James McMurtry
Just Us Kids
(Lightning Rod Records)
James McMurtry's latest is a muscular, masculine look at politics, relationships and life that's not for kids. On "Ruby and Carlos," he sings, "I can't go back to Tennessee/ that NASCAR country's not for me," and it's hard not to see the line as autobiographical. Like true country rebels like Steve Earle or Neil Young, McMurtry is equally at home singing an acoustic ballad or letting loose behind crunchy power chords. And, like the outlaws, he's not afraid of controversy. It's been a while since 9/11, but it still takes moxie to call a soldier "Cheney's Toy," or make analogies between the Bible Belt, multinationals and the Third Reich. But then, the difference between James McMurtry and the airbrushed phonies on CMT is the difference between balls and bollocks. He plays Pearl Street May 3.
—Rob Weir
Sebadoh
Bubble and Scrape (reissue)
(Domino)
This year marks the 15th anniversary of the birth of Bubble and Scrape, an album that proved to be the death knell of Sebadoh's songwriting Cerberus. After founding member Eric Gaffney's departure from the collective following Bubble and Scrape's release, the band went on to produce two excellent albums—there will be no discussion of unfortunate swan song The Sebadoh here—due in no small part to the ascendancy of Jason Loewenstein. His songs became the ballast between Lou Barlow's legendary indie love songs and Gaffney's punk noise-blasts, and took on even greater importance in the years to follow. This expanded reissue contains 15 bonus tracks including B-sides, rarities, alternate versions and a few previously unreleased numbers.
—Matthew Dube
Children of Bodom
Bloodrunk
(Spinefarm)
Don't get me wrong, I'm as down with Satan as the next guy, but the synth-strings, the shriek-roar singing and the general devil-lovin' sounds of these Finnish metal big wigs are more laughable than spooky. That said, the defibrillating double-kick drum, the mind-boggling odd-time fills and the machine-stitch precision of the guitars are amazing, even if you're not a Scandinavian death metal fan. And "Smile Pretty For the Devil" has face-melting solos. But, guys, stop listening to Carmina Burana already.
—John Adamian
Jenny Scheinman
Jenny Scheinman
(Koch Records)
Violinist Jenny Scheinman has pulled off the simultaneous release of two very different albums. Crossing the Field is an instrumental album, recorded with the aid of Bill Frisell and a jazz band. Jenny Scheinman, her vocal debut, begins with two unremarkable tunes solidly in the Americana realm. But the third track, "Rebecca's Song," is a contemplative, plaintive work full of an airy, almost eerie calm. Scheinman's evocative violin playing seems more at home here. The album continues in both veins, offering within-the-lines blues-based structures and far more compelling tunes full of a lazy ambience. The record's best moments seem to emerge only when the distortion pedal goes away, but they're often worth the wait. Scheinman plays May 3 at MASS MoCA.
—James Heflin
