Monday, June 30, 2008
Reviews:: Backyard Tire Fire The Places We Lived
Do you remember when your old friend came back from school in the summer after first year and things were … different. Sure, you still had the memories and the friendship was strong, but he changed and more than anything, you wished you had too.
He seemed bigger than life, even though he never tried to be more than he was. It was more just the books he read, the music he knew, and the things he'd seen and done. These were all things you wished you'd done but never had the chance because you were shackled by the routines of your hometown.
That's kind of what has happened to Backyard Tire Fire with the label switch and release of their new record, The Places We Lived. The band is essentially the same, but they've exposed new sounds and ideas and shaped a record that is completely different from anything we've heard from them before. The foundations are still there, like the brothers in arms sing-along Everybody's Down (even with the bursts of feedback) or How the Hell Did You Get Back Here (which warms my Roadhouse loving heart), but they've grown more than should be possible a few short months since they were offering up a collection of acoustic ditties.
Instead of the more free form jam heavy tracks, the band seems more focused and found comfort in their own skin. They experiment with all their influences, no matter how they might fit into a track and run with idea until it's done, whether it takes three minutes or three seconds. The title track - The Places We Lived - is an uplifting pop song, using harmonies and piano to polish up Anderson's gruff voice, but it still feels nestled in the fields of the Midwest. The drum clacks and scratchy brass they throw in over the muted guitar strums all help lighten the track, and the calming swirling chorus, that avoids any sort of hook or climax, will catch a fan off guard, but the opener is just the tip of the iceberg.
Shoulda' Shut It uses a big bass line, a pop piano line and falsettos and pushes the band into new, unexpected territory. Time With You and Welcome to the Factory are both more standard rockers, but even on those efforts the sound is bigger and bolder. They fill out every open space with nuances and experimentation (like the spacey break down they add to the latter). The rain fall and strings that open up the confessional Rainy Day Don't Go Away might seem simple, but really showcases the growth the band has gone through.
Even the once simple and heart felt writing style Anderson used on prior efforts seem more eloquent this time around. Unlike the unashamed honesty of Tom Petty, a song where he wrote about wanting to be a star, Anderson seems to have found the chops, swagger and consistency that might help him become just that. By the time the final notes of the record unfold over the simple piano line of the aptly titled Home Today your expectations are more than fulfilled. It may take you a few listens to get used to the change, but just like your friend so many years ago, they return home with a new found confidence that makes you take notice and turn slightly green with envy.
Reviews:: Elliott Brood Mountain Meadows
With the release of Mountain Meadows, Elliott Brood continues to muddy the lines between what they are and what they aren't. Right off the bat, you can't help but hear the statement the band makes with the title of the new record.
If you ask anyone, the band included, you'd never hear a peep about them being a political band but you can't side step the grim history of the massacre; not when the site marks the spot where a Mormon militia ran through a wagon train of emigrants and left 120 dead.
But even knowing that the event affected song writers Mark Sasso and Corey Laforet, you realize the ideas and messages that stuck in their minds were not of political standoffs and anger. There is no mention of right and wrong. Instead they explored hurt and wonder. It's all to easy to point fingers and lay blame when these tragedies occur, but Mark and Corey look passed that and ask what happened to the kids that were allowed to live. Instead of why, the band asks, "what happened next" or "how did life end up for them?"
It's a bold choice, and one that helps the band shake free of the labels so often thrown on them. Death country. Urban hillbilly. These terms no longer apply, as the band bobs and weaves across genres and emotion, adding textures and wrinkles that prevent the songs they've written from ever being type casted, even with the most bizarre monikers. The trio still surges forward with distorted guitars that counterbalance the acoustic resonance (Garden River pulses with energy and actually feels alive at times), but their chops have gotten stronger. Without Again is a simple song, one that doesn't rely on energy and adrenaline and is also one of the most accessible enjoyable on the album.
And that's probably the thing that grabs me on Mountain Meadow. Despite their previous critical successes (their debut LP - Ambassador - was nominated for a Juno), Elliott Brood is often described as a terrific live band that falls short on record. While I've never agreed with these sentiments, the trio has worked hard to make a record that has the spirit and swagger of a live show, but still allow for repeatable listens. Write it all Down For and Chuckwagon are sweaty stomps track that will fuel sets for years to come, but the band has learned how to transform energetic tracks destined for the stage into songs that reward the headphone listener as well.
They've added new instrumentation without compromising the acoustic echoes and suitcase drum stomp that won over fans from the beginning. T-bill starts with a militant march, but the contrasting banjo that drives the song is actually ear pleasing and soothing and allows the band to add big long guitar notes and ohs and ahs. Woodward Avenue explodes out of the gate, daring you to sit still but the horns and piano line soften the track at just the right moments.
Every song on the record is a complete thought, not just a sweat soaked riffs or bar room anthems. That's why a summery ditty like The Valley Town can stand side by side the more energetic numbers and not seem out of place or undeserving of a listen. It doesn't need more than claps and stomps, but the band adds some terrific horn work to finish the song. Even the album has a well thought out conclusion, a surging, love song - Miss You Now - that takes us all back to our first loves, and seems certain to become a CBC Radio 3 staple for the next few years.
After a few listens you start to realize everything you though you knew about the Toronto trio is still true, it's just been augmented and added to. They are no longer just a fantastic live band and no longer a country band with crazy distortion and a cloud of black hovering over their pens. No, in the end Elliott Brood is just a band, but they just happen to be one of the most exciting ones in Canada.
Sunday, June 29, 2008
Sunday Morning Coffee:: Adam & the Amethysts
I'm actually not sure how this Montreal band - which is really the one man attack of Miracle Fortress and Telefauna member Adam Waito - isn't exploding across the blog-universe. The project has the pedigree, the creativity, and most importantly, the songs to make Amethyst Amulet the must have record for the summer.
The songs are drenched in reverb, and sparkle like sun kissed water. Stupid Ocean is nothing less than a lo-fi masterpiece as Waito's voice takes you to playful days on the beaches of the Pacific, but his lyrical content is centered in the middle of Ontario, making the effort distinctly Canadian fueled. Rocky route 17 really provides an anchor to the songs, keeping you grounded and intrigued.
Sonic Youth Center starts with the same sun drenched shimmer, but the last minute of the songs explodes into beautiful, fuzzed distortion and adds a grizzly beard or plaid shirt (and some weight) to the song and cements the talent this young man has. It's the instrumentation he uses and the arrangements he settles on that make this project work so well. Both exceed the standard limitations of the apartment style coziness of the record.
Truthfully, I am not sure I've been as excited about a Canadian artist since I first heard Miracle Fortress. His understanding of what makes a pop song challenging and still enjoyable is incredible. The Return starts out with the tender hand of a Sufjan song, but Waito explores the space available with new instruments (like the deep timbre style drums) but the hand claps and harmonies make the song seems weightless at just the right times. I've only heard 4 songs, but I've been listening to them over and over and over again as I wait for my copy to arrive.
The band is playing SappyFest '08, and is really one of the reasons herohill is heading up to give the fest some TLC. Picture a night with Adam, The Luyas, Dog Day, Miracle Fortress and Eric's Trip and you'll start realizing you might want to come too.
Saturday, June 28, 2008
Contests:: Win 2 passes to Evolve 2008 (!!!, Man Man, Battles)
I'm actually not sure how this festival got such terrific acts, but Evolve 2008 is fixing to be like a scaled down, East Coast version of the Pitchfork Festival. Somehow, the hard working organizers got !!!, Man Man, Battles, Mark Farina to agree to show up in Antigonish and play in a field in the middle of Nova Scotia, and then sweetened the pot by getting a lot of East Coast talent to fill out the bill.
Not only do you get to see some huge International acts, probably more importantly you get a heavy dose of Canadian indie rockers (at least for my enjoyment level) like Two Hours Traffic, Brent Randall, Rebekah Higgs, Skratch Bastid, Hey Rosetta! and our good friend DJ Bones will all be there having fun. Don't you think you should be too?
All you have to do is drop us an email or a comment, and you can snag a Festival pass that is good for the whole kit and kaboodle. We will be taking entries until July 14th.
The festival runs for three days - July 25,26, & 27th - and should be a pretty amazing time. Just peep the lineup:
!!! / DJ Mark Farina / Battles / DJ Falcon / Man Man / Benevento - Russo Duo / That 1 Guy / MO7S/ Slowcoaster / Sonny D / Skratch Bastid / Jay Hamilton / Jimmy Swift Band / Steve Nurse / Grand Theft Bus / Nick Nonsense & Aaron Collier / Two Hours Traffic / DJ Atmosphere / Hey Rosetta! / Mizz Maxine / DJ Bones / Rebekah Higgs / Lee Fraser / De Lano / Scientists of Sound / Sleepless Nights / Tomcat Combat / Brent Randall and his Pinecones / Gratefully Deadicated Sound System / Chameleon Project / Logan Hudak / Share / Soundsyster / Isis / The Superfantastics / Tommy Knuckles / Christina Martin / Eclectic Heat / DVD / Steve The Viking / Kim Wempe / Brian Talbot / DJ Dono
Friday, June 27, 2008
Reviews:: Dirty Beaches Seaside EP
These days, it's hipper than hip to use copious amounts samples for party records that are essentially better in theory than reality. I mean, I'm all for old skool hip hop and creativity, but I'd rather listen to old Eric B. & Rakim than someone trying to take a snippet of Microphone Fiend and playing it over a classic rock jam by like Boston or some other shit. I really don't need to hear any more remixes of Jay-Z either, even if it sounds killer over Radiohead.
Sure, I know Girl Talk's mash ups sounds great - on the new record he drops Ahmad into the mix, which pleases High School rap loving me - and the samples he finds are clever as hell, but I really don't see how you can want to listen to this if you aren't coked out of your gourd and dancing shirtless in some ill club.
Note: If you like tight jeans, bad hair, body odor and your parents paying your rent, the preceding statement doesn't apply to you.
So where am I going with this? Well, actually I'm not really sure but I wanted to talk about Hawaii / Toronto native and current Montreal resident, Alex Zhang Hungtai - aka Dirty Beaches. He too combines sounds and samples in clever ways, but the snippets he uses are actually the sounds of real life; conversations, instruments, street noise, waves crashing into the sand and he records them all on a shitty tape recorder.
I guess to put it into perspective, most typical mash ups rely on a familiar beat and a degree of irony and tend to fuel frat parties and Civics full of dudes. The sounds of Dirty Beaches are more intimate and let you lose yourself in thought as you stand shoulder to shoulder on the Streetcar after work. They are the warm fuzz that adds weight to your eyelids when the sun dips out of sight at the end of a day on the beach or the comfort of hiking up the collar of your winter coat on a peaceful walk home on the first cold, crisp night.
Alex doesn't seem to be concerned with appealing to the masses, as most of his music is inspired by traveling and solitude. His pleasure comes from observing the crowd undetected, relishing the smallest details that most take for granted. While most of the songs meld into the noise of the city, he does find some incredibly pleasant lo-fi pop moments - like the smile inducing A Hundred Languages or the incredible Blue Birds. Remarkably, he's able to make his most personal experiences transferable and accessible.
Reviews:: Capillary Action So Embarrassing
I'm going to spend today reviewing records that wouldn't really fall into my "wheelhouse", giving you all a break from the dusty trail, slide guitar hootenannies we've been throwing on the regular here lately. Don't worry, I've got some terrific death country (Elliot Brood's new record will knock you on your ass) and a sneak peak of the new (self-released) Backyard Tire Fire record due in August - which on first pass is way more catchy and loud than you'd expect.
But today is all about CDs that might not see the light of day normally on the hill. Why? Well, probably because you can only write creatively about the same sad songs for so long without losing your mind, but also because these artists deserve some press, even if it's not necessarily my thing. First out of the blocks is the new release by Seattle's Capillary Action.
Now, back in the day I was huge into bands like Cap n' Jazz and Joan of Arc. The energetic fragments those bands combined sounded amazing, and when they settled into a groove amongst the chaos, it was incredible. Well, Within seconds of listening to the new Cap Action record - So Embarrassing - I was hit with that familiar tension, drama and stomach punch power and found myself turning it up to almost unbearable levels.
The record, which basically plays like a well curated collections of short stories that all use the same theme, is as ambitious as it is creative. Elevator F*ck finds the band supporting Jon's deep vocals with most enjoyable standard indie groove on the record but hides the pleasantries under flourishes of tropical pop, noise freak outs, spastic jazz snippets and tribal drumming.
Badlands basically loops a deep breath into chopped up fragments and remarkably, it combines with the instrumentation to build an urgency out of almost nothing. Paperweights starts with finger clackers and Desperato-styled guitar, but slowly the band adds a stomping kick drum, graceful strings and creates a relaxing, almost weightless reprise from the chaotic transitions.
That's the thing about this record. It could be an exhausting listen; the styles the band experiments with are all over the map (Sexy Koala has somehow figured out to mesh jazz guitar with hardcore blasts) and never lets you settle into a comfort zone, but I'd tend to say the record is exhaustive. Cap Action uses any and every influence, inspiration or instrument they can find, but keeps it remarkably tight and controlled. It's like they managed to combine countless odd shaped pegs (horns, feedback, jazz, screamo, Latin influenced pop) into a well formed circle that fits perfectly in the hole.
Thursday, June 26, 2008
Quick hitters:: Cory Woodward
On the surface you'd think Cory Woodward is too young to be writing the songs he does. He shouldn't have felt the pain he's felt; his voice shouldn't be as worn. No, not at his age. But with his gruff voice and familiar song structure, he seems to have been around for years and destined for hyperbole-filled comparisons to Waits (Remedy Girl) and Springsteen (Revolve). Truth be told, his new EP - Princess of the Skies - does at times show influence from these tried and true artists.
