Walk the Line

Best part about the Walk the Line soundtrack, the Johnny Cash movie starring Joaquin Phoenix and Reese Witherspoon, has to be that neither actor sings their songs perfectly. Both Phoenix and Witherspoon do an amazing job of singing heartfelt country tunes with all the twang and emotional determination but their voices are not carbon copies of the originals which makes the release all the more enjoyable.

Phoenix does an amazing job of channelling The Man in Black, but does not become him in any way. Not sure what his performance is like on the big screen but on the soundtrack you experience the “actor” singing Cash classics like ‘Walk the Line’, ‘Get Rhythm’, ‘Cry Cry Cry’ and ‘Folsom Prison Blues’ to name a few.

The advantage of being a Johnny Cash fan, each original recording was on the CD rack waiting to be listened to before, during and after the cast recordings. But that idea lasted a few songs, allowing the soundtrack to stand on its own. For instance, Phoenix sounds more like the stereotypical Cash vocals than the original recordings. On ‘Ring of Fire’ (arguably one of Cash’s most well-known songs) Phoenix does almost too good a job of sounding like Cash, while on ‘Cry Cry Cry’ and ‘Get Rhythm’ his vocals and the song as a whole sound very little like the originals. Perfect!

But Walk the Line is more than Phoenix, there’s some wonderful singing by Witherspoon, two great duets between the two stars, and a few tracks laid down by the likes of Shooter Jennings (Waylon’s son) who plays his dad in the flick, Johnathan Rice who plays Roy Orbison and Tyler Hilton who plays Elvis.

Unlike other cast-recording soundtracks Walk the Line is, to a certain extent, an original – like the Man in Black.

Depeche Mode

Just when it appeared the British trio’s finest days were long gone, Depeche Mode returns with what could be the electronic pop band’s finest album since Songs Of Faith and Devotion (1993). In doing so, Playing The Angel – DM's 11th studio album – seemingly harkens back to the band’s early, eerie electronics contained in A Broken Frame (1982), albeit modernized.

Thus, songs such as the first single – the dark and hauntingly beautiful ‘Precious’ – sounds new and fresh. But there are other tracks on this 12-song CD that are equally compelling, with three DM trademarks: strong vocals, infectious melodies, and catchy keyboard or guitar hooks.

The first song, ‘A Pain That I’m Used To’, sets the atmosphere with booming deliverance; an instant dance floor club hit if there ever was one. Not to be outdone, ‘Suffer Well’ surges forth in a gorgeous, majestic fashion. Interestingly, lead singer David Gahan has a couple of his own compositions on this album. Long time chief songwriter Martin Gore must be lightening up; Gore chased the band’s former fourth member Alan Wilder out of the group by refusing to give Wilder’s songs a spot on DM’s albums over the years.

Long time fans will love this CD; new comers ought to find it enticing.

Earth Wind & Fire

The melodic vocal harmony and drum and horn laden orchestra sound that Earth Wind & Fire are famous for continues on their latest and 23rd CD, Illumination. After 35 years the legendary band’s funky, jazz-infused R&B sound is flawless and timeless.

Will.I.Am of the Black Eyed Peas produced and is featured on the lead-off track, ‘Lovely People.’ ‘Pure Gold’ is inspirational and almost spiritual due to Philip Baily’s angelic falsetto. ‘This is How I Feel’ combines classic EWF with the current urban sounds of Big Boi from OutKast and Kelly Rowland from Destiny’s Child. ‘I Like The Way You Move’ treats us to the smooth saxophone stylings of Kenny G.

Producers on the CD include the duo of Jimmy Jam and Terry Lewis as well as former Tony Toni Tone’ lead singer Raphael Saadiq. There are really no surprises with this CD; it is true to EWF’s signature style and sound. If you are a fan, you’ll find it is more of the same great stuff.

