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Tortoise Standards [VINYL]

Tortoise Standards [VINYL]

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The fulcrum of Chicago's underground musical scene, Tortoise pretty much are the group responsible for plotting the blueprint of what's commonly--if vaguely--referred to as post-rock. Certainly, they are an outfit who, since their inception, have remained in a constant state of flux, their ever-shifting line-up reflecting a constantly mutating musical ethos. Where 1996's Millions Now Living Will Never Die largely comprised of maudlin guitar-bass-and-drums instrumentals and 1998's TNT embraced the modern electronic studio as the group's primary instrument, the lofty aim of Standards is to unite both approaches under a pioneering banner: analogue and digital technology used as complementary forces. Sounds thrilling, eh? Well, probably not, unless you puzzle over circuit boards of an evening in. But forget, just for a minute, Tortoise's pseudo-intellectual reputation and just listen to the sounds. It's somewhat appropriate that Standards is the group's debut for adventurous British techno label Warp; this is Tortoise's least categorisable album yet--a kaleidoscope of sound, where Miles Davis glides serenely past Autechre, each individual instrument melding into a hypnotic fog, and then swiftly congealing into sudden, breathtaking movements: the sudden, florid bloom of xylophone from the casual swing of "Benway", or the rumble of warm saxophone, shaking up the electronic foundations of "Monica". Still flying the flag for the experimental vanguard, this might just be Tortoise's greatest album yet. -- Louis Pattison
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Tortoise Standards [VINYL]
Roger Waters Amused to Death

Roger Waters Amused to Death

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Perfectly titled--conveying both its maker's mordant humour, and his underlying pessimism--Waters' third solo album allowed a faint but perceptible return to the sound of his estranged former band, Pink Floyd: there are moments here ("What God Wants", "Three Wishes") which recall nothing so much as the densely textured sound of Animals and The Wall. And like those works, this is a concept album--the concept (as ever with Waters) being how staggeringly and comprehesively crap modern life is. Fair enough, but as usual, his satire is blunt, and the targets of his scorn crashingly obvious. (So, war is bad, eh? And television saps the mind? And fast food is less than exactly nutritious? Well, blow me down.) Former Eagle Don Henley duets on "Watching TV", while Jeff Beck contributes taut, lyrical solos to a number of tracks, notably "It's A Miracle". Waters' voice, however, remains the same: a weary whisper, positively dripping with contempt. -- Andrew McGuire
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Roger Waters Amused to Death
One Republic Dreaming Out Loud

One Republic Dreaming Out Loud

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If, like most of the pop-listening public, you heard Timbaland's chart-topping remix of OneRepublic's single "Apologize" before you heard the original, you may be mildly confused about what kind of music the band makes. Timabaland's signature electronic swizzles and "eh-eh-eh"s leave the impression that OneRepublic is a style-heavy outfit a la Maroon 5, but frontman Ryan Tedder's plaintive words and woebegone themes don't fall far from forerunners Keane, Coldplay, and the Fray. Dreaming out Loud chisels away at the dichotomy. "Apologize", stripped of its swizzles, is a gorgeous modern rock song made all the more gorgeous by the urgency in Tedder's striking, unscuffed voice, and a lot of the songs on this record stack up similarly. Which is to say that, although tracks like "Tyrant" and opener "Say (All I Need)" wrap themselves around some seriously stylish production, substance is really this band's thing. A piano played by turns ferociously and tenderly drives the point home, and so do some choice lyrics; if you are inclined to choke up at feelings laid bare, check out "Goodbye, Apathy" and "Come Home" at your own risk. --Tammy La Gorce
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One Republic Dreaming Out Loud
Lady Saw The Best of Lady Saw

Lady Saw The Best of Lady Saw

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This roundup of 19--count 'em--mega boomshots demonstrates unequivocably that Lady Saw is not just reggae's most gifted female. She belongs to a genderless, genreless elite whose recording and performing skill and chemistry transcends musical and cultural divides. Picking out highlights is nearly impossible, but to name a few, "If Him Lef," "Good Wuk," "It's Raining," and "Eh-Em" present Saw at her most gloriously bawdy and satirical. Yet her most awesome feat just might be navigating the Scylla and Charybdis of reggae's testosterone-saturated dancehalls and "uptown" Jamaica's "little old lady in the Cotswolds" prudery to arrive intact at favored status for hardcore and culture reggae fans alike. "Best of" signals loud and clear that this inheritor of twin legacies--the storytelling Caribbean women-warrior and the laser-tongued comic beauty--is poised to take over arenas beyond reggae. -- Elena Oumano
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Lady Saw The Best of Lady Saw
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