Reviews: NIN, No Age, The Priddle Concern, Sleepercar and more
Tuesday May 06, 2008 @ 04:00 PM
By: ChartAttack.com Staff

ANIMAL COLLECTIVE Water Curses (Domino/Outside)
Animal Collective return with the follow-up to 2007's critically acclaimed Strawberry Jam in the form of a four-song EP. While three-quarters of the songs were recorded during the Strawberry Jam sessions, a press release about Water Curses states, "All tracks find Animal Collective exploring strange new waters." The title track has AC's characteristic high-energy sound and layers noise perfectly into an upbeat, poppy song. But then it all changes with "Street Flash," a slower, messier song with random, repetitive vocals layered on top of one another. About halfway into the nearly seven-minute track, the vocals turn into screams, but then the track meanders and goes off on another tangent altogether. "Cobwebs" continues along the same lines, but is slightly more low-key. Disc closer "Seal Eyeing" is an atmospheric track that oddly sounds like the ocean — like that music that plays in the background of nature documentaries about whales. Water Curses is an interesting mix that will keep fans anxiously awaiting a proper full-length. Jen White

ATMOSPHERE When Life Gives You Lemons, You Paint That Shit Gold (Rhymesayers/Outside)
Don't let the lame album title fool you — this album kinda, sorta rules. The sixfth full-length from the finest hip-hop outfit in the state of Minnesota, When Life Gives You Lemons… is brash, ballsy and, most importantly, engaging as hell. Slug proves his versatility again and sounds exceedingly self-assured as he casually works his way through "Puppets" and "The Skinny" with the greatest of ease. Paired with trippy, innovative beats and a bent towards experimentation (without forsaking accessibility), Atmosphere excel here because they never repeat themselves. These tracks always bring a freshness that you don't often find in modern hip-hop and prove that six albums in, Atmosphere have barely scratched the surface. Cameron Gordon

BARENAKED LADIES Snacktime (Desperation/Nettwerk/Sony BMG)
The Barenaked Ladies know that kids entertainment can also amuse grown-ups, and showcase this idea on Snacktime, their children's album. Opener "7 8 9" is both an interesting counting lesson and a hilarious wordplay exercise. Likewise with "Raisins," which features educational and funny lyrics like "Raisins come from grapes/People come from apes/I come from Canada." Kids can also learn why their friends sneeze during certain months on the punky "Allergies." Elsewhere, there are classic rock references thrown in the mix for adults. "Eraser" features a Queen-y midsection and "Crazy ABC's" honours ZZ Top. Classical music aficionados will appreciate that another track pays homage to Mozart's The Magic Flute. While a bit slow, the latter third of the record will help children unwind. If Snack Time was all sugar-filled hyperactivity, the kids would have difficulty settling down afterwards and the album would never be played again. Use it on the next family road trip. Kate Harper

THE BLUE SEEDS The Blue Seeds (L-Abe)
The self-titled release from these Montreal folk rockers is an eerie, inspired surprise listen. The Blue Seeds are the product of co-founders Amelie Laflamme and François Dufault. Laflamme's sultry vocals blend with the band's rich arrangements to create a heartbreaking vibe on this 11-track album. The album's variety of electric guitars, analog keyboards and vibraphone create a uniquely sorrowful sound that engulfs the listener. "Lost And Delirious" is a piano-driven track that feels like a lost soul running through a maze looking for away out. Listening to this can put you to sleep, but that's a good thing. Dark fairytale "I Dream A Little Dream" isn't suitable for children. It's the shortest track on the album, but delivers in its brief timeframe. The Blue Seeds are a worthy discovery. Deidra Lunardon

