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Check
out what’s going on
around Winnipeg tonight! |
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Check
out this week’s
online CD reviews by our
music staff |
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Alter Bridge
One Day Remains
(Wind-up/Epic)
B-
Website: www.alterbridge.com
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Thank Christ we don’t
have to listen to Scott Stapp (who apparently thinks he is Christ)
for a while. Alter Bridge sees three original members of Creed
hook up with Myles Kennedy to create the hard(er) rocking One
Day Remains. The flashes of Creed, of course are still there,
and it’s often as if guitarist Mark Tremonti is just itching
to tear into the hook for Higher. Then there’s Find the
Real, which sounds a hell of a lot like Audioslave’s Show
Me How to Live — something amplified by Kennedy’s
Chris Cornell wails. Nevertheless, it really looks as if Stapp
was the sissy in Creed (as if there was doubt), because this disc
can tear metal ass at times, as on Metalingus. All in all, I’ll
take Alter Bridge over Creed, but I’ll take something a
little less pseudo-epic over both.
Mike Warkentin |
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Candiria
What Doesn’t Kill You...
(Type A Records)
B-
Website: www.cadiriamusic.com
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The five dudes in this
alternative metal band nearly died in a van accident in September
of 2002, so both album title and artwork make sense. What Doesn’t
Kill You... isn’t necessarily a triumphant effort inspired
by a near-death experience but it also isn’t bad. Guitarists
John Lamacchia and Eric Matthews manage to carry these heavy songs
without ever playing anything even approaching a melody, and Carley
Coma’s singing is intense throughout (there’s even
some solid layered vocals that work on tracks such as The Nameless
King). All the while we’re hit with thunderous, jackhammer
drums. Nevertheless, you can almost sense a rap track coming and,
sure enough, it drops at track 9, 9mm Solution. It’s unnecessary;
check out Down and I Am, both of which are far better, blending
detuned riffs with vocal harmonies and some interesting textures.
Mike Warkentin
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The
Black Keys
Rubber Factory
(Fat Possum/Epitaph)
B+
Website: www.theblackkeys.com |
For their third full-length
album, Ohio’s Dan Auerbach and Patrick Carney once again
thrash out the white-boy-duo blues pretty handily. Their current
home, Fat Possum Records, made its name by scouring the backroad
burgs of the U.S. in search of the rawest blues originals available
and recording the obtuse and sometimes tortured work they found.
The Black Keys are in fact city boys — Rubber City rebels
you might say — and their take on the slouchy, un-sober
blues of their labelmates seems to at least be a hit with the
kids. The newly beardless Auerbach is something of a guitar tone
junkie and his minimalist shards make their point on the strength
of his wild amplification. Always ready to throw a curve the Keys
cover the Kinks’ Act Nice and Gentle with a respectful hand
and The Lengths is an uncharacteristically sweet ballad.
Jeff Monk
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Lamb
of God
Ashes to Wake
(Epic)
A
Website: www.lambofgod.tv
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This Virginia metal quintet
has got it all dialed right in on their major label debut. The
band has been around for over 10 years now, and it shows on Ashes
to Wake. This is intelligent metal made by talented players —
as opposed to a bunch of pissed-off bangers who suddenly figured
out how to detune a guitar. Tracks on this album sound almost
European at time with their screaming fills and galloping thrash.
In fact, certain aspects of this disc recall old Metallica (blessed
be), and it’s probably no mistake that Chris Poland of Megadeth
makes a guest appearance on the nearly six-minute instrumental
title track. As an added bonus, Randy Blythe’s growling
vocals perfectly compliment the music. The Gods of Metal will
look favourably on all who bang their heads to this album.