But the thing is, it's when he shakes free from the shackles of their inspiration that his songs really come to life and the more Woodward tries to keep his sound as fresh as his age, the more compelling his songs will become. He splices textures and electric currents through his songs and really give them life. Slipping Away is a terrific electro fused duet that could easily be mistaken for an incredibly catchy Jason Collett track. The meandering guitar work and staccato synth and hand claps work perfectly and he transitions nicely into the stripped down acoustic track, Turn to You.
The intimacy of the song exposes Woodward's charisma. His baritone voice trembles and crack with the desperation he feels knowing that all he really has (or maybe more all he needs) is the love of his wife. The optimistic ray of sunshine that shines through the greys and blacks he seems to live in warms the effort and comforts the listener.
For a trim 6-song offering, Woodward may have tried to accomplish too much. The banged out, Cure inspired piano line that starts Down, Down, Down and the straight ahead rocker breaks the nice flow of the EP and seems a bit out of place. It's not that it's a bad song, but with the innovative combination of old and new he used on other songs, this one seems like a song he wrote years before and held onto. Regardless, Cory has laid the groundwork for his future releases and proven that he's enough of a talent to stand on his own merit and sound.
Quick Hitters:: Wale - The Mixtape About Nothing
Based on the quality and originality of this mix, it deserves a posting, but it's also tied into perhaps the defining TV show for folks my age. And it's not strictly a gimmick, as Wale is clearly familiar with the show, weaving references throughout (including a mindbending, Sein-heavy verse on The Chicago Falcon Remix) and having a shout-out from Elaine herself at the end of The Vacation From Ourselves. But one of the main reasons I like this mix is The Kramer, where Wale creates an amazing song about race and the impact of the n-bomb around the K-man's horrendous comedy club meltdown. As much as I love Seinfeld, that rant doused the show with a layer of Jerry's-car level stink that I couldn't help but smell when watching the show after the fact. But Wale has taken the putrid rant and created a song that will hopefully get a lot of people thinking, which is more than I ever thought could come from it (but sorry Mike Richards, you're still going to be remembered not for crashing through doors, but for being a hateful bag of douche).
The Mixtape About Nothing is 19 songs strong, which normally would be way too long, but it isn't really an issue here. Wale's go-go influenced style is mighty enjoyable, and while not every song is an absolute standout, they are all super-listenable due to his skill and charisma. Standouts do abound however, from the Seinfeld theme sampling The Opening Title Sequence, to the breakneck flows of The Freestyle and the Sly-tinged The Star, to the Jerry & George-inspired goodness of The Vacation From Ourselves and The Artistic Integrity (whose awesomeness is enhanced by it's similarity to the intro of Easy Lover).
Anyway, the point of this here post about nothing, is that you can download a pretty awesome mix for free, so go do that here.
Video::
Wale - The Artistic Integrity
Reviews:: Vancougar Canadian Tuxedo
To anyone outside of Canada who casually glances at the new Vancougar record, you might dismiss the cover without too much thought. It almost comes off as a bit generic; a bit too similar to the classic records that litter every punk rockers collection.
But when you take a closer look, it's fitting that the Ramones style black and white cover is shot against a big tree (as opposed to a gritty street backdrop) and instead of a bunch of ugly dudes, Vancougar is "all girl." And with those two simple realizations, the seemingly innocuous cover really set the tone for the band. The four girls from Vancougar are all about big guitar riffs, but they are more playful than snotty and even as rough as East Van gets, it's still beautiful.
All of those little things are great, but the thing that really made me smile was the title. The Canadian Tuxedo is a tradition that we can't seem to shake, as day after you see people rocking a fresh pair of denim with a (possibly matching) jean jacket. Yes, Canada seems to favor the denim destroyer, and although this has nothing to do with the review, but I just thought the girls deserved some kudos for the title.
Anyway, back to the record. Driven by the vocals of Eden Fineday - who I guess would play Riff Randle in this tale - and backed by CC's solid drums, Megan's shimmering vintage keys and Becca's fuzzy bass, Vancougar manages to jump between garage, 90's indie, and even toss in a ballad or two ((I Hope Your) Money (Keeps You Warm)). But the band does best when they crank up the energy, amps and distortion like they do on the catchy lead single Obvious. Eden's crystal clear vocals contrasts the huge sounds and makes for a catchy jam that transitions perfectly into the swirling, crunch of Vanity. With hand claps and ahhhhhs, Vancougar really hits on that pop punker sound that the Donnas used to be so good at.
They mix in elements of folk (the intro of the heavier Let it Go), but the goal of the record is making sure you have fun. Even on the 60's themed, slow dance paced Money, hearing Eden admit her rich man "can go to hell" is like a Pretty in Pink anthem for the new millennium. All too often, bands take themselves too seriously and strip away enjoyment from records like this, but Vancougar - like the name suggests - would rather see you smile than sneer. Works for me.
Wednesday, June 25, 2008
Quick hitters:: NQ Arbuckle
After watching the Germans come back to beat Turkey, I'm in an exceptionally good mood. Lahm's goal was masterful - from build up to delivery to finish - and being that he's one of my favorites, I can't find much reason to complain. I am not sure NQ Arbuckle can say the same thing.
In fact, as the opening single (My Baby) indicates, Neville Quinlan might not be able to accept even the most perfect of situations without expecting the other shoe to fall. As he question the motifs behind a woman who seems happy to let her man be who he is, Quinlan can't help but wonder what she's hiding and I have to admit, the paranoid depression lies close to the heart of any roots fan. Even on the sunniest day, with a terrific girl nestled in your arms as you wipe a few beads of sweat from your forehead with an ice cold beer, you still feel trapped and wonder why you can't catch a break.
That's not to say NQ Arbuckle merely spins yarns of depression and paranoia. No, he seems to be a hopeless romantic at times, like when he blatantly declares his love for a women he can't have (Huntsville Affair and the delicate finger picked Mincing Words) or he puts his love on the line (XOK), risking rejection and the band seems to be fueled by his courage. The stomp of the bass drum, the nice female vocals and the big guitar line surge forward with a defiant confidence and too be honest, for most Canadiana artists, drifting past the standard themes can often be dangerous.
NQ Arbuckle, despite spinning yarns about loneliness and heartache, never makes a listener feel alone. When the picked guitar kicks in on Postcard from Princess, and Quinlan starts talking about traveling across this great country of ours, you feel like you are in the crowd singing along. And when the group vocals kick in on I Liked you right From the Start ("somewhere in Allll berta"), you actually feel like you are a part of this record.
With terrific guitar work, constant Canadian references and Quinlan's whiskey soaked voice, it's hard not to get into this record and with songs like Huntsville Affair, it's hard not to picture the band getting serious radio play.
Reviews:: The Extremities - The New Tonic (CBC Remix Sessions)
Based on their name, and that intro, you'd be forgiven if you were expecting some kind of jazz-fueled indie band, but that's not the case here. The Extremities are made up of the Halifax producer/DJ combo Fresh Kils and Uncle Fester, and The New Tonic finds them re-working Tonic, a jazz record made by prominent East Coast jazz musicians like Doug Riley, Chris Mitchell, Jamie Gatti, and Dave Burton. Fes provides the cuts for the majority of the album, while Kils handles the sampler and plays keys of various varieties. The album has a very authentic hip hop sound, due to the beats, the aforementioned DJ work, and appearances from solid Haltown MC's like Fiz and the grand wizard Ghettosocks, but the addition of live contributions from some of the players on the original record helps maintain a very real jazz vibe throughout the album.
Right from start, the expert blend of cuts, drums, and horns on album opener Warpdrive lets you know that you're going to get a little something different on The New Tonic. But that something different turns out to be one of the more enjoyable listening experiences I've had recently, it just flies by. The slow, summery saunter of bass and subtle horns provide the backdrop for The Way I Feel, which features the vocals of Kaleb Simmonds and raps done by Halifax vet Fiz. Fiz has been emceeing in Haltown since the 80's, and he has an old-school influenced flow that is as smooth as single malt and matches the solid drum track and piano tinkle of Square One perfectly, as he breaks down the history of his latest group, Universal Soul.
Halifax's current MC champ*, Ghettosocks, brings his signature style ("dead that weird shit like someone shot Bjork") to the jazzily named Liquor To Pandas over some solid piano, guitar licks, and some sweet sax that would make Dave Koz jealous (I hope Dave Koz is in fact a soxophonist, unfortunately I don't know any other current saxmen). Both MC's team up with the also legendary DJ Jorun on the rock-tinged Listen which is change up from the other jams on the album, but works just fine.
I shouldn't give all the shine to the tracks with guest artists, as the instrumentals here all bang pretty hard and kept my head bobbing throughout. From the slow paced piano, thick bassline, and sampled female vocals of the RJD2-like Eight Days, to the knocking drums and scratched KRS samples of Driveby, to the downright funkiness of the live jam session interplay between the DJ and instruments on 3 In The Key, there is zero filler to be found amongst the 10 songs on The New Tonic.
This album is currently my favorite album to work to, but I'm sure it would be solid accompaniment to pretty near anything. Innovation is often lacking in hip hop, so a hearty kudos is sent out to both Fes and Kils as well as the musicians for participating in a project like this that can serve to introduce fans of two genres to music of a different flavour. Simply put, this is a concept album that worked incredibly well, in my humble, and I encourage everyone to check it out.
myspace :: web :: buy CD
Video::
The Extremities Live*Note: Strictly my opinion and not based on any kind of measureable MC science.
Reviews:: The Paperbacks An Illusion Against Death
A few months ago, Winnipeg's The Details started getting hit with the "sounds like the Weakerthans" label (which is one of the biggest compliments a Canadian band can get), and while at times the Manitoba band did tip their caps to the Canadian indie anti-icons, their record was that of a young band still searching for inspiration and the sound they want to play. That's not to take anything away from the band, it's just part of the maturation process and I think that when they get it all put together they are going to be a fantastic band you hear on the radio.
On the flip side of that coin is their Parliament of Tress label mates, The Paperbacks. Seasoned vets, the Winnipeg band actually worked with John K. Samson on An Illusion Against Death and the record should have been a stepping stone for the band. Completely comfortable with subject matter and sound, The Paperbacks may have benefited from the guidance of a talented friend, but by no means did they try to emulate his work (but man, Things Get Abstract reminds me of the Sun in an Empty Room and shows how much talent this band has).
Saddled by lineup changes and setbacks, the band is finally hitting the road and recording new material in '08. But even if they hadn't worked it out, An Illusion Against Death is a record that is criminally overlooked. It's almost like a tale of two cities; musically the hooks and melodies are infectious, full of crunching guitars, keyboard and musical flourishes (like the trumpets on Institutions) but lyrically the band hits you with some heavy thoughts. In 14 songs, they basically remind me what indie rock used to be and why I fell in love with it. In fact, if indie rock still sounded like The Paperbacks, well, I'd still probably be excited by it.
A track like Institutions is a song that could easily fit onto an old Death Cab record, but instead of waxing about lost love and focusing on clever word play, the song is more honest and told in "words I think you'll understand." Doug MacLean's gentle release into falsetto and simple guitar jangle balances the underlying rhythm section that is constantly urging the song to break into full gallop. The result is a stunning track, one that doesn't lose any momentum over the 6-minute time it runs.
The band can completely draw you in to a story, one full of sadness and grim human emotion. On Holocaust Art, you hear a man describe his days at a museum filled with relics from the war. Much like Samson, MacLean strips away the judgment, tears and doubts and leaves the most human of all emotions in today's society; desensitization.
High Praise is an unashamed indie rock song that makes you want to turn up the stereo and roll down the windows, but actually cuts at scenesters (or just an asshole). Things Get Abstract is a summery jangle with sing along harmonies that finds The Paperbacks creating a loving haze that clouds the fear and depression of the confessional. The guitar crunch and female harmonies of Skinny Sidewalks make you sink into the track, almost oblivious to the terrific lyricism MacLean adds.
I know this record was released in '07, but I'm not sure how it went so unnoticed. Every song is terrific, the sound is crisp and lyrically it's deep and well thought but still completely accessible. They control the pace with slowed down organ laced ballads like In The Absence Of Notable Guests (the interplay between Doug and the female vocalist is terrific) and more driving rock songs like Rattled By Failure. Basically, this record has little to no flaws and can be listened to over and over and over again.
Tuesday, June 24, 2008
Quick hitters:: Dreamsploitation
Today has been a debacle of a day. Not to sound like a throw away from the Matrix, but the thing about working a computer job is that there are some days where you basically feel like a shaved monkey. Your hours are consumed by repetition and brain dead activity.
Normally, I like my job, but on days like today, I feel like I'm close to losing it like those dude you see on the Net, but thanks to the pleasant sounds of Dreamsploitation, I was able to relax in spite of the stress and anger.
You might remember we featured the one man band - chuck blazevic - on the Nova Scotia mix, and I always meant to go back and get the whole record, but never did. Turns out, it's terrific music to keep you sharp at work or help you unwind with a glass of wine. Chuck's style is kind of like a subdued Caribou or maybe a more organic Kim Hiorthøy and his mix of beats, jazz, and textures is impressive, especially since he opts for combinations of sounds that float by almost unnoticed, instead of crafting head nodding beats.
Sure he still can lay down solid drum machine percussion (like he does on Our Future Salad Days), but instead of fueling your party, Dreamsploitation's best work reveals itself slowly, like a sort of time lapse photography. Even when the tempo peaks - like on the opening track, The Night Everything Changed - sounds and layers till hold you close. Somehow, he makes IDM tracks like Our Very Own Harmonized Quilt seem comforting and warm.
Perhaps this isn't the greatest review; my day is far from over and my mind is far from strong, but Soft Focus Sounds of Today is full of pleasant surprises (like the Euro pop feel he samples into Continue to Dream, if only Sleeping) and worthy of a listen. Check out a few tracks and take that first sip of wine and you'll actually start feeling the unwanted weight fall off your shoulders. Wait, that made it sound like a musical bubble bath... sorry Chuck. Ah... Just go buy the record.
