Vranorod - Vranorod (2006)

Country: Serbia
Language: English
Genre: Blackgaze
Label Number: LCDS026/3
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© 2010 Le Crépuscule Du Soir
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In My Shiver - Black Seasons (2010)

Country: Italy
Language: English
Genre: Black Metal
Label Number: SAD 005
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© 2010 Solitude & Despair Music
*No professional reviews are available for this release.

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Astronoid - Astronoid (2019)

Country: U.S.A.
Genre: Progressive Metal
Label Number: BLOOD-229
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© 2019 Blood Music
Astronoid Review by Neil Z. Yeung
Much like their breakthrough debut, Astronoid's self-titled follow-up is hard to define and a wonder to behold. Once again transporting listeners into the ether upon a dream-thrash cloud, the Lowell, Massachusetts-based band manage to elevate their sound -- soaring higher and purer -- while exercising matured control over their attack. Tracks explode even brighter and hit even harder, sliding into a torrential sweet spot that trades the riffy, hardcore leanings and prog noodling of Air for expanded psych-rock atmospherics. Of their many influences, Astronoid draw more upon the beauty/brutality dichotomy favored by acts like Mew and Deftones, a grander and more refined version of their vision. "A New Color" sparkles to life and boldly sets the stage for the urgent "I Dream in Lines," whose melodic undercurrent and angelic harmonies lift Astronoid above the murk. Later, "Water" pummels like mid-era Deftones before delivering the shivers via a sublime and cleansing shift in the song's tone that showcases frontman Brett Boland's increasingly angelic vocals. The band -- bassist Daniel Schwartz, guitarist Casey Aylward, and drummer Matt St. Jean -- have also evolved in kind, offering a focused attack that is tighter and more robust. In the span of an album, Astronoid have gone from sounding like underground DIY kids to full-fledged pros. While this effort is not as much of a revelation as Air -- simply because the band is no longer a secret -- Astronoid is every bit as rewarding, inspirational, and outright beautiful.

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Rascalz - Cash Crop (1998)

*European pressing. 

Contains 18 tracks total.

Country: Canada
Language: English
Genre: Hip-Hop
Label Number: 74321 57188 2
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© 1998 RCA Records
Cash Crop Review by Jon Azpiri
The Vancouver quintet pride themselves on their dedication to all elements of hip-hop while mixing Caribbean and rock influences, and Cash Crop shows the group at its best. The highlight of the album is "Northern Touch," a pounding hip-hop track that has become the unofficial anthem of Canadian hip-hop. The track features Canadian rappers Choclair, Kardinal Offishall, Thrust, and Checkmate rapping over the same B.T. Express sample that fueled DMX's hit single "Get at Me Dog." Many of the other tracks reflect the group's Caribbean heritage, including the fluid reggae track "Dreaded Fist" and the heavy funk of "FitnRedi." On "Solitaire," the producer uses a haunting strings sample and pounding bass to offset the lyrical dexterity of MCs Red 1 and Misfit. Guided by the steady hand of the group's DJ Kemo, Cash Crop is album that lets everyone know that Canadian hip-hop is a force to be reckoned with.

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Rascalz - Global Warning (1999)

*Canadian pressing. 

Contains 20 tracks total.

Country: Canada
Language: English
Genre: Hip-Hop
Label Number: BG2 67227
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© 1999 BMG Music Canada
Global Warning Review by Jon Azpiri

Rascalz second album is a compelling follow-up to their impressive album, Cash Crop. In an attempt to reach out to a wider audience, Rascalz employ a variety of guest stars that range from Canadian rappers K-Os, Muzion, and Choclair to American MCs KRS-One and Beatnuts. Throw in more cameos by dancehall legend Barrington Levy, Canadian rocker Esthero, and professional wrestler Bret "The Hitman" Hart and you have a wildly diverse assembly of artists that only enhance the rhymes of Rascalz' MCs Red One and Misfit. The highlight is the album's second single, "Top of the World," where Rascalz let their dancehall roots shine. The track features a guest appearance by dancehall legend Barrington Levy whose trademark riffing and yodeling lay over a tight guitar and string track. "Priceless" mixes a Tchaikovsky melody with a mellow sax loop and a haunting vocal by Esthero, and "As It Is" makes effective use of a harpsichord sample underlying a guest appearance by Choclair. "Population Control," a plea for greater community involvement, shows Rascalz lyrical maturity.

