CABIN DOGS
Electric Cabin
Woodstock Records
From this album's opening notes, when singer Rich Kwait's friendly voice comes in on "Together Again," Electric Cabin sounds like the great lost Band album, maybe nestled somewhere between Stage Fright and Cahoots. In fact, with the participation of producer/keyboard man Professor Louie (a late confidant of Rick and Levon) and violinist Larry Packer, the gentle spirit of Danko in particular hangs over this record like a fog. Of course, the Band's complex trade-off harmonies and formidable instrumental prowess is fairly useless to imitate, but nonetheless the Cabin Dogs' album hits many sweet spots here. There's plenty of Grateful Dead influence as well, but the Cabin Dogs are no jam band cliché, focusing instead sharp, open-hearted songwriting and the Band's Danko-like vocal turns. The hoedown "Cheyenne" is a highlight, a campfire song for the ages, while the R&B workout "Golden Blue" mixes things up. Best is "Phoenicia," a sorrowful, melancholy love song that traces a line from Big Pink to Breeze Hill.   --Luke Torn 

CABRUERA
Proibido Cochilar (Sambas For Sleepless Nights) PIRANHA
Visions of urban Brazil usually start in Rio or Sao Paulo amidst verdant mountains and azure ocean waters (and teeming slums and serious urban grit). Cabruera hails from northeastern Brazil near the city of Recife, which has the blue water but is hotter, drier and much dustier than the big cities to the south. The sound of Proibido Cochilar (Sambas For Sleepless Nights) pulsates as it blends lots of echo-laden guitars, tense beats, and a simmering intensity that reminds the casual listener that behind Brazil's scenic postcard pictures lurks a lot of disenfranchised and desperate people. So Cabruera is not a party band but seethes commitment to something deeper than just a Carnival parade performance. That's not to say that it doesn't swing, but visions of peaceful palm trees aren't guaranteed. Highly recommended. --Andy Smith

CADIZ
Breakers (Swann House)

The Spanish city of Cadiz sits near the southern tip of the Iberian peninsula Rock of Gibraltar in a location far removed from the small East Ohio coal mining community that shares its name. That town, about an hour's drive west of Pittsburgh, lends its name to the musical project helmed by Robert C. Lee, who grew up there. Breakers is his personal ode to the town, not in a specifically conceptual way, but the settings and characters inspire the lyrics and influence the sonic textures of the record. Breakers kicks off with the sparkling "Good Times Are Few," which is a tuneful nugget that showcases both Lee's plaintive and heartfelt but detached, almost ghostly vocals, and the stellar quality of his backing band and Adam Lasus' production work. The effortless "Under the Farm" captures the magic of a small town celebration where even the dead relatives try to get a look at the fireworks. The shimmering "Shadows in the Sun" continues the winning streak again showing that Cadiz works best on the bigger rock songs, which is also reinforced on the "Girl At the Zoo" which may be Breakers best song. Much of the rest of the record leans towards subdued acoustic tunes which leads to a certain sameness in the sound, but there is no shortage of lovely songs here, especially when taken outside the context of the record. Overall, Lee pulls off a very deft feat, which is to write music that effectively evokes a sense of smalltown America without falling prey to awful maudlin clichés. Breakers is a record of grace and dignity that the folks back home in Cadiz should be proud of. (Andy Smith)

CAESARS
39 MINUTES OF BLISS (IN AN OTHERWISE MEANINGLESS WORLD) (ASTRALWERKS)

Scandinavia's been exporting a lot of musical talent lately. There's the Norwegian version of Marshall Crenshaw in singer/songwriter Sondre Lerche. And there's the Thievery Corporation-like filigree of Lerche's countrymen, Röyksopp. Each has released albums on the Astralwerks label. Neither has been disappointing, even getting face-time in the indie music house organ, Magnet Magazine. The artists have been worthy of attention, as Astralwerks continues to make available to the American music-listening public artists from across the pond. Latest in this effort is the Caesars, a garage rock-cum-electronica foursome out of - where else? - Sweden. They've just released 39 Minutes of Bliss (In an Otherwise Meaningless World). The album's 12 tracks are a compilation of the band's most noteworthy cuts from past albums. It's a marketing ploy, really, but we can forgive Astralwerks for rehashing material, as it attempts to introduce America to these noteworthy Swedes. As a collection, the album lacks the uniformity of prepared work. But it's zany, quirky nature is endearing, in that you never know what kind of track the next one's going to be. "Since You've Been Gone" is a languid, trippy, mid-tempo ditty full of tinkly, high-toned synthetic effects. "Crackin' Up" features the low end of a fuzzed-out guitar--reminds me of Fu Manchu, but with a pop sensibility and no stoner beat (more like the late, lamented Superdrag). "You're My Favourite" floods the zone with jangly tambourine sounds, acoustic guitar strumming, a never-ending chorus - and a brevity that's reminiscent of Bob Pollard's magnum opus (one of them), "Alien Lanes." None of the aforementioned is radio-ready, but there are some cuts here with CMJ-ranking potential. "Fun and Games" is one of those, a pop number with easy-to-understand lyrics about boys liking girls, and a steely Farfisa organ solo to give it a retro appeal. "Out of My Hands" and "Only You," too, are radio candidates, as retro-rockers longing for the days of the Beautiful People. "Jerk It Out" is the best song on 39 Minutes--speaking of retro, this tune sounds like it belongs on beach movie soundtrack, just like its cousin "Blue Crush," what with the prominence of the organ, tambourine and the driving surfer beat. That, or they both deserve a slot on the next Nuggets collection. (John Stoehr)

JOHN CALE
Black Acetate (EMI)
Recently I purchased the second and third Velvets albums on cassette for fifty cents each from a thrift store. I was marveling at the bass in "Sister Ray" and finding it hard to believe it was 40 years old. Even harder it is to believe that two members of that band are still putting out solo albums that are sometimes brilliant, sometimes not, but always interesting. Cale is on yet another resurgence after a decade of relying on solo live sets of old favorites and a number of interesting (but not so vital) soundtracks for plays and obscure films (as well as his best forgotten Walking On Locusts album from ‘97). Following Hobosapiens, this effort is Cale bonding with a band again for the first time since the early 80s. It also finds him pushing himself, doing things he normally wouldn’t do (like pushing his deep, rich voice into a falsetto on opener “Outta The Bag”), but also self-confidently exploring the art of songwriting again, after losing some of his magic during collaborations with Brian Eno, Lou Reed and, most traumatically in retrospect, the early 90s VU reunion tour. It’s Cale in broad strokes, forty years on, well aware of where he is in the world, more sober and sane than ever. --d.n.l

