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CD REVIEWS: Kevin Hearn, The Divine Comedy, Pulp and many more
Tuesday November 06, 2001 @ 03:30 PM
By: Debbie Bento
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BT Rare & Remixed (Nettwerk/EMI)
Classically trained, Brian Transeau (a.k.a. BT) helped pioneer the hyper-dramatic builds and symphonic overtones in progressive house and trance. Although he's moved away from the progressive scene over the past few years, Rare & Remixed serves to remind us of his past achievements. The double-disc mix set compiles singles, remixes and collaborations with the likes of Sasha and Tsunami One. BT's affinity for pop Velveeta comes out loud and clear on Electric Circus-grade tracks like "Remember" and the Way Out West mix of his ballad, "Shame." It also showcases his talents as a pop remixer, however, particularly on his reworking of Tori Amos' "Blue Skies" and Seal's "I'm Alive." For good measure, he throws in his groundbreaking (albeit overplayed) club staples, "Godspeed" and "Dreaming." As dated as it all now sounds, Rare & Remixed nonetheless offers up some classic memories of the progressive movement's heyday. Darrin Keene
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DAFT PUNK Alive 1997 (Virgin/EMI)
Alive 1997 is a memoir of Daft Punk's successful 1997 Homework tour, offering over 45 minutes of a memorable Birmingham, U.K. show. This five-song set, mixed as one flowing track, showcases the enigmatic duo living up to their then-massive media hype. A 16-minute version of "Da Funk" brings da noize and da funk to the Birmingham masses, leading into an analogue storm of caustic synths on "Rollin' Scratchin'." The remaining tracks, "WDPK"(Parts I and II) and "Alive," serve as energetic filler. While not essential listening, Alive 1997 is a refreshing reminder of Daft Punk's more innovative side. It almost makes you forget about the unadulterated pop shite they dished out on their sophomore effort, Discovery. Alas, it will take more than a live EP to rid them of that foul stench! Darrin Keene
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DAVE MATTHEWS BAND Live In Chicago 12/19/98 (Universal)
Hot on the heels of a brand new record comes an older recording highlighting fan favourites from this, their last stop on their last tour. This recording is a great example of the relationship between DMB's rabid fans and the group itself. Despite many instrumental jams, the audience's enthusiasm is unwavering and at times, their voices rise to frenzied levels in between songs. The inclusion of Tim Reynolds on electric guitar throughout the set and special guest star Maceo Parker on the saxophone definitely makes this a standout. The inclusion of Daniel Lanois' "The Maker" makes for a spirited set played by a band hotter than ever by tour's end. Paul Gangadeen
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THE DIVINE COMEDY Regeneration (EMI)
Progressing away from their work on indie label Setanta Records, The Divine Comedy (a.k.a. Neil Hannon) have now climbed aboard commercial music conglomerate EMI and released Regeneration. With a pensive and melancholic sound it's small wonder that Nigel Godrich (Radiohead, Travis) was the album's producer. The tortured lyrics ("What the fuck is happening?") and album name may suggest that TDC has reached that narcissistic plateau of pop and feels somewhat displaced. Despite this, there are times when rays of golden pop sunshine fall upon the album — like "Perfect Lovesong" — and make me question how bittersweet the irony is. Hannon's voice (having not yet faltered) and their lyric vulnerability remain The Comedy's most alluring attributes. Andrew Cohen
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DJ TIESTO In My Memory (Nettwerk/EMI)
DJ Tiesto is not bald, fat, skinny or ugly, which are all too common physical characteristics of the subspecies of human, the disc jockeyus sapienus. Tiesto is a good-looking Dutch guy with a tan who likes tight t-shirts. He's also one of the world's most popular trance DJs. In My Memory is Tiesto's first full-length release of his own material and it's got sweeping orchestral trance full of emotion, longing and cheezy girl vocals. Could it be Tiesto seeks to leave the dance club for easy listening radio? Thankfully, only a third of the nine tracks feature Dido-esque vocals, so the remainder are straight-forward trance tracks that are well constructed, paced but a bit bland. The beats are fairly constant and Tiesto keeps the BPMs steady and only mucks about with the formula very slightly on the track "Obsession," where the beat is given a mild tribal treatment. Each song starts slowly then builds up to a crescendo. Yawn, how predictable. Then again, I listened to this CD sober while sitting at my desk at 10 in the morning. To really appreciate this music I suppose you have to listen to it loud while on a stimulant of your own choosing. Tight shirts are optional. Kori Golding