The album's biggest disappointment is the album's first single, "Sharpshooter," a misguided rap/rock hybrid that features pro wrestler Bret "The Hitman" Hart. More impressive is the guitar-based "Can't Relate," a slamming track featuring Psycho Les and Juju from Beatnuts.

On the whole, the album highlights the band's impressive production by Kemo who has an uncanny ability to mix genres, demonstrating that Rascalz are capable of producing a wide variety of music while still staying true to their roots.

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54-40 - Goodbye Flatland (2003)

Country: Canada
Language: English
Genre: Alternative Rock
Label Number: SBCK3012
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© 2003 Divine Industries
*No professional reviews are available for this release.

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54-40 - Yes To Everything (2005)

Country: Canada
Language: English
Genre: Alternative Rock
Label Number: TND 365
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© 2005 True North
Yes to Everything Review by Jason MacNeil
The first album with former Matthew Good Band guitarist Dave Genn has Canadian rock icons 54-40 invigorated with new blood. And Yes to Everything shows the band very comfortable in delivering well-crafted rock that also happens to be radio-friendly at the same time. This is very evident judging by the midtempo pop/rock of "Easy to Love" that has a certain swagger to it. Meanwhile, the straightforward punch of "Can't Get Enough" also seems to work with Genn and singer Neil Osborne working as tightly as the tandem of drummer Matt Johnson and bassist Brad Merritt. The quartet also manages to change things up with the bouncy and almost ska-tinged "Golden Sun," that could be covered at some point by No Doubt. The first mediocre effort comes during the winding and somewhat meandering "Stopline" that relies on Merritt's bassline once too often. It's a cheerful effort but one that really doesn't go anywhere. The obvious highlight comes on the midtempo, roots-y "This Is Here This Is Now," which could have fallen off one of the albums by the Traveling Wilburys without the hokey factor or any Tom Petty solo release. It's a pretty track that glides along brilliantly and 54-40 returns with a similar format for the gentle and summery "Beautiful Self." The band excels, though, in creating simple but catchy rock songs, particularly on "Blue Plate Special" that shines over "All About Love," the latter lending itself to audience participation in a live setting. Another little nugget has to be the punchy "Calling You Out" that they flesh out quite nicely and sounds like a distant cousin of the Strokes. Like a fine wine, 54-40 are aging well and have made another very good record.

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54-40 - Northern Soul (2008)

Country: Canada
Language: English
Genre: Alternative Rock
Label Number: TND 517
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© 2008 True North
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54-40 - Lost In The City (2011)

Country: Canada
Language: English
Genre: Alternative Rock
Label Number: SBEC11082
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© 2011 Smilin' Buddha
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MC Serch - Return of The Product (1992)

Country: U.S.A.
Genre: Hip-Hop
Label Number: OK 52964
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© 1992 Def Jam/Chaos/Columbia Records
Return of the Product Review by Marisa Brown
After putting out two albums as a part of 3rd Bass, MC Serch (born Michael Berrin) set off to work on his own material. Entitled Return of the Product and released in 1992, the record (his only solo release) sits in that transition space of hip-hop, between the golden age and the newer East Coast sound that was being shepherded in. Because of this, the beats on Return of the Product don't weather as well as some of the other albums that were more firmly grounded in their era (Public Enemy or De La Soul or even 3rd Bass), but Serch's rhymes more than make up for any musical shortcomings (of which there are very few, anyway). The big hit on the album is "Back to the Grill Again," and it's easy to see why. With a bouncy, bassy beat from T-Ray and guest verses from Red Hot Lover Tone, Chubb Rock, and Nas (here shortly after Serch discovered him and two years before his debut, Illmatic, would come out), the song is funny and smart, with a catchy hook and intricate flows from all the MCs ("Got crazy game, so no one can stop me/But hey yo, I'm white, I guess my game is hockey," Serch quips). The MC's delivery and his punch lines are what he's best at, and he's in fine form here: "I can come ghetto and don't have to be a bastard/Hold a conversation and don't have to have the last word/Shoot the gifts swift and not miss the street/Even -- umm -- and not come off the beat," he rhymes in the quick-paced "Don't Have to Be," while "Hard But True" sees him taking a more discerning look at societal conditions ("Too many times too many crimes get backed up/Case comes up, oops, switch all the facts up/Three kids rape a sister at St. John's/And become graduates, instead of cons.../Probably one of the fathers gave the school a gymnasium"). Serch was one of the few white rappers at this time, and the only one willing to address issues like this, which gives depth and credibility to his words and makes Return of the Product a pretty interesting release, and absolutely worth listening to.

