Much has been made about Sumach Ecks’ voice leading up to the release of his debut disc A Sufi and a Killer. Following his guest performance on Flying Lotus’s Los Angeles in 2008, Ecks quickly made a name for himself with his voice that is as filthy as it is enchanting. In this regard, it’s a pleasant surprise that, with the debut disc for Ecks under the guise Gonjasufi, the singer has developed a sonic palette fitting for the uniqueness of his voice. A Sufi and a Killer is the perfect counterpart to any summer pop record, as Ecks quickly develops a blissed-out beachhouse aesthetic consistent with his fractured vocals, and carries it through to the final notes of the album. While there are a few bumps along the way, the record does well at maintaining a sense of cohesiveness. At no point does a song sound out of place. Considering the wide variety of styles brought into play throughout the disc (from the 1970s B-movie soundtrack feel of “Sheep” to the pounding blues of “Kowboyz&Indians,” recalling the best moments of Jon Spencer), it’s this consistency that proves to be the album’s greatest asset. With A Sufi and a Killer, Gonjasufi has proven to be worth the hype. (Warp, www.warp.net) Jeff Friesen
Review: Galactic – Ya-Ka-May
As Ned Sublette puts it in the liner notes, this is not your grandfather’s New Orleans record. On their sixth studio album, the jazz-funk jam band creates a record that aims to capture the modern and diverse music scene of New Orleans. The band has recruited a variety of artists from the city to contribute to the album. New Orleans is represented by artists in a diversity of genres such as brass (Rebirth Brass Band on “Boe Money”), jazz (John Boutte sings on the blues and funk inspired “Dark Water”) and most prominently, bounce. The inclusion of bounce on the album, from artists such as Cheeky Blakk (“Do It Again”) and Big Freida (“Double It”), will make fans recall Galactic’s previous hip hop inspired album From the Corner to the Block, and make the listener want to get up and dance while playing the album loud. Ya-Ka-May is an album that is very much like the dish that it takes its title from; it contains ingredients that should not work well together, but once it is mixed together and served, it is excellent. This album will blow your mind. (Anti-, www.anti.com) Charles Lefebvre
Review: Sirenia – The 13th Floor
The 13th Floor is everything one should expect from a gothic metal band and more. Every track is both epic and depressive while leaving enough diversity for all to enjoy. There is a choir that performs on every single song that helps to give this album that “big sound” it creates so well. The female vocalist sings beautifully while the male guitarist/songwriter occasionally offers death metal growls. The guitar riffs are heavy and relatively simplistic while the keyboard performs complex melody reminiscent of early power metal. There are a few drum-blasting moments, but for the most part this is an album that induces that slow exaggerated head-bang. The production of the album has a very cleaned-up pop music sound and the lyrics follow the generic vagueness of bands like Linkin Park. This is probably due to the guitarist trying to write as asexually as possible, however it does cause a mainstream feel that may turn away several fans of gothic metal. Despite this, the album is still a heavy symphonic metal album worthy to reside in most collections. If Cradle of Filth had a love child with Evanescence the result might sound something like Sirenia. (Nuclear Blast, www.nuclearblastusa.com) Paul Nordin
Review: Child Abuse – Cut and Run
After touring for three years with bands like the Locust and Pig Destroyer, Child Abuse has once again dropped an album that can only be described as bizarre. A not-so-subtle blend of math-rock, death metal and free jazz, the New York trio’s second album Cut and Run is a new direction both for metal and for electronic music. Though a metal band without guitars may seem like a pizza without cheese, these guys pull it off without a hitch. Heavily distorted synth takes the lead while the bass and drums thrum out a palsied foundation for the almost Dadaist vocals. This album is far from conventional metal and makes Mayhem seem like Buddy Holly in comparison. Fans of Fantômas and the Locust rejoice! Everybody else, run and hide! (Lovepump United, www.lpurecords.com) D. C. S. Murray
Rob Vilar’s Story Time – Beach House
By Rob Vilar
02:37 a.m. On a seaside pier, parts unknown.
With a splash of some unknown abrasive alcohol awakening me out of my stupor, I find myself bound to a straight jacket on a seaside pier. A foreign-looking Henchman and two of his goons look me over.
“You were gone there for a while,” says the Henchman in his thick South African accent.
“Yeah tell me about it,” I reply.
“Rob Vilar,” he says while taking a shot of the rough stuff from his flask, “You don’t know me but I know you. I am the man who is about to change the course of your history. Months ago we were running illegal MP3s on music blogs for advertising revenue from California Apparel. It was a great windfall for us… the money, the skanks that would sleep with us for publicity. It was a dream. We also ensured no artists got any cash for their original compositions. Anyways, it was all running perfectly, until you had to come with your Story Time reviews, and try to be funny, call our shit out and everything. Fuck you, Vilar. But you know what? Now you are alone. All your colleagues dead, except that slut partner of yours.”
“Well, knowing her, I’m pretty sure she has someth-”
“SHUT UP!” He screams as he pistol whips me across the face. “You see that house burning on the beach? That was your home, I presume. Well, just think in the morning when there’s nothing but a smouldering ash of what was once your house, you will be laid to rest at the bottom of this ocean. Fully intact and preserved for the rest of time. Our way to honour you Vilar. But your partner, once we get ahold of her…”
“You son of a bitches!” I yell while struggling to get out my straightjacket.