CALIFONE
QUICKSAND / CRADLESNAKES (THRILL JOCKEY)

It's just an opinion, but Chicago seems like a town in need of some hubris --what with so many bands pursuing innovation and post-rockisms while often forgetting about "the song" or melody. That having been said, some acts seem to be able to strike a nice balance between relentless experimentation and creating a listenable tune (big daddy's of the town Wilco being a prime example). Add Califone to that list of pleasant surprises, as the group is at once soulful and experimental. All kinds of loops, electronica, and concrete sounds dot the terrain of the album, but there's also real heart in the songwriting. Tracks such as "Horoscopic.Amputation.Honey" and "Michigan Girls" are heartfelt ballads wrapped in the gauze of creatively off-kilter arrangements. Califone also whip up a kind of new-millennium blues with their forward-thinking, as witnessed by tracks such as "Red" and "Mean Little Seed." And like many tracks here, the latter displays a wonderfully burnished acoustic bent. (At times, Califone seem to be taking Americana in a cool, exciting direction.) It's also hard not to notice that the sprightly soft-rock of "Vampiring Again" gels into a drop-dead gorgeous pop song. (Erik Hage)

Camera Obscura
Biggest Bluest Hi-Fi (Merge)

What is it about Scottish indie pop bands that make them so… twee? Merge Records here re-issues Biggest Bluest Hi-Fi, the Glaswegian band Camera Obscura’s debut produced by no less than Stuart (Belle and Sebastian) Murdoch. Expect some similarities? Well, maybe it’s something about the water, but it’s hard to escape the earnestly low-key almost apologetic straightforward pop music that emanates from north of the English border. From Tracyanne Campbell's deadpan and plaintive vocal delivery to the self-effacing and understated pop approach, it’s difficult to take Camera Obscura at face value. It just doesn’t do enough to catch your attention, unlike say their hip countrymen, Franz Ferdinand. It’s no wonder its follow-up was called Underachievers Please Try Harder. How unassuming is that? Strictly for fans of Belle and Sebastian only. (Kevin Mathews)

ISOBEL CAMPBELL & MARK LANEGAN
Ramblin’ Man EP (V2)
If you think politics makes strange bedfellows, music makes those pairings seem prosaic. The most fevered industry imagination would probably never concoct the combination of ex-Belle and Sebastian wraith Isobel Campbell and darkly visceral Screaming Trees/Queens of the Stone Age frontman Mark Lanegan. Maybe they should have. The duo collaborated long distance (after a chance meeting at a Glasgow QOTSA show) on an imminent full-length, Ballad of the Broken Seas, which is previewed with the four-track Ramblin’ Man EP. Like Angelo Badalamenti updating Lee Hazelwood and Nancy Sinatra or Nick Cave and Julee Cruise taking over for Tom Waits and Crystal Gayle in the soundtrack for a remake of One From the Heart, Campbell and Lanegan slink and shimmer their way through barroom waltz of Hank Williams’ “Ramblin’ Man’ as well as a dewy Bobbie Gentry take on the chestnut “St. James Infirmary,” and the pair’s own folky hill ballad “Come Walk With Me” and the whispering rush of “Revolver Pt. 2.” The unexpected coupling of Campbell and Lanegan is only the first surprise on Ramblin’ Man; the alternating reverb/neo-countrypolitan sound is another and there are sure to be more when the full album hits this spring. --Brian Baker

THE CANCER CONSPIRACY
THE AUDIO MEDIUM (BIG WHEEL RECREATION)

The publicists, critics, and flacks of the indie rock underground may prefer to call the music created by Vermont trio The Cancer Conspiracy "post-rock," since that has hip connotations and conveys automatic indie cred, but let's call this stuff what it is: progressive rock. The instrumental band's sweeping melodies, numerous tempo changes, and shifting dynamics all scream "prog" loudly and proudly on its debut album The Audio Medium. The Moog synth licks on "Loft Complication," aggressive riffing on "Our Minds Active Nightlife," sedate piano melodies on "The Silence of Underwater Traffic" and "To Sleep," and widescreen arrangements on the multi-part title track all point to it. This doesn't mean guitarist Daryl Rabidoux, bassist Brent Frattini, and drummer/keyboardist/saxist Greg Beadle are attempting to become the post-punk Emerson, Lake & Palmer. This band takes the "progressive" part of the label seriously--the musicians are trying their damnedest to drag power trio rock up the next rung on the evolutionary ladder. Bombastic formula is not what they're about. But it must be pointed out that, like the late, great Space Needle, The Cancer Conspiracy has more in common with King Crimson and its disciples than it does with Tortoise or June of 44 (or Yes, for that matter). And on The Audio Medium that's not a bad thing at all. (Michael Toland)

CANDY COLOURED CLOWNS
GLORY EP (THE BUS STOP LABEL)

This is a short EP taster by a new British band, fronted Taffy Hughes, formerly of moderately successful act called Hurrah! Their eight-year run covered three significant label deals, plus an opening slot U2 at Wembley, but yielded no significant commerical success. This is a good EP. I've put it on repeat several times and have played it a bit, and have come around to enjoying it all, especially "The Kids Are Gonna Really Love You" and "Sad Satellite." You can hear echoes of the Smiths, Lloyd Cole, The La's, and recent Britpop acts as well. Good guitar-based pop music with decent lyrics. I'd be interested to see what they do next. (Kent H. Benjamin)

THE CANSECOS
THE CANSECOS (UPPER CLASS RECORDINGS)

