CD Archives

Bardo Pond Set And Setting (Matador) On Set and Setting, Bardo Pond have managed to do what physicists, mystics and plastic surgeons have been failing to do for years. They’ve managed to slow time down to a crawl. And, as this CD illustrates, there are certain elements of nature that man should not tamper with. Set and Setting alternates between sludgy and murky, atonal and tuneless, plodding and clunky -- and it seems to go on and on for hours. Unfairly classified as "stoner rock", the eight songs on this CD would manage to bring Cheech, Chong and Jeff Spicoli down. Between the muffled vocals, the addition of every distortion effect known to mankind, and a rhythm section that evidently is reluctant to stray from a trudging 4/4 tempo, I actually found myself struggling to keep the CD on for the duration. At one point I found myself asking God for mercy, but then I realized I was too late -- I was already doing my time in hell. Set and Setting is just plain upsetting. (PC)

Basement Jaxx Remedy (Astralwerks) One of the best CDs I've heard in a long time, period. UK duo Basement Jaxx (a.k.a. Felix Burton and Simon Ratcliffe) have concocted an album that takes the cut-and-paste mastery of Daft Punk's Homework one step further. Whereas Homework reflected moments of restraint, Remedy aims for an all-out festive mentality -- listening to this CD, you almost get the impression that Burton and Ratcliffe were trying to come up with a slammin' party album they could share with their friends. Which is not to say that there aren't moments when the pace slows down -- notably "U Can't Stop Me", with its slow, staggered breaks and ever-so-sweet vocals. But in general, these moments don't so much break up the flow of Remedy as provide a breather from the eminent danceability of the other tracks ("Rendez-Vu", "Red Alert"). Mixing a modern electro sensibility with a pastiche of classic sounds and disco diva vocals, Remedy provides the missing link between Donna Summer's "I Feel Love" and Underworld's "Born Slippy". Purchase. Listen. Enjoy.

Bernard Butler Friends And Lovers (Creation/Columbia) What a difference an album makes. Although People Move On, the debut album from ex-Suede guitarist Bernard Butler, was passable, Friends and Lovers exceeds it predecessor in confidence while cutting back on a bit of the pretense that wore thin the last time around. Although Butler was wise to show an introspective side that gave him a distinct identity apart from his former group, the album as a whole lacked bite. On Friends and Lovers, the change for the better is apparent from the onset, as the opening title track and “I’d Do It Again If I Could” combine for a straightforward, one-two punch of unadulterated guitar pop. And although the album does have its mellower (“No Easy Way Out”), downcast tracks (“Everyone I Know Is Falling Apart”), they balance out the album’s glammier moments, making for a well-rounded listening experience. As usual, Butler’s guitar work is top-notch, but as an added bonus, his voice resonates with a confidence that seemed to be missing at times on People Move On. Here’s hoping that Butler continues his upward spiral after putting the whole sophomore slump syndrome to rest. (PC)

Bis Social Dancing (Grand Royal/Capitol) Like high-impact aerobics or playing with a hyper little puppy, this CD can tire you out with its energy level. Bis' warp-speed, retro-80s sugar-coated new wave songs will either appeal to your sense of fun, or drive you insane over the course of Social Dancing's 42 minutes. Which is not to say that it's not a good CD. It's just more of a mood CD -- certainly not the type of thing you put on to chill out, but rather to psyche-up before a frenetic night out. One of the ironic things about Social Dancing is that its frenetic mood might cause you to ignore some very witty, tongue-in-cheek humor ("Eurodisco") and dark lyrics -- "The Hit Girl" and its references to domestic abuse, for one -- thus proving that most human beings are incapable of dancing and thinking at the same time.

Black Box Recorder England Made Me (Jetset) On England Made Me, the trio known as Black Box Recorder – vocalist Sarah Nixey, John Moore, and Luke Haines (ex-Jesus and Mary Chain and Auteurs, respectively) -- succeed in taking the cool, tongue-in-cheek English pop personified by St. Etienne and turning it on its ear with heavy doses of irony and sarcasm. Nixey’s detached, breathy, sugar-sweet vocals belie lyrical content that ranges from death (“Girl Singing In The Wreckage”) to unwanted pregnancy (“New Baby Boom”) to vicious criticism of English culture and government. Backed by Haines and Moore’s mellow accompaniment, it’s the sonic equivalent of a Trojan horse. If you listen casually, this is a sweet and catchy little record; but listen carefully to the lullaby chorus of a song like “Child Psychology” (“life is unfair/ kill yourself or get over it”) and it’s incredibly bitter. What saves the album from wallowing in its own misery, though, is that bitterness has been done do death by the English, but bitterness done with style, cleverness and nuance is rare. Extra points to BBR for their cover of Terry Jacks’ “Seasons In The Sun” and for putting quite the ironic spin on one of the all-time self-pity anthems. (PC)

The Black Heart Procession 2 (Touch And Go) The second album from San Francisco’s Black Heart Procession expands on the themes of melancholy, loss and regret that were established on their debut, and although 2 isn’t groundbreaking for them in any way, there isn’t really a need for them to innovate the second time around, given their distinctive sound and subject material. It’s not rock music by any stretch of the imagination -- seven of the eleven songs use no drums or percussion of any kind -- but nonetheless, it’s much darker than most rock, gothic, or industrial could ever aspire to be. Eschewing the melodramatics of those genres for expressions of pure emotion, Pall Jenkins’ vocals are delivered in a subtle, introspective style that draws the listener deep into these profound mediations on love and loss. Musically, it’s the equivalent of walking drunkenly through a deserted carnival in your darkest hour -- there’s a spookiness to their simple melodies, sparse instrumentation, and the dirgelike tempo of most of the songs. Even on a faster song like "It’s A Crime I Never Told You About The Diamonds In Your Eyes" there’s a wistful sadness to the whole affair. A gentle and moving piece of work. (PC)

Breakbeat Era Ultra-Obscene (XL/1500/A&M) The debut full-length collaboration between mega-acclaimed drum-n-bass producer Roni Size, DJ Die and singer Leonie Laws is a striking, sinister and beautiful piece of work. With the first track, "Past Life", the opening murk of what sounds like underwater cellos soon gives way to the trademark Roni Size breaks. This instrumental comes across as business as usual for Mr. Size, but it's on the second track, the fantastic "Rancid", that the real nature of the album becomes apparent. With the addition of Law's vocals, Ultra-Obscene becomes an experiment in interplay between dark lyrics, urgent vocals and chaotic instrumental arrangements. For fans of Roni's work with Reprazent, Ultra-Obscene shows his sound moving in a direction that stresses melody over the atonality of New Forms, and the beats which were placed at the forefront in his earlier work have taken a backseat in the mix, providing a foundation for the music rather than being the heart of the music itself. Although the idea of a drum-n-bass collective fronted by a female vocalist is nothing new -- UK duo Lamb has already released two CDs using the same formula -- Breakbeat Era, through Size and DJ Die's concentration on subtlety over in-your-face breakbeats and Law's insistent, energetic vocals, takes the form to a new level. (PC)

Sarah Brightman Eden (Angel Records) Eden is an experience I highly recommend. Sarah Brightman demonstrates her dynamic range in songs like the moving "Anytime, Anywhere", the haunting "Scene D'Amour" and "Nessun Dorma" from La Traviata. The ethereal title track features the New College Oxford Choir and a very Kate Bush-like Brightman singing lyrics like: "I never tried to feel/This vibration/I never tried to reach your Eden" over synthesizers, electronic drum beats, a string section and what at first sounds like a rainforest. She also covers Celine Dion's "My Heart Will Go On", the hit song from Titanic. Although Brightman performs it in Italian, it's still a too-recent and over-played hit for anyone to cover, regardless of the translation. She puts a sweet spin on "Dust in the Wind", and if you don't listen closely to "Deliver Me" you will at first think it's "Frozen" by Madonna. That doesn't make it a bad song, though -- it's got all the electronic charm of say, "Fear" by Sarah McLachlan (which is a good thing) and a back-up choir to boot. Those familiar with Brightman's performance as Christine in Phantom of the Opera or even her recent collaboration with Bocelli on "Con Te Partiro" may be surprised by the variety of songs she takes on in Eden. For others who don't really know Brightman at all, Eden is a wonderful introduction to such a gifted performer. Hopefully her combination of operatic ballads and ethereal songs will invite enough listeners in to make this a very popular crossover album. (CM)

Aril Brikha Deeparture In Time (Transmat) This latest release from legendary DJ Derrick May's label is as dreamy and lush and deep as can be. Deeparture in Time represents the best of two worlds -- a fusion of the trademark Detroit techno sound and smooth, dub-infused house. The result can only be described as a liquid sound -- deep, resonant, shimmering and lush. Although the CD changes gears here and there ("Read Only Memory", "Headhunter") throughout its 11 tracks, the end result is that Aril Brikha has created a great chill-out house album to wind down an evening of sensory overload at the nightclub of your choice. A recommended debut from a name to watch out for.