CHIN CHIN Chin Chin (Definitive Jux/World's Fair)
Something about a funk band sharing a label with underground hip-hop legends like Aesop Rock and Cannibal Ox just makes you go "huh?" Meet Chin Chin. Not to be confused with indie rockers Chin Up Chin Up, this Brooklyn quintet are here to get you to "dance and bug out," according to their website. Not that I would know much about bugging out, but I can guess that along with the dancing one wants to do when listening to their self-titled debut, one would want to bug out when bugging out typically occurs. Songs like "Miami" and "Where Is My Time" display the group at their funkiest and contain containing lots of horns and happy progressions that make it hard not to want to shake what your mom gave you. Chin Chin aren't what you'd typically expect from a prestigious hip-hop label, but that's not by any means bad. Actually, it's quite funky. Logan Broger

DOES IT OFFEND YOU, YEAH? You Have No Idea What You're Getting Yourself Into (Almost Gold/Sony BMG)
Does It Offend You, Yeah? Yes, it does. Phil Villeneuve

THE DREAMSCAPES PROJECT Pity In A Heartbeat (Figmental)
Admittedly, I got a little excited when some world wide web searching revealed that The Dreamscapes Project are most often described as "folk core." They upped the ante themselves when, upon visiting their website, I was encouraged to buy a "Folk you!" T-shirt. In the end, this was all, quite unfortunately, a blatant case of false advertising. Pity In A Heartbeat is more truthfully the kind of American alt.rock — espoused by Jimmy Eat World and others — that falls dangerously close to being labeled "emo." For Canadian comparison, it also comes eerily near the sound of the latest songs being released by a suddenly neutered Finger Eleven. The few times The Dreamscapes Project vary from their tiring formula, it's for almost-rap tracks that awaken painful memories of Uncle Kracker. If you're into this sort of stuff, you'd be better off picking up a bargain bin copy of Live's 14-year-old Throwing Copper. Scott Bryson

FOUR TET Ringer(Domino/Outside)
Kieran "Four Tet" Hebden has been experimenting with jazz as of late, but Ringer sees him taking a step back to the laptop fiddling days that initially endeared him to the electronica set. Question: How long can an EP get before you have to call it an album? It's only four tracks, but Ringer clocks in at more than 30 minutes, essentially making this a new Four Tet LP. It pulls some sub-genre shifts — from sublime chillout to beach party to dance floor crasher — but Hebden keeps all reined inside one overall mood. While the Brit isn't really breaking new ground with these songs, that doesn't mean they're not enjoyable. Four Tet fans should be happy to add this to their collections, and for newcomers to the Kieran Hebden canon, this is a decent place to get a first taste. Scott Bryson

THE GORGON Corpse Whale (Transistor 66)
This all-female trio from Winnipeg formed in 2006 and this eight-track effort has caught the attention of some campus radio programmers with its primal sound and lo-fi production. It opens on a high note with "Myrtle," which features rockabilly-influenced instrumentation, but more plaintive vocals from bassist/singer Julia Ryckman. "Tommy," with its solid groove, vibrancy and overtly sexual lyrics, is the best song on the album. "Royal Albert" is an ode to rock 'n' roll named after a local indie music venue. "Girlgang" shifts tempos and veers into psychobilly territory, while closer "Devil May Care" is more of a dirty blues-rock number. There's potential here, but it too often remains unfulfilled. From what I've read of the group's theatrical performances, however, some of those deficiencies are masked on stage through sheer exuberance. So despite the album title, don't expect The Gorgon to beach themselves and rot in the sun. There's too much promise to let that happen. Steve McLean

THE HOTTNESS Stay Classy (Ferret/Red Ink)
You know the old saying "don't judge a book by its cover?" Well, whoever said that first was a wise person. Case in point: The Hottness. Fortunately, I'm not one to judge by appearance and I like to get to know something deeply and establish a connection before I commit to a serious relationship. Deep down, The Hottness are pretty cool. I enjoyed getting to know them better and establishing that connection. After having a nice time together, I noticed similarities with them and bands like He Is Legend and Maylene And The Sons Of Disaster, which is definitely a plus. But, they've got some weird habits that bug me. I like The Hottness more than I thought I would, but I'm shallow, so I think we'll stay friends and that's it. Logan Broger

