I will fully admit that the name of the band was the reason I chose to review this CD. After doing some research, here is what I can tell you about Gypsophilia. They are a seven-piece band from Nova Scotia whose sound is a mix of gypsy jazz and traditional Jewish folk music, with a little bit of classical and indie thrown into the mix. They have been a fixture at jazz festivals across Canada, including the Winnipeg Jazz Festival, since their debut album was released in 2007. I was a little disappointed when I first played the CD; I found the first track to be too slow-paced for my liking, but I cleared that hurdle, I found myself enjoying the rest of the album’s more upbeat sound. Tracks like the aptly titled “Jewish Dance Party!” will make you want to clap your hands and find the nearest person or chair to dance with, while other tracks like “A Oha” let you sit back and admire the sounds that these musicians create. The best jazz albums should give you a taste of what the band is capable of live, since jazz is always best when it is improvised live. If you are looking for a unique jazz record, Sa-Ba-Da-Ow! should satisfy your cravings until the band returns to the jazz festival in your city. (Independent, www.gypsophilia.org) Charles Lefebvre
Review: Drumheller – Glint
Continuing their strong run of solid experimental jazz records, Toronto’s Drumheller provide us with another charming yet misbehaving song-cycle with their new record Glint. Featuring Eric Chenaux on guitar, Rob Clutton on double bass, Nick Fraser on drums, Doug Tielli on trombone and Brodie West on alto sax, the record fits well with their previous two discs, while displaying the band growing into each other as a whole. For the first time, Drumheller comes across as more than just a collection of jazz musicians, as they cement themselves further as one cohesive unit. The songs on Glint really play off of each other well, resulting in a record that works as a whole. While there are certainly high points—most notably the Brodie West composition “Nifac63charlie” and the 14-minute-plus Clutton track “Hunter”—no song on the record sounds out of place. In a way, this cohesiveness is what is most exciting about this disc. While Glint consists of the playfulness and the profound use of harmonic textures evident in earlier releases (Eric Chenaux and Nick Fraser are their usual brilliant selves), for the first time Drumheller actually sound like a true band, which is a pleasure to hear. (Rat-Drifting, www.rat-drifting.com) Jeff Friesen
Review: Right Through – The Sun Hot
I know these guys have said that they like Fugazi and a number of other bands on Dischord Records, but I still hear hints of Pavement in some songs—especially in the upbeat intro and the grandiose guitar duel of title track “The Sun Hot.” However, Pavement didn’t take themselves seriously. Singers Jesse Hill and Cole Woods trade off vocal duties quite smoothly, having two distinct voices, and they sing a wash of nice wide chords when the two blend them together. Their lyrics are mostly concerned with nostalgia, (which I find really ironic since not all of the band members have graduated from high school yet) but they yearn for a memory-filled past well. As a group, Right Through are never out of step with one another and their musical chops really shine through on The Sun Hot, which is best at its really moody moments. It’s awesome that these guys have taken their angst and channelled it into something like a disc like this. (Independent, www.myspace.com/rightthrough) Taylor Benjamin Burgess
Review: Greg MacPherson – Mr. Invitation
’Peg City favourite son Greg MacPherson is now onto his sixth album, and with Mr. Invitation he scores big points for once again keeping it all very real. G-Mac doesn’t really fit into any neat musical categories, and that is most likely by his own design. We the listeners are the benefactors of this rather iconoclastic stance. As usual, urban angst looms large in the songs. MacPherson has the keen ability to write delicate songs, dug directly from his own first-person experience, and make them keenly universal in scope. Whether he’s riding a bus in “West End,” considering geographical relocation in “Visitor,” or just taking stock of his situation in “Traveling Style,” the songs are usually about some kind of forward motion. The heart-on-sleeve attitude that MacPherson delivers isn’t a weakness either. This is a guy that allows difficult emotions to simmer to the surface and then deals with them with consideration—something that the alpha males of the species should be advised to try once in a while. MacPherson’s band deserves special mention, especially nimble-fingered guitarist Steve “Batso” Bates and thinking-man’s percussionist Jason Tait (of the Weakerthans). Both these cats understand that MacPherson’s music is about understatement buoyed by the strength of conviction, and that is exactly how they play. Bates’ playing comes off like daubs of colour in a sometimes-grey bleak landscape, while Tait actually “plays” his kit rather than just banging away at it. The album sounds good, too. The production is airy and bright and even when the band is kicking out the jams a little bit it always sounds clean and present. MacPherson deserves all this at this stage in his career. He has worked long and hard getting to where he really needs to be to attract an even wider base of fans. This album should get him there. (Smallman Records, www.smallmanrecords.com) Jeff Monk