"As the turnstile grinds its gears to ensure nothing else comes in" the Cansecos are my soundtrack for this subway ride. The rhythm makes sense to my every motion, from footsteps to individual breaths. Fellow passengers' movements synthesize, as if by a deity with Atari joystick, via the music; the dazzling electronic soundscapes masterfully intertwine 70s kraut-rock, 80s synth-pop, and 90s electronica. The fluorescent lighting establishes a hyper-real landscape for these unnatural, unreal sounds as they manipulate each and every movement. The windows reflect mirror images of the subway car interior merging with the blurred dancing lights of the tunnels outside. I dream of pre-destiny; something else obviously in control of my mind, of what I see and do. This ride (and music), inexorable, seems a magnificently planned and calculated trip, a thoughtfully contrived script with every miniscule sound, action and image predetermined. Like that guy across from me, picking his nose; bloody brilliant. (Don Simpson)

CAPITOL YEARS
JEWELRY STORE (FEEL/FULL FRAME)

On this raucous six-song EP (a follow-up to 2001's debut Meet Yr Acres, credited to Capitol Years but really a one-man bedroom recording by CY vocalist/guitarist Shai, Son of Eli), Capitol Years walks the line between lo-fi garage mayhem and full-blown rock extravaganza without compromising one for the other. The Philadelphia quartet clearly thinks in terms of stripped-down, amped-up basement rock with an ear toward the great elemental bands of the 60s (Kinks, Seeds, Pretty Things) and the contemporary swing and swagger of the new generation of garageaholics (Strokes, Mooney Suzuki). Producers Thom Monahan and Brian McTear stay true to Capitol Years' sonic simplicity while giving them just the right amount of density to balance their needle-pegging energy. As the Capitol Years pan for their garagey nuggets, there are flashes of Britpop menace ("Jet Black") and even flecks of early Beatles/Stones harmony (the title track). Until the band's first true full-length album (Pussyfootin), due early next year, we'll just have to be content with Jewelry Store. Over and over and over. (Brian Baker)

THE CAPITOL YEARS
Dance Away the Terror
Park the Van
The Capitol Years churn out an interesting mix of earthy pop reminiscent of the Pernice Brothers and the warm, dense keyboard stylings of Grandaddy and other like-minded acts. This sound isn't especially groundbreaking, especially at a time when a multitude of bands seem to be using a similar approach, but on selected songs, The Capitol Years do it better than many of their contemporaries. Check out the excellent, fast-paced "Long Time" which almost approaches grandeur as it climbs out of the mid-tempo cocoon. "Mirage People" comes close to being sublime but a rather ham-fisted guitar lead keeps it from soaring. "You Can Stay There" also sparkles with excellent intertwining guitars. Other than that, Dance Away the Terror is firmly ensconced in the middle of the pack. --Andy Smith

CARLSONICS
THE CARLSONICS (ARENA ROCK)

They've got distorted guitars, a singer with a snarl in his voice, song titles like "Fucked Up and Out of Line" and press replete with references to Detroit circa 1971 and the Stones. Unfortunately, what the Carlsonics do not have is memorable songs. And shit, if you look and listen a little closer, the guitar distortion sounds processed and artificial, the singer is doing a weak Jagger impersonation with an even weaker voice, and the press kit steeps as low as the knee jerk patriotism of rescuing rock 'n' roll from those damn Brits, Spaniards, and Swedes. That's a shame, as the Carlsonics best hope for success is that the British press is still willing to lap up whatever is slung from our shores in the name of a trumped up rock renaissance. Now listen, don't feel too bad for the Carlsonics. They've got options. Or at least the singer does; according to their bio he is a "grad student by day, rock 'n' roll psycho by night." Hope he's getting a degree in something sensible, cause times are tough all over. (William Crain)

PETER CASE
BEELINE (VANGUARD)

This is songwriter par excellence Peter Case's seventh solo (studio) album since the titular 80s demise of power pop gods the Plimsouls. It's a fair, if muted effort, but represents anything but an artistic departure. Beeline's a bit more reliant on percussion and rhythm than the straight folk and folk/rock Case is great at, but despite that, Case's recent albums have become a bit interchangeable in recent years. If you're not a Case fan, the spotty Beeline is unlikely to convert you. Yet, for those who recognize him as one of America's most talented troubadours, several cuts here would fit snugly on a finely chosen Case anthology--the loose limbed, percussive "Something's Coming," an imagistic diary of day-to-day struggles, and the gentle autobiographic strum of "Gone." Neophytes--start with 1989's The Man with the Blue Post Modern Fragmented Neo-Traditionalist Guitar; fanatics--you'll still find plenty to like here. (Luke Torn)

JUNE CARTER CASH
WILDWOOD FLOWER (DUALTONE)

God, 2003 was a heartbreaking year! And why did some of the most beautiful and moving music of recent years come from artists near the end of the line (for this mortal coil, at least). From Joe Strummer to Warren Zevon, Johnny Cash to June Carter Cash, it's sometimes just difficult to listen to this music. This collection of easygoing Carter family standards (the disc is bookended, appropriately enough, by "Keep On the Sunny Side" and "Wildwood Flower") and good-time originals is a beautiful if wholly unexpected good-bye from one of the true giants of American music, and represents the end of an era. With the weight of time and the sheer enormity of the legacy inherent in the history of the Carter Family, June revisits some particularly heart-tugging yet achingly gorgeous songs, such as "Church in the Wildwood," introduced with June's reminiscence of Mother Maybelle and Aunt Sara, and a wrenching "Will You Miss Me When I'm Gone." It's clearly a family affair, as an ensemble cast including guitarist Norman Blake, fiddler Laura Cash, the inimitable Man in Black on vocals, and producer John Carter Cash render the music in earthy, crystal tones with the warmth of clear sunshine on a crisp summer afternoon. (Luke Torn)

ROSANNE CASH
RULES OF TRAVEL (CAPITOL)

This aptly named album marking Roseanne Cash's overdue return (after a layoff due to throat polyps) is something akin to a set of mismatched luggage. She opens up with a languid ballad called "Beautiful Pain" that sums up her notion of hard-won acceptance of things that cannot be changed, but overall this collection is more hit-and-miss than it should be. For every keeper, like the literary-minded "44 Stories," a tale of middle-age ennui, there is a nondescript song like the pedestrian title track, a roadmap to a developing relationship that begins with promising guitar and good intentions but never reaches an emotional pitch. Big guns help out on this outing, from full-fledged duets with father Johnny Cash and cohort Steve Earle, to a sharp songwriting contribution from Jakob Dylan and Joe Henry on "Hope Against Hope." Earle sleepwalks through his part on "I'll Change For You," but there's not much for him to do as the lazy melody plods along like a lame racehorse. However, her first-ever pairing with the Man in Black on "September When It Comes" is the touchstone of the album. A finely detailed short story, co-written with husband/guitarist John Leventhal, its poignancy is all the more acute when the elder Cash's voice, so gravelly it sounds on the verge of infinite sadness, comes in: "I cannot move a mountain now / I can no longer run / I cannot be who I was then / in a way I never was," he intones, and we all can't help but feel connected to this family that's given so much to American music. (David Pyndus)

