Folkloric Feel: Apostle of Hustle 7/10

Apostles preach irony

As America continues to refer to itself as the "melting pot" of ideas and cultures, it now has to add a teaspoon of irony into the mix. Apostle of Hustle, possibly the most eclectic band hitting the scene today, comes from our neighbor to the north: Canada.

When head Apostle Andrew Whiteman (Broken Social Scene) returned to Toronto from a two-month stay in Havana, Cuba, he decided to integrate Latin rhythms and culture into his music. The product: Folkloric Feel - a "multicultural" tribute to all the indie clichés: alcohol, unrequited love and, of course, obscure Spanish surrealist poets.

But the influences don't stop there. Although Whiteman cites old standards like art-rock gods Talking Heads as his mentors, there are elements of folk, jazz, classic rock and even electronica in the album.

The title track starts it off on an almost "proggy" note. Close to eight minutes of whimsical rhythms drive toward a point and then back off, or sometimes completely change gears altogether. The song acts as a preview of what is to come. Apostle is poignant at times, non-committal at others, but interesting all the way through.

The album then shifts into a series of emotional and moody pieces, the most successful at this task being "Sleepwalking Ballad," an ode to drinking and depression. Whiteman is at his most vulnerable when his usually steady voice flutters, "I can't take the world mama / Pass me another cup / stumbling, falling down, I can't stand up."

The emotional atmosphere takes on a mysterious tone with "Song For Lorca," an homage to the legendary Spanish poet Federico Garcia Lorca. Slightly reminiscent of the works of surrealists Salvador Dali or Rene Magritte, Whiteman uses dream imagery to tell of a woman with a "fountain of hair between those lips."

The album concludes with a return back to its strongest theme: hopelessness and dejection. In "They Shoot Horses, Don't They," Whiteman regrets a lost love. The slow drumbeat and sparse guitar give it a minimalist feel, making his words all the more isolated and alone.

Andi Berlin
Arizona Daily Wildcat

Alt-country grows up

Superwolf: Bonnie "Prince" Billy & Matt Sweeney 8/10

Superwolf is an album so fragile it could fall apart at any moment. Bonnie "Prince" Billy (Will Oldham) has been making his own brand of somber, reflective alt-country for some time now, and with the help of longtime collaborator/friend Matt Sweeney (Chavez, Zwan), he hits on all cylinders with Superwolf.

The album starts with the dreamy "My Home is the Sea," which follows a gentle electric strum into its stark conclusion. Oldham's tenor wavers beautifully as he bellows his enigmatic lyrics.

"My home is the sea/ Disaster flies upon me/ and I scream."

Standout track "Beast for Thee" encompasses all that Oldham and Sweeney are capable of. The guitar is gently picked as an organ bubbles with hinted evil in the background. However, these men are consummate artists and opt for the subtle, keeping the ominous organ merely as atmosphere.

The album does, however, have some flaws and misfires. "Goat and Ram" is a song that begs for attention while its transition from quiet to loud is too goofy and telegraphed to result in the transcendent moment it seeks. While "Bed is for Sleeping" is a decent enough plucked lullaby, it's marred by some occasionally awkward lyrics, including "Bed is for sleeping/ Love is for making."

Musically, the album is nearly flawless. Sweeney proves the ideal conductor to Oldham's various moods with a soundtrack infused with perfect amounts of country, blues and rock.

The eight-minute epic "Blood Embrace" provides the album's crown jewel. With its cascading guitar, the song hints at an explosive payoff that, of course, never comes. But instead of being disappointing, the anticlimactic and nearly whispered group sing-along proves far more fitting.

Superwolf closes with the poignant "I Gave You." You can feel the album falling to pieces as Oldham laments a lost lover while an organ and guitar swirl around his words.

"I gave you a child/ and you didn't want it/ I gave you a house/ and you didn't haunt it."

Ultimately, Superwolf remains intact. However, after enough spins the same might not be said for the listener.

Michael Petitti
Arizona Daily Wildcat

Mötley Crüe makes a buck

Red, White and Crüe:Motley Crue 5/10

At first I was confused by the second disc on Red, White & Crüe, Mötley Crüe's recently-released greatest hits double-album. Disc two features an "Alternative Rave Remix" of their 1997 song "Afraid." What's perplexing is that the phrase "Alternative Rave Remix" asks the listener to imagine a world where the ultimately forgettable song "Afraid" off the ultimately forgettable album Generation Swine, could actually be seamlessly played among techno dance jams at raves around the world.

Then I remembered that most of Mötley Crüe's biggest fans are moms pushing 40, who associate the twangy sneer of Vince Neil's voice with ditching class in 10th grade to drink Mad Dog 20/20 and make out in someone's backseat. These are the people who might still think raves are cool.

In fact, the whole second album is comprised mainly of Generation Swine tracks and three new tracks, including an unfortunate cover of "Street Fighting Man," and should be thrown out your car window or given to someone you hate. Or, thrown out your car window at someone you hate.

But the first disc on the album reminds us why, despite the creative blunders on the second disc, we still love the Crüe. It's got it all: "Shout at the Devil," "Live Wire" and the always sweet "Too Fast for Love," along with the good old skeezy sleaze of "Girls, Girls, Girls" and "Dr. Feelgood." Sadly, all of these songs have been included on already released Motely Crüe greatest hits albums. If anything, this album's purpose is in its cover art - reminding the listener of what best represents Mötely Crüe: a naked girl and the American flag.

Elizabeth Thompson
Arizona Daily Wildcat