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Inspiral Carpets - The Beast Inside (1991)

Country: United Kingdom
Genre: Alternative Rock
Style: Britpop
Label Number: 9 61089-2
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© 1991 Elektra Records
The Beast Inside Review by Geoff Orens
Although the Inspiral Carpets added more production flourishes and keyboards on The Beast Inside, it ends up being a disappointing effort by the band to "grow up." While Life was intense and driven, The Beast Inside comes across as simply uninspired. The several attempts to add new dimensions to the group's sound actually result in hindering the band by weakening their previously strong groove and grittiness. It does not help matters any that the quintet are unable to come up with the kind of catchy choruses and strong hooks that were crawling all over their debut. Reducing the role of the Hammond organ was not a wise move, and the ballads especially sound lifeless as a result. Even "Further Away," a 14-minute epic which does have roaring organs and guitars, never really gets anywhere. Without even the powerful lyrics of their debut going for it, only the rare track, like the spooky "Born Yesterday," manages to captivate here.

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Inspiral Carpets - Revenge of The Goldfish (1992)

Country: United Kingdom
Genre: Alternative Rock
Style: Britpop
Label Number: 9 61397-2
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© 1992 Elektra
Revenge of the Goldfish Review by Geoff Orens
A return to form after a sophomore slump, Revenge of the Goldfish found Inspiral Carpets moving further away from the sound of their debut album and its heavy keyboards and dance elements. Instead, Revenge of the Goldfish was the band's most straightforward rock album, featuring a number of edgy, aggressive guitar-dominated numbers with a nice use of effects. There's still some of the old organ on such tracks as "A Little Disappeared," but for the most part keyboardist Clint Boon plays more synths here. Not only has the band's songwriting improved since their second album, but the production is far sharper without sounding too overdone. There is the occasional off track, but such tempo numbers as "Generations," "Mystery," and the phenomenal closer, "Irresistible Force," rank up there among the band's best. Meanwhile, the ballads "Two Worlds Collide" and "Bitches Brew" manage to stay heartfelt while offering a nice groove. Overlooked, but for no good reason.

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Inspiral Carpets - Devil Hopping (1994)

Country: United Kingdom
Genre: Alternative Rock
Style: Britpop
Label Number: 9 61632-2
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© 1994 Elektra/Mute
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Out of My Hair - Drop The Roof (1996)

Country: United Kingdom
Genre: Alternative Rock
Style: Britpop
Label Number: 74321348372
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© 1996 RCA/BMG UK Limited
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Notorious B.I.G. - Notorious (Music From & Inspired By The Original Motion Picture) (2009)