CATATONIA
GREATEST HITS (BLANCO Y NEGRO)

Catatonia were one of the finest groups from the late 90s. Singer Cerys Matthews was without a doubt the most charismatic, talented, and always entertaining frontwoman since Chrissie Hynde, blessed with a stunning voice and looks that ensured frequent magazine covers and tabloid coverage. Fiercely proud Welshmen, they produced a blend of sterling pop songs and wickedly clever lyrics that produced a string of unforgettable singles in the United Kingdom. In mid-2001, Matthews suffered a major meltdown as a result of all the unwanted celebrity and constant media attention, and the band quietly dissolved. This collection rounds up all 13 of their hit singles, and throws in a bonus disc (limited of course) that cherrypicks many of their best b-sides. Right from the beginning, they were exceptional. Their first hit, "You've Got A Lot To Answer For," married a lyric about a young woman taking a pregnancy test to an unforgettable near-bubblegum melody, with spine-chilling vocals. "Mulder And Scully" was a smash in the UK, but their inept American label never even got radio to take notice, so Catatonia's sure-fire US smash never happened. Matthews turned in one of the most stunning performances I've ever seen on the follow-up UK smash "Road Rage" in an appearance on Late Night with Conan O'Brien, but hardly anyone noticed. All the other hits are here, from "Strange Glue" ("...when faced with my demons /I feed them and clothe them..."), to "Sweet Catatonia," to "Dead From the Waist Down," along with Cerys Matthews' hilarious "Ballad of Tom Jones," released as a duet with the group Space (which, of course, led to another hilarious duet with Jones himself on "Baby, It's Cold Outside"). One of my favorite groups of the last few years; I'll miss them enormously. As for those of you who've never heard them, now you have a chance to buy an absolutely flawless collection of perfect pop songs, all in one place, and amaze your friends with your hipness. This music is timeless. (Kent H. Benjamin)

CATFISH HAVEN
Please Come Back (Secretly Canadian)
Catfish Haven is powered by singer/guitarist George Hunter soulfully, confessional vocals, which sound like they could be coming from a vintage 60's British R&B band. This six-song EP does a great job of showcasing Hunter's vocal talents. The sound is fairly stripped-down and almost ramshackle in parts, but it effectively mixes an obvious Brit Invasion fondness with a earthy Midwestern feel.The title track especially shines. Who knows if Hunter and company can make this fairly limited formula work for an entire full-length release, but for these six songs, it's great. (Andy Smith)

CELEST
SEE-THROUGH ME EP (LITTLE TEDDY RECORDINGS)

Celest is a Munich-based foursome that straddles numerous styles with their pop-laced rock. Ollie Purcell doesn't have the strongest voice, but he's not left alone to carry any of these songs--the guitars are usually the propulsive force. There are some well-crafted moments, such as the acoustic openings of "On The Beach," that grab the ear and keep you listening. The lyrics fall on the side of humble introspection ("Why does it always seem like life is such waste?" "I'm doing the best I can") but, again, they often take a back seat to the guitar work. The best song is probably the closing live take of "Init For The Ride" which pulls from jangle-pop reminiscent of bands like Kitchens of Distinction, where a tuneful opening trades off with a slashing chorus to positive effect. These songs aren't going to solve world peace or explain the unified theory but there's a simple charm to them. (Boon Sheridan)

CEX
Actual Fucking
Automation Records
Rjyan Kidwell's latest, Actual Fucking, is actually not as much about sex as you would think. Because you would think this was all about sex. There's Kidwell's moniker (Cex) and the above-mentioned album title and the liner notes' anonymous erotic letters; but really, the lyrics are tame or ambiguous or totally un-sexual. This makes the music more mysterious and confusing to me. I would consider this to be some decent indie rock dance music; overtly sexual lyrics would only make this embarrassing, but it would make more sense. What's with the teasing? Just couldn't go that extra step and make a sex album? I know there's some back story to Kidwell. He's a chameleon of sorts, critiquing popular genres of music through mimicry. Maybe I would understand his past forays into other genres better than this one. Perhaps I don't understand what this foray is?    --Don Simpson

The Changes
s/t (self-released)

The Changes is a rising Chicago-based band playing a clean and crisp sort of 80's-retro pop style where light dance grooves dwell under jangly, melodic pop songs. This seven-song mini-album is at its best when the bands strays from the traditional pop song structure, and indeed the worst track on the record, the opening "When I Wake," sounds like their attempt to write a commercially viable single (and instead wanders into frothy 80's parachute pants music territory). Much better is the loose, loungy feel to songs such as "When I Sleep" and "No One Needs To Know," while "Her, You, and I" shows in its ending crescendo that the Changes shouldn't be afraid to let it rip more often. For better or worse depending on the listener, this record evokes a rock band playing in a swanky club, rather than in a dank, sweaty roadhouse. (Andy Smith)

THE CHANNEL
Sibylline Machine/Tales From the Two Hill Heart
C-Side Records
This new CD from The Channel is a sort of buy-one-get-one-free situation. Consisting of two full-length records assembled on one double-CD, you get a deep look at this Austin-based band, maybe deeper than you initially intended. Musically, The Channel travels the indie side of the alt-country/Americana road much in the tradition of such other Austin acts as Shearwater, Okkervill River, and others. Tales From the Two Hill Heart is the more subdued of the two records, offering thirteen uniformly pleasant and interesting songs, though none stand out above the rest. Sibylline Machine is perkier, even on its slower songs and has a more rootsy, organic sound with a bit more twang. The title track especially has a playfulness in its rubber-legged arrangement. Of the two records, Sibylline Machine comes across as more focused and confident, and ultimately makes a deeper impression. --Andy Smith

The Chapters
Bleeding All Over this Town (Has Anyone Ever Told You?)

