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Nine Inch Nails With Teeth

Nine Inch Nails With Teeth

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Trent Reznor has always been a one-trick-pony, but it's a damn good trick: sunny melodies filtered through ferocious electronics. Unfortunately, the trick's impact was often watered down by a tendency toward petulance and self-absorption. Still, almost six years after NIN's last release, The Fragile, the trick itself has lost none of its Teen-Beat-from-hell appeal. With Teeth blisters from the start with "All the Love in the World," and tracks like "The Collector" take full advantage of Dave Grohl's sledgehammer drumming. Reznor stretches occasionally, trying out different tactics, from crunchy, overtly commercial rave-ups ("The Hand That Feeds") to borderline New Wave ("Only"). But Teeth isn't about stretching. It's about doing the same trick, only better, with less clutter and more bite. By neatly distilling the sparseness of Pretty Hate Machine with Downward Spiral-style density, it ends up being the most focused record in the NIN catalogue. --Matthew Cooke
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Nine Inch Nails With Teeth
Bruce Springsteen Magic [VINYL]

Bruce Springsteen Magic [VINYL]

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His career currently on a roll, Magic reunites the Boss with employees, the E Street Band and it is terrific--a highlight in a long and illustrious catalogue. Brash and noisy and a lot of fun, Magic is packed with great, thoughtful songs. The stately "Your Own Worst Enemy" sounds full yet eschews histrionics, the atmospheric "Gypsy Biker' has a strong melody to match, first single "Radio Nowhere" is an unlikely country-rock thrash and "Livin' in the Future" has all the swing of "Cover Me", but without the drawback of dated production. In fact much of Magic nails that old Phil Spector trick of cramming a lot of blokes (and birds) into a small room, and getting them to play simultaneously. Given that the E Street Band are big blokes these days, the effect is magnified. Not only does Springsteen successfully recapture a sound that once seemed exotic, the same can be said of lyrics such as "Girls in Their Summer Clothes" and "Long Walk Home", rueful and distant and all the more believable than the evocative yet lifeless mini-film scenarios he once specialised in. The Sopranos has redefined the image of New Jersey over the last decade (Bruce and band even pose like a mob in their clubhouse, especially Steve Van Zandt), but Springsteen has reclaimed local pre-eminence with this excellent collection. Pulling off the rare combination of excitement and maturity, the grown-ups are really having a good time. --Steve Jelbert
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Bruce Springsteen Magic [VINYL]
Joe Zawinul Brown Street

Joe Zawinul Brown Street

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Recorded in Vienna, the city of Joe Zawinul's birth, this 2005 concert adapts many of his most celebrated compositions for the expanded presence of the WDR Big Band. After the triumphant opening of the propulsive eleven-minute title track, the gentle "In a Silent Way" revisits the evocative memories of Zawinul's childhood that inspired him to write the piece over forty years ago. While this hour and a half of music draws from Zawinul's past, it is never dependent upon nostalgia. Rather, the bold new settings show how vibrant the writing remains. Zawinul's core quartet (with percussionist Alex Acuna, bassist Victor Bailey, and drummer Nathaniel Townsley) can be as ferocious and supple as any of Weather Report's line-ups. Everything from the atmospheric quietude of a piece like "A Remark You Made" to the world funk of "Black Market" is given its full due by this sprawling yet controlled 19-piece ensemble. --David Greenberger
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Joe Zawinul Brown Street
Sepultura Arise

