CD Reviews: Wilco, Rufus Wainwright, Linkin Park And More!
Tuesday May 15, 2007 @ 03:30 PM
By: ChartAttack.com Staff

ANJANI Blue Alert (Columbia/Sony BMG)
Everyone's saying it, but it's hard to avoid: being Leonard Cohen's girlfriend is a pretty sweet deal. He'll write a record for you and produce it, and all you have to do is show up and sing. Which is great, because everyone knows that Cohen can't really sing, anyway. Everyone wins. Flippancy aside, Anjani also wrote the musical arrangements, performed them and cobbled bits of Cohen's poems and journals together to make up the lyrical content of Blue Alert. The end result is a Diana Krall-esque album, only with more quiet soul and less jazzy bombast. It's a spare effort, as Anjani wisely avoids overwhelming Cohen's words, even keeping her vocal delivery delicate and reverent. It's not exactly the ideal listen for a gym workout, but good stuff to chill out to at night. Shannon Whibbs

LEONARD COHEN Songs Of Leonard Cohen (Columbia Legacy/Sony BMG)
The reissue of Songs Of Leonard Cohen represents a fascinating case study in how an artist evolves. Cohen's first album is a sparse folk affair, only barely making nods to "songs" and "music," focusing primarily on delivering his trademark spoke-sung narrative poetry. There's a distinctly Montreal vibe throughout the album. Much like Mordecai Richler or Hugh MacLennan novels, you can sense the same lonely protagonist trudging through the snow of the old city. Cohen's slightly nasal voice is vastly different than the grumbling, wizened rumble of his later years. Likewise, the album predates Cohen's fascination with keys and synth-heavy waltzing. The CBC's endorsement of it would have you believe that "Suzanne" is the gem here, but that's not so. Far and away the best and most fully realized song — complete with strings, choral backing and percussion — is "So Long, Marianne." Followed up by "Stories Of The Street" and "Teachers," these three make up the excellently pensive side two of vinyl nostalgists' lore. The bonus tracks both manage quality slow burns. Aaron Brophy

THE EMPIRE LIGHTS Disgraceland (Independent)
This independent debut can talk the talk and walk the walk... albeit with a slight wobble. Disgraceland's quirky Ben Folds-worthy piano opener offers the charming couplet, "I hope you brought protection/From this weapon of mass affection," and the trend continues with original lyrical phrases that enhance each song. The meat of the album vacillates between driven classic rock and casual folksy numbers. "My Favourite Bands" is a bit like Wilco's "Heavy Metal Drummer," and the next couple of tracks follow its light alt.country pace. The disc then changes velocity and dives into harder, yet less inspired, pop-rock pieces. Luckily, the last few songs find the band back in Wilco territory, complete with glockenspiels and timpani. While certain songs on this promising EP appear ready for the main stage, the overall sound needs to find a more consolidated, steady footing before the Lights can really rock out. Nicole Kai

BEBEL GILBERTO Momento (Six Degrees/Outside)
Though Giberto's been performing and writing bossa nova songs since she sat at the knee of her father, Joao, she didn't have her coming out party until she was in her mid-thirties and released 2000's Tanto Tempo. With Momento, Gilberto continues to mine a similar musical vein, mixing her incredibly sumptuous vocals with the backing of acoustic guitar and traditional Latin percussion. Added to that basic template are rhythmic electronics that Gilberto was introduced to her through collaborations with Towa Tei and Thievery Corporation. Here she fully realizes her musical vision with a dozen songs from her own pen that surprisingly outdo the content of both her 2004 self-titled release and Tanto Tempo. While "Bring Back The Love" will capture the attention of the dance crowd, it's "Cacada" and "Cade Voce?" that herald a new direction for bossa nova standards. In these songs, Gilberto captures the soul of Brazilian music, consequently making Momento her strongest album to date. Chris Burland

