaps it’s because lead singer Allison Shevernoha has a rather gentle, high-pitched vocal tone that every song has a hint of optimism. (She sounds like Nina Persson, the front woman of the Swedish pop group the Cardigans.) Perhaps it’s because the layered backing vocals sound angelic at times. But whatever their secret is, this six-piece has created some really infectious sounds. It’s just too bad that the album doesn’t have a lot of range when it comes to the subject matter. Most of the songs focus on relationships of one sort or another, such as “String of Blinking Lights,” a slow tune with lyrics that reminisce about a past relationship. Some of the other songs have a cool, lounge-y feel, such as the mellow “So Nice” that features light drumming.
Although this CD isn’t horribly original, and the disgustingly sweet lyrics about travelling or saying “good bye” to a friend or lover can get a little old, Broken Hearts Break Faster Every Day is a decent CD with impressive pop vocals and guitars and catchy choruses.