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ENRIQUE IGLESIAS Escape (Interscope/Universal)
You've seen the video. Or what is essentially a poor excuse to show Jennifer Love Hewitt's glistening cleavage heaving and undulating while Enrique Iglesias rubs money all over them. It's a scene that makes Mickey Rourke and Kim Basinger's fridge scene from 9 1/2 Weeks look like a Polka Dot Door episode about the basic food groups. Oh wait, Mickey Rourke's in the video, too — just for good measure. Welcome to the world of pop music. The sad thing is that the song, "Hero," when taken in the context of what it is — yet another cookie cutter pop song for the masses to eat up and then forget about in a year's time — is actually pretty good. It's your standard sappy, this-is-for-the-girls-to-swoon-and-fall-at-my-feet, over-the-top pledge of undying devotion to the fairer sex. So let's give the guy credit for being good at what he does. Iglesias mixes in mid-tempo, Latino-peppered dance tunes with his over-wrought crooning. You just have to get over the wimpy, "No, I'm really straight" vocals. "Escape" and "Don't Turn Off The Lights" stand out alongside "Hero," but there are at least another five singles on the record. The pop masses will eat this up. Polish a new Grammy
for this one. Ugh. Brian Pascual
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KEVIN HEARN AND THIN BUCKLE H-Wing (Nettwerk/EMI)
While battling leukemia, Barenaked Ladies keyboard player Kevin Hearn spent a month in isolation in the H-Wing of Toronto's Princess Margaret Hospital. The appropriately titled H-Wing is the product of his songwriting therapy during this tumultuous time. Emerging cancer-free, Hearn teamed up with former Look People bandmates Great Bob Scott (drums) and Chris Gartner (bass), Rheostatics singer-guitarist Martin Tielli and multi-instrumentalist Derek Aardy Orford. The resulting band, Thin Buckle, add alt.country twang and oddball funk and jazz touches to Hearn's maudlin vocals. Members of Barenaked Ladies, By Divine Right and the Rheostatics add instrumental and vocal support. Hearn's quirky lyrics range from humorous asides ? he feels like "Nick Rhodes without his gel" on "Driftwood" ? to direct confrontations with his illness. "Mouth Of A Shadow" offers his most enlightening lines: "Don't give in they'll say/ There's nowhere to run anyway/I have decided to stay/And take on the shadow/That darkens the day." While others would drown these lyrics in melodramatic song arrangements, Hearn and company opt instead for minimal instrumentation, letting the words carry their own power. It's this Spartan aesthetic that makes H-Wing such an engaging listen. Darrin Keene
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KINGS X Manic Moonlight (Metal Blade/EMI)
What has done Kings X in — up 'til now — has been the fact that the band's sound is so damn identifiable that you know what's coming with each release. With Manic Moonlight the band seems to have concentrated a bit more on their songs rather than on their execution. The songs still ring with Doug Pinnick's bass growl and Ty Tabor's effected guitars, but tracks like the super-melodic title cut and the beautiful "False Alarm," show them balancing their musicianship with songwriting and coming out with one of their more cohesive-sounding albums since Out Of The Silent Planet. Manic Moonlight features a whole whack of loops, stacks of vocal harmonies and some way above average Kings X songwriting. Manic Moonlight actually feels warm and oh so comfortable — unlike some of Kings X's previous releases. Tim Melton
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THE MISFITS Cuts From The Crypt (Roadrunner/Universal)