Country: U.S.A.
Genre: Hip-Hop
Style: Gangsta Rap, Pop Rap
Label Number: 517001-2
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© 2009 Bad Boy/Fox Searchlight
Notorious [Original Soundtrack] Review by David Jeffries
The soundtrack to the Notorious B.I.G. biopic Notorious is a welcome surprise. Selections from the past (a bunch of old hits plus some wonderfully raw demos) and the present (Jay-Z's infectious collabo with Santogold) along with a hint of the legacy's future (an appearance from Biggie's son, Christopher "CJ" Wallace, Jr.) are sequenced in a way that avoids any of the bombast or misguided majesty of Born Again or Duets, the other posthumous releases from the Bad Boy label. Best example, the album's strength can be found in the Biggie Jr. and Faith Evans track where departed father, widow, and son collaborate thanks to studio trickery. This "Legacy Remix" plays it casual, effortlessly mixing melancholy, nostalgia, and pride for something pleasingly smaller than Diddy's "I'll Be Missing You," which is notably absent. The Jadakiss track is heartfelt while Danny Elfman's short theme music winds up a wonderful noir dream, transporting listeners back in time and to a golden age Brooklyn. It's an ideal set up for the raw demos that follow, all of which sound better than any previous bootleg. Closing with a track called "Love No Ho" may see counterintuitive for an album honoring a late, great cultural icon, but for a man who truly lived the thug life and told its stories like few others could, it's a perfectly Biggie move. Don't think of it as the ultimate set or the best possible introduction, but the Notorious soundtrack is the closest the Bad Boy label has come to capturing the man's true spirit.

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I.M.P. - Back In The Days (1993)

Country: U.S.A.
Genre: Hip-Hop
Style: Gangsta Rap
Label Number: INA8200-2
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© 1993 In-A-Minute Records
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Kan Kick - From Artz Unknown (2001)

Country: U.S.A.
Genre: Hip-Hop
Label Number: MEA015-2
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© 2001 Mean Street/Smoggy Day Recordings
From Artz Unknown Review by Brad Mills
An intriguing and surprisingly deep first album from West Coast producer Kankick. Responsible for the beats on the album, the instrumentals between tracks work magically, creating a good mix between beats and lyrics for an album intended to showcase his production skills. Lots of jazzy compositions here, complete with trumpets, classical guitars, flutes, organs, rolling basslines, and some classy MCs. The Visionaries, Krondon, Planet Asia, Declaime, Phil da Agony, Dr. Oop, and Wildchild from Lootpack all drop verses. Overall, this album was well thought out and put together, an enticing combination.

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Dramarama - Hi-Fi Sci-Fi (1993) ☠

Country: U.S.A.
Genre: Power Pop
Label Number: D 30960
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☠: Selected by Lass

© 1993 Chameleon/Festival Records
Hi-Fi Sci-Fi Review by Tom Demalon
Hi-Fi Sci-Fi proved to be the swan song for New Jersey's Dramarama, but the band goes down blazing with an excellent effort. Produced by bassist Chris Carter and lead vocalist John Easdale, the band brings the well-traveled Clem Burke into the fold on drums, and he provides this album with more muscle than their prior release, Vinyl. The raucous, pile-driving intro title "Introduction/Hey Betty" leads into the almost radio hit "Work for Food." With Dwight Twilley lending a hand on backup vocals, "Work for Food" is a driving and delightfully hooky tale of resilience from the point of view of a homeless person -- the twist being that the protagonist is revealed to be a failed musician. Other standouts on this consistently engaging album are numerous. Benmont Tench appears again playing piano on the lovely ballad "Senseless Fun," which also benefits from Martin Tillman's cello, and "Right on Baby, Baby," is another ballad with intelligent, poignant lyrics, Pete Wood's slide guitar, and Nicky Hopkins' added piano. On the rocking side, "Don't Feel Like Doing Drugs" is an amusing take on the aftermath of such endeavors. Hi-Fi Sci-Fi is, perhaps, the finest moment for an underappreciated band.

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Tanya Donelly - Lovesongs For Underdogs (1997)

Country: U.S.A.
Genre: Power Pop
Label Number: 9 46495-2
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© 1997 Reprise Records
Lovesongs for Underdogs Review by Stephen Thomas Erlewine
Tanya Donelly's artistic sensibilities were at the very core of Belly, which is why it was a bit of a surprise when she suddenly disbanded the group after its second album flopped. Upon listening to her 1997 debut, Lovesongs for Underdogs, it becomes clear that Belly wasn't suited for these songs. Lovesongs for Underdogs is a pretty, pleasant collection of pop-folk songs; Belly would have overwhelmed these songs, delivering them with too much backbeat. Instead of giving these simple songs clean, clear arrangements, though, Donelly polished everything on the album to a shine, and in the process, she sapped the soul of much of the record. Everything on Lovesongs for Underdogs tends to blend together, and while there are some nice moments scattered throughout the record, nothing makes itself known. As a solo debut, it's a little tentative, but there are enough good points to suggest that Donelly's second solo album will be a winner.

