Backed by the support of Matt Sharp and Chris Walla, Canada's favorite twins - Tegan & Sara - are back with a new album.

The song is called "the con" as is the record. It's got a synthy back beat, which is a big shock for the two, but it actually sounds pretty solid.

I'm looking forward to hearing the full record, and also looking forward to one of our readers offering to sell us two tickets for one of the sold-out Vancouver show.

MP3:: The Con
web site :: myspace

As the bongos rattle in the background of the title track of Jesse Harris new record Feel, you can’t help but be drawn into the sounds. The song is fairly simple; an acoustic strum with some cymbal crashes and a bizarre electric solo tossed in for good measure, but the percussion makes you want to keep listening. And to be honest, when it comes to singer songwriters, making you want to keep listening is the biggest challenge.

Jessie Harris is an artist that seems destined to become a household (or maybe IPOD) name. He wrote one of Norah Jones biggest hits. He’s worked with Conor Oberst. He was hand-picked by Ethan Hawke to pen the tracks for the soundtrack to The Hottest State and the songs are performed by artists like Willie Nelson, Cat Power, Feist, M. Ward, and The Black Keys, and in today’s world of music consumption, that type of exposure is usually all that is needed to push an artist over the top.

Yet somehow, Harris style flies under the radar; appreciated by artists but unknown by fans who already love some of his songs. I think the release of Feel will finally have people talking about Jesse, not just wondering who the guy on stage collecting Norah’s grammy is. Let me be clear, I am not trying to sell Harris short, as Feel is an enjoyable listen, full of great songs. His use of percussion on tracks like Walk On and It Washed Away oozes Paul Simon, and his song writing will surely hit home with NPR listeners. But that has always been the case with Harris.

His records are not dependent on a cohesiveness that highlights a specific vision or emotion, but more as a showcase for his unique ability to write a song for almost anyone. The southern feel of Shadow is in complete contrast to the coffee shop, laid back feel of the cymbal washed I Don’t Mind or the reggae back beat of Fire on the Ocean.

I don’t think Harris thinks in terms of records, although this is number seven for him, but instead he finds a rhythm or a chord progression and works with it until he feels content. Sometimes the finished product seems like it came to him in a split second, like the gentle banjo and tick-tock percussion of I Would (which is as delicate as any track on the album). Other times it involves layers and textures, and I get the impression his perfectionist nature won’t let him leave a song until he’s completely satisfied with how it sounds, and that’s why the record feels so complete.

MP3:: I Don’t Mind

web site :: myspace

Two songs into the new Scissor for Lefty record and I was wondering if they were the new “buzz band” from the UK. Mixing in dance punk, synths, crunched guitars, and choppy vocals usually means the band was an art school project from some Bristol or Liverpool group of 18 year-olds.

Instead, I found that the band was from San Francisco and as the album continued to play I found myself enjoying the record more and more. It could be easy to just point out the bands they sound like (Franz Ferdinand, traces of the Cure, Pulp, earlier Rosebuds on X’s are Forever, the Strokes on the catchy Got Your Moments, a crazy disco/Kaiser Chiefs hybrid on Mama Your Boys Will Find A Home) and call it a day, but usually bands that are derivative exist with an underlying sense of pretension that I don’t hear in this band.

They seem quite unashamed of wanting to write catchy, hook laden tracks for people to dance to, but are not driven by it. The slinky Wandering Arms shows that the band can exist without a sweat covered glaze, and vocally you can’t help but think of the great Jarvis Cocker when Garza breathes his way through pauses and falsettos (the album closer Bring Us a Brick could have easily snuck onto Cocker’s self titled solo record). They mix in soaring choruses, like on Save it Cory, but don’t try to add a false sense of significance. That sincerity and enjoyment powers the tracks and helps it stand out from the countless other acts trying to write the same types of songs.

I think this debut album is one you can’t help but play over and over again (especially once you put aside the obvious skepticism that results from the NME backing). It’s a fun record that will surface at a lot of BBQs this summer and if you can get passed judging it, you might just find yourself loving a lot of the songs they write.
MP3:: Ghetto Ways

web site :: myspace :: more tracks

We received a nice email from Megan Hamilton letting us know about her upcoming record, How We Think About Light. Megan’s last effort – Feudal Ladies Club – was a delicate slice of country/folk pop that dripped with emotion (full review here).

The new record marks a very big change for the Hamilton. She worked with Mark Vogelsang again, and the familiarity obviously helped Hamilton grow. The first track, Are the Birds Caught in the Trees, sounds more like a Beach House track the country-tinged ditty you’d expect. The electric undercurrent (of the slow bowed strings) that runs through the song sets a melancholic tone and really compliments the simple strums of Megan’s guitar and the ache in her voice. The sound really suits her, and on Beautiful Girl the double tracked vocals thickens up the mix and just the right moments.

She settles into a more standard/familiar sound on Saint Francis. It’s a straight ahead acoustic driven country track with some marching band drums and the hint of a plucked stand up in the background. It’s this type of style that shows Hamilton – like her partner in crime Shelby Lamb – writes and sings in a voice much more mature than her age should allow.

No Reason to Stay visits the traditional country themes of a diner meal, heartache and roadside scenery and the percussion and piano really help craft the imagery. The EP closes with the most summery of the songs – Trees Leave Shadows in the Park. Dueling vocals and guitar lines (and some computer effects courtesy of Mark) are used to build a dream-like melody that floats along like a cloud.

Hamilton really does a lot with the six-songs on this EP. She takes some chances and expands on her sound without alienating the fans she already gained from her last effort. She gives us a hint of where she’s at, but more importantly, gives us all a glimpse of where she could be going.

MP3:: Detroit

Sasquatch 2007. It was filled with sun, wind storms and some of the most over (and under) achieving sets I’ve seen in forever. Before I jump into the recap, some quick things. The Gorge is the best outdoor venue I’ve ever seen. You walk in and it takes your breath away. The most surprising set of the weekend – easily – Ghostland Observatory. They tore it up. Best set of the weekend – the “instrumental” set by the Beastie Boys. Worst fad of the moment - having waaay too many people on stage doing essentially nothing. Arcade Fire and Polyphonic Spree, this means you. Oh, and most importantly, Aziz Ansari is NOT FUNNY.

So, here’s the recap of the shows I saw:

Two Gallants
I didn’t intend to catch much of these guys, but the huge lines at the gate let me hear a few songs. I like the new EP a lot, and the boys had lots of energy and had a full time dancer. All in all, it was much better than waiting in line listening to hippies yell about how high they were.

The Blow
The name says it all. We were waiting in line for a beer and got to check out a freestyle about the sky and some discussion if a one night stand was real.

Ozomatli
This was the first real set of the show for me. We sat on the lawn to enjoy a $10 king can of Coors, but weren’t able to sit for long. Ozomatli was there to make the people dance. They latin rhythms bounced and the boys were dead set on making their appearance memorable. As the last song finished up, they jumped into the crowd with a drum, some horns and started a huge dance circle that lasted most of the time required to set up for Neko Case.

Neko Case
Obviously a highlight. She was one of the acts that was must see for me on Saturday, and she delivered. Despite having no bass player Neko and crew treated the crowd to an intimate set. Much like her Austin live CD, she jumped around her catalog, but the two standouts for me were Margaret and Pauline and the always fantastic Buckets of Rain. The only downside of the set, was the synth-ony of funk coming from Electrelane on the side stage gave every song a really interesting backbeat.

Ghostland Observatory
I hadn’t really paid this Austin two-piece much mind up until this set. I heard a few songs, and thought they were good. Well, this set converted me. Not to tread on Gorilla vs. Bear’s coat tails, but this band is must see. If you like the drive of Ratatat, but get bored by the instrumental – LOOK NO FARTHER. Nothing complex: Two men. Two instruments. One baby blue cape. Aaron Behrens patrols the stage like some crazy mix of Bowie, Prince, and Jagger. He’s a front man supreme, and Turner’s programming gives him the room to roam. The crowd didn’t stop dancing for the full 45 minutes and screamed for more. They were one of the only bands on the smaller stages to get an encore and when they broke into Silver City, the crowd essentially grooved in unison. They played two new songs – one called Heavy Heart – and songs like Piano Man were unreal. Seriously. These guys were more fun than 90% of the acts I saw all weekend.

Grizzly Bear
I wasn’t going to sit through this set. I wanted to see the Long Winters, but I had some prime real estate for the Beastie Boys instrumental set. I was pleasantly surprised how well Grizzly Bear’s sound played out in a larger open air venue. I thought a lot of the intimacy would be lost, but Ed and the boys powered through the talkers and delivered a nice set. Songs like Lullabye actually sounded beautiful under the warm sun.

Beastie Boys – instrumental
Probably the best thing about this set was that Manu Chau played at the same time. While everyone streamed of to check out the dance party, the small crowd was treated to an amazing set of music. I’ll preface this description with the admission that I’m a huge Beastie Boys fan. I’ve seen them a lot, and obsessed about them even longer, but I was completely blown away by this set. Dubbed an instrumental set, most people assumed they’d simply jam out and play tracks from the about to drop record – The Mix-up. Instead, they tore through an amazing set, playing songs I’ve never heard them play live, rapping over their instruments and blowing the collective minds of those lucky enough to see it. They started out with Time for Livin’ and Gratitude, but then treated us with songs like Live at PJs, Do It and some fantastic stage banter (Adam and Mike traded lines like they were in a bathroom stall with Lohan. The best was Adam’s description of releasing the new record in multi formats – “releasing that joint in every format. LP, CD, MP3, shit we are even selling yogurt in the back. It’s good for you. Tastes great, what else you need?)
Dressed in suits, Money Mark, Alfredo, Mike D, MCA and Adrock joked, laughed and danced for the whole set. When they finished up, and most of the crowd left, we were just kind of sitting there when out of no where, the boys ran back on stage carrying champagne flutes. Since there was no DJ and no beats, Alfredo started banging out a beat on the skins and Money Mark did his best to replicate the trademark hook of Sureshot. As they started dancing and jumping, you could see hundreds of people running towards the stage. They hit us with Egg Raid on Mojo and the mutherfukking The Maestro with MCA on bass before crushing Sabotage. Considering no one expected to hear them open there mouths, the set was bon-kares.

Arcade Fire
Ok. Here’s the deal. I’m not really a huge Arcade Fire fan. I don’t like the new record much, but after reading Chromewaves description of the band being like attending a rock n’ roll church service I was a bit intrigued. I was not overly impressed. Obviously, I’m one of the few as the fans were going crazy, but I tend to think that if you are on stage with 7 or 8 people, they might as well be doing something useful. I don’t think banging an unmic-ed drum or yelling into a megaphone you hold on a mic stand 7 feet over your head is anything amazing. The constant swell of energy built, but never let up. After a while, the show sounded like a confusing blur of chaos, instead of a riveting performance. People screaming into the crowd. People smashing cymbals. Constant angelic choral builds. I know, I’m in the minority, but with so much going on I just got lost. I did get into a few songs – Neighbourhood #3 sounded great, as did Interventions, but I found the set exhausting.

Bjork
Bjork is Bjork. Words do not and cannot describe her.

Day 2 – Gong show
The morning started out beautiful. No hangover. Sunshine and a breakfast burrito while the Total Experience Gospel choir sang us uplifting songs. I should have gone and checked out St. Vincent, but hearing a choir sing to you looking out over a breathtaking view was something I couldn’t seem to shake myself from. I sat tight for Mixmaster Mike’s set and he sufficiently moved the crows mixing in Led Zep, Rob Base and anything in between.

Blackalicious
White-guy approved hip-hop. Gift of Gab loves the fast rap, and for the first three or four songs I was super into the set. He did his best to get people excited, and Salters was awesome on the keys, but after a while the fast rap was a bit much. But songs like Rhythm Sticks got everyone jumping, which at 1 PM on a Sundya is a big thing. I snuck out early to catch Patrick Wolf.

Patrick Wolf
Wow. I wasn’t sure how Patrick’s live show would transfer to a festival audience, but it was amazing. The eccentric, red-headed oddball is completely bi-polar. During his songs, he is overtly sexual and engaging as a performer, and the minute the notes stop, he is a polite, charming young man. He delivered an anthem-esque performance, mixed in sing-alongs, stomp alongs, dark textures and pure enjoyment. Watching hundreds of people stomp along to the chorus of Magic Position, or pump there fists in unison with this dynamo was something to behold. He twisted and contorted, played with his suspenders and lost his shirt. His set included The Stars, Secret Garden and powerful version of Accident & Emergency and a fantastic version of To The Lighthouse. After he was banned from his intimate performance at the Media Club here in Vancouver, it was great to see him get a chance to shine.

Money Mark
I wanted to check out Bad Brains, but Money Mark came on with Sneaky People, and watching he and the band jam out the funk heavy number, I kind of got stuck. The sun was shining, and his set was tough to leave. With Adrock and mike D hanging out in the wings, Mark ripped off a nice, clean, enjoyable set. Pick up the Pieces and Color of your Blues sounded awesome.

Polyphonic Spree
I hauled ass over to catch the Texas troop, but very quickly I wished I had stayed where I was. Another twenty-piece group with a lot of people doing nothing. Arcade Fire writes some great songs, so I can see why they go with the bigger is better, but PS seemed to be a confusing mess. A barely audible choir and aay too many instruments for the sound we got to hear. After two songs, people left and went elsewhere in droves. I know this is a blogger band, but I am confused as to why. During their set the just of winds started blowing, and their set actually got cancelled.

The wind storm was actually a good thing, because it made you go check out other bands. We ran over to check out the end of Seattle click Common Market and then Smoosh on the tiny stage. Those girls can rock. Unfazed by the wind or the huge crowd that spilled over from the shut down main stage, they really impressed me. Jessie Sykes was next, and instead of ditching out and checking out the Black Angels, we opted for the security of the beer tent with it’s firm walls. Jessie played a nice set, as she always does. She was just finishing up, as we were our beers when the stage finally re-opened and Spoon was setting up.