Brooklyn Funk Essentials Make Them Like It (Shanachie) One may figure that any artist ambitious enough to include elements of smooth jazz, reggae, funk, freestyle, soul and DJ cuts within the confines of one CD would be incredibly fortunate to avoid a directionless cacophony in their effort to produce melodious fusion. Not only does Make Them Like It succeed in presenting all these genres and more throughout the album, but often succeeds in combining them within the constraints of a single song. Nowhere is this more evident than in "Vinyl Crisis" (track 10 for those of you keeping score at home). So many influences are evident in the song that you find yourself counting the musical elements as the tune wafts along. Yet despite the fact that the track is so busy, it's so wonderfully blended that it, like the CD, it can double not only as a dancefloor-packing groove but as classic Sunday brunch relaxation music. Make Them Like It? Mission accomplished. (BW)

BT Movement In Still Life (Nettwerk) Proving that the third time is indeed a charm, trance giant BT (Brian Transeau) sheds some of the new-age obliqueness of Ima and the drum-and-bass relentlessness of ESCM for an album of material that achieves a broadly diverse sound without sounding contrived. Long a fan of artistic collaboration, Transeau enlists the stream-of-consciousness spoken word vocals of Soul Coughing's Doughty on the hypnotic "Never Gonna Come Back Down" -- compelling despite its dancefloor-unfriendliness -- but it's Opus 3's Kirsty Hawkshaw on the ethereal trance of "Dreaming" and the melancholic "Running Down The Way Up", and Jan Johnston on "Mercury and Solace" that stand out, their airy vocals perfectly complementing Transeau's complex and delicate arrangements. On other tracks, including the frantic and banging "Madskillz" and "Smartbomb", Transeau continues to delve into the harder reaches of of electronic music, but, balanced with the lighter compositions here, these tracks spice up the mix instead of seeming incongruous. Perhaps the most pleasant surprise of this incredibly well-conceived and executed album is the inclusion of Transeau's own vocals on two of the tracks -- "Satellite" and "Shame" -- that prove that indeed, this guy can do just about anything.

Buffalo Tom Asides From Buffalo Tom: Nineteen:Eighty:Eight to Nineteen:Ninety:Nine (Beggars Banquet) Contrary to popular belief, "best of" albums aren't critic-proof. Quite the opposite -- the snapshot of artists' careers they provide allow you to praise -- or scoff at -- years of artistic output all at once. We prefer Vanilla Ice's greatest hits (yes, there actually is one) for our cheap laughs at FFWD. Typically, the better a band is, the better the greatest hits collection. Which brings us to the topic of Buffalo Tom. The average person may not have heard of them; the lucky person might know a song or two; and the truly blessed will know and love most of these songs. Yes, it's alternative guitar rock, but of the highest order -- it would be unfair to make comparisons, but listening to this CD gets you to thinking what might have happened if the Replacements had their shit together and hadn't imploded. Even the older tracks such as "Sodajerk" seem fresh and simple and raw and new, years later. So if you're tired of the dozens of "modern rock' guitar bands with a number in their name -- Third Eve 182? -- pick this one up. No numbers, just brilliant songs. (PC)

B*Witched Awake and Breathe (Epic Records) Believe it or not, not all artists hit that ominous "sophomore slump" the second time around. A rare few rise to the occasion and succeed, and B*Witched could be one of those few. Their songs have that mainstream pop catchiness, such as their UK hit "Jesse Hold On", they have good choreography and the kids go crazy for them in concert, so what’s different about this girl-pop group? It could have something to do with the constant positive message they provide in their lyrics. The first track on Awake and Breathe, "If It Don’t Fit" embraces individuality within a relationship (even though it’s a song primed for the next Gap ad that features all-denim wearing dancing models being "individuals"). B*Witched knows its audience and sings accordingly, they don’t promote an over-sexy image or drop in sexual innuendoes that are beyond the comprehension of their fans. There’s something to be said about a group having a wholesome image in an industry that often shows itself as being nothing close to pure. Does anyone remember not so long ago, a perky blonde teen with upbeat tunes and simple melodies that made for good pop tunes? That’s the same product that B*Witched is promoting, with heartfelt ballads like "I Shall Be There" and "Blame it on the Weatherman" (their latest single), and the catchy "Jump Down", which would make an excellent second single. It seems as though B*Witched have taken a moment to "awake and breathe", in order to come back with a powerful follow-up pop album (CM).

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The Chemical Brothers Surrender (Astralwerks) Well, Dig Your Own Hole it ain't. But that doesn't mean Surrender isn't a worthy investment. On their third effort, Tom Rowlands and Ed Simons succeed in making the ever-shrinking gap between electronic music and "traditional" rock and pop even smaller. By recruiting more collaborators on Surrender than on their prior two albums combined, the Brothers have indeed succeeded in working it out. Electronica purists might argue that that this is the least innovative of their albums, and there's merit to that argument, but the Brothers have straddled the realms of electronic music and rock ever since Noel Gallagher guest-vocaled on "Setting Sun" back on Dig Your Own Hole. Gallagher makes another grand appearance here (on the single "Let Forever Be"), and the other collaborators on the album (e.g. Mazzy Star's Hope Sandoval, New Order's Bernard Sumner) succeed in making music that's actually better than the recent music they've made with their own bands. With the exception of the Missy Elliott/Timbaland co-penned opener "Music: Response", which is almost too reminiscent of Kraftwerk's "Musique Non-Stop", the Chemical Brothers have released yet another eminently original, listenable album.

Harry Connick Jr. Come By Me (Columbia) If you've already invested a sizable amount of cash in CDs by the current slew of neo-swing groups, then by all means, do NOT purchase Come By Me. If you do, you'll find that your treasured "swing" CDs can double as nifty coasters. If you do decide to pick up a copy of Come By Me, make sure you mix yourself a nice, dry martini, set it down on your Big Bad Cherry-Poppin' coaster, and get ready to enjoy one of Harry Connick Jr.'s most satisfying records in quite a while. Unlike We Are in Love, the debut of his big-band sound, Connick's latest CD doesn't have killer standout tracks a la "Recipe for Love". However, it's a much more consistent piece of work, mixing standards by the likes of Porter, Mercer and Berlin (a sublime "Change Partners") with Connick's own compositions. The mix works so well that at times you'll find yourself checking the liner notes to see if what you're listening to is a Connick original or a obscure work by the old masters. Sixty-three minutes of pure elegance and real swing at its best.

Console Rocket In The Pocket (Matador) What is up with those zany Germans? First they do everything in their power to push electronic music ahead, then they decide to embrace that warm, fuzzy feeling that only analog can provide. Console (aka Martin Gretschmann) blows at least 18 years of dust off the old synths on this, his second album, and as the retro-craze goes, in this case, his archaeological efforts were worth it. If you've heard the single "14 Zero Zero" you pretty much know what you're in for -- funky, muted beats, catchy melodies, and a slew of outdated equipment that would make your local pawnbroker proud. Every so often, snippets of a muted sax or the sound of an old modem cueing up (is that a 14.4 I hear?) pops up incongrously. Wisely, though, Gretschmann knows well enough to mix it up a bit between the bouncy stuff and moments of downright peace and beauty (check out the latter half of "Delay Dackel"). A real departure from his debut, this CD definitely has a sense of pop structure, style and humor about it. Very nice.