The Chapters is an Austin, Texas-based band that rose out of the ashes of the locally acclaimed We Talked About Murder. Bleeding All Over This Town is a relentlessly gray record that evokes any number of dark, angular bands ranging from Bauhaus up to Interpol. The heavily chorused and delayed guitars hang over marching rhythms with the plaintive vocals of Rick Gonzalez on top. The already tense, brooding sound is made even more claustrophobic by the rather primitive production. On certain songs, The Chapters are really on to something (i.e "Irrational Ranting" and "First In Line"), but the record suffers from a sound quality that seems to work against the band's strengths by muffling the dynamics and keeping the instruments from ringing out the way they should. Here's guessing that they are better live than on this record. (Andy Smith)

Charanga Cakewalk
Loteria De La Cumbia Lounge (Triloka/Artemis)

Michael Ramos, the man behind Charanga Cakewalk, is an experienced Austin-based session musician and sideman for such noted artists as Patty Griffin and John Mellencamp. With Charanga Cakewalk, he boldly attempts to bring together the Mexican musical styles that he grew up hearing on his family's radio with sophisticated electronic arrangements. The result is an exciting and often seamless blend of serpentine rhythms and melodies with subtle but insistent grooves. On the best tracks, such as the shimmering "Mexicanos" and the splendid "La Cumbia Lounge." Ramos finds a mix that evokes the buoyancy of such Latin styles as cumbia and norteno but sands down some of the rougher edges to create a easy-going sound full of sunshine and good vibrations. In its weaker moments, it gets a bit too lightweight or becomes too subtle to be more than pleasant background music, but when it works, it provides the perfect soundtrack for summer lounging. (Andy Smith)

THE CHARLATANS UK
Simpatico
Creole/Sanctuary
Bands that were part of the Madchester heydays of the late 80's and early 90's are few and far between these days, but the Charlatans are still around. Called Charlatans UK in the US because of the pioneering 60's San Francisco psychedelic band of the same name, this nearly 20 year-old Manchester band was on the frontlines of the heady, ecstatic days centered around the famous Hacienda club when that venue in that northern English city seemed to be the center of the musical universe. The Charlatans never were as influential, dysfunctional or, quite frankly, as interesting as the Stone Roses or Happy Mondays, but the band has had a long, successful career in the UK with occasional flashes of US interest. Simpatico is the band's ninth record and finds the Charlatans showing great versatility by mixing in reggae and disco touches with their base organ and guitar-driven sound. Vocalist Tim Burgess is also still in fine form. Simpatico is a solid if unspectacular record and encapsulates the feelings of ambivalence that I have had about this band ever since those early days.--Andy Smith

CHARLEMAGNE
Detour Allure (SIDE ECHO)
Continuing his trend away from the psychedelic roots music he perfected with Noahjohn and toward lushly produced indie pop, Charlemagne’s Carl Johns seems more eager to please on Detour Allure than on any album in his catalog. His second album under the Charlemagne moniker finds him opting for clear, shimmering guitars, soft keyboards, and sing-songy melodies over the harder-edged textures and visceral stolen moments of previous albums. “Pink and Silver” is about as light-hearted as anything Johns has ever done, with careening twee guitar lines and handclap choruses, and while Johns hints at gory details over the soft acoustic guitar shuffle of “Your Scars,” he opts for blurry shadowboxing over ugly precision. Johns’ songs retain their sense of foreboding, if only slightly, in his queasy melodies and sepia-toned textures, but one can’t help but be a little disappointed by the near-uniformity of the arrangements and the wall-of-sound instrumental coloring. For an artist who has made some of the most startlingly visceral music of the past ten years, Detour Allure is surprisingly staid, with Johns playing it safe where he previously pushed his music into extremes. – Matt Fink

CHERUBS
Uncovered By Heartbeat
Cargo
This band called Cherubs hails from London (although at least three of its members have names that hint at Scandanavian roots) and should not ever be confused with the abrasive trio from Austin, Texas who recorded pummeling noise-rock for the Trance Syndicate label before breaking up in 1994. It seems important to make that distinction if only to save some poor drug-damaged former Cherubs fan from going to the record store in a fruitless search for what they think is the long-awaited follow-up to Heroin Man. No, these Cherubs (should they be called Cherubs UK?) have been around since the end of 2003 and have opened for the likes of Bloc Party, The Libertines, Razorlight, and Art Brut. The sound on Uncovered By Heartbeat is a more jackhammered, aggressive version of the popular angular, post-punk sound. It's not hard to envision Cherubs as a strong live act, but this record displays no more than a lot of energy, attitude, and some good, but not spectacular, spiky songs. If this record had come along six years ago, it would have sounded revolutionary, but coming in during the latter half of the post-punk revival heyday, it doesn't really stand above the bands that have come before them. --Andy Smith

THE CHRYSLER
Failures and Sparks (GALAXY GRAMAPHONE)
With a heartbeat that barely manages to register through the lo-fi fuzz and somnambulistic murmur of its drowsy din of guitars, organs, saxophone, and glockenspiel, the debut from Swedish quartet the Chrysler is a study in wispy psychedelic pop. Though they rarely rouse themselves much past a dreamy lilt, the ominously lurching “Along the Freefall” twists multi-part harmonies around plaintive accordion and darkly bobbing bass lines. More common are tracks such as the funereal piano-led “When Sarah Came to Town,” a track both invitingly reassuring and uneasily off-center, always sounding like it’s about to melt into a warm puddle of dewy slight guitar and reverberating minor key piano strikes. The lyrics flow by so innocently that one rarely has any reason to take notice of them, though a closer look will reveal a world fixated on the world of demons, wizards, and Aleister Crowley, with the eerily plaintive vocals of Anders E. Rudstrom and Pelle Lindroth seemingly attempting to lull the listener into a hypnotic lull. The echo-laden production and drab sonic coloring leaves every track with ethereally other-worldly quality, as even the seemingly straightforward psych-soul groove of “Damn Straight Evil” and the fragilely swelling pop balladry of “Wounded Night” are informed by an unspeakably conflicted quality that makes their somber, almost-grooves seem like some parallel universe pairing of Belle & Sebastian and Nick Cave. With five largely unadorned bonus tracks, the American release of Failures and Sparks is made even more imposing, an album quietly haunted, uncomfortably alluring, and strangely enduring. – Matt Fink