Mike Warkentin |
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Phil
Manzanera
6pm
(Ryko/Hannibal)
B+
Website: www.rykodisk.com
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Guitarist Phil Manzanera
is a certified member in good standing of the U.K. progressive
rock aristocracy. As a founding member of post-glam visionary
band Roxy Music, the South American-born six-string virtuoso has
already gained a worthy place in the history books. For his sixth
solo stab, Manzanera enlisted the help of his most worthy conspirators
in all things proggy and English. With Brian Eno, Robert Wyatt
and Bill MacCormick in tow, listeners are treated to some very
fine and creative thinking-person’s complicated rock. Phil,
of course, shines, delivering the same kind of penetrating guitar
solos and scrubby, affected sound washes that made his sound so
unique early in his career. His partners in crime giddily employ
their various talents, making this album a dense and enjoyable
listen that bears up well under close aural scrutiny.
Jeff Monk |
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Clinic
Winchester Cathedral
(Domino Records)
B-
Website: www.cliniconline.org
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The third album from this
Liverpool quartet is dark, spiky and, for the most part, hisses
from the speakers like a venomous reptile. If snakes could sing,
they’d probably sound like Clinic frontman Ade Blackburn.
Clinic has been knocking around the music scene for a few years,
and the band’s previous album, Walk With Thee, brought success
on this side of the ocean in 2002. Despite Winchester Cathedral
being full of Lou Reed-esque, surreal, snake-charming tunes, nearly
every cut on the disc sounds the same and doesn’t deviate
much from Clinic’s previous release. Winchester kicks off
with the sound of a life support monitor, and then drags itself
along — a bit like Placebo on dope. This surgical-mask-wearing
bunch is probably in danger of scaring small children (and this
reviewer). Listen with caution.
Liz Hover |
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Mase
Welcome Back
(Universal/Bad Boy)
A
Website: www.masonbetha.org
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When Mase announced his
decision to bow out of the rap game in 1999, the hip hop world
fell silent. What would possess Puffy’s platinum-selling
protege to make him walk away from the fame and fortune that accompanied
Harlem World? The answer was simple: Faith. Mason Durell Betha
would still spit verses to the kids, he offered — they’d
just be from Matthew, Mark, Luke and John. Now, five years later,
the rapper-turned-preacher is back. What he once explained couldn’t
be reconciled apparently has been. And it’s a good thing.
Welcome Back is loaded with clever hooks, catchy beats and a whole
lot of Mase’s signature relaxed flow. Completely void of
vulgarity and innuendo, the disc is surprisingly deep. Talking
openly about his beliefs, Mase will undoubtedly draw heat for
his pointed but refreshing message. Preachy? Yes — but good.
Real good.
Shayne Stephens |
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Various
Artists
It Was 40 Years Ago Today: A Tribute To The Beatles
(Bullseye Records)
A
Website: www.bullseyecanada.com
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Tribute albums can be
a tremendous way to waste talent and resources. They can also
be a conduit for unknown artists to show they have what it takes.
This almost all-Canadian tribute to those venerable Liverpudlians
is one of the better stabs at the mostly unnecessary genre. While
there are a few ringers hidden amongst the 50 tracks here, most
of the cooler versions come from bands you have probably never
heard of. Who knew a band called Sun Pk had such a great version
of I’m Happy Just to Dance With You in them? Greg Godovitz
and Bob Segarini show their Canuck pop smarts with their brilliant
take on the 1966 Moptop underdog And Your Bird Can Sing. The jewels
definitely overshadow the few dogs here, and the comprehensive
Beatle-centric liner notes make this one a keeper.
Jeff Monk |
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Spiderbait
Tonight Alright
(Universal)
A
Website: www.spiderbait.com.au
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Who knows just what the
hell Spiderbait is singing about — just turn Tonight Alright
way up and move. This Australian power-pop three-piece is living
proof that you don’t need lyrics if you’ve got maximum
overdrive distortion and wicked, driving guitar grooves. This
band can even take Black Betty by Ram Jam, add a few techno effects
and a bluegrass flavour, and make it work. This veteran group
has obviously influenced bands such as Sekiden (also from Down
Under), but Spiderbait is far more punk/garage rawk than its contemporaries.
It’s amazing what tight, high-energy musicians can do with
three power chords and a great big amp — check out Alright
and Put It Down and hear for yourself. Spiderbait gets extra bonus
points for opening the disc with feedback guitar noise and including
a track named Fucken Awesome — because this album is just
that.
Mike Warkentin
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