Old School Mondays:: Craig Mack (Flavour in Tuesday's Ear Edition)
Last week, as the Ack and I drove downtown to chat with Adam Puddington (who's very talented and a mighty nice fellow I should add), Craig Mack's Flava In Ya Ear came on the radio, which made me stop mid-sentence and turn up the volume on my sweet factory stereo. Well that was enough for me, a Craig Mack OSM was always in the offing from that moment on, and even though it had to wait until Tuesday, it's here none the less.
Craig Mack is a perfect example of an MC who should've done much bigger things than he did. He has a creative, kind of elastic mush-mouth flow, that is addictive - I cannot hear the two songs we're featuring today, Flava In Ya Ear and Get Down without wanting to rap along (even though I have this shirt, thanks to the awesome folks at Stones Throw, I still rap on headphones!). Craig didn't talk about crime and drugs and shite like that, in fact who knows what he's saying half the time, but his phrasing and stop-start off-kilter delivery is still awesome to this day in my humble.
It's too bad his timing and mentor choices in the biz just didn't work out. Craig helped P-Diddly-Daddy get Bad Boy off the ground and launch Biggie into the stratosphere with his appearance on Craig's Flava In Ya Ear remix, only to have Puffy ignore him once B.I.G. took off. He then left Bad Boy and hooked up with Eric B. Yes, that Eric B., whose Wiki page can testify that he hasn't exactly set the world on fire since he split with The God. They made a party record, aimed at getting the ladies and the silk shirt wearing gents on the dance floor, but I don't even think it went balsa wood in the hood, and that's a shame, cause the second verse from Flava is one of my all-time favorites:
Craig Mack, 1000 degrees
You'll be on your knees, and you'll be burnin', beggin' please
Brother FREEZE! Man's undisputed, and deep-rooted funk smoke that leaves your brains booted
This bad M.C., with stamina like Bruce Jenner, the winner
Tasting M.C.'s for dinner, you're crazy like that glue,
to think that you, could out-do, my one-two...
And I haven't even talked about the awesomeness of Easy Moe Bee's production. If you enjoy the golden age rap styles, it would be impossible not to love Moe Bee's beats. They are fairly simple, but have such a pleasing, head-knocking sound that I can really never get enough of them. So get your fill with these two jams. Oh, and also, Craig is wearing a Tampa Bay lighting jersey in his video. Which is also awesome. Ok, that is all. But as an aside, if someone out there in internetville has the Flava remix and would like to send it my way, I'll post that too.
Video::
Craig Mack - Flava In Your Ear
Craig Mack - Get Down
**IT'S BONUS TIME**
I felt bad about sticking the Ack with all the Monday hill work, and about him not getting him his Monday OSM fix, so I asked him what he'd like to hear as a bonus track. He rap-nerdingly selected Poor Righteous Teachers, which is in fact pretty righteous. So although I almost wanted to keep them for their own edition of OSM (could it still happen? you never know), he asked for them, and so I shall deliver with both the original and a remix version of Rock Dis Funky Joint for the Ack and everyone else to enjoy.
Reviews:: Hooded Fang EP
But for me, the beauty of the song is that no note is overly complex and despite the surprising number of people in the band (7), almost every aspect of the track is sweet, innocent and light (said as a compliment). This isn't a collective of people trying to layer every sound and overwhelm the listener, while they attempt to create a false sense of importance. The well placed harmonies that finish some lines, the gentle swell of the drums and the shouted "HEY"; these are things almost every young band tries to add, but Hooded Fang seems to be wiser than their years should allow and knows when to say when.
Even with the infectious nature of that song, Hooded Fang doesn't fall victim to finding one style that works and playing it to death. They expose three or four styles (in a mere 5 songs) the with equal success, which is pretty impressive for such a new band. Fall Leaves, lets Daniel take the lead, and again the bass really shapes the song, but it's the Merritt-esque vocals that draw me in. On the punkish (think Egghead, not Ramones) closer, Train Station, I absolutely love the honesty of the verse when Nick admits, "I've never been to California. I'm just excited to be seeing in Montreal. My French is crap just thought I'd warn ya, I never took those correspondent classes I said I would" and the doo doo doos that make up most of the song.
I love they way they constantly rotate instruments and vocalists. It's like Hooded Fang is a musical Barbapapa, shifting shape to provide us with hours of fun. Whether it's the nice boy girl traded vocals and slight new wave textures that creep in on Land of Giants or the horns that come out of nowhere (but fit perfectly) in Fall Leaves, the band has a great understanding of finishing a song without distracting from it. Normally, the sock hop swoon of the aptly named Pageant would be pretty standard fare, but they add a classic rock guitar solo, whistles, beautiful vocals and gradually add energy to the track.
Again, I know these things could be said about countless bands and don't seem that big of a deal, but when you have to stomach terrible pop record after terrible pop record, hearing a band get it right is something that makes you sit up and take notice.
Monday, June 23, 2008
Contest:: Win Joe Strummer DVD + CD soundtrack
If you like music, chances are you like the Clash. But even if you don't, it's hard not to appreciate Joe Strummer as a man, a visionary and an icon. There are rock stars - which more often than not, we watch waste talent and amount to nothing - and then, like Strummer, there are rock legends. People that transcend the songs they write and inspire generations and legitimately change the world.
This contest is pretty cool. We are giving away three (3) copies of the terrific Strummer documentary - Joe Strummer: The Future Is Unwritten - and the accompanying soundtrack.
This is one I'd actually like to keep for myself, and one you'd be a fool not to enter. So either send us an email with Joe Strummer in the subject, or leave your info in the comment section. We will randomly pick three winners, one of which may or not have the last name Acker. The contest will run for a week - so check back next Monday to see if you were one of the lucky ones.
Redemption Song - Joe Strummer
Reviews:: Dr. Dog Fate
The aptly titled The Old Days only needs 3:41 to show why Dr. Dog is probably the most impressive of today's bands that sample from the greats that shaped music. The piano heavy, fuzz filled freak out track is McCartney-esque, especially when the band strips everything away aside from the plunked out piano line at the 1:40 mark, but the song never apes his style.
Countless bands try to mix the same ingredients, but when Dr. Dog uses a quick change of pace and energy (making the song destined to become an extended, sweat enduing fan favorite), they put their own stamp on the elements. It's a great mix of sugary pop and muscle and the way the band has evolved from lo-fi to lush compositions is remarkable.
Hang On touches on goodness we crave from acts like The Band and hits on that jam session vibe that so many acts try (unsuccessfully) to recreate and in doing so, shows how countless years of touring have given Dr. Dog the chops to pull these songs effortlessly. Trying to find your own sound and inspiration when you are rooted in the past is not something that can happen overnight and while they excel and transporting a listener to a time long since gone, what makes Dr. Dog stand out is how easily they add modern elements to the mix.
Sure, they have a terrific appreciation of the past, but never seem confined by it and instead of rehashing classic riffs, they are completely comfortable jumping headlong into fuzzy instrumentation and new textures that dance overtop, along side and underneath the tried and true goodness from the 60's and 70's.
As the band questions God's choices on The Ark, guitar blasts, feedback and atmosphere contrast the Lennon-esque vocals pushing it into 2008 instead of forcing the song back into the early 70's. The opening track, The Breeze, starts as a lo-fi pop track full of sunshine and warmth, but slowly and assuredly, the band adds layer after layer and finds a groove as fresh as I've heard this year. The shocking addition of horns and strings that end Uncovering the Old is just another terrific wrinkle.
Lyrically, the songs are more timeless than dated. Often making strong points with simple words, hearing
Obviously, I'm a big fan of this record and by a quick scan of the internet, I'm not the only one. Still, sometimes the masses all agree, and if the masses hear tracks like My Friend and The Breeze, it's hard to imagine anyone not believing in Fate.
Quick hitters:: The John Henrys
Herohill seems to have a knack for talking about bands that no one else really cares about (or ones that people throw up in those "clean-out the mailbox" style posts). So obviously it's not that we are ahead of the curve, more than likely it's just the opposite as our tastes usually tend to line up on the other side of hip.
So that being said, we like to be the first ones to talk about any of the bands that fall into our narrow focus and last week when I was writing up the Ottawa roots band, The Brothers Chaffey, I stumbled on a band that blew me out of the water.
The John Henrys are another roots outfit from Ottawa, but man oh man, I got absolutely giddy when I heard their myspace tracks. I started looking in the normal places for songs to offer up, and finally stumbled on a terrific CBC Radio 2 show I was converting to MP3 when I read that We Like Indie unearthed these roots rockers first. Damn you internet!
Musically, the quintet that calls our Nation's capitol home, fires on a V6 fueled by trace elements of The Band, Neil Young, and The Flying Burrito Boys but man, they really get it right. As a huge roots music fan, I am constantly scanning the packages we receive and seeing those bands listed in one-sheets. In fact, I usually end up shrugging the band off and moving on, but The John Henrys are something special. Their songs are country fried, golden goodness but they surprise you with the surprising edge the band leaves on, almost like the burn that shows up after a swig of even the smoothest whiskey. They paint pictures with golds and pinks and float along like a stream.
I want to stop before I go on too much because a full review of their new record - Sweet as the Grain - will be written soon after the arrives, but take a listen to the beautiful sounds of the title track and prepare to have a new favorite back porch band that you reach for anytime the sun starts to set.
Sunday, June 22, 2008
Sunday Morning Coffee:: Dan Craig is a new man
It's been a while since I sat down on the computer on a Sunday morning. Between moving, trying to buy a house and countless other things, I just haven't had the time I need each day. But, a got a CD in the mail from Dan Craig, a musician we reviewed last year, and I wanted to see how his sound had changed. His last record, Wirebirds, showed potential and I'm happy to see he's found a style that is going to define him.
From te first track, it's obvious that Craig's new record - Skins Grows Thin - showcases a much more mature sound. He uses a fuller sound (the horns, strings, mandolin and female vocals - courtesy of Erin Donovan - on No Rain Tonight are a perfect example), but I think the biggest change is the new found confidence. Instead of chord progressions and strums that seem to be formed on a simple idea and somewhat familiar, he's trying hard to form his own sound.
Instead of forcing another instrument into the mix to fill a void, Dan is writing songs that are complete thoughts regardless of how much accompaniment is added (Goodnight Darlin' is one of the most stripped down tracks on the record, but also one of my favorites). It might seem simple, but as the violin and Rhodes dance around his words on Breaking Hearts Tonight, he throws in a simple, group hand clap, everything just comes together.
I would imagine that has something to do with the title of his record, but I think Dan's finally made the decisions that let him leave his doubts behind and truly open up his listeners. Finally settling into the life of a full time musician, he's left behind his other calling (med school) and it's really obvious that he's spending hours playing as opposed to studying. He's no longer worried what people think and as a result, each strum seems (even the most gentle) seems to be a defiant push forward. He's happy to stand behind his music, even if people think he's "just a local star."
Unlike his last record, it's easy to find songs worth talking about - like the maracas led Skin Goes Thin or the nice piano backed sounds of So Strong - but more importantly it's harder to find fall songs that fall short (although How You Want Me Again fits that description). Again, I'm not trying to push Craig into a realm that he isn't deserving of, but if you enjoy the softer side of the strum, female harmonies and strings laced tracks you will be happy you took a chance on this record. Craig's made a big jump from an ear pleasing bar room accessory to a songwriter and I'm now looking forward to see how far he can run with this. He's found a voice and style that works for him, and if he starts taking some risks and improving his sound, Dan Craig is going to be a name more than herohill knows.
Friday, June 20, 2008
Quick Hitters:: Prairie Rap Blowout Edition
Ok, in an effort to clear both my conscience (for making these fine folks wait so long before talking about them), and my review pile in advance of a couple busy, vacation and friend-visiting filled weeks, I bring you three fine hip hop albums from the prairies. First up we have The Damage Is Done from Edmonton crew Low Budget Affiliates, another Edmonton release in the form of A.O.K.'s If You Don't Buy This CD The Terrorists Win, and then a combo effort from Canadian producer Factor and Winnipeg crew Deepcave. That's a full-course prairie rap meal right there.
The Low Budget Affiliates are a six man crew from Edmonton consisting of Add-Vice, Chris Plus, Chazmosis,
Max Prime, Nato, Balzac - and I owe them a bit of an apology. I was sent the disc a long time ago, and put it in my "todo" pile, which got moved around a few times before ending up out of site and out of mind. So this is a long overdue mention for LBA here on the hill, but it's an album worth checking if your tastes veer into grimy, underground east coast hip hop territory. I was familiar with DJ Nato from his work with Touch (others may recognize him from his interlude appearance on the Cadence Weapon's latest album), but the MC's were all pretty new to me. That being said, they all come mighty hungry and attack the rugged beats like a pack of hungry hip hop hyenas. There isn't anything flossy or flashy going on here, LBA is about that boom-bap traditional hip hop. You have a problem with that? I didn't think so.
A.O.K. stands for Assault of Knowledge, and is the rappin' moniker of 23 year old Edmonton resident Omar Mouallem. Omar's a bit a renaissance man, working as a writer and journalist in order to pursue his love for hip hop the rest of the time. Although he isn't the best MC in a technical sense, he's smart and engaging and so the songs on If You Don't Buy This CD The Terrorists Win make for an enjoyable listen. The production is decent, but Omar commands centre stage as he address topics like religious self-discovery, un-requited love for coffee girls, wigroes or his Lebanese heritage. Growing up Lebanese in High Prairie, Alberta must have provided Omar with plenty of material, but he's a well-rounded dude that can address any number of topics. Worth checking if you're looking for some hip hop that's a little smarter and more thoughtful than your average rap album.
