Reviewed by: Matt Rowe

It's time to have one of those talks; y'know, the kind where we have to come to self-realizations.  Pick your chair up, draw in closer, and let's have a therapeutic discussion on what we all really want around here.  We'll deal with the younger crowd a bit later.  Bear with me.

The Stranglers began life somewhere in the later '70s, where most of us "older" folks quickly learned to love this group of post-punk geniuses for their ability to not only craft great songs but whole albums of them.  From their brilliant debut, Rattus Norvegicus (1977) to their newest, Suite XVI, sixteen albums later, The Stranglers have produced a string of largely excellent albums with a few so-sos in tow (it happens).  But in Suite XVI, you realize that the band really hasn't deviated too far from their defining styles, the foundation of which was laid back in 1977.  This can be considered a good thing, if not great.

Suite XVI contain 11 songs of originals that are performed by 3 of the 4 original members, with only founder, Hugh Cornwell gone from the lineup.  In all of those songs, the writing is strong and as much fun as if this album would have released in say, 1979.  And so, we have a band that has not tried to get right with the times but continue to do what it is known for.  The demise sheet is long on the many bands that changed styles to gain credence with the new era…and failed.

In a time, where new bands (Strokes, Bloc Party, Interpol) are successfully mining the "old school" and making bucks, it's refreshing to hear a legitimate band like The Stranglers who can musically speak to all age levels.  The young set who find discovery and acceptable change in bands like Bloc Party, Interpol, and The Strokes can find much to love in the Stranglers and their new album.

The therapy for us older fans?  That's easy; with music being produced like The Stranglers' Suite XVI, it's like we're still in the music game.  That's important for those of us who refuse to get caught up in "it's not like it was back in the day."  We already know that.  We just want to believe that music can be made that is as fresh as the "old days" and Suite XVI gives us that.  We want need to believe that we're still a viable audience.  With the young crowd, Suite XVI can be a joy to discover – fresh (for this time), listenable, and excellent.

The Stranglers hasn't really disappointed me for 30 years; I've a feeling they're going to keep me an avid fan well into the future. For you, Suite XVI comes highly recommended.

Rating: 4 (out of 5)

Reviewed by: James Hrivnak

Ever since their full-length debut Up to Here in 1989, The Tragically Hip had their sights set on conquering their native Canada.  By the mid-90's they had achieved that goal, thanks largely to the album Fully, Completely.  But from there on, the Hip seemed to rest on their laurels, as if they weren't sure what their next step should be.  On World Container, the band's 10th full-length album, they now seem to have their sights on the world.

Crisply produced by Bob Rock, World Container is their strongest set of songs in 10 years.  The band expands on their barroom rock, adding subtle keyboard textures on the likes of first single "In View", and the Police-like tone on "The Lonely End of the Rink".  As well, singer Gord Downie sounds reinvigorated and brimming with life on tracks like "Luv (sic)" and "The Kids Don't Get It", sounding as if he can barely keep the words in; his voice and his quirky, literate lyrics make this album addictive. 

There are other nice subtleties too, "The Kids Don't Get It" and the following "Pretend" begin with the same line, and both go in different directions.  And it's a testament to Downie's lyrical prowess and vocal skills that can make something seemingly pretentious work.

But World Container isn't just Downie's album.  The rest of the band sounds great too, like on the aforementioned "The Lonely End of the Rink" and the stellar "Family Band", they sound tighter and more alive than they have in years.  And too, with "In View" the Hip have come up with a bona fide pop gem.

More than 20 years in, the Hip has honed their talents and can make such a great rock record with such ease.  In the song "Family Band" Downie sings, "One day I'll make some honest rock n' roll", a modest man, he and his cohorts have already done so with World Container.

Rating: 4.5 (out of 5)

Reviewed by: John Dunphy

2006 is a year those in and around Elis might prefer to leave behind.

Anyone familiar with the Liechtenstein (note: it's south of Germany) band is already aware that vocalist Sabine Dunser suffered a cerebral hemorrhage this past summer and died at the too young age of 29. Following this, the band publicly asked the question of whether or not to continue as Elis, and whether or not to release this album at all.

