Reviews: Simply Saucer, Under Byen, The B-52s and more
Tuesday March 25, 2008 @ 01:00 PM
By: ChartAttack.com Staff

Releases: March 25, 2008

THE B-52's Funplex (Astralwerks/EMI)
There are very few bands in the history of music that could release their first new album in 15 years and not completely flop. The B-52s are such a band. They've never been serious and have always sung about the future, dancing, alien worlds and women — all with a new wave party rock sound. Very little has changed on Funplex... and thank God. Fred Schneider still sings with the same snarky party-shout vocals, and Kate Pierson and Cindy Wilson sound as harmonic, energetic and extraterrestrial as ever. Keith Strickland's guitar work and drumming are the only components to really advance over time. Most of the songs incorporate the catchy riffs and fast-paced drums fans are accustomed to, but Funplex is also less surf-influenced and more electronic, as exemplified by the big beats on the LCD Soundsystem-worthy, cowbell electro-disco track "Eyes Wide Open." What's most fascinating about Funplex is it doesn't sound like a comeback album, just the next futuristic step in an iconic band's evolution. Phil Villeneuve

ERYKAH BADU New Amerykah, Pt. One: 4th World War (Motown/Universal)
In an era of over glossy, smoothed out R&B, New Amerykah is an ambitious soul project that's a breath of fresh air. Largely conceptual and even more experimental than her last release, World Wide Underground, it demonstrates the sheer depth and breadth of Badu's artistry. Off the top, she draws you into her bohemian world with the '70s funk-inspired track "Amerykahn Promise." Then, on "Me," she overtly salutes the controversial Louis Farrakhan. While some people will undoubtedly get stuck on that, she's at least adventurous enough to test the boundaries of her fandom. There are moments, like on "My People" and "Soldier," where her lyrical prose is paired to chant-like background vocals that straddle the line between sheer genius and unintelligible rambling. But the earnestness and sincerity of this listening experience is what you remember, and in typical unpredictable Badu fashion, the single "Honey" is tucked in as a bonus track. Cheryl Thompson

CAVALERA CONSPIRACY Inflikted (Roadrunner/Universal)
Although the Cavalera brothers have reunited for the first time since 1996, singer Max and drummer Igor don't seem interested in recreating the sound of classic Sepultura. Instead, Inflikted stands on its own, drawing from each of the band members' previous work while still creating something new. Marc Rizzo emerges as a guitarist with his own distinct and immediately recognizable style on the opening title track and "Nevertrust." Meanwhile, bassist Joe Duplantier's prescence is felt on "Ultra-Violent," which channels the bombastic rhythms of his band Gojira. Even the raw punk influence of Max's short-lived Nailbomb project heard on "Hex" and "Bloodbrawl" wouldn't be out of place on a Soulfly record. Of course, there are comparable elements to Sepultura as there are with all of Max's other post-Sep projects. If you're a fan of those you'll certainly dig this album. However, those expecting another Beneath The Remains will have to wait for another day. Andre Mihsin

CURSED III: Architects Of Troubled Sleep (Goodfellow/Sonic Unyon)
While their newest album title (and several song titles) may make Cursed appear to be the Canadian version of Coheed And Cambria, they've more in common with Norwegian black metal bands with unreadable graphic logos. Specifically, they're angry and noisy. They're loud as hell, presumably mad as hell, and they ain't gonna take it any more. It must have taken a remarkable amount of restraint to get any of this on record (particularly a speedy blast of fury like "Night Terrors"), since it's music tailor-made for being played live in dark, crowded rock clubs at midnight. "Antihero Resuscitator" adapts well to album, sounding like Alexisonfire if they were on one really bad batch of speed. It's hard to miss the tongue-in-cheek attitude of the sepulchral "Friends In The Music Business." ("Don't call me, I won't call you!") A long time in coming, III is a standout release in a time when Canada isn't exactly known for its hardcore scene. Caitlin Hotchkiss

