It's been a long time. I shouldn't have left you. Without a dope blog to read through.

Black Mountain - In The Future

By Andrew C.

Black Mountain’s piss and vinegar 2nd effort, In The Future, is a promising reminder that metal still has some interesting tricks up its’ sleeve. Like most of the critically received straight-up-rock bands today, the Canadian quintet definitely works a lot of prog into their noise—although it seems they’re looking backward for their inspiration. Retro-Deep Purple organs match Amber Webber’s voice on “Night Walks”, “Stormy High” and “Angels Will Play”. The combination creates a creepy ambiance that reminds of Sinead O’Connor and Lizzie Borden.

The real winners of the album, though, still come from lead vocalist and facial hair aficionado Stephen McBean’s black throated scowls. “Tyrants” and “Evil Ways” both build tremendously with gumption to make the best out of a solemn moment in the eye of a hurricane. Oh yeah, and the swift guitar work is nothing short of inducing lower neck pain. “Bright Lights’” 16 minute workout isn’t a minute too long, considering the band takes the time to construct a steel cascade monument out of brilliantly conceived tension-and-release rifts.

But let’s be realists—Black Mountain isn’t going to convert anyone who didn’t like metal before. It’s partially the artists’ fault, with lyrics dripping sincere macabre lunacy that you’d expect to hear and giggle at (Wicca people, forgive me!). The line between Spinal Tap, Tenacious D, and any serious metal band is terribly blurry these days, and lines like this aren’t helping Black Mountain’s case:

The witch is on your trail, my lord
Stormy stormy high
You've been dying to be set free
Oh curse those honeyed hands

On the other hand: screw that! If you’ve been looking to let loose a little inner metal child anarchy in your life, In the Future is your best bet so far this year. There’s something terribly invigorating about hearing a band successfully tinker a genre so worn and torn.

Starter Tracks: “Tyrants”, “Bright Lights”, “Evil Ways”, “Night Walks”

Best Played With: Black lights, Otto Mann, Pineapple Express, Fairuza Balk

Cansei der Ser Sexy - Donkey

By Andrew C.

Who knows what magic goes into ass-shakin' music, but Cansei de Ser Sexy, a Brazilian/Brit built pop-punk-party machine, carved a niche in a growing genre of throwback sounds. One of CSS' assets was a low-budget/trashy feel mixed with solid beats and spooky Moog effects, taboot. Who knows if it was the busy cross-continental touring of 2007 or my own high expectations, but Donkey doesn’t deliver the goods that their Sub-Pop debut possessed. While there was always a dangerous and heavy side to their music, Donkey misses some opportunities with its darker efforts. “Left Behind”, “Air Painter”, and “I Fly” shove guitars and angry scenarios down your throat without any of the sugar-coated funk you’d expect from this outfit.

Having said that, though, CSS’ unabashed leader and singer Lovefoxxx - and she deserves the extra consonants - is still a transfixing presence at the center of the music. Her smoky Brazilian drawl and fearlessness can be terrific fun, especially on nonsensical retro tunes like “Reggae All Night.” “Jager Yoga”, the opening track, is what CSS is all about: ironic self-awareness, cheap liquor, hairspray, and a rowdiness that’s hard to replicate.

Too bad a majority of the remaining tracks aren’t up to snuff. There’s an amazing EP in Donkey—my suggestion is to go spend 4 bucks on I Tunes, and leave the rest of the album on the cutting room floor. While the translation of the band’s name means “tired of being sexy”, here’s hoping they find a little more focus and energy on their next effort.

Tracks worth your dough: “Jager Yoga”, “Reggae All Night”, “Move”, “Believe Achieve”

Best played with: 99 Bananas or Mad Dog 20/20, headbands, makeshift dance floor in your living room.

Jason Collett - Here's to Being Here
By Sean B.

Jason Collett is a part of the Broken Social Scene collective, but from the sounds of this album you wouldn't have guessed that. None of their signature's are present; no quick tempo or style changes and you won't find any thick mixtures of baroque, experimental, ambient and/or rock. Instead you'll find a folky, roots rock sound reminiscent of Bobby D. (whom J.C. flatteringly mimics in singing style) or perhaps fellow Canadian's The Band. The album is never in a rush, instead meandering at it's own pace, which is usually upbeat without being fast. None of the arrangements get to quirky, as Collett opts to stick with the traditional guitar, bass, drums format with a little bit of keys thrown in to spice things up at times. In fact, Collett has referred to this as his "guitar record."

On 'Out of Time,' a sweet little guitar riff carries the song until a couple of "Ooh Ooh Ooh's" kick in during the chorus. 'Not Over You' starts with vocals and piano until a driving snare-powered rhythm kicks in. At about half way through the song, Collett stops mourning how he's not "over you" and lets the band carry the song out to a satisfying conclusion. There's a few other songs that will get yer toe a tappin', but there but few songs that really grab your attention. Overall, Collet delivers a solid, yet unspectacular album here, that you could easily throw on in the background of relaxedly hanging out with friends.