Reviews: Snoop Dogg, Sarah Slean, Bauhaus and more
Tuesday March 11, 2008 @ 10:30 AM
By: ChartAttack.com Staff

BABY WALRUS Baby Walrus (Slumber Party/Saddle Creek)
Baby Walrus matches the off-rhythms, found instruments and growl of Tom Waits with the constancy of a ball of lightning. This is honky tonk for the hyperactive, alt-folk for those with attention deficit. Less than half the tracks hit the two-minute mark and only two make it to three. If you leave to take a leak, you'll sacrifice at least six songs. Baby Walrus seem like the type of band who get the greatest idea they've ever thought up every two minutes. They write for people who consider Modest Mouse marathon listening. Their heroes include Captain Beefheart and Ornette Coleman, probably for their predictability, and Lou Reed and Television, probably because they're fucking cool. It's doubtful that Baby Walrus will win a coveted cult following from this album, though. It feels too much like a sampler of better artists. Maybe they'll calm down enough to achieve coherence on follow-ups. Jared Morano

BAUHAUS Go Away White (Bauhaus/Sonic Unyon)
What we know: Bauhaus were in the midst of recording their first album in 25 years when "an incident" occurred and they broke up again. What we don't know: How a band on the verge of their third — and apparently final — split could have produced such a surprisingly good farewell LP. The instrumental tracks were all recorded live, giving them a visceral intensity complemented by a revitalized Peter Murphy, the group's enigmatic frontman and, rumour has it, the catalyst for the most recent break. Going Away White's sound is in line with Bauhaus' '80s output and features a few songs that may even stand up as their catalogue's best. "Endless Summer Of The Damned" is a searing piece of rock, while "Black Stone Heart," despite its slightly comical goth lyricism (er, there's a lot of that), shows the group still had a lot left to offer new and old fans alike. There are three major and basically unlistenable missteps. Key among them is the six-plus-minute "Saved." But for a group who many (aside from those who wear black lipstick) wrote off as a footnote in rock history, seven out of 10 ain't bad. Noah Love

CHATHAM COUNTY LINE IV (Yep Rock/Outside)
This Raleigh, North Carolina quartet are kind of like the Great Big Sea of bluegrass � straddling the line between traditional roots and more straightforward radio-friendly fare. One thing's for sure, though: if you like banjo, this is the record for you. There's fingerpicking and fiddling aplenty, too. The production is a little too crystal-clean for my liking, though. I like my bluegrass a little dirty. However, Chatham County Line mix it up in their fourth release, produced by Chris Stamey (ex-DB's), moving between instrumental barn-burners ("Clear Blue Sky"), '50s-style rock 'n' roll ("Let It Rock"), sweetly sentimental ballads ("One More Minute," with backing vocals from ex-Whiskeytowner Caitlin Cary), and a bit of traditional storytelling ("The Carolinian"). Lead vocalist Dave Wilson does well on vocal duties with his drawling and crooning, but again, it's a bit too clean. He needs more whiskey and cigarettes, maybe. Shannon Whibbs

CREATURE No Sleep At All (Bonsound/Universal)
Trying to be something you're not is never a good idea, especially in the world of music. Unfortunately, this is the case with Montreal's Creature. Although their intentions are good � wanting listeners to shake what they've got like nobody's watching � their dance-rock debut falls flat because it feels like an imitation. Lead male vocalist/guitarist Kim Ho raps and he also sounds like those male singers who did the bad verses on Euro-pop songs of the '90s (think Real McCoy's "Another Night"). Cowbella and Gina Simmons are the band's Kate Pierson and Cindy Wilson. Cowbella also raps. Sid-Z is Scissor Sisters' Babydaddy, to a tee. He doesn't rap. Heavy party rock guitar riffs are scattered through No Sleep At All, along with LCD Soundsystem-ish beats and... ahem... cowbell. The hipness of the whole effort just feels contrived and the result is very unconvincing. Even though Creature just want to is party and make listeners move with lines like "I'm going to Kandahar! I'm bringing a candy bar!" the album is missing the guts it needed to be something special. Phil Villeneuve

DEATH ANGEL Killing Season (Nuclear Blast/Sonic Unyon)
If the new record by thrash veterans Death Angel sounds familiar, it's probably because you've heard these songs, or at least pieces of them, before. Don't get me wrong; the songs on Killing Season are certainly not a collection of carbon copies, but rather pay homage to some of the best thrash of the '80s. The fist-pumping chant of "Sonic Beatdown" is very Overkill-inspired, the rhythm of "Resurrection Machine" recalls Metallica's "Eye Of The Beholder," and "Buried Alive" is Slayer-ish in the vein of "Dead Skin Mask." Despite all those comparisons to their peers, Death Angel don't leave you begging for the golden days, as do newer records by a couple of the previously mentioned bands. Instead, Killing Season deliver something wonderfully old school, yet still fresh. It's like having sex with your ex-girlfriend after a long time; it feels new, but still pleasantly familiar at the same time. Andre Mihsin

