NEW RELEASES
M.I.A.
Out Hud
Alasdair Roberts
Prefuse 73
Bloc Party
Ana Y Jaime (reissue)
Yo La Tengo (CD retrospective)
Oriental Sunshine (reissue)
Ghost (DVD w/ rarities CD)
MF Doom (live)
Peter Garland (reissue)
The Decemberists

Cold Heat (various artists)
We All Together (two reissues)
Tarwater
Son Cubano NYC (various artists)
Louis XIV
Dinosaur Jr. (three reissues)


ALSO AVAILABLE:
Chicks On Speed
Queens of the Stone Age
Hella

"Bucky Done Gun"

"Galang"

After every single media outlet has seemingly touched upon the story of 27-year-old Sri Lankan artist Maya Arulpragasam, her debut album finally drops (pushed back from late 2004 to February 2005 to now). And after 2004's hot singles "Galang" and "Sunshowers" as well as the killer mix she made with Diplo for Piracy Funds Terrorism Vol.1, you might have thought that the hype could never pay off. But aside from holding her own over beats lifted from Salt'n Pepa, Jay-Z, Clipse, Favela funk, Super Mario Bros., and Susanna Hoffs, it was evident that Maya had her own voice.

And for once, the hype actually does pay off. You're going to have a hard time believing that an album such as Arular, which alludes to such topics as world poverty, bomb-making, child prostitution, sweatshop labor and kidnapping, is not only the best party album of the year, but it might be one of the best albums, period; and it's tough to think of any other album that will cause more discussions and dance-parties as a result. You can shake your ass to the double-dutch beats or ponder the shrapnel of thought riding atop every crunchy track, and be blown away. For fans of Missy, Timbaland, Dizzee Rascal, even Debbie Deb. Highly recommended. [RB]

"Old Nude"

"One Life To Leave"

Sharing three key members with the NYC/Sacramento funky bunch !!!, Out Hud is generally known as the weird little sister of that consortium. Indeed, the band may have pushed the boundaries a bit more than their other half, and their 2003 debut on Kranky added a bit of drone, drum machine, and welcome femininity to the trademarked indie-dance sound. But the new album further defines Out Hud's own, distinct and wonderful sound, with several great additions, most notably Phyllis Forbes' and Molly Schnick's vocal turns as underground disco divas over slinky electro-funk tracks like "One Life to Leave" and "Old Nude." With about half the tracks forging into dark, haunting disco-pop territory, and the remainder a dubbed-out nod to acid-house and other primitive electronic groove-experimentation, this album should be a big hit both on the dance floor and amongst the iPod set. Let Us Never Speak of It Again is a great and original album from start to finish, with personality and individuality to burn. [JM]

"Lord Ronald"

"A Lyke Wake Dirge"

My ears perked up when Alasdair Roberts' new album came on the shop's stereo. I've been on a serious Nic Jones (maybe the best British trad singer) jag these last 16 or so months, and something of that man's characteristic crystal clear distillation of the old English and Scots ballads was immediately perceptible in Roberts' effort. His voice is comparable to the one that Jones had at the beginning of his recording career, and if he keeps at it he may yet approach the depth of Jones' later work. But in the meantime he's got Will Oldham backing him up on vocals on no less than half the tracks here, his world weary warble perfectly suited for these disparate old tales of tragedy and murder. Roberts did his research, duly consulting dusty Topic LPs, Cecil Sharp's songbook of ancient ballads, and scholarly works with subtitles like "Pagan Imagery in English Folk Song" for his selection of material.