The Church
El Momento Descuidado (Cooking Vinyl)

El Momento Descuidado is an acoustic collection of Church songs from both past and present. It opens with quite a surprise in the form of "The Unguarded Moment," the song that got the band's career rolling in Australia in the early '80s but which has been absent from the band's live set for as long as most longtime fans can remember. The version here is stripped down and lacks the signature guitar riff, but it's still nice to hear it again. Other old faves include "Almost With You," which sparkles in this format, "Metropolis," "Tristesse," and the surpising re-emergence of "A New Season," guitarist Peter Koppes' song from the band's landmark Starfish record. And of course, "Under the Milky Way" is present as well. More recent songs include "Sealine" from 2003's Forget Yourself and "Invisible," one of the standout tracks from 2002's After Everything Now This, along with five brand new songs. With material that lends itself so well to the unplugged format, it seems fitting to finally have this record available. Too bad the Church wasn't a big enough name to get on the MTV Unplugged series back when that program was still happening. (Andy Smith)

CHURCH OF BETTY
TRIPPING WITH WANDA (FANG RECORDS)

In 1970, white folk singer Roy Harper denounced racism and colonialism with "I Hate the White Man." Listening to Church of Betty's musical fusion of East and West brings Harper's declaration to mind. I'm not suggesting for a minute that Church of Betty's Chris Rael is a racist. As a white man, I'm just embarrassed that our pop artists still uphold the tradition of appropriating "exotic" cultural forms and that they do so in such facile and unimaginative ways. From reading about Church of Betty's albums, I was expecting something very different: an intelligent, creative hybrid of Western rock with Eastern folk/popular musics. But this is dubious generic rock with tacked-on sitar, tabla, and sundry other subcontinental percussion. It isn't even cultural tourism--it's the musical-dabbling equivalent of an American's day trip to Tijuana. Remove the "ethnic" elements and what you're left with is quite bad. "Empty Glass" could be a Rocky Horror Show outtake and "Down and Out in New York City" does unspeakable things to James Brown's original version from Black Caesar. This album sounds like something well-meaning liberals (among whom I'd sometimes count myself) might hear on NPR's Fresh Air and then play at their alcohol-free parties in an attempt to convince themselves that we can all get along. Do yourself a favor and buy something by Cornershop or Talvin Singh instead. (Wilson Neate)

CIRRUS
COUNTERFEIT (MOONSHINE)

If this album was the product of a first-time band I would be comfortable slagging it totally, but with Cirrus' track record I have to wonder what happened. Counterfeit is an album that tastes like a good stew pulled off the heat too soon--all the elements haven't had time to mingle, balance, and settle. There are certainly some strong moments, but they also show where the weaknesses lie. For all the languid style of "Boomerang" there's nothing to tie Laura Derby's vocal to the music. Her voice floats untethered and free, which winds up leaving you wondering when something will show to support it and add some heft to the track. In the hands of another producer or mixer this song could most likely be crafted into the technology-laced ballad that propels so many of these bands to chart-topping heights. On the beat side of the equation "Breakbeat Suckers" has so many of the right elements that make a memorable stomp, but there are too many sounds that crash the high end and leave you wondering where the bass is. The funky slap-bass parts are so free of down Œn' dirty energy that they seem like a deliberate taunt. I can see why a band might say, "Sure, we could pull out a fuzzy, thunderous bass part to anchor all this but we don't do it that way," but so many other artists do it because it works so well! Hell, Fatboy Slim built at least two stages of his career around it! Counterfeit is full of these confounding constructions. Sadly, for all the thought Cirrus put behind these tracks I worry their hearts really weren't in it. (Boon Sheridan)

CITIZENS HERE AND ABROAD
GHOSTS OF TABLES AND CHAIRS (OMNIBUS RECORDS)

It’s not always fair to hold a band responsible for the sweep of history, so I’m going to just put aside the dozen or so bands you could finger as forerunners to California’s Citizens Here And Abroad. Just enjoying the floating voices of Adrienne Robillard and Chris Groves over the reverb-laden pop songs is enough for me. Listeners who want high craftsmanship or meticulous production should go elsewhere, but be warned you’re passing over some great songs here. The band is at their best when Chris Wetherell gets to pound away on the drums and let the guitars and vocals catch up to him as he charges forward. The brief moments of crashing and clashing percussion in “Appearances” are among the highlights of the album. “They Stay” balances the lyrics of life falling apart with a bright guitar lead, ominous bassline, and Wetherell’s pumping drums building the tension. The band can throw the gears back and forth with skill (e.g., the slow burn intro whipping into the churning froth of “Microphone”). The slower strums of “In Flight Movie” don’t have the same charm as the reverb-laden energy of “Appearances,” though. When the band fires on all cylinders it’s a joy--“Enter The Elevator” takes a bleeping keyboard opening right into a pumping beat and chunky guitar line that makes a great base for Robillard’s voice and further guitar shenanigans. (Boon Sheridan)

THE CLANCY BROTHERS
BEST OF THE CLANCY BROTHERS & TOMMY MAKEM (COLUMBIA)

The premier proprietors of rousing Irish pub music, the Clancy Brothers are captured in all of their charming splendor with yet another Best Of set. With selections taken from numerous albums from their salad days in the 1960s, and 11 of the 16 tracks being live cuts (where the Clancys were arguably at their best), this set is roughly representative of their best work of the period. As such, we're treated to stomping renditions of "The Rising of the Moon," "Johnson's Motor Car," and "Whiskey You're the Devil," as well as moments more pensive ("A Nation Once Again") and humorous ("Mr. Moses Ri-Tooral-I-Ay"). Fun and spirited, as are all of their recordings, the collection is what you would expect from a brief overview of their career at its zenith. Why a set like this is even necessary, given the numerous similar and more comprehensive compilations on the market, is unclear, although you could do much worse in finding a single disc introduction to the music of the Clancys and Tommy Makem. More than anything, with Tom and Paddy Clancy gone to sing in the big pub in the sky, sets like this make one realize just how few genuinely engaging performers are left on the traditional folk circuit and how enjoyable and enduring the music of the Clancys truly is. (Matt Fink)

