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ALBUMS
peLicAn
the fire in oUr throAtS wiLL BecKon the thAw
Hydra Head/US/CD
Before metal hardens and becomes rigid and unyielding, there is a point during its
manufacturing when it takes the form of a slowly moving, blistering liquid. This is
the sound of Pelican. While comparisons to metal bands like Isis and Dysrhythmia
are occasionally appropriate, this talented Chicago instrumental quartet fabricates
a much thicker and melodic form of post-rock more akin to Austin’s Explosions In The
Sky and sometimes channeling the awesome guitar drone of short-lived Windy City
heroes Hum (“Stars”). Marked by seven epic tracks of constantly morphing dynamics,
The Fire in Our Throats… is yet another triumphant interpretation of classical music
catered specifically for the aging mosh pit-and-devil-horns set. Steve Marchese
portABLe
verSion
~scape/GER/CD
Pulling no proverbial punches and deftly delivering just what you need, ~scape issues
another opus of majestic electro dub. The distinctive difference with Portable’s Alan
Abraham lies in his treatments of Leo Fernandez’s guitar–owing to his South African
roots, he meshes it with fragments of African percussion. His background is most
notable on the tribal “Ebb And Flow,” the polyrhythmic “Thought in Action” and the
aural downpour of “Typhoon,” although a few tracks lack the scintillating charisma of
Version’s apexes. With luck, the next version shall remedy this. Brion Paul
the procUSSionS
trevA whAtevA
MUSic’S MADe of MeMorieS
Ninja Tune/ UK/CD
Carefree, quirky and more than a bit twisted, Treva Whateva’s got the cure for
stuffy clubs full of stiffs holding up the walls. Taking a break from lending a
hand to Grand Central’s Mystic Brew compilations, Trev lets fly with a passel
of party rocking joints that cover several genres better than specialists. From
the shiny disco vibes of “Driving Reign” to the absurdly infectious piano and
vocal hoe-down of “Singalaong” to the skanking drum & bass of “Dedicated
VIP,” Whateva works his samples and loops for all they’re worth. Music’s
Made of Memories isn’t completely perfect (“Havana Ball” is about as clunky
as its punning name) but the occasional misstep is overshadowed by refreshing
enthusiasm. Drop the pose and have yourself damn good time–Treva
Whateva’s got yer tunes. Peter Nicholson
treva wHateva
Up ALL niGht
Miclife/JPN/CD
The set-up: one night, one mic, one studio, live drums, live Fender Rhodes, J-Skills
of the Sound Providers (a.k.a. Stro the 89th Key) on the kit, the keys and the boards,
and a few guests invited for a late night jam session, complete with freestyles
and (presumably) Heinekens and hydro aplenty. Basically, if you like The Roots (up
to Illadelph Halflife), Breakestra, Project Blowed, Freestyle Fellowship, Roy Ayers
or Dr. Lonnie Smith, you’ll be in love with The Procussions, who nail that mellow
old-school soul-jazz vibe right down to the yellowed, faded album art. Up All Night
isn’t an especially danceable project, but it’s as comfortable as a familiar couch for
those blissful chill out sessions. Eric K. Arnold
pUBLic eneMy feAtUrinG pAriS
reBirth of A nAtion
Guerrilla Funk/US/CD
Being one of the most paramount rap groups of all time means that the standard
you’ve set is your worst competition. On the track “Rise” and throughout the album,
Public Enemy’s Chuck D still “reps like he’s possessed by Malcolm X.” Yet Rebirth
lacks the Bomb Squad’s beautifully chaotic production and the sense of urgency
it garnered. Paris’s beats fall short of Shocklee & Co.’s creations, and the album’s
MC guest list is unnecessarily full. Though Chuck D is still the wiser and Flava
Flav continues to be one-of-a-kind, Rebirth pales in comparison to PE’s brilliant
backcatalog. David Ma
pUMpKinKheAD
orAnGe Moon over BrooKLyn
SoulSpazm/US/CD
On Pumpkinhead’s full-length debut, this once battle-ready rapper proves that he’s
graduated from the corner cipher and is ready to take on focused subject matter.
Rocking hard over the crisp beats of Marco Polo, Pumpkinhead keeps his wordplay
sharp yet graspable throughout. From challenging our war-hungry government
(“Grenades”) to pondering the course and possibilities of his life (“Anything”), he
presents a fairly well-rounded effort. But more than anything, this album is a testament
to Pumpkinhead’s undying dedication to hip-hop. As he tells all the cynics on
the cut “Here,” “You’ll never relate to my blood, sweat and tears.” Max Herman
recLooSe
hiAtUS on the horizon
Peacefrog/UK/CD
Living on the edge of the earth in Wellington, New Zealand serves Matt
“Recloose” Chicoine’s creative juices well. His acclaimed 2002 release Cardiology
brought the classic “Ain’t Changin’” (with Justin “Just One” Chapman) onto
grateful dancefloors everywhere. Hiatus On The Horizon boasts another stellar
single, “Dust” (featuring Dallas from Fat Freddy’s Drop), also destined for
legendary status. The strength of Hiatus lies in collaborations with Chapman,
vocalist Genevieve Marentette and an immensely talented cadre of Wellington
musicians. Overall, Hiatus lacks a little spark, but the exceptional musicianship
makes it worth adding to your collection. Emmerald
Si*Se
More Shine
Fuerte/US/CD
Four years after their 100,000+ selling debut, Brooklyn-based Si*Se returns with
nostalgic evolution. The eclectic band, led by vocalist Carol C and programmer
U.F.Low, adds a touch of class to their forward-thinking, Latin-tinged electronica.
Soulful soundscapes painted by violins, percussion and hearty basslines serve as
beautifully produced backdrops to Carol’s lyrics. Her combination of passion and
softness and her tranquil poetry–which flows as if heated by an internal, inquisitive
burning–make the heart melt. The punchy drums of the title track, the crushing
disco of “Agua” and “Karma” and the son-flavored spice of “Mariposa En Havana”
(a Buena Vista headnod to the original Nickodemus & Osiris cut) glow with a luminosity
certain to shine for some time. Derek Beres
SiSter GertrUDe MorGAn
KinG Britt preSentS: SiSter GertrUDe MorGAn
Ropeadope/US/CD
New Orleans: where voodoo challenges Catholicism for affection; where people
visit for the graveyards and stay for the funerals. Only here could Sister Gertrude
Morgan, a folk artist and self-professed “bride of Christ,” spend 20 years singing in
the streets only to have an album produced by hip-hop auteur King Britt a quartercentury
after her death. Utilizing Morgan’s legendary sole 1968 recording, Britt