For today's final album we're going to visit the two provinces to the east of Alberta and check out the Winnipeg-based collective Deepcave and their collaboration with Saskatoon beatmaker Factor. The Deepcave crew consists of Big Bear, Royal-T, Lev, P-Nut, 40oz and DJ Poetics, and like the LBA, I wasn't familiar with any of these MC's beforehand, yet they all come very hungry with flows that range from traditional to anticon-inspired speed raps. But the styles all mesh quite well, providing a nice mix that keeps things fresh. There are also some quality guest appearances from LA's Awol One and Pegcity vet John Smith. Factor's beats are pretty tight, having their base in traditional boom bap sounds, but layering plenty of interesting sounds on top. All and all this album is 12 quality songs worth checking out.
Max Prime, Nato, Balzac - and I owe them a bit of an apology. I was sent the disc a long time ago, and put it in my "todo" pile, which got moved around a few times before ending up out of site and out of mind. So this is a long overdue mention for LBA here on the hill, but it's an album worth checking if your tastes veer into grimy, underground east coast hip hop territory. I was familiar with DJ Nato from his work with Touch (others may recognize him from his interlude appearance on the Cadence Weapon's latest album), but the MC's were all pretty new to me. That being said, they all come mighty hungry and attack the rugged beats like a pack of hungry hip hop hyenas. There isn't anything flossy or flashy going on here, LBA is about that boom-bap traditional hip hop. You have a problem with that? I didn't think so.
Reviews:: Nels Andrews Off Track Betting
Earlier this year, I fell in love with the simple, swooning sounds of Tyler Ramsey. His voice was strong and comforting and his songs uplifting. Well, after hearing the new Nels Andrews record - Off Track Betting - I was hit with the same emotions.
From the opening moments of the beautiful Fevered Dreams, the record moves like a New Mexico breeze; forcing a slight warmth over your body, making you want to stop and take in everything that surrounds you. In Andrews' case, that breeze is created by layers of twinkling piano (Butterfly Wing), acoustic, steel, cymbal washes (the simple sound fits perfectly into Lady Of The Silver Spoon) and even a wine glass orchestra.
But as beautiful as this record sounds, you can't overlook how engaging a story teller Nels is. He's able to draw you in to his tales with simple, seemingly insignificant details and unlike so many song writers, he doesn't waste lines waiting to turn a phrase (although he can deliver some terrific lyrics - "I'm sober, but all my memories are lies."). His stories are more honest; more simple than the fictional accounts that litter coffee shops and open mics and as a result, much more appealing.
It's almost said as a passing thought when he mentions he's "riding shotgun in my brother's car" over top of mandolin, plucky bass and strings on Rented White Sedan, but instantly you feel like you are in the backseat watching the two of them drive silently along the dirt roads. You can see the faces and hear the gossip of the people in too small town on Shoot Out the Stars, and you start to feel the chains of the ever enclosing walls, and start urging yourself to leave it all behind.
It's actually hard to tell which side of the coin is Andrews' biggest strength. His diction and delivery draws you in, but never steals the spotlight from the beautiful instrumentation that seems to ebb and flow perfectly with every emotion he presents. By the time I finished the all too short final track (Dollar and the Dream) and soaked in the beautiful Emmylou Harris styled harmonies, I was left wondering why everyone isn't talking about this record.
It's easily one of the nicest Americana records I've heard yet this year, and that's said without any type of hype or hope. This is a record that I'd be happy to recommend to anyone willing to take the time to listen and happy to find anyone else who agrees.
Reviews:: The Brothers Chaffey Harbord Street Soul
Sometimes a CD finds it way into my grubby little hands and I have no idea who the band is or why I should listen, but the other day I was handed a copy of The Brothers Chaffey record - Harbord Street Soul - with the simple descriptor, "they smoke." Seemed like a simple enough of an endorsement.
As it turns out, "smoke" means jumping headlong into some soul filled roots and country that sounds like the brothers grew up in the Rust Belt or the Southern swamplands, not Ottawa. While I realize this style has become more and more popular lately - it seems most musicians have traded in the trusty drum machine for organs and steel guitars - I'd wager that The Chaffey's have been sitting around listening to their folks old LPs for almost as many years as they've been alive.
Sure, they have a couple tracks like you'd expect to hear from a young country roots band (The Whiskeytown sound of I Heard You Call My Name shows how talented the band could be if they opted to go that route), but they seem more interested in making sure everyone (themselves included) has a good time when their music comes on.
The record offers a glimpse into their live performance; most of the songs feature a solo or two from Curtis Chaffey and peaks of energy from the deep voice of his brother Matthew. A country rocker like Runaway probably evolves on stage, especially when they bust into heavy piano lines, stacatto guitar notes and crashing drums and the Fogerty influence on Drums, Guitar & Things makes for an easy listen, but for me the songs that hit with more of a back porch swampy soul vibe are the big winners for the band.
Matthew's voice settles into a more comfortable soul vibe on Wrapped Up on You and the organ sizzles yo ucan't help but think of Patrick Sweany (another young talent settling nicely into the same sounds). When Curtis busts into a big solo on You've Got To Be Strong you just start nodding along. This music may not be anything new - more like a heart felt tribute to the sounds that shaped them musically - but when it comes to swamp rock, reinventing the wheel is far less productive than just continuing the journey on down the road. Good music is timeless and should help you escape and when you here a terrific song like Come Back to Me you realize that is just what the Chaffey's are hoping to help you do.
Harbord Street Soul is two years old, but the boys are heading back into the studio soon and will be sharing the stage with Adam Puddington next Friday @ Gingers.
Thursday, June 19, 2008
Quick Hitters:: The First Aid Kit
There may be other musical First Aid Kits out there in cyber space, but the one I'm referring to is a Halifax-based five-piece that plays some of the catchiest music you'll find here or anywhere else. Matt Davidson, Conor Hancey, Robin Darryl Smith, Craig Koziar, and Amy Bollivar grew up "scattered across Ontario, Nova Scotia and California", but lucky for those of us in Haltown, they've chosen to settle here. When they eventually blow up and go bigtime (or whatever passes for that in today's nutty music biz), we can all nod knowingly as say "yes, we knew they were excellent all along".
And excellent indeed are the songs on Rocket Summer, layered with a thick dual-guitar attack, driving drums, piano, synths, and the kind of hooks your mother would shout along to (I don't exactly know what that means, but the songs are infectious, that's the point I'm awkwardly trying to make there). The swagger and pulse of the title track opens up the EP, and if the swooning "ooooh-oooooh's" don't get you then the chaotic piano-guiatar-snyth clash on the outro will. I've had this one on repeat for a few days, kind of addictive. Sleepwalk lures you in with a sweet bassline and then seals the deal with siren synths and lines like "I've been hearing you talk jive baby", before closing with an uptempo indie-pop flourish. The sing-along harmonies of Long Distance Runners make me want to hit the road and run with Gump-like abandon.
Here's the point, if you're looking for musical company for your summer days, I humbly suggest you give the First Aid Kit a go. I hear they have a new EP in the works that might act as the soundtrack for your fall, but for now you can download the songs from Rocket Summer on the band's myspace.
Reviews:: Adam Puddington Back in Town
It's as simple as sliding up beside Adam Puddington on a barstool and waiting for the amicable stories to start. His warm personality and friendly smile make it easy to think he's telling the story - one told without exaggeration or concern - just for you. It's a quality that exudes from his songs and makes you want to listen.
I think the first time I got drunk was when I was 6. I used to heat up apple juice with a cinnamon stick, and I accidentally grabbed the box of wine my folks had instead. I heated up three glass of wine and ended up getting wasted. I just thought it tasted different because I overheated it.
With a simple childhood story of drinks and a hint of deprecating humor, Puddington invited us into the conversation and continued with anecdotes and jokes like we'd known each other for years not minutes. So it makes perfect sense that his new record - Back in Town - is littered with songs about the heartache, hard nights and even harder mornings that we all can relate to. Roots music relies on desperation found in the bottom of a bottle or that flows through us with the last beat of a broken heart, and Puddington is able to set these emotions effortlessly. In a genre that has quickly become over saturated with new found drawls and steel guitar playing drunks, there is something real about his down and out, head in your hand at the end of the bar tracks like A Monday in a Month or Not The Only One.
But even with traditional tracks like Boomtown Blues and the presence of some of the Guthries (Serge Samson, Dale & Brian Murray, Ruth Minnikin for example), Back To Town isn't simply roots/folk record. Until you unwrap the plastic, you probably wouldn't expect a Rick Springfield-esque track like Don't Hold It Against Me to come from Puddington's pen, but the catchiness of the melody can't be denied. While this may seems like an odd inclusion, more remarkable than the melody is how he opts for the subtlety of strings and piano instead of a huge, cheesy chorus and keeps the song from feeling out of place.
In fact, the only constant elements on the record are Puddington's gruff voice and the trust he has in his friends. "After the last record, I really wanted to record this in a house. So we recorded in Dartmouth and instead of paying for studio time, I brought 4 20-litre boxes of wine and a huge cooler full of moose meat and venison. We just drank, played music and had feasts. It was all gone pretty quick. I actually thought it would be cheaper, but man, we ate and drank a lot and it was just as expensive, but a much better way to spend the money."
And I think the way he and Dale Murray recorded this effort is one of Back In Town's biggest strengths. Most of the tracks are recorded live off the floor, keeping the energy and spontaneity high and it plays more like a well orchestrated jam session amongst old friends. Whether it's the seamless duet with Kelly Sloan (Two to Tango), the Calexico-esque sounds of the mariachi fueled Let's Go Out Drinking, the 50's radio do wop of I Leave You Dreaming or how the AM radio, road trip stomper Secondhand Heart takes new life when a liberal organ solo creeps into the mix and continues to blossom when the terrific harmonies fill your headphones, Puddington's catalog holds many twists and turns.
And a lot of that probably has to do with the dichotomy that is Puddington's life. Splitting time between rural Ontario and the East coast, Puddington's influences are as broad the country he lives in. On the title track, he admits "I know who my friends are, now that I'm back in town" and the affect the East Coast has on Puddington is obvious. Despite living in Almonte retrieving peach baskets, Puddington clearly found himself musically in Halifax, and part of his heart stayed after he left. For every song he has about the pains of being alone (Looking For a Light or All I Have is Time - one of my favorite tracks on the record), he seems to balance it with memories of time with friends in the city and the joy of seeing the bright lights after that long, lonely drive.
In the end, you realize it's a process that goes beyond record sales and ticket sales, and although Adam's record could easily fit onto any roots fan's shelf, you wonder if it ever will. I'm not sure Adam realizes how easily he could make the jump to the next level, taking advantage of the huge rise in popularity of roots music, but I don't think he cares much about those kind of things. He's happier making that long drive from Almonte to Halifax to play new songs with his friends, enjoying boxes of wine and reminiscing of times that have long since faded into sepia tones. And to be completely honest, as long as that what pushes him musically, I'd like to think the rest will work itself out.
Wednesday, June 18, 2008
Reviews:: All Their broken hearts - a Paperheart Tribute to Julie Doiron
It's amazing how an artist can struggle for years in their own country, trying desperately to sell records and fill tiny clubs, and at the same time can be an icon over seas. In a perfect Dominique Wilkins style follow up to Shane's Thrush Hermit tribute record, I wanted to revisit All Their Broken Hearts - a Paperheart tribute to Julie Doiron.
Like the title says, the Belgium based record label collected a huge group of artists to record some of Julie's best songs (circa 2003) and the results are terrific. Hitting on almost every one of her records - fans of Desormais are going to be disappointed - the mix of lo-fi and love showcases why people melt when Julie takes center stage and how the charming performer has grown in popularity over the last 10 years.
I know it's hard to imagine passing Julie's thoughts, fears, heartache and admissions through anyone else's eyes, as the honesty and intimacy of her words are what makes her so special, but these bands treat the songs with the attention they deserve. Obviously, most of these small Belgium bands are relatively unfamiliar to me, but the simple strums, creaky vocals, electro-fused blips and sincere admiration the artists have for Doiron really make the effort something special.
Some of the highlights include Superxxman's take of Sweeter. The song starts as a timid confessional, but he slowly adds harmonies, electronic textures and undercurrents and a beautiful, piercing piano line. Naturally, long time friends/collaborators Snailhouse and Rick White show up and put their spin on Again, Again and Dirty Feet, and the familiarity they share really helps them rework the tracks.
But it's really the fact the tracks stand apart from the originals that make the record work. The layered mass and soaring harmonies of Gone, Gone (courtesy of Mark Raymond) shows the bands are not above taking big risks with the material, and In All Her Sincerity sounds like an indie/electro fused track that could have been written last year, not almost 6 years ago. The lonely banjo notes and cold duet that Orange Glass use to rework Five are powerful in their desolation and the elctro snaps are rock solid. The same can be said of the blips and Melachromes add to The Last Time or Wio uses to spruce up I'm Sorry Part 1.
Overall, there little to find fault with on this record, as it's still as enjoyable today as it was in '03, maybe more so now that you can download every song for free. But honestly, when the DIY tape hiss that dominates Loïc B.o.'s take on Annoyed By comes on, you can't help but think about how Julie's catalog has inspired musicians while they tinker away in a bedroom or shitty jam space.
Reviews:: Songs For The Gang - Thrush Hermit Tribute
If you know our history here at the hill, you know we are old curmudgeons who went to High School here in Halifax with the members of the Hermit: Ian McGettigan, Rob Benvie, Joel Plaskett, and original drummer Alex Grace (from when they were called The Hoods). Because of that, we're usually interested in most things hermit related - so we try and keep up with all things Plaskett, have covered Rob & Ian's doings as Camouflage Nights, and I talked to Alex a couple years ago at the grocery store. So when you weigh that against the stellar lineup of artists from Halifax, Toronto, and beyond, expectations were raised quite high for this one.