ALLEN CLAPP
AVAILABLE LIGHT (MARCH RECORDS)

Breezy 70s-style pop from the Orange Peels leader. Available Light is heavy on piano-based pop ditties that are not too far removed from early period Elton John. Those familiar with the Peels know that Clapp is a monster at recasting various 60s styles, particularly those of California pop legends the Byrds and Beach Boys, into melancholy, contemporary settings. Here, Clapp takes on all of the instrumental duties, creating a hermetic studio album that echoes cult rock heroes like Emmit Rhodes and Todd Rundgren. Though I'd have to say I prefer the variety and dynamics of his Orange Peels efforts more, Available Light does stand as an ambitious project, and one not without its charms. Best song: "Whenever We're Together," a meditative, walking-alone-on-the-beach type piece that would've just been unforgettable in the hands of someone like Dennis Wilson. (Luke Torn)

THE CLARKS
ANOTHER HAPPY ENDING (RAZOR & TIE DIRECT, LLC)

Long one of the most popular bands in Pittsburgh, the Clarks have honed their skills to deliver a polished, thoroughly professional record with the release of Another Happy Ending, their fifth studio album. Good arrangements, good vocals, instruments played well. Unfortunately, Another Happy Ending is an album largely devoid of spirit or soul or personality, though not without some musical quality. It sounds like the kind of pop-rock that you would hear in retail stores or one of those music services piped into gyms ˆ pleasant, solid, but distant and uninteresting. I think this may be one of those bands that is great live but is having a hard time translating their stage charisma into studio recordings. It's clear from the quality of each of the components on Another Happy Ending that the Clarks have all the tools necessary to breakthrough to national recognition. They just need to find the right producer to draw those tools out a little better. (Richard E. Glover, Jr.)

CLEM SNIDE
BEAUTIFUL EP (SPIN ART)

With his winsome voice, Clem Snide singer-songwriter Eef Barzelay possesses that rarified ability to take any song--be it the Christina Aguilera hit "Beautiful" or the Velvet Underground cult fave "I'll Be Your Mirror"--and make it wholly his own. In addition to these two pleasing covers, this five-track EP also features the album version of "All Green"--a sweet ode to summer that first appeared on 2003's Soft Spot--and two new tracks: "Nick Drake Tape" and "Mike Kalinsky." The former is a soft but quirky ode to a girl that's ripe with pretty strings and an appealingly gentle sentiment. In contrast, "Mike Kalinksy" stumbles a bit with its clumsy phrasing and pace. But the song is just one awkward moment on an otherwise pleasant EP. Perhaps not the best introduction to the band if you're new to the Clem Snide camp but a fine addition to any fan's collection. (Rachel Leibrock)

Clouds Forming Crowns
s/t (Morphius)

Clouds Forming Crowns is a project of brothers Tim and Todd Tobias; the former played bass in Guided By Voices, and the latter produced the last three GBV records. So guess what? This record sounds like Guided By Voices, though not as imitation, but more in its hazy sounds and soaring melodies. They don't have the GBV knack for amazing hooks, but they certainly know their way around a good melody and sound as though they could be a blazing live band. Some of the songs are a little too strummy and don't seem to go anywhere, but these are relatively few and actually add a scruffy charm. But when they lock in and find a good hook, as on the opener ""Accidents of Air," the songs really soar. (Andy Smith)

BRUCE COCKBURN
Life Short Call Now
True North/Rounder
Bruce Cockburn (that's pronounced "Co-burn" for those of you with lowbrow senses of humor) has been active since his debut record came out in 1970, and Life Short Call Now is his 25th release if you count the couple of live records. And even as he enters his 60's, two key elements are still present in this veteran Canadian folk/rock musician's work; he's still pissed off and troubled by the all of the violence, suffering, and injustice in the world, and he is still an exquisitely nimble guitar player. The latter comes through on just about everything but is on full display on the lovely instrumental "Peace March." The former is best captured in the brooding "Slow Down Fast." There are also a couple of other instrumentals ("Jerusalem Poker" and "Nude Descending a Staircase"), which show him still interested in exploring musical textures and moods. Cockburn has only had a couple of minor hits in the US during his 36 year run (both in the 80's: the wicked "If I Had a Rocket Launcher" and the transcendently life-affirming "Wondering Where the Lions Are"), but Life Short Call Now shows him to still be a vital and relevant artist, which is far more admirable than a wall full of platinum records. --Andy Smith

The Cocker Spaniels
Withstand the Whatnot (Artbreak)

Ever since the likes of Bob Pollard re-branded punk's original DIY ethos as "lo-fi" and re-emphasized what was possible with a few good ideas and a shoestring budget, homemade sounds have inevitably become a contrived aesthetic choice for some artists, a studied stylistic exercise rather than a necessity. Consequently, it's refreshing to hear Withstand the Whatnot, which makes a virtue of necessity and isn't just a simple exercise in slumming. The Cocker Spaniels are the pet project of Sean Padilla, a bedroom auteur based in Waco, Texas, who's been churning out cassettes and CD-Rs for the past decade. Recorded on an eight-track (with Padilla playing guitar, bass, drums, keyboards, synth, xylophone, accordion and more), Withstand the Whatnot is bursting with enthusiasm and ideas that give tired old indie rock new tweaks and twists. This album has a diverse, occasionally quirky feel. There are infectious melodies and hooks; off-kilter tempos that keep you on your toes; and, front and center, Padilla's high voice, often layered with harmonies. The lyrics are markedly autobiographical, tackling relationships, school, crappy jobs, broken homes, race and religion; nonetheless, the most successful numbers often take a less earnest, more humorous approach. Among the highlights are "The Only Black Guy at the Indie-Rock Show," the lilting "Finals Season," "Your Things Are in the Yard" (which has a subtle electronic groove) and "Fifteen Percent, Please!" a keyboard-based indictment of stingy tippers. Like his hero Pollard, Padilla might want to edit himself a little more aggressively but Withstand the Whatnot attests to his considerable songwriting potential: it has a distinctive sound, boundless energy and irresistible charm. (Wilson Neate)

Colossus
West Oaktown (Om Records)