Spoon
Obviously, one of the acts I was excited to see. While they set up, Michael Franti jumped in the crowd and played some songs on his acoustic. Cool idea, especially since he was moved to the small stage to make sure all the acts still fit in. It was cold as hell out there, but Britt delivered. Spoon sounded awesome and Britt was all over the stage. Sampling liberally from the new record, like I thought, the new songs sounded fantastic. They threw in some crowd pleasures, and if we were in a dome, the top would have come off when they played I Turned My Camera On. If you only listened, you couldn’t have noticed the winds whipping through the stage. Spoon crushed it, and got everyone hyped for Interpol.
MP3:: I Turned My Camera On – Spoon (live at Sasquatch)

Interpol
It was so friggin cold at this point, people were doing anything to stay warm. Interpol wasn’t fazed too much and gave a powerful, if uninspired set. They don’t move around much and some songs start to blend, but when they get it right, they really get it right. It’s easy to say this band is derivative, but how many bands out there aren’t? And how many people sound as good doing it? With the sun finally setting, and the darkness coming in over their dimly, blue lit stage, it was a great way to warm up for the Beasties.

The Beastie Boys
Any other bad, I would have left. It was cold as a whore’s heart and I was crushed, but the Beasties are the Beasties. They started out with a lot of the same material from the night before, and were very instrument heavy, but with MMM adding some effects it sounded even bigger. They also dropped in the classics. Shake Your Rump. Sure Shoot. Body Movin’. Root Down. Pass the Mic. So Watcha Want. I can’t imagine a better set list and when they dropped the Maestro and Sabotage to close the festival, I was completely happy with the weekend.
MP3:: Sure shot - Beastie Boys (live at Sasquatch)
MP3:: Do It - Beastie Boys (live at Sasquatch)
MP3:: Ch-ch-check it Out - Beastie Boys (live at Sasquatch)

M.I.K.E. to the D.


Smoosh


Money Mark with Adrock peeping the vibe


Patrick Wolf


Spoon on the big screen

All right, so I did my big fancy 10 best hip hop gimmicks list a couple weeks ago, but then totally forgot to review the album that inspired it in the first place. Forgetfulness is certainly par for the course with me, but I thought I'd try and get in a quick review of the album anyway. As you no doubt realize, if you were clever enough to read the title of this post, the album in question is Escape From The Pigeon Hole by Toronto's own Abdominal. I know what you're all not asking next - what's his gimmick!?! Well yer man MC Abdominal claims to have peerless breath control that he has cultivated from years and years of riding here there and everywhere on his bike. So advanced are his rappin' lungs that he claims to be able to spit an entire 16 bar verse without taking a breath.

I suppose the whole "bike-riding-MC" angle could also be considered a gimmick too, so Abdominal is that rarest of modern MC species, the double gimmick MC. In fact, Abs used to be a bike messenger in T.O., so in fact the biking thing probably isn't a gimmick. But we won't hold that against him. I keed, I keed. Abdominal got himself hooked up with the UK's DJ Format and appeared on two of Format's albums, 2003's Music For the Mature B-Boy and If You Can't Join 'em... Beat 'em in 2005. Format's got quite the following across the pond, so like Ron Burgundy in San Diego, Abdominal is kind of a big deal in the UK. He's lesser known here at home though, I actually hadn't heard of him until I caught him on CBC radio.

Escape From The Pigeon Hole is an enjoyable album. Well I should qualify that, it's enjoyable if you're looking for an honest, mature hip hop album that you might actually be able to relate too. If you're looking for some club bangers or coke raps, a guy from the Danforth who zips around Toronto on his 10 speed (perhaps more than 10!) probably isn't for you. Thankfully Abdominal doesn't rely too heavily on the super lungs gimmick, with Breathe Later being the only song actually dedicated to the topic. The final verse finds Ab kicking 16 bars without taking a breath and also sounding like he's about to pass out. He makes it, but he's kind of dying at the end and I think he must've done mucho takes to get through it.

T. Ode is an, ahem, ode to Abs hometown and features Toronto Mayor David Miller doing perhaps the whitest intro to a rap song ever. "T.Ode from Abdominal featuring Notes To Self, you know I got to hear that! Check it out!" Well ok, I will Mr. Mayor! All mayor ball busting aside, I like the song. The handclaps and funky horns comprise perhaps the most traditional hip hop beat you'll get on the album. The song isn't too over the top in it's Toronto love, more of a everyday look at the city. Toronto group Notes To Self make a cameo as well. The f-bomb laced, and ironically named, Radio Friendly finds Abdominal on a hyper drum track listing the many things he does and does not give a fack about. It also contains the line "I do give a huge fuck about chicken wings, you could say they're one of my favorite things", which is a line I enjoyed because I it found humorous, yet it also made me hungry.

Pedal Pusher is about all things cycling and is produced by Young Einstein from Ugly Duckling. Kind of appropriate that Einstein contributes a track, as this album reminds me a lot of Ugly Duckling. The double time raps over fast paced drum breaks is very Duckling-esque, and Ab has a sense of humor similar to Dizzy Dustin and Andy cooper. Abdominal Workout is a catchy track with Ab flexing his fast rap muscles over a big, bouncy bassline. I believe it is also the first hip hop song I can recall with a Mezuzah reference.

Open Relationship is for sure the only hip hop song I know of about a mutually open relationship. There are plenty of jams about rappers going for theirs on the DL, but this one is something new. If the song is to be believed, it seems Ab and his lady agreed to a 1 year trial of a relationship where they both do the do with other folks, so he crafted that experience into a song. Not many rappers would be willing to put something so personal out there, but it makes for an interesting song, so kudos to Ab for taking a risk.

If you find yourself looking for some bike-messenger hip hop, or you're curious just how long someone can rap without breathing, the Escape From The Pigeon Hole is for you. In fact, Abs fast rap steez could almost make this album tri-gimmick worthy, but I'll digress on that front. The gimmick angle is really just to help me come up with something to write, as this is an enjoyable album on it's own merits. As I said before, it's a mature album with a sense of humor, and that's not always easy to find. Plus Ab has the verbal gymnastics to keep your attention, and the production is solid, so rather than escape, make your way into the pigeon hole.

mp3:: Breathe Later

mp3:: Abdominal Workout

Ok, he's a new post series I'm starting here on the hill. Basically, every Monday morning when you stop by this here site, you can count on finding a couple gems from hip hop's ballyhooed golden age. I'll sort through my vast digital treasure trove of hip hop hits to find songs I consider classics for one reason or another. It's not as if you needed another reason to come to climb the hill, but this should give you a little added incentive to cyber scale us on a Monday morning.

I know there's plenty of other hip hop blogs out there, so why am I starting this posting feature now? My reasons are threefold:

1 - Simply put, the Ack and I love talking about old school hip hop. These posts will provide more opportunity for us to do so. Believe it or not, the super merd you know now as the Ack was once a serious hip hop enthusiast, so perhaps we'll even get him to chime in on a song from time to time. As for me, goes without saying I could talk about Awesome Dre or Smooth Ice all day.

2 - You need more hip hop in your life. If our traffic statistics are any indication, the majority of the people that come to the hill aren't much into the hip hop. Sure, hunting down the next Icelandic singing-songwriting sensation is cool, and who doesn't want to find more banjo-based indie music, but sometimes a dose of the hip hop is just what the Doctor (Ice) ordered. In the immortal words of Rodney O - "A dose of dope is what the people requested, we fled from the scene before we got arrested". Word.

3 - More witty banter. Here at the hill we pride ourselves on two things: witty banter and nonsense. Oh, and we post some good music too. Thus, we usually jump at the chance to post on anything that will allow us to combine good music with our trademark witty banter. Old School Mondays will definitely allow just that.

mp3:: Maestro Fresh Wes - Let Your Backbone Slide
I thought it was only fitting to start things off with the guy who pretty much invented Canadian rap. Please, our American friends, stop laughing. We do have a bit of a hip hop scene up here, and I bet if you asked any Canadian hip hop artist, either Kardinal, Classified, Swollen Members, or Buck 65, I'm sure they would all tell you at one point they were influenced by the Maestro. before this song dropped, Canadian hip hop was like Canadian TV or movies in the 80's. Dudes were trying, but it simply came off as a cheap imitation of what the US was doing. But Let Your Backbone slide was a revelation - a song by a Toronto dude that was as good as anything coming out of the States. The combination of the addictive, sampletastic beat (the keyboard riff from the Mohawks The Champ being the key element) and the Maestro's verbal gymnastics was a mind-blower for '89. This song was also perhaps the most mis-quoted rap song in it's day. If you asked 10 kids in 1989 about the line "So many suckers on my sacroiliac, It's like a rap-sack, backpack" you would get 10 different explanations about what he's saying. Ok, I've already written a novel about this song, so if you've never heard it, check it out, and if you loved it back in the day, check it again.

mp3:: BDP - Still #1 (Freestyle)
I'll try and keep this one short, as this one doesn't need as much background. Taken from the BDP Live Hardcore Wordwide album, this version of the classic Still #1 is my original hip hop goosebumps song. Usually live hip hop albums are not in the stellar category, but that is because modern hip hop shows have become one MC with 3 hype men all talking into the mic at the same time and making it impossible to hear anything. This album featured KRS in his prime mainly killing things on stage solo, with the crowd absolutely going bon-kares. If you're like me, when the beat comes in, and KRS says "Of course we can't take no shorts on this record right here" you still get hyped to this day when you hear it. Then we he cuts stops halfway through the song and goes freestyle, you can forget Miller as it's certainly goosebumps time. I know Ack and I both love this song, it's a must listen if you've never heard it.

Posts will be slow until Tuesday, as I'm at Sasqautch. Some late news, M.I.A. will be MIA, but the LOng Winters are filling in. All in all, I'm ok with that.

MP3:: Bjork Innocence
MP3:: Spoon Ghost of You Lingers

Labels: Music, News

It's Friday and the sun is finally shining here on the east coast, so it seems feasible that we might actually see some summer out here in Halifax. So I thought I'd celebrate summer's impending arrival with a post on my favorite summer song by a band comprised of former chemistry students that hail from PEI, but now live in Toronto. The band of course is Two Hours Traffic, and the song is Stuck For The Summer.

In my review for the band's excellent EP, Isolator, I described Stuck For The Summer thusly:

The pleasant guitar jangle and sing-along chorus of Stuck For The Summer make it plenty addictive and a perfect song for the, uhh, summer.

How can you refuse it after that endorsement! Plus, they made one of the coolest videos I've seen in a while for the song, so go ahead and enjoy. Two Hours Traffic have completed their new album, so you can be sure I'll have a review up when it drops.

mp3:: Stuck For The Summer

Labels: Music, News

I have to start with a simple admission. I have no idea what the thought process is for major labels. Do they draw names out of a hat? Nettwerk records – home to Sarah McLachlan, Avril Lavigne and Six Pence None the Richer - are generating a stable of blue grass artists. It seems like w eird decision to me, but I can’t complain. I really like the Be Good Tanyas and Virginia native the Hackensaw Boys are an enjoyable listen.

Like the name dictates, the Hacksensaw Boys are all about finger picking banjos, fiddles and baritone harmonies run through the punk rock blue grass ringer. They are as likely to hit home with hippies as rockabillies, or anyone who wants to raise a glass and stomp a hole through the ole wooden dance floor.

Look Out! is the second record the band put out on Nettwerk and its 12 songs you’d expect for friends to play on a camping trip or in a tiny bar, jammed on stage. The band got some help from part time member, Tom Peloso (of Modest Mouse fame) but the sounds on the record really showcase how tight the six core members are. The album starts with a bang, as the pace of Look Out Dog, Slow Down Train is frantic and helps show why this band is getting the name of a kickass live band. It’s hard to imagine this song getting played without dozens of sweaty, pint guzzling fans dancing and singing along with the band.

Continuing at this pace for a full record would be insane, and the band really changes tempo well without losing the bar room feel. Oh, Girl slows down but somehow the sing-along chorus keeps the energy up. I think the fact each member writes songs also helps keep the sound fresh and uses different styles without sounding forced. The sing/shout punk anthems come from Moyse, where Harrison/Fiske rely on more melody, but the band plays so well together that the songs don’t come across as disjointed. Fans of ALO will love the carefree vocals of Too Much Time.

MP3:: Look Out Dog, Slow Down Train
Video:: Alabama Shamrock

Labels: Music, Reviews

You might remember we enjoyed a lot of aspects of of the new Je Suis France record - Afrikan Majik. The Shaq Diesel CD graphic. The distorted synths. The rocking guitars... oh, and the fact I think the band might be bat shit crazy.

If you order the record, you get access to download a live set at 2007's Twilight Delirium. One of the highlights, is their nonsensivcal cover of LCD Soundsystem's Daft Punk is Playing at My House.

MP3:: Je Suis France is Playing at My House

Labels: Music, News

Anyone who has read this blog for more than about a week knows I love the Beastie Boys (and knows we never let Naedoo forget about how he hated Gratitude). Needless to say, I'm stoked to see them perform two sets at Sasquatch this weekend.

As we get ready for the new instrumental record - The Mix-up - here are two videos to whet your whistle. Now, after a first pass, I'd say these songs fit firmly into the same style of the last instrumental record. I'd also say that percussion player Alredo looks a lot like Hurley from Lost.



Off the Grid


The Rat Cage

Labels: HipHop, Music, News

I have to be completely honest. I had never heard of Karl Blau, D+ or Bret Lunsford, so the ambitious nature of this project is kind of lost on me. I mean, I appreciate the effort required for Dance Positive – Karl took songs by his former band mate and reworked them into a completely new form – but I don’t think knowing that effort really changed how I listened to the record. I found it hard to picture the song in any other fashion, and I think that’s ok. Instead of rock, Karl uses a reggae influenced, minimal electronic vibe that is as warm as a sun filled day at the beach.

I’ve always been a fan of the washed out electronica sound, but all too often artists find it necessary to muffle the vocals and the record becomes a continuous, solitary 45-minute track. Karl’s vocals are crystal clear and as a result you can easily appreciate the subtle varieties of the record. Well placed horns and guitar noodles add another layer to the reggae back beat, which really helps make this more than another electro dub album. The jazzy electric on Take You For Granted really adds a summery, relaxed feel to the track and lets you escape from the pulsing theme of the record without sounding out of place and he shines on the funk heavy Kill the Messenger. The dirty beat he constructs on Put Me Back fits nicely into the mix as well and the chimes really make What’s Not to Fall in Love with a head nodder.