There are 13 tracks in all with positive and uplifting lyrics. The tunes are good for movin’, groovin’ or just chillin’. This is grown folk’s music for the mature and funky.

5 th Projekt

5 th Projekt claims they are “the pioneers of Neo-Classical Romanticism.” They even have an incredibly pretentious bio to back up this lofty declaration.

While the band’s brooding, atmospheric rock isn’t exactly what one would call pioneering, they have crafted an intriguing batch of songs that exude a sense of drama, thanks in large part to singer Tara Rice’s strong vocals.

Admittedly, The Tales of Don Quixote is a hit and miss affair. Although the good far outweighs the bad, one can’t help but feel it would have been an amazing release as opposed to a good one had they left it at six or seven songs – the traditional length of an EP. (Despite what they claim, a CD that features 11 tracks is an LP not an EP.)

Songs like the swirling ‘In a Coma’ and the hazy ‘3ight Words’ are definite standouts. The stark beauty of ‘Skepticosm’ is somewhat at odds with the other songs. It’s easily the disc’s best and most accessible track.

All the elements are there, if 5 th Projekt can find a way to make them work on their upcoming full-length album (and get over themselves) they will definitely become a band to watch.

Corduroy Kid

The debut recording from Corduroy Kid (a.k.a. Shawn Hall) is an eclectic blend of folk, house, hip-hop and blues that lives up to its title. This is not a slight; the album’s 10 tracks exude a soothing, laidback vibe that gently buoys the listener along.

While Hall has surrounded himself with a number of guests, the songs on which he provides vocals are all definite standouts. The mournful ‘Old Leaves Remain’ is an achingly beautiful piece of electro-pop. ‘Must be the Season’ recalls the jazzy hip-hop of The Herbaliser. The down tempo funk of ‘Down Broke Down’, one of the disc’s high lights, blending Hall’s soulful vocals with Matt Rogers impeccable guitar skills.

If there’s any complaint to be had, it’s that many of the songs don’t sound like they belong on the same album. We’re all for eclecticism, but in this case it seems more like The Sleep Project is collection of really solid singles from a variety of artists as opposed to just one talented musician. Hall has an amazing voice; he should have used it on more than the smattering of tracks he sings on.

Nada Surf

the weight is a giftmakes you smile. Right from go! With their slightly heavy pop sound. Nada Surf makes for great listening. Good mood or not.

Track 1, ‘Concrete Bed’, rips clear into analysis: “to find someone you love / you’ve got to be someone you love.” Pretty true. A lot of self-haters out there you know. You’re not going to get someone if you don’t learn to take on the bullshit of life. The title of this album is perfect because the weight is very often a gift, even if it sucks while it’s happening.

‘Always Love’ (track 3) is a pretty simple pop song: perfectly produced, not too many cords or fancy stuff, great singing and heartfelt lyrics: “but always love / hate will get you every time.”

Extolling aside, the power cords sometimes seem the same throughout a few tunes. Okay, maybe five out of the eleven tracks. The ills of straight-up pop! The slightly high-pitched singsong style of the vocals would never fit a mood when you feel like crying, although, much of this release is about relationships, life and dealing with things.

If grunge-pop is your thing, pick it up. It really surprised this reviewer. If you don’t like, well, sorry…

An Angle

There are few rules to folk music. From Dylan to Whiskeytown, it’s all about introspection and getting drunk in a dusty forgotten bar in some one-horse town.

What separates folk from country lyrically is that folk is about the human condition, not just losing your girlfriend or being down on your luck. The difference between bad folk and good is how much you pay lip service to these themes, rather than exploring them in honest and clever ways. Most famously Bob Dylan, a three-chord genius, was able to weave tales (sometimes 12 minutes in length) out of a simple rhyming scheme and a nasal pitch voice.

An Angle just speaks about these themes. At first, it seems fresh, like a more palatable Deadly Snakes, but by the time lead singer, Kris Anaya, coos “fuck the indie music scene” on ‘St. Augustine’, you get the feeling he’s just saying it because that’s what the cool indie music kids say.

