Rock:

After an astonishing concert at Roskilde this summer, I had my hopes up for The Hives’ new album, Tyrannosaurus Hives (Interscope, 2004). When it arrived—the whole half-hour of it—I was relieved to discover that they did not only fulfill my expectations, they exceeded them.

The band realized early that music isn’t the only important part in a successful career in their business and strutted along in their matching outfits, too sure of themselves to be coming from a small town in Sweden and even today being unknown to most of their home country’s inhabitants. The Hives claim to have been created much like a boy band, brought together, dressed up and given already written songs to perform. The mystical man behind them, Raymond Fitzsimmons, is given credit for every track on this album.

Whatever games The Hives might play in interviews and press conferences, there is no denying that they are one of the best live bands I have ever heard and with Tyrannosaurus Hives, they prove that their boundless energy can be put into twelve songs, despite the pressure the band has been under to follow up the success of Veni Vidi Vicious (Burning Heat, 2000).

The band has evolved, certainly, but I still feel that they haven’t lost the visions that made them great in the first place. According to Fitzsimmons, the band has been inspired by the work of Kraftwerk and the like, which can be heard in several songs, maybe the most prominent being the newest single “Walk Idiot Walk.” With lyrics such as “see the robot write up his name on the ballot,” one might wonder if the band has been inspired by the events taking place in November this year.

Once you get behind their silly titles and the bow ties, you will find excellent tracks such as “ A Little More for Little You,” with its frenetic guitars and its impossible-not-to-sing-along-to chorus, “Two Timing Touch And Broken Bones,” that makes you want to dance until your legs fall down under you, “Diabolic Scheme” on which the band is accompanied by a string ensemble—every track on this album deserves your time.

I’m not being nationalistic. I just know good music when I hear it.

—Linne· Ericsson, Program Director

and MOLLY McCARTHY

The self-titled debut album from the band West Indian Girl (Astralwerks 2004)—the name comes from a derivative of LSD—falls under the category of "Music for any emotion possible." Sad, happy, drunk or high (or even just normal), you'll find something you like in this CD. Whether it's the electronic influence, unexpected world beats or fairly original lyrics, it should do something for you. After about track six it begins to sound the same, which conveniently turns it into good study music. If you like lyrics that have more substance than my-boyfriend-broke-up-with-me-and-that's-sad (i.e, U2), pick it up, but if you hate semi-electronic-female-fronted-happy-music (i.e. Delerium), avoid.

—Sara Baum, World Director

and MOLLY McCARTHY

Techno:

Venetian Snares is at it again with another 180+BPM Drill’n’Bass ear tickler, Huge Chrome Cylinder Box Unfolding (Planet Mu, 2004). Aaron Funk, the architect behind Venetian Snares, gives the distortion, harsh vocals, and Amen Break samples some much-needed rest in his latest creation. Instead, the mind boggling in-your-face rhythms stem from a more synthetic palette of sonic material. While somewhat reminiscent of Aphex Twin’s Drukqs, Mr. Funk distinguishes this album with his comparative lack of concern for developing song structures. Huge Chrome Cylinder Box Unfolding conveys a very mechanical style which will be admired by some and probably despised by more.

—Nick Spangler, RPM Director

and MOLLY McCARTHY

Jazz:

Vibraphonist Stefan Harris is quickly becoming one of the pre-eminent jazz players of the new century. On Evolution (Blue Note, 2004) he mixes funk-tinged grooves with haunting ballads, creating a truly original sound. The record is accessible to jazz lovers and novices alike, although it may take some a few listens to appreciate his mastery of the mallets.

—Ben Garnett, Americana Director