By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
By Steve Weinstein
By Araceli Cruz
Robert's songs more tuneful in their maturity, Grant's more atmospheric, they punch 'em all up to make a stronger impression than on their comeback album, thus proving that it was one. Settled down in real life, Robert recaptures his peripatetic past with a clear conscience and a sharp eye; still questing, Grant couches his romanticism in instrumental subtleties that soften his detachment. Robert so fond, Grant so elusive, both so beguiling, they're deeply civilized for the leaders of a working rock band. And for just that reason they can follow the calling until that distant day when strumming itself is too much for them. A
Stream "Here Comes a City" (Windows Media)
Down on my luck in Amsterdam, I'd want Carol van Dyk for an aunt, or a second cousin, or a friend's ex-wife, or something more. Back on my feet, I'd remember her fondly for the rest of my life. But we'd lose touch. And before too long I'd find it impossible to recall the details of the album we used to play at breakfast. B PLUS
Download "Attagirl" (MP3)
THE CHEMICAL BROTHERS
Push the Button
Their genre incontrovertibly passé, they can put futurist games behind them. So, free to do their thing without looking over their shoulders, they turn in their best album since 1996 even though some schmuck from the Charlatans ruins track two. "Believe" and "The Big Jump" rock the block. The Arabian strings of "Galvanize" are augmented-not-improved by the tyrant-bashing rhetoric of "Left Right." And the three abstractions that complete the project clatter, tweetle, shudder, chime, whoosh, and phase. A MINUS
View "Believe" (Flash)
See You Next Tuesday
The attitude is tougher and the material thinner, but you have to love it for not falling flat on its heightened expectations. Two albums in, these three young things still aren't richnot with their "dresser drawer full of broken cellphones" and their homeboy who'll "rob Mickey D's for condiments"and that still hasn't taken them down. With electroclash a dead delusion, what sells their handlers' beats is the girls' faith in the sacred mission of growing up and having fun at the same time, which in case you've been away is no gimme these days. A MINUS
Confession booths are for rosary twiddlers, but Bible lore is as American as Sunday school, so I take the scriptural references as tokens of Craig Finn's quality education. And since in my Sunday school, papists like my grandpa were going to burn forever because they never got "born again," I'm glad Finn's guys and gals get "born again" too. At bottom, his people are my people, and I wish them the same shot at heaven my adolescent Billy Graham experience guarantees my reprobate ass. Which is to say that this literature with power chords addresses not only the crucial matter of vanishing bohemias as cultural myth but also the crucial matter of re-emerging spiritualities as cultural fact. From "Lord to be 17 forever" to "Lord to be 33 forever" is a long road, and Finn is old enough now to know it keeps getting longerand to spread the living gospel that 33 is too good to throw away on myths. A MINUS
Download "Stevie Nix" (MP3)
There's an early-Stones feel here it would be perverse to deny: 12 songs in 36 minutes, each with an indelible identiriff and its own seductive rhythmic shape. Caleb Hollowill's slippery wiles recall Jagger's without grasping Jagger's gift for the pungent phrase. That Hollowill avoids cock-rock clichés hardly means he's come to terms with the jezebels who were driving backsliding Southern boys past their intellectual limits long before Elvis paid Mr. Phillips to record his love song to Gladys. B PLUS
View "The Bucket" (Windows Media)
Same !@#$ Different Day
Unlike most remix albums, not a fanbase-only ripoff. None of the eight remakes is inferior to the Later That Day . . .version; Evidence and KRS-One's "Pack It Up" and a funked-up "Hello" constitute clear improvements, "Do That There" piles on ridiculous rhyme, and the standout "I Changed My Mind" was a 12-inch. Nor is that allthe five new titles include a Bay Area praisesong, a motormouth "capping" dis, and just one too many showcases for LB's quasi-operatic helpmate Joyo Velarde. In short, had Later That Day . . .come second, you might well prefer this reinterpretation. A MINUS
Stream "Pack Up (Remix)" feat. Evidence and KRS-One
Stream "I'm Just Raw"
Like so many unpretentious young bands-with-a-knack, the Ponys are assumed by their contemporaries to bring nothing new to the party even though their sound is theirs alonean object lesson in the primacy of timbre. Their second album isn't quite as good as their first album because its hooks are slightly less inescapable, which you can blame on Steve Albini if you want. But the difference is slight, and other differences are positive: more momentum, the girls get to sing one, and the Richard Hell guy sounds as weedy as the Peter Perrett guy, hence more like himself. A MINUS
Download "Glass Conversation" (MP3)
Dud of the Month
DEATH FROM ABOVE 1979
You're a Woman, I'm a Machine
Idon't get this. We listen to a Snoop or Lil Jon recordI do, anywayand say, Yeah, the music is pretty good, but it's really no fun hearing women degraded that way, so the hell with those guys. Maybe if the funk is terrific (Cam'ron, or the new improvedand somewhat more mild-mannered50) or the rhymes acute (Jay-Z, Ghostface), we let down our guard and try to hear how the other half feels. Otherwise no. So why is this tight, intense, recidivist screech-and-crunch exempted from such complex responses? Preferring funk to crunch as I do, maybe I'm merely insensible to the guitars' siren call. Or maybe its slaves are insensible to misogyny that stops at cut-and-run man's-gotta-do you-hurt-me-too, rather than claiming to control that 'ho. B MINUS
Additional Consumer News
"Old Faithful's just a fountain/Compared to the glory of true love" ("She Is My Everything," "Some Humans Ain't Human").
Stream "She Is My Everything" (Real Audio)
Stream "Some Humans Ain't Human" (Real Audio)
Sans their famed debut EP, San Francisco weirdos prove it's not so hard to make entertaining straight-ahead guitar rockonly now try and imitate it ("Truckin'Stream "In Frisco" (MP3)
Lost and Found
Raps better than Rodney Dangerfield (even when he was alive), and funnier to boot ("If You Can't Dance [Slide]," "Ms. Holy Roller").
Stream "If You Can't Dance (Slide)" (Windows Media)
Stream "Ms. Holy Roller" (Windows Media)
He's hard to ruin, which doesn't stop Steve Lawrence and Sammy Davis Jr. from trying (Ella Fitzgerald With the Duke Ellington Orchestra, "Let's Do It (Let's Fall in Love)"; Sarah Vaughan, "Ev'ry Time We Say Goodbye"; Louis Prima and Keely Smith, "I've Got You Under My Skin").
Stream "Ev'ry Time We Say Goodbye" (Windows Media)
Stream "Night and Day" (Windows Media)
Stream "I've Got You Under My Skin" (Windows Media)
LITTLE CHARLIE AND THE NIGHTCATS
Cool cats confront or deny their own inevitable decreptitude ("Circling the Drain," "Quittin' Time").
Provincial lads make a go of Tony Blair's morass of neoliberal compromise ("Saturday Night," "Born to Be a Dancer").
Stream "Saturday Night" (Windows Media)
Stream "Born to Be a Dancer" (Windows Media)
"My Baby Left Me," "Angel Baby"
(Rock 'n' Roll, Capitol)
(Resight Your Rights EP, DreamWorks)
MY SO-CALLED BAND
"Patriot Act," "Message Board"
(Weapons of Mass Distortion, SW)
"Bleed Like Me," "Why Don't You Come Over"
(Bleed Like Me, Geffen)
BRITISH SEA POWER
Human After All
R&G (Rhythm & Gangsta): The Masterpiece
(Doggy Style/Geffen/Star Trak)
In Love and Death(Reprise)
Bows and Arrows