GARY WILSON
Mary had Brown Hair (Stone's Throw)
Any decent record collection has at least one magically annoying album in it. One with irritating vocals, half-songs with creepy subject matter, and like ten pounds of stupid keyboards. If you don't already have a Residents album or a tape of Wesley Willis songs whose titles fall into the 'œcombination of the words hell, ride, and bus'? family, now's about the time to think about getting into this one, and make a new hobby out of wondering just what the fuck 'œLinda wants to sleep alone all into the night'? means. --MFC
File next to: Music defended by 'œit took 20 years to finish!'?

MIA
Arular (XL Recordings)
I love the way the British will just pass off anything as 'œflowing'?. I also love how they're into, like, the most emotionless, undanceable Grace-Jones-on-meth robot beats imaginable- but how can you hate a music culture that first posited that you could dance to Roni Size? Anyway, this is supposed to be political, and it kind of is, but probably not in the way 'œBanned in the USA'? was- that is, the verse-to-chorus ratio is a bit light in the verse department. --MFC
File next to: I really hope she turns what she says in interviews into songs.

THE UN
Ain't no thang/Get yo XXXXX/What They Want
Pretty much the best hip hop 12'? anyone could ask for. The Large Professor beat for What They Want was designed for listening to on big headphones on a bus at night. A perfect halfway point between street (remember Smif-N-Wessun?) toughness and underground ingenuity in the rhymes means no bullshit 'œfuturistic'? nonsense, no 'œexpand your mind'? shit, and no 'œthug'? signifiers. Plus it's a single so there's no fiuller (see my Mm'¦Food review). --MFC
File next to: Go buy a turntable then go buy this.

MF DOOM
Mm'¦ Food (Rhymesayers)
There's like three good songs on this (you'll get sick of that 'œsuper'? track REAL quick) and then a ton of filler. Plus, all the filler is either about Dr. Doom (surprise) or food (surprise), so it reminds me of this joke:
Have you heard about the new Chinese/German restaurant?
You eat dinner and a half hour later you're hungry for power.
Only in this case, put this record on and a half hour later you're hungry for your money back to go buy a better record. --MFC
File next to: Guy with funny mask makes records; hip hop wannabes fall for it.

THE GAME ft. 50 CENT
Westside Story
You totally heard the version of this with Snoop Dogg, right? WHAT? You only know 'œHow We Do?'? That's dope, too, I guess. But what about the chorus on this one where Fiddy's like, 'œIf you take a look in my eyes, you see I'll be a gangsta til I die, (something mumbled) California sunshine, Game tell '˜em where you from.'? And Game goes, 'œNigga, Westside!'?
You're gonna have that in your head so hard you'll be throwing up W's on the bus and old people next to you will think you're going to meet your gang to do crime. --MFC
FNT: Rad gangsta rap comeback in full effect.

Flossin
Lead Singer (Ache)
I like this record a lot. It's funny, because I don't really like Kid606, and he is an integral part of what makes this record sound as interesting as it does. Hard panned digital noise textures are lain over the incomparable drumming of Hella's Zach Hill (whose drumming here sounds just great) and Christopher Willit's equally jarring laptop noise. It's got an unstoppable vibe - - each track dovetails into the next with clattering percussion and, let's face it, like I'm saying, hard noise. It's a jarring record that isn't really meant for all moods, but when you're after that squiggly noise and insane drum skillz, this is where you want to go. It's like Hella without the guitars, if Spencer Seim made industrial scraping on his keyboard instead of Nintendo sounds. Like Black Dice if they'd chosen to
deconstruct hardcore in a different way, with emphasis on the drums instead of ambience;
basically it's like your brain going to soup while you seizure on the floor after trying to dance to this. What I'm saying here is: this is great, check it out, the folks at Ache are doing right by me. --AG

By the End of Tonight
A Tribute to Tigers (Temporary Residence)
Mining the same gold as such post (or, post-post?) rock groups as the Arco Flute Foundation and Howard Hello, creating a distinctive sound of loss and power, with minimal vocals all up in the background, and guitars making lovely, crystalline arpeggios overtop of long-bass'd and snapping snare drums, the artwork I'm not sure what it all means, but there is a litho of a face looking skyward on the sleeve and disc, and man, this is the next wave of post-rock, this is the next wave of post-rock, post-rock is dead and this is what is crawling from the wreckage, or, wait a second, let me say it, okay, this is proof positive that Mogwai suck, because they could have been doing this and they chose not to, and it's that choosing, on the part of By the End of Tonight, which makes this so great. I mean, as well as all of those things I just said. --AG