His choice of accompaniment is superb, whether it be a sole fiddle or even the sustained drone of a modern synthesizer. A bold move that one, as the last time a synthesizer on a traditional folk record ended up being a good idea was probably way back in the very early-'80s on some June Tabor or Martin Simpson LP. The heart of the album is the seven-minute final track "A Lyke Wake Dirge," adapted from a 17th century religious text that has a haunting vocal chorus and harp refrain. The antecedents for that style of Southern Gothicism which Oldham does so well are never more apparent than on this old nugget that Roberts has dug up to cap his album. [MK]

"Pastel Assassins"

"Expressing Views Is Obviously Illegal"

For Scott Herren (aka Delarosa, Savath & Savalas, and of course Prefuse 73), the use of aliases gives him freedom to explore several different sides of his musical (sub)conscience. From pastoral Catalonian folk to instrumental beatscapes to dicey hip-hop, each one allows him a different outlet of expression. His latest album, Surrounded by Silence, draws on a wider palette of colors than previous Prefuse 73 albums and combines elements of all three guises. Daydream-inducing singer-songwriters sit next to spitfire rappers and belches of full-tilt glitch. At its root, Surrounded by Silence is a hip-hop record, but you might forget that when listening to all the heavy sound manipulation and experimentation that runs through it.

"Just the Thought" begins in a cloud of cosmic dust until Masta Killa and GZA step up to the mic and immediately take control of the track. Their dark staccato delivery perfectly matches the propulsive rhythm and then the song starts to wobble and slowly liquefies into something dubby and round. On "Morale Crusher," Beans' rapid-fire, scatter-funk lyrics propel a warm, clapping beat with inlays of string contortions and sparkling atmospherics. The bouncy "Sabbatical with Options" moves over a punchy rhythm that begins to skip midway through, once a meandering guitar line is introduced; Aesop Rock drops in to add his nimble wordplay.

But this is definitely a hip-hop record that reaches outside of hip-hop's borders. "Pagina Dos" features the Books, who add a filtered banjo that gets looped over skittery drums and cut-up snaps. Meanwhile, finely minced vocal snippets and breathing patterns dance in and around long oscillating hums, an effect that is almost like the sound of a rubber band being slowly stretched. In "We Got Our Own Way," the delicate, abstract storytelling from Blonde Redhead's Kazu glides over digital feedback and an airy guitar. Tyondai Braxton contributes laptop manipulations for two tracks--on "Ty Versus Detchibe," gurgled electronics and guitar meltdowns run over a cumbersome breakbeat. Eventually animal calls and multiple layers of rhythm give way to a meltdown of cooked circuitry.

As you'd expect from Herren, there are also a lot of well-developed, between-song sketches. The squelchy digital-electro instrumental "Expressing Your Views Is Obviously Illegal" hints at political dissatisfaction with the current state of things. Whether warm and airy or off-kilter and jilted, Herren offers a nice balance that never feels to cluttered or busy. (Other guest appearances include Ghostface and El-P, Camu, DJ Nobody, Broadcast, Claudia and Alejandra Deheza, and many more.) [GA]

"Positive Tension"

"Banquet"

Please trust me on this. I am not one to be caught cheering on the runway as the British Air(wave) traffic controllers try to position the new bands for takeoff. On Runway One: Franz Ferdinand, followed in some as-yet-to-be-determined order by the Futureheads, the Kaiser Chiefs, Maximo Park, and, of course, already taxiing towards the runway, South London's own Bloc Party. That said, I try to let the music speak for itself, and I have to admit that as of late, Bloc Party's debut has lingered over my airspace regularly.

Gang of Four seems to be the media's main reference point for a lot of English acts these days, which is not completely off mark here, but it is only a small part of the Bloc Party sound. They do often have those angular, driving rhythms, but the first thing that I notice is the clean, radio-friendly production (courtesy of Paul Epworth, who may actually own the NME judging by his client list's press coverage), and Kele Okereke's soaring, sing-along melodies. Okereke is an intriguing frontman, a scrappy, dreadlocked London black kid buzzing like a live wire, singing and chanting in his heavy accent about alienation and loss, and it seems that his personality drives the band.