Cowboy Junkies Rarities, B-Sides and Slow, Sad Waltzes (Valley Entertainment) The Cowboy Junkies’ newest album isn’t exactly new. Their latest release marks the return of the Junkies’ own label, Latent Recordings, and showcases rare, seldom-heard, (some) previously unrecorded songs that just didn't make it the first time around. Rarities is an amalgamation of tracks that are lush, melodic, sometimes melancholic, often bluesy, and distinctively Junkies. This album is an interesting and enjoyable listen: to first hear Margo Timmins' smooth, rich voice cover Dylan’s "If You Gotta Go, Go Now", then later soulfully warble through the Grateful Dead’s "To Lay Me Down", is indeed a rare treat. The album’s first track, "I Saw Your Shoes" is just a great rock song. For optimal results, Rarities is best heard live in a smoky bar with neon beer signs and quarters stacked high on the pool table. There is quite a bit of juxtaposition going on throughout this album: from rock and blues to slow, sad waltzes, the group mixes up the emotions from track to track. But even the most upbeat melody can be supporting the most melancholy of lyrics, which there are plenty of on Rarities. This is also the hallmark of Cowboy Junkies songs -- they have the ability to tell stories and express feelings of longing, loss, hopelessness ("River Waltz"), and blind faith ("Leaving Normal"). That, combined with minor key melodies, accordions, and mandolins, could send anyone down a river of tears, but what an enriching journey to take. (CM)

Sarah Cracknell Lipslide (Instinct) It’s hard to believe that the material on this album from St. Etienne vocalist Sarah Cracknell is nearly three years old. It’s even harder to believe that this record, which languished in obscurity as a UK-only release, never made it across the pond three years ago. Leave it to those zany folks at Instinct to unearth this gem and re-release it here in the States. It’s as if we’ve been given a chance to redeem ourselves. If angelic vocals and a fusion of classic British pop and modern beats is your thing, or if you wish that there were more records with the panache and songwriting of classic Everything But The Girl, then get out of the house immediately and stop by your local retailer. Alternating between wistful orchestral ballads like “Ready or Not”, sparse torch songs (“Oh Boy, The Feeling When You Held My Hand”) and high-energy Brit-disco numbers like “Desert Baby”, the combination of Cracknell’s breathy voice, high-gloss production courtesy of Stephen Hague (Pet Shop Boys), Andy Wright and Cracknell herself, and rich orchestrations makes Lipslide a nearly perfect record – one that achieves that rare status of being eminently listenable from start to finish.

Cuba L.A. Dos (Narada World) The second album (hence the title) from this nine-piece collective is a wild melting pot of divergent sounds, heated up until the results are smooth. Varying in style -- Afro-Cuban, Latin Jazz -- from track to track, Dos possesses an honest-to-goodness tropical sensibility. You'll feel as if you're at the swankiest club in pre-Castro Havana. But before you rush to put on that white dinner jacket, you'll be entranced by forays into some of the smoothest Latin jazz you're likely to set your ears on. Tracks like "Whisper Not" and "Danzon Legrand" are downright elegant in their execution, with subdued percussion and flute riffs that recall a summer breeze. Acting as a counterpoint to these exceptionally suave songs are tracks that are more traditionally Afro-Cuban -- the opening "Kila Quique Y Chocolate" springs immediately to mind -- but, while these more traditional tracks are more prone to lead you to the dance floor, they're also performed with masterful restraint. Check out the tight rendition of "Guantanamera". It's the sound of a band that knows that it's good enough to ease back on the intensity and let the music speak for itself. Grab the rum and mint leaves, sip that mojito and enjoy. (PC)

Cypress Hill Skull & Bones (Columbia) This double-CD set from Cypress Hill neatly splits its material between sinister hip-hop (the "Skull" disc) and more sinister hip-hop with a harder, rock-influenced edge (the "Bones" disc, featuring collaborations with Fear Factory and SX-10). Although the decision to divide the songs is questionable since they could have fit on one CD and the mixing of genres could have been beneficial, it's a minor criticism. All told, this is an uncompromising, hard set that stands head and shoulders above most of the derivative hip-hop of today. As usual, B-Real's distinctive nasality is present; but Sen Dog's presence is increased as well, adding another element of diversity to the mix. In addition, producer/DJ Muggs has taken a more subtle approach than on previous releases -- the result is that Skull & Bones has a vaguely conspiratorial air to it. This is music you'd listen to before you do something really, really bad. Of course, there are the usual references to weed ("Can I Get A Hit"), but it's toned down a bit. Unlike other Hill releases, this is album that draws much of its source material from places other than the bong. Featuring two versions of the killer single "Superstar" ("Rock" and "Rap"), this is a CD that should embarrass the less-skilled "rappers" that rule the charts into retirement. Let's all cross our fingers.

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Datach’i (Rec + Play) (Caipirinha) Alternating between outright chaos (the opening “Deconstructing Man”) and sublime beauty (“Leonard Park”), (Rec + Play) isn’t exactly an easily digestible CD. But if you can get past its anarchic moments, you’ll find yourself listening to some very interesting experimental electronic music. Heavy on distorted vocal samples and dense layers of percussion, this record is all about noise as an art form, and you get the sense that Datach’i is more interested in pushing the envelope on electronic music than anything else. So be forewarned – (Rec + Play) doesn’t flow smoothly, is far from “catchy” and won’t appeal to you if you’re one of the glow-stick set or those annoying Big Beat disciples. Despite its moments of playfulness (“Turtle Head”, “Take Off Your Face”) this CD is for noise junkies only. But, if that’s your bag, by all means, pick up a copy of (Rec + Play), pop it in, and settle back for that uniquely pleasant feeling of disorientation that usually accompanies music of this genre. (PC)

Death In Vegas The Contino Sessions (Concrete/Time Bomb) Dead Elvis II this ain’t. On this highly anticipated sophomore album, Death in Vegas leader Richard Fearless and his trusty sidekick, Tim Holmes, have moved away from the electronic overkill of their debut and toward a sound that, though it retains electronic elements, is primarily a rock album. And although the trademark DIV vampy bass is still there in force -- notably on the opener, "Dirge", featuring Dot Allison, and the Iggy Pop collaboration "Aisha" -- the tone of the songs on Contino is less dancefloor-oriented than usual and there’s a heavier reliance on feedback-laced guitar and spacey effects. Of course, the instrumentals that populated Dead Elvis are still on board here, but the majority of tracks are vocal collaborations, that in addition to Allison and Pop, feature Bobby Gillespie of Primal Scream (the sleazy "Soul Auctioneer"), the sinister "Broken Little Sister" (featuring the Jesus and Mary Chain’s Jim Reid) and the London Community Gospel Choir on the incongruously upbeat "Aladdin’s Story". There are definite Velvet Underground influences on Contino, partially through the strung-out soundscapes but mostly through an attitude that seems to celebrate the seedier side of life. Moody and foreboding, this is one of the finer releases of 1999. (PC)

Deftones White Pony (Maverick) This five-piece continues to create some of the hardest -- and least formulaic -- music imaginable with this, their third full-length. Avoiding the trap that many other neo-hardcore groups fall into of finding a "trademark" sound, and then treading water, Deftones manage to expand the scope of their sound, adding subtle and even abstract elements to their compositions. Of course, the group hasn't sacrificed its apocalyptic sound -- as tracks like the insanely hard "Elite" and "Street Carp" prove -- but on other songs like "RX Queen" the band fluctuates between deep melodicism and atonality, delicate vocals and abrasive screams, quiet introspection and outright chaos. They've realized, unlike many other groups of this genre, that you'll pay more attention to their music if its intensity is constantly shifting. The tactic pays off -- the hushed intensity of the delicate and trip-hop influenced "Teenager" is magnified in the context of the album, as well as the abstract collaboration with Maynard Keenan of Tool on the psycho-sexual "Passenger". All in all, White Pony proves that powerful music can convey just as much with a whisper as with a scream.

Dido No Angel (Arista) On this debut release, vocalist Dido enlists the help of over 30 musicians, engineers and performers to produce an album that ultimately, showcases her voice. Rather than resulting in overproduced mess, the results of their combined efforts are lush but far from cluttered. If you’ve heard the opening track "Here With Me" on your local radio station you get an idea of what Dido’s voice sounds like – imagine a huskier, throatier Sarah McLachlan. As for the album, it’s a perfect soundtrack for a rainy Sunday morning at home. Not a lot of surprises here – the mood is pretty consistent throughout No Angel – but it’s a good mood nonetheless. The album only takes a turn at "Take My Hand" the final, bonus track – where Dido’s affiliation with the epic dancemeisters Faithless becomes fairly obvious. Proof that on occasion, too many cooks don’t spoil the broth. (PC)

DJ Cheb I Sabbah Shri Durga (Six Degrees) Various Artists Brasil 2mil 1. The Soul of Bass-O-Nova (Six Degrees) Two explorations of world music with an electronic edge from San Francisco's innovative Six Degrees label. On Shri Durga, Chen I Sabbah has combined traditional Indian ragas and instruments with elements of dub and ambient music to create a dreamy, hypnotic soundscape. If a tropical kinda vibe is your thing, then Brasil 2mil is for you. This compilation takes some of the preeminent artists working in Brazilian music -- Vinicius Cantuaria, Fenanda Abreu, Arto Lindsay -- and infuses their work with electronic beats and textures, resulting in a sultry, silky-smooth hybrid. Depending on which part of your body you want to exercise, either CD is a fine addition to your collection -- Shri Durga for your mind, Brasil 2mil for your hips. (PC)