Sepultura Arise

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In their previous seven years' existence Sepultura had steadily established themselves as Brazil's premier metal outfit, but it wasn't until 1991's breakthrough album Arise that they truly captured the hearts and minds of the international rock mainstream. Subsequently re-released with the addition of four bonus tracks--including the band's monumental annihilation of Motorhead's "Orgasmatron"-- Arise highlights Sepultura's irrefutable stylistic kinship to Metallica. The harmonic interplay between Max Cavalera's rock-solid rhythm work and Andreas Kisser's lead lines--on occasions the six stringed equivalent of a fully-throttled dentist's drill--is devastating. Max's tortured vocal, meanwhile, absolutely refuses to take prisoners while brother Igor's rhythmic battery is sheer, unfettered aggression. Moments of restraint, as on the quite astonishing "Altered State", merely accentuate the band's trademark brutality. Even with historical perspective, Arise retains its original ignominious appeal; an essential purchase. --Ian Fortnam
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Sepultura Arise
AC/DC Live '92 [Digipak]

AC/DC Live '92 [Digipak]

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Since exploding out of Sydney, Australia in 1973, AC/DC have been at the very forefront of heavy metal. Built around the central core of Glaswegian-born brothers Malcolm and Angus Young, whose brutal dual guitar assaults almost immediately set the rock world aflame, the band's awesome live battery has since passed into legend. AC/DC's stock in trade, a simplistic and uncluttered blend of fundamental rock & roll riffs and deliciously amoral licentiousness, has gradually come to exemplify the metal ideal, and the blistering stage performances captured herein show exactly why. The precision holocaust of "Highway to Hell", blazing ferocity of "Let There Be Rock" and immense triumphalism of "For Those About To Rock" are visceral sonic power incarnate. As Angus slashes forth elemental chords and struts the stage in his trademark school uniform, Brian Johnson roars himself ragged and bellows the crowd into abject submission. Mayhem has never sounded more glorious. --Ian Fortnam
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AC/DC Live '92 [Digipak]
Various Composers Music for Dress-Up [IMPORT]

Various Composers Music for Dress-Up [IMPORT]

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You know the classical compilation business is getting serious when you have artists like conductor Andrew Litton and the Dallas Symphony on a record of music for little kids to play dress-ups by. On this disc, packaged explicitly for that purpose, participants include the Seattle Symphony, the English Chamber Orchestra, and the Los Angeles Chamber Orchestra. Nothing but the best for my kid! The selections were apparently chosen by a girl, pictured on the cover, who looks to be about five or six. She's done a great job. There's lots of Tchaikovsky here, as well as Grieg, Gliere, and Prokofiev. It's great music and the disc, with its cheerful cover, will likely bring a smile to the lips of many adults as well as children. --Gwendolyn Freed
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Various Composers Music for Dress-Up [IMPORT]
AC/DC Live (Collector's Edition)

AC/DC Live (Collector's Edition)

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Since exploding out of Sydney, Australia in 1973, AC/DC have been at the very forefront of heavy metal. Built around the central core of Glaswegian-born brothers Malcolm and Angus Young, whose brutal dual guitar assaults almost immediately set the rock world aflame, the band's awesome live battery has since passed into legend. AC/DC's stock in trade, a simplistic and uncluttered blend of fundamental rock & roll riffs and deliciously amoral licentiousness, has gradually come to exemplify the metal ideal, and the blistering stage performances captured herein show exactly why. The precision holocaust of "Highway to Hell", blazing ferocity of "Let There Be Rock" and immense triumphalism of "For Those About To Rock" are visceral sonic power incarnate. As Angus slashes forth elemental chords and struts the stage in his trademark school uniform, Brian Johnson roars himself ragged and bellows the crowd into abject submission. Mayhem has never sounded more glorious. --Ian Fortnam
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AC/DC Live (Collector's Edition)
Bruce Springsteen Magic

