Guy Forsyth, Björk, Rush

Forsyth's latest shows why Austin rocks

Monday, May 07, 2007

Guy Forsyth

'Unrepentant Schizophrenic Americana'

(Small and Nimble)

This right here? Very possibly the ultimate Guy Forsyth album, for all sorts of reasons. The bands cook, the title tries to embody the sound and he even offers one of the best benedictions ever recorded for the live music experience: "As we gather one more time, going out at night, in the dark, to this strange, not quite clean room to be shoulder to shoulder with strangers, so we can worship the mystery." Perfect.

The first disc captures a monster set recorded last year at Antone's. This is Forsyth as gutbucker blues-rocker with the gritty voice. The opening rocker "Calico Girl" features beautiful exchanges between organist Mark Addison and Colin Brooks' guitar. The hard soul croon of "Take Advantage of You" is actually a political tune ("America, your love is true/but you let him take advantage of you"). It's a weird sentiment for this kind of song, but it's the sort of thing that makes Forsyth fun and not just another pretty voice.

Disc two, recorded at various locations over the past three years, nearly ups the ante. After another benediction ("Many things are remaining a do-it-yourself situation," Forsyth yells over a wicked groove. "First and foremost, democracy"), the band tears into one of the grittiest takes on New Orleans R&B legends Dave Bartholomew and Pearl King's "The Monkey Speaks His Mind" ever waxed. Addison is again the MVP, peeling off what has to be one of the noisiest solos in Saxon Pub history.

Forsyth's skills as a bandleader, singer, harmonica player and entertainer remind you exactly why live music rules in Austin. Forsyth plays Friday at Antone's. — Joe Gross

Recommended track: "The Monkey Speaks His Mind."

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Björk

'Volta'

(Atlantic)

Earth to Björk? Come in, Björk.

Björk, the Icelandic, pixie-like, electronic dance music diva, has orbited Earth just close enough to drop off "Volta," a 10-track decimation/reconstruction of prototypical pop music.

Pushing forward from her past, primarily a cappella, release "Medulla," "Volta" reveals Björk in a playful mood. She still has a knack for creating dance music that will blow out your headphones. The architecture of her songs is a study in audio production. And her singular, glass-shattering voice proves to be in excellent form.

Hip-hop producer provocateur Timbaland twisted the knobs on three tracks, but don't expect to hear the staccato beats that he cuts and pastes on a Jay-Z or Justin Timberlake album. Björk seduces the mega-producer right into her audiophile hypnosis, incorporating his stop and stutter beats into her sonic soundscapes. She renders his patented beats virtually unrecognizable.

"Earth Intruders" starts off what could have been a great album. Unfortunately, always pushing the boundaries of what can be considered a song can become a trying exercise for listeners who just want to dance. If you're a fan of Björk's avant-garde, experimental pop music, then you'll love "Volta." If you were on the fence, her eerie duets with Antony Hegarty of Antony and the Johnsons are not going to persuade you to ride on her sonic space shuttle.

By the album's end, Björk has created music from harbour boat horns on "Wanderlust" and laid-out an infectious tribal beat created out of synthesized drums, blips and beeps on "Innocence." All the while she uplifts every song with her shimmering voice full of gravitas and the weight of the universe. — V. Marc Fort

Recommended track: "Innocence" and "Declare Independence"

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Rush

'Snakes & Arrows'

(Atlantic/Anthem)

With co-producer Foo's/Stone Sour wunderkin

d Nick Raskulinescz, the Canadian trio has seemingly thrown in all the finest moments from its lengthy career into "Snakes & Arrows." The result could be theband's finest moment.

From thunderous opener "Far Cry,"to lush, masterly rocker "Armor & Sword,"and from the haunting guitar-play of "Bravest Face" to insane instrumental "The Main Monkey Business,""Snakes & Arrows" is a rare combination of well-written songs and warm, clear production.

As with any Rush album, drummer/lyricist Neil Peart has more than a passing influence on proceedings. Past albums have had lyrical themes and "Snakes & Arrows" is no exception, as Peart writes of his distaste for organized religion.

In the blues/folk tinged "The Way the Wind Blows" he observes:"From the Middle East to the Middle West/Pray and pass the ammunition." While on '70s Mellotron prog-fest "Faithless" he admits: "I've got my own moral compass to steer by" concluding "I don't have faith in faith/I don't believe in belief/You can call me faithless."It all comes across as a tad over-emotive lyrically, and feels like Peart is overreaching in an effort to make a point.

Despite this, "Snakes & Arrows" is an album of enormous musical muscle and song-writing creativity with a shimmering intimate subtlety. — Rob Palladino

Recommended tracks: 'Armor & Sword' and 'Bravest Face'