GOLDEN SMOG Blood On The Slacks (Lost Highway/Universal)
This roots rock supergroup released Another Fine Day last July, but this eight-song, 25-minute follow-up doesn't include Wilco's Jeff Tweedy or Big Star's Jody Stephens like its predecessor. Aside from name value, they're not really missed. Guitarists Gary Louris (The Jayhawks), Dan Murphy (Soul Asylum) and Kraig Jarret Johnson split vocal duties, with Louris doing his best David Bowie on a relatively faithful cover of "Starman." Johnson takes the lead on a slowed-down (and less successful) take of Dinosaur Jr.'s "Tarpit" that features harmonica and acoustic and slide (but no electric) guitars. Of the six originals, the melodic "Can't Even Tie Your Own Shoes," acoustic pop "Scotch On Ice" and the well-arranged and British invasion-influenced "Look At You Now" make this disc worth a listen. Steve McLean

LINKIN PARK Minutes To Midnight (Warner)
Linkin Park have finally realized that rap-rock is dead. To celebrate their discovery, they've released Minutes To Midnight, their third proper album which virtually annihilates the rap and ratchets up the rock. Produced by Rick Rubin (Rage Against The Machine, Red Hot Chili Peppers) and group member Mike Shinoda, Minutes To Midnight comes four years after the triple-platinum Meteora and features a sound that's been polished to a shine. First single "What I've Done" showcases what the band are great at: driving guitars, singer Chester Bennington's soaring vocals, addictive beats and moody keyboard. The group have even co-opted handclaps (familiar to most as the current indie rock/pop requisite) on not one but two tracks — "Given Up" and "Bleed It Out." There aren't many Shinoda breakdowns on this album, which is a huge relief since they always overshadowed Bennington's vocal range. The singer's gravelly screams are still intact, along with his gentle rock ballad delivery, which is accentuated by strings on "Shadow Of The Day" and "Leave Out All The Rest." You can go ahead and hold a grudge against Linkin Park for being purveyors of the deader-than-dead rapcore genre, but you can't blame them for crafting catchy songs that you may hate to admit are pretty good. Jodi Goulart

MEGADETH United Abominations (Roadrunner/Universal)
Let's face it: Megadeth haven't released a solid album since Countdown To Extinction, and elitists would argue that there hasn't been a great one since 1990's Rust In Peace. Yet Dave Mustaine remains relevant in the metal world and, after a serviceable comeback with 2004's The System Has Failed, it seems the frontman still has a lot to complain about on United Abominations. The good news is it's not Youthanasia, but the bad news is it ain't much better. Things start off on a high note with "Sleepwalker," but "Washington Is Dead" comes in immediately after with the line, "How can there be any logic in biological war?" While Mustaine is trying really, really hard to be sardonic, his serrated cynicism has clearly been dulled. The guy's turned into the crotchety old grandfather whose ramblings you have to suffer politely because, once upon a time, there was a reason to respect him. Shehzaad Jiwani

THE NIGHTWATCHMAN One Man Revolution (Epic/Sony BMG)
Tom Morello has accumulated an obscene amount of praise over the years for his vastly overrated guitar wankery with Rage Against The Machine, so it comes as a bit of a surprise that his solo album is an entirely acoustic country/folk affair. With One Man Revolution, instead of playing the same tired riff over and over, he just rips off Johnny Cash for 13 songs. Morello is clearly going for a battle-weary protester vibe, but he mostly comes off like some rich asshole imitating Cash's legendary baritone. His lyrics aren't actually about anything in particular, because other than some vague "revolution," these faux-protest songs would be more at home with Starbucks yuppies than Darfur freedom fighters. Morello's got less conviction in his voice than Matisyahu, and sounds like any other self-righteous celebrity trying to solve the world's problems. Take my advice, Tom: milk that Rage reunion for all its worth, and stay the hell away from your acoustic guitar. Shehzaad Jiwani

TIESTO Elements For Life (Ultra)
Trance is one of the most stagnate and uninspiring genres in dance music, and Dutch superstar DJ Tiesto, the so-called "best DJ in the world," has been largely responsible for popularizing this cheaply euphoric European club sound. In a perfect world, it would stay confined to the self-indulgent e-tard foam parties of Ibiza. So formulaic are Tiesto's slow-build throbs, swirling synths and life-affirming crescendos that one can easily visualize the trippy light show and plumes of dry ice that invariably accompany the live incarnation of Elements Of Life, his fourth album in under seven years. Opener "Ten Seconds Before Sunrise" immediately establishes a majestic and flagrantly self-important tone that carries all the way through to the closer, "He's A Pirate" — a phoned-in remix of an instrumental track from Pirates Of The Caribbean(!). Kevin Ritchie

