Reviews: Plants And Animals, Goldfrapp, Ray Davies and more
Tuesday February 26, 2008 @ 01:00 PM
By: ChartAttack.com Staff

LAURA BARRETT Earth Sciences (Paper Bag/Universal)
Several "e" words come to mind in conjunction with this EP: eclectic, eccentric and extraterrestrial. This re-release of Barrett's 2005 debut marks her first recorded foray into the world of the kalimba (an African thumb piano). The results are predictably weird, but in a good way. Barrett is obviously very talented on her instrument of choice, and at times it sounds as though she must have one or two extra hands at work. There's a good chance that the only people who will truly enjoy this disc are those who know Barrett from her work in The Hidden Cameras or Henri Faberge And The Adorables, but it will no doubt fit snugly into the collections of Toronto scene completists. If nothing else, Barrett deserves props for including a cover of Weird Al Yankovic's parody, "Smells Like Nirvana." Scott Bryson

RAY DAVIES Working Man's Cafe (New West/Fontana North)
As one of rock 'n' roll's most well-respected men, Davies ages gracefully from a musical standpoint but hasn't lost much lyrical fire on this new solo effort. "Vietnam Cowboys" opens the album with an examination of economic globalization and the blurring of cultural identities. The Kinks frontman adopts anti-corporate stances on the title track and "One More Time," and takes on religion in "Hymn For A New Age," but "Peace In Our Time" is about a couple's relationship and not world harmony. All of this showcases his knack for seeing both the big and small picture, right down to the hospital bed observations captured in "Morphine Song." If you're looking for thoughtful lyrics surrounded by combinations of pop, jangly rock, subtle jazz, British music hall and American roots music, you'll get ample helpings in Working Man's Cafe. Davies' film on the DVD in the deluxe edition of the album offers more valuable and entertaining insights, so spend the few extra dollars to get it. Steve McLean

GARY LOURIS Vagabonds (Rykodisc/EMI)
Whenever the main songwriter for a long-running song-oriented group ventures into the realm of solo artist, there are immediate comparisons between the group output and new material. On this solo debut, ex-Jayhawks member Gary Louris shows a surprisingly diverse spread of songwriting talent. Vagabonds goes beyond the usual "strum and hum" of many alt.country solo ventures. There are the usual Louris trademarks all over this disc, starting with a return to a romantic, lush sound on the opening "True Blue," which echoes the 'hawks' "Blue" from the hallmark Tomorrow The Green Grass album. This sweet, contemplative tale lays the groundwork for a thoughtful album where southern-fried rockin' ("Omaha Nights"), George Harrison-inspired Brit-pop ("We'll Get By), a sad gospel-tinged tale ("She Only Calls Me On Sundays") and droning sonic blasts ("I Wanna Get High") all meet. Add the highly-charged musical accompaniment of guitar and piano and Vagabonds sounds nothing like the work of Louris' former band. Chris Burland

GOLDEN SMOKE Golden Smoke (Somnambulist Sound System)
We're not blowing smoke up your ass when we state that Golden Smoke are a primordially weird outfit — n the nicest possible sense. Their menacing blend of stoner rock, psychedelia and space rock is hard to categorize, especially since it doesn't really sound like any of the above, making their self-titled EP hard to pin down. Six tracks all clock in at well over five minutes each and this Saskatoon-based band rely 100 per cent on their riffage, building each song up on consistent, pummeling guitar parts paired with weary vocals and plodding drums. "Holy Morning" is the high water mark, primarily because of a wonderfully sludgy guitar solo that inhabiting the second half. It just struck me that Golden Smoke might actually be a grunge band, so if you're looking to branch out from your Screaming Trees and Dinosaur Jr. CDs, you might want to take these guys for a spin. Cameron Gordon

GOLDFRAPP Seventh Tree (Mute/EMI)
With Seventh Tree, Goldfrapp have done what more established bands should do: Change their sound while staying true to who they are. This means not pulling a Jewel and drastically changing your sound so it just sounds un-natural and wrong. Seventh Tree is a gorgeous album that finally showcases Allison Goldgrapp's crazy vocal range, ability and power. The dance beats and glam of their previous records are gone, but there's no lack of glitter, lush noise and weirdness. Deep down the duo are a very odd pair and Seventh Tree showcases that unique identity. With loads of thick orchestration, folk and French easy-listening influences in tow, Allison asks listeners to eat themselves and sings about clowns, titties and emergency rooms as if they're all topics for the most serene, sunny, summer morning conversation. "How could titties possibly sound like a sunny summer morning?" you might wonder. A few listens to this glowing pop gem and you'll know exactly what I mean. Phil Villeneuve