THE LONG BLONDES Couples (Rough Trade/Beggars Banquet)
Brit-pop also-rans The Long Blondes are a bit of an unknown quantity on these shores, which is unfortunate because the band aren't without merit. Their songs are catchy and have some decent energy to them and there's always something cool about bands with male/female memberships. Couples is a pretty cool album. Recalling Elastica, Lush and bands of that ilk, the disc features plenty of stilted rhythms and noisy noises, all strung together by the breathy words of vocalist Kate Jackson. It's all very sexy and Jackson does her best to maintain her composure, even amid the clatter that inhabits "Round The Hairpin." The Long Blondes sound isn't original or groundbreaking or even current, but if your tastes are stuck somewhere between 1993 and 1997, there's a lot to like on Couples. Cameron Gordon

LYKKE LI Little Bit EP (LL/Control Group/Outside)
Already one of 2008's indie darlings, Swedish singer Lykke Li hands over only a few grains of her sugary goodness with this four-song EP. It's a wonderfully odd little slice of Euro-pop that'll continue to scare fans into thinking there might never be a new Peter Bjorn And John album, since produced this EP. Things begin with the title track blog-hit and its creepy-yet-alluring, organic-electro tease, "and for you I keep my legs apart." From there it's on to "Dance Dance Dance," the cutest dance floor-filler since Feist's "1234." Li lureslisteners into her strange, soothing musical web with only four songs because she writes with humility, honesty, humour and simplicity. Boys and girls can relate to what this sprite sings about in her wispy, high-pitched voice. They can also fall asleep, fall apart and fall in love. Phil Villeneuve

M83 Saturdays=Youth (Mute/EMI)
There was a period of time back in the early 2000s when old-school synth-pop really seemed to hit a stride. Daft Punk shocked fans with the disco-infused Discovery. Fischerspooner appeared on the scene with their critically lauded #1. "Electroclash" was suddenly the word on every hipster's lips, but that movement died almost as abruptly as it started. Anthony Gonzalez — the driving force behind M83 — is revisiting those days, seemingly oblivious to any negative connotations that electro-pop has been collecting in the backlash years. Consider Saturdays=Youth a loose concept album that examines high school teen drama through a wash of grandiose synth and dance floor beats (and yes, that works). Perhaps the most intriguing component is the sporadic insertion of spoken word parts that sound as if they're chunks of monologues from a David Lynch film: "7 a.m./Dusty road/I'm gonna drive until it burns my bones." It's creepy at times, but definitely memorable. Scott Bryson

NINE INCH NAILS The Slip (The Null Corporation)
Trent Reznor is a marketing genius. With the release of the second Nine Inch Nails digital album in two months (this one's free), Reznor has managed to stick it to the record label man and promote the hell out of his band's upcoming tour. Recorded in less than two months, the 10 tracks on The Slip are a mash-up of Year Zero-ish rockers and Ghosts I-IV's white-noise ambience. The catchiest track, the industrial-disco "Discipline," will be this summer's tune of choice at both leather man-love bars and strip joints. Another standout is "The Four Of Us Are Dying" with blended synth and drum machine all. Despite the album's costless nature, it's surprisingly almost filler-free (ignore the piano ballad "Lights In The Sky"). One small caveat, however. While The Slip features NIN's new lineup, this album is, as usual, all Reznor. But with drummer Josh Freese (A Perfect Circle) and hippie-grindcore guitar god Robin Finck (the dude who replaced Slash in Guns N' Roses) on board, maybe Reznor should consider loosening the reins a little and see what his band can do. Josh Visser