DISKJOKKE Staying In (Smalltown Supersound)
Joachim Dyrdahl, also known as DiskJokke is another smart DJ from Norway. He's a classically trained violinist and is about to finish eight years of math studies. Like Oslo's Lindstrom before him, he creates minimalist dance music, but with a little more clutter and boldness. Lindstrom creates vast landscapes of crisp, moody techno with similar beats and sounds. DiskJokke often uses those same tools with twinkling noises and the slightest bleep thrown into a track to shake things up, but the cool factor comes via his beat variety. "Cold Out" is a heart-stopping, funked-up dance track with '80s cowbell and video game bass that would drive any indie dance floor wild and "Some Signs Are Good" takes the whole minimal Latino dance song to synthy new places. His music is noisier in a good way. However, it's not quite noisy enough to stand up with similar acts like Royksopp or minimally skilled enough to separate itself from someone like Lindstrom. Staying In isn't a bad record, it's just not enough. Phil Villeneuve

FAKE SHARK-REAL ZOMBIE Zebra! Zebra! (Independent)
Vancouver's Fake Shark-Real Zombie have created the most chaotic album you've ever heard. Their debut, Zebra! Zebra! was previously only available in Japan and has just been released here at home. Picture hardcore's screamed vocals and shifting time signatures combined with dance punk's groovy rhythms and you'll get an idea of Fake Shark-Real Zombie's sound. If that seems insane, that's because it is. Zebra! Zebra! is a jarring aural assault from start to finish and is proof that some genres just shouldn't be combined. While Fake Shark-Real Zombie's technical prowess will impress you during their "hardcore" moments, it becomes evident after about the third or fourth track the entire thing is a gimmick and every track sounds the same. On "Panty Party Handcramp" they scream "don't forget it/never again" over and over. That's probably appropriate. Even if you never want to hear this stuff again, it's definitely unforgettable. I'm not sure that's a good thing. Kate Harper

HATE ETERNAL Fury And Flames (Metal Blade/Universal)
Albums that strive to reach an unrelenting level of brutality usually do so at the expense of any sort of musical development. Last year's records by Vital Remains and Deathspell Omega were rare examples of albums that were both musically complex and varied, but still crushing as fuck. You can add the latest album from Hate Eternal to that list. Although Fury And Flames may initially come across as a monotonous 40-minute juggernaut, repeated listen reveal some great solos on "Para Bellum" or toward the end of "Tombeau (Le Tombeau De La Fureur Et Des Flammes)." There are also some, and I use the term loosely, "catchy" guitar melodies on "Whom Gods May Destroy." The rhythm section throughout the record is superb, but that goes without saying when Cannibal Corpse's Alex Webster is handling bass duties. If you like brutal, but not stupid-brutal, Fury And Flames is a must-have. Andre Mihsin

THE MAHONES Irish Punk Collection (Stumble/Universal)
Just in time for a St. Patrick's Day cash grab comes this latest mining of The Mahones' vaults. The Finny McConnell-fronted Celtic punk band formed in Kingston, Ont. in 1990, and they've had punters jigging and swigging in sweaty clubs and pubs pretty much ever since. If you enjoy their formulaic drinking songs, you'll like this collection. But if you're a real fan, you probably already own most of them from past records. The added attraction here, then, are the minor cameos made by The Tragically Hip's Johnny Fay on "Shake Hands With The Devil," The Dropkick Murphys' Scruffy Wallace and The Mad Bastards' Kevin Quain on "The Amsterdam Song," The John O' Gods' "Legendary" Mark Gilligan on "Irish Rover" and Brass Knuckle Therapy's Psycho Dave on "Whiskey In The Jar." Don't invite any loogans who might trash your place, but "Drunken Lazy Bastard" and "Across The U.S.A." will rouse your party and the low-key "London" will come in handy when you need a break from the dance floor or the fist fight. Steve McLean

MESHUGGAH Obzen (Nuclear Blast/Sonic Unyon)
Meshuggah made a name for themselves 13 years ago with Destroy Erase Improve, an album that broke a lot of ground with its unique thrash sound and unorthodox polyrhythmic beats. To many fans and critics, Meshuggah deserve to be recognized as one of the top metal bands of the last decade. However, for younger metalheads 1995 was a long time ago and they may not appreciate Meshuggah's impact, even if some of their favourite bands like Mastodon, The Dillinger Escape Plan and countless others would be flipping burgers if it wasn't for Meshuggah. Although their output has been stellar since DEI, 2005's Catch Thirtythree and even 2002's highly successful Nothing were experimental even for this innovative Swedish quintet and may fly over some peoples heads. Obzen offers every weapon in the bands sonic arsenal, including groove-heavy rhythms, jazzy solos and complex time signatures that the diehard fans love. Although it's as musically complex as its predecessors, newer fans may find this easier to absorb. Regardless of where your Meshuggah allegiance lies, Obzen should be on your early list of top heavy albums of 2008. Andre Mihsin