IDIOT PILOT Wolves (Reprise/Warner)
Wolves is the second release from this electronic/rock duo. In a stretch you could argue their blend of everything from indie to metal emulates a heavy Radiohead. Co-produced by +44's Mark Hoppus, most of the album is radio-friendly, save for the scream-heavy "Planted In The Dark," a perfect blend of electronica and hardcore. "Retina And The Sky," which was featured on The Transformers soundtrack, is one of the less spectacular tracks and shows that sometimes man and machine can't work in harmony. Epic seven minute closer "Recurring Dream" is worth repeat visits. Although a couple of the songs are a bit bland, the two previously mentioned songs, along with opener "Last Chance," make the album at least somewhat savage. Logan Broger

THE NORTHWEST DIVISION Of Which I'm The Master (Independent)
The first thing you'll notice about The Northwest Division are their flippant lyrics (which include an ode to a duck pond at Mount Allison University). The second thing you'll observe — about three minutes into this EP — is that these four Maritimers know a thing or two about constructing a song. While the Division's brand of rock is firmly rooted in the present, their melodies seem to hint at something classic, like the work of Neil Young or the Traveling Wilburys. By the time the second track, "As Time Goes," comes to a conclusion, you'll have forgotten what music was like before The Northwest Division came into your life. That song alone should be enough to propel this band to indie stardom. Should the universe prove just, it will one day be blaring from every radio station in the country. Scott Bryson

THE PAPER CRANES Halcyon Days (Unfamiliar)
Victoria, B.C.'s The Paper Cranes will charm your pants off with Halcyon Days. With a well-balanced mix of organics and electrics, poppy pianos and poetics, there's an air of retro about the album. But it's all modern in a way that suggests they know exactly how they want to sound. The tightly-knit songs are clearly influenced by a recognizable bunch of U.K. rock bands of the past, which is the record's main downfall. Many of the songs — although really well played, mostly joyful and as catchy as a case of chicken pox — are easily forgettable because they're not saying anything new. There's a lack of message or special something to really make everything stand out. Halcyon Days doesn't arrest listeners as much as constantly let them out of jail. But who knows, maybe their skill at playing pleasant rock without ever really rocking out will somehow become contagious. Phil Villeneuve

PLANTS AND ANIMALS Parc Avenue (Secret City/Fusion III)
People might grab Montreal trio Plants And Animals' Parc Avenue because they reside on the much vaunted Secret City imprint, but it's their music that'll ensure the disc doesn't leave their stereo. Their adept confluence of melodious pop, post-rock and folk is further bolstered by the vocals shared by all three indelibly talented band members. The swelling chorus of piano driven "Bye Bye Bye" opens the record like a James Bond movie — explosive and visceral, leaving you wondering how they're gonna top what just flooded your ears. But more often than not, they continually best themselves. Parc Avenue is populated with songs like the propulsive and unrestrained "Mercy," whose stuttering guitar riff and ebullient chorus of handclaps and horns serves as a sort of rallying call for the record. Plants And Animals have made a bold statement in Parc Avenue that's sure to warrant attention on its merits alone. Matt Littlefair

SIAN ALICE GROUP 59.59 (The Social Registry)
Admittedly, the Sian Alice Group's first album title lacks imagination (59.59 being representative of the disc's length), but that's one of the few complaints that this debut elicits. There's an incredible array of styles on display here, as things begin with a Yo La Tengo-like pop, morph into a modern take on classical music, and eventually transform into something akin to gentle Mogwai tracks like "Cody." On paper this might sound a little too scatterbrained to work, but these Londoners force it to, thanks to Sian Ahern's haunting vocals and a penchant for the delightfully mad (not many discs boast an interlude of chirping birds). Saying that 59.59 is an intriguing listen would be a bit of an understatement, and this is by no means a bang-for-your-buck kinda album. It'll take a lot of listens and patience before all of this record's intricacies are revealed, but the payoff is worth the investment. Scott Bryson

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