Perhaps the most interesting aspect of the record is the obvious contrast in the style of the music to the lyrics. I think the fact the vocals have a rock theme (like the Americana themed “driving down the freeway and my load is oversized, thinking about the town I left and all those I despised" of Heatherwood) adds another layer of complexity to the simple, well crafted beats. The record avoids the obvious trap most reggae artists fall into and the themes are more accessible.

I’m sure a fan of D+ will have another take on the record, but from a first time listener, Blau’s beats and instrumentation really shine through for an enjoyable listen.
MP3:: What's Not to Fall in

Labels: Music, Reviews

 
Who doesn't love Bowie? I am not sure, but chances are if you don't like Bowie herohill doesn't like you. We kid, but these two new Bowie records are going to be sweet, so why not enter for a chance to win them?

We are giving one lucky reader a copy of The Best Of David Bowie 1980-1987: Sight & Sound and the re-issue of Young Americans. Young Americans is remastered, includes some bonus tracks and live video of David on the Dick Cavett show. Yes, I only included that because Dick Cavett is badass.

To win these CDs, just leave your email in the comments, or email us (herohill[at]gmail.com) with Bowie in the subject line.

Labels: Contest, Music

Laura Peek is very busy. Along with her job as music director at Halifax's CKDU and her solo work (with her band The Winning Hearts), she's also been involved with a number of other groups & side projects: The Maughams, Brent Randall & His Pinecones, Le Coque et les Phoques, and playing in Buck65's band. So all things considered, I suppose it's not surprising her debut album, From The Photographs, took 2 years to make. But make it she did, and that's a good thing, because it's really an enjoyable album.

Originally, I was planning to say that Laura's piano playing was the main focus of most of the songs found on From The Photographs, but after a few listens I had to rethink that. I think her songwriting shares top billing with her piano work. The songs are cleverly written and cover normally serious ground without feeling too serious, if that makes sense. There is an appealing, light-hearted quality to these songs, which is impressive considering most of the songs deal with some form of loss or regret. I think part of the appeal comes from the fact that very few of the songs feel dark or heavy. Peek's piano is used to craft peppy arrangements, and her voice is warm and friendly, so that helps draw you in, regardless of the subject matter.

With someone so involved in the Halifax music scene, you might guess Laura probably had some quality help making this album. Well you guess correct friend. Recorded by the omnipresent Charles Austin, Peek also tabbed Mike O'Neil to make his debut as a producer on From The Photographs. Thankfully for all, Mike is far more believable as a producer then he is as Tom Collins in the latest season of Trailer Park Boys. The Winning Hearts are comprised mainly of Dave Ewenson on drums and Joel Goguen on bass. Ewenson's drums are upfront with the piano on most tracks, with Goguen providing solid background work. Although the bassline on Stand Right There is rather excellent.

The album opens with A Name, a tale of a failed adolescent love. It's a sweet prelude to the kind of short-story songwriting Peek uses throughout the album. So Sorry opens with a piano breakdown that Dr. Dre would be envious of. It also has a jazzy chorus that is mighty catchy. I often find myself wishing there were more sunny piano-pop songs about landlords observing their surroundings in a disapproving manner. Oh Lenny helps satisfies that request, plus it opens with the line "Family out back don't care much for haircuts", which I enjoy.

Although the aforementioned Stand Right There has a bass & kickdrum combo that will keep your head nodding more than your average breakup song, it also uses a cello and some organ flourishes on the chorus to nice effect. Vermont is perhaps the sweetest song about summer camp romance I've heard this year. Well perhaps not just this year, perhaps ever. Last Thing You Deserved and The Verdict are enjoyable, uptempo songs about the various ways life can deliver a swift kick to the coin purse. I also enjoy the spacey piano breakdown on Last Thing You Deserved.

I heard someone describe Peek's songwriting style as literary, and this line from the Gatsby-esque Social Graces is a good example of that: When in the salons of elite patrons of art, spare a thought for all your colleagues who were not quite as smart". For some reason, I love that line. Quite a feat to drop that and not come off as super serious.

The more I listen to this album, the more nuances I pick up in both the lyrics and music. It could just be I'm too thick to pick them up on first listen, but I'm going to assume it's mainly a sign of a good album. If you've been looking for some quality, non-depressing piano-pop, I would suggest you check out this album. Well even if you haven't been looking for piano-pop at all, From The Photographs is well worth your time.

mp3:: So Sorry

Labels: Halifax, Music, Reviews

Click here for the Fields record. You might have seen the indie click banner on countless sites over the last few weeks, and usually I shy away from those albums for two reasons. The first: Usually the records that are mass marketed on the ole indie click systems aren’t actually that good and come attached with quotes from mags I hate (“2007 will surely be theirs” – NME). The second: Well to be honest, we aren’t big enough to get added to the advertising world, so those records are a constant reminder that our status is not the baddest.

The thing is, the Fields record – Everything Last Winter – actually deserves the attention it is getting. The band made a complete shift of sound from their dynamite 7 From The Village EP. They still rely on nicely matched girl/boys vocals, but they have evolved into a large scale anthem band. Even the subtle textures and sounds (like You Don’t Need This Song) really have an underlying feeling of significance that wasn’t present on the last EP. I don’t know if it is the pull of the major label, or just simply the fact the band has the talent and maybe the desire to be a household name, but this album seems focused on making that big step. School Books is a prefect example. The gentle soothing intro gradually breaks down into a triumphant, driven march and fits well with the swirling, chaotic guitars of the Death.

For fans of the original EP, I can see how the extra polish and super sized efforts could be a bit of a letdown – for example, the new version of Song for the Fields doesn’t live up to the original, but I don’t see the overall transition as a negative aspect. I don’t think there is anything wrong with a band trying to approach things on a more grandiose scale, as long as they don’t let it destroy the music they are writing. The band still combines shoegaze, folk melodies and powerful choruses; they just do it in a more polished manner. I think a lot of this can be attributed to the production work of Michael Beinhorn (I choose to ignore the fact this is the same person worked with Korn and mention that he turned dials for Mew, another band that has a knack for creating soaring, arena style rock for an indie audience). His presence and past projects really show up on a lot of tracks (like the RHCP tinges on School Books).

For any doubters, simply listen to If You Fail We All Fail and you will realize that sometimes running a shammy over the hood of your car can really make it sparkle.

MP3:: Chasing the Flames

Labels: Music, Reviews

Let's do the math. M Ward + Jim James + Neko Case + a slew of talented friends performing Chinese Translation = Gold

Labels: Music, News

I will easily admit that I gave Schooner a pass on name alone. Growing up in Halifax, Schooner was the beer of choice for herohill (and if Schooner needs to gets some traction in the indie blog scene, we will sell out for free cases… just sayin’), so seeing the name of the Chapel Hill outfit being one in the same warmed my east coast heart.

After the promise of their first LP - You Forget About Your Heart – I was excited to so the band returning with the follow up on 5440’ or Fight. Hold on Too Tight is nothing if not ambitious. Sixteen songs (well three brief interludes), each of them showcasing the fact that the band relies on a lot of influences, but doesn’t try to force songs into a certain style. Gone are a lot of the Shins-y / Rosebuds style riffs, and in their place is more mature, country winding undertones with nice harmonies. Instead of jangly indie pop, the HoTT uses warm, fuzzy guitars and a Will Sheff slow delivery to set the mood.

It may seem like a big jump, but the band seems comfortable with the change and it flows fairly naturally. The arrangements feature a trunk full of well placed instruments (case in point, the beautiful sounds on one of my favorite tracks Leaving Your Room) and rely more on gradual builds than instant hooks. I think the mix works, and Reid and Kathryn’s double vocals still stand out work well, but on songs like Married, it’s the extra touches (like the distant lap steel) that add the emotion to the song.

The record is well thought out and it’s obvious they took the time to get the sound they wanted on each song. The choral backing of The Pox Family Singers on They Always Do! or the nicely placed chimes on Ladybug add that little push needed to help these songs really pop, despite the slow pace.

This record won’t grab you with a heart thumping kick drum or crunched guitars, but with all the acts trying to use the same routine, it’s refreshing to hear a band looking past the draw of a quick hit and move more towards the lovely, brooding, heart warming depression I prefer to hear.

MP3:: Married
MP3:: Trains and Parades
Web page :: label :: more tracks

Labels: Music, Reviews

Not many artists have the opportunity to revisit a creation and invest the time required to fully realize their vision. That’s probably a good thing. When you over analyze anything and have access to a bigger budget, the original vision usually gets forgotten. So when I heard that Matador was giving Shearwater the chance to expand Palo Santo I was a bit skeptical. I mean, the emotion of the “demo” version of the record was fantastic. Jonathon’s original take on the songs were rough and powerful drenched in dark, moody emotions, but the arrangements were remarkably subtle and beautiful. How much could they really improve the record?

Then I started reading stories about how the band felt the record was rushed, and they felt forced to deliver a collection of songs that didn’t match their vision. They simply didn’t have the time or money to make every note sound as they wanted. While this is a fantastic reason to revisit a project, it is a bit idealistic. I mean, how many writers would love the chance to go back and rework their work (I’d love to go back and really invest the time and thoughts about the original version of this record, but it wouldn’t really change much about how I felt and certainly not make more people want to listen to the record)? How many bands would love to tweak the sound of the drums or work a better solo? Those decisions are part of the process and give the project its sincerity. Simply taking more time and throwing more money into the hat doesn’t mean it will be better and more importantly, once you start making changes, how can you step away and simply stop?

All of these thought shave been running through my head each time I’ve listened to the bulked up Matador version of Palo Santo, and you know what? Reworking this record was a fantastic idea. If you doubt me, simply play the intro to Red Sea, Black Sea and compare. The banjo and chimes now power through the mix and breathes life into the song. The underlying keys are gone, and the bass is much stronger. Every nuance they added to the re-recorded songs adds something, not only for the listener, but for the band. You can read their thoughts here, and it shows you what they were really trying to accomplish.

Originally, I said the record was a sort of music theatre experience and that’s about the only aspect of my first review I still agree with. By taking the time to bulk up the mix, it’s almost like seeing a fantastic show make the required steps to reach a Broadway audience. Simply overwhelming the crowd doesn’t work. Losing the focus and attention just makes the project a mess, and the same can be said about Shearwater’s vision.

I don’t think you can listen to the crescendo that hits at the two minute mark of Red Sea, Black Sea (the buzz of a guitar and the chorus of background voices) and not feel the energy rise to a new level. Seventy four, seventy five is now a thick arrangements that builds and sways perfectly. The pounding piano chords are now just another sound that grabs your attention, before being replaced by bowed strings, long horn notes, drum crashes or feedback. The chaotic structure of Hail Mary contrasts Jonathon’s angelic falsetto nicely.

They band made so many good decisions with this release. If they had thrown the extra 8 (9 if you prefer it on thick slabs of vinyl) songs onto an Sufjan Avalanche style outtakes EP, fans would have been disappointed. Instead, the Matador release gives the fans the re-recorded, better sounding work along with 8 new songs (four demo versions of album tracks) like a loot bag they can take home for later. They don’t fit into the flow of the record, but are well worth a listen. Probably the most compelling reason to pick this new expanded version is simple. After listening to the new songs, I can’t really picture the original visions. The changes that once were so obvious have disappeared and all I hear is the new songs. I honestly don’t know if I will ever reach for the original version of this record ever again.

MP3:: Red Sea, Black Sea
web site :: label :: more tracks

Labels: Music, Reviews

It must be Jason Renyolds day on herohill. He posted on his inability to get Young Folks out of his head, so I reply with this blue grass version of the song by Dawn Landes:

MP3:: Young Folks - Dawn Landes

Labels: Music, News

Well, not to oversell it, but yes.


I love Ben Harper.
Jason Reynolds loves sweatbands. You do the math.

Labels: Music, News

It’s extremely hard to stay current with a band like Spoon, because almost every song requires countless listens to truly, fully appreciate. Much to Merge’s dismay, Ga Ga Ga Ga Ga leaked and started to trickle onto the NET (and by trickle, I mean flooded) along with countless fan’s opinions. For a lot of bands, people’s initial reaction is usually accurate, but when it comes to Britt’s unique brand of song writing, I find something I missed with every listen.

Sure, the crunched guitar sound and his voice are standard, but my gut reaction usually ends up being different from the way I feel about the record two months down the road. Before hearing a peep of this record, I wondered how the soundtrack scoring would affect (and hopefully improve his already amazing songwriting skills). Would Britt start painting with longer strokes? Well, he did and he didn’t. Some of the songs seem more, I don’t know, purposeful? But did the songs change as much as I thought they would? Again, I’m not sure. A smattering of well placed horns help, but do they go far enough?

That’s why I’m reserving judgment of Ga * 5. I’m going to give my initial reactions, and I think over the next few months (especially after seeing some of the songs performed live at Sasquatch next week) I think my opinion will change. Right now, I think there are several standout tracks and Britt and Jim really threw enough curves to keep us all guessing. Was I blown away? At times, but let me stress that I don’t think that is a cut n’ dry statement.

I’ve been listening to the record non-stop as I walk the streets of Paris this last week and despite the fact a lot of the sounds are short and crisp, it has combined with the street scenes and old style police sirens to paint a cinematic landscape. Britt and Jim (and their rotating cast of musicians) have never ventured into lush arrangements, but I’ve realized that unlike, say the Zidane film Mogwai scored, this Spoon record could easily fit into a city based movie ... a movie I’d like to be watching.

Don’t Make Me a Target has been floating around since Britt played it at SXSW two years ago, and is a perfect starting point for the record. Simple elements. Most Spoon songs rely on basic sounds combined perfectly. The track steps along, using a fairly standard scale, before breaking down into a free for all for the last minute and a half. The piano, guitar and drums swirl aimlessly, but somehow still sound somewhat cohesive. The arrangement hasn’t changed enough for me to call it a new song, so the first signs of a new Spoon started with the fantastic simplicity of The Ghost of You Lingers. This is exactly the type of change I never expected, but somehow (after hearing it) wanted them to make. It’s just a simple piano line, reverbed vocals and a smattering of atmosphere, but it come together so well.