Bruce Springsteen Magic

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His career currently on a roll, Magic reunites the Boss with employees, the E Street Band and it is terrific--a highlight in a long and illustrious catalogue. Brash and noisy and a lot of fun, Magic is packed with great, thoughtful songs. The stately "Your Own Worst Enemy" sounds full yet eschews histrionics, the atmospheric "Gypsy Biker' has a strong melody to match, first single "Radio Nowhere" is an unlikely country-rock thrash and "Livin' in the Future" has all the swing of "Cover Me", but without the drawback of dated production. In fact much of Magic nails that old Phil Spector trick of cramming a lot of blokes (and birds) into a small room, and getting them to play simultaneously. Given that the E Street Band are big blokes these days, the effect is magnified. Not only does Springsteen successfully recapture a sound that once seemed exotic, the same can be said of lyrics such as "Girls in Their Summer Clothes" and "Long Walk Home", rueful and distant and all the more believable than the evocative yet lifeless mini-film scenarios he once specialised in. The Sopranos has redefined the image of New Jersey over the last decade (Bruce and band even pose like a mob in their clubhouse, especially Steve Van Zandt), but Springsteen has reclaimed local pre-eminence with this excellent collection. Pulling off the rare combination of excitement and maturity, the grown-ups are really having a good time. --Steve Jelbert
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Bruce Springsteen Magic
Leonard Cohen The Best of Leonard Cohen Vol.2: More Best of Leonard Cohen

Leonard Cohen The Best of Leonard Cohen Vol.2: More Best of Leonard Cohen

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Canadian poet Leonard Cohen sings with great weight and authority and his lyrics are among the most elegant and scripted of the rock era. This collection is culled from his past three albums (1988's I'm Your Man, 1992's The Future, and 1994's Cohen Live) and shows a man whose voice has deepened to the point of grim, foreboding death with lyrics sharpened to masterful precision. The arrangements are deliberately clunky--the cheese- whiz female back-ups lend unusual tension bordering on parody--but the sentiments are for real. Two previously unreleased cuts, "Never Any Good" and the non-event, "The Great Event" suggest his well is currently dry. But the unrelenting bleakness of "The Future" and uneasy celebration of "Democracy" are among the past decade's most challenging pop works. --Rob O'Connor
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Leonard Cohen The Best of Leonard Cohen Vol.2: More Best of Leonard Cohen
Deep Purple Bananas

Deep Purple Bananas

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By virtue of its less-than-sober title, Bananas has already fallen foul of the more conservative elements of Deep Purple's fanbase: trenchant adherents who think that this sort of jocular impertinence doesn't befit the work of serious rock musicians (obviously they've never heard of Frank Zappa) and who have campaigned to get the album title changed. But no matter: Bananas ought to service the cravings of the riff-devouring faithful while enticing the uninitiated with some exceptional and entirely-out-of-character dalliances with distinctly non-Purple material. The current Deep Purple line up--Gillan, Glover, Paice, Morse (Ritchie Blackmore's replacement on guitar) and Don Airey (formerly of Rainbow and Ozzy Osbourne, an adept organ lick specialist who stepped into the breech following the recent amicable retirement of founder-member Jon Lord)--join-the-dots on such hackneyed rockers as "House of Pain" (music: think Rainbow's "All Night Long", lyrics: think "my woman's a bitch to me but that's the way I like it") and "Silver Tongue". To their credit, Purple recognise that no self-respecting middle-aged man can attempt to out-raunch Tom Jones and so "Doing It Tonight" is as tongue-in-cheek as it is hands-down-the-trousers, while the slyly funky "Picture of Innocence" could be Ian Dury's "Sex and Drugs and Rock & Roll" for teetotal virgins. Steve Morse's guitar instrumental "Contact Lost" (a tribute to Deep Purple fan Kalpana Chawla, the Indian-born astronaut who was lost in the Columbia space shuttle disaster) and the new folk of "Never a Word" both tread new ground, while "Haunted" (a memorable, emotionally-engaging ballad with female soul singers) is the best Deep Purple song in living memory and could have been a recent No. 1 for someone like Richard Ashcroft. A few more numbers of this calibre and Bananas would have been an absolute peach. --Kevin Maidment
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Deep Purple Bananas
Auf Der Maur Auf Der Maur

