CD Rack MARK EARNEST

Abstract

[...] Tina's trying that again, as her latest features many modern dance-pop touches along with the chugging acoustic guitar and big choruses that are all over modern-hits radio.

The return of Tina Turner

Plus a mouthful from Kittie, indie rock from Mazarin

Tina Turner

"Twenty Four Seven"; Virgin

3 stars

Most people know the story of Tina Turner's comeback on the "Private Dancer" CD. It was a cool mix of reworked R&B classics along with tunes written by the Fixx and David Bowie, and it was the perfect balance of past and present. Now Tina's trying that again, as her latest features many modern dance-pop touches along with the chugging acoustic guitar and big choruses that are all over modern-hits radio.

It begins strongly with the gospel-tinged pop of "Whatever You Want" and "All the Woman," in which Turner shows her full range from subtle melody to full-on wailing. But from then on, it's a mixed bag.

She sounds out of her element when trying dance fare on "When the Heartache Is Over" and "Absolutely Nothing's Changed." A whole other problem are the tracks "Talk to My Heart," "I Will Be There" and "Don't Leave Me This Way" (unfortunately not the disco classic). They are cliched and weak in every respect - and even Tina's feigned enthusiasm can't save 'em.

Despite the saggy middle, "Twenty Four Seven" is Tina's best effort in nearly a decade, and she still has a great voice - I just wish she could find more interesting songs.

Recommended If You Like: Cher's "Believe," Natalie Imbruglia, Shania Twain's pop material, Dionne Farris

Kittie

"Spit"; Armetis/NG

3 1/2 stars

Take a good look at the picture of Kittie below. Do they look like a cross-marketed band formed by corporate weasels or what? But don't judge a CD by its cover - this Canadian foursome has fashioned one of the better hard-rock debuts in recent memory, with one foot in thrash territory and the other crossing the hardcore punk line.

There are times when it's pedestrian with juvenile lyrics and typical metal growling. In contrast, "Do You Think I'm a Whore?" and "Trippin' " are plain brutal - but that's OK because when Kittie tries, it is a great basic hard-rock band.

Kittie is even better when it mixes up the styles. The group vocals on "Whore" and the stunning "Brackish" range from roars to wails to croons to breathing. The final two tracks are way different from the rest, with a gothic haze the band should pursue as it develops.

Those dynamics are what make Kittie rise above its more monochromatic peers - not a bad feat for a band where no one's yet reached age 18.

RIYL: Deftones, Babes in Toyland, Hatebreed, Helmet

Mazarin

"Watch It Happen"

Victoria/Colorful Clouds For Acoustics

3 1/2 stars

Fans of psychedelic-twinged rock should look up this record. This Philadelphia trio led by Quentin Stoltzfus has crafted a stunning debut that rivals those first tastes of the Elephant 6 collective. It's all things pop - from pastoral to upbeat to dark.

Stoltzfus is a member of the ambient/space-rock group Azusa Plane, but there are only occasional indulgences on this CD. The catchy tunes are complemented by Stoltzfus' excellent melodious singing (including most of the rich backing vocals) and his desolate but intelligent lyrics. His partners in Mazarin are also excellent, including drummer Sean Byrne and producer-guitarist-keyboardist Brian McTear.

There are great hybrids all over the record. "Henry Darger" has strumming folksy guitars mated to both a string section and gently clanging white noise. "Sicily" mates a Moog to a bossanova beat while the guitars chime Byrd-like. "Deed to Drugs" is an upbeat, darkly funny song that suggests a mating of Momus, the Monkees and Mercury Rev (trust me, it works great!).

This record may be hard to find, but it's an absolute must for indie-rock fans.

RIYL: Syd Barrett, recent Flaming Lips, Olivia Tremor Control, mid-period Kinks

- Mark Earnest, Reno Gazette-Journal music critic Nevada West

CALENDAR; Pg. 20G