It’s actually from this point on that the record seems more interesting to me. The swell of horns, percussion and the falsetto in the distance all make the tapestry on You Got Your Cherry Bomb detailed and enjoyable. They band still drifts into familiar territory (Rhythm & Soul for example), which is more than ok with me. I don’t need a Radiohead transition on each record, but like the band, I don’t want the same record every time. Bouncy bass line and double kicks/tight snares make these songs incredibly catchy. I don’t know how anyone can hear the guitar burst and bassline on Eddie’s Ragga and not be intrigued.

Sure, there are some slips – like the sadly boring My Little Japanese Cigarette Case – but it is followed up with the fantastic maraca/hand clap driven Finer Feelings. After about ten listens I can’t find much fault with this record and in the upcoming months, I bet I’ll find even more things to gush about.
MP3:: The Ghost of You Lingers

Labels: Music, Reviews

The good folks at Merge must be extremely busy these days. First, the new Spoon album is everywhere and if you look hard enough, you can find most of the songs online. Policing the internet is a draining task I'd wager.

But more importantly they are fixing some other fantastic releases, including the Tonight I Have to Leave It EP to get everyone excited about the new Shout Out Louds record.

The single - Tonight I Have to Leave It - is a percussion heavy number that sounds a bit like someone playing coke bottles at a carnival (but in a really good way) with swirling keys, their textbook uptempo acoustic backbone and Adam's Cure-ish vocals.

Note:: Is it just me, or does the 80's vibe Adam delivers remind you of Jason Schwartzman's character in Slackers when he sang the new wave song?

The EP also includes a Russian Futurists dance-club heavy bass remix of the single and a cover of the classic Pogues number Streams of Whiskey with help from the Essex Green. They played this in Vancouver last time through and it was killer.

The new record - Our Ill Wills - is out in September. They are streaming a track from the new release, along with the single and the RF remix on their myspace page.

I feel like I'd have to be a jerk to post a song from a 5-song EP, so luckily they made the video available for everyone to watch:
Video:: Tonight I Have to Leave It

Labels: Music, News

Nina Nastasia is unbelievable. Her voice is filled with emotion, but she really knows how to control the energy. Her songs tread lightly, making you focus on her beautiful voice and lyrics, before completely exploding making your jaw drop.

Her new record - due out in August on Fat Cat - is a collaboration with Jim White on drums called You Follow Me. He's worked with amazing singers (Will Oldham, Nick Cave, Smog - along his own band The Dirty Three) and his organic style of drumming fits Nina's vocals perfectly.

I've only heard five songs, and will surely revisit this record when it is released but had to share this song:
MP3:: I Write Down Lists

After two pseudo false starts, Nina's emotive vocals and acoustic are matched with Jim's marching band snare. The song never seems to rush, but slowly morphs three or four times before Nina's vocals erupt and Jim's structured, understated drums become a living, growing thing (much like the Manitoba-esque style Dan delivers in a live setting). The duo obviously likes playing with each other and understands each others skills, because the chunking works perfectly and in only 3:15 Nina and Jim put you through the emotional (and audio) ringer.

Labels: Music, News

It's tough to post when you are on the road, so I thought I'd just clean out the ole inbox with some concert listings for Vancouver:

5/25 The Black Angels w/Vietnam @ Richard's
5/25 and 5/26 SASQUATCH (Beastie Boys, Bjork, Arcade Fire, Spoon, Jessie Sykes, the Thermals, Two Gallants, Interpol, Bad Brains.. and so many others) *******
6/2 Menomena @ the Red Room *
6/6 CSS w/Bonde do Role @ Richard's
6/9 Girl Talk w/Datarock and Circlesquare @ Richard's
6/9 The Rosebuds & Land of Talk @ the Media Club *
6/14 Architecture in Helsinki w/Yacht @ Richard's
6/21 Julie Doiron w/Calvin Johnson @ Video In (AA) *
6/24 Shearwater @ Richard's
6/27 Tortoise w/Fond of Tiger @ the Commodore
6/29 The National @ Richard's
7/1 Band of Horses @ Richard's - two bands I can't believe book a show when we are away
7/4 Seu Jorge @ the Commodore
7/4 Album Leaf w/Under Byen @ the Plaza
7/13 The Polyphonic Spree @ the Commodore
7/16 Tegan and Sara @ the VECC (AA) *
7/17 Tegan and Sara @ the VECC (AA)
9/3 Crowded House w/Pete Yorn @ the Orpheum *
* = attending

Labels: Music, News

Is it just me, or is gimmick rap dead? Back in the day, MC's often utilized gimmicks to try and ensure their high top fade stood tallest. In Kid's case, his gimmick was that his high top fade was literally taller than the rest. But gimmicks are gone from the rap biz now. Or rather, everyone uses the same gimmick now, the ole "I used to be a criminal and now I rap" routine. There are subtle variations in the gimmick, such as the "I used to be a criminal, got shot multiple times, and now I rap", but in 2007, if a rapper without a criminal record raps in the forest, does anyone hear him?

Ooo, wasn't that profound? Well, not really, but perhaps you get my meaning anyway. It wasn't always this way though. Before rap's current ice age made rap gimmicks obsolete, the history of rap was filled with gimmicks of all sorts. We thought it would be fun to list the hill's favorite 10 hip hop gimmicks. You're excited? We knew you would be.

10 - Oh, the horror
In all honesty, I'm not sure horrorcore is really one of my favorite rap gimmicks at all. Basically I'm only including it because of the Gravediggaz. This side project, which was comprised of The Rza, Prince Paul, Frukwan, and the underrated Too Poetic, is the most well know member of the early 90's rap genre focused on horror-movie style raps. I'm guessing there was some kind of audience for this stuff, as dudes like Esham, Brotha Lynch Hung, and Insane Clown Posse released multiple albums doing it, but it's fallen off the map now. But the Gravediggaz were big news back in the day, and it gives me a chance to say RIP Too Poetic.
mp3:: Gravediggaz - Diary of a Madman

9 - what's this, a parody?
For a while, the rap song parody was all the rage. I think just the whole phenomenon of rap music freaked (white) people out early on, so it was easier to laugh at parodies of the songs, rather then actually understand it. People like Bobby Jimmy & The Critters, The 2 Live Jews, Morris Minor and the Majors, and Vanilla Ice put out full parody rap albums back in the day, and apparently someone thought this was a good idea. I'll admit I used to get a kick out of Bobby Jimmy, but I am not surprised this gimmick has gone by the wayside. Well, except for Weird Al, who somehow still has a career doing rap parodies while he rocks a white man jheri curl.

8 - Habla la hip hop?
I was going to make this one about rapping in other languages, but I couldn't think of any good examples that weren't in Spanish. Well other than french I guess, where Mario's favorite Le Boyfriend held things down. But The Spanish/English style was a quality gimmick when it first appeared back in the day. Mellow Man Ace's Mentirosa was the first big song I remember that featured the Spanish rap. Kid Frost's La Raza also came out around the same time. Were the dudes who created Reggaeton influenced by these early spanish/english jams? If so, this could be considered on of the more successful gimmicks on the list. Well I guess that would be the case if you liked Raggaeton, which I don't, but I will digress...
mp3:: Mellow Man Ace - Mentirosa

7 - Fast rap
Long before fast rap was an Edan mixtape, it was a gimmick used by numerous emcee's to try and make a name for themselves. Why being able to rap faster that anyone else was considered a reason to buy someones album is beyond me, but at one point, it was. In fact, the holder of the Guinness record for fastest rapper used to be semi-common knowledge amongst rap enthusiasts. How else would I end up as the proud owner of a cassette copy of Daddy Freddy's Ragamuffin Soldier? Considering the fast rap title is currently held by this guy, I'd say that time has past.
mp3:: Asher D & Daddy Freddy - Ragamuffin Hip Hop

6 - Rap as dance craze
A classic gimmick found in all genres of music, the "song-with-its-own-corresponding-dance" is no stranger to hip hop. For a fine example of this, look no further than Joeski Love and his jam Pee Wee's Dance. As if explanation is really required, Pee Wee's Dance is an homage to the dance stylings of former kids show weirdo Pee Wee Herman. Of course this song came out before Pee Wee's big porno theatre adventure, because after that you'd need a hell of a lot more than a catchy Tequila sample to make people dance like Pee Wee. As shocking as it is, Pee Wee's Dance turned out to be the highlight of Joeski's career.
mp3:: Joeski Love - Pee Wee's Dance

5 - For The Kids
Another gimmick that can be found in plenty of musical genres, kids rapping has always been a reliable go-to gimmick. Usually the kids have some established svengali-like figure that helps put them on and then guides their "career". Another Bad Creation had Michael "Biv" Bivins, Kriss Kross had Jermaine Dupri, and Lil Romeo had wannabe Raptor Percy Miller as his father/Svengali. Chi Ali, despite being affiliated with the native tongues, did not have that one guiding figure. Perhaps that's why Chi is now serving a 14 year stretch for murder.
mp3:: Chi Ali - Funky Lemonade

4 - Evil twin brother
The rap alter ego has also been around for quite some time. I don't just mean having 50 "aka" names, as that is certainly still popular, but rather creating an alter ego to the extent that you release an album under said alter ego's name. Certainly it's still done today, as Madlib's helium voiced Lord Quas proves, but it's not done with the same commitment it once was. I remember having legitimate debates about whether Shock G and Humpty Hump where the same person in junior high. Although I wanted to believe Humpty was actually burned in a grease fire and hence the need for his Groucho nose & glasses combo, but I was always skeptical. It's also worth mentioning that The Humpty Dance is perhaps the most famous example of rap song as dance craze. And no, I won't do the Humpty Dance for you, but thanks for asking.
mp3:: Digital Underground - The Humpty Dance

3 - Cracker Rap
With the amount of pale-faced mic rockers on the scene today, it might to be hard to believe that the white MC was a gimmick at one point, but it's true. Certainly if you asked Serch and Pete Nice if they were a gimmick, you would be the recipient of a vigorous gas face. They considered themselves to be true MC's, regardless of their race. But that doesn't mean all white rappers abstained from the gimmickry. Case in point - Young Black Teenagers. This group of white kids was loosely connected to PE through Bomb Squad member Hank Shocklee and intended their name as some kind of homage to black culture, but in reality, it came off as a gimmick. For a long time white dudes worked some reference to white into their name (vanilla, white, snow, milk) to stress the "I am white" gimmick. Thankfully that has now faded for the most part.
mp3:: Young Black Teenagers - Tap The Bottle

2 - Weed Carriers
The practice of an established artist securing a record deal for one of his lackeys is as old as hip hop itself. If you're a rapper, once you get on, you're expected to put those around you on as well. Sometimes the results are good, former EPMD backup dancer and hill favorite Stezo comes to mind, but most of the time it's all bad. You can find most of hip hop's most offensive weed carriers on our list of 100 MC's we wished lost their voice instead of The D.O.C. The rap world is littered with "crew" albums that failed miserably, but it has certainly been one of the most consistent hip hop gimmicks, and that continues to this day. I mean who isn't dying to hear an album from Puff Diddley's manservant Fonzworth Bentley?
mp3:: Stezo - Bring the Horns

1 - Re-inventing the wheel
Would it cheapen the list if I said my #1 rap gimmick isn't really a gimmick? What I mean is this - as long as hip hop has been around, there has been some MC or group claiming to have invented a new style of speech. I include it here as more often than not, this new style is used as a means to try and promote the artist, but I hesitate to call it a gimmick because it's often the reason they're enjoyable in the first place. Case in point: Das Efx. They busted on the scene with their bum stiggedy bum style and blew up, because everyone started doing it (ahem, Fu-schnickens, Lords Of The Undergound) they went away from it and pretty much fell the fack off. I'm sure you can think of other examples of this gimmick, K-Solo's "spell-rhyming" is another one of my favorites.
mp3:: Das EFX - Mic Checka
mp3:: K-Solo - Spellbound

Labels: HipHop, Music, News

Black and white. Truth and lies. Right and wrong. Sometimes, things are completely as they seem. So when Josh Tillman walked onto the dark stage at L’Europeen last night with the help of only one spotlight, it seemed very fitting. He sat alone, in the middle of the stage and plugged in his guitar.

“Bonne Soir,” he says softly to the crowd. A polite reply is returned from the 100 or so fans sitting comfortably in the small auditorium. “The rest of this night will be in English. Next time though. Next time.”

It’s the last night of a long solo tour across Europe warming up unknowing crowds for his friend Jessie Sykes. Josh is to the point on a stint where “your songs start to sound like sand in your mouth.” For some reason, I assumed after an exhausting month on the road, waking up in a new bed every morning, he’d be as cold and ominous as the black and white image that adorns the cover of his new record. Instead, the huge smile Josh wears seems as much a part of his attire as the t-shirt with the slightly stretched collar or the tattered old leather shoes. He dwarves me, not only in size (standing at least six inches taller than me with shaggy hair and a full beard), but in stature. His outgoing personality and warmth makes it impossible not to want to talk to him.

For most of the set, Josh sings with his eyes closed, delicately picking riffs to the strangely quiet and even more strangely elder crowd. You can actually hear his fingers slide across the fret board, or him clearing his throat.

“That’s Europe man,” he laughs after the show. “So polite.” I ask about the tour and the fans. “What fans,” he asks jokingly. “No, it’s just a very dutiful, almost built in crowd you get in Europe. The same fans in every city. It’s weird. There’s a very strong alt-country fan base, so if they deem your music to be good, they show up. But the fans are usually a lot older (which is true as the audience carried attaché cases as opposed to Ipods, dressed in suits not trendy t-shirts). So I have to wonder, are you really going to be around much longer buying my records?”

Lots of fans buying his records does not seem to be a huge driving force for the songs he’s writing. As he plays as much for himself as those of us lucky enough to be in attendance, he samples liberally from his complete catalog, despite the fact most people in the room have no idea who he is, or what songs they’d like to hear. Lilac Hem and My Waking Days are placed beside Crooked Roof or Jessie’s Not a Sleeper and I wonder if anyone else understands how great the setlist is. He’s used to playing for small crowds who are largely unfamiliar with his work, but that helps him write.

