Bent
Ariels
(SPG Music Ltd.)

B+

Website: www.spgmusic.com

Javi P3Z Orquesta
Sports
(Hitop Records)

C+



Website: www.hitoprecords.com

The Olympic logo on the cover of this disc is internationally known, and I’m guessing P3Z was counting on that as a selling point when he put together this wild mix of Spanish sounds, electronic beats and sports equipment. Bowling pins fall over wailing trumpets on (Never Mind the) Bolos, and dominoes twist and spin while gruff male voices chant en Español on Domino. You’ll get out of breath on Midi Marathon as the footsteps of a long-distance runner grind against the gravel and a bongo-drum rhythm joins with deep saxophone rumblings to finish the race. Sometimes the mashup of Spanish sambas and sports sounds is a bit much, as on El Pinball, but a lot of the combinations make for an original sound that’s fun to listen to.
Shannon Ander

Love As Laughter
Laughter’s Fifth
(Sub Pop)

B

Love As Laughter is a lo-fi project from Sam Jayne, who has worked with fellow freaks Beck and Modest Mouse. His obvious old-school influences, such as The Beatles and The Beach Boys, blend well with the newer sounds of The Shins, Dinosaur Jr., Pavement and Tom Petty. Laughter’s Fifth is full of organic pop gems with a splash of psychedelia and dirty rock. Twangy guitars and a garage rock setup hold down the rhythm while a wash of vocals and keyboards float on top. Single Dirty Lives has a fun Supergrass bounce, and the out-of-tune gang vocals on Survivors push it deep into your brain. The soft acoustic number Corona Extra adds a nice Sunday-afternoon vibe to wind down this solid album.
Ashley McCurdy

The Breakthrough can be broken down into the uptempo, club-friendly half and the extremely exquisite, soulful half of the album. No one in today’s R&B world can convey emotion like Mary J. — especially when she’s sifting through the ghosts of her past. Though she’s no longer in her dark place, she’s still at her best when channelling pain. The Father in You collaboration between MJB and the production duo of Andre Harris and Vidal Davis is the album’s finest moment, but it’s by no means the only shining star. Jimmy Jam & Terry Lewis return with the dusty soul of Baggage and Can’t Get Enough, in stark contrast to the Minneapolis sound they propagated after leaving Prince. This album would have been perfect had it not been for Alone and One, which hobble an otherwise-great disc.
Angelou Flores

One of the keys to Richard Ashcroft’s 1970s rock ’n’ roll world is his unique and expressive voice. It’s not that it’s perfect; in fact, it’s far from perfect, making it perfect for rock ’n’ roll. All the great ones (Jagger, Young, Springsteen, Fogerty) have voices that must be coaxed or flogged into singing. Ashcroft’s rough edges add to the vibe and are a great counterpoint to the crystal piano. Keys to the World opens with the burner Why Not Nothing, but the song shows only one side of a talented band that can rock out, bring on the soul or mellow right out. Ashcroft also loves to add spice to many of the tracks with studio tricks such as the vamp female vocals on the title track or the cheesy wah-wah guitar-pedal effects in Music Is Power.
Chris Brown

Tom Wilson should be a lot more famous than he is. He can totally roots-rock out with the best, and in true Canadian fashion he can pick up an acoustic guitar and make you weep. Dog Years is nearly perfect, and the great rocker Super Sun Natural opens the disc and pins your ears back. Keep on Grinning, I’m in Love with the System and Because of You are classic Tom tunes full of drug references, sarcastic bile, political undertones and bluesy, ballsy guitar from Wilson and Colin Linden. Coming hot on the heels of the stripped acoustic sounds of The Shack Recordings (made with Bob Lanois), Dog Years is a celebration of sorts and seems to be coming from a happier place. Do yourself a favour and buy it now.
Chris Brown

He’s dropped four albums with three different teams (Reflection Eternal, Blackstar and as a solo artist), and the Brooklyn native improves exponentially with each one. With every record since those early Rawkus 12-inch singles, Kweli has been every rapper’s favourite rapper. Right About Now is so lyrically potent that Talib should be walking around in a haz-mat suit. Drugs, Basketball & Rap, Fly That Knot and his Lauryn-dedicated Ms. Hill make the latest Billboard rap chart denizens look like the Pinto to his Mustang. “If skills sold/truth be told/I’d probably be/lyrically/Talib Kweli,” Jay-Z said on Moment of Clarity. With the usual suspects (J-Dilla, 88 Keys, Dave West et al.) behind the boards, Kweli welcomes guests such as MF Doom, Strong Arm Steady, Jean Grae and, of course, Mos Def. Growth — and his determination to continue growing — is Kweli’s biggest asset.
Angelou Flores

This May Be the Year I Disappear is a letdown for a few reasons. This band has released better music on more than one occasion — see Rodeo and Picasso for examples. This album strays from the formula that won fans and sounds a lot like every other new rock album. Then there’s all the wasted potential. This is not a terrible recording, but it’s horribly flawed. Singer Robert Mann’s voice is just dead weight by the end of this disc, and every song sounds like the one before — and the one that’s coming next. The Recover has a knack for writing biting, sardonic lyrics, and this shines through on some tracks but disappears on others. This May Be the Year I Disappear could have been The Recover’s breakthrough album; instead it’s just another disc headed for the drawer of no return.
Brodie Sanderson