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Tanya Donelly - Beautysleep (2002)

Country: U.S.A.
Genre: Power Pop
Label Number: CAD 2201CD
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© 2002 Beggars Banquent US
Beautysleep Review by Heather Phares
The aptly named Beautysleep finds Tanya Donelly's creative muse refreshed and revitalized after the four-and-a-half-year stint between this and her solo debut, Lovesongs for Underdogs. However, this album bears little resemblance to Underdogs' slick, slight attempt at triple-A pop. Indeed, its best moments, such as "Another Moment," share the same sweetly spooky vibe that Donelly perfected with Belly, but also belie a stronger, more grounded sound and lyrical outlook. "In the beginning my love was fierce/now I sit with my babe at my breast/I was never this good at my best," she sings on "The Night You Saved My Life," and this domestic serenity seeps into most of Beautysleep's material. Songs like "The Storm," "Keeping You," and "The Wave" hew closer to traditional singer/songwriter conventions than Donelly's earlier work -- and feature a slightly countrified twang to boot -- but still retain enough of her trademark weirdness to make the album distinctive. Beautysleep's quirky, slightly trippy production adds another layer of interest, particularly on "Life is but a Dream" and "Moonbeam Monkey," which, despite its title, is an eerie, hypnotic duet with Morphine's late singer, Mark Sandman, and one of the highlights of Donelly's entire career. Similarly, moody tracks like "Wrap-Around Skirt" and "The Shadow" wouldn't sound out of place on a Belly album. While Beautysleep doesn't offer quite as many of the giddy peaks and valleys that made Star so enthralling, it's arguably Donelly's strongest and most consistent work since that landmark album.

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Tanya Donelly - Whiskey Tango Ghosts (2004)

Country: U.S.A.
Genre: Folk Rock
Label Number: CAD 2418CD
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© 2004 4AD
AllMusic Review by Andy Kellman
Whiskey Tango Ghosts is without a doubt Tanya Donelly's most simple album of her career. It is also most likely her bravest. Unlike her guitar-friendly work with Belly and Throwing Muses, Donelly eases up on the electric riffs and builds on the sweetness found on 2002's Beautysleep. There isn't a clear-cut theme lingering throughout these 11 songs other than Donelly's own charming appreciation for Stephen Sondheim and some of country music's more classic sounds. She listened to a lot of Gram Parsons, Emmylou Harris, and Lucinda Williams and a bit from Wilco and Neko Case during the recording of Whiskey Tango Ghosts. If there was any kind of influence stemming from those particular artists, it's reflected in Donelly's streamlined approach to this album. The soft beauty that's made her a star all these years is the fruit of these songs. Her girlishly sweet vocals are as good as ever and all instruments are bare bones. Most of the time it's only Donelly and an acoustic guitar or it's her and the stylish chill of her backing band, husband Dean Fisher (guitar/bass/drums), Elizabeth Steen (piano), and Rich Gilbert (pedal steel/guitar). From the mauve-colored love song "The Center" and the jazz-like comfort of "Divine Sweet Divide" to the bittersweet melodies of "Just in Case You Quit on Me" and "The Promise," Whiskey Tango Ghosts finds solace in finding a place in life regardless of how much it changes. And as much as it is lovely, there's a hint of gray hovering over Donelly's signature musical purity. "Story High" and "Whiskey Tango" exude such somber tones. Much like Neko Case did with Blacklisted, Donelly's effort in keeping the instrumentation as simple as possible in order for the lyrics to cast a spell of wonder is exactly what makes Whiskey Tango Ghosts the enchanting album that it is.