Thankfully, the album delivers. Unlike some of their peers at the height of Halifax's first music scene uprising in the 90's, Thrush Hermit was always influenced by big, 70's style chunky riffs, and their sound reflected that. So, I was curious to see how some of the acts listed with a lighter sound would interpret the hermit's songs, and my curiosity was sated by the first track, Rebekah Higgs cheery take on Clayton Park's From The Back Of The Film. It doesn't have the riffs or rock cockiness of the Plaskett-helmed original, but it oozes with charm and has horns! A great song. French Inhale from the band's Murderecords debut Smart Bomb is another of their more anthemic songs, and Laura Borealis' stripped down take on the song couldn't be more different from the original, but it's really quite haunting.
Toronto's Meligrove Band adds some piano to their version of Sorry If Your Heart Has No More Room from the Hermit's Elektra release Sweet Homewrecker, and the results are pretty impressive. Fine work is also done by another Toronto band, with Galore's spacious version of We Are Being Reduced being an album standout. Galore also just happens to be fronted by a member of another iconic Halifax band, as frontman Barry Walsh was a member of Cool Blue Halo. The non-Maritime Canadian content on Songs For The Gang extends out to Saskatoon, as Junior Pantherz contribute an up-tempo, organ-filled version of Hated It, which was featured on the Mallrats soundtrack.
But this is a Thrush Hermit tribute after all, so you might guess that there is plenty of participation by Halifax bands. And you guess correct. Ruth Minnikin & Her Bandwagon contribute a great version of Oh My Soul!, it has an almost old school soul feel to it, I enjoy it. Jon McKiel doesn't try to match Plaskett's falsetto on Violent Dreams, but otherwise his version is pretty faithful to the original. Heavy-indie (did I just make that up? Perhaps) outfit The Establishment attack Clayton Park favorite The Day We Hit The Coast with gusto, and the results are as likely to make you want to move as much or more than the original. Thomas/Richard does a rather vulnerable version of Smart Bomb's All Dressed Up which is not the kind of sound one thinks of when the hermit is concerned, but I think it works quite well.
In fact this whole album works very, very well. If you're a long time Thrush Hermit fan, I can't imagine you won't find plenty to like on this album, and if you are new to the band it's simply a great collection of songs. 18 songs at that, with only a few missteps to be found, so I have to says congrats to Scott at Gooseberry for doing a fine job compiling these songs. So buy a copy of this one when it drops on June 24th and encourage him to go ahead and put out the Eric's Trip and Super Friendz compilations he has in the works.
Tuesday, June 17, 2008
Contest:: The Verve Remixed 4 - Vinyl
The title says it all. Just shoot us an email and the slab of vinyl known as the Verve Remixed4 could be yours. The track list is stellar and it features some big time DJs and electro acts (including afrobeat supahstars Antibalas) remixing the classics.
1. "Cry Me A River" (Truth & Soul Remix) - Dinah Washington
2. "Gimmie Some" (Mike Mangini Remix) - Nina Simone
3. "There Was A Time" (Kenny Dope Remix) - James Brown
4. "California Soul" (Diplo) - Marlena Shaw
5. "Take Care Of Business" (Pilooski Edit) - Nina Simone
6. "Bim Bom" (Psapp Remix) - Astrud Gilberto
7. "Tenderly" (Mocky Remix) - Anita O' Day
8. "Tea For Two" (Chris Shaw Remix) - Sarah Vaughan
9. "Dilo Como Yo" (Antibalas Remix) - Patato & Totico
10. "Evil Ways" (Karriem Riggins Remix) – Willie Bobo
11. "Everybody Loves The Sunshine" (9th Wonder Remix) – Roy Ayers
12. "I Get A Kick Out Of You" (Cinematic Orchestra) – Ella Fitzgerald
All you have to do is drop us an email or leave a comment below. We are picking the winner on Thursday, so it's a quick hitter.
Sadly, unlike most of our contests, this is US only.
Quick hitters:: Hey Ocean!
The first days of summer are always the best. The first beer on a patio. The first late night on a friend's back deck. The first guy walking shirtless wearing a speedo. Wait. What?
When the weather starts to change, I usually end up looking for songs with hooks. Instead of hunkering in with a bottle of wine (heronhill of course), you want to be out side; stopping by a friend's house or popular watering holes and finding a gathering.
I'm not sure you could find a better song to start the journey than Hey Ocean!'s Alleyway. The song, like the band, is as summery and free as you will find and adds pep in your step. There new record - It's Easier To Be Someone Else - is full of nice bass lines and subtle grooves. Ashleigh Ball's great vocals and nice hooks could fuel more beach parties than a Frankie and Annette sing-along. Even when David Beckingham takes the lead on Alright, the mood is light and the bongos and horns are terrific.
I don't want to give the impression that these songs are light and fluffy - as no one wants to be like that band Mir - no, some of the songs still have some grit. The collaboration with Shad K, Vagabonds, plays like a new twist on the Beastie Boys Live at PJ;s and Fifteen Words adds some adventurous guitar work and nice keyboards to pick up the pace.
More or less, summer is starting in Halifax and here's a couple tracks to help you start shaking out the cobwebs.
Contests:: Free Jose Gonzalez tickets
On June 26th, with herohill fav Rebekah Higgs in tow, he's going to be finger picking and power chording his way through a breath taking set at St. Matthew's church. I can't think of a better place to hear him play. Instead of trying to hear him over 75 hipsters talking about the new Justice / Kenny Loggins mash-up they made as a joke but that is better than anything you hear in a club, you can sit back and soak in Jose's songs.
So what you ask? Well, herohill is giving away tickets to the show and all you have to do to enter is send us an email or add your info to the comments section. It's just that simple. I've seen him play twice and was blown away both times. If you are new to his work or sitting on the fence about shelling out for the tickets, here's you chance to go.
Update:: We have lots more stuff to give away:
- (2) tickets for Thursday June 26th at St. Matthews Church in Halifax, NS
- (2) tickets for Monday June 30th at the Broadway Theatre in Saskatoon, SK
- (2) tickets for Tuesday July 1st at the Park Theatre in Winnipeg, MB
- (6) copies of his latest CD - In Nature
Feel free to enter early and often and let us know if you want the tickets or the CD (or both if you are selfish).
Love Will Tear Us Apart (live)
Monday, June 16, 2008
Quick hitters:: Tanya Davis
For some reason today I've been streaming a solid selection of singles - tracks that you'd hunt down on 45 if you could. With summer constantly peaking it's head out here in Halifax, I'm not sure there is a better track to lighten your spirits than Haligonian poet, Tanya Davis new jam, Fortress.
Full of jangle and sunshine, the riff is infectious. The melodica adds some sizzle and her gruff voice adds just enough roughness to prevent a sugar rush. The three-minute flies by, and challenges you to not hit Thesaurus is another hit.
Check her out at the North Street Church on June 19th for her Gorgeous Morning CD release show.
Old School Mondays:: Compton's Most Wanted (It's A Compton Thang Edition)
Compton's Most Wanted is of course fronted by the delightfully-spelled MC Eiht (Experienced In Hardcore Thumpin'!), but on their debut album he was joined on the raps by The Chill MC, who, unfortunately, was incarcerated before the group could release their successful follow-up Straight Checkn 'Em. In my humble, Eiht was never as enjoyable as he was on this album. Of course he has the high-pitched voice, which has served him well throughout his career, but he's all youthful exuberance on this album, just really going for his. It was before he became insistent on establishing the "geeeeeyeh" thing as his trademark and enforcing his O.G. image. But as good as Eiht and Chill are, the beats on this album are also pretty classic, leaning heavily on sweet soul breaks, the sounds were provided by DJ Mike T (as an aside, I always wondered who the white dude on the album cover was, but now I think it's Mike T? Who knows, this was something I felt was important to know back in the day), along with producers DJ Slip and the Unknown DJ.
Picking two songs from this album is tough business as there's a bunch I really enjoy, but I had to go with my two favorites, This Is Compton and It's A Compton Thang. Hey, in case you didn't know, Compton's Most Wanted are from Compton! And lyrically both MC's spend the majority of these songs re-enforcing exactly that point. Oh, and also how they would likely shoot you if you crossed them. Despite that, the songs manage to be a lot of fun, with the big beat drums and piano hits of This Is Compton and the awesome 80's R&B stylings of Compton Thang, you really can't go wrong. So enjoy, and, because I like you, I'll chuck in Late Night Hype as a bonus.
MP3::
Compton's Most Wanted - This Is comptonCompton's Most Wanted - It's A Compton Thang
Compton's Most Wanted - Late Night Hype
Video::
Compton's Most Wanted - This Is Compton
Quick hitters:: Paper Lions
It's not too often a band that sends herohill a record also gets TV airplay on MuchMusic. In fact, most of the videos are hip hop or bubble gum pop, and to be honest the amount of flossin', ballin' and ghost ridin' we get into has dropped significantly in the last few years, so we aren't really in tune with the videos you see on the ole yack box.
But more surprising was a band could get airplay and be completely unknown to us. As far as indie rock/pop tracks that rise to the top, it's almost impossible to not have at least heard of a band here in Canada. I mean, other than Nicklesack and the clowns that sing that Paralyzed song, there isn't much rock getting mainstream love up North.
So when I got sent the 2007 self-titled debut from PEI's Paper Lions, I was stumped. The lead single - Travelling - is as catchy a track as I've heard in forever, and even though it's like a year old, I'd never heard it before. It combines the slink and punch a good pop song needs, but also throws in a catchy face melter, ear pleasing vocals and a solid breakdown.
I couldn’t believe this band could come out of nowhere. The style, the sound; it all seemed to add up to something more than a brand new band from the Potato Province giving it the ole college try. Turns out, that was for good reason. The Paper Lions got some huge play as The Chucky Danger Band - including a spot on the Warp Tour. Musically, these guys really cook. With more than a few tips of the hat to The Fab Four and the Police, you quickly realize this band is going to be the real deal, but even with a solid understanding of the history of pop music, they are working hard at crafting their own sound.
It's rare that a track that fits happily into radio rotation is one for me, but both I'm On Fire and Travelling are so god damn catchy, I'm not sure how you can't let them loop on repeat. And to top it off, the band is just as comfortable slowing the tempo, like they do on the world music influenced One Thousand Voices or the summery, harmony filled The Sheriff (an unashamed Beatles influenced number).
So, 2007 was a huge year for the band, but they've got a new record coming out in '08, already opened for Cake's Canadian shows, and are probably swinging into Halifax in August. So no matter what the kids think, we'd bet that means means even bigger and better things for the Paper Lions.
Traveling
Saturday, June 14, 2008
Weekend update:: With Kate Maki, Nathan Lawr and The Coast
Tonight @ Gus Pub here in Halifax, Kate Maki, Nathan Lawr and Erin Costelo will treat the wise people who show up to three sets of fantastic music. Will I be one of them you ask? No, because Shane's wife plans dinner parties on the wrong nights.
Nathan's record was in or Top 10 Canadian LPs last year, and the way he and Kate play together is something special. It's a shame to miss this show, so hopefully people with nothing else to do will take a chance on seeing three terrific artists.
And finally, herohill favs - The Coast - let TPC give Tightrope the royal treatment.
Friday, June 13, 2008
Reviews:: Centro-matic San South Gabriel Dual Hawks
It's really hard to be objective when it comes to Will Johnson's music. I basically enjoy everything he does and believe that he's one of those guys that puts out rock solid material every time he puts pen to paper. If you had doubt, you could simply look at the Operation Motorcide EP. It was a collection of "throw-aways" from the Fort Recovery sessions, and I think it was one of the best EPs of the year.
So how does that relate to the new joint venture that showcases both sides of his song writer coin? Well, the first - Centro-matic's contributions to the collection - is more of the classic Crazy Horse jams that Will's been using for countless records. On the surface, not all that much has changed - maybe better production tools - but the raw spirit remains the same, so does the familiarity of his words and of course the buzz saw sound that drives the songs (the opener Rat Patrol and Djs is an instant classic). But after a few listens you start to see that Johnson pushed his band to new limits on this record.
Whether it's the subtle, summery oh-la-las that warm the notes of All Your Farewells or the infectious harmonies of Quality Strange show there are more than enough wrinkles to satisfy any long time fan. The single, I, The Kite is beautiful; balancing slop and grit with a pop jangle and hand claps, and makes you wonder what else Johnson could have brought to the table if he had spent the time working on only one form of expression.
But I have to admit, this collection is hard to digest this as a double album. Despite the forced juxtaposition of the packaging, it's impossible for the songs to mix. By definition, the strict, rigid definition of each project controls Johnson's writing process. I am not saying it's a bad thing, as I think on their own, each album is an incredibly enjoyable listen. It's just that there are very few points of contact (the moment of clarity from Centro-matic on the tender ballad, Counting the Scars (although the pure Young-like falsetto that escapes near the end reminds you where the main influence comes from) and the tempo for each project is so vastly different and consistent it makes the listen feel uneven.
After the energy of the first disc, the San South Gabriel feels even more stark and emotional than usual. The band is able to paint vast open landscapes and warm Texas breezes effortlessly. The long pedal steel notes, timbre drums and strings coat everything in orange and pinks, daring the sun to rise and show itself or cower away for another night. The record, completely contrasting to it's accompanying crowd drawing rock songs, is written for times when you are alone. It's about being consumed with your thoughts and fears.
It's hard not to feel your heart beat along side the pulsing undercurrents of songs like The Arc and the Cusp or appreciate the beauty of Jornada del Muerto #20. I'm by no means a Johnson expert, but I have trouble trying to picture him writing a powerful, solitary number like From This I Will Awake (one where he opens himself up so completely) years ago, but the song is probably the strongest of a collection littered with gems.