MYCHILDREN MYBRIDE Unbreakable (Solid State)
Unbreakable is an interesting bit of metal/hardcore crossover. The guttural vocals are clearly culled from Ringworm. Yet when united with Entombed-ish blast beats and the distinctively clinical guitars of Sweden's new wave of death metal, Unbreakable make the already-narrow line between hardcore and metal that much thinner. Propelled by melodic guitar solos, these Iron Maiden-ish flourishes amplify Mychildren Mybride's metallic quotient, yet they still maintain breakdowns thicker than the flying forearms at a Madball concert, proving these boys are clearly as comfortable throwing down as they are bangin' heads. It creates a strong duality of approach that should appeal to both sides of the circle pit. The bleak tone of songs such as, "The Machinist," "Severance" and "Faithless" are almost demonic in attack, yet clearly more pious lyrically. These contradictory elements create a mystique to the album that's as infatuating as it is undeniably powerful. Keith Carman

SARAH SLEAN The Baroness (Warner)
Sarah Slean moved to Paris to write songs and rediscover herself in 2006, and it definitely paid off. Drenched in a Parisian-inspired musical sensibility, Slean returns in full force with this fifth studio release. While not as poppy as her previous efforts, the album showcases a newfound maturity in her sound and it's obvious that Slean has blossomed into a masterful songstress. Opening track "Hopeful Hearts" has a strong, full sound that captures your attention from the first few notes. Slean's vocals are as beautiful and earnest as ever, like on single "Get Home," "No Place At All" and "Please Be Good To Me," and you can't help but drink them in. Her horn and string arrangements add depth to the album, and backing vocals by Ron Sexsmith on "Looking For Someone" complements her voice perfectly. Slean fans will definitely fall in love with her all over again. Jen White

SNOOP DOGG Ego Trippin' (Geffen/Universal)
He's slapped his name on as many products as Krusty The Clown and guest-cameoed on more songs than even the meddlesome Diddy, yet there's a reason why the D-O Double G still has credibility — the music. Snoop has surveyed the rap landscape on his ninth proper album and determined that minimizing the guest stars, maximizing the personal reflection and going heavy on '70s and '80s funk, soul and slow jams is the way to roll. He's absolutely right. He even says as much on "Neva Have 2 Worry," declaring simply, "I'm still relevant." Rick James would've appreciated "Cool," a surefire soundtrack for summer, while the cheeky "Sexual Eruption" officially replaces R.Kelly's "Imagine That" for sublimely ridiculous seduction songs. "My Medicine" — a hick-hop tribute to Johnny Cash featuring Everlast on guitar — is a stretch, and pretty much any song that sounds like it's engineered for contemporary rap radio blows, but during the Snoopster's frequent time travels everything works out. Aaron Brophy

STEPHEN MALKMUS & THE JICKS Real Emotional Trash (Matador/Beggars)
It's been three years since Stephen Malkmus' last record and five since he did a full-length with The Jicks. That's because drummer John Moen basically left the group after the Pig Lib tour and joined The Decemberists. Now, Sleater-Kinney drummer Janet Weiss is in the fold and the former Pavement frontman seems to have crafted an album that showcases her monster ability. Throughout the 10-track affair, the drums and electric guitar are the two most important instruments, and it almost sounds in some places like Malkmus is fronting Sleater-Kinney circa The Woods. Both Malkmus and Weiss' instruments are loud and dirty, leaving almost everything else in their wake. It's too bad, because what could have been one of the frontman's best solo vocal performances is sometimes drowned in sound. Perhaps that's why he's gone back to abstract lyric writing following two mostly linear albums. Regardless, Real Emotional Trash is a solid stab at classic rock that falls just short of excellence. Noah Love

THE TOSSERS Gloatin' And Showboatin' (Victory/Universal)
This veteran Chicago Celtic-punk band recorded this hometown show two years ago on St. Patrick's Day, and you can tell that frontman Tony Duggins and the crowd were indulging in both the spirit and spirits of the occasion. The band sit closer to Flogging Molly than the Dropkick Murphys in the niche genre spectrum, and they make full use of all seven members' musical talents. Fiddle, banjo and tin whistle are featured prominently with the rock instrumentation throughout the 15 tracks, including a juiced-up closing cover of "The Irish Rover." The Tossers don't just borrow from Gaelic traditions, however, as the melody of "Good Mornin' Da" is similar to The Ramones version of "California Sun." Speaking of The Ramones, "No Loot, No Booze, No Fun" is dedicated to the band's late bassist, Dee Dee. While a DVD of the concert is also included in the package, a shot glass is sorely missing. Steve McLean

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