VARIOUS ARTISTS Bridging The Distance: A Portland OR Covers Compilation (Arena Rock/KOCH)
This benefit CD is a collection of cover tunes from the '70s and '80s interpreted by some unlikely artists. With proceeds going towards P:ear, a Portland, Oregon-based organization that helps transitional youth, the LP literally bridges the distance between The Decemberists and Fleetwood Mac ("Think About Me"), The Dandy Warhols and The Cult ("She Sells Sanctuary"), and Death Cab's Christopher Walla and Johnny Hates Jazz ("Shattered Dreams"). This isn't an exercise in irony — all the songs are interpreted seriously with a creative, modern spin, except maybe Lackthereof's take on The Doobie Brothers' "What A Fool Believes," featuring a pretty dead-on Michael McDonald impression. Other standouts include The Snuggle Ups' take on Bruce Springsteen's "Dancing In The Dark," Viva Voce's "Eye In The Sky" by the Alan Parsons Project and Whip's sombre, folk-country rendition of Billy Idol's "White Wedding." This comp is worth checking out even if you're unfamiliar with the originals. Shannon Whibbs

VARIOUS ARTISTS Hot Chip: DJ Kicks (!K7/Outside)
Now that every musician is also a DJ, it's inevitable that every musician will do a DJ mix. Hot Chip's effort arrives on the prestigious DJ Kicks imprint, placing them alongside turntable tastemakers like Carl Craig, Chicken Lips and Tiga. Much like the band's gleefully scatterbrained pop, the emphasis in this mix is on "no format" eclecticism rather than an obvious theme. Save for a few token new wave/hip-hop mashes (New Order's "Blue Monday" meets Baltimore partier Young Leek's "Jiggle It," for example) that get things rolling, Hot Chip's selections are seriously nerdy, blending new and old soul, German house, techno and British prog-rock. Their own song, "My Piano (DJ Kicks)," a repetitive, percussion-and-piano-driven genre-defying shaker, embodies the spirit of this record. It's the kind of missing link track that this mix revels in — a song that celebrates and ties together the shared energy that exists in all good music. Kevin Ritchie

RUFUS WAINWRIGHT Release The Stars (Geffen/Universal)
With his penchant for excess, one would fear that in self-producing a record for the first time, Rufus Wainwright would cross the thin line from multi-layered complexity into ridiculous self-indulgence. However, this is happily not the case with Release The Stars. Maybe it's due to the influence of executive producer Neil Tennant (Pet Shop Boys), or more likely to Wainwright's maturation from drug-addled party-boy to focused sobriety — with composing as his new addiction of choice. Either way, Release The Stars is a stunning new path etched into Wainwright's musical journey, and a welcome return after the intriguing but uneven Want albums. The heavily orchestrated pomp and sheer magnificence of "Do I Disappoint You," "Between My Legs" and "Slideshow" are aptly balanced by the spare and sombre "Leaving For Paris No. 2" and "Going To A Town." Lyrically, Wainwright is still equal parts wry, self-effacing, politically astute and arrogantly poetic. His classical influences and brilliant pop sensibilities continue their love affair in this musical masterpiece. Shannon Whibbs

WILCO Sky Blue Sky (Nonesuch/Warner)
Remember a few years ago when Wilco were being hailed as "American Radiohead?" Well, those days are gone. In their place we have "good American band, formerly great." It's hard not to generally like Sky Blue Sky because, on a basic level, Wilco are still a solid group, and technically more proficient than ever. But that's the problem. Where before they weren't afraid to climb out on to the 40 nearest ledges to take some chances, now they want to produce sterling, clean alt.country. As evidenced by A Ghost Is Born, they'll now take a good guitar jam over an experiment in sound every time. "Impossible Germany" is the best of 12 tracks that, while pleasant enough, all sound just a bit too tepid. As always, I find it hard to criticize any band who have produced at least four great records, but Sky Blue Sky marks the end of Wilco's best years. At least they're slinking into old age gracefully. Noah Love

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