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Shabaam Sahdeeq - Never Say Never (2001)

Country: U.S.A.
Genre: Hip-Hop
Label Number: RPV 008
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© 2001 Raptivism
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Lone Catalysts - Hip Hop (2001)

Country: U.S.A.
Genre: Hip-Hop
Label Number: LCHH01-2
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© 2001 B.U.K.A. Entertainment
Hip Hop Review by Stanton Swihart
If there was a given going into Lone Catalysts' debut for their own label, it was the expert beat-making capabilities of J. Rawls, and he did not disappoint on Hip Hop. Tight, metronomic rhythms and stark, head-nodding beats collide with an undertow of foggy, palliative jazz samples ("The Pro's," "Settle the Score," the speculative indie hit "If Hip Hop Was a Crime," and the cool "Due Process" with Kweli and Rubix), so the music goes down smoothly, but it keeps kicking once it's down. More of an unknown was J. Sands' skills on the microphone, and, if his technique wasn't particularly distinctive, the emcee made up for a vaguely prosaic rhyme style with the poise and self-assurance of his rhymes. His lyrics concentrate almost entirely on the hip-hop lifestyle, so while the dexterity of his words refused to be slept on, their self-referential nature ensured that the album would remain an underground sleeper. As the title indicates, the duo comes from the no frills, straight-to-the-essence old-school of rap, so there is nothing flashy or exceptional about Hip Hop; but it is a rock-solid first effort on which its pair of Lone Catalysts mix an obvious sense of love for the game with a laidback but perceptible prod against the staid predispositions of rap.

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Astronoid - Air (2016) ☠

Country: U.S.A.
Genre: Blackgaze
Label Number: blood-173
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© 2016 Blood Music
AIR Review by Neil Z. Yeung
Overuse of superlatives often threatens to distract from how great a piece of work really is. Astronoid's debut LP Air is one such instance. Overwhelmingly powerful and cathartic, Air is an album to get lost in, a single-listen journey over emotional peaks and through sonic valleys. There is so much happening at once that descriptions make it sound like a confused exercise. The terms "dream thrash" and "blackgaze" could be thrown around -- and it really is an exhilarating mish-mash of everything from black metal to shoegaze to thrash and even to pop-punk (those harmonies!) -- but Air demands to be experienced firsthand for ample subjective appreciation. As a unit -- vocalist Brett Boland, guitarists Casey Aylward and Mike DeMelia, bassist Daniel Schwartz, and drummer Matt St. Jean -- Astronoid channel everything they've got into explosively climactic crescendos, eliciting euphoric physical responses. The Massachusetts band's style has evolved from their initial EP offerings, which were more furious, more black metal, and less gossamer (there's nothing like "Lightspeed" or "Astronoid" here). Familiar hallmarks like zigzagging time signatures, ethereal vocals, dense layers, and thrash riffs remain, amplified by gorgeous harmonies, incessant kick snare drumming, and tighter structure. Air is a technically tight and polished work. Indeed, the brutality of their metal streak is deceptive, since the bulk of the album is giddily lovely. This immersive experience kicks off with the ominous atmospherics of "Incandescent." The goosebumps come early and remain, rising with an epic swell as the riffs float off into the distance like M83 colliding with Deftones. Comparisons to Deafheaven and Mew are also appropriate -- combining the fury and the prettiness of those bands -- but Astronoid channels the vibes of so many disparate artists that much of the fun is trying to make individual connections for the ultimate personal experience. Within that first track alone, so much happens at once -- dream pop choir harmonies, shoegaze fuzz, and pummeling drums -- and yet it all works. Seamlessly, in fact. The one-two punch of "Up and Atom" and "Resin" keeps the affair firmly planted in the metal world -- they are signed to Blood Music, after all -- but with guitar riffs that bounce like pop-punk and vocals that are borderline reminiscent of Jimmy Eat World/the Juliana Theory, heads are banging while smiles spread across the face in bliss. Major-key uplift is a prime weapon in Astronoid's arsenal -- the big break halfway through "Tin Foil Hats" is a prime example of their expert execution -- popping up at crucial moments to break the thrash clutter. Their astral aesthetic is appropriate, but Air is not the sound of one serenely floating in space. It's the manifestation of the intensity, anxiety, and pure elation that comes during blast-off, as the rockets blare and the spaceship rumbles and the body is propelled into the unknown.

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