“That’s where Cancer & Delirium came from,” he admits. “I had just finished touring and needed to write to stop from going crazy. But I didn’t want to write the same record. I didn’t want to stay in the same style as I did with Minor Works. I never want to have to create the same record over and over. That record was kind of like a writing exercise for me. I wondered if I could write songs with a chorus and a bridge. I was probably listening to Born to Run or something. It seemed almost cheesy.”

I can’t help but laugh and think to myself, ‘I actually really like that record.’

“So I decided that I was only going to record at home using instruments we had lying around. A glockenspiel, an accordion, a banjo. Luckily my roommate and my brother are both fantastic musicians, so it was an easy process. As we got farther along, we were all like, 'wow, this is really good.'”

The decision paid off. Cancer & Delirium combines the things I liked about Minor Works with the sparse, open arrangements he used so well on the first two releases. But not everyone thinks that way.

“Well, Fargo didn’t really want this record,” he admits with a laugh. “Not that they don’t want another record, just not this one. And it’s not the next record I wanted to give them really. The record I’m working on when I get home is much different. It’s going to be a full band record. So I knew I really had to go with an Indie record label that was excited by my past work. That’s why it was great to work with Morgan. He was excited to put the album out, and gave me the freedom to really do what I wanted. To be fair, I’ve had a great relationship with Fargo too. I’m really lucky. I think it was Jessie who gave my songs to Michel at Fargo. I had like six songs, not even finished and I met him at SXSW. Like a week later, I got a call from him, ‘yes, we want to work weeth you.’ I’ve never had to compromise too much, which is great.”

You get the sense that the bleak, heartbreaking themes J often writes about are a result of the lifestyle he has chosen. Traveling alone, spending night after night at shows, takes a toll on him. But the choice to be a musician is one he is more than satisfied with.

“It’s a hard,” J admits. “Lots of solitude. Humans have to work. Our bodies don’t function if we aren’t working six or seven hours a day. But you are alone out there. Your friends aren’t around or they are working. So you end up sitting alone, getting extremely narcissistic and jaded, wondering why no one else gets your fucking genius. But, it’s a risk. You know. Ten years from now I might be working at a bar. But when got Cancer & Delirium in the mail, I opened it up and put it beside Minor Works and thought, ‘this is what I want to do. I want to make records and line them up and just look at them.’ It’s a great feeling.”

Friends are one thing that really push Tillman, probably because his friends are so talented. So much music comes out of the Pacific NW, some of it great. Most of it bad. J, however, is surrounded by talented friends that push him musically. Al James, Damian Jurado, Laura Gibson.

“People talk about the NW and that sound, but I’ve been writing songs like this since I was 17,” says Tillman. “But what really pushes me is my friends. I don’t get to see them nearly enough – well aside from Jurado – but I love to see them play when I’m home. But musically, its… when Al gave me the new Dolorean record, I was like, “Damn it, Al.’ He really raised the bar. I think we all have in some way or another. But in the end, I will crush them all.”

Things are changing in the music business, maybe even more than the musicians themselves. The internet changes how people listen and how people sell records. For people like Tillman, it’s a perfect situation. “I don’t really want much. I want to be able to put out records, and have a small fan base that comes to the shows and buys them. It’s nothing too big. So the internet is perfect for that. I mean, you don’t need a record in the stores any more. I’m sure if I walk down to the Virgin Megastore down the street, my record will be there, but it’s not doing anything. I’d rather have some MP3s online that people actually care about. Blogs are great. I really wish there was another word for them, but blogs blow me away. Most of them are done without advertising, just a labor of love. That’s like my records, because I’m not going to see any fucking money from them. But there are all these people who take the time to talk about me. It’s fantastic. One blog, Gorilla vs. Bear, really embraced me and talks about whatever I do. I don’t really fit into the stuff on there. It’s really more NYC dance punk and stuff, but they have always been great towards my music. I had no idea how big things were, until I started getting emails from all over the place.”


J sits back down for his encore. He asks for requests. The crowd is silent. “Are any of you familiar with any of my songs,” he asks. “A request would really help me out up here.” Sadly, the crowd stays politely quiet. He starts playing My Waking Days. The whistle cuts through the silence. The spotlight shines on him in a room of darkness, and just as silently, he ends his set and the lights come on. Just like that, he’s gone, back into the black and white world most people see him in, but for the last hour he was alive and in color, and certainly made me even more of a fan.

MP3:: Crooked Roof – J. Tillman (live in Paris @ L’Europeen)

Labels: Music

Is it possible to like a band when you don’t like the acts they are constantly compared too? At first, I would have said no, but the White Rabbits seem to have changed my mind. I don’t get the mass appeal of the Cold War Kids, the French Kicks or the Artic Monkeys and usually steer clear of any band that is compared to the Strokes. I am not into any of these bands (aside from the Strokes), but for some reason I am completely smitten with the debut White Rabbits release – Fort Nightly.

What really surprises is that they are a band I’d normally assume I’d hate. Two drummers? C’maaaan, I barely accepted two Drummonds. Yet another NY band? Well, they are technically transplants from Missouri. Somehow, despite all these reservations and baseless distaste, I’m 100% onboard with this record. I’m not sure if it is the underlying darkness of the tracks or the infused reggae/island beats that pair with the pulsing rhythms, but it hits home with me.

The band manages to keep the energy peaked for the full record, but avoids ever sounding samey. The crunchy intro to Kids on My Shoulder is intriguing, but unlike so many outfits playing the same style of music, the White Rabbits draw from a vast array of influences and experiment with different beats, tempos, textures and emotions. Instead of forcing the listener to pogo consistently, the band jumps back and forth into calypso driven beats (the cruise ship dance outro of the aptly named Tourist Trap is classic). Even in the middle of the opener, the band throws lowers the drums and adds a nice piano line before exploding back with the double drum line. As the band slows the tempo with Dinner Party, you are constantly anticipating another sonic explosion, and the restraint you feel is instead answered with horns and piano instead of another frantic drum and guitar combo.

The band seems equally comfortable playing either slow or fast, and relies on simple elements to set the tone. The plucked bass line of March of the Camel fills out the mix beautifully, but doesn’t ever dominate. The same can be said about Navy Wives.

Essentially, this record is fun and fresh and doesn’t try to be anything else. That might be exactly why it stands out from the crowd. Just listen to While We Go Dancing and prepare to be hooked.

MP3:: While We Go Dancing
In a side slice of awesome – the cast of Avenue Q (puppets and humans) reviews the lead single: Kid on my Shoulder

Labels: Music, Reviews

I finally had some time to sit down and read (the one benefit of a 14 hour travel day to Paris), and finished Jack McCallum's fantastic book about the 2005-2006 season he spent with the Phoenix Suns.

I'll admit I'm biased. I love the Suns. Their general disregard for defense (D'Antoni often in the book assumes that fixing the O will make the D irrelevant), the bizarre collection of throw aways and character with unique basketball abilities and IQs, and their hatred of Kobe, the Mavs and the Spurs are all huge reasons why I love the team. Obviously, being Canadian and playing point guard and having shaggy hair makes Nash an easy person to cheer for as well.

But the great thing about this book is it is more how the team interacts. How egos are stroked to handle some insecurities (Marion). How Raja Bell is way more of a thug than I thought (and much funnier - telling a heckler that ProActive will clear that right up is a great comeback). How much they hate Phil Jackson and Kobe. How Eddie House is way funnier than I gave him credit for, but still has doubts if he can make it in the NBA. How Boris Diaw's real name is Boris Babacar Diaw-Riffiod. Seriously, if you can't get on board with that, you can't get on board with much. How well the coaching staff interacts. These are the real focus of the book and McCallum toes the line between friend, fan and professional perfectly.

All these factors make it even more fun to watch the most exciting team in the NBA. Sadly, they choked away another game to the blandtastic Spurs, but who knows. Maybe D'Antoni's footstomping tizzy will prevail over the fact that Tim Duncan, Manu, and Fresh Horry don't think they've ever committed a foul.

Either way, if you are a sports fan you should read this book.

MP3:: Why Does the Sun Shine? - They Might Be Giants
Or for haters - MP3:: I Don't Believe in the Sun

Labels: Music, Reviews

Tomorrow is my lovely wife's birthday and like the fantastical husband I am I will be flying to Paris for work. I'm special, I know.

So anyway, I just wanted to throw together a Nic inspired post on herohill, with some of the songs that she loves, or from artists we've seen together. Happy birthday Nic. Love you.

MP3:: Ian Love The Only Night (our wedding song)
MP3:: Cary Brothers If You Were Here
MP3:: Foundation Forget Today (live)
MP3:: The Beach Boys God Only Knows









Video:: Tegan & Sara Not Tonight

And her fav movie video!

Labels: News

It’s not too often you grab a CD from a deeply rooted prog band named after a controversial book about evolution (which for the record, three of the possible republican candidates don’t believe in) and hear pleasantly upbeat, light pop sounds with nice guitar work, but that’s exactly what the Selfish Gene does. The Great Masquerade is an Orwellian view of the false identity and deception present in today’s society, and even with the prog rocking undercurrents and serious, thought provoking lyrics, the songs fly by in a surprisingly light, enjoyable manner.

The record starts off with a simple guitar riff, and it remains throughout. The simple elements the band uses are combined in a vintage 70’s feel and help take the hard edge off the lyrics which I think is the key to the success of the record. All too often, when artists decide to make a political statement, the music follows suit, and you essentially feel like you are (at best) getting lectured, or (at worst) yelled at. By casing their thoughts in enjoyable, unpretentious sounds the Selfish Gene uses a slight smile, a shimmering gloss and a subtle roar to get their point across. The band floats freely into three-part harmonies and crunchy guitar blasts and you find yourself singing along to summery anthems about the frustration at the state of the world (Fist Fed Up). My grandmother always used to say that you catch more flies with sugar than you do with vinegar – and to be honest, I have no idea if it’s true– it that certainly holds true for the Selfish Gene.

The riffage on this record should appeal to any fans of ELO, herohill approved Genesis or (for the youngens) Spoon but the band really tries to put their own stamp on music. Sure it’s a guitar driven record, but the band uses a myriad of instruments to keep things moving and fresh (beautiful summery harmonies, the sublte acoustic layer on Idioum, the shockingly sparse acoustic arrangement on the album closer Wonderfall, or the piano and bouncing bass that attempts to balance the big, flaming guitar noodle of Evolver) and avoids the easy trap of trying to make every song overly complex. Sure they obviously spent a lot of time turning knobs in the studio, but the arrangements never crowd the mix.

There are some stumbling points on the record – the carnival feel and sped up tape nonsense at the end of Fox Hole or the almost glammy vibe of Bidding War – but for a band to tackle such an ambitious project, a few missteps are expected and easily looked past because the rest of the record is so damn solid. It’s a different sound with a band that has something to say. I’d suggest people listen up.

MP3:: Overboard

web site :: label :: more tracks

Labels: Music, Reviews

As loyal readers of the hill know by now, I regularly scour the land looking for new Halifax music to talk about on this here site. Of course, when I say scour the land, I mean read The Coast, but still, that's hard work. So when we get sent an album from a Halifax band via an outside source, it's a nice surprise. Halifax's Dog Day, and their debut Night Group, is a fine example of just such a surprise.

I suppose the external buzz Dog Day is receiving is due in part to the fact they're signed to German label Tomlab (Black Mountain Music in Canada). Tomlab's roster leans heavily towards electronic or experimental music (Final Fantasy, Deerhoff, Casiotone For The Painfully Alone, etc.), so the fact that they were interested in signing Dog Day, a band that makes early 90s-ish, melodic pop songs, has to say something. What does it say exactly? Not sure, perhaps it says that the Germans are jonsing for piece of the new Halifax music scene like Freddie Holburn was jonsing for a dip. Perhaps I just wanted to work Freddie Holburn into this review, but either way, Tomlab liked the cut of Dog Day's jib, and I can see why.

Dog Day is a four piece which is actually comprised of two couples. Keyboardist Crystal Thili and drummer KC Spidle are married, while guitarist Seth Smith and bassist(?) Nancy Urich live together. In both cases, it's not the first time the couples have played with their respective partners. Smith and Urich are members of Halifax indie mainstays The Burdocks, whereas Spidle and Thili are members of Halifax hardcore outfit The Hold. This whole couple dynamic might have some kind of impact on Dog Day's music, but listening to the album, it's hard to discern what it could be. Perhaps it just adds a level of comfort when they're playing together, as the band certainly meshes well musically, no one sound overpowers the rest.

I suppose technically you'd say Dog Day are a "guitar" band, but for me it's the bass & drums that propell this album along. The album moves at a brisk pace From start to finish, with Smith's guitar, more often than not, acting as a jangly accompaniment to the rhythms laid down by Urich and Spidle. Songs like End Of The World and Know Who You Are are prime examples of this. Thili's keyboards adds a welcome, lighter touch to songs like Great Pains that would otherwise be all melancholy business. Gayhorse isn't really an example of any particular point I'm trying to make, but I do like the sweet boy-girl trade off vocals. Acutally I just wanted to mention the song because the title is Gayhorse, and that makes my inner grade 7 laugh.

Speaking of the vocals, I suppose if anyone where to have a beef with this album, it would be on the vocal tip. Smith's vocals are very low-key throughout the album - both because they seemed to be purposely mixed low so they kind of blend into the song and also because he sings in kind of straight-ahead monotone way throughout the album. I think because of this, the lyrical content doesn't stick out on each song, and the tracks tend to blend together. I'll admit that even after listening to the album a few times, I don't have any clear idea of what each song is about. I will also freely admit that I don't care. The songs on Night Group are dead catchy, with melodic, sing-along choruses, and that is enough for me.

The press around this album is filled with comparisons to 90's heavyweights like Dinosaur Jr., Superchunk, Yo La Tengo, and Sonic Youth - and musically, I think I can see where that comes from. When you consider all the 90's talk in this review, it's rather impressive that I've gotten this far without comparing Dog Day to Sloan, but now that I stop to think about it, there are some songs here I could compare to Smeared or Twice Removed, but I shall digress. Living up to all those comparisons is a tall order and it's probably better to consider Night Group on it's own merits as catchy pop album that will more than likely work it's way into your rotation once you hear it. Definitely worth a listen.

mp3:: Oh Dead Life

Labels: Music, Reviews

Keep the EPs coming! I have to be honest. When it came to Middle Eastern music, my list pretty well started with Erick Sermon’s React, ended with that Diwali song they played on the Office and had nothing in between. I’m pretty well in the dark about Iranian music, so Haale kind of went under my radar. What’s that? You slept on an Iranian singer who mixes “traditional sufi rhythms with her own interpretation of sixties psychedelica?”