Regardless, Bloc Party has put together a great record that draws on post-punk, mod, and modern rock, and they fully intend to drop out of the sky and land in your headphones. [JM]

"Es Largo el Camino"

"Nina Nana"

Amort Records has changed my life with this gem-encrusted reissue of Colombian brother-sister duo, Ana y Jaime (González), although I'm still struggling to accept the fact that the precocious siblings were only 15 and 17 years old when they started recording the album. The record is full of sophisticated messages and intricate arrangements. It quenches a wide range of thirsts, from pop-inspired folk-rock, like "Hombre Formal," to satisfying harmonies meshing with a circus of reeling organ sounds. Throughout, fuzzy, echoed vocals hover over traditional Latin American rhythms. And haven't you always wondered what a cumbia-inspired song would sound like on a Rhodes?

Sung all in Spanish, Ana y Jaime are equally triumphant in the lyrical department, whether it's an ardent folk song pleading a political protest or a psychedelic rock song that offers the wisdom of an old man; and Ana really gets me with her gentle crooning of "gente, gente" when she and her brother interpret Manuel Larroche's "Café y Petróleo," a song about Columbia and Venezuela's similar economical situations in the 1960s. Plus, I am only further baffled by the speed at which they sing in unison on "Nina Nana." And after listening to Es Largo el Camino several times, I must qualify Ana y Jaime's title: the road may be long, but it doesn't seem so tough while this record's around. [CP]

"Shaker" Included on both CD sets

"Tom Courtenay (Acoustic)" Exclusive to the 3-CD Set

It's safe to say that out of all the reunion tours that have been occurring in recent years, Pixies and Slint are probably two of the most talked about. Both are bands that released their entire, somewhat brief discographies during my college years, and split up shortly thereafter. And while those two bands will always be among my favorites, there's another group that began putting out music during roughly the same era and are just as beloved to me. A group that have been consistently releasing records since the same time I first discovered college radio.

Yo La Tengo's 20-year existence is truly an anomaly in the music world (right there with Sonic Youth and, ummm, the Rolling Stones), and with every new release, I'm still buying their records. So while Pixies, Slint, Mission of Burma, et al. are reuniting and grabbing all the fanfare, it's almost easy to overlook the rather large output of music that Georgia, Ira and James have brought to us over the years. With their genuine curiosity, exploration and, most importantly, love of pop, rock, jazz, folk, country, avant-garde, and every music in between, they have every bit of relevance and influence as the other aforementioned artists. And thankfully, Yo La Tengo are still putting out great albums.

So what better way than to celebrate two decades of songs from Hoboken's finest sons and daughter than this retrospective? Prisoners of Love crams onto two discs 26 highlights from their pre-Matador record years, going all the way back to their first 7-inch single, as well as some of their most memorable tracks from their past decade or so on Matador. For a few more dollars you can buy the collection with an additional disc (making that a total of 42 tracks over three CDs), the third CD containing rarities and alternate takes of songs not found on their previous odds 'n' sods collection, Genius + Love = Yo La Tengo. It's definitely the version to get. Here you'll find five previously unreleased tracks, plus remixes including Kevin Shields' reworking of "Autumn Sweater," and a few acoustic versions of songs like "Tom Courtenay." You can have it all... (couldn't resist!) [GH]

"Across Your Life"

"Unless"

A lovely little gem of an album that I know next to nothing about. Eastern tinged psychedelic folk with mostly female vocals. Must be from the early-'70s. Sitars and tablas, an organ here or there, a nod to Krishna now and again. Great production. Incredibly moody and mysterious, with that currently popular folk/funk vibe that we just heard on the Folk Is Not a Four Letter Word comp. Indeed, Oriental Sunshine would've fit in on that album perfectly. The obligatory comparison to Linda Perhacs really wouldn't be all that uncalled for either. Less lysergic, though certainly more soaring. Truly not one single dud across its 11 tracks. [MK]

"Blood Red River"

"Improvisation"

Metamorphosis is a comprehensive collection of live video footage spanning Ghost's career, starting with an 8mm film of Masaki Batoh protesting in front of the Chinese Embassy in Tokyo in 1984 and moving all the way up to a show from last year's Hypnotic Underworld tour. Folks, we're talking about a solid two-and-a-half hour block of live performances by one of the greatest contemporary psychedelic rock bands.