DANA WYLIE BAND The Unruly Ones (Tiny White Girl)
In case you were wondering who, specifically, is considered unruly, Wylie has provided a photo collage of her favourite famous people that spreads across both covers. Some (Johnny Cash, Louis Armstrong and George Clinton) are to be expected while others (Louis Riel, Gareth Austin, the Rt. Hon. Andrew Smith) aren't so much. Images the band wanted to use but couldn't get cleared include Jack Kerouac, Neal Cassady, Frank Zappa and Hunter S. Thompson. It's funny how the most carefree in life become the most guarded in death. Anyway, this is all meant to encourage free-flow creativity and eccentrism, an idea that thankfully only graces the music of the Dana Wylie Band. At heart the songs are standard folk tunes that centre on Wylie's rapid-fire lyrics and offbeat subjects, kind of like if Woody Allen wrote for Joni Mitchell. My favourite song is the decidedly un-economically titled, "The Ballad Of June And Dougie (I'm Not Gonna Play Second Fiddle To Your Guitar)," about a lover scorned by her partner's commitment to his "precious goddamn Martin HD whatever the fuck it is." It's a little unrefined, but The Unruly Ones has its moments. Jared Morano

THE DODOS Visiter (French Kiss)
By the time Visiter finishes, you might wonder where The Dodos have been hiding all these years. This is a very busy album full of dense arrangements, which makes it hard to believe the San Francisco experimental indie folksters are a duo. The excellent interlocking banjo/guitar combination on opening track "Walking" recalls the best of Iron And Wine, while Meric Long's vocals sound vaguely like Ben Gibbard. "Red And Purple" is a catchy Animal Collective-esque freakout, while the bluesy slide guitar on "Paint The Rust" sounds a bit like The White Stripes' folky cousin. You'll need a good deal of patience to weather through the seven-plus minutes of "Joe's Waltz." Long tracks aren't a bad thing, but The Dodos need to focus their attack when executing them. If they can do that, their next album could well be a classic. Kate Harper

DOUBLE PUMPERS Old Gold (Music For Cats)
Old Gold is a frustrating exercise in diminishing returns. Steeped in fuzzy guitar-rock as perfected by Thin Lizzy, the boogie-laden groove of opening track "Hit You Hard Enough" is a powerful shot of slippery guitar lines, fat-backed drumming and thunderous bass, complete with an unforgettable, chant-along chorus. One expects the Double Pumpers to be the next step in the evolution of bands inspired by Tricky Woo and Shikasta's finest work. Trouble hits quickly, though. Despite impeccable musicianship, the following tracks are difficult to enjoy due to staccato rhythms. By third tune "Down On My Knees," the once-gritty power trio seem lost in flat, cover band-ish blues-rock. As they sing, "Help me, I've lost myself," the words ring with far more weight than intended. If the Double Pumpers were to let everything fly with reckless abandon, Old Gold would be valuable. As is, it's barely worthy of a fool. Keith Carman

JUSTIN TOWNES EARLE The Good Life (Bloodshot/KOCH)
You have a lot to live up to when Steve Earle is your father and your middle name is in honour of Townes Van Zandt. Although only 25, Justin Townes Earle is already a seasoned musician and excellent songwriter. His The Good Life debut is an excellent collection of songs that fits well within the Bloodshot catalogue. But Earle's also picked up other influences. Opener "Hard Livin'" shakes and shuffles along with all the attitude and swagger of Hank Williams III, while the title track contains the same brand of fiddle-inflected roots music found on Justin Rutledge's records. "Who Am I To Say" and "Turn Out My Lights" could easily fit on Ryan Adams' Heartbreaker. That said, none of the tracks on The Good Life are derivative and when Earle belts out "When I walk down the street, everybody knows my name" on the title track, it's prophetic. Kate Harper

OLD MAN LUEDECKE Proof Of Love (Black Hen/KOCH)
Consider this album the first installment in what's going to be a new generation of campfire songs. (Yes, "There's A Tear In My Beer" is on the verge of obsolescence.) Halifax transplant Chris Luedecke has thus far been one of Canada's best kept secrets, but Proof Of Love should change that. Like fellow Maritimer Joel Plaskett, Luedecke is a young man who sounds effortlessly wise beyond his years. While a number of Proof Of Love's tracks are traditional love songs, the singer/banjoist deftly constructs singalong choruses that all but betray their mushy subject matter. Fans of the Avett Brothers: This is your new favourite album. Scott Bryson