Low
The Great Destroyer (Sub Pop)
Here we are with another Low album, the third in a series of press-verified "dramatic departures". Again, Low are trying to hit it with something aside from their wall-of reverb slowcore sound. Some of the time it works, some of the time it doesn't, but it's always interesting. "Broadway (So Many People)" recalls the regret-filled pop of "Dinosaur Act", yet darker, the regret that comes from the original regret. The real shame of this, though, is that it doesn't touch the stuff they were doing around 1999 or so. There's nothing as creepy as "I Remember", or as spiritual(ly weird) as "Will the Night", or as buoyant as "Starfire". You've probably guessed that Secret Name is my favourite Low record. Yeah... Anyway, this is good, but not as good as it could've been. --AG

Panoply Academy
Everything Here Was Built to Break (Secretly Canadian)
Spazz rockers Panoply Academy have finally released a collection of those hard-to-find compilation appearances and seven-inchers. My problem: I'd be a lot happier if I knew what to expect. Having never heard a Panoply record, I didn't know what to expect. So my advice: never start with a singles collection, or, odds n' sods, because there is no point of comparison. Anyway. It really comes and goes with this, because on the one hand you've got great tracks that point to the weirdo genius of these guys ("Us" or the first song), but at the same time you have some clunkers that turn you off. Now feeling like I can't really recommend or bash this because I haven't heard their other stuff, I'll say this: pick up some of their albums, see if you like them. If you do, you'll dig this greatly. The liner notes alone are worth the price of entry. --AG

Black Mountain
s/t (Scratch)
Holy jam, y'all. Not knowing what to expect, I bought this on an impulse. I was not in any sense disappointed. Kind of like the Go! Team if reimagined by hillbillies with a yen for Jackie-O Motherfucker and the NNCK. Leadoff track "Modern Music" is all of these excellent qualities combined in the poppiest song I've loved in a long time. The call and response vocal quality of "One Two Three, Another Pop Explosion" followed by "4, 5, 6, 7, 8, 9, 10!" is bizarre and fun at the same time. My only problem with the song is that it doesn't go on long enough. It also bugs me a little that this album doesn't ever really match the joyous bump of that song. On the second track things turn inward, into downbeat introspective psychedelia. Only with a little time and distance from "Modern Music" is it apparent how great the rest of the album is. Dual guy/girl vocals play about overtop Fender Rhodes and Blue Cheer-esque guitars; saxophone blasts like a long lost Stooges riff on some songs, and the drums, interestingly, awesomely, are kept minimal and distinct. This is the jank, right here. --AG

Art Bears
Art Box (Recommended)
Bob Drake is into some weird shit. Besides writing some of the best horror-pop ever, he has produced some of the most interesting outrock shit out there lately. Sadly, he seems to have had his Waterloo with the Art Box. See, because the Art Bears, they're not so good. Lydia Lunch style vocals overtop industrial cabaret pop... it doesn't work. And long periods of listening to this, for me, anyhow, has resulted in frustration and headaches. Don't get me wrong - - it's interesting, if only in an archival sense. I mean, this sounds like Rollerball but was made a decade previous. And it has traces of "freak-folk" (whatever that is) all over it. But no matter how important the music is, it still has to be listenable. And this... isn't. Not really. Maybe I haven't spent enough time with it. Maybe it'll just never quit. It's interesting, though, to see how much better the Art Bears: Revisted discs are. Contemporary bands remixing and reinterpreting the Art Bears. And it works. But no matter how much it works, that still doesn't excuse the source material. Or the price! If you'll excuse me, I'm going to go hang myself. --AG

Pauly Shore Is Dead
(dir. Pauly Shore)