Both records are better than almost anything I've heard so far this year, and if either came out and was judged on it's own merits, critics would be gushing. It's simply the fact they are packaged in one case that makes the listening experience challenging. But if the worst thing we can say about the record is that Johnson gave us too much that, that it's too hard to sit down and digest, should we really complain?
Fun Video Fridays:: D-Sisive
Hopefully you all caught my review earleir this week for D-Sisive's excellent new album, The Book. Well D and Urbnet have released a couple videos for the album thus far, and so I thought I'd share those. One is the the Fatboy-Spike dance stylings of ThisIsWhatItSoundsLikeWhenWhiteboysListenToHipHop and the other is the creepy clothes laundering of Laundry Room. However, if you go to D's site right now, you can download his EP from earlier this year, The Idiot: Hijacked. Similar to his interpolation of Tom Waits on his latest album, The Idiot: Hijacked features music from Iggy Pop's album of the same name.
Anyway, I found a video, done by who knows, which features Nightclubbing from said EP playing over highlights from Degrassi, which is pretty stellar. Because like all good Canadians my age, I grew up watching Degrassi, so I love it, not because it was on one day when I was watching tv stoned at 2 in the afternoon.
Anyway, I'll digress on that front and leave you with some videos and a couple songs to enjoy.
Video::
D-Sisive - ThisIsWhatItSoundsLikeWhenWhiteboysListenToHipHopD-Sisive - Laundry Room
D-Sisive - Nightclubbing
Quick hitters:: United Steel Workers of Montreal
After taking forever and a day to get the Alberta mix up and running for our Great Canadian Mixtape project, we are trying to be a bit more proactive with the Quebec-edish. Although we are going to scatter the whole province, Montreal is generally regarded as the epi-centre of Canadian indie music, so I'd wager we're going to have a proverbial ton of Moe-re-al bands to choose from. Already, one I guarantee will the final cut is The United Steelworkers of Montreal.
Their latest effort - Kerosene & Coal - melts down styles to form a strong, flexible sound, in a process similar to the people the band takes their name from. The result is something called "dive bar city-grass", which is probably as accurate as descriptor as you'll find. Breathtaking harmonies, strings, and banjo that come together at the confluence of their sound, and support Gern's grizzly vocals. Sure, the tracks have all the elements of bluegrass, country, dive bar rock you'd expect to find in rural America but the grit that comes along for the road is as urban as smog and overpopulation.
Even the most traditional arrangement (a terrific song like Standing There), one that should be pure as a summer breeze across a desolate corn field, still feels like the it's only getting out of the city for a few days, unable to leave the rat race completely behind.
And because of that urgency, The United Steel Workers of Montreal can make you stomp a hole into the dance floor on one track (Small Town Banks or Life Bearable), and make you hold your girl tight as you sway to the next (Emile Bertrand). You know everything isn't as perfect as a country sunset or a relaxing drift down the river. No, life is there to be lived, short, fast and sadly full of regrets, so you should cherish every picturesque escape you can find.
Thursday, June 12, 2008
Reviews:: The Burning Hell Happy Birthday
The Burning Hell conjures images of evil, but the band doesn't rely on the shock and fury of fire and brimstone. Instead Mathias Kom's witty, satire laced lyricism is as subdued as the gentle ukulele that accompanies it. If I tried to forge ahead with a comparison, I guess I'd lean toward the obvious Stephin Merrit/Magentic Fields, but unlike Merrit, Kom doesn't end up playing the role of the sad clown.
You don't have to look far past the second track, Dinosaurs, to appreciate what makes him so endearing as a song writer. Kom walks through an intro about Dinosaurs dying out, before drifting into a sincere praise of the "dinosaurs" that inhabit the small pubs playing songs we all know so well.
"You never made the cover of the Rolling Stone, but cover Rolling Stone songs very well."
The thought seems simple, but mixed with the bowed strings and ukulele picked riff, you can't help but feel the tenderness in which the song exists. And that honest, tenderness is exactly what makes every track on this record work.
Nor does he come off as maniacal as his moniker would imply. Even as he recites a ghost-like tale of murder and revenge on Grave Situation Pt. 1, it unfolds more like a Scooby Doo tale of fright than a horror story, one where you'd expect a disguise to be pulled away to reveal the villain. And like the spook-filled cartoon, the track is always enjoyable and engaging. Even on the Everything You Believe is a Lie, an emotional duet where her and Jill Staveley pass hurtful punchlines back and forth, the words hit like funny because it's true observations of common everyday life, as opposed to sharp tongued jabs.
While this might sound like a slag on the song writing, that assumption couldn't be farther from the truth. I'd much rather sit through a dark comedy that holds true to an underlying sincerity than I would a depressing epic, and with a terrific cast of supporting players and instruments, The Burning Hell is able to balance the smiles and the tears, the chuckles and the fears.
It's the type of record you can enjoy on almost any level. We featured The Burning Hell on our Best-of Ontario collection, and Happy Birthday proves they certainly deserved the distinction.
Reviews:: Dragon Fli Empire - Intermission EP
This is the group's third release since forming in 2002, and based on the down-to-earth quality on display here, you can see why they've developed a loyal following in their hometown. You can count me amongst that following now for sure, as Intermission is the kind of golden-age inspired hip hop that will always be a winner with me. Teekay is a confident MC with an east to digest flow who writes lyrics about everyday issues (you know, things 95% of their audience can relate to), but does so with a style that keeps things interesting. And there's scratching on almost every song! By an actual DJ! What a novel concept. I think it's been a while since I've asked why more hip hop records don't have scratches on them these days, but I suppose I just did.
The production on this EP is solid, if a little understated, but I think it matches Teekay's laid back flow almost perfectly. Both group members handle production duties with DJ Cosm producing 3-4 tracks and Teekay twiddling the knobs on the jazzy Tribe vibes of album opener Hi-Fli which serves as a nice history of the band up to this point. DJ Cosm's funky drums, the quirky cameo by Cadence Weapon, Kirby Small's guitar licks, and the soulful vocals of Lynn Olagundoye come together on Outside Inn and the result is so enjoyable we were pleased to include it on our Alberta mix.
Teekay breaks out some solid 80's inspired fast raps on CGY, and runs down a breakneck trip through Cowtown for those not familiar with the groups hometown. Day Job is a fun ode to the way most Canadian artists (and bloggers!) pay the bills, and it gurgles with Moka Only's signature synths. Calgary producer Metawon provides the beats on the Headphones remix, which also features a fellow Albertan MC, the always-solid Touch. The sunny reggae vibes on Identiteye bring to mind some of the sounds on Politic Live's last album, another Albertan group that I enjoyed.
It's usually always a good sign when you feel an EP has gone by too quick and you're left wanting to hear more. That's how I felt after listening to the Intermission EP, so needless to say, I'm looking forward to a full-length from Dragon Fli Empire. For now, I suggest you check out this great little album, which just so happens to be perfect music for the sunny weather that has hopefully spread to your corner of the globe by now.
myspace :: web :: buy CD
Reviews:: HotKid The Cost EP
It seems I've been listening to more swagger filled, big licked, rock 'n roll lately. First, Shelter With Thieves and now I am going to talk about Ontario's HotKid. This smoking two-piece uses big guitars, driving drums and the sweet sneer of Shiloh Harrison's vocals.
It may only be three songs, but the cost shows that HotKid has all the ingredients required for a heavy rock bouillabaisse. In only 11 minutes and three songs HotKid hits you in the mouth with some old fashioned axe work and cymbal crashes on Southern Rock, and quickly follows it up with the standout track on the EP - The One You Hold.
But the most encouraging track is the closer. Understanding that even a rock record can't possibly keep raising the energy and pace on every song, MacIntonish controls the tempo with a rock solid drum beat and lets Shiloh experiment with grunts and powerful ohs. Counting is full of the thick, sludge that turns the slower track into a head nodding anthem.
If you like the brash, assured delivery of Grand Ole Party's Kristin Gundred, these are 3 songs that you should grab quickly, especially because when the full length eventually gets recorded, HotKid is going to be a band all your friends are talking about.
Wednesday, June 11, 2008
Must See NXNE:: Unsparing Sea
NXNE is starting up, and there are countless terrific acts fighting for your hard earned duckets. You could easily stagger around aimlessly and still see Golden Hands Before God, Ours to Destroy, Jon McKiel, Orillia Opry, Adam Puddington, Money Mark, Swervedriver, James Pants, Great Lake Swimmers.. Wait, why are we not going again? There are also countless free shows - Ted Leo for one, Two Hours Traffic, Ladyhawk or the East Meats West Kelp/Saved By Radio BBQ (featuring Lorrie Matheson, Andy Swan, Camp Radio, and the Violet Archers + tonnes more).
myspace :: web site
But one act that will probably slide under the radar is Unsparing Sea. Ironically with that nautical themed name, they come from the mistake by the mi-lake (Cleveland) and are playing the Boat on Thursday night @ 8pm as part of NXNE.
So why pick them over the hundreds of other acts? Well, in a simple review, they are hard to describe. Cpmpletely comfortable with 6-minute tracks, the band somehow crafts epics that manage to feel desolate and open and still encompassing. The textures float along like graceful waves, slowly washing over you as the swells build slowly. Each song seems to move at the speed of the current, so the sudden crashing seems even more powerful, but always remaining beautiful.
The restrained power of tracks like O! Form, O! Place and The Fawn draw you in like ominous, dark clouds off in the distance and the slow pulls of the cello on National Guard leave you feeling like you alone on the open water, questioning everything you hold dear. I don't want to make the record seem too heavy, as they are able to switch gears and look past the Grey muses that dominate most of their songs for brief moments of escape, highlighted by the subtle, simple crunch of I Wasn't There, That Didn't Happen.
I'm not sure how else to describe them, but I can easily say that I'd be making the journey to see them if I still lived in TO.
But one act that will probably slide under the radar is Unsparing Sea. Ironically with that nautical themed name, they come from the mistake by the mi-lake (Cleveland) and are playing the Boat on Thursday night @ 8pm as part of NXNE.
So why pick them over the hundreds of other acts? Well, in a simple review, they are hard to describe. Cpmpletely comfortable with 6-minute tracks, the band somehow crafts epics that manage to feel desolate and open and still encompassing. The textures float along like graceful waves, slowly washing over you as the swells build slowly. Each song seems to move at the speed of the current, so the sudden crashing seems even more powerful, but always remaining beautiful.
The restrained power of tracks like O! Form, O! Place and The Fawn draw you in like ominous, dark clouds off in the distance and the slow pulls of the cello on National Guard leave you feeling like you alone on the open water, questioning everything you hold dear. I don't want to make the record seem too heavy, as they are able to switch gears and look past the Grey muses that dominate most of their songs for brief moments of escape, highlighted by the subtle, simple crunch of I Wasn't There, That Didn't Happen.
I'm not sure how else to describe them, but I can easily say that I'd be making the journey to see them if I still lived in TO.
News:: Rich Aucoin Tours, Has Nifty Tour Blog
Instead of biking across the country for his tour this time, Rich is pledging to run a half-marathon in each city he visits to help support the Heart & Stroke Foundation, so get out to one of his remaining shows and show some support for him and his worthy cause.
13 Jun 2008 21:00 NXNE Showcase - Clinton’s Toronto, Ontario
14 Jun 2008 22:00 Jimmy Jazz w. The Bicycles Montreal, Quebec
19 Jun 2008 20:00 The Railway Club Vancouver, British Columbia
20 Jun 2008 22:00 The Peanut Gallery Vancouver, British Columbia
21 Jun 2008 21:30 Sugar w. Mother Mother Victoria, British Columbia
25 Jun 2008 21:00 Warehouse w. Dan Deacon - Sled.Island.Festival Calgary, Alberta
27 Jun 2008 22:00 The Legion w. Wax Mannequin - Sled.Island.Festival Calgary, Alberta
28 Jun 2008 21:00 Royal Albert w. Hey Rosetta! Winnipeg, Manitoba
4 Jul 2008 20:00 The Music Room Halifax, Nova Scotia
5 Jul 2008 21:00 Hell’s Kitchen Halifax, Nova Scotia
19 Jul 2008 22:00 The Marquee w. Deerhoof Halifax, Nova Scotia
It's Christmas in June! Rich entered a song in Sufjan Steven's Christmas song exchange this past year, and has that song available on his myspace, so enjoy a little holiday cheer to start your summer.
Between the covers:: e.s.l. vs The Beastie Boys
It's been a while since I dove Between the Covers. To be honest, covers have become more and more mundane with everyone trying to prove their sincerity as they power through a Hall & Oates jam, tackle the latest pop smash in jest or rock out a synth-onthy from an obscure 80's keytar band. But last night I was priming up to watch the C's Big Three collectively shit the bed (side note: did anyone else think that weird face mash up between Larry Legend and the Magic Man on that rivalry commercial made it look like Larry Bird was stroking out a bit?), when a track from the new e.s.l. record caught my ear and sadly, I had to talk about it.
e.s.l. is a band from Vancouver and the players have all the talent in the world. Every woman in the band has a resume you'd love to see cross your desk during the interview process - Marta Jacubek-McKeever is the singer for Girl Nobody. Cris Derksen is a classically trained cellist, Diona Davies has beefed up tracks for Carolyn Mark and Be Good Tanyas with her crazy fiddle skills and drummer Joy Mullen has been a fixture in the local scene hitting the skins for acts like The People Verses, The Doers, Greg MacPherson.
As their first single - Prove Me Wrong - shows, they are on to a unique sound that combines a strangely alluring pop voice with the wrinkles and nuances of a charming gypsie act like Devotchka without trying to follow the same path. I have no doubt that e.s.l. would be enjoyable live and the record has some absolutely stunning tracks, like the opening number Secretariat.