DJ Jackie Christie’s Hard Tasty Beats (Nervous) Ah, the ubiquitous mix CD -- the sign that a DJ has finally "made it". Of course, the success of a mix CD depends on two factors -- the selection of tracks on the CD, and the DJ’s ability to mix those tracks so well that they cruise by effortlessly, each track leading into the next like different movements in a symphony. On both these criteria, the aptly named house mix Hard Tasty Beats hits the mark and then some. Best known as the Thursday and Friday DJ at Life, as well as for her stint as DJ on MTV’s otherwise-very-bad "The Grind", Christie finally provides some insight to the uninitiated as to what the big wait to get into Life is all about. The opener, a furiously remixed "The Ceremony" by Brutal!, sets a hard, fast tone for the remainder of the mix, which never quite lets up. The mixing is flawless, the beats insistent, and by the time Hard Tasty Beats closes shop with Rivera and Trattner’s "Tell Me" (featuring a stellar Angie Blake vocal), it seems as if the CD is over much too soon. In between the first and twelfth tracks, though, Christie selects a strong repertoire of energetic dancefloor anthems, such as Orange’s "The Musik" and the heard-in-every-club-on-earth "Unspeakable Joy" by Kim English. Highly recommended for those house aficionados long on dancefloor stamina -- you’ll need it for this CD. (PC)

DJ Krush Kakusei (Red Ink) Kakusei, an album of murky sounds and oblique beats from Japan's DJ Krush, treads the fine line between intelligent dance music and mellow funk extremely well. Instead of going to either extreme - balls-out dance music or arrangements so obscure that they become mentally taxing, Krush offers up a selection of chill-out songs that feature just enough distortion ("Parallel Distortion") and bass-heaviness ("Deltaforest") that you'll double check your stereo thirty seconds into Kakusei. There aren't really very many standout tracks on this album - the compositions tend to blend together, creating a consistent atmosphere without really becoming boring. And that seems to be the point - creating music that's meant to be part of the atmosphere of an evening, as opposed to the focus of it. Although it might have done Krush some good to put a little variation in his BPM's, Kakusei is a solid album, although far from a standout one. (PC)

DJ Rap Learning Curve (Columbia) As the electronica trend has caught on, more and more pop artists have been trying to flavor their music with an "electronica-lite" sound – witness the sleek William Orbit production on Madonna’s Ray of Light album. This debut offering from the UK’s DJ Rap provides an interesting counterpoint to Madonna’s last album offering, in that you get the opportunity to see the reverse effect – that is, what happens when an artist firmly rooted in technoculture attempts to foray into pop. The results are somewhat mixed. Although DJ Rap’s singing voice tends to make her sound at times like the poster child for sinus medicine, her technological mastery and DJ skills are what keep your attention. It’s when "F**k With Your Head", the fourth track, kicks into full gear with its distorted vocals and slow, pounding beat that the album really comes together, and for a few songs keeps its momentum going by concentrating on the music. Whether this will be the pop/electronica crossover success it was intended to be is a mystery, but in the meantime, set the CD player to track four and enjoy twenty-five minutes of bliss. (PC)

DJ Spooky vs. The Freight Elevator Quartet File Under Futurism (Caipirinha) Harsh at times and gentle at others, oblique and yet at the same time incredibly straightforward, File Under Futurism takes two diametrically opposed sounds -- DJ Spooky's thrashing, chaotic breakbeats, and the Freight Elevator Quartet's dense, lush electronics (augmented by their use of cello, digideroo, and ethereal vocals) -- and somehow manages to make them work as one. Throughout the CD, Spooky and FEQ collaborate on four tracks, which veer from drum-n-bass ("File Under Futurism") to the percussive, pulsing "Downtempo Manifesto" to extreme digital hardcore ("Digital Asynchronicity") to the ambient, final track "Chromatic Aberration". Filling out the CD's remaining eight tracks are alternating contributions from Spooky and FEQ, which highlight their individual approaches and distinctiveness. Although frustratingly avant-garde -- and guilty of obscurity for obscurity's sake -- at times, File Under Futurism throws a gauntlet of sound down and dares the listener to take the challenge. Ignore the pretentious mishmash about exploring the futurist manifesto and so forth in the liner notes and prepare for an interesting collaboration, but base your purchasing decision on the fact that this is music for the head, not for the feet. (PC)

Dr. Dre The Chronic 2001 (Uni/Interscope) Well, somebody must have called the Doctor, because on The Chronic 2001, he’s cured us all of the bull in the hip-hop industry. Dr. Dre 2001 is sure to be a hit based solely on the strength of the first single, “Still D.R.E.” a track that’s the bomb because it’s so reminiscent of the original Chronic -- which is one of the best hip hop albums ever. This album features guests like Snoop Dog, Eminem, Nate Dog, Kurupt and Hitman, and is filled with hot tracks like the single “Still D.R.E.”, “The Watcher”, “Fuck You”, “Xxplosive”, “Bang Bang”, “Some L.A. Shit”, and “Forget About Dre”. And although as a whole the album is hot, the skits in between songs fall a little short of those on the first Chronic, but by far the best skit on any hip-hop album is featured on this one – “Ed-ucation” featuring Eddie Griffin. I won’t ruin any surprises here, but believe me, it speaks for itself. Chronic 2001’s got its share of sensitive cuts as well, especially “The Message”, featuring Mary J. Blige, in which Dre talks addresses the senseless murder of his brother. Self-produced by Dre, this is one of the best hip-hop albums this year, and although a lot of the lyrics scream “Jay-Z”, ignore the rumors -- Jay-Z’s name never appears on any album credits. Pick this one up if you love the West Coast, pick it up if you love Dr. Dre, pick it up if you love hip-hop, period.

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Echoboy Volume 1 (Mute) A record created around the theory that if you took the best elements of pop music from the last 30 years and combined them, you'd have a perfect pop record, Volume 1 sounds at first like it might be a bit of a mishmash. However, it's anything but. Although the songs on Volume 1 veer wildly between genres and influences, they all share the common denominator of disparate influences working together to create memorable and unique song structures. Hence, from the CD's synthpop opener, "55", to the New Order-ish "Kit and Molly", to the early experimental electronic sounds of "Model 352", Richard Warren (aka Echoboy) hits the listener with a barrage of references. And that's just the first three songs. But while the styles come fast and furious, there's no doubt that these songs belong together, in that they all reflect Warren's talent for crafting solid arrangements and his refreshingly un-studied approach. Although much has been made of the Kraut-rock influences on this CD, it stands apart from most of the other Can/Neu!-influenced releases in its subtlety and diversity. A thoughtful, intelligent, solid CD. (PC)

Everything But The Girl Temperamental (Atlantic) No doubt influenced by Ben Watt’s increasing interest in DJing and club culture, Everything But The Girl continue to develop the club-oriented style that was hinted at on Amplified Heart and experimented with on Walking Wounded. Certainly, though, some things remain unchanged -- Tracey Thorn’s voice is as perfect as ever, and for anyone who is a fan of EBTG because of that voice, Temperamental won’t disappoint. However, although Thorn’s voice and Watt’s electronic arrangements work perfectly on some tracks (the sublime title track, the opener "Five Fathoms", "Hatfield 1980"), the marriage isn’t as perfect on others. "Blame", for instance, swallows up Thorn’s voice through a nonstop barrage of breakbeats, and the combination of smooth vocals with staccato bursts of drum seems forced at times. However, the misses on this record are vastly outnumbered by the successes, and it's when the smooth orchestrations typical of Amplified Heart take the forefront that the album really shines ("No Difference"). Closing Temperamental with a reworking of the Deep Dish club anthem "The Future of Future", Thorn and Watt seamlessly merge the jazz-infected smoothness of their earlier works with the electronic elements of their latest stuff. A real winner. (PC)NB)

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Filter Title of Record (Reprise) Filter departs from the overly industrial sound of its debut, Short Bus, with Title of Record. The result is a departure -- and an improvement -- which highlights Filter at its most melodic and straightforward. Although the metallic, industrial edge is still there, Title of Record reflects the work of a band that uses electronics to enhance its sound, not form the basis of it. On songs such as "Welcome To The Fold" and "Captain Bligh", Richard Patrick's voice is cleaner then ever before, due in no small part to a lesser reliance on vocal effects. And although the Filter-esque "wall of sound" hasn't changed much, a song such as "The Best Things" becomes less abrasive and more accessible without making too many concessions towards being listener-friendly. But by far, Title of Record's standout track is "Take A Picture", a layered and dreamy concoction that sounds like it's two or three records ahead of its time for this band -- like the logical progression of Filter's growing independence from the constraints of a pure industrial sound. Recommended.