Pauly Shore is attempting to make a comeback with a new DVD; a mockumentary about him trying to make a comeback, via faking his own death. If you're not sure who Pauly Shore is, the following phrases may bring back repressed memories: Son-In-Law, Jury Duty, and, of course, 'œWiezin' the jui-uuuiiiice!'? The movie is a parody of his life-- from the moment his 1997 Fox sitcom, Pauly, was cancelled (quicker as you can say "Buuuuudddd-y") to "present day." In on the joke include a bunch of no-name actors, actual celebrities (Ben Stiller, Britney Spears, Dr. Dre), and a who's who of the next few seasons of The Surreal Life (Kato Kaelin, the Hilton sisters and evil clown, Scott "Carrot Top" Thompson) in brilliantly WTF cameos. Despite its CFNY-centric soundtrack, featuring the likes of Nickelback and Limp Bizkit (while Fred Durst makes a turn as a hyper-macho-pussy "parody" of himself) and, well, the fact that it's a movie centred around Pauly Fucking Shore, all in all, it's really'¦ not bad. The only thing that would make it even better would be a Shannen Doherty cameo during the jail scene. Be sure to watch the commentary, where we learn that BeyoncÈ's personal bodyguard is named "Big Shorty" and that Corey Feldman is a whiny baby. Sadly, though, we may never learn what it took to get Gerardo to holler "Rrrico Suave oranjes!" '“SB
File next to: Stuff that should suck, but, surprisingly, doesn't. Y'know, like that Mario song.

Theresa's Sound-World
One String Band (TS Records; www.onestringband.com)
Theresa's Sound-World have been kicking around town in some form or another since 1996, and One String Band is their first proper album; what sets it apart from the band's previous release, Rain Falls Down on Summer Trees, is that this album is an actual collection of songs, rather than soundscapes, jams and field recordings. As the band's name indicates, (early 90s) Sonic Youth are an obvious influence, but Theresa's Sound-World aren't entirely Alternative Nation. The band has a unique spacey stoner rock sound with elements of punk, shoegazer, classic rock and, on closing ballad 'œRest of My Life,'? a little bit of folk. Though the eight tracks clock in at just over 52 minutes, the jamming surprisingly never seems excessively wanky, or even jammy. One String Band brings back the fond nostalgic feeling from the 90s that can be better found in dusty old 6-hour VHS recordings from City Limits back in the day rather than Much More Music's Back In'¦-- SB
File next to: Doc Martens, a bong and a basement.

FrankFB_A
I Pity Da Fool (www.geocities.com/frankfb_a) Franchise Records
In relaying the title, I'd like to say, 'œI Pity Da Fool,'? that doesn't buy this album! Or wait, correction, this Toronto-based quartet now has a DVD! That's right, FrankFB_A has now created a DVD to go along with their CD. With this you can hear them recorded, and while watching a live acoustic performance of them at the Art Gallery of Ontario, learn a little about their history. After viewing both, it seemed as though this band is about making songs that have as much creative freedom as desired. With the muffled vocals of Charlie singing, 'œI am your pizza-man, I deliver to your hand,'? the comical lyrics show that they're not about being pretentious; hence Chris (Charlie's older brother) wearing a bunny-suit in the DVD (yep...a bunny-suit!). With songs such as 'œRock '˜n' Roll Casino,'? and Couch Prancing,'? Frank creates songs with content that will make you laugh, and guitar, keyboard and drum playing that make for quite likable melodies. --JB
File next to: Your swanky DVD collection!!

Minus Story
The Captain is Dead let the Drum Corpse Dance (http://countrycore.com/minusstory/main.html) Jagjaguwar
This album is like reflecting upon a really good day; it just keeps getting better, and when it's done you wish it never had to end. Every song had its own great quality, from the room-filling keyboards on 'œYou were on my Side,'? to the drumming on 'œthe Children's Army,'? Minus Story is, in my opinion, able to perfect the usage of all their instruments by filling in each spot to create a mollifying sound that is beautifully crafted. From the beginning through to the end, each song seemed to demonstrate their ability to create enticing songs that would take on various kinds of sounds and grow in intensity. It's one of those CDs where you seem to be in love with a different song everyday, finding a new part in each, where the intricacy of the rhythms make you want to hear the album over and over again. --JB
File next to: Greatest, sheer greatness!