RICK ROSS Trilla (Def Jam/Universal)
Not only is Ross representing the 305, he's also one of the frontmen bringing crack rap to the masses. On this follow-up to 2006's Port Of Miami and the anthem "Hustlin," Ross' message, for lack of a better word, is less about dealing and more about cash. On "All I Have In This World (feat. Mannie Fresh)," "The Boss (feat. T-Pain)" and "Maybach Music (feat. Jay-Z)," his baritone, raspy flow is as powerful as his overweight frame. While Ross does well to hang in there with Lil' Wayne, Young Jeezy and Trick Daddy on "Luxury Tax," the success of this disc will largely rest on its beats, which are booming and bass-heavy. If you're a fan of hip-hop's latest sub-genre, you'll like Trilla. But for the rest of us, it's just another example of rappers who fill their albums with guest appearances to overcompensate for their lack of substance. Cheryl Thompson

SIMPLY SAUCER Half Human/Half Live (Sonic Unyon)
It's been nearly 30 years since Simply Saucer put something new on record. As a result, it becomes a little too easy to think of this album as a historical landmark, as opposed to an artistic creation. As one might expect, this isn't the original Saucer lineup, but two of the founding members remain for what they've dubbed their "first full-length album." Half Human/Half Live is a collection of six unreleased (but only recently recorded) songs and a six-song live set performed in the summer of 2007, which features new versions of songs from Cyborgs Revisited. Perhaps the most startling thing about this latest incarnation of Simply Saucer is that they don't sound as old as assumes. They can still sing about partying without a lick of irony. This is an exuberant punk/pop romp and, for those wondering, yes, Simply Saucer still have an affinity for The Velvet Underground. Scott Bryson

SINGSTAR 90s for PS2 (Sony)
This latest SingStar collection brings together grunge, rap, pop, R&B and hair metal. The basic karaoke gameplay remains the same as in previous versions, with players singing solo or competing for a high score by singing along in time and hitting the right notes. The presentation also remains consistent, and players choose short or regular versions of the songs from a rotating jukebox of album art. The song selection, like the '90s, is a jumble of various styles. Pop tracks from the likes of Paula Abdul and New Kids On The Block mingle with grunge from Nirvana and Soundgarden and R&B hits by Boys II Men and Seal. But, the collection wouldn't be complete without chart-topping cheese from MC Hammer, Technotronic and Vanilla Ice. It would have been nice to include Nine Inch Nails or Marilyn Manson in the set, though Bobby Brown, Mariah Carey and Celine Dion are all thankfully absent. Since there's less continuity between the musical styles represented here, it's naturally going to be hard for most players to be interested in more than a handful of songs. There's also a good chance that even if some of these tracks were a secret indulgence when they were new, you probably haven't even given them a thought for the last 10 years. This was a good idea on paper, but a lot of these songs aren't even going to get many plays as a joke, and the genre-based collections simply make for a better time by allowing players to stick to their favourite style. Earl Cousins

TEMPOSHARK The Invisible Line (Paper + Glue)
What might you get when you put Roxette, Linkin Park, Fall Out Boy and Savage Garden in a room together? Other than probably the worst meeting of pop music to date (with the exception of Roxette, those two really rule), you'd have something that sounds like Temposhark's The Invisible Line. This record is so packed full of over-produced electronic beats, heavy pop guitar riffing, severely polished vocals, yelling and some sort of forced on-the-sleeve emotion, it slides out your speakers and bounces right off the listener like a cheap rubber ball that just keeps bouncing all over the room until you finally catch it and throw it out. Although the album's first track shows big promise with its stripped-down, confident orchestration, The Invisible Line quickly jets into fast-paced, plastic Euro-pop-rock territory. Sadly, I wish there was more to say about this album other than comparing it to a bunch of other crappy bands (except Roxette, really — they're awesome), but there's not a grain of originality found here. Best lose this bouncy ball. Phil Villeneuve

UNDER BYEN & THE DANISH RADIO SINFONIETTA Siamesisk (Paper Bag/Universal)
Why is it that when Danish experimental octet Under Byen assembled an orchestra, it didn't seem that weird? In fact, it seems like a natural move for a band so fond of intricate orchestration themselves. By joining forces with the 42-piece Danish Radio Sinfonietta for a one-night event in their native Copenhagen, the band formed a one-off Voltron of eerie cool and the results are compelling. Comprised primarily of tracks from their sole North American release, Samme Stof Som Stof, the expansive and cinematic Under Byen avoid any cloistering haughtiness that might have resulted from a 42-member backing band. Henriette Sennenvaldt's penetrating vocals mesh effortlessly with the full but expertly nuanced arrangements to create flourishing soundscapes. It's a shame that the band only saw fit to include a paltry five tracks from the massive undertaking — but the quality more than makes up for the quantity. Matt Littlefair