Deciding to continue, and deciding to release Griefshire, I can honestly say it was the right decision. A band is like a family, and while a family mourns the loss of one of their own, they don't give up on their own lives; one would hope the deceased would have wanted it that way.

And so, Griefshire, Elis' third release, has seen the light of day. Called "her baby" by Sabine herself, while it is a solid enough album, I do not feel as closely connected to this album as it seems she did.

The band decided on a harder approach this time around, wrapped loosely around a conceptual thread. On Dark Clouds in a Perfect Sky, a personal early 2005 favorite, songs were poppier, a bit more melodic — not necessarily sweeter (maybe a little) but perhaps a little more naïve.

And I think that's what appealed to me. Sure, it was metal, but it was also catchy. "Remember the Promise" has some nice energy and a catchy chorus of Sabine chanting "we can't stand up!" "Show Me The Way" has potential as does "How Long" with a nice, sweet vibe.

However, much of the record is just a little dry. I think a lot of blame must fall on Alexander Krull, the band's producer/manager, who mixes the drums so thinly, the bass so nonexistently as to turn me off.

Griefshire is a decent metal album for those looking for something south of Nightwish but north of Lacuna Coil. It's neither overly bombastic (for the most part), nor does it ever delve into pop-metal pabulum. Still, a part of me wishes I could have enjoyed more this eulogy for its departed singer.

Rating: 3 (out of 5)

Originally appeared on MusicTAP.

Review by: Matt Rowe (mattrowe@musictap.net)

As idiosyncratic as Lene Lovich was back in the early '80s, so is Sophe Lux now, almost to the look.  Hailing from Portland, Oregon, Sophe Lux is a theatrically envisioned troupe that taps into an age-old musical blend of thought and concept.  Interestingly, singer and visionist, Gwenneth Haynes is the sister of filmmaker Todd Haynes (Velvet Goldmine, Safe, Far From Heaven), which reveals the currency of their upbringing as it passes hands.

From the menacing cover to the thematic songs found within, Waking the Mystics is a collection of observations on this current time and its various stones of realizations.  With lyrics that are inspired by the ruminations of such philosophers as Fredric Nietzsche, combined with the poetics of William Blake, you will definitively get a mindful of life's inadequacies and our entrapment within our own primitively Neanderthal approach to it all.

The album begins with "Target Market," a look at how we absorb ourselves against the political landscape by immersing within the numbing trivialities of shopping.  Musically, there is much to pay respect to Lene Lovich for.  It is an immediately recognizable trait heard on the very first track.  Haynes shifts her voice into several ranges, wrapping a swirling style from sweetness to high-mindedness.  That's the theatre in her blood.

On "Lonely Girl," there is an homage to Kate Bush with her vocal style and the intriguing witch lyrics and which carries through in "Marie Antoinette Robot 2073," a song in four parts.  By "Little Soldier of Time," she is back to a Lovich style.  Sophe Lux shows their greatest disdain for the lack of spirituality that has formed like a low-lying fogbank over the expressway of humanity in the brilliantly created "God Doesn't Take American Express."

The music of Sophe Lux is adventurous and diverse, moving in and out of ballads, rock, and jazz (hear the short but excellent "A Time of Light" for the jazz).  Haynes' vocals are nothing short of amazing as she easily pushes from one style to another with ease to put the exclamation point on her works.

Art and music, expression and thought, all belong together.  Thankfully, the rock-cabaret of Sophe Lux keeps it alive, even if outside of mainstream appreciation.  For those of us who can extract the communications from these songs, enjoy the different shell of sound, and appreciatively differentiate from the vast oceans of styles found on recordings like Waking the Mystics, we have a universe of music to never tire of.

4 stars (out of 5)
For more information, go here: Sophe Lux review on MusicTAP

Reviewed by: James Hrivnak

It would be hard enough to distill 26 years of any band in 80 minutes, and harder still if that band is U2.  U218 Singles has the daunting task of doing just that.  It tries hard; it really does, but somehow misses the mark. A single disc of U2's hits could have been gangbusters.  It almost worked too with both previous compilations, each of which limited to a single decade (1980-1990 and 1990-2000). 