But, without a doubt, their take on the Beastie Boys classic Girls should have been left on the shelf. I'm one of the biggest Beastie Boys fans I know - driving 24 hours straight to see them, patrolling eBay like I'm one of the Transformers searching for ladiesman217. In fact, License to Ill was one of the first tapes I ever bought (along with Fat Boys Crushin') - but even I find it hard to appreciate the intent on this one.
The song itself is a misogynistic anthem that the band has tried to step away from, so to hear a gypsie fused, all-female take on it is a strange way to end a strong record. The slightly slowed drawl they use removes the energy and starts to sound like something Northern State would try live (that's a guess of course, as I would never let myself be within 500 yards of those girls) and when Marta utters, "jocking Mike D to my dismay" I think I actually shuddered.
So, this version is a first round knockout. Without question, even the worst Beastie's track from my least favorite record sounds infinitely better than e.s.l.'s reworking. Don't hold this against the band, as Eye Contact is an enjoyable listen, but get ready to hit a little "shift + delete" after hearing this once.
As their first single - Prove Me Wrong - shows, they are on to a unique sound that combines a strangely alluring pop voice with the wrinkles and nuances of a charming gypsie act like Devotchka without trying to follow the same path. I have no doubt that e.s.l. would be enjoyable live and the record has some absolutely stunning tracks, like the opening number Secretariat.
The song itself is a misogynistic anthem that the band has tried to step away from, so to hear a gypsie fused, all-female take on it is a strange way to end a strong record. The slightly slowed drawl they use removes the energy and starts to sound like something Northern State would try live (that's a guess of course, as I would never let myself be within 500 yards of those girls) and when Marta utters, "jocking Mike D to my dismay" I think I actually shuddered.
So, this version is a first round knockout. Without question, even the worst Beastie's track from my least favorite record sounds infinitely better than e.s.l.'s reworking. Don't hold this against the band, as Eye Contact is an enjoyable listen, but get ready to hit a little "shift + delete" after hearing this once.
Tuesday, June 10, 2008
Quick hitters:: Shelter With Thieves
Shelter With Thieves are not really the type of band I gravitate towards. Sure, I used to be pretty big into the punk rawk, but even back in the day I still stayed more on the Ramones-influenced site of the equation as opposed to the screamo, heavier side of things (although I did love me some Sick of It All).
But even an old curmudgeon like me understands that the new record from this Haligonian outfit really hits hard. A Dark Chapter in The Human Experiment cranks up the guitars and blows you over with heavy metal, hardcore, emotional power-power-power ballads (the first two minutes of The Pittiful Applause are terrific) and touches on some classic alternative sounds (back when that was something to be proud of, not an overused, slap-in-the-face descriptor) all of which are filled with conspiracy driven, new world order subject matter.
They find surprising melodies - the driving energy Valley of the Gun is impossible to ignore, as is the almost Queen like breakdown on Knife Fight Under the Big Top - without ever taking their foot of the pedal or turning down the amps. I feel like I'm in some too-loud trailer for the next Die Hard when I say things like, "I'm getting too old for this shit" but even if I don't really get down like I used to, I can't take anything away from these guys. If you are looking for a crushing record full of songs that have something to say, Shelter With Thieves new one is probably a safe bet for you.
Reviews:: D-Sisive - The Book
I've been a fan of D-Sisive's since his appearance on DJ Serious' 2001 effort Dim Sum, where he showcased his flow and humour on the pop star trashing Popped and the catchy, Eminem-distancing Critics. He was clearly a talented guy, but despite what he might've said ("I don't talk about murdering my girlfriend, Or raping twelve year olds and hoping that the world ends"), A number of people saw Canadian-Shady when they looked at him. He landed a production deal with some heavy management types, and there was pressure to produce an album full of radio-friendly jams. Well D-Sisive rebelled against that, lost both of his parents, and then got really depressed. The Book is D's brutally-honest, aural catharsis for this period in his life.
Sounds like fun doesn't it? Well, there are some heavy moments, no doubt about that, but there is also humour, and even when he's talking about wearing the same clothes for days on end and refusing to leave his apartment, I still find him likable. Sometimes the confessional, emo-rap is a chore to listen to, but I didn't find that to be the case on this album at all. I don't even mind the intro, which finds D-Sisive singing over some kids xylophone about his friends telling him to give up the dream and get a job before he breaks into a short verse. A verse that shows as much doubt and self-consciousness as you'll find in an MC: "I know I won't make them all throw their bones up, I just hope they don't laugh when I show up".
In case there was any doubt about the "tortured artist" theme as being one of the main narratives for this particular Book, the first real song on the album is named after the poster boy for depressed musicians everywhere: Brian Wilson. It's pretty awesome song though, opening up with what sounds like sound old-school blues guitar licks, before big echo-fied drums, synth bassline, and ominous strings come in. Lyrically D-Sisive does as good a job dissecting his rise and fall as I've ever heard an MC do, and lines like "I vanished into thin wind slow, a fat guy in a ripped little coat" make me laugh but also make me a little sad for the guy. It's a surprisingly enjoyable mix. Speaking of surprisingly enjoyable mixes, D samples a large chunk of Tom Waits' Underground for Ambulance, and the results are much more enjoyable than I expected. I should've know though, as D says of Waits: "He’s the Timbaland of stick bass and jugs."
The concisely named ThisIsWhatItSoundsLikeWhenWhiteboysListenToHipHop has a catchy, rubbery beat, and can likely be related to by anyone of the Caucasian persuasion who grew up on hip hop: "leaned back, like black comedians re-enacting how most people drive, this is how I roll when I'm in my Dad's '85 Olds". I mean who among us hasn't drove around in their Dad's gold Cutlass Ciera with a walkman and mini-speakers so they could blast their rap tapes? What, just me? I see. Moving on, the hypnotic drums and keys of Kneecaps make up one of my favorite beats on the album, and D's mixing of his love for hip hop with the story of losing his parents is pretty captivating. Solid song all around. Church organ provides the backdrop for Laundry Room, likely one of the most depressing hip hop song you'll ever hear. Well I should clarify that, as the most intentionally depressing hip hop song, as anything currently in the top 10 from people like Young Jeezy or Plies will likely depress you for a different reason.
Anyway, I think this is a great album and I encourage everyone to check it out. It's short, so the dark subject matter doesn't have a chance to get old, and every song is strong in it's own right. I said this about DL's album "simply put this is the best Canadian hip hop album I've heard this year and likely one of the best overall", and I think it goes ditto for The Book, so have yourself a listen.
myspace :: label :: buy CD :: iTunes
Quick hitters:: Joe Pug Nation of Heat EP
The problem with driving across the country and randomly leaving the Ipod on shuffle is over those 7200 kilometers, I heard so many good songs that I forgot about a few artists as I sunk into the endless road.
Luckily, last weekend it seems that Songs Illinois had a house show that featured three amazing artists and it made me remember an EP I've been listening to so much that my wife made me stop playing it. Sure, we already gushed about Jon Jackson - honestly if I had heard it in time it would have ended up as one of my top two albums of '07 - but somehow we've never mentioned Joe Pug on the hill.
After even one listen to Nation of Heat, you realize that Joe is one of those talents you stumble upon and are immediately blown away. At a mere 22-years old, he's able to conjure the spirit and skill of names people toss around too easily. Dylan, Young, Prine; all of these artists were able to transcend above their guitar playing, quirky voice and story telling narratives and start speaking for the every man. And like these great artists, when Pug floats a simple line like, "before we met I knew we'd meet" you wonder how it sticks in your head so effortlessly.
Pug - while obviously undeserving of comparisons to artists with songs that have spoken for generations and will continue to do so - has the ability to write a song that envelops you (I Do My Father's Drugs), somehow transforming a simple guitar and harmonica into something special, something meaningful, something that says what you want to hear.
He's able to seeing a protest song like Nation of Heat and make you believe in not only the song, but the young man singing it. It's hard to predict where this fresh faced folker is going to end up. Envisioning him playing for big crowds is easy, but more enjoyable is picturing him in a unheard of hole in the wall playing for a small collection of speechless admirers.
Monday, June 9, 2008
Quick hitters:: Jacksonknife
I honestly wish I could charge a small fee and help DIY bands get their work out in a way that helps them get attention on the blogosphere. I don’t mean full fledged PR, I just mean having an easy to download music section on a web site (not a myspace page) , help them avoid angering fickle bloggers with constant comparisons to acts like Radiohead and help them realize the importance of tagging their songs.
I know the latter may seem like a minor deal for most readers, but when you get hundreds of emails from bands and PR folk all talking about the next great thing, loading up songs with no tags is a sure fire way to have an album ignored. I guess that's the problem with getting those chunk emails; the people sending out the info to every blog on the web means they don't always think about the small details (or more accurately maybe, my listening habits are different from most).
Such is the case with Jacksonknife. The NY based band sent us a copy of their new EP when I was driving across the country, which I downloaded with the intention of actually listening to, but when I added their songs to Itunes they came up with no artists attached. As a result, they hovered down at the bottom of my list and didn't even get synced on my Ipod.
Which is a shame, as their EP - You Don't Know What You Are Talking About - is an incredibly easy listen. The songs are tight, thanks to the steady production hand of Kyle Johnson. The band uses elements of folk and swirling strings to give a bit of depth to their indie rocking guitars, and those little elements help front man Jeremy Kirkland's songs seem bigger than they actually are. Whether it's the little xylophone that dances around The Morning or the Motown swagger of the horns on Truthfully, Jacksonknife is trying to find a unique, fun sound.
And for the most part they do. I'm not sold on the out of place folk ditty, Catholics, and to be completely fair, The Morning is saved by a terrific chorus, but for a new band they seem to have a lot of the right pieces in place. I know the last thing NY needs is another indie pop hybrid band to be dubbed the "it group", and I wouldn't say that Jacksonknife qualify for that distinction.
Instead, they present a collection of songs that show promise and makes you wonder what's going to happen when the band sits down to write a full-length.
Old School Mondays:: Cypress Hill & Funkdoobiest
We thought for sure there was another song that sampled Duke Of Earl, and that was going to be song number two, whatever it was, but that know-it-all Google tells me otherwise. So it was plan B time, and plan B is usually look for songs by weed carriers. Well that's pretty easy with Cypress Hill, and the Ack quickly suggested Funkdoobiest. Personally I think Mellow Man Ace is my favorite of the Cypress Hill/DJ Muggs weed carriers, but I could not deny that the 'doobiest is solid, so we've got the B-Real featuring Wopbabalubop.
What can you say about Hand On The Pump? Can you name another song that inspired more white kids to scream about blasting someone with a shotgun? I can't. In retrospect, the lyrics are way irresponsible, but the song is so catchy that it's hard not to sing along. I mean that scratchy Duke Of Earl sample alone is addictive enough to make me love this song forever. Even awesomer is that the Duke of Earl isn't tied into the song at all, although apparently there is an old-school latino gangster movie with the same name, so maybe that's the connection. Muggs' funky guitar licks also play a big role in the songs appeal, as usual. Not sure Muggs always gets the credit he deserves when the great producers are discussed. And of course what discussion of Cypress Hill would be complete without a Sen Dog reference? Poor Sen, he wasn't a terrible MC really, and his hype man shouts were some of the best in the biz ("puffin' on a blunt!"), but following old-school, in-form B-Real on every track would be tough business for anyone. Anyway, on the off chance you haven't heard this, enjoy.
I'm guessing that when Muggs found Funkdoobiest, he was like "wow, these dudes are the poormans us". Crazy voiced frontman Son Doobie does indeed play the poormans B-Real role quite well, and the other dudes are, well, not really important. Not to discount the contributions of DJ Ralph M and Tomahawk Funk, but with Son, there would be no doobiest. Most people think to the electro-funk of Bow Wow Wow, when they think of Funkdoobiest, and that is a solid jam, but we went for the grittier Wopbabalubop. It seemed to tie in better because it features B-Real, but also because it, like Hand On The Pump, samples a classic old school jam - Little Richard's classic Tutti Frutti (it seems odd to call a song which many people know more from an Eddie Murphy skit a classic, but it certanily is. Note: I know most people don't know it from Eddie's skit, but that skit is awesome and I wanted to link it. "Honey, never wear battleship grey, 2000 sailors will try and board you!"). Anyway, where were we? Oh yes, Funkdoobiest. This is a great golden age song: great video, whooores getting their dance on in shady hotel rooms, a solid thumping beat that's perfect to do that dance with your arms going up and down that everyone did when they rapped during this period. What more do you need? I say nothing, enjoy.
Video::
Cypress Hill - Hand On The PumpVideo::
Funkdoobiest - Wopbabalubop
Sunday, June 8, 2008
The Great Canadian Mixtape Project:: Alberta
Alberta - land of oil, Gretzky, booming economies, terrific beef and sunburn causing ski hills - we pay tribute to you. Listen, we know we took forever trying to get this mix off the ground and because my IMAC is still in storage, we didn't even finish the cover art.
We apologize. We were waiting on some special tracks and then as soon as we got them, I had to move across the country. As a result, a few of our exclusives (Women, Ayla Brook) are now common fodder on the net (but thanks Ken, we appreciate the killbeat-style hustle) and a few other acts we wanted to hype up have stumbled into the spotlight. Regardless, without further ado, we present:
herohill.com presents:: hoodoo you think you are?
Probably our best name yet in this series - as the Hoodoos are some crazy rocks that populate Alberta and look like leftover sets from Young Guns. This mix is solid from top to bottom and we really didn't solidify the final track until last night when Ours To Destroy delivered a sneak peak of their new work and bumped one unsuspecting uke player from our mix. We were happy to find out that the province is chock-o-block full of diverse acts; Alberta hating hip-hop, tender folk, indie dance tracks about facial hair and of course a track or two about cowboys.
The funniest part of this mix is the live track we recorded at last year's pop explosion. The Dudes came out and people legit lost their mind, screaming and yelling and getting the boys to sign autographs after their set (note - they were the openers, but it was like they were The Stones).