Fifty Tons of Black Terror My Idle Hands (Beggars Banquet) My Idle Hands is exactly the type of record you might expect from a band with the delicate and subtle name Fifty Tons of Black Terror. It’s filled with explosive drums, a churning, bass-heavy sound, and vocals and lyrics that are reminiscent of a deranged, angry man standing on a street corner. It might be one of the most bleak, sinister and hard records in years. In other words, it’s great. Although the sound is entirely too murky at times, it’s got a bunch of great moments -- the concussion-inducing opener “Creepers Reef”, the drunken, Nick Cave-ish ballad “The Pool At Blood Gully”, the threatening “Head of the Wake”, and “Giant Haystacks”, which sounds like the result of a genetic experiment involving The Damned and Red Lorry Yellow Lorry gone horribly wrong. In fact, the entire album has an ominous, something’s-not-right-here feel to it. My Idle Hands is a record made by evil men for evil people to listen to while carrying out their evil little deeds. Go buy it with your ill-gotten gains. (PC)

Fiona Apple When the Pawn… (Clean Slate/Epic) Fiona Apple is older than her age allows her to let on. Fusing elements of bebop, jazz, lounge-y percussion and pianos with lyrical syncopation, some daunting vocal acrobatics and one dynamic, burly voice, Apple has created an album of astonishing proportions. Lyrically, she continues to churn out gut-wrenching, vein- exposing diatribes on love and relationships ("Paper Bag"), and when she's not demolishing men with her witty phrasing, she's demolishing her own life -- or deconstructing it (to say the least) in a warbling, introspective tone - ("I've acquired quite a taste for a well-made mistake/I wanna make a mistake"). She's a sultry wordsmith, as the paragraph-length title of the album alone will suggest to the listener. And although she's not trying to figure out the world's problems in her songs, that's not quite the point. Apple is better at giving life to lyrics that begin in caffeinated dreams and bring a sense of empowerment to those who can relate to her earnestness. A great album from a glorious ingenue that stands out among the crowded sea of female voices in music today. (CM)

Cevin Fisher Underground 2000 (Razor and Tie) Flat-out, old-fashioned house music, just like mama used to make. Period. That's this album in a nutshell. Featuring a seamlessly-mixed collection of house superstar Fisher's greatest hits, notably "(You Got Me) Burnin' Up" featuring the legendary Loleatta Holloway, and a Pete Heller remix of "Music Saved My Life", Underground 2000 makes no pretense as to its purpose. This is an album strictly meant for dancing. If you're looking for profundity in the lyrics, tongue-in-cheek humor, or a sense of hip irony, this is not the CD for you. However, if you're a fan of pure house with tribal and garage touches, and you enjoy perspiring, you can't lose with this one. Its only flaw is the inclusion of two additional remixes (each) of "The Way We Used To" and "Music Saved My Life", meaning that of the CD's twelve tracks, six of them are repeats. Thankfully, these remixes are neatly tacked on at the end, meaning that you can flail about like a lunatic before pressing the eject button on the CD player. It's great while it lasts, though. (PC)

Foo Fighters There is Nothing Left To Lose (RCA/BMG) Absence does indeed make the heart grow fonder, and the proof lies in the Foo Fighters new album. Dave Grohl and the boys are back again with catchy hooks and searing guitars, and pounding melodies on There is Nothing Left To Lose. The key to this group is that they are able to combine adrenalized rhythm guitar strumming with harmonies straight out of a Doobie Brothers chorus ("Learn To Fly", "M.I.A."), then do a complete 180 and screech through heavy bass lines ("Stacked Actors", "Generator") and high hat drum action. There's a definite 80's influence among the songs: "Headwires" could have been a Heartbreakers hit, and "Ain't It The Life" could have gone right to the top for the Alan Parsons Project. They wax poetic, peeling the onions under your nose on "Aurora" (sure to be this album's "Everlong"), and an ever-sensitive Grohl croons lofty lyrics on "Next Year". Their songs provide the perfect underscore to any movie where the themes are teenage angst, unrequited love, and a blissful unison of acne and eyeshadow at the end. What was hinted on The Colour and the Shape is now being fully explored: power chord guitar harmonies, strong hooks, memorable choruses, catchy phrasing and insightful lyrics. Who could ask for anything more? Aptly put, the Foo Fighters have nothing to lose, but everything to gain in the long run. (CM)

Fountains of Wayne Utopia Parkway (Atlantic) On their sophomore effort, songwriters Chris Collingwood and Adam Schlesinger surpass the perfect three-minute pop songs of their first album and succeed in creating music that is ridiculously catchy without sacrificing wit or intelligence. Although there's no song as immediately catchy as the inscrutable "Radiation Vibe" from their first, self-titled album, Utopia Parkway is a more consistent piece of work. In addition to the first single "Denise" (in which lead singer Chris Collingwood obsesses over a cold-hearted travel agent from Queens), there are a number of tracks that hold their own, including "Red Dragon Tattoo", "Laser Show" and the hysterically funny "Hat and Feet", which uses Wile E. Coyote-style imagery to describe the crushing effects of a broken heart. Required listening for anyone who is a fan of intelligent pop music that doesn't take itself too seriously.

Frankie Machine One (Mammoth) I've got to give it to the four guys in Frankie Machine -- they sure do fit a lot into three minutes. Catchy hooks, rapid-fire percussion, urgent vocals and guitar, and churning bass run through this album. The real trick is that although the sound of One is definitely hard-edged, it's good old-fashioned pop -- not metal, or neo-punk, or even DWBM (dumb white boy music). It almost seems as if the members of this band figured if they played REALLY HARD, you'd pay more attention to their songs. And you do. On songs like "Surveillance"and "Second Guess" there are definitely elements of punk, but the band never strays from its pop ethic. Why, they've even got a pretty good cover of Split Enz's "I Got You" thrown into the mix that takes the Finn brother's original wuss vibe and spins it in a new, ominous direction -- a perfect example of how to do a cover song right. If you're wondering where all the good punk/pop bands went after the Buzzcocks split up, this is right up your alley.

Freestylers We Rock Hard (Mammoth) Whooo-Haaa!!! Just when you thought you'd never live down those Young MC records you bought ten years ago, here come the Freestylers to make the electric boogaloo fashionable again. An unrepentant love letter to all that is b-boy, the humorously named We Rock Hard mixes break beats, old school rhyme styles, vocal samples (notably Public Enemy's Chuck D) and ragga toasting/rapping to make what might be the first tribute album to a genre, not a particular artist. Just about anyone with two ears and a head to connect them has heard the single "Here We Go" (featuring rhymes by Definition of Sound), which has no doubt produced an uncontrollable head-bobbing urge. If such involuntary muscle reactions are your cup of tea, then by all means, indulge yourself with We Rock Hard. Adidas shell-toes, anyone?

Frontier Suture (Perishable) Treading a fine line between experimental and electronic music, the Chicago trio known as Frontier open up the sample-heavy Suture with the deceptively cacophonous “Autoclave”, and for the first several moments of the song, you’ll feel as if you’re being led down the path that Neubauten trod when they were at their most experimental. However, after a short while, the staccato beats and rhythms of the song kick in and, although the music is still highly experimental in nature, the rhythms add a logic and sense to the whole affair that’s sadly missing in much of today’s experimental stuff, which (sadly) seems to be about obscurity for obscurity’s sake. Suture’s major flaw seems to be that, with the notable exception of “Retractor”, the songs are almost too similar to one another in tempo and murkiness, making the 30-minute length of this six-song EP seem a little on the long side. But for fans of electronic music who want something a little more avant-garde, or vice versa, Suture might just float your boat. (PC)

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The Getaway People Turnpike Diaries (Columbia) Daaamn, this is one hell of a funky record. This five-piece from Norway -- now based in New York -- takes extremely simple, catchy pop melodies and adds slightly distorted vocals, sampled beats, bouncy basslines and strategically-placed vinyl scratching, and comes up with highly upbeat music perfect for the summertime heat. If you're familiar with their 1998 album or the single "She Gives Me Love", Turnpike Diaries expands and improves on that sound, adding guest appearances from Boyd Tinsley (Dave Matthews Band), Daryl Jenifer (Bad Brains) and Rahzel the human beatbox from The Roots. The opening trio of songs -- led off by the insanely catchy "Six Pacs"and "There She Goes Again" -- sets the non-stop party mood of the record, and despite the occasional appearance of a ballad like the solid "Deceived By An Angel", this record is fun, fun, fun. Evidently the relentless touring of this band over the past year or two has paid off -- there's a much tighter sound here that delivers on the promise of their last effort. As an added bonus, there's a hidden track at the end of the CD that makes their tighter sound all the more apparent. An excellent summer record.