Auf Der Maur Auf Der Maur

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: Prior to the release of this debut solo album, Melissa Auf der Maur made her name playing bass in some of the biggest bands of the 1990s, including Hole and the Smashing Pumpkins, in the process becoming one of indie rock's premier pin-ups. During that time, she built up quite a following and fan base, including several famous friends that help out on Auf der Maur: Chris Goss and Josh Homme (Queens of the Stone Age), Brandt Bjork (Kyuss), Erik Erlandson (Hole) and James Iha (Smashing Pumpkins). With such high-profile bandmates, it's no wonder that Auf der Maur sounds so big and expansive--musically, it's simply awesome, sounding not completely unlike early PJ Harvey, right down to her cutesy, coquettish singing (she doesn't have a great voice, but she makes the most of it). It's a shame, then, that the lyrics frequently don't cut it. At their best, they're fairly unobtrusive (indeed, first single "Follow the Waves" transcends its lyrics with the magical power of rock). At their worst, they're downright cringeworthy--Auf der Maur's friends should have wrestled the rhyming dictionary from her on tracks such as "Head Unbound" (What rhymes with "unbound"? How about "down" and "ground", and just repeat them over and over?) and "I'll Be Anything You Want". Auf der Maur isn't a terrible debut album, but at this stage in her career--and working at this level--much better was expected. --Robert Burrow
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Auf Der Maur Auf Der Maur
Queens of the Stone Age Songs For The Deaf

Queens of the Stone Age Songs For The Deaf

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On Songs for the Deaf, core Queens of the Stone Age members Nick Oliveri and Josh Homme, with the help of like-minded consorts Dave Grohl and Mark Lanegan, balance pure guitar-induced carnage with more complex, though no less aggressive, speed rock that whips by so fast it creates its own breeze. The disc explodes with "You Think I Ain't Worth a Dollar, But I Feel Like a Millionaire", a toxic squall of power chords and now-classic Oliveri death howls. It's here the album's recurring concept/conceit is introduced, as a generic-sounding announcer from LA's "Clone" radio spits out some psychobabble reinforcing the tired if true cliché that commercial radio stinks. Similar mock broadcasts surface elsewhere, but they're easily forgivable, given the bounty on offer. Homme-powered tracks dominate--the lurching, weirdly springy single "No One Knows" is a kind of "Monster Mash" for grown-ups; the vocal harmony-driven "The Sky Is Falling" is almost dreamy until a small army of guitars surge to the front lines to begin firing. And a lyrically winking hidden track, "Mosquito Song", is either an in-joke of ridiculous proportions or a declarative statement about the level of musicianship lurking just beneath the quaking veneer of the Queens' sound. Either way, genuine excitement comes early and often on Songs for the Deaf. It's a remarkable achievement--a hard rock record so good that it immediately evokes a conspiratorial fervour that makes you want to tell everyone you can about it. Er, job done. --Kim Hughes
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Queens of the Stone Age Songs For The Deaf
Jean Knight Mr. Big Stuff

Jean Knight Mr. Big Stuff

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Originally released in 1971, Mr Big Stuff proves that Jean Knight's one-hit wonder status is scandalously unjust. That's not to underestimate the sheer brilliance of her most celebrated cut. The sassy, struttin' title track remains an R&B classic, with Knight's strident delivery--particularly the stinging retort "Who do you think you are?"--a provocative proclamation of feisty independence. The single certainly proved to be "big stuff". One of Stax's biggest hits, it topped the US R&B chart and just failed to scale the Billboard pop summit. Unfortunately, although the album contained a succession of equally scintillating tunes, Jean was unable to repeat the success of "Mr Big Stuff". The failure of fierce 'n' funky follow-ups "You Think You're Hot Stuff" and "Carry On" is especially hard to fathom. -- Chris King
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Jean Knight Mr. Big Stuff
Cake Pressure Chief

