|
JANE'S ADDICTION
Strays
(Capitol/Toshiba EMI)
 |
For fans, this kind of album produces mixed feelings. Twelve
years after the release of Ritual de lo Habitual and their
subsequent break-up, the seminal alt-rockers on their new
album would have to defy the rules of rock not to disappoint.
And Strays, only their third full-length, could never match
the power of Nothing's Shocking; Jane's will
never be the wild, burn-the-candle-at-both-ends rockers with
their fingers on the pulse of the zeitgeist that they were
in 1991. But once you get over the disappointment of Perry
Farrell and company being merely mortal, Strays proves a pretty
strong listen. Granted, their blend of punk, funk and metal
sounds dated, but you wouldn't have wanted them to
change too much, would you? At times, as in the single "Just
Because," they approach the exhilarating, devil-may-care
freedom that characterized early Jane's material, and
as they proved at Fuji Rock last summer, they're still
mesmerizing live. Shouldn't that be enough?
"WEIRD
AL" YANKOVIC
Poodle Hat
(Volcano/BMG)
 |
Nirvana reportedly didn't feel they'd
"made it" until pop's most famous parodist
had lampooned one of their songs. Eminem, Nelly, The Strokes,
Staind and the many other artists parodied on Weird Al's
first release in four years may or may not feel the same way,
but being chosen by the man who brought us the Michael Jackson
sendup "Fat" certainly qualifies as some sort
of honor. While the easily caricatured Eminem makes predictable
fodder in the lead-off track, "Couch Potato,"
a parody of the rapper's "Lose Yourself,"
many of the other songs hit their mark. "Angry White
Boy Polka" is a riotous medley that simultaneously
takes the wind out of a slew of angst-rockers, including Rage
Against the Machine, The Strokes and Limp Bizkit. Yankovic
is also on the mark with "Wanna B Ur Lovr,"
his lampoon of Beck imitating Prince on "Sex Crimes,"
and he doesn't hesitate to take on more hallowed figures,
such as Bob Dylan, with mixed results. "Weird Al"
Yankovic may sometimes fall flat, but with Frank Zappa no
longer around, he's all we've got.
NAPPY ROOTS
Wooden Leather
(Atlantic/Warner)
Following up the out-of-nowhere success of
their 2002 debut, Watermelon, Chicken & Gritz, which led
the governor of their home state of Kentucky to declare September
16 "Nappy Roots Day," isn't easy. But
with Wooden Leather, this six-man hip-hop collective prove
they were no flash in the pan. Greasy funk rhythms and a matchless
verbal flow make the album easily one of the best hip-hop
releases so far this year, with flavors ranging from the folksy
rhymes of "Good God Almighty" to the bluesy
lament of "Sick and Tired" to the stoner loops
of "Nappy Holiday," which celebrates the day
named after the group while reminding us all of the importance
of being happy with our everyday lives. Verdict: with Wooden
Leather comes another reminder that the best hip-hop today
is emerging-not out of East and West Coast money machines
like Murder Inc. or Death Row-but in the form of Southern
crews like Outkast and Nappy Roots.
VARIOUS ARTISTS
Kakuto Soundtrack
(KSR)
To match the young and hip cast of his sleek,
post-Bubble crime story, fast-emerging director Yusuke Iseya
assembled an equally youthful crew for the soundtrack. Most
of this album's 15 tracks are the work of TUUKé,
a trio consisting of programmer Kenatarou Masaki, guitarist
Tsuru Onishi and percussionist Yusuke Tomizawa. Along with
guest vocalists, they churn out a spectrum of post-rock sounds,
ranging from the dreamy ambience of "Life on Mars"
to the electro-dub of "Moderation" to the mellow,
folk-influenced guitars of "Delight." Veteran
Japanese techno production unit Dublab chip in the frenetic
drum 'n' bass track "Dodge," while
Japan-based DJ/producer Domino ends the album with the trance-y
"Shukriya." The soundtrack to Kakuto is an example
of the kind of interesting collaborations that can result
when Japan's inventive young directors team up with
its equally productive legions of youthful musicians, DJs
and producers.
ORANGE PEKOE
Modern Lights
(BMG Japan)
 |
The nu jazz movement, where international
grooves embrace sonic sorcery, is insistent in making jazz
and things jazzy ever more relevant and adventurous. Koop,
Bird and Cinematic Orchestra established the paradigm that
stood until early this year. It's now been revised;
the new standard is Orange Pekoe, the best song-based nu jazz
act of 2003. Pekoe songwriter/arranger/guitarist Kazuma Fujimoto
is a craftsman of the highest order, while Tomoko Nagashima,
the other half of the duo, delivers her bandmate's
sweet melodies in a youthfully dulcet voice. Modern Lights
interprets numerous styles-big band, Brazilian, electro,
bop-with considerably more intimacy and warmth than
Orange Pekoe's European counterparts, as Fujimoto utilizes
mostly live musicians. When they opt for the electronics,
however, the band sounds even more impressive, especially
on "Hasu," where bubbly broken beats, futuristic
soundscapes and a lilting shinobue (Japanese flute) render
this one of year's most massive stormers. Wesley Chu
top
|