The quality of the video itself is not always so great, especially when Ghost are playing in some of the more dimly-lit venues, but the sound quality is decent throughout and the music itself is consistently amazing. Among the many highlights are an all-acoustic 1993 performance in Japan's oldest Jesuit church (the group plays in front of an incredible liquid light projection), a video of the band recording a track for their Temple Stone album with special guest Taku Sugimoto, 8mm footage of the band during their first US tour, and--perhaps best of all--Ghost playing in the Tokyo subway in 1988.

Also included is a full-length CD of previously unreleased demos, live recordings, and two outtakes from their first album. It's a welcome throwback to the band's far more experimental and esoteric free-improvisation days in the late 1980s, nothing at all like the super proggy rock jamming on their last album (not that that was a bad thing). Guaranteed to make any Ghost fan absolutely giddy. [RH]

"Gas Flows"

If you've never seen MF Doom live, this is your chance to pretend you were there. Live from Planet X is his latest offering for those starving for something new; here his tunes from previous releases get the live treatment. Doom sounds in fine style, even though not vastly different from his CDs--perhaps a DVD would have been more engaging, at least then you could see the masked man reciting his hits. Nevertheless, this is still a fun listen. You feel the room and atmosphere, like hearing rappers during a cipher. This CD, however, is unindexed, meaning that it's just one 38-minute long track featuring 14 songs. It's going to be a bit tedious if you want to skip around, but it only adds to the live feel, a non-stop romp through his beats and rhymes. The jams keep coming, and Doom does ride them. Recommended for the dedicated Doomster, the recently converted, or those simply curious of the mysterious, mythical, and menacing MF Doom. [DG]

PETER GARLAND
Love Songs
(Tzadik)

"Coyote's Bones (Last Piece)"

"Love Songs"

The American minimalist Peter Garland came of age as a composer in the early-'70s, just as the achievements of Terry Riley, Steve Reich, La Monte Young and Philip Glass were beginning to enter popular consciousness. He studied at Cal Arts under Harold Budd and James Tenney, and in the years since has developed a solid body of work with a distinctive voice. I've found his recorded work to be amongst the most consistently listenable of all of the artists who've followed in the wake of the initial minimalists listed above.

Over the years he has devoted ample amounts of his energy to promoting the accomplishments of a wide range of maverick artists like Harry Partch, Conlon Nancarrow, Lou Harrison, the philosopher/composer Dane Rudyhar, and the Spanish born poet/ethnographer/Big Sur homesteader Jaime De Angulo, whom Garland has authored a book on and in whose writings he found the title for the first piece on this lovely disc. He is a deeply American composer, though perhaps it would be more appropriate to say he is a composer of the deep Americas. Garland has an inclusive vision, yet his work never panders nor succumbs to cliched third worldisms. He has done extensive and respectful fieldwork amongst the Indians of the South Western United States as well as of those in various remote regions in Mexico, and their influence on this album can most easily be discerned through his use of the various rattles, maracas and marimbas that give these pieces their rhythmic framework.

The writing he does for strings has a wonderfully dry lyricism that has often been compared above all else to the arid landscapes in which this music found its inspiration. "Love Songs," the final piece on the album, is a 12-minute tour de force of rich simplicity dedicated to the memory of his departed mother, and whose final coda is absolutely stunning. A welcome and recommended release. [MK]

"The Sporting Life"

"16 Military Wives"

Picaresque, the third full-length from the Decemberists, showcases the Oregon quintet's darker side and is flavored with richly orchestrated melodies. The listener is plunged into this more sinister façade with the album's rhythmically Spanish opening rocker, "The Infanta," and led through the tragic crescendoing tale of the "Mariner's Revenge Song." When the Decemberists do hold back a bit and utilize only the naked sound of guitar and vocals, the result is beautiful, stripped-down folk, with lovely voices harmonizing against Colin Meloy's distinct melodic singing. He sings stories that tell like folklore, mourns lost loves, and describes low moons caught in someone's tangles.