Even reading that description, I can easily see how people are skeptical about this unique fusion of influences. Haale is born-in-bread in NYC and her music is an interesting ménage of her home and her heritage. Electric guitars, pulsing rhythms and a heavy bass provide an interesting backdrop, but the highlight is the seductive movements of Haale’s voice that dances like a sultry belly dancer. Her voice becomes intertwined with the percussion and bends around the hazy fuzzed guitar. She is getting recognized for her commanding presence on stage and on record. She can dominated a sexy, uptempo track – like the EPs final track Before the Skies which is a beautiful duet with Sean Lennon – but she also exposes her sensitive side on the finger picked ballad, This High.

This self-released 5 track EP is certainly going to be one of many releases, but the DIY style she is using is certainly going to change soon (as I would imagine majors will be lining up to get her to sign).

Buy paratrooper here.
MP3:: Home Again

web site :: myspace

Labels: Music, Reviews

Tegan & Sara are releasing their new record - The Con - July 24th, and are starting off the hype with some shows, including some in lovely BC::
Jul 14 2007 8:00P
The Belfry Theatre Victoria, British Columbia
Jul 15 2007 8:00P
The Belfry Theatre Victoria, British Columbia
Jul 16 2007 8:00P
The East Cultural Centre Vancouver, British Columbia





We almost never post MP3s from records we haven't listened to, but this song is fantastic. The Bowerbirds are from UNC, and are on tour with the Rosebuds. They have a vocal similarity to them as well. The soaring violin is so nice.
MP3:: The Dark Horse

Labels: Music, News

I am not sure, but I think I’m setting some sort of record for reviewing the most consecutive EPs. So, I’m going to run with it. It would be easy to try to lump the sounds you hear on the new Two Gallants EP with those of their label head, Conor Oberst. Their interpretation on rootsy folk is similar at times. Both rely on vocals that are as delivered with a subdued rage that expose their emotions to the listener and both pair that rage with beautiful, melodic riffs.

It’s also very tempting to put a back story on The Scenery of Farewell. After finally resolving a terrible incident of police brutality and criminal charges, the band retreated into a studio and created a very introspective, stripped down EP. Did the incident change how these young men see the world?

With titles like All Your Faithless Loyalties, you’d think it has to, but the songs aren’t asking questions about society. They are more focused on the questions Adam and Tyler are asking about themselves. The stripped down feel of the EP mirrors the sentiment well. Simple drums and a picked guitar lay the foundation of the tracks, but provide the room for the vocal lines, harmonica and violin to really occupy the large amounts of open space. The pain of being alone is never easy to deal with and these songs give the duo a chance to get things off their chest.

As so often happens, you start with a simple thought and it constantly expands to take a new shape. These thoughts culminate on the closing track, Linger On. All we want to do is move on, but we can’t escape the past, and often we don’t want to - “though I keep your picture on the wall, I unplug the phone in case you call.” It’s only five songs and the theme might come off to some as self indulgent, but when you are left alone, being selfish and hoping anyone will listen and feel your pain is what keeps you going.

Two Gallants are playing Sasquatch, so hopefully I’ll get some pics for you next week.
MP3:: Seems Like Home to Me

web site :: label :: hype machine link

Labels: Music, Reviews

The Rawluck Movement's new album poses a bit of a dilemma for me. Formed by 5 Toronto MC's to honour of their friend Donnie Rawluck, the group intends to give all the proceeds from the album to Rawluck's son Kadin. Donnie Rawluck was killed in 2005, and the guys hope to raise $10,000, which will be placed in an education fund for his son.

Being a new father of a 10 month old son, I cannot approach this album either rationally or objectively. I would be lying if I told you I loved this album, but I also cannot say anything negative about the album without feeling like I might be taking money from a little boy who has a long road ahead of him. So I won't.

Drex Inkredible, Remey, Tommy (The Grim Preacher), Audi and Gavin Sheppard (Gavatista) are the 5 MC's the comprise The Rawluck Movement. They hail from Toronto's tough Lakeshore area, so when you factor in the tough neighborhood they're reppin', and the circumstances surrounding the group's creation, you shouldn't be expecting an album full of happy club tracks. What you get is an album of understandably somber songs that reflect the gritty backgrounds of the group members.

Songs like Time and Rip 'Em Apart have the kind of anthemic choruses that could stick with people. Eyes Of A Stranger samples the Payolas song of the same name to good effect, so I can cross that one off my "Can-Rock songs I want to hear sampled in a hip hop song" list. The hardest working man in the indie rap biz, Planet Asia, makes a guest appearance on Suspended In Time.

I don't think there's any need for me to go into much more detail on this album. The bottom line here is if you want to hear some decent hardcore Canadian hip hop, you should pick up a copy of this album. You get some hip hop, and you put some money into Kadin Rawluck's education fund.

mp3:: Eyes Of A Stranger

Check out the video for Time:

Labels: HipHop, Music, Reviews

When it rains it pours. Or, in Jawbreaker fashion, when it pains it roars. Either way in the spirit of Ladyhawk, I am going to completely go back on something I said in my post about America's attempt to recapture cool when they teamed up with some hip cats for their double disc release. What can I say, I'm like a sports journalist. I make up facts and opinions to fit my own ideas and forget about them as soon as I hit PUBLISH.

Duffy Driediger's solo record - Under the Cities Lies a Heart made of Ground - is floating around now, and it features a cover of America's Horse With No Name. Is it good? You decide, but it's funny that I got excited to hear it when I first grabbed the record from a classified torrent site (that is very Indie you might say).

MP3:: Horse With No Name - Duffy (Ladyhawk)

Labels: Music, News

I definitely don't give enough love to local boys Ladyhawk. Sure we had their debut on the best-of-list, but I always end up passing on their shows, maybe because I'm spoiled by the fact they play here a lot. Well, it's time to give them some more praise. They are fixing to release a new 6-song EP - Fight For Anarchy - on jagjaguwar and it's impressive.

To keep the bloggers happy, the label released the opening track War some time last year. It was the first song from an all day recording session, but it doesn't really sum up the rest of the EP. The band is much more experimental on this quick hitter and balance some Okkervil River-esque ballads (and I think I'm one of the only people who didn't hear those similarities on the full length, but the Sheff influence on Boy You Got Another Thing Coming is strong) with static, feedback, grunts, screams and countless other sonic explosions and exploration.

This freedom really shines through, and the 6 songs (well 5 really - you can't count a 45 second interlude as a full song can you?) are stronger than a lot of the full lengths discussed ad nauseam in the blog-world. It's challenging and accessible, rough and soft, somehow all at the same time.So this is my humble apology to Ladyhawk. I'm sorry I took you for granted, and look forward to your return to Van-city.
MP3:: Boy you Got Another Thing Coming

Labels: Music, Reviews

Remember that scene in High Fidelity when Barry is convincing a guy to pick up the Jesus and Mary Chain record?
Barry: How about the Jesus and Mary Chain?
Barry's Customer: They always seemed...
Barry: They always seemed what? They always seemed really great is what they always seemed. They picked up where your precious Echo left off, and you're sitting around complaining about no more Echo albums!

Well, after embracing the new Jade McNelis EP – All the Fables – I feel like I’m trying to convince the masses that she’s picked up right where the rest of the Montreal collective (the Stars, Metric, the Dears etc.) left off, but no one seems to be noticing. Jade McNelis is a Florida native who migrated North, landed in Montreal and found a home with a stable of talented musicians, including Chris Seligman, Murray Lightburn and Andrew Barr.

Jade – born in Taiwan – has been playing piano since she could walk and despite her obvious skill (or maybe because of it?), she manages to avoid the trap of most young piano based artists and creates an icy, hard edged as opposed to a summery, sugar coated radio pop. Jade’s lyrics take on an almost fairy tale style (she said she was heavily influenced by Aesop’s tales), but the dark textures and swirls add a maturity to the morals in a Pan’s Labyrinth style.

She’s already writing songs you wouldn't expect to hear from a twenty-year old, and I think she’s benefiting from the touches of some seasoned indie rockers. Murray’s guitar work (especially the jangle on Lies and Locks) and Chris’ fingers in the mix really keep this debut EP on track. If she’s this good already, it’s not hard to picture her reaching the same status as other prominent female chanteuses like Chan Marshall.

Vocally, her range and tones are strikingly similar to Emily Haines solo work, but the songs are in no way derivative. You can’t help but think of Doctor Blind, but the intricate piano work and more uptempo electronics really beefs up the mix. While Emily purposely stripped down her sound, Jade went the opposite direction by adding layers to keep the sound thick.

Don't tell anyone you don't own "Blonde on Blonde". It's gonna be okay.
MP3:: Lies and Locks
Video:: Wins


Web site :: more tracks :: label

Labels: Music, Reviews

File this under "what the fack?" Herohill friend and fav, Joel Plaskett was featured on the queen of media's web site today. Now, I hate everything Perez stands for. He's a publicity whore who shills for the same people he dishes on and he knows little about music, but he gets over 6 million hits a day for his trouble. I'd have to say, if even a microbe of visitors trickle into Joel's well deserving fanbase, he'll be doing a-ok.

He's playing here at the Commodore on May 18th in support of his new record, Ashtray Rock (read Shane's review here). Come and join the hype before it gets too big.
MP3:: Drunk Teenagers

Labels: Music, News

Just some random mid day filler. First, the National video for Mistaken for Strangers has made it's way from MTV2 to youtube. It's simple and good and doesn't rely on a cheesy gimmick or Spike Jonze. All in all - that means enjoyable watching in my book.

Video:: Mistaken for Strangers


And for people who might have attended the show last night, Cary Brothers opened for Brandi Carlile @ the Horseshoe and we got a photo. Since we no longer live there, we had a special agent show up and get some footage (*).
* Footage = some dark pics and a set list courtesy of Linsday


Set list::
The Last One
Ride
Who You Are
Blue Eyes
Glass Parade
If You Were Here - with additional John Hughes dialog

Labels: Music, News

A slightly slurred delivery and heavy souled Americana/blues is going to draw inevitable Dylan and Springsteen comparisons. Sadly, no matter how interesting or inspired the artist is, it’s impossible to measure up to the bar that is set oh so high. It’s not fair, but that’s how it works.

Enter Stoll Vaughan. The former guitarist of Chamberlain released his second solo record, Love like a Mule, and like the title leads you to believe the record is a heart on your sleeve Americana record. Stoll is young, but speaks in metaphors and experiences of a much older man. He already has the ability to draw you into a narrative. His characters seem real and he turns phrases effortlessly (you will slander my name, like we all sometimes do). He’s at his strongest on the slower numbers like Fade Away (which warms my Dire Straits loving heart) and No Stopping. The subtle instrumentation and walk along tempo really showcase his lyrics, which are the key for any artist walking the same path as the aforementioned influences. His songs tell a story and sooth the soul. He has moments of brilliance (for example Savior) that help you look past some of the clichés of youth (lonesome is as lonesome does).

Unfortunately, it’s almost impossible to separate the man from his influences. If people could, Stoll’s records would be getting radio play from DJ’s and be displayed on the walls of record stores instead of the countless Dylan reissues and greatest hits collections. Don’t get me wrong, I’m not comparing the two. Dylan is as much a genre of music as he is a fantastic songwriter. It’s impossible to compare a 23-year old to two of the greatest wordsmiths of the last 40 years, but if you look past his influences, you will be rewarded with a very enjoyable record from an artist with the potential to make a big name for himself.

MP3:: Fade Away
Video:: Complain


web site :: more tracks :: label

Labels: Music, Reviews

Issue me a late pass on this one if you'd like, but I only just thought of it. I enjoy Alanis' humps-based parody as much as the next man, it's well done and as everyone and their hipster mom has already said, she does a good job of skewering not only Fergie and the Black Eyed Peas, but also herself. But seeing it again the other day, it occurred to me that she chose her target very carefully. As this article from XXL describes quite well, there's an un-written rule in hip hop - white MC's do not attack black MC's. Well it seems that might hold true in the pop music world as well: over-dramatic female singers from Canada who once dated Dave Coulier do not make humorous videos parodying black artists.

I think, as part of the un-official deal that allows white dudes to partake in the rap game, if white MC's want to beef with someone, they are required to beef with other white MC's. If you want to be down with the brothers, you do not publicly diss the brothers. This tradition goes back to 3rd Bass beefing with Vanila Ice or the Beasties, and leads up to Eminem battling pretty much every white dude up to, and including, Greg Brady.

There are exceptions, as 3rd Bass' attacks on Hammer prove, but as the aforementioned article claims, those attacks led to a 60K bounty being placed on the scalps of Serch & Pete, so really you have to wonder if it was worth it. I do know that this post is now worth it, as mentioning the fact that Hammer wanted 3rd Bass dead because he thought they were making for of his mother is not something you get to do every day.

So why exactly did Alanis choose "My Humps"? Why not Destiny's Child's Bootylicious? Surely it's lyrics are as ridiculous as the humps song? The word "Oh" comprises 80% of the lyrics in Ciara's cleverly titled Oh, and the video she made for it features her humping a car. Christina Milian's Dip It Low is an instructional track for the ladies detailing the proper way to dip your ass low. The video features Ms. Milian rolling around in a vat of black paint semi-nude.

So why couldn't Alanis choose any of these songs? It could be coincidence, and perhaps it's simply the fact the BEP song was newer and more popular than the examples I've given. But something tells me this video was very carefully planned, and like many a white rapper before her, Alanis didn't want to deal with the fallout that would occur if she offended a black artist, or worse, was accused of being racist in some way. So she went with Fergie, a mighty-white chick singing hooks for a (sort-of) rap group who appears to have had more work done than my old Cutlass Ciera (The Golden Ghost RIP), and who once pissed herself on stage.