Cake Pressure Chief

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While artists like Beck and Radiohead see every new album as an opportunity for reinvention from the ground up, Cake has no such hang-ups. From the uniformly rustic cover art, the jerky rhythms and wobbly trumpet solos, each of Sacramento band's albums is reassuringly interchangeable. But on its fifth, the group's most distinguishing characteristic--John McCrea's deadpan, detached vocals--seems to have been given a makeover. On songs such as "No Phone" and "Tougher Than It Is" for the first time the singer seems, well, like he's actually trying to sing. It's nothing dramatic--the music will still sound immediately familiar to those who even in passing have heard hits such as "Short Skirt/Long Jacket" and "The Distance"--but with certain bands a little goes a long way. --Aidin Vaziri
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Cake Pressure Chief
Mark B The Unknown

Mark B The Unknown

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Producer Mark B and MC Blade hail from South London, England. Their debut, The Unknown is a concept album (without arty pretensions) aiming to celebrate home-grown hip-hop. Conceived as a call to arms, Mark B and Blade's collaboration deserve plaudits outside US comparison. Alongside, Big Dada's Gamma they have mounted a rap attack on hip-hop's dumbed-down status quo with an album that is lyrically and sonically superb. Although the subject matter may be monotonous for most (the under-appreciation of UK hip-hop), the delivery certainly is not. Though elderly (in UK hip-hop terms), Blade's baritone breath control is timeless. He rhymes with a furrowed brow straight across battle-scarred lines, assaulting conformists on "From The Wordlab" or criticising the music industry's predilection for fads on "Ya Don't See The Signs". The ever-prolific Mark B profits from eccentricity; for him all music from Polish folk music to Elmer Bernstein-style brass is relevant. His desire to search and utilise the ultimate but strangest breaks marks him out as an innovative talent who can produce world-class state of the art hip-hop. Listening to their signature tunes, The Unknown is an affirmation of this: Blade is the everyman tripped up by life's ups and downs, chasing his demons and flitting in and out of reveries. Instead of providing a melody that stinks of dank basement isolation in the manner of such arch-miserabilists as Company Flow, Mark B provides a tidal wave of sublime funk and choppy beats and he does it over and over again. The Unknownis a great album that proves (again) that quality UK hip-hop is not a contradiction in terms. -- Maxine Kabuubi
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Mark B The Unknown
Akon Trouble: Parental Advisory

Akon Trouble: Parental Advisory

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Multi-talented newcomer Akon releases a dynamic debut album Trouble - a collection of stirring songs, creatively reflecting the ups and downs of the singer/songwriter/producer's life experiences. Akon's popular appeal is based on his distinctive vocals and relaxed singing style. Genuine and honest, Akon's music is a step forward for hip-hop.
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Akon Trouble: Parental Advisory
XTC A Coat of Many Cupboards

XTC A Coat of Many Cupboards

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Only a band like XTC--always there but never part of the furniture--could come up with a title as absurd and yet as appropriate as A Coat Of Many Cupboards. While most artists would go to extraordinary lengths to keep their old musical doodles and rejects locked away from prying ears, XTC are only too happy to hand over the keys and show you all the secret compartments. Fortunately, this four CD box set of hitherto unheard home recordings, studio demos, aborted singles, album outtakes and drunken japes as well as TV appearances, radio broadcasts and--in the case of Dukes Of Stratosphear--psychedelic charades makes for a fine old rummage through 15 years of their pop laundry. Thus, it's interesting to hear an extra verse in an early run through the bible-belt-bothering "Dear God" ("see 'em singing holy songs and start piling up the neutron bombs") or contemplating how much better, judging by Andy Partridge's home demo, "Ballad of Peter Pumpkinhead" could have sounded if they hadn't tagged on that E Street Band harmonica. Baffling, too, to hear how three songs from Drums and Wires were re-recorded as potential follow-ups to their first chart hit "Making Plans For Nigel" but were ignored in favour of the dreary and--seeing as it sunk without trace--prophetically titled "Wait 'Til Your Boat Goes Down". Although comparisons to The Beatles became commonplace in later years, there was something about those early tunes--reading comics in bed on "Science Friction", wanting to be with "all my chums" on "Meccanik Dancing" and partaking of "nuts and crisps and c-c-c-cola on tap" at Church hall youth social events on "Life Begins At The Hop"--that was rather more Enid Blyton's Famous Five than Fab Four. But they did share some of the Moptops goonish wit, as evidenced by "Shaving Brush Boogie" from 1982's much-bootlegged Drunken Jam Sessions, although the public really ought to have heard the marvellous Hawkwind needlework tribute "Silver Sewing Machine". That this belated archaeological anthology will outsell most of
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XTC A Coat of Many Cupboards
Paul Westerberg Stereo/Mono