While the songs on Picaresque are generally quite pleasant and aurally calming, the Decemberists occasionally live it up with touches of whimsical accordion and bouncy organ chords; in fact, if I had to describe these moments in one phrase, I might call it the sound of a drunken sailor's Bar Mitzvah (which sounds like a ton of fun to me).

And of course, the Decemberists really execute the sentiment behind the album's title with a roguish and lively mood throughout the entirety of Picaresque. The album's name is in full effect, especially on "The Bagman's Gambit" where Meloy devilishly sings, "No, they'll never catch me now." The mischievous photos in the album booklet are a quirky and entertaining addition. [CP]

"Slipping Into Darkness" Dayton Sidewinders

"The Sad Chicken" Leroy & the Drivers

Three years later, Stones Throws' Egon finally follows up his amazing Funky 16 Corners comp with Cold Heat. Once again, he focuses attention on those "rarer than rocking-horse sh*t" vanity pressings from the aforementioned years, and god bless him for it. These are incredible recordings from groups who would never see fame beyond the 100 to 500 copies that these records would sell locally. What sets this comp apart from the others is the emphasis on originality. Granted, hints of Sly, JBs, Kool & the Gang, and the like are always gonna be found throughout, but it's these bands' unique and original twists on that blueprint that makes these tracks stand out. Take for instance Amnesty's "Free Your Mind." In the first minute, the bass, drum and guitar intro establishes a nasty blues-funk riff that sounds almost exactly like early-Funkadelic. That is until one of the most complex horn arrangements comes out of nowhere, switches the key to make way for the vocals, and then the chorus boasts yet another key change…I could write a whole review breakin' this track down. And that's the beauty of this comp.

There are at least a dozen wholly original moments like that one on this collection, and it makes one understand why the beat collector digs like he does. These records were recorded by musicians who had the opportunity to make a song completely their own, without havin' a major label breathin' down their back demandin' a hit. These cats did it because they couldn't NOT do it. Once they heard the funk, they had to make that music, even if it meant that only 100 people would hear it. The youth, urgency and exuberance heard on these recordings are hard to beat. Awesome! [DH]

"Young People"

WE ALL TOGETHER
2
(Lazarus Audio Products)

"Ozzy"

Some of you may already know We All Together from their song "It's a Sin to Go Away" on the Nuggets II box set, or perhaps you heard their amazing cover of the Wings classic "Tomorrow" on the Love, Peace, and Poetry: Latin American Psychedelic Music compilation. Or maybe you even bought the reissues of their two albums last time we had them in stock, way back in 1998. If you haven't heard of the band at all, you're in for a real treat.

We All Together released two LPs and an EP between 1972 and 1975 on their own MAG record label. The Peruvian quintet, fronted by songwriter and lead vocalist Carlos Guerrero, were enamored with the Beatles in a serious way. Their production, melodies, harmonies and lyrics were hugely influenced by Lennon and McCartney. In fact, it wouldn't surprise me in the least if I were told that their knowledge of the English language came primarily from listening to Beatles.

Between these two reissues there are covers of no less than four post-Beatles McCartney tunes, not to mention three great interpretations of Badfinger songs. Guerrero himself was an immensely talented songwriter whose simple and naive lyrics (in English on all but one song) looked back longingly on the lost hopes and dreams of the '60s. These are two of my all-time favorite popsike albums. As far as Beatles-esque pop goes, you can't do much better than We All Together. [RH]

"Across the Dial"

"The People"