So what am I saying here? Surprisingly little considering I've written so much. Am I saying she shouldn't have singled out Fergie and BEP? Certainly not, that humps song is terrible, Fergie is terrible, and so I have no problem with that. I guess I'm simply saying that perhaps since Alanis singled out a white artist from a genre of music dominated by black artists, it wasn't the bravest choice she could've made. Perhaps we'll hold off on giving her that Nobel prize for parody just yet.

And so I say in closing...

Labels: HipHop, Music, News

In a complete change of pace after this morning’s post about the effortless dream pop of the Clientele, Chris & Mollie is as unique an outfit as I can remember hearing in a long time. I mean seriously, a concept album about a couple breaking up but giving birth to a kid as the vessel for lo-fi twee/folk songs (sorry, I hate using that term as much as you hate reading it) that are depressing as hell and nothing you’d ever want to come across in your daily life. It’s not really your standard fare or anything that would jump off the page and grab your interest.

What it is however, is surprisingly beautiful. Instead of the lush arrangements that bands rely on these days, Chris & Mollie use a simple guitar riff and drums, or a well placed horn blast and some sonic explosions that sound like the duo recorded a jam session (instead of the incredibly well-thought out record it really is), but made the jam incredibly structured and melodic. They may be making up as they are going along, but the sound works perfectly. Without self-indulging, they stumble from what you’d think is confusion into addictive melodies with an honesty that other bands would kill for. Picture a more lo-fi, but more focused, sincere Unicorns and you are almost there.

There are so many amazing tracks on this record – the instant catchiness of Mice Eyes, the clap along bounce of Waltz are two - but the fragmented, quirky nature of each song makes every song enjoyable and worth while. I’m sure this record won’t end up on many lists when the end of the year roles around, but I don’t think I’ll find a more interesting record for a long time.

MP3:: Transition Trade
MP3:: Mice Eyes

web site :: more tracks

Labels: Music, Reviews

Before jumping into this review, I will quite honestly say that I ignored the Clientele’s new record on title alone. I had no idea what type of music they played or what they were all about, but God Save the Clientele made me pass. Music snobbery revealed itself again, and I lost out. Over the last week, I’ve been listening non-stop and fallen in love with the gentle, dream pop this band delivers.

The Clientele resides in the haze right before you fall asleep and your first moments of peaceful sleep. The melodies and instrumentation float along so effortlessly, in whimsical arrangements that seep into your subconscious. The songs are gentle combinations of harmonies, strings, and liberal use of double tracked vocals that bring to mind the content, joy filled psychedelic Beatles materials (with suitable comparisons to the Velvet Underground on Dance Floor of Hours, the Monkees, or in more contemporary terms, Lambchop on Dreams of Leaving).

The instrumentation on this record swirls in and out with such tranquility that you actually can feel yourself relaxing as the notes seem to pour out of the headphones. The band uses instrumentations so perfectly, like the gentle steel on the breath taking Queen of Seville, or the inaudible whispers of Dance Floor of Hours, that you find yourself sinking into the dream like state of the melodies. Interestingly enough, I even find the middle section of the record comforting. As the songs border on a constant blend of sounds and feel, I finally feel like I’m getting a comforting rest, only to be woken by the sudden change in tempo on the surprisingly upbeat Bookshop Casanova and raging chaos of The Garden At Night. But as simple as rolling over and resettling, the Dreams of Leaving helps you return to a comfortable, dream filled slumber.

MP3:: The Queen of Seville
Stream @ Merge Records

web site :: more tracks :: label :: del.icio.us

Labels: Music, Reviews

After reviewing a few hip hop albums from Alberta, I thought it was high time to review an album named after a town in Alberta. (As an aside, why does Alberta love the hill so much, yet the other prairie provinces continue to deny us their hip hop? What did we do to you Manitoba hip hop? What exactly is your problem Saskachewan rap? Maybe I'm being paranoid, but it seems like we're getting a middle of winter-in-Churchill-Manitoba style freeze out. But I shall digress.) Moka Only's new album, Vermilion fits the bill quite nicely.

I would guess Moka is most widely known as a on-again, off-again, err, member, of Swollen Members. An original member of that Vancouver-based crew, Moka left the group to pursue (many, he's put out some 22 albums) solo projects. However, it was Moka's work as a guest on Swollen's Bad Dreams that launched both the group, and Moka, into the Canadian mainstream. His sing-song hooks on songs like Fuel Injected and Bring It Home turned out to be the gift and the curse, as they were catchy as hell, but the success garnered from those songs ultimately led to the release of Heavy in 2003, which leaned a little too much towards those mainstream sounds.

Moka ventured off into solo projects again and hooked up with Nettwork to release The Desired Effect in 2005. I will be honest and say that when this album dropped, I saw that video with Moka walking around with chicks on the beach (Once Again), and read some less than favourable reviews and ended up not checking it out for myself. In reality, I should know better than to trust music reviewers, but it seems that Moka wasn't all that happy with The Desired Effect either, feeling he was pushed in a certain direction by the folks at Nettwork. It seems industry rule number 4080 still rears its ugly head, even in Canada.

"Thanks for the Moka Only history lesson!" I hear you saying somewhat sarcastically, so let's discuss the new album. Vermilion was originally done in 2005, but shelved after the aforementioned unpleasantness with Nettwork. But after Urbnet approached him with the idea of putting out an album, Moka decided that Vermilion deserved to see the light of day, so he remixed some of the tracks and voila - a new/old Moka Only album. And the timing couldn't be better, as this is a perfect album for the summer. The breezy tracks and Moka's charismatic, laid-back flow come together Voltron-style to create an album ideal for pumping in the ride with the windows down or jamming in the iPod as you stroll along the waterfront (Haltown or Vancity, I would chuck Toronto in there, but who actually goes down to the waterfront in TO?) on a warm summer day.

Moka produced the entire album, and as rare as it is in today's rap biz, I believe there are no guest MC's. Moka favours programmed drums and synth sounds in his production, but Vermilion certainly has a very traditional hip hop sound to it. Do and God Bless open the album with the organ-filled, slice of life tracks that Moka does so well. I could Give A... is perhaps as angry as you'll find Moka on a track, as he discusses the unpleasant side of the rap biz: "Nettwork didn't want a second round, word? Word, for reasons unknown, but you can take a wild guess. Cause I'm a wildebeest? Cause I'm a mild threat? Cause I'ma still release as often as I get the urge?". It appears Nettwork could not handle the wildebeestness that is Moka Only, or Torch, as he would really like to be known as.

So Kona is a breezy as you would imagine considering it's about Moka cooling out in Hawaii. The Ukulele solo at the end of the track is a very nice touch. The single Search is one of many of the tracks on Vermilion which use vocal samples to help create the light, summerish feeling I mentioned previous. Vermilion, and it's rather elastic bassline, features one of the more bumping beats on the album and Moka rides it to perfection. The jazzy Let Me Down wouldn't be out of place on an old ATCQ album, and is a perfect background for Moka to reaffirm his love for hip hop.

Perhaps you thought Jack Johnson's little ditty would be the only song entitled Banana Pancakes that you would ever hear? Well thanks to this album, you stand corrected. The Taste features a vocal sample which, on first listen, I found annoying, but on subsequent listens became catchy and impossible to get out of my head. Shake Dat Neck is also tabbed as a single, and is probably the closest thing to a "club" track you'll find on this album. Although it isn't really a club track at all, so that might not make sense. The bouncy speakers would've been a nice way to finish up, but for good measure, Moka throws in a non-terrible Tears For Fears cover as a hidden track.

Add it all up, and you have a very good album. Moka is one of the few dudes I've heard that can take what he did yesterday after supper and make it into a song I enjoy listening to. Lyrically, he's not changing the world, but he's not greasing it up with fake-thuggery either, and with the state that hip hop is in now, sometimes that's all you need. Vermilion should certainly appeal to fans of Moka's older work, but I would be surprised if anyone really hated this album. It's really a likable album, and, oh, did I mention it's great summertime listening? Check it out before you blink and summer is gone.

mp3:: Vermilion

Labels: HipHop, Music, Reviews

You’ve read it everywhere, but 2007 is going to be a great year in music. To be honest, we are only four months in and already they top shelf releases are adding up. S at the 33(%) mark, we decided to compile the Larry Bird List of Best Releases of 2007.

10:: Cinquefoil – Oweihops
This record bumped Ted Leo out of the top ten. I’m not sure if the EP is better than Ted’s great release, but I know for a fact 4 of the songs Metivier included will be regular listens for a long time.
herohill review
MP3:: This Morning I Drove Into a Cloud


9:: Transparent Things - Fujiya & Miyagi
A kraut-rocking, funk infused record by three British cats who pretend to be Japanese. Sound a little too weird for you? Well, listen to Ankle Injuries and just know you will be won over.
herohill review
MP3:: Ankle Injuries


8:: Get to the River Before it Runs Too Low - Sea Wolf
This EP cam out of nowhere for me, and after seeing the band deliver the songs live… well, let’s just say I’m won over. The instrumentation is perfect and Alex is a very charming front man. The songs give you that comfort you crave, like a cardigan sweater for your ears.
herohill review
MP3:: You’re a Wolf


7:: You Can’t Win – Dolorean
Al James. Really, that’s all I’d normally have to say. But You Can’t Win is one of the most beautifully, depressing records I’ve heard in a long time.
herohill review
Stream:: Heather Remind Me How This Ends


6:: Every Damn Time - Black Diamond Heavies
This two-piece from the south brings the noise, the pain, or any other generic catch phrase you need. This is how I originally described the record, and I think it stacks up well - Using a Fender Rhodes and some head down, straight ahead drumming, the duo brings it in a way I’m used to hearing from the late, great RL Burnside or John Lee Hooker. It’s gritty. It’s raw. Most importantly, it makes you want to move (either in a sweaty, dance floor stomp or a religious sway).
herohill review
MP3:: Fever in My Blood


5:: Fourteen Autumns and Fifteen Winters– The Twilight Sad
I was completely run over by this release. Had never heard of the band and within one song I was hooked.
herohill review
MP3:: Cold Days From the Birdhouse



4:: Wincing the Night Away – The Shins
Yeah, we all know. Garden State. Over exposure. Lots of pressure. Not only have the Shins dealt with the hype really well, they delivered a fantastic record. It’s more of a grower than the other two releases, but still fantastic.
herohill review
MP3:: Phantom Limb


3:: Cancer & Delerium – J Tillman
I’m a huge J fan and this CD is even better than his other releases. You often hear reviewers saying an artist puts his heart and soul into every note. I think Tillman is the perfect example.
herohill review
MP3:: Ribbons of Glass


2:: Beyond – Dinosaur Jr.
20 years after the break up, this band can still crank up the amps and blow you away. This renews my faith in rock reunions…
herohill review
MP3:: Been There All The Time



1:: The Boxer – The National
Album of the year. I can’t see anything beating this.
herohill review
MP3:: Fake Empire

Labels: Music

Alex Church (aka Sea Wolf) stopped by the Daytrotter sound booth during SXSW for a nice four session set.

Anyway, it's another great set of free music from the Daytrotter clan, so when you download the set, click an ad or two.

The nice stripped down set includes::
You're a Wolf (Sea Wolf)
I Made a Resolution
Ses Monuments
MP3:: Middle Distance Runner

Labels: Music, News

Where do you go with a review once the band is labeled as a shoegazer, My Bloody Valentine, Galaxie 500, Jesus and Mary Chain, or Cure sounding outfit? I mean, each of those bands has such a distinct and trademark sound that just by name dropping, you kind of get an idea of the band’s sound. And to be honest, it’s a real easy way for a reviewer to describe a band without dissecting the elements.

Sadly, most bands that draw inspiration from those bands usually end up falling short. It doesn’t seem hard. I mean, fuzzed out guitar trapped with warm pop hooks. It sounds so easy, so why do so many bands struggle trying to find the right combination of dream filled bounce and earthbound grittiness. Cat-A-Tac is one of the bands that succeed and power through the haze so essential to the sound.

Their new record – Past Lies and Former Lives - should hit home with any shoegaze fan. The warm buzz of Credit Whore, complete with swirling backings and crunchy riff blends nicely into the poppy, weightless feel of Respite and the seamless transition shoes the skill this Denver quartet brings to the table.

The band isn’t afraid to rely on a straight hook either. The title track is a textbook indie number that relies on the personality of Jim’s voice and subtle feedback on the chorus to draw you in, before evolving into a dense, although surprisingly harmonious cloud. They use enough structure to keep me interested, but never let themselves be defined by it.

I don’t think there is much else to say other than I like the bands Cat-A-Tac lists as influences, and I like their own unique take on the music. It’s got the right amount of drive, muscle, melody and spacey zoning required to keep my head nodding. Coming up with anything else takes away from everything I like about this type of music.

MP3:: We’re All Gone

Labels: Music, Reviews

Earlier in the year, I stumbled upon some great new artists courtesy of the Yerbird folk compilation. One of those artists was Oweihops – or to simplify the situation, the songwriting of Michael Metivier. I was blown away with his track, Sad Little Drunks, so when his 5-song EP Cinquefoil showed up in my mailbox, I was chomping at the bit to give it a listen.

As Shane mentioned earlier, in today’s highly consumable music environment, putting too many tracks into the mix is pointless. That’s why Metivier’s decision to keep this self-released EP to 5 strong songs was such a fantastic idea. The opening track – Who is this everybody – really sets the tone for the listener. The dusty, slow moving, Oldham influenced track relies on all the traditional elements you expect from a rootsy, folker. A lightly strummed acoustic, a pedal steel that is literally drenched with emotion, a collection of percussion instruments, and a unique voice with the charisma to draw you into his story.

But as the opening notes of This Morning I Drove Into a Cloud start, and funky notes of a harmonium are paired with a jangled guitar riff, you really start to appreciate Oweihops on another level. So many folk/Americana artists toil in understated riffs and textures to tell their story, but Metivier and his band fully embrace an addictive hook.

As a result, you really have to listen to realize that Metivier is a compelling story teller. His voice resonates in a Rocky Votolato tone, and he stays with the standard Americana themes of depression and love, but he tends to contrast his sorrows with a more uptempo, embraceable sound. All too often, when you are bombarded with an atmospheric, cloudy steel in the distance and simple brushed drums, you drift subconsciously into a sense of despair (which he does successfully on Sad Little Drunks), but with Metivier’s brand of songwriting, you really have to listen to expose those emotions. His lyrics are heavy – “forget-me-nots, we all forget, don't ever let them go” - but the riffs are so enjoyable you can appreciate the music on a more simple level. It’s only when you sit down and really try to take it all in you are hit with the understated melancholic themes he effortlessly delivers.