The Go-Betweens The Friends of Rachel Worth (Jetset) Australia's Go-Betweens managed to produce six excellent albums in eleven , and it took exactly twelve years to produce their seventh. However, despite the significant lag time -- during which Go-Betweens Grant McLennan and Robert Forster each pursued solo careers -- the band seems to have not missed a beat, so to speak. But rather than sounding like an 80's band desperately trying to reassert its relevance (an all too common occurrence over the last few years), The Friends of Rachel Worth has a timeless sound to it. It's easy to see why this band has had such a profound influence on modern indie rock -- the songs are exquisitely crafted, and the vocals and musicianship have an easy, almost casual confidence to them. Rather than making the deadly mistake of attempting a "comeback" album with a definite commercial bent to it, Forster and McLennan opt for the artistic high road, continuing to evoke the laid-back ethos of their previous work with catchy, disarmingly simple, intelligent pop music. Assisted by a veritable Murderer's Row of indie dignitaries, including members of Sleater-Kinney, Quasi, and the venerable Stephen Malkmus of Pavement, the Go-Betweens have managed to produce an album that embodies the best of their creative output over the past twenty-two years, but yet is in entirely in the moment. (PC)

Goldie INCredible Sound of Drum N Bass Mixed By Goldie (Ovum/Ruffhouse/Columbia) Hard as it may seem to believe, junglist god Goldie has never before actually released a mix CD domestically, and on this, his first try, he decides to give the listener a bit of a history lesson. The result is an excellent primer on the origins and development of drum-n-bass throughout the 90s and into the present, all impeccably mixed, of course. This two-CD set, which features luminaries such as Doc Scott, Alex Reece, Roni Size, Grooverider and Optical, tends to ebb back and forth between laid-back ambience to all-out chaos. Although there’s more of a focus on older material on the second disc, it doesn’t seem dated – a testament to the smoothness and skill of Goldie’s mixing. Hard-core enthusiasts will no doubt have most of the tracks on this collection, and for them, INCredible Sound is more the equivalent of a mix tape of their favorites, but for those just getting into the genre, it’s a good place to start. (PC)

Gomez Liquid Skin (Virgin) The eclectic sound that is Gomez is back. Liquid Skin lays it all out on the table for the listener -- steel guitar, sitars, and Battlestar Galactica-type samples replete with little tweeks, beeps, and laser sounds. They play harmonies in major and minor keys against one another and mix up the stereophonic equilibrium so that you think you have an angel in one ear and a devil in the other. It's a galactic cowboy hayride, and the listener is encouraged to just roll along with the band. Gomez seem to be having fun experimenting with sound -- as heard in the band's first single "Bring It On", they often entwine phrasing within phrasing, behind the main melody of the song. The method behind their madness is concocted with a bit of psychedelia, a dash of tropicalia, a pinch of country western, and a smooth layer of funk. And that's still not covering all of the influences and nuances found on the album! Liquid Skin is absolutely delightful ear candy -- from the growling first track "Hangover", to the multilayered "Bring It On", to the CS&N-sounding "Blue Moon Rising", and on and on. Each track brings a new insight into experimentation -- whether it be the band's messing with timing, percussion, or singsong lyricism. Liquid Skin is one of those albums that will no doubt make many critical top-ten lists, but because it bucks the conventional sound that makes it big on major radio stations, trust your local college radio and word of mouth on this one. One can only hope that such grassroots promotion does the job, if not to bring the band more success, then just to expand the appreciation there is out there for such full bodied, flavorful music. (CM)

Macy Gray On How Life Is (Epic) If you've ever wondered what Billie Holiday would've sounded like if she had been born 30 years later, then On How Life Is will satisfy your curiosity. Macy Gray's voice, although full of character and nuance of its own, is most immediately comparable to Holiday's, and it's that voice that is laid across ten tracks that retain elements of the finest in 70s soul while incorporating such modern touches as the well-placed turntable scratch. Wisely, the album avoids a lot of the cliches of modern R&B by sounding like nothing else out there -- a welcome change from the "their record sounds like that so ours should too" mentality. Lyrically, the album covers familiar territory -- love, relationships and the like -- but it's the winningness of Macy Gray's voice (notably on the opener "Why Don't You Call Me?" and the ballad "Still") and her natural, laid-back feel of the CD that make this debut an auspicious one.

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Geri Halliwell Schizophonic (Capitol) A word of warning when you place this into your CD player -- the first song ("Look At Me") is NOT "History Repeating" by the Propellerheads. Although the first few seconds might trick you into thinking that it is, pay careful attention and you will realize that the lyrics and vocals are different. And that pretty much sums up the whole problem with this CD. Although Schizophonic certainly lives up to its name -- veering wildly from style to style, from the techno-vamp stylings of "Look At Me" to the Spice Girl vibe of "Lift Me Up", to the Spanish feel of "Mi Chico Latino", none of the songs particularly etch themselves into your memory, despite their diversity from one another. The lyrics aren't particularly memorable, and it's not exactly a secret that Ms. Halliwell doesn't exactly have the best voice in the world. For girl-power collectors only; otherwise, avoid.

Handsome Boy Modeling School So... How’s Your Girl? (Tommy Boy) This collaboration between hip-hop innovator Prince Paul and producer extraordinaire Dan "The Automator" Nakamura is the sonic equivalent of a Robert Altman movie, with a dizzying array of cameo appearances ranging from Grand Puba and Sadat X ("Once Again") to the Beasties’ Mike D to Alec Empire from Atari Teenage Riot to Biz Markie. But, unlike, the self-cannibalistic tendencies of modern hip-hop collaborations, where everyone’s record sounds like everyone else’s, leaving you with the impression that there are only 10 rappers on the entire planet, the Prince and the Automator have succeeded in creating an fresh and dynamic CD that should send everyone else back to the drawing board. Although Prince Paul still retains his affinity for bizarre samples (excerpts from Chris Elliot’s brilliant TV show Get A Life) and a lo-fi, muddled bass aesthetic, the juxtaposition of his trademark sound with the unique contributions of "rock" collaborators such as Spain’s Josh Hayden and Sean Lennon works incredibly well. Tracks deserving special mention are "The Truth" (featuring the soulful, sexy vocals of Roisin Murphy), "Once Again", and the DJ Shadow collaboration "Holy Calamity". By following his sublime A Prince Among Thieves with So... How’s Your Girl?, Prince Paul has produced more quality hip-hop in the past several months than most can hope to produce in a career. (PC)

Hardknox Hardknox (Jive Electro) The debut from UK duo Hardknox (Steve P and Lindy Layton) is a lot of things, but it sure isn't subtle. Everything on this CD is way, way over the top -- from the heavy killer beats to the use of distortion, to Schoolly D's evil rap on "Come In Hard (I Don't Like Rock & Roll)" -- and your listening enjoyment of this record will depend on how hard you like your electro. Those who prefer subtlety and delicacy in their music will be put off by Hardknox, but if your tastes run to Atari Teenage Riot and their ilk, this might be your bag. Certain moments on the CD recall industrial's "thundering beat" phase a few years ago ("Attitude") as well as elements of metal ("Fire Like This"). But as the CD draws to a close, the sultry "Ain't Going Down", featuring Layton's best vocals on the CD, and a mellower vibe, succeeds in making the nine songs before it seem like they were recorded just for the sake of being hard and you end up wondering why all the songs don't have the restraint and skill that "Ain't Going Down" does. One thing is for certain, though -- despite its flaws, the aptly named Hardknox makes The Fat Of The Land sound like Bach's Air on the "G" String. (PC)

Haysi Fantayzee Battle Hymns For Children Singing (Razor And Tie) If you're really jonesing for a true 80s flashback, this CD is it. Granted, this reissue of one of 1983's most unusual new wave releases is way on the wacky side (picture new wave bubblegum calypso, or alternately, the Belle Stars' "Iko Iko" on equal parts helium and speed), but for the hardcore 80s collector, it's a Holy Grail. Best known for their songs "Shiny Shiny" and "John Wayne Is Big Leggy", Haysi Fantayzee never quite experienced the success stateside that many of their UK contemporaries did, but multiple plays of this CD reveal that their lack of success wasn't tied into a lack of good songs. With seven bonus tracks (including five remixes!), this is a pretty comprehensive second look at an overlooked group. To recap, this rerelease is definitely targeted for the 80s obscurist, but the fun of recapturing the 80s rests in the obscurity and kitsch factors. Besides, how many times can you see such overplayed tracks as "I Melt With You" in an 80s compilation without experiencing record rage?