Tarwater have been moving out of their murky, post-rock/dub style for a while now. It was only a matter of time before the indie-electronic capital of the universe, Morr Music, put out an album for them. On The Needle Was Traveling, the melodies have become much friendlier, and the grooves are a bit more bouncy and optimistic. Overall, the mood and feel is decidedly INDIE. The post-rock/German Sea and Cake vocal delivery (plus synth-brass on "Seven of Nine") is still there safe and sound, sometimes doubling up and riding the groove in a way that sounds like a non-hyper Modest Mouse(!) meets Beta Band(!!). (See "Across the Dial.") Art-dub roots are re-explored in their cover of Minimal Compact's "Babylonian Tower," taking the quasi-industrial original and softening it with water-drip tablas and soft buzzing synth electric guitar. A rustic guitar groove graces the almost Smog-like "TV Blood." For fans of these bands, in this order: Sea and Cake, Dntel, Notwist, Postal Service and Lali Puna. Indie Rocktronica!!! [SM]

"Tiene Sabor" Henry Fiol

Honest Jons has blessed us with a solid compilation of New York Afro-Cuban music that was recorded on four different record labels (SAR, Salsoul, Mericana, and Guajiro) between 1972 and 1982. We are told not to call the music "salsa," a word that was only mistakenly referred to as a musical genre--as Son Cubano vocalist Roberto Torres tells us in the liner notes--after it was picked up from a Venezuelan deejay in the 1960s who used its literal meaning in reference to the music he played: songs that had flavor.

I am tempted to use the word in the exact same way to describe the Son Cubano NYC compilation: the tracks are spicy, saucy, exciting, and it is no ordinary "salsa" (as we know it). The artists represented here (Chocolate, Charlie Rodriguez, Lita Brando, Roberto Torres and Henry Fiol, to name a few) are trumpet masters, passionate vocalists and expert treseros (who play the Cuban tres, a retrofitted three double-stringed guitar). Twelve tracks of complicated montunos (syncopated piano) and nutty-sounding percussion that will even get a wallflower to shake a leg.

When I was 15 years old, I had the incredible opportunity to go to Cuba with my high school's Hispanic heritage group. My most distinct recollection of the trip is hearing music literally in every single place I went. When I first listened to Son Cubano NYC, I was instantly transported to the plaza in Havana where I was invited to play the claves with a five-piece Afro-Cuban band, much like the artists represented on this compilation. I recommend this record to anyone who has a craving for la musica con mucho sabor, authentic New York Afro-Cuban non-salsa, that is. [CP]

"Louis XIV"

"Finding Out True Love Is Blind"

While rock music hasn't been this dirty and decadent since David Lee Roth stopped wearing spandex, I can guarantee you that Louis XIV aren't trying to revive hair metal. Named after France's Sun King--a 17th century monarch whose absolutist reign is not only associated with his country's great period of culture and art, but also for his love of mistresses and extravagance--this San Diego trio's lyrics are guaranteed to make your mother blush. But just because they're a few hours south driving distance from the Sunset Strip--the neon nexus of '80s glam--doesn't mean that Blockbuster is hounding them to cough up late fees for their DVD rental of The Decline of the Western Civilization Pt. 2.

Louis XIV go back another 10 or so years to the real source, with '70s glam inspired stompers filled with handclaps, simple crunchy guitar riffs and theatrical speak-talk vocals full of Bowie-isms. Just add heaping dose of Bon Scott's potty-mouth and top it off with a little Mark E. Smith sneer. I doubt that bandleader Jason Hill could have gotten away with singing lines like "we don't have to go in the pool if you want me to make you wet" during the PC '90s without the riot grrrl squad going after him. However, you can tell Hill and his small royal court are having a blast taking a piss on old traditional "sex and drugs and rock 'n' roll" themes, and writing some damn catchy songs while doing so. Not a blatant, Spinal Tap-style parody, but you'll find yourself singing along to tracks like "A Letter to Dominique," "Illegal Tender" and the self-named "Louis XIV" as if they were songs from side-one of the Rocky Horror Picture Show soundtrack. Just don't let your mother catch you. [GH]

"Repulsion"

"In a Jar"

"They Always Come"