DUB TRINITY & CHET SINGH
Dub Trinity & Chet Singh (Independent, www.dubtrinity.com)
Peterborough natives Beau Dixon and Gregory Roy are here joined by lyricist Chet Singh for this Dub Trinity release. In true dub tradition, the nine songs on this disc often return to the same musical themes and lyrical content. Half the record was recorded with Pete Hudson in Toronto at Halla Music, while the other half was recorded in Peterborough. Pete Hudson remixes one of the songs, as does Bobby O'Luge. The lyrics are politically charged, with criticism of failing world and Canadian political '˜systems' being front & centre. The music & lyrical content does occasionally veer toward paint-by-numbers simplicity, yet there is often enough going on throughout this disc to make it a worthwhile listen. '“ PO'D
File next to: Socially-conscious Resinators-like dub.

BROKEN TREE FORT
'00-04 Compilation (Independent)
Malton-based Broken Tree Fort has been making music (as evidenced here) for roughly half a decade now. This compilation is extremely limited (mine's copy three of nine) and aims to provide a survey of various projects BTF has had in the works over the past four years. Selections from '˜Excuse Me Doctor', '˜Klanks On Parade', '˜Reform The Deformed' and '˜Caught In The Devil's Fence' all find their way onto the disc, as do several unreleased tracks. The music is self-recorded, passionate & charming. Even the novelty of covering 'œShimmy Shimmy Ya'? is thankfully not exploited to its most ironic effect. Rather, the song is given an earnest, haunting/melancholic arrangement that seems to suit it perfectly. Broken Tree Fort continue to make uncompromising music that is worth seeking out at all costs. '“ PO'D
File next to: Skitterish rhythms, deadpan vocal delivery, squiggly guitars and carefully placed keyboards.

The Go! Team
Thunder, Lightning, Strike (Memphis Industries, www.thegoteam.co.uk)
Man, I dig this disc. This six piece from Brighton appear to have grown up on American TV adventure shows and The Electric Co. because their vision is distinctly 70s. There is a mix here of samples ('¡ la The Avalanches) and lo-fi funk with live instrumentation. Apparently recorded in a basement, this release is heavy with distorted beats and messy sounds rendering things a bit unpolished, but I think in that lies some of its charm. It's direct and funky, man! With some nods to late 70's California, double-dutch skipping and Grandmaster Flash-era scratches and raps, this thing just kicks. This album is like one spontaneous pep rally complete with cheerleaders. Totally unique and totally addictive.
File next to: Mike Post tv themes and Saturday mornings circa 1977.
--SV

Code 46 (DVD, directed by Michael Winterbottom)
Winterbottom's vision of a not too distant future in which genetics, in-vitro fertilization and cloning determine a person's worth and class serves as a moral tale here. This is a 21st Century spin to the Oedipus tale. Tim Robbins is a detective who seeks out people who violate their genetic restriction by using falsified technology to gain 'œcover'? to travel from one zone to another. In his search he falls for violator Maria played by Samantha Morton. Of course, things are doomed for these two. Code 46 refers to a statute that makes it forbidden to have sexual relations with someone who shares your genetic makeup. Any memory or pregnancies from that union are terminated for genetic purity. I found that this film was generally interesting but slightly flawed in places. But it would not be out of place alongside Blade Runner or THX 1138 for your sci-fi video collection.
File next to: Who you come from will determine where you will go.
--SV

Marissa Nadler
Ballads of Living and Dying (Eclipse Records, www.marissanadler.com)
Ballads are songs that often tell a moral lesson by often graphic and unrelenting means. Old country music
and southern gothic literature are littered with such tales. So is Nadler's song poetry. She seems to channel the spirit of Edgar Allan Poe through a singing voice that reminds me of Hope Sandoval or Kendra Smith. Poe's Annabel Lee is interpreted towards the end as an interesting coda to all this darkness. This stuff is very captivating and distinctly haunting from start to finish. The simple finger-picked guitar and banjo feel like a dark cold winter wind blowing straight through your bones. Added to this Nadler's velvety and melancholy voice portend some disaster for her song subjects in the form of suicide or murder. This album seems rooted in a weird realm where Leonard Cohen meets Alan Lomax. Make sure to listen to it with the lights on.
File next to: Spooky gothic folksongs with art direction by Edward Gorey.
--SV

MFC = Matt Fucking Collins, AG = Anthony Gerace, SB = Shaunna Bednarek, JB = Jasmyn Burke, PO'D = Paddy O'Donnell, SV = Steven Venn