Kristin Hersh Sky Motel (4AD) It's hard to describe an album in three words, but if I had to, I'd describe Sky Motel this way -- songwriting, songwriting, songwriting. At times pensive and certainly delicate throughout, ex-Throwing Muse Hersh has fashioned a thoughtful, sometimes melancholy album that relies heavily on lyrical metaphors. Save for a couple of songs -- "A Cleaner Light", for instance -- there aren't any obviously catchy, poppy tunes on Sky Motel. Instead, this is a CD that insinuates itself into your memory over the course of several listenings. However, the depth of Hersh's songwriting -- especially on tracks like "Echo" and "Caffeine" -- and her distinctive voice make the process of familiarization pleasant, to say the least.

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Indigo Girls Come On Now Social (Epic) On this, the band's seventh release, there are plenty of positive messages, upbeat guitar and banjo pickings, sweet harmonies and social undertones to keep even the most skeptical fan interested. Come On Now Social opens strong with "Go", a driving rock tune sure to make waves on Top-40 radio ("I know the kids are still upsetters/ 'Cause rock is cool but the struggle is better/ Go go go") and soon settles into an "every-other-song" pattern with Amy Ray and Emily Saliers trading vocal duties. Each has a distinct approach to their songs: Ray's songs are very dark and brooding ("Sister"), or driving ("Go", "Ozilline"); while Saliers' songs tend to sound more upbeat and sweet ("We Are Together" and "Soon Be To Nothing"- which sounds like a Swamp Ophelia song that didn't make the final cut). The difference could also be due to the key in which both sing. What separates the Indigo Girls from other progressive folk performers is their ability to tell explicit tales and express political opinion without getting too heavy-handed in the translation. Which may be why the turn taking works so well for them -- the listener isn't getting an overdose of any sort. There's a balance in the pace and rhythms of each song. Either way the Yin and Yang of this album melds together to create one beautiful finished product. (CM)

Innerzone Orchestra Programmed (Astralwerks) The sticker on the jewel case of this release from Detroit techno royalty Carl Craig proclaims it "Detroit Techno Meets Free Jazz". But that's not quite true. Despite collaborations between Craig, Sun Ra percussionist Francisco Mora, and keyboardist Craig Tayborn, Programmed is more than the sum of its parts. Although tracks such as the ambient-jazz "Basic Math" clearly show the individual contributions of each musician, the collaborations yield some unexpected and pleasant results. The sparse "Manufactured Memories", featuring Mora's vocals, mixes tribal (real tribal, not the techno variety) percussion and disembodied words. Rapper Lacksi-Daisy-Cal lends a laid-back flow to "The Beginning Of The End". The cover of "People Make The World Go 'Round" (featuring vocalist Paul Randolph) evokes unadulterated 70s soul, replete with string section and flute. On and on the genre-mixing goes, until it becomes apparent that the only things the songs on Programmed have in common are their flawless execution and late-night ambiance. (PC)

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Jay-Z The Life and Times of S. Carter Vol.3 (Def Jam) Shawn Carter, better known to the world as Jay-Z, has released an album that can be described in three words -- hot as hell. Life and Times is going to hit the streets harder than the Times Square Crystal Ball. It’s filled with hit after hit. The first single, “Do It Again”, is THE nightclub anthem for those who are party goers, and although when you first hear it, the beat doesn’t flow with the lyrics, its offbeat style makes it so dope. Jay-Z has rhymes for days – “Things that U Do”, one of the fattest joints on the album, features Mariah Carey and is a radio-friendly jam that will be sure to get a lot of airplay for the jeeps, and “My West Coast Niggas Watch Me” (with Dr. Dre) is off the chain. The Snoopy track (with Juvenile) is straight out of the cash money click, and “Big Pimpin’” (with UGK) is a straight Miami-two joint that New Yorkers won’t feel but will sell records elsewhere. Amil comes off on a track called “S. Carter”, and even though I don’t want to hear a whole album of her, one’s on its way. All and all, with production done by Timbaland, Premo, Swiss Beats and Scratch, this album is big -- very big, and it might just surpass the last one with over 5 million records sold. I’m not a big Jay-Z fan, but cat has the hottest shit on record right now. Don’t player hate. Show him love. (NB)

Jega Spectrum (Matador) On the aptly titled Spectrum, Jega (AKA Dylan Nathan) covers as broad a range of musical styles as possible under the electronica heading. This debut from Jega sees Nathan behaving like the younger brother of Aphex Twin's Richard James, determined to outdo his elder sibling in the "genre-jumping" and "hard-hitting" departments. Moving seamlessly from hardcore intensity ("Phalanx", "Pitbull") to cinematic soundscapes ("Unity Gain", "German"), to bouncing, gentle grooves ("Kid Sista"), Spectrum is quite a fascinating debut -- abrasive at times, soothing at others, but consistently intense.

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Kid Loco DJ Kicks (!K7) Darn those Frenchmen. They've made it their mission to corner the electronic market, and sacre bleu, it looks like they might just be able to pull it off. The latest missive comes in the form of the newest entry into !K7's phenomenal DJ Kicks series, which finds Jean-Yves Prieur (AKA Kid Loco) mixing up a distinctly blissed-out, bass-thick, downtempo mixture of songs. Opening up with the intro "Don't You Know I'm Loco", which samples the opening of Cypress Hill's "Insane In The Brain", Loco maintains the same, happily blunted-out musical style throughout this CD, and he's succeeded in executing a smooth transition from song to song without losing the distinctiveness of each individual track. So although his inclusion of DJ Vadim's "Theme From The Conquest Of The Irrational" melts right into Jazzanova's "Introspection" like butter into an English muffin, each track stands on its own. You'll know the song has changed but will never be quite sure of when the change actually took place - and that's a beautiful thing. With a song selection that ranges from the ultra lo-fi Grantby to Underworld to Lisa Germano, there's certainly a diversity of genres at work here; but the mellow mood is consistent throughout. My advice - pop this one in the CD player, dim the lights, and smoke it up. (PC)

Kismet North Atlantic Balkan Express (Tone Casualties) For those of you who think that Macedonia should only be mentioned in the same breath with Thrace and Sparta, this new release by the Macedonian darkwave group Kismet is sure to surprise. Fusing tradition Balkan elements and instruments with grim, gothic melodies and equally dark subject matter - "crushing the spine of love" is a typical lyric line ("Weaving") - Kismet stands out for infusing their darkwave with an ethnic flavor not usually found in the genre. Although I couldn't help thinking at times that the vocals needed to venture beyond a Laibach-like basso profundo, they're perfectly in keeping with the mood and sound of the CD. It's when vocalist Gorazd Capovski sings in his native Macedonian, though, that the CD has its finer moments, as the words become inscrutable, adding to the darkness and mystery of the music. The couple of instrumental tracks that are included here are really quite good (including an impressive and unusual cover of Pink Floyd's "Main Theme") and, despite a needless cover of "Love Will Tear Us Apart", North Atlantic Balkan Express is the way to travel if you tend to like the darker things in life. (PC)

Kool Keith Black Elvis/Lost In Space (Ruffhouse/Columbia) Make no mistake -- ex-Ultramagnetic MC Kool Keith might just be one of the strangest men in all of hip-hop. He also happens to be one of its most innovative. Using raps that are nonsensical at times, obscure more often than not, and always unique, Keith lays these raps over spaced-out futuristic beats throughout Black Elvis/Lost In Space. The result is a hip-hop album free of the rampant plagiarism and thuggery plaguing hip-hop nowadays. On "Intro", Keith tears up every hip-hop hardness cliche you can think of over a mellow, groove-laden backdrop, thus showing how silly and unreal the conceit of "keepin’ it real" actually is. But although Kool Keith purposefully avoids the of current rap scene, he transcends his outsider status by displaying incredible skills on tracks like "Livin’ Astro" and "Master Of The Game". Despite moments of outward bitterness – which stem from Keith’s anger at his outsider status in a rap game that he helped create – that lend a sour taste at times to Black Elvis, the CD is full of moments of out-and-out brilliance. (PC)

Korn Issues (Sony/Epic) Issues is the title of the album, and I suppose for the purpose of this review, it’s a fitting name. This effort is more of the same from a band from whom you know what to expect, and face it, the lyrical content is getting old, kind of a “see how messed up I am because of you” type of thing. This isn’t to say that Korn are to blame for this phenomenon, after all there are plenty of “me too” bands vying for the almighty dollar on the footsteps of others, but I digress. Korn had the golden opportunity to make the definitive hardcore album of the millennium, but falls short of what I would consider a milestone. I expected some innovation, something new and fresh, but alas I was underwhelmed by this effort. “Beating Me, Beating Me Down” doesn’t hold a candle to the innovation of the album Life Is Peachy, which remains one of my favorites by Korn, despite the less than warm welcome by the mainstream rock press. Kornaholics will buy this record no matter what and get more of the same shit from a band who has the talent to make music that is truly innovative and fresh. For those not familiar with Korn’s works, do yourself a favor and buy the first two releases, Korn and Life Is Peachy. Follow The Leader has some high points, but again, we are going down the road of more of the same. Few bands can stand up to the onslaught of dollars that come with popularity, and those that do have both the talent and gonads to bring something fresh to the table. I hope that in the future, Korn can see their destiny as pioneers in the world of hardcore and put out something with a bit more teeth than Issues. (TLG)