If it wasn’t so damn repetitive, it wouldn’t be so bad, but that’s the worst kind of album: the almost brilliant one. Anaya tries to get away with this complacency by saying, “it’s a concept album”, which is just a last-ditch attempt at escaping responsibility for a slapped together crack at stream of consciousness. And frankly, it could use a little pre-meditation even just to sound spontaneous.

Finally, the opening track (and single), ‘Green Water’ makes every other song on the album seem as if it’s merely a lead up to this finished product.

Verdict: A passive listen to the single isn’t enough to commit to the whole thing.

The Fully Down

Though the album cover and title is simply awful, you can’t judge a book by its cover (or in this case a CD), and luckily The Fully Down’s music on their debut album is far superior to its’ sleeve.

From the get-go with the opening track ‘Never Enough’, a straight-on pop/punk infused summertime tearjerker, FD sets its tone and rarely wavers. But give this Ottawa-based sextet credit for having more substance to it than the countless other bands that drift in and out of this radio-friendly, trendy pop-rock space. You could simply write them off as another Sum 41 wannabe, and FD does come close to falling into that dreadful spot at times (the song ‘Best Of Me’ comes to mind), but the album on the whole ensures that doesn’t happen. Well, not immediately anyhow.

‘December’ offers some hope for a little variance. Little being the operative word. Nevertheless, it’s a catchy number and lyrically vocalist Gab Bouchard seemingly has more to talk about than growing up in a privileged suburb.

A respectable debut for FD, but admittedly it gets tiresome hearing yet another guitar-driven pop band sing teenage lullabies that make for an easy fit on any YTV late afternoon soap opera.

Sylvie

The list of bands that Regina’s Sylvie has toured with reads like a veritable Who’s Who of Canadian indie music luminaries, including Death From Above 1979 and Controller.Controller.

Their stellar second album will doubtlessly propel them onto the A-list of Canuck independent talent. An Electric Trace is a sterling collection of angular post-punk and abrasive indie rock tunes.

Bassist Riva Farrell-Racette’s sweet voice provides a nice contrast to singer Joel Passmore’s raspy growl vocals. The Pretty Girls Make Graves comparisons the band has drawn are well founded, particularly on the disc’s tense lead off track ‘Hit & Run’ and the brooding ‘Sequences’.

The melodic ‘What You Find You Leave With’ is easily the album’s best track. While the whole “quiet verse/loud chorus” thing has been done to death, the band makes it sound fresh thanks to harmony between Passmore and Farrell-Racette vocals. ‘Anatomy of a Headline (Media)’ is another standout.

An Electric Traceis a solid sophomore effort. Expect to hear more about this absolutely brilliant band in the coming months and get in on the ground floor now.

The Long Winter

The Long Winter can really feel like it sometimes. Dried leaves lie all around the CD jacket so get ready for what will be introspective folk-rock.

The first track, ‘The Commander Thinks Aloud’, builds from a trashy beginning to something huge and stadium-like. You can imagine a throng of Long Winterites standing frigidly listening to the band rock out. Sweet strings only add to the whole experience of a cold pop ballad.

‘Everything is Talking’ (track 3) is a haunting little number, with a walking-talking singing style - very cold snowy day atmospherics. But they perform two grave sins on this track: 1) The tune sometimes feels like an inside joke; 2) They used a telephone sample in their song. You always wonder if it’s your phone. Not cool!!!

Then by the time six tracks spin by you realize you’ve been ripped off. They offer a live version of track 2, ‘Ultimatum’, the title track. Pretty song, of that there is no doubt. The guitar and John Roderick’s vocals are beautiful. But who cares about a live version, even if it is a nice song? Seems a bit egotistical.

The lyrics are very poetic, almost too much so. The writing is very lyrical, but the allusions might be a bit much. Sometimes you want all bands to adhere to this simple philosophy: Shut Up, Stop Whining and Rock!