Jazz/funk/soul bassist and London School of Furniture graduate Charlie Tate is a founding member of King Kooba, whose last record was released by San Francisco-based Om Records (home of DJ Mark Farina's Mushroom Jazz series). Tate moved to the Bay Area in 2002 and began a new project. Now three years later, we have Tate leading Colossus, whose debut is West Oaktown and is described in a label bio as "hip-hop but with a hefty dose of jazz, funk, and soul." Featuring MCs Capitol A, Delphi, Azeem, and Regi B and guest vocalist Hilton Smythe, the music on West Oaktown provides a street soundtrack perfectly suited for the tough area of Oakland that it is named for, consisting of jazz-influenced, down-tempo backing tracks for the vocalists rapping and singing. If you like the Roots and were excited to hear about the recent Digable Planets reunion, then this is certainly for you. The CD package includes two versions of the record: the original, and a remix made especially for hip-hop fans. --Andy Smith

Col. Knowledge and the Lickety Splits
Fall In Love All Over Again With…(Alive Records)

This record has sort of an organ-driven, garage, retro-bubble-gum quality to it with an almost Motown feel in places. Apparently recorded in a living room on an 8-track, there are lots of cool hooks and classic pop song compositions. Fans of this style will probably dig it, but the x-factor is the vocal delivery of the Colonel himself. Listeners will either embrace his falsetto-laden crooning and hollering, or they will run screaming for the eject button; it's hard to see there being much middle ground. (Andy Smith)

THE COLUMBIAN NECKTIES
WHY CHANGE YOUR MOVES? (SOUNDS OF SUBTERRANIA)

What is it about the climate of the Nordic region that inspires such rock 'n' roll power? Is it so cold in Scandinavia that you have to play every song as if it was the last time just to keep warm? The Columbian Neckties hail from Denmark, and they rip through a dozen punk rock ditties like the carnivorous snow wolves to which they're probably related. The quartet has a certain sense of rock history 50s-style, with a flare for updated rockabilly. "This Guy Will Tell" and "She's On Your Radar" are Chuck Berry filtered through Black Flag, the salacious "Hot Butt Love" might be Jerry Lee Lewis after being force fed the Mentors, and the title track is like a punk rock Little Richard, complete with guitarist Henrik, singer Jeppe, and the rhythm section racing at breakneck speed to the end of the song to see who finishes first. (What's the prize at the end that makes them try so hard, a naked snow bunny or a pound of raw meat?) And then there's the AC/DC-on-speed boogie of "Riff Raff." These boys will never win any awards for poignant songwriting, but they know what to do with a riff, and their energy is so infectious it's almost impossible not to jump around the room waving your arms in a general approximation of guitar slinging. If you can sit still during "You Can Come Down" or "Wankers Day," forget the paramedics and call the funeral home. Fans of Nordic rockers like "Demons" or the Backyard Babies, or even homegrown beasties like the New Bomb Turks, will find much to love about the Columbian Neckties. (Michael Toland)

Michael Comiskey & Bill Volmut
Lucky Charm (self-released)
Comiskey and Volmut are a Seattle-based duo who used to comprise half of the band Still House but released Lucky Charm while trolling for new band members. The seven songs that comprise this short record are all of the heartfelt acoustic variety recorded roughly but still full of soul and Comiskey's raw, emotional vocals, which often break into falsetto at opportune moments. There's nothing slick about it, but it's very real and very honest. Contact mlcomisk@hotmail.com for ordering information. (Andy Smith)

CON DOLORE
SAILOR'S WARNING (CLAIRECORDS)

Con Dolore, a trio from Sacramento, broke up and moved to different cities after recording this fine little album. Sounding more like a bunch of pale shut-ins from Northern England than a group of college grads from sunny Northern California, their forte is (was) shimmering electronic poptones based around the sanguine vocals of Kristy Moss (guitarist/keyboardist Ed Ballinger also sings on several tracks). Falling somewhere between the beauty of the Cocteaus and the clarity of the Sundays, backed by OMD circa '81 (think fairlight synths and barren beats), with the Dream Academy's lite-pop sensibilities, Moss sings lyrics that sometimes beg to be obscured. But her voice is so enjoyable that it doesn't matter. Ballinger's tracks are nifty enough (especially the crafty "Intermission"--not that 39 minutes of music really needs an intermission!), even if he too comes off as a wannabe Brit. "Faces In Drapes," a duet, is great, the highlight of the record. It's rather a shame Con Dolore didn't stick around for more, as this record really has won me over in the end. (d.n.l)

Bobby Conn & the Glass Gypsies
Live Classics, vol. 1 (Thrill Jockey)

It begins with a digitally altered, dissonant version of Mussorgsky’s “Pictures at an Exhibition” and Mr. Conn asking the crowd to “imagine you just heard the best song you’ve ever heard, because this is a live album and we’re going to fill this in and make it sound like we’re playing in an auditorium.” It begins, stated more simply, with falsification – with Bobby Conn telling each and every one of us listening at home that this is not what the title, Live Classics, vol. 1 tells us. This album is not “live” (though the band performed for a live audience, the band is in a studio), the songs are not “classics” (yet), and it’s unlikely there will ever be a volume 2. If a title is what the artist wants you to know before you hear a record, what does it mean that every word of this title is a lie? The truth of the matter is that Live Classics, vol. 1 is an impeccably chosen title for this record as it perfectly sums up everything that Bobby Conn does. With airtight politics intact, Bobby Conn is a brilliant entertainer – notice I said “entertainer” and not “artist” or “musician” – and that’s just what the music on Live Classics, Vol. 1 does: it entertains and it does it better than anything out there right now, “serious” or not. What’s really important here is not whether Conn is serious or not, but that each and every song on this album – to use appropriately decadent language – fucking rocks. The Glass Gypsies play Conn’s music better than anyone ever has before and the benefit of having a regular band for over two years now is apparent. Songs like “Angels”, “Winners”, and “United Nations” (from “The Golden Age” and “Rise Up!”) are actually much better than the original studio versions. You can hear the energy this band has; you can feel the perfection this band reaches when performing live. Glam rock can be no better than when experienced live, complete with outlandish costumes, make up, and ear-splitting decibel levels and the Glass Gypsies pull this off with ease. There are few other bands I can think of who are so focused in their intent and execution of clearly thought out musical ideas. (Nick Hennies)

CONNER
Hello Graphic Missile
Sonic Boom Recordings