Various Artists
West of Memphis: Voices for Justice
(Sony Music)
The story of injustice is one that has, for two decades, been one in which The West Memphis Three lived. A surreal tale of three Arkansas teenagers (Damien Echols, Jessie Misskelley, Jr. and Jason Baldwin) accused of murdering a trio of second-graders (Stevie Branch, Christopher Byers and Michael Moore) in what was thought to be a Satanic ritual, before being, many believe, wrongfully convicted, perhaps even corruptly so.
For 20 years they fought for their freedom, aided and abetted by high-profile fighters and believers, who kept their story alive. There have been concerts and tributes, and there have been documentaries including last year?s acclaimed, Peter Jackson-produced West of Memphis, which this album is considered a companion piece to. And a fitting one at that. For while the three men were finally released last year, anything resembling triumph and joy has to be tempered with anger, sadness and everything that comes with a loss of innocence and half a lifetime, which this all-star album gives fitting voice to.
From Henry Rollins and Johnny Depp?s sombre spoken-word readings of death row letters from Echols and Natalie Maines haunting version of Pink Floyd?s Mother to Band of Horses performing live a somewhat defeated Dumpster World, Bob Dylan beautifully defiant on Ring Them Bells, and Eddie Vedder hopeful yet mournful on Satellite, it?s an eclectic, emotional and taxing journey. One that only hints at the toll of a life of injustice lived.
? Mike Bell, Postmedia News
Rating: 4 out of 5
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Bad Religion
True North
(Epitaph)
There?s a wonderful three-song run near the beginning of Bad Religion?s 16th studio album where you can almost hear the righteous anger boil over.
It starts with the thoughtful Robin Hood in Reverse, veers into the angrier Land of Endless Greed and ends with the charging F?ck You.
The godfathers of political rock have been raging against the machine for more than 30 years now, so we could hardly expect them to tone it down now when economic disparity and unchecked greed in America appears to be as rampant as they always claimed it to be. As with many of their albums, there?s a risk of these 16 songs ? clocking in for a grand total of just over 30 minutes ? blending together into one hazy gallop of indignation.
But vocalist Greg Graffin and guitarist Brett Gurewitz maintain their uncanny ability to cut through the double-guitar thunder with sharp hooks and songcraft, hitting a peak with the breathlessly catchy harmonizing on the poppy In their Hearts is Right.
?Eric Volmers, Postmedia News
Rating: 3.5 out o5
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The Joy Formidable
Wolf?s Law
(Atlantic)
There something undeniably endearing about an act that still subscribes to a bigger-is-better mantra of rock ?n? roll.
Subtlety be damned, this Welsh trio follows up its appropriately named 2011 debut, The Big Roar, with an album of such ambition and meticulously crafted grandiosity that it makes Billy Corgan sound like Bon Iver moping about a cabin with his acoustic guitar by comparison.
Not surprisingly, the not-so-secret weapon continues to be vocalist-guitarist Ritzy Bryan, and not just because she possesses the sort of yearning and focused vocals that can cut through the angriest of sonic storms.
While there?s no denying her skill at thundering guitar riffs ? check out the metallic fury that opens Bats, for instance ? it?s her melodicism that pushes the 12-song Wolf?s Law past mere guitar heroics and multi-layered bluster into something that bears repeated listens.
Melody shines through on everything from the tightly-coiled ballad Silent Treatment, to the punk blast of Little Blimp and near prog-rock fussiness of epics such as Maw Maw Song and the Leopard and the Lung.
Rating: 3.5 out of 5
? Eric Volmers, Postmedia News
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Classified
Classified
(Universal)
Luke Boyd, better known as Nova Scotia rapper Classified, isn?t short on musical ideas ? this self-titled effort is his 15th release in 18 years. As solid as his output might be, he hasn?t quite come up with a bona fide smash ? one of those songs that helps to define a genre, year or Internet meme. He came close with 2009?s O Canada, a hip-hop version of our national anthem, yet the patriotic ditty felt somewhat contrived (or un-Canadian) ? and certainly didn?t find much of an audience outside our borders.
On his latest album, Classified nudges closer to international ubiquity with Inner Ninja, a jaunty, elbow-swinging number, which swings with the jump of half-strummed guitars and the mellifluous vocals of singer-songwriter David Myles. Another possibility: Three Foot Tall, a Hova-esque times-are-tough track featuring a children?s choir, wistful flute, bouncy piano and rhymes about, ?when you feel alone, play my songs and that keeps us connected.?
Next to these radio-friendly tracks, the rest of Classified sounds grittier, or perhaps closer to his heart, but no less memorable. Growing Pains is a touching ditty dedicated to his two daughters; Hi-Dea?s is a soulful piano ?n? string jam about weed and the writing process, while the bluesy That?s What I Do recaps Classified?s life and love of hip-hop, which also includes one of the album?s two references to No. 99. The second, New School/Old School, which feels like a ?70s Brooklyn street jam, features Kayo and Classified comparing/making fun of each other?s hip-hopness. Whether any of these tunes become the next Call Me Maybe, expect Classified to keep trying ? even if takes him another 15 albums over the next 18 years.
Rating: 3.5 out of 5
?Sandra Sperounes, Postmedia News
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Renny Wilson
Sugarglider
(Mint Records)
Mint Records? love affair with Edmonton-bred acts (see: indie rockers Hot Panda) continues with the recent signing of E-Town romantic pop newcomer Ren? Wilson. Informed by minimalist post-disco experimentalist Arthur Russell, Wilson?s debut album Sugarglider finds its drive in smooth sax and disco bass lines, enveloped in a psychedelic gaze not unlike recent re-ups of the quiet-storm genre like Destroyer?s Kaputt or the lo-fi bump of Toro Y Moi. Opening track By And By offers an instant splash of slacker cool, and each track segues into the next, like some kind of punch-drunk ?80s dance floor mini-movie. Wilson doesn?t so much croon as he whines, contrasting his bell-bottomed funk with a white- boy moan. And there lies Sugarglider?s main weakness: For an album that offers such compelling soul weirdness, the end result feels strained and thin, especially vocally. Sugarglider is sweet, but the initial rush fails to linger long enough.
Rating: 3 out of 5
?Francois Marchand, Postmedia News
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