This career-spanning anthology makes for a creative listen by running through the tracks non-chronologically, trying to give the impressing that U2 has always sounded as good as their Joshua Tree and Achtung Baby heydays.  Those days are as different as Christmas and Halloween.  So, U218 Singles downplays the latter, virtually skipping 1990s save for two tracks, "One" and "Mysterious Ways" (yes, "Sweetest Thing" was released as a single in 1998, but it was originally a b-side from 1987).  Now, the 90s may not have been U2's best period, but it was certainly their most ambitious, and having that ambition not accurately displayed seems a little unfair.The haphazard order is problematic too, placing "Vertigo" after "With or Without You" is a little jarring, as is hearing "Sunday Bloody Sunday" after the effervescent pop of "Sweetest Thing".

It wouldn't be a hits compilation in this day and age if there weren't a temptation for the die-hard fans.  This time around is no different; two new tracks are present.  "The Saints Are Coming" a cover of The Skids classic with help from Green Day, and "Window in the Skies", a charming little ditty perfect for your iPod on a winter's walk.

A flawed effort, U218 Singles does a decent job at representing the band by way of their most popular tracks from the 80s, with every present hits like "Pride (In the Name of Love)", "I Still Haven't Found What I'm Looking For" and the aforementioned "With or Without You".  The compilation does lean a little too heavily on their 2000s era, a weaker single like "Elevation" could have been dropped in place of something more compelling like "Hold Me, Thrill Me, Kiss Me, Kill Me" or "Stay (Faraway, So Close!)" or great but lesser know singles like "Out of Control" or "Please".  Still, it's a good listen, reminding us once again how great U2 really is.

And couple of final notes:  There is a version of U218 Singles which contains "I Will Follow" as a bonus track, and still curiously the album retains the same title.  As well, "Sunday Bloody Sunday" was never officially released as a single.

3.5 stars (out of 5)
This review can be seen at www.musictap.net

Hang in there - I'm working the bugs out and developing familiarity with this.

I have two obits to announce today, one after the fact, and one a career oriented one.

It is with sadness that we announce that keyboardist, Vince Welnick, of the Grateful Dead. Although Vince did not travel the entire route of The Grateful Dead, his contributions were loved, repected, and appreciated. Vince passed on Friday, cause as yet unknown. Welnick held other previous stints, most notably with the Tubes, Todd Rundgren, and his own Missing Man Formation. Vince, even though we knew you briefly, you still own a spot in the legacy of The Grateful Dead. Keep Jerry, Ron "Pigpen", Keith, and Brent on their toes, ok?

The other obit, this one being an upcoming career that stepped off the fast track, is for Chris Daughtry, who has spurned the offer of Fuel, a multi-platinum band who is in the search of a lead singer and have offered Daughtry the position. Given the cutthroat aspects of the music world, Daughtry stood to be the biggest winner of them all. Chris, I sincerely hope that you reconsider this once in a lifetime offer provided by Fuel. It'll likely not be repeated. In this position, you can enhance even further, your desire to be Chris Daughtry. But by yourself, the odds magnify that you'll eventually be forgotten. C'mon Chris...take the position. It'd be worth it.

Last week, we mentioned ¡Forward, Russia!. We finally got a chance to listen to the band. And yep, they definitely sound pretty spectacular given the short listen I was provided. I advise you, if you live in Europe or even as close as the UK, that, since you can buy this disc now, you do so. Think Bloc Party with David Byrne on vocals. It works!! In the US/Canada/Australia/other locations, hunt this sucker down or be prepared for the Mute (US) release expected in September. Seriously. Google ¡Forward, Russia! and Give Me a Wall to grab sound samples. And then let me know your thoughts.

I don't know if you know it or not that there are SACD treatments for the band named CAN. If you don't know this already and you're an SACD aficianado, then you'll definitely want to hunt these down as it appears that many if not all of their titles are blessed to be out on SACD Hybrids.

Before we run off, we have an important announcement. Arthur Lee of Love fame is in need of a bone marrow transplant. There is a Memorial Fund set up at Wells Fargo Bank that you can write and contribute. Also, there is a website that can be accessed.

ARTHUR LEE TRIBUTE FUND
c/o Wells Fargo Bank
14855 Ventura Blvd
Sherman Oaks, CA 91403
Routing # 122000247 / Account # 6503287200