Instant O In the Universe
Stereolab
Elektra

A simply somber chord progression opens the latest work by Stereolab, Instant O In the Universe. The EP marks the band’s first release sans the late Mary Hansen, who supplied keyboards and backing vocals before she lost her life in a fatal accident earlier this year. As the opening track continues, it intensifies as the band members add layers to their music, as is their signature as innovators in poppy post-rock lounge.

“Jaunty Monty and Bubbles of Silence” opens in instrumental melodic bliss and continues an instrumental sequence for two minutes until the vocal parts come in to complement the mood already established by the music. The vocals are almost an afterthought as the music fades soon after the short vocal part ends.

“Good is Me” maintains an experimental edge in the way that the musicians literally change the tune between at least three progressions that sound as if they belong to completely different songs. The song that closes the EP, “Mass Riff,” incorporates a similar technique of drastic change. It starts out very poppy with a singsong melody and then, with an organ interlude, the music suddenly changes tone as the tempo and style moves to that of a disco tune, which carries on until the end.

The sound on the EP is straightforward and clean, and the songs are short, sweet and to the point. Unlike some of the band’s previous works, there are no riffs that are drawn out for increased lengths of time, or the gritty sounds of distorted guitars or sustained organs. The compositions are great, as is the attention to detail.

This five-song maxi EP plays a mere 22 minutes or so and despite the band’s ability to continue creating its unique sound, it leaves something to be desired that will hopefully be fulfilled in the forthcoming LP Margerine Eclipse, to be released on January 27.—LMV

Permission to Land
The Darkness
Atlantic Records

Remember the days when rock really rocked? When it wasn't all whiny blah, blah, boring-blah or even worse, post-teen-angst aggression? The world of rock has been stuck in a vast pothole for what seems like ages. Not to worry, my dears, there is someone who can rescue us from this rock and roll rut. Who, you ask, and I answer, The Darkness.

Yes, that's right, The Darkness has landed to cure your boredom and improve your air-guitar skills. This band is reformulating rock into what rock should be. There are elements of bands like Queen and AC/DC, but as far as comparison goes, The Darkness has a unique, high-adrenaline sound all its own. The band’s newest release, Permission to Land, is chalk full of high-quality tunes. “Black Shuck” and the first single to hit the States, “I Believe in a Thing Called Love,” will immediately provoke volume regulation—and by volume regulation I mean cranking it up loud enough so that you can sing along without having to hear yourself. With over-the-top guitar riffs and vocals that just might have made Freddie Mercury green with envy, all 10 songs on Permission to Land will take the listener on an operatic rock journey.

On the band’s Web site, bassist Frankie Poullain explains, “Everyone’s too uptight these days. I hate the arrogance of bands who think their petty emotions are interesting. If you look at bands from 25 years ago, people have smiles on their faces. We're bringing a bit of that back.” I think that sums up the album bloody well. So grab some flashy spandex, a can of hair spray, glam yourself up and get after it!—HH

The Very Best of Sheryl Crow
Sheryl Crow
A&M Records

After winning a Grammy, pissing off Wal-Mart and performing at the Olympics, the first decade of the Sheryl Crow we know and love is over and she’s thinking about retiring.

What better time to put out a “Best of” album?

Only The Very Best of Sheryl Crow is the real deal. A&M Records really is putting her best on one album. It’s not one of those “best of the songs you don’t like” or even “a few hits and a lot of garbage”—The Very Best of Sheryl Crow is just what its title says.

In 17 tracks, you get a taste of everything. The favorites, the rock tunes, the country, the radio hits, the ballads—and even the crap—are all there.

Everything you love is there, like the emotional singing of her clever lyrics that reveal they’re really coming from her as an individual. “My Favorite Mistake” scathingly refers to an interesting relationship with one of Crow’s anonymous lovers.

Everything you hate is there, like the way she “sold out” to pop and country for easy radio hits. “Soak up the Sun’s” moronic, uninspired chorus and dry lyrics stink of radio pandering.

And everything you respect is there, like the way she can totally get away with making any kind of song she wants and still pleasing the crowd. “Everyday is a Winding Road” is a peppy number that still contains Crow’s adept storytelling.

The album also features a new single, a cover of “The First Cut is the Deepest,” by Cat Stevens.

Rod Stewart also covered it and it still carries his aura, but the song is perfect for Crow’s unique singing style.

Her interpretive power completely overshadows the corny lyrics that are uncharacteristic of her own songs. But just like all her own songs, it’s guaranteed to get stuck in the head.

A bonus track, the “country version” of the song, only differs in that it has more violin and was recorded in Nashville instead of Hollywood like the “normal” version.

Perhaps it requires an altered state of consciousness to really appreciate the difference. This state, according to an overly sentimental Rolling Stone critic, is also required to enjoy “Picture” (Kid Rock featuring Sheryl Crow).

Although the diehard Crow fan will doubtless be able to find something wrong with the selections, as far as “best of” albums go, few come along as complete as this one.—AK

Ruckus
Galactic
Sanctuary Records

Galactic’s fourth studio album, Ruckus, bounces back and forth between instrumentals and vocals, with more attention to song structure than the band’s live performances and previous albums of heavily jam-based music.

The first song on the album, “Bittersweet,” is one of the best songs on the album. Vocalist Theryl “The Houseman” DeClouet’s bluesy voice has an in-your-face attitude when forcefully crooning, “Touch me and you’ll be struck by lightning.” The song possesses elements of soul, funk and jazz, which is much of the style that makes up the album.

The inclination to love this album based on the opener may be a bit premature, as the remainder of the songs have a tendency to drag through the CD’s 44-minute runtime.

Though many of the songs may not cause the listener to replay the album as soon as it ends, they do reveal drastic changes.

With the help of producer Dan “The Automator” Nakamura, Galactic experimented with electronics while making the album and has successfully transitioned its jazz-based music into a sound that incorporates many genres. This is most evident on the closing track, “Doomed.” Computerized tones and odd sounds coming from the keyboard create the feeling of being trapped between a late-’90s rave and a sounds-of-nature CD.

Lengthy instrumentals such as “Bongo Joe” shouldn’t discourage listeners from finishing the album. Though the song becomes slightly repetitive, it has enough funk to keep things interesting. Perhaps the two best elements of the album are Stanton Moore’s drumming and Ben Ellman’s harmonica and saxophone solos.

The album’s sound is rather funky but still maintains elements of groove-based fun. Longtime fans of Galactic need not be disappointed by this record—instead, enjoy it for the changes it introduces.—AT

A People’s History of The Dismemberment Plan
The Dismemberment Plan
DeSoto

A People’s History of The Dismemberment Plan. Yeah, more like A Couple of People You’ve Never Heard of’s Hackjob Remixes of the Last Two Albums by The Dismemberment Plan. But that’s kind of grammatically wrong and probably wouldn’t sell too well. Still, about a third of it is recommendable, and mostly, this is just a really good idea (inviting fans—most of whom already conveniently had their own record deals—hmmm—to remix songs from source files available on the band’s Web site). Hopefully, more bands will consider it when deciding to call it quits. Whatever, I’m just bitter cuz I was too lazy to do one myself.

(P.S. The Dismemberment Plan is still awesome.)—BS