Review: Steve Basham – Thicker
Local weirdo-rocker Steve Basham’s follow-up to his previous solo disc Thick comes at you with the same lo-fi hilariousness that his music collective Mortfell Oktorium are known for. The first cut, “Bored Like a Dinosaur Robot with His Magical Pet Dog,” is an hilarious tale of honesty and intrigue in which Basham laments about writing songs because he’s bored until he starts another year of art school. That sets the stage for a series of rockin’ playful songs about underwater spiders and dead whales. With help from his Mortfell bandmates J.R. Hill and Toby Gillies, Basham’s songs are a lot catchier and thoughtful than his previous efforts without losing their charming silly spirit. (Mortfell Oktorium, www.myspace.com/stevestbasham) Kent Davies
Review: Scar Symmetry – Dark Matter Dimensions
This band mixes an interesting blend of heavy thrash with upbeat power metal. The only difference between them and most power-metal influenced bands is their lack of cheesy-ness. OK, there are a few comic high wails and some of the lyrics might make one question their seriousness. The most impressive attribute of this album may be the vocals because they quickly switch instantaneously from beautiful three-part harmony to death growls and vicious shrieks. The complexity of the guitars is used to make fast-paced melody tht is complemented by the occasional hardcore breakdown, but even during those there is usually soloing of some kind. This band may be what a non-metal listener thinks of when someone uses the term “Heavy Metal.” It ticks all the boxes of the old and new requirements of metal. (Nuclear Blast, www.nuclearblastusa.com) Paul Nordin
Review: Hatebreed – S/T
If you have already heard anything by Hatebreed, then you do not need to read any further. This hardcore band’s latest album does not deviate far from the path that they are on. This album did not “go melodic,” however there tends to be a few vocals that are “yelling notes.” This album does not show off—simplicity works best for hardcore music. The easiest guitar riffs to play sound the heaviest. The only noticeable difference is that a few of their choruses have somewhat of a punk feel. But overall, no fan will say either “They sold out!” or “This is their best album ever!” This is because their new album could have been recorded anytime between 2002 and now and no one would be the wiser. Hatebreed stick to what works and have no plans of changing a thing. Recommended if you’re a fan of Terror. (E1 Music, www.elentertainment.com) Paul Nordin
Review: Arsis – Starve for the Devil
What started off as a joke band became too fun to stop. Arsis plays a mixture of technical death metal with early thrash. You will hear galloping drums and high pitched raspy vocals. You will hear an over-the-top guitar solo on every single song. Wait! Stop what you are doing and go download the song “Forced to Rock.” I’ll wait here. So is it any surprise that they are huge fans of King Diamond? They mix that kind of old school thrash with the death metal of today. Throw in some high production value and you have what could be metal album of the year. It is always a plus when something is extreme and fun, and that is exactly what this album is. (Nuclear Blast, www.nuclearblastusa.com) Paul Nordin
Review: Flying Lotus – Cosmogramma
Flying Lotus, along with a dozen other premiere electronic artists, have shown that there’s been a real change of tide in the last ten years—that sampling is cool and it has its place, but music software can take you on wild trips through space and time real quick. One listen to “Computer Face//Pure Being” or “Pickled!” and you’ll see what I mean; drums, bass lines, glitch noises and other sound effects fly by as quickly as the Star Gate sequence in 2001: A Space Odyssey. L.A.’s Flying Lotus has been flying a flag of trip-hop so far, but on this latest disc, it’s almost closer to Sun Ra’s space-rock-jazz—there are the aforementioned brain-blistering jazz-nodding tracks, (FlyLo is Alice Coletrane’s nephew, don’t ya know) but also laid-back tracks like “Arkestry” will flatten you out, and make you appreciate the drum roll, and pure electronic filters/bliss! But of course he’s got his dance floor shaker as well: “Do the Astral Plane.” An elaborate album, yes. Unlistenable, hell no. (Warp, www.warp.net) Taylor Benjamin Burgess
Review: Four Tet – There Is Love in You
After Four Tet’s Ringer EP in 2008 and last year’s single “Love Cry,” I thought Kieran Hebden would storm dance floors backwards, upside-down, sideways or some other unpredicted way—like from the fourth dimension. Unfortunately not. “Love Cry” is still the most dance-oriented of the lot with its attitude-packed hi-hats and lone driving bass synth, but the rest of There Is Love in You is a four-on-the-floor lofty daydream. In other words, it’s not to be written off. It’s been a while since Hebden actually released a full album under the name Four Tet—he had had four albums worth of collaboration with drummer Steve Reid—but here he’s put aside his jazz and post-rock leanings and gone back to making tender music like the stuff of Rounds. The difference is that he’s emerged from the last decade a much stronger programmer and he’ll immerse you in worlds of mostly digital sounds. (Domino, www.dominorecordco.us) Taylor Benjamin Burgess