Dungen
Tio Bitar
(Kemado)
This Swedish combo’s surprise breakthrough Ta Det Lugnt fused pastoral psych-folk with hard-riffing classic rock, all sung in their native tongue. The album so perfectly captured the analog vibe of the 1970s that it was tempting to write it off as hopelessly retro—until you realized nothing from that era actually sounded like it. Tio Bitar recaptures and extends the previous album’s stunning synthesis with the hammer of the gods stomp of “Gor Det Nu” and gossamer tapestry of “Familj.” But mastermind Gustav Ejstes occasionally seems to grope for memorable hooks and melodies, letting songs meander and devolve into rote riff-workouts. There’s still magic here, but the novelty of the old is starting to wear thin.
—Jeff Jackson
*
Matt & Shannon Heaton
Fine Winter’s Night
(ESL)
The choice between holiday music and elective surgery has been known to give me pause. But it’s easy to keep one’s Grinch proclivities in check when confronted with the soothing charm, crisp performances, and earnestness of Matt and Shannon Heaton (flute, guitar, vocals). Personally I prefer secular songs and tunes such as Matt’s original waltz “First Snowfall of December,” lively jig sets like “Day Dawn,” and less shop-worn songs such as “Wexford Carol” and “Star Song,” a 16th-century poem to which a slip jig is appended. But from the Heatons, I can even tolerate “It Came Upon a Midnight Clear.” This release has the warmth of hot cocoa on a snowy night.
—Rob Weir
*
Mekons
Natural
(Quarterstick)
Thirty years into their peerless career, the Mekons’ latest album finds them exploring the acoustic brambles of British folk music. And why not? These first-wave punk rockers have never had a fixed musical identity. Natural unearths the pagan legends and eldritch vibes that still haunt our modern world. Songs like the ritually chanted “Burning in the Desert Burning” and gentle drone ballad “The Hope and the Anchor” may seem dozy on first listen, but they grow wings—or maybe claws—with repeated spins. And tunes like “Give Me Wine or Money” capture the eternal verities with immediate brio. Natural isn’t the best place to open the book on the Mekons, but another fine installment in rock’s greatest continuing tale.
—Jeff Jackson
*
Gorillaz
D-Sides
(Virgin)
How is it that these “D-Sides”—cast-offs, demos, B-sides, rarities, remixes and previously unreleased tracks—can be so much better than the prime stuff from so many other bands? Gorillaz are the virtual outfit of multi-talented globe-trotting dilettante Damon Albarn, formerly of Blur and of this year’s the Good, the Bad and the Queen (he also scored an opera recently). These cartoon-band tracks are built upon club-ready, squirty little rhythms that evoke Tom Tom Club (Chris Frantz and Tina Weymouth are sometime collaborators), early-’80s David Bowie and dub. It’s silly, off-the-cuff, but completely memorable. Listen for the genius layered banjo (samples?). This two-disc set includes collaborations and one whole disc of remixes.
—John Adamian