Yesterday was a beautiful, sunny day in Vancouver and as I drove home with Sadie Rice escaping gracefully from my speakers, I found myself losing interest in traffic patterns and simply enjoying the day. I’m not sure if you can give a musician a bigger compliment that that.

MP3:: This Morning I Drove into a Cloud

Labels: Music, Reviews

As usual, we are in a giving mood here at the hill. But, instead of giving away hack reviews and mindless chatter about how stupid Bill Simmons is, we are giving away something of value!

Two tickets to see the Photo Atlas and the Bravey @ the Commodore here in Vancouver.

Just send us an email @ herohill[at]gmail.com with Photo Atlas in the subject or leave a comment on this post with your contact info. Contest closes May 9th. Good luck. Here are the important details::

May 14 - Commodore Ballroom
The Photo Atlas w/ The Bravery
870 Granville St. 3725 West 11th Ave
Vancouver BC V67
Doors 8pm
Show at 9:30
19+/$20

Here's an MP3 to peak your interest:
MP3:: Handshake Heart Attack

Labels: Music

Update:: Musebox is giving fans a chance to snatch tickets to the Vancouver show. Just click here and select BC.

Originally, after an ugly slugfest with the Web Sheriff I decided I wasn’t going to re-post on Dinosaur Jr. triumphant return to rock n’ roll. I was bitter about the double hand slap, even though the PR machines and label deemed it ok to post the MP3, and actually made us delete the post, not just the MP3. I turned a simple misunderstanding into a stupid platform about how blogs are changing.

Looking back, it’s probably a good thing the post was deleted. I had crafted some jibberish about feeling like I missed the boat by only discovering the band after Lou had left, and staying up to watch The Edge on MuchMusic to see that Feel the Pain video. I talked about how great it was to hear J. jumping around his fret board with self-indulgent solos and the droning sludge that made me love the band so much. I talked about how easily this record fit into the collection. I talked about how, like me, the band seemed to embrace what they liked about music and never stray from that style.

I think my initial reaction to the CD was a bit short sighted. Within twenty seconds of the booming guitar on Almost Ready, I knew I would love the CD and that hasn’t changed (in fact, I like it more with every listen), but I think I missed an obvious jump off point. I’d like to think I’ve matured and changed a lot in my years, but the comfort food of J Mascis shredding a solo over top of Lou’s bass and Murph’s thumping drums obviously shows different. Unlike people who constantly want a band to evolve, I usually reach deeper into the back catalog with each new release. Instead of trying to force people to grow up, Dinosaur Jr. makes you wonder if you will ever grow out of the stage of loving big guitars. You can hear this record and realize why you go to a show and see a 45-year old father rocking out with little concern of what you think of him.

The most impressive thing about this CD is that never once to you want to pull out Bug and listen to the songs you fell in love with. The band doesn’t try to reproduce what made them great, probably because they still love to write the same type of songs. Instead of mellowing with age, they are unapologetic about the rebellion of youth that made their band what is was. Brash solos and booming sounds: Lyrics that aren’t trying to change the world. I don’t think J, Lou or Murph have any concern about what anyone thinks. Almost nothing has changed.

Sure they are back together, but you still hear stories about J and Lou not talking. That petulance remains, and I love it. These guys existed when rock stars had attitude and soap opera drama, and it is comforting to know that 20 years later, it’s still bubbling just under the surface. With all the ill fated rock reunions and so many great riffs getting swept under the rug, I’m stoked that a band can still exist despite two of the major players may or may not like each other. I mean, did J have control on the mix and decide to turn Lou's bass down at certain points? You never know!

It’s comforting to know that J still feels the desire to break off a sixty second solo to close out Pick Me Up. It’s comforting to see J looking old and haggard. It’s comforting for me to hear a record and just let it play, unconcerned about anything other than the sounds. It’s comforting for me to not want to analyze Beyond. It’s comforting to reach down and turn up my stereo for a guitar rock album that, quite honestly, is one of my favorites of in amazing year in music.

MP3:: You Say We're Not Alone
MP3:: Been There All the Time
Video:: Been There All the Time

Labels: Music, Reviews

It’s really tough to separate a child from a famous parent, especially when the parent is a well renowned artist. Charlotte Gainsbourg is the daughter of French poet/singer/director Serge Gainsbourg, and much like Lennon, Dylan, Garfunkle or Marley, she will most likely be compared to her father on almost every song.

He was an eccentric, erotic (often perverse) artist with an amazing amount of talent. His dark, synth driven rhythms influence a lot of today’s subtle, electro-lounge artists, and now his daughter is following along the same path. An actress and singer, she is probably best known for her incestuous duet with her father – Lemon Incest (or maybe her backing vocals for Badly Drawn Boy or the countless films she’s been in, or just for being his daughter…. I don’t really know which one). This album – 5:55 – is much easier to digest than that collaboration, and the contributions of several talented musicians help her craft some great songs.

The record features beats crafted by Jean-Benoît Dunckel and Nicolas Godin of Air and lyrics penned by Jarvis Cocker and Neil Hannon. On the title track, the slow beat attaches itself to Charlotte’s hushed vocals. Unfortunately, if you heard this song in passing, you’d assume that Charlotte was nothing more than a guest vocalist, but that doesn’t make the song any less enjoyable. As the record progresses, she slowly, and somewhat reluctantly pushes her personality into the forefront and at points, takes control of the record. My favorite song is the eerie, AF607105. The song tells a story of a stewardess revisiting a horrific plane crash. The beat drifts aimlessly and ironically floats effortlessly, providing a stark contrast to the subject matter, but the star of the track is her shockingly sensual voice.

I was surprised by how well she controls slow ballads, like Beauty Mark and Everything I Cannot See. As the production and distractions escape the mix, you are left with simple instrumentation and a charismatic voice that draws you in. Even on the dubbed out piano ballad Jamais (which finally lets former Fela Kuti percussionist Tony Allen add his two cents), she quietly powers through the mix, and the result is fantastic. She’s sexy, vulnerable, strong and naïve, often within the same song. If she wanted to, she could dominate this record, but sadly, her talented friends often steal the spotlight without trying. You'd be hard pressed to not hear Cocker's wit on tracks, or to not hear Air's influence on the more electronic numbers.

At times, she hits borrows liberally from her father’s influences – the strings and chimes remind me a lot of the Serge/Bardot era tracks which I’ve recently revisited, and choosing to record a song in French as opposed to her sexy English accent will surely draw comparisons from a lot of listeners – but how could she (or the friends she has working with her) not be influenced by his talent? The shadow he cast is a hard one to step out from under, but if her last name wasn’t Gainsbourg, we’d all be talking about a new chanteuse destined to spend years making beautiful, down-tempo emotion laced pop songs. Hopefully, she keep going and starts to make her own name. She certainly has the voice and appeal to deserve it.

MP3:: AF607105
Video:: That Song We Sing

Labels: Music, Reviews

Copyright infringement, like identity theft, affects millions of people every year! So I guess that is why the powers that be at Spiderman 3 Inc. decided to make the promo discs for the new soundtrack harder to get into than Donna Martin’s knickers. Seriously.

Before I can even open this promo slab, I have to agree to some crazy restricted release jibber jabber about express written consent like I’m thinking about illegally broadcasting MLB games. The CD has my name and company printed on it, and is watermarked so I can’t sell it. Couple that with the fact it apparently doesn’t play on any computer drive. So essentially, it is being sent out to bloggers to blog about, but can’t be accessed on computers. It’s kind of like sending out a book to someone who can’t read and saying, what do you think?

As a result, my review is pretty short. I’ve heard a couple tracks on the ole internet – The Walkmen track Red River is a really solid, and I was impressed, as always, by Zach Rogue’s breezy delivery on Sightlines. The CD will take indie even more into the mainstream with tracks from the Flaming Lips, Wolfmother, Snow Patrol, Yeah Yeah Yeahs, The Killers and Jason Schwartzmann’s solo project Coconut Records. So I would have really liked to hear the CD, and think it’s great to see these bands given the chance to have a song go out to the masses. Bloggers always say, “If people heard this CD they’d be huge”, so I guess for most of these bands, this is that chance.

Even without hearing 85% of the CD, I’d wager this disc will be better than the movie. Which brings up an interesting debate topic – what movies had better soundtracks than the movie itself? Obviously, Wicker Park and I Am Sam come to mind, but I’m sure there are lots of others.

Some people are much less concerned than herohill about the infamous web sheriff. If we are going to get shut down, it’s not going to be for a Flaming Lips chuck away, but via the net you can track down some of the tracks that I was actually interested in hearing::
MP3:: Sightlines – Rogue Wave
MP3:: Red River – Walkmen
MP3:: Sealings – Yeah Yeah Yeahs
MP3:: Summer Day – Coconut Records
Video:: Signal Fire - Snow Patrol

Labels: Music, Reviews

I like Jenn Grant's debut album Orchestra For The Moon, and unlike most of my rambling, just north of coherent reviews, I believe I can tell you why rather succinctly. It's not just because Jenn has a beautiful voice (she does indeed - alternately soaring and hushed and breaking in all the right places), but it's how she uses it. There are many female artists with lovely voices, and often they produce an album full of lovely, yet quiet and reserved songs. This is certainly fine, but albums like this usually have a hard time holding my attention. On the other hand, Orchestra For The Moon has an array of musically diverse songs, many uptempo in nature, which find Jenn subtlely working and shaping her voice to perfectly fit each track.

In this very well-done cover story on Jenn in The Coast, there is a quote from Jill Barber saying Jenn's voice is "like an instrument". I think this is actually a more succint way of saying what I was trying to say in the first paragraph. Jenn fills her songs with vocal ad-libs like "Oh"s, "Ooo"s, and "La-la"s, and like Hall's ab-libs at the end of Out Of Touch, they are far from gratitous. They are not forced and fit into each song like an instrument, adding to the richness of the song. And yes, I realize that comparing Jenn Grant to Darryl Hall is perhaps forced, but when I see any oppertunity to work Hall & Oates into a review, I do it. That's how I roll.

Like many of the recent releases to come out of these parts, Jenn has recruited plenty of Halifax's finest musical talent to help her on this album. Orchestra For The Moon was recorded at CBC's Studio H in Halifax, and was produced by the Heavy Blinkers' David Christensen and Jason MacIsaac. Matt Mays, Rose Cousins, Jill Barber, and Danny Ledwell all contibuted vocals to the album, and many of Halifax's finest musicians also helped out by playing a wide array of instruments. These contributions certainly certainly play a large role, but Jenn is certainly the star of the show.

Those aforementioned guest vocalists, and Jenn's backing band The Night Painters join her on the rollicking first single, Dreamer which is an excellent example of her voice as instrument. There are a couple verses in the song, but the bulk of the song finds Jen singing "you dreamer" in more enjoyable ways than you would think possible. Dancin' In The Wind is a good example of how musical this album is. It starts with only the sound of a music box, but breaks into a full bodied track of guitar, drums, and even some Parisian sounding accordian.

Unique New York pulses with an rapid kick-snare-snyth bassline combo but Jenn still sings in a measured way, holding on to words for an extra couple beats. Just a catchy, beautiful song. Considering Jenn's bio opens with the sentence "26 years ago Jenn was born in a brown house in PEI.", I feel safe in saying the Ron Sexsmith duet In A Brown House is autobiographical in nature. The sparse arrangement, just Jenn over a guitar joined by Mr. Sexsmith on the chorus, adds an aching poigniancy to this heartfelt song, which I'm guessing, is about her parents seperation. Things pick right back up again with the plinking organ and bouncy quarter-life hopefullness of Don't Worry Baby.

The strings give At The Finish Line a big, sweeping feel, while Jenn manages to infuse the song with equal touches of heartbreak and optimism. Rose Cousins and Danny Ledwell join Jenn on the mournful Rainy Day, which I believe features the harp as it's only instrument (other than Jenn's voice of course). If so, this is now my favorite harp-based song.

One last interesting tidbit before we wrap up comes also from the Coast article I mentioned earlier. Jenn disscusses her time spent in Clayton Park (on Willowbend court, right behind the street Petra grew up on) after moving to Halifax from PEI:

"Our neighbours were really weird—you know, really bad kids living in our neighbourhood and stuff. We did not fit in there at all. Our next-door neighbour robbed a bank one day, and this kid tried to hit me in the head with a baseball bat—he was trying to hit the budgie bird on my shoulder but he almost got me; this guy ran over me on his bicycle in my backyard when I was tanning—it was awful. It was awful!"

I don't think she cherishes her time in Clayton Park as much as Joel Plaskett, so don't bank on her setting any of her future concept albums there. But that's fine by me, after Orchestra For The Moon, I'll be listening to Jenn's future albums no matter where they're set. Jenn's likeablity and charm flow through the speakers in abundance, and when you add that to the musicality and beautiful imagery on this album, you have a sure winner. If you haven't checked out Jenn or this album yet, I encourage you to do so.

stream:: Dreamer

stream:: Make It Home Tonight

See Jenn on tour:
May 3- On the Verge-Wolfville, NS- cd release w/Tanya Davis
May 4- Capitol, Fredercton NB Cd release w/Tanya Davis
May 11- Ch'Town Cd Release @ The Guild 8pm
May 12- Souris, PEI CD Release @ The Acorn Room
6 Jun 2007 Shaika Cafe (solo) w/Tanya Davis- Montreal
13 Jun 2007 The Casbah w/Tanya Davis, Dan Griffin- Hamilton
14 Jun 2007 Jimmy Jazz w/Tanya Davis -Guelph
15 Jun 2007 The Horseshoe w/Royal Wood, Tanya Davis- Toronto
16 Jun 2007 Barn Party! w/Sarah Hallman, Tanya Davis- Ottawa
17 Jun 2007 The Blacksheep Inn w/Tanya Davis- Quebec
July 1- Lunenberg Bandstand

Labels: Music, Reviews