New music

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This article was published 09/06/2023 (1190 days ago), so information in it may no longer be current.

ROCK

Rancid

Tomorrow Never Comes (Epitaph)

Bully

Lucky for You (Sub Pop)

Punk’s not dead and guitar-rock isn’t, either — they just don’t dominate the music scene as they did in the ’80s and ’90s, when radio ruled. Hip hop, pop and country are the darlings of the streaming and downloading age, but that doesn’t mean those who love their loud and stompin’ six-stringed music can’t have fun, too.

Two recent cases in point are albums from veteran punks Rancid and Bully.

The Bay Area punks of Rancid became stars nearly 30 years ago with …And Out Come the Wolves, in the years since they have started their own record label, worked with Joe Strummer, tried solo projects and released four very good but unexceptional albums of their own. With Tomorrow Never Comes, they hit the heights again with a 16-song collection produced by Brett Gurewitz that touches on a mix of cultural politics (the title track, It’s a Road to Righteousness), slice-of-life-anthems from the margins (Hellbound Train, Eddie the Butcher) and, believe it or not, piracy on the Mediterranean Sea (Bloody and Violent History). ★★★★ out of five

Bully is the alt-rock project of Alicia Bognanno, a Minnesota-born, Nashville-based guitarist and producer whose three previous albums were catchy primal scream therapy from the Cobain school. On Lucky for You, Bognanno brings in J.T. Daly to produce as she softens her approach by toning down her raspy vocals, sharpening her hooks and creating 10 songs that range from the sorrow and wistful regret of opener All I Do to her palpable rage and disgust with the current state of American culture and politics on Ms. America and All This Noise. ★★★★ out of five

STREAM THESE: Bloody and Violent History (Rancid); I Am Torn (Bully)

On YouTube: Hard to Love, Bully; New American, Rancid

— John Kendle

POP/ROCK

Ben Folds

What Matters Most (New West)

Singer-songwriter Ben Folds’ pop confections are sweet and tart, a recipe that makes him popular with both boomers and college students. The North Carolina-born performer is a master melodist and sly satirist, a sentimental cynic and piano pounder who loves a waltz.

All those sides are evident on What Matters Most, an engaging 10-song set and Folds’ first studio album since 2015.

As usual, his musical approach varies widely, from ping-ponging synthesizer to lyrical piano, a string section, horns and handclaps, a 7/4 time signature and overdubbed vocals in inventive arrangements that evoke the Beach Boys, the Bee Gees and a barbershop quartet.

Hummable hooks are plentiful as Folds sings about “life and doldrums and pain,” hilariously swears off motel flings, and makes surrendering to love sound triumphant.

His conversational lyrics lament the state of Western civilization on But Wait, There’s More, and specifically the perils of internet disinformation on Kristine From the 7th Grade.

For those who disagree with his perspective, the CD package includes a photo of Folds seated atop a piano, happily sharing an obscene gesture.

Perhaps the pandemic prompted the song Back to Anonymous, a shuffle that contemplates the impermanence of celebrity. But What Matters Most should have Folds back on the charts. ★★★★ out of five

STREAM THESE: Exhausting Lover, Fragile

— Steven Wine, The Associated Press

JAZZ

Aaron Shorr

Omand’s Creek (Self-Produced)

Winnipeg guitarist Aaron Shorr recorded this trio album — featuring longtime colleagues Julian Bradford on bass and Kevin Waters on drums — in 2018 and it was released several weeks ago

The album title here references a West End Winnipeg location that is a landmark to the neighbourhood. I confess that it was for me my playground growing up when it looked entirely different than now, and I’m fascinated at Shorr’s choice of title. It’s also the name of the title track composed by him.

This is very fine guitar trio music, with a variety of covers and several originals that have variety, energy and strong linkages between the musicians. While clearly the leader, Shorr gives space to his colleagues whose solos and support are stellar. The opening track, Chi Chi, a cover of an R&B tune sets up a powerful rhythmic base by Waters that opens the door for all three to shine. Fantasy is an uptempo Earth, Wind & Fire cover that drives from beginning to end. All three are flat-out flying with terrific solos.

Title track Omand’s Creek is a reflective ballad in a lovely melody. Again, the chemistry between the members is excellent, and Shorr and Bradford both stretch out on their thoughtful solos. How Do We Get Here moves back into uptempo mode. Without doubt Shorr is comfortable at any tempo and can linger on a beat or fly with flurries of notes as needed.

Covers of If You Could See Me Now and I’ve Grown Accustomed To Her Face are fine arrangements of familiar material — one could even dance to them; Designated Hunter maybe not. The closing track ends with a bang, so to speak. This is a truly enjoyable album from a local musician who should have a wide audience.

While the monkey hills aren’t there anymore, Omand’s Creek has lots of life. ★★★★ out of five

STREAM THESE: Fantasy, Omand’s Creek

— Keith Black

CLASSICAL

Orli Shaham

Mozart Piano Sonatas Vol.4: K. 279, K. 280, K. 284

(Canary Classics)

Internationally renowned pianist Orli Shaham performs three works in her latest instalment of an ongoing, six-set volume of all Mozart’s piano sonatas, aptly titled Mozart: The Complete Piano Sonatas, Vol. 4. The final two recordings on the Canary Classics label are slated for release next season.

The artist states in her own liner notes that the three works were composed by the Wunderkind as “18th-century calling cards,” to perform at homes of potential benefactors, while staying in Munch between 1774-75.

Piano Sonata in F Major, No. 2, K. 280 immediately displays the soloist’s sensitive artistry, from its opening Allegro assai through to finale Presto. A particular highlight is her interpretation of the lyrical Adagio, artfully shaping her phrases rife with pregnant pauses.

Sonata in C Major, No. 1, K.279 crackles with energy, while Allegro further showcases her technical prowess and well-nuanced dynamic palette. The thoughtfully rendered Andante is followed by another bristling Allegro, including clearly executed passagework.

Arguably the album’s most adventuresome offering is Sonata in D Major, No. 6, K.284 a.k.a. the Dürnitz. Once again, Shaham brings to life its opening Allegro, fuelled by crisp articulation, following by the Rondeau en Polonaise: Andante. Then it becomes time for the unusual finale, comprised of a theme and variations in lieu of a traditional rondo. The pianist keeps a firm eye on the whole, pacing each variation accordingly that infuses her performance with further colour and texture, in this welcomed addition to the Mozart solo keyboard discography. ★★★★ out of five

STREAM THIS: Piano Sonata in F Major, No. 2, K. 280, Adagio

— Holly Harris