The biggest criticism of this three-piece band of brothers is that it writes formulaic songs that sound the same. This is true, but at least Chevelle infuses the tracks with emotion and grit that separates the band from other post-grunge wankers such as Three Doors Down and Hoobastank. On track after track we’re hit with compressed, growling riffs interspersed with the teeth-clenched vocals of Pete Loeffler, and while tracks such as The Clincher and Get Some are catchy, they offer little variety. In fact, just about every track seems to recall Judith by A Perfect Circle. And of course there’s the de rigueur acoustic ballad, Bend the Bracket. Still, this melodic rock does deserve a better grade than the weak, passionless garbage that fills the Top 40. Call Chevelle the best of a bad bunch.

Mike Warkentin

With Et ses amis Européens, Quebecois bassist Michel Donato presents an album of competent, mainstream jazz. His quintet plays well on each of the nine original compositions (all members of the ensemble contribute at least one tune). The first track, Open Closer, is made memorable by Donato’s jaunty basslines and interesting rhythmic conception. Bleu sur le vif is penned by the leader and contains his best solo on the disc; he has a big sound with phrasing reminscent of Paul Chambers. Polish trumpeter Peter Wojtasik wrote Dolphy’s Coming, a tribute to Eric Dolphy, the multi-instrumentalist who died in 1964. Wojtasik and tenor saxophonist François Théberge turn in largely unoriginal solos on this track and, in fact, make me wish this was a trio album. Tremay features some excellent drum work from Karl Jannuska, who recalls the late Billy Higgins, and guitarist Michael Felberbaum consistently produces lyrical solos.

Paul Ryan

Creamfields is one of the largest dance music festivals in the world — an event where filthy toilets and great music are to be expected. At the festival in ’99 I skipped Oakenfold but did see him a few days later at a small Glasgow club — and had an amazing time. Up for a Grammy this year for best electronic album, this two-disc set features Oakie as I saw him, live and in the mix with uplifting trance — and without the filler you get on his solo releases. Disc 2 ups the cheese factor with a remix of U2’s Beautiful Day, but at least there are no Madonna sightings. There are, however, a few wannabe vocalists lamenting about the wind or some crap like that. Instead of watching re-runs of The Club, put on your best British accent, your tightest trousers and get moving.

Shannon Ander

Two geeks make beautiful music together. No, it’s not the premise behind Ron Jeremy’s next feature but the real-life story of Japanese duo Baku Tsunoda and Naomichi Tanaka. After meeting in Tokyo, they left their previous genres behind (punk and contemporary techno-pop, respectively) to try something new. Instead of customary musical influences, both men cite paintings and constructions as their primary inspiration. Oh boy. This disc is comprised of an orchestra of glass raindrops, slow bass and appropriately placed bleeps and blips — kind of a fusion between Atari soundtracks, Brian Eno’s early work and The Orb. Japanese horror remakes are all the rage this year but the track A Closed Circuit would be more at home in a cheesy, ’70s Canadian horror film, perhaps one involving ghostly, floating keys.

Shannon Ander

The music on this live album comes from a variety of sources, and the result is refreshing if not revolutionary. Trumpeter Russell Gunn is clearly influenced by Miles Davis but he’s not a Miles clone like Wallace Roney. Gunn’s playing is closer to that of Roy Hargrove or Freddie Hubbard; his connection to the “Prince of Darkness” lies in his electronically amplified trumpet. Gunn also chooses to play a Davis composition, Blue in Green. The piece starts out slowly but, unlike the original version, the tempo picks up considerably. Lyne’s Joint has a soulful, R&B-tinged groove to it. Shiva the Destroyer contains a trippy, Middle Eastern-sounding opening section. The lone standard of the album, Gershwin’s Summertime, also features Middle Eastern element, and the lengthy cadenza by the leader shows the immense possibilities of the electric trumpet.

Paul Ryan