Paul Westerberg Stereo/Mono

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Stereo / Mono is presented as a double-album collaboration by two artists--former Replacements singer-songwriter Westerberg and a rock group called Grandpaboy. In truth, of course, Grandpaboy is Westerberg himself--for whatever reason, most likely the self-consciousness of middle age, the man who helped invent modern alternative rock & roll no longer feels entirely comfortable with the idiom. This division is altogether unnecessary--Replacements' albums, and Westerberg's solo efforts, have always accommodated both sides of Westerberg's character, the balladeer and the rock & roller, without either sounding uncomfortable. But it's nevertheless welcome, as it means twice the amount of music--and this is Westerberg in fine form. Like its predecessor, 1999's cruelly overlooked masterpiece Suicaine Gratifaction, Stereo was recorded at Westerberg's Minneapolis home (indeed, the only thing wrong with the album is that Westerberg occasionally overdoes the wilfully amateurish authenticity--a couple of tracks end mid-song because that's where the tape ran out). He was clearly aiming to create something raw and honest, and he's done it: the ballads on Stereo are suitably reflective and lonely, and the punky rave-ups on Mono bristle with the exuberance of a garage rehearsal. --Andrew Mueller
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Paul Westerberg Stereo/Mono
Go Whatcha Doin'

Go Whatcha Doin'

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The Stooges and MC5 started the Motor City's musical revolution in the late '60s with an approach to rock & roll that was primal, raw, and utterly untamed. Sure it was fueled as much by illicit substances as social revolt, but in this nasty, distorted mess was the nascence of punk rock. While the Go, Detroit's latest bunch of ill-coiffed garage-rock malcontents, don't exactly espouse the same sort of social revolution MC5 once rallied around, musically they fly their freak flag with the same snot-nosed vigor. Whatcha Doin' is exactly what primitive R&B-rock & roll sounds like in the hands of five young white boys who have a keen appreciation of fuzz-toned guitars and a knack for great hooks. The production, courtesy of Outrageous Cherry's Matthew Smith, is as raunchy and retro as the band's old-school rave-ups and definitely highlights the vocals and buzzing guitars over the simple, sloppy rhythm section. It would be too easy to peg the Go as merely derivative throwbacks if the songs weren't so damn infectious. Nearly every tune is brimming with an undeniably catchy chorus, turning every rough nugget into a gleaming gem. --Adem Tepedelen
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Go Whatcha Doin'
Yes Open Your Eyes

Yes Open Your Eyes

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After some extremely confusing personnel shake-ups, the 1997 Yes configuration--including classic members Jon Anderson, Steve Howe, Chris Squire, and Alan White, plus new keyboardist Billy Sherwood--emerged with this surprisingly strong effort that manages to maintain Yes's familiar prog-rock sound without making the band sound like a museum piece. New numbers like "New State of Mind", "Open Your Eyes", and "Fortune Seller" blend the band's progressive inclinations with solidly crafted melodies that place them among the band's catchiest creations. --Scott Schinder
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Yes Open Your Eyes
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