Kreidler Appearance and The Park (Mute);To Rococo Rot The Amateur View (Mute) Quite contrary to what we’ve been accustomed to thinking of as electronic music over the past couple of years (e.g. Underworld, Orbital, etc.), these two releases don’t leave the listener feeling as if they’re suffering from an acute case of technological overload. As a matter of fact, the back-to-basics approach taken on these two records is downright refreshing. By using a real, live bass and drums (!), Kreidler and To Rococo Rot, who share common band members, also have something else in common – a warmth not typically associated with electronic music. At times, the music on these two records can be sparse and mechanical, but thanks to a tight rhythm section, never cold. Although these two bands have evoked many a comparison to early Kraftwerk (due in large part, no doubt, to their common Teutonic origins), it’s fair to assume that such comparisons are worthy. Kreidler and To Rococo Rot carry on Kraftwerk’s fine tradition of infusing electronic music with ingenuity and spirit. Buy and enjoy.

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Laika Good Looking Blues (Too Pure/Beggars Banquet) Laika's latest CD brims with confidence and tightness. The familiar elements are all there -- Margaret Fiedler's extra-cool, sultry half-whisper of a voice, the hybrid jazzy/dark/electronic sound -- but Good Looking Blues works as an album in a way that their prior releases, at times, failed to do. You get the sense, listening to this CD, that you're listening to a band that's hit full stride in terms of composition, lyrics and melodicism. There's no sense of disjointedness here: the individual songs flow together seamlessly, but yet stand out on their own quite well. Some of them -- the shady opener (and single) "Black Cat Bone", "Good Looking Blues", and "Uneasy" -- are memorable on first listen and will have you cueing back the CD player to hear them again. Avoid that temptation, though, and play this one straight through. It's one of those uncommon albums that, despite its reserve and cool, refuses to be relegated to background music. Instead, it will command your strict attention.

Land Of The Loops Puttering About A Small Land (Up/Slabco) Proof that my mother was right when she said that too many cartoons would cause dementia. Alan Sutherland (aka Land Of The Loops) shares his lo-fi H.R. Pufnstuf aesthetic with us on Puttering About A Small Land. Combining an awe-inspiring cavalcade of vocal samples, analog synths, bass that sounds like it was recorded in a water tower, and weird and gleeful female singsong vocals (courtesy of Beat Happening's Heather Lewis, Japanese vocalist Takako Minekawa, and others), Sutherland manages to put a sense of humor into indie/post-rock electronic dabbling. Weird but not obscure, the songs here are certainly catchy, and once you wipe the initial smile of amusement off your face (no doubt inspired by the off-kilter sweetness of tracks like "Single Girl Summer Home") and settle in for a listen, you'll find yourself intrigued by the melodies of songs like "How To Feed A Sea Monkey" and "Fresh Pond Parkway". Which is to say that while Sutherland might come off as a few cents short of a buck, he certainly knows a good tune when he hears one.

Leftfield Rhythm and Stealth (Hard Hands/Higher Ground/Columbia) Rhythm and Stealth isn’t so much a departure from Leftfield’s last effort, Leftism, as it is the manifestation of a musical style that has evolved substantially over the three years separating the two albums. Whereas Leftism embraced British House in all of its elements, this CD melds elements of hip-hop ("Dusted" featuring Roots Manuva), electro, reggae dub ("Chant Of A Poor Man"), and moody moments that should give all those characters from Bristol, England a run for their money. In addition, there’s new focus on creating hooky rhythms instead of flaunting technical prowess, so listening to Rhythm and Stealth is an exercise in listening for the sheer enjoyment of it, rather than to see what these tech-heads will think of next. And, although the CD falls into the aimless-electronic-noodling trap at times (the soporific "El Cid"), the pleasant surprises and moments of pure inspiration more than atone for moments of atonality. Of special note is Afrika Bambaataa’s appearance on "Afrika Shox", a track that fuses 80’s breakdance/beatbox elements with modern electro. Replete with vocoder "Planet Rock"-style vocals, Bambaataa’s contribution proves that some things only get better with the passage of time -- like Leftfield. (PC)

Les Rythmes Digitales Darkdancer (Astralwerks) Nearly a full ten years after that decade was over, 22 year old Jacques Lu Cont has come up with the perfect 80s dance record. Yet another Darkdancer distinguishes itself from others in the genre by its unapologetic reverence for all things from the Miami Vice decade.From the opening “Dreamin’”, which sounds precisely like the music that would be playing in the “nightclub” scene of any 80s movie, to the huge dancefloor hit “Music Makes You Lose Control”, to the unabashed pseudo-rap cheese of “(Hey You) What’s That Sound?”, this CD strives for authenticity in sound and mood. One of the best things about Darkdancer is that it revels in the feel-good lyrics inherent in much of 80s pop, and even on a darker track like “Soft Machine” there’s a vaguely feel-good, party vibe to the whole affair. One listen to this CD and you’ll notice obvious influences ranging from Depeche Mode to Visage to Scritti Politti to the 80s dance diva of your choice. With guest appearances from dance legend Shannon (“Take A Little Time”) and Nik Kershaw (“Sometimes”), it’s obvious Lu Cont has immersed himself in the musical influence of the 80s. However, that’s not to say that Darkdancer doesn’t have its share of modern touches. “From: Disco To: Disco” and “Brothers” are trademark French 90s electro-pop, with their bouncy beat and plays on repetition a la Daft Punk’s “Around The World”.But, pop music influences aside, Darkdancer is first and foremost a party record guaranteed to make even the most rhythm-impaired guest at your next party engage in some sort of involuntary repetitive motion. (PC)

The London Suede Head Music (Nude/Columbia) The follow-up to 1996’s sublime Coming Up finds the London Suede veering back and forth with an edgier, trippier sound and the familiar Suede territory of Brett Anderson’s early-Bowie vocals and the usual Britpop highjinks. After an opening trio of crunchy, psychedelically tinged songs – most notably, the opener, "Electricity" – the songs lapse back into traditional Suede mode with the melodramatic "Everything Will Flow". From there on in, the pendulum swings back and forth, leading one to wonder whether Anderson and company decided to toy with a new sound but not commit fully in case it didn’t work out. Not a bad record, but not exactly a great one either.

Loop Guru The Fountains of Paradise (Hypnotic) Having listened to this album quite a few times, I still can’t decide if the new Loop Guru album is new-age music for the nose-ring set, or one of those nature’s sounds/relaxation CDs with drum patterns placed at strategic points throughout the CD. For anyone familiar with Loop Guru’s music, The Fountains of Paradise won’t reflect much of a departure; however, as ambient music goes, this album will set the mood as well as any other of its genre. Recommended for ambient fans and those who order their relaxation music with a little extra kick.

Luscious Jackson Electric Honey (Grand Royal/Capitol) Reflecting the "if it ain't broke, don't fix it" aesthetic, this album represents less of a change and growth in Luscious Jackson's sound than a refinement of it. With the departure of keyboardist Vivian Trimble and the decision not to use Fever In, Fever Out producer Daniel Lanois, Electric Honey has a cleaner, less muddled sound than its predecessor, especially on cuts like the opener "Nervous Breakthrough" and "Summer Daze". Of special note is the collaboration with Deborah Harry on "Fantastic Fabulous", which will make you go scrambling for that 80's gear you've got in the back of your closet. Although there aren't many surprises here, the album as a whole is catchy in that mellow downtown cooler-than-thou way that Luscious Jackson have pretty much gotten down to a science. All in all, Electric Honey is the musical equivalent of comfort food -- nothing amazing or innovative, but satisfying nonetheless.

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Macha See It Another Way (Jetset) Well, here’s something you don’t hear everyday -- a rock band that uses zithers, dulcimers and vibraphones as key instruments, complemented, of course by the ubiquitous guitar/bass/drums. Does it work? Well, yes and no. As an interesting musical juxtaposition, Macha's second album is successful in creating a unique sound unlike any other. It makes the unlikely combination of instruments sound perfectly natural (an accomplishment in itself), particularly on songs like "Salty" and "Until Your Temples are Pounding", a track with an indisputably