The Rubber Room column is a weekly look at recent and notable releases that don’t fall into the rubric of traditional reviewed material—namely 7”’s, 12”’s, 3” CDs, EPs, cassette-only, DVDs and MP3-only releases.

Beanie Sigel
All Eyez on Sigel (streaming audio)
[Roc-a-fella, 2004]

“Until Jigga returns its all eyes on Sig”. Is it just a coincidence that now Jay-Z has ‘retired’ Sigel finally comes with a decent flow and some better than average verses? Rhyming over that infamous Johnny J beat made famous by 2Pac, he claims to be the next man to run the game. His lines are smart (“5-O trying to slander my name / Trying to charge me with ‘attempt’ disrespecting my aim”), aggressive and confident and he even borrows some of Jay’s more obvious vocal stylings. He’s got me convinced (and I am / was not a fan) that his forthcoming The B-Coming is going to be worth serious investigation.
[Scott McKeating]

Christina Carter
L’Etoile de Mer CS
[Freedom From, ????]

The first side of L’Etoile de Mer is two solo guitar improvisations, originally meant as accompaniment for the film of the same name. The first shows Christina employing few chords and long stretches of silence to create an uneasy atmosphere. The second take features brief forays into traditional melody, but disintegrates into string-bending dissonance. Side two is entitled “Seven Songs” and is solo voice. Christina Carter’s vocal control is praiseworthy, but listening to half an hour of it unaccompanied gets a bit tiresome. A better introduction to her solo work is the Bastard Wing LP on Eclipse.
[Ian Johnson]

Mos Def
Sex Love Money (Promo 12”)
[Geffen, 2004]

Still repping Brooklyn like we were ever in danger of forgetting that it was his hometown, Mos Def surrounds himself with track that’s more space than substance. And by my beard, it’s incredible. Defiantly organic, this is a dark rattling percussive production that’s too classy to be voodoo. With subtly writhing hips this is more of a jam than a club joint, jet black exploitation horns and a lone flute line circle Mos’ mumbling lines. A naked version of “Vivrant Thing”, this could be “Grindin’” played by ?uestlove and a less epic Issac Hayes. Anyone know who produced this?
[Scott McKeating]

Isle of Citadel
Au Revoir Civilisation CD-R
[Self-Released, 2004]

Brooklyn-based Isle of Citadel ingest pharmaceuticals and invoke their gods—in this case, Slint and Bardo Pond. The result is four lengthy tunes heavy on droning guitar lines and delay, but backed by superb drumming. The drum work is crisp and dynamic, giving the quartet an energy they would otherwise lack and the vocals, resembling Bardo Pond’s Isobel Sollenger, are much more intelligible than hers ever were. They stand out in front of the three swirling guitars and create a feeling of empathy in the listener—a comforting voice from the fuzz. Though a bit by the numbers, Au Revoir Civilisation shows great promise.
[Ian Johnson]

John Frusciante
A Corner (DC EP)
[Record Collection, 2004]

Produced by Fugazi mainman Ian Mackaye this is pure guitar pop-rock punctured by a sliver of dark and topped off with mellowed out 70s LA rock harmonies. Frusciante’s sharp playing is unmistakable and despite adding a memorable chorus and a “nah-nah-na-na-na-nah” coda he manages to flip the song on its arse with a post-chorus darkness drop off. Lyrically reflective, he continues to improve, his vocals sounding warm, awake and focused. There is no way that John Frusciante and that fanny in the Chili’s “Higher Ground” video were ever the same guy.
[Scott McKeating]