CD Reviews

Bjork Volta Atlantic Records 2007 ♥♥♥♥	Bjork requires no introduction, but rather an explanation: she is experimental enough to be labelled by most as “out-there,” “difficult” or, most unfairly, “boring;” and yet, the respect, appreciation and protective attitude that most of her fans display towards her should seem interesting enough to pique one’s interest. But how does her latest offering, Volta, compare to her most recent albums (such as Medulla)? Similarly excellent. While the former brings pop/electronic beats back to the formula, the latter features starkly avant-garde material that all should realize is just classic Bjork (i.e. Homogenic) without a backing pop/electronic beat. And in comparison to classic Bjork? Nearly as good, but as might be expected, it’s more mature (so less fun) and more varied (so less immediate). I feel my defensive impulse shudder when I say that Bjork comes off as less-focused. She’s back and different again! Nick MacMahon, staff
The Noisettes What’s the Time Mr. Wolf? Universal Mowtown 2007 ♥♥♥½	“Scratch your name/into the fabric of this world/before you go!” screams song two of What’s the Time Mr. Wolf, and with an album title like that, you can bet the Noisettes are doing just that. This is the most raucous rawk album I’ve enjoyed in years; its riffic, percussive anthems soar below Shingai Shoniwa’s jazzy wails and silky, titillating screams. It’s down and dirty like the best of the blues-rock it represents and, I’d assume, like the worst of art-school London. The best songs are concentrated at the beginning of the CD — usually a sign of weakness, but with a song as strong as “Don’t Give Up,” it’s difficult to complain. Unfortunately, What’s the Time is not as melodic as likely influence Morcheeba, and has weaker lyrics than similar Canadian female-African-bluesy-songstress Ndidi Onukwulu. But that those comparisons are warranted is a great compliment, and this album will certainly win fans willing to drive to Minneapolis at the end of September to get taste of their live show. Tessa Vanderhart, staff
Yellowcard Paper Walls Capitol USA 2007 ♥♥♥½	Jeepers, wow! This band has a violin player! Woot! Why the sarcasm? The fact that they have a violin player seems to be the only flag that marks them as separate from other groups, but their kind hardly use the instrument to enhance their punk/rock the way that such bands as Gogol Bordello might. Tracks like opener “The Takedown” or “Five Becomes Four” bring them up to a decent punk speed, and the band even handles its instruments decently at times. But the off-key-young-boy sound of the lead vocals tears away at my ears and lumps them right back with all the others who heard Blink 182 around the turn of the millennium and figured they could do the same. The supposed emotional profundity of their lyrics is as thin as the proverbial walls that this album is named after. Only “Dear Bobbie” stood out since I’m a sentimental goof when it comes to material about elderly couples, but I’d sooner hear “Martha” by Tom Waits for a better effect on a similar topic. Get this record if you want to feed the emo-fire; otherwise you can just wait a week, because another just like it is surely on its way. William O’Donnell