NO AGE Nouns (Sub Pop/Outside)
Last year's Weirdo Rippers, a FatCat compilation of No Age's EPs, hinted at the possibility that having two people in your band might not mean your music has limitations (see: nearly every two-piece on Earth). Nouns only proves the theory, since it's a massive leap forward for Randy Randall and Dean Spunt. The songs here better employ distortion and further explore Spunt's drums as a musical instrument, rather than just a percussive one. "Teen Creeps" and "Miner" both combine effortless punk thrills with My Bloody Valentine-esque drone. Spunt's vocals are more confident on the second go-around, while Randall seems to be trying to evoke every conceivable noise he can produce from his guitar. The whole affair is incredibly short — most songs just barely scrape the two-minute mark — but one gets the feeling that No Age are going to keep producing records fast and furious. The band's excitement over the simple act of making music is insanely palpable. Noah Love

THE PRIDDLE CONCERN The Priddle Concern (Sparks/EMI)
Ex-Treble Charger vocalist/guitarist and sometimes Broken Social Scenester Bill Priddle is back in the songwriting saddle with The Priddle Concern. For his self-titled debut, Priddle took an array of songs that he'd been working on over the years and got some high-profile friends to help. BSS members Justin Peroff and Brendan Canning provide drums and bass. Dave Neufeld co-produced the album and Amy Millan who sings on the track "Back Around." It's definitely the same ol' Priddle that you remember from his TC days. "Faucet Dripping" could easily have been a track on Self=Title, while "Videotape," "Union Of Concerned Scientists" and "Hold Me On Tight" show growth in his songwriting. Yet, songs like "Believe What You Want To Believe," "Make It Go Away" come off too much like it's 1996 all over again. Priddle keeps a slow and steady pace on this album, and when the tracks start to plod along, you wonder if they couldn't benefit from some of Greig Nori's upbeat pep. Jen White

SLEEPERCAR West Texas (Civil Defense League/Dine Alone)
Usually when members of loud rock bands announce that they're venturing into solo territory, it's all City And Colour-style emotional acoustic albums that show an artist's softer side. Sleepercar, better known as the side-project of Sparta frontman and ex-At The Drive-In guitarist Jim Ward, is certainly turned down a few notches from the abrasive post-hardcore the singer is known for, but definitely doesn't follow the whole softie route. For one, Ward's backed by a full band, and the songs are far more upbeat than most would expect. The group follows a pretty straightforward alt.country blueprint, and lap steel and marching rhythms abound, but Ward's penchant for stratospheric melodies puts them closer to Attack In Black than Wilco. As solo outings go, this is one Sparta fans shouldn't mind Ward spending a bit more time with in the future. Shehzaad Jiwani

STEVE RILEY AND THE MAMOU PLAYBOYS Best Of Steve Riley And The Mamou Playboys (Rounder/Universal)
I'll get my bias out of the way immediately: Although they share many similarities, I prefer the zydeco music originated by black Creole musicians in Louisiana over the Cajun music developed by transplanted white Acadians in the same neck of the woods. But Steve Riley And The Mamou Playboys have been perhaps the foremost Cajun band of the past 20 years and they deserve the success and praise they've received. So if you're in the mood for some fiddle and accordion-fuelled tunes to get you two-steppin', this isn't a bad way to spend two hours. The lyrics are almost all in French, but it's the musicianship that really matters, and these boys are masters. There are three new songs, highlighted by the buoyant and upbeat "Tiens Bon," and 28 more from the catalogue to tap your toes along to. Steve McLean

TESTAMENT The Formation Of Damnation (Nuclear Blast/Sonic Unyon)
Thrash is making a comeback and it's because of the return of legends like Testament. Putting a modern twist on what made them popular way back when works out brilliantly throughout all 11 tracks. While bands like Trivium try to do the thrash revival by ripping bands like Testament off, Testament do it well because they are, well, Testament. If songs like "More Than Meets The Eye" don't get you pumping your fist or chanting along, then there's no point in trying to grow your hair again, because the thrash is probably dead inside of you — and you're old and shouldn't grow your hair anyway. The Formation Of Damnation is pretty much everything you'd expect from a thrash album released in the glory days, with shredding solos, battling leads and cheesy song titles. If this doesn't bring it back, nothing will. Logan Broger

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