Funkservice International

As smooth as silk, like good scotch in a glass, Swedish/Moroccan duo Funkservice International’s debut disc is a sultry, sexy, late night swing.

Combining elements of jazz and soul in true lounge lizard fashion, A Post Modern Life is an interesting hybrid of styles. But despite the flowery vocal delivery of Adil Fadi – breathy vocals with shades of Saint-Etienne – and the toe-tapping beats, the album as a whole could fall flat as it has the potential to induce daydreaming. In limited bursts however, songs like ‘ctive’ and the instrumental ‘Brown Sugar’ leaves one feeling under the influence.

In any event, Funkservice International would make for excellent background music at your next martini party.

Northern Atlantic Explorers

What else would you expect from an album cover with the earth and a big bright sun beaming in your eyes? Nothing. This is a cosmic wilderness of sound. Might not be for everyone, and it can get pretty lost in its own trippyness sometimes, which can be a problem.

If you’re walking around your pad – make that sauntering around – this is the release for you. It has a Sunday morning feel to it, but sometimes the kind that can feel creepy like Martha Stewart. You know, too bright in the sunny kind of way.

Skylines, the band’s debut, gets you thinking though… Sit back on the couch, glass of red wine in hand, listening to the longing drones, dreamy layers of sound, and the deep, deep ambience. Vancouver’s Glenn D’Cruze is steering this ship with soft, not perfect vocals, which make this all the more natural of a release.

It’s easy to get frustrated with this kind of music if you’re not in the mood for how long it takes to really make you sit up and listen. Sure, the sounds are great – North Atlantic Explorers are quite skilled at this sound – but it’s hard to want to jump up and down for this release.

If you want a CD to pop in the player while drifting off to sleep this would be the way to spend your coin. Skylines most definitely qualifies as a solid sleepy time player, except for the bagpipes on ‘Sweetheart’, which come at you like bricks after the last spacey number. They soon become part of the overall sound but man did they shock the system. ‘Sweetheart’ turns into a beautiful soulful 30s style number, in the midst of vocal-light atmospherics throughout the CD.

Loops, horns, samples, vintage organs and pianos, banjo, strings, and even a xylophone all get used. You’re going to get something very layered, very crafty in this 10-song release.

Venerea

As I write this, I’m on the set of a UK documentary about the final 24 hours of Sex Pistols' bassist Sid Vicious’ pathetic life. It’s fitting since the opening line of the lead off track ‘Calling Card’, “Fuck off, I told the lot of you”, is a throw back to Johnny Rotten’s infamous crowd heckling. It’s only made even more curious by the fact that Venerea is from Sweden and somehow late-70s punk isn’t much more than a caricature of itself now.

So what does the album posses? Speedy guitars and un-imaginative drums - why doesn’t anyone get creative with the rhythm section anymore? Do we really want to revel in your pounding, repetitive hyper speed drum fill? It’s tough just figuring out where one song ends and the other begins.

It’s Ramones meets Descendents meets early Green Day. If you already own albums by any of these bands forget this one, you’ve got it covered. Fittingly, this band shortened its name from “Venereal Disease” to “Venerea”. Neither is something you look forward to.

Holy Fuck

This band’s name says it all. Toronto’s Holy Fuck is an animal unto itself. Electronic, instrumental mayhem at its’ finest, the Canadian response to the Chemical Bros. and Kraftwerk perhaps, only better.

It comes as little surprise to hear Holy Fuck is taking off in Europe. A band this unique deserves the excitement swirling about its’ debut eight-song, self-titled CD.

Employing drums and bass with an array of keyboards, guitar pedals, toy instruments, and other electronic gadgetry, Holy Fuck never loses control of its mashed-up Casio keyboard effects and scratchy film tapes.

Some albums are meant to be heard. Others are to be experienced. Holy Fuck falls into both categories.