In typical Misfits fashion, a great idea is completely blown to smithereens once Jerry Only and crew get their paws all over it. This collection of rare and unreleased gems is nothing more than the obligatory contract album that assembles demos, B-sides and the like without much thought for the consumer other than "how are we gonna sucker 'em again?" For Christ's sake, the disc flaunts housing the "Scream" video, yet the goddamn thing is screwed up, playing only the song, not the images. As time goes on, The Misfits are becoming nothing more than a cheap money-grab. After all those years of wonder, it's pretty obvious that Danzig was the sensible one, deserting this sinking ship hell-bent on destroying its own legacy. Keith Carman
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MORRISSEY The Best Of (Rhino/Warner)
Though there's an extra track (the alright "Lost") and some photographs, there's no tacky badge and any Moz fan worth their salt already has most of the songs represented on The Best Of Morrissey. In fact, the diehards who refer to him as "Stephen Patrick" and celebrate his birthday by purchasing daffodils have been conditioned to hate this sort of thing thanks to "Paint A Vulgar Picture" from The Smiths days. Still, this comp isn't for them. It's for those journal keeping teenage girls who just found out there's a romantic cult behind that "How Soon Is Now?" song — and they'll surely be quick converts. Competent and obviously selected, probably the best thing about this Best Of is that when revisiting more recent songs like "Alma Matter" and "Sunny" outside context of the woeful albums they came from, they benefit from a welcome new perspective — and at least that's something. Aaron Brophy
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PULP We Love Life (Island/Universal)
Pulp's new album could arguably be one of their best offerings to date. It's orchestral in parts, acoustic in others and lyrically clever throughout. Although this sound is nothing like their earlier His 'n' Hers or Different Classes, the album still comments on the themes that Jarvis knows best. Songs like "Weeds" and "Origin Of The Species" are smart social commentaries while "Roadkill," a fragile bit, talks about death of relationships. "I Love Life" is probably the most optimistic song on the album, perhaps in the band's history. But the new sound makes you almost afraid to ask: has Jarvis lost his edge? I don't think so. He's only undergone a bit of a mid-life crisis and has emerged a mature man, and there really isn't enough said about maturity these days. Lisa Sarracini
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MARY SIMON Before I Fall (Fenixgirl)
Quick, someone go phone Toronto's MIX 99.9 mainstream station and tell them they've found the next artist for them to overplay. Trust me, before long Mary Simon will be wearing the same shoes Sarah Harmer looks so damn cool in. Just remember I told you so. Actually, the station should tell you they're already onto Simon, seeing as she did fairly well in their 11th Annual Songwriting Contest earlier this year. Sure, the world isn't suffering from a shortage of Lilith singer-songwriters, but like Harmer before her, Simon hopes to bridge the chasm between rock, folk and pop music fans. Her vocals are a consonant mix of sweet, delicate grace and heart wrenching pain (try not to cry from her Jewel-ish crooning on album closer "Enough"). Like fellow Canadians Mia Sheard and Jann Arden, Simon digs deep into her memory to sing laments about loves lost, gained and yearned for. Grab the Kleenex and press play. Brian Pascual
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VARIOUS ARTISTS The Chillout (Virgin/EMI)
Downbeat comps, the complete antithesis of party-and-shake-your-naked-booty compilations, are creating the sort of music mix that'll have discerning music listeners slipping the album into their stereos in that get-naked-and-shake-your-booty sort of way. But when they fail, all they do is make you want to sleep. The Chillout suffers from this despite pulling out some of the sexiest Brit-rock and electronic bands out there, including Groove Armada, Air, Coldplay and Stereophonics. While the two-disc compilation has an unfortunate tendency to throw in a few big (and way too overplayed) sellers (I'm looking at you, Gorillaz and Rob D), there's also a few goodies like St. Germain and Badly Drawn Boy to appease the elitists out there. And if you're all alone, the album (especially the first disc) will either put you in a coma or place you in the darkest, foggiest depression imaginable. Chillout? More like Conk Out. Hannah Guy
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November 2001 issue featuring Matthew Good, Sloan, Kittie, David Usher and more.
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