Oh man, we were just playing a used copy of the horribly mastered SST CD of You're Living All Over Me in the shop and we were STILL feeling that sh*it!! Basically, I'd like to think that all older brothers or sisters worth their salt are happily turning their younger siblings onto Dinosaur. Their importance is marked by this ancient anecdote (apparently, though I might be making this up): Thurston Moore was a huge fan of Dinosaur and was struck by the raw, broken glass pop of "Freak Scene" to the point of inspiring Sonic Youth's "Teenage Riot" off of the "alternative" classic Daydream Nation. Also, it's only fitting that the band's pre-Warner Brother albums are being reissued by Merge, run by Superchunk lead-man Mac M., since he owes a serious sonic debt to the mighty Dino. His band followed in the clever indie name-change footsteps of Dinosaur by having to switch to Superchunk from their original moniker, Chunk, for legal reasons the same way Dinosaur was changed to Dinosaur Jr. Isn't that interesting? Now you know.

OK, let's get on with this. A total indie classic, Dinosaur's first LP melds classic rock overtones with emotional rawness. The album recalls fellow indie rock dinosaurs (no pun) Meat Puppets and foreshadows Nirvana ("Bulbs of Passion" is so Bleach). I never liked this one as much as You're Living All Over Me and Bug, but it does have qualities that the other two just don't have. It's much more classic rock turned on its head for the first time in a way that sounds way dope. I'll be listening to this one a lot to make up for lost time.

The other two albums here are surefire classics. "Sludgefeast," "The Lung," "Tarpit" and "In A Jar," off You're Living All Over Me, are all A-Side top 10 singles. All that without even mentioning pre-Sebadoh Lou Barlow playing bass and the cover of the Cure's "Just Like Heaven." There are more killer lyrics in the first minute of most of these songs than entire albums of recent indie rock. Bug has "Freakscene," "They all Come..," "Pond" (f**ck!!), "Budge," "Keep the Glove"... all classic, necessary jams. And the timing is impeccable. With all the dusty classic rock and hippie psych reissues coming out these days, it's only fitting that the band that leapt from classic rock into contemporary indie rock gets their due respect. These albums have aged beautifully. [SM]

"History Will Outlive Us"

Produced by Cristian Vogel, Chicks On Speed's new album is their most diverse, technicolor offering yet, merging their post-punk roots--from the Slits to Sonic Youth to the B-52s--with newer electro sounds and messy urban atmosphere. Not a radical reinvention for these three art-punk chicks, but rather a more focused effort than 2003's 99 Cents, and even more fun.

$14.99 CD

ALSO AVAILABLE

QUEENS OF THE STONE AGE
Lullabies To Paralyze
(Interscope)

"Little Sister"

Everyone knew that Dave Grohl was only on temporary loan for the last Queens of the Stone Age album, but who would have thought that Josh Homme would hand co-founder Nick Oliveri the pink slip? Lullabies to Paralyze shows the former Kyuss guitarist offering tracks with a little more pop sheen, but of course, heavier than most of the "modern rock" playing on the FM radio. Songs like "The Blood Is Love" still offer a whiff of stoner rock drone.

$15.99 CD

ALSO AVAILABLE

HELLA
Church Gone Wild/Chirpin Hard
(Suicide Squeeze)

"I'm Quitting the Cult"

"Song From Uncle"

Hella get all Outkast on us, their Church Gone Wild/Chirpin Hard could be the noisy duo's answer to Speakerboxxx/The Love Below. Drummer Zach Hill's disc is a 60-minute dose of freewheeling chaos and blatant disregard for structure. Guitarist Spencer Seim's Chirpin Hard balances out the double CD with video game inspired melodies and prog rock theaterics.

THIS WEEK'S CONTRIBUTORS

[GA] Geoff Albores
[RB] Randy Breaux
[DG] Daniel Givens
[GH] Gerald Hammill
[RH] Rob Hatch-Miller
[DH] Duane Harriott
[MK] Michael Klausman
[JM] Josh Madell
[SM] Scott Mou
[CP] Carrie Pierce



THANKS FOR READING
- all of us at Other Music