There are some people you might have expected to make the grade - like Rollie Pemberton (though I guess he did show up to drop a guest verse for Dragon Fli Empire) but for the most part these are people we've enjoyed and want to help out. Also, to anyone who hasn't realized that Mark Davis is a huge talent, download the song and start paying attention to this guy.
Download the ZIP here.
Horse Soldier, Horse Solider - Corb Lund
What Don't Eat You Whole - Spreepark (MP3)
Alien Man - Ours to Destroy (MP3)
Grow Your Own Fucking Moustache, Asshole - The Wet Secrets
Alberta's Trying to Kill Me - Ira Lee (MP3)
Do the Right Thing (Live @ HPX-07) - The Dudes
Antisocial - The Whitsundays
Black Rice - Women
Nervous Habitats - Junior Bloomsday (MP3)
Shadowy Lines - Toy Singers (MP3)
Outside Inn (ft. Cadence Weapon) - Dragon Fli Empire
After the Morning After - Ayla Brook
It Hasn't Yet - Darren Frank
C'mon Baby Say Bang Bang - Jane Vain & the Dark Matter
Winter Beast - Hot Panda (MP3)
Somethin' Real - Touch & Nato ft. Wordsworth
Buried Them in the Water - Agnostic Mountain Gospel Choir
Burning Post - Mark Davis
This Beautiful Bottle - Lorrie Matheson
Steel Hard Heart - Field + Stream (MP3)
So, as always, enjoy the mix and please if you like what you hear go to a show or buy a record.
Up next? Well, it looks like we might be getting jiggy with Quebec so Mark Berube, if you are reading this, please send over that recording of Say It Ain't So.
File Under Awesome - and of course under Rumor
myspace
One last thing to cap our week... which might blow the minds of a lot of our Haligonian readers. A little bird has told me that Wolf Parade will be playing Halifax on August 6th.
So, if you aren't still OD-ed from Sappyfest, I would wager seeing them attack the Marquee (or at least I'd assume????) will pretty well finish you off. I saw them preview the new shit in Vancouver, and more or less, well my mind was blown.
Tying it in with the Adam Franklin news, here's a classic:
End of the Week
The new record - Momofuko (stream it here) - is surprisingly consistent and enjoyable. Like most records from seasoned pros, critics are saying it channels old Elvis, but regardless, it's a solid listen. To be honest after all I've read about it, I think Frank actually said it perfectly when he described the effort thusly,
"Momofuku feels much like a blend of those two records - the sonics recall The Delivery Man's rootsiness while the songwriting aspires to the ranginess of Cruel - and yet it's decidedly more likable than either."
Drop us an email or leave your name in the comments, and you could win one of two (2) prize packs from Filter that each contain:
- 1 copy of Momofuko on vinyl
- 1 copy on CD
- 1 poster
- 1 sticker pack
In other great news, Ryder Havdale has done some terrific work for White Whale records. After hearing Adam Franklin's take on "Shed a Light", he's gone and blown more than a few minds by getting Dan Boeckner to record a Swervedriver song and package them on a limited edition 7".
You should also note that White Whale signed the Toronto outfit, Tusks, who we previewed back in the day and their terrific EP is getting released in the fall.
Need more terrific 7" news? How about Vancouver's No Kids teaming up with... Mt.Eerie! They have released a super limited 7" that right now is only available across the pond, and may never see the light of day over here on North American soil.
Click here to order.
And last but not least... Paperheart Music is back in business and according to the label, "Paperheart Music is now a real cdr/netlabel under Creative Commons license. That means that our catalogue is downloadable FOR FREE but still available in cdr format!"
What's that mean for you? Well, how about a ton of MP3s from artists like, Paperweight, .Nude, Mycatisgreen (aka - Seb from Paperweight) or crazy rarities like Rick White covering Dirty Feet by Julie Doiron from the incredible JD tribute record!
Go Germany. Go Celtics.
Friday, June 6, 2008
Fun Video Fridays:: Abdominal & D-Sisive
The first is from DJ Format's last album, If You Can't Join 'Em… Beat 'Em, and features D-Sisive and fellow Torontonian Abdominal having a dance-dance revolution style rap battle. Cool song, fun video, enjoy.
Video::
Abdominal, like D-Sisive, is another Canadian MC that I enjoy immensely, but doesn't seem to get much press here. Well, let's do our meager part to spread the word with a rather enjoyable song & video from another DJ Format album - Vicious Battle Raps. The video is kind of simple, with Ab playing the role of one-take-jake as he goes for a walk and kicks some punchlines along the way. Simple concept, but there's something appealing about it that I like. Anyway, there you go, enjoy.
Video::
Reviews:: Ayla Brook After the Morning After
It was quite a surprise to see Ayla Brook getting some love on Song Illinois the other day. Not because he doesn't fit into Craig's normal style of music, but because for a while, it seemed that other than the Winnipeg Airport (which routinely plays his songs), herohill was the only one that paid AA Soundsystem or his solo work much mind.
So now after all my lollygaggin', Craig has gone and said most of what I'd want to talk about with Ayla's new solo record, leaving me searching for any original thoughts. Let's see. Recorded in an empty farmhouse, with nary a drum to be found? Check. A nice Stones vibe? Check. Really the only thing he didn't get into was the incredible backyard, 70's jam session feel of the album. It's chock-o-block full of foot stomps and hand claps and littered with eyes closed, sing at the top of your lungs harmonies just off in the distance (like on Worth The Drive - which also has the terrific line, "met my girl at a Swifties show, took it as a sign not to take it slow") .
To be completely honest, this is how I like hearing Ayla. Stripped down numbers that don't depend on many, with less effects really works for him. He played a quick set at the Railway Club in Vancouver last year, just just him and some broken pedals and the intimacy of the songs and the fact the place was full of friends singing along with made me feel like somehow I was sitting in a kitchen, just shooting the shit listening to other musicians play for a select few.
The lead single - After the Morning After - is simply terrific. A rootsy, blues sound (hence Craig's Stones nod) with terrific group vocals, this track is one you just want to listen to over and over again and one that could fit perfectly into a Jason Collett record, but the whole record shows Ayla's versatile song writing. From charming folk ditties (Wake Up Early - the simple hand clap he adds just makes this song, Maybe I Could Be Your Man) to Deep South bluesy-folk back porch numbers (One Two Three), down-and out, tear in your beer numbers (Leaving Tonight) and a Weezer cover (Sweater Song - ha, I keed I keed, it's an original) - he explores most of the wrinkles that I seek out from musicians these days.
Summer is coming up fast, and this record is perfect for sunsets on the back deck as you watch the sky turn from blue to oranges and reds and people play old classics on guitars.
"I'm trying hard not to wake the neighbors, but I've got to sing loud to think straight."
I'm guessing not a lot of people will jump on this record (but they should), and selfishly, that's okay with me.
Live:: Jon Mckiel @ Hell's Kitchen
Just as an aside, is there anyway we can start these shows in Halifax when they are billed (ie. 10PM)? I mean it was a Wednesday, and the Ack and I are kind of old, we need to rest. Granted, it was our first show since the Ack's return, so we weren't too worried about the late start at first, but by the end we were dying.
Anyway, we had a few more photos and a couple songs from last night, so I thought I'd share them with you fine folks. Unfortunately I didn't get any audio from Brett Nelson or Mt. Royal (although I would've liked to have recorded Nelson's song where he played the guitar and recited survival tips, the bit about drinkable water behind a fisheye was interesting). I was looking forward to seeing McKiel play live, but unfortunately the evening was mighty long, and so we didn't see his entire set. But what we heard was pretty solid though, and I'd very much like to see him again when it wasn't 1:45 AM on a Thursday morning. McKiel has dates coming up across Canada in the next month or so, check his myspace for a show near you.
Quick hitters:: The 6ixty 8ights
There are way too many things going on right now to constantly be trolling the NET for new bands. I've just moved to Halifax, started working from a home office and yesterday our offer for our first house was accepted. Hell, even my beloved Celtics are finally relevant again and Paul Pierce is pulling Willis Reed type shit when he comes back to save the day.
As a result, it's hard to figure out who to write about. Seriously, my review list is getting bigger than a greedy kid's Christmas list and crossing things off isn't easy. I wish I could just chuck a pic, a link and an MP3 but that's not really how we roll. Anyway. Enough of this.
Toronto's The 6ixty 8ights certainly got their name right, as from the opening notes of The Way I Walk, it's obvious that their foundation comes from Kinks/Beatles/Costello friendly pop sounds that could have been found in a time capsule from the same year. Like most outfits who venture into that late 60's sonic pallette, they do have a few tracks that stumble but I'd be lying if I didn't say they've got some killer hooks and really settle into that sound we all wish the the Strokes still played. Their record - Pica Electric Armada - has been a pleasant surprise, even if I missed it's release last year and hadn't heard about the band until about two weeks ago.
The thing that really works for this band is how they seem to have a great balance of tracks that sound great on record - Big Elis Wheel uses soft hand claps, and the band even adds an almost Pinback like breakdown out of nowhere - and ones that probably take on new life when they hit the stage (Feel You Slipping Away and Nothings The Same).
But the songs that really gives me hope about this band is the driving Beijing Soldier. It starts off as a simple pop track. A nice drum beat pushes it along, but the band shows they are more than a paint by numbers as over the course of the 6-minute song, they let the riff gradually break down into a wash of noise, sludge and shouting vocals. It may not seem like much, but when your world is often viewed through rose-colored kaleidoscopes, the stark chill of reality hits hard.
Thursday, June 5, 2008
Reviews:: Women live @ the Marquee in Halifax
myspace :: label
If the early buzz on the impossible to Google, Calgary-based band WOMEN is any indicator, these young dogs can hunt. Mixing experimental noise bursts with surprising groove filled riffs and crushing percussion, this four-piece is going to be one on the lips of a slew of critics at year end.
Here's the skinny. We were waiting to talk about them because they played here in Halifax last night and they are the type of band that becomes that much better when the adrenaline starts flowing. Well that, and to be honest, we didn't think they'd catch on so fast. The staccato bursts and challenging listen doesn't usually translate for such a quick embrace in Blogtown USA, especially when it's a young band from Alberta.
I can easily see why - talent wise alone, they are writing terrific songs - but more evident is the constant link to their label mate and producer, Canadian lo-fi recording wizard, Chad Van Gaalen. They have seamlessly embraced not only the recording techniques Chad favors, Women also effortlessly mix noise, static and infectious hooks. I know, I know… you've heard this all before about hundreds of bands and before last night, I would have been skeptical too. But, after seeing them absolutely crush an all too short set last night at Hell's Kitchen, it's hard to imagine Women being the next big thing coming from the Great White North.
The self-titled debut is only 29 minutes, and really is more a collection of truncated ideas surrounding five more structured tracks, but live the songs, much like the plethora of equipment the band uses, mesh together into a surging, morphing mass. The set was energy filled, driven by Matt's thick bass lines but it was fueled by front man Pat's spastic guitar and yelps, and Mike's crashing percussion. They were able to balance the experimental noise with tight interaction and sounds that made heads bob.
On record, you quickly realize that the tracks are incredibly creative, but still accessible and rather than play that sounds like game, I'd rather just give them credit for being a young band that is making waves because they take big risks. But the sign of greatness is confirmed when they hit the stage. You really get to see that this band isn't trying hard to find a sound that critics like, and as the few lucky people who showed up last night can attest to, the sound is something that comes from deep inside their souls. This might be the first time you've read about them on the hill, but it certainly won’t be the last.
Here are a couple of tracks we recorded last night, Black Rice and a medley of two tracks we couldn't identify, but sounded stellar.
MP3::
Women - Black Rice (Live @ The Marquee)Women - Unknown Openers (Live @ The Marquee)
Album tracks:
Group Transport Hall
Black Rice
Quick hitters:: Chauchat
Sometimes you forget about the little man. With all the bands getting crammed down your throat (like Barkley), it's tough to remember to head to labels like yerbird and take the time to smell the roses. Luckily, the last few days, I've been hanging out in Morgan's cyber world falling in love with a terrific new band - Chauchat.
Whether named after the character from Thomas Mann's terrific novel - The Magic Mountain - or for the backfire heavy machine gun, Chauchat exists to challenge themselves (and you) in every way possible, forcing yourself to look past any pre-conceived notions or ideas. They even challenge the limits of what you'd expect from the lil folk label that could.
The Lancaster PA outfit shows traces of tortured folk - like the intro to the terrific Yoko Turns 71 - but sample from a much broader stylistic palette as the song slowly adds adds swirling guitars angelic aahhhs in the distance that create a warmth around the notes. It should be noted that on the surface, Chauchat plays tracks that seem simple. They often rely on warm fuzz and well placed builds, but it's the little intricacies that really make the songs work. With every detail well thought out, you can see how they ignore little mistakes that might be made, allowing the imperfections to define the emotion and add a human element to a normally fantasy filled genre.
Instead of only creating hazy dreamscapes that float along, Chauchat's subconscious seems almost troubled, like they are afraid to close their eyes for the night. As their dreams take shape, it's almost as if they are opening new wounds without ever letting the old ones heal. I Grew Up In the Shadow of Your Death Drive moves in a chaotic thrash and ends with a feverish shock, like when you wake from a tormented sleep covered in sweat, gasping deeply for air.
Wednesday, June 4, 2008
Fresh off the Presses:: Lorrie Matheson In Vein
I know the first five drinks they weren't free, but god damn they sure made me feel that way.
Really, that gripping, desperate lyric from Lorrie Matheson's This Beautiful Bottle should be enough for any Canadiana fan. It reeks of solitude, depression and is exactly what root music thrives on: a story about a man, left with nothing but the bottle and the false friendship of the man pouring the drinks.
But Matheson is more than a roots artist, as he refuses to walk along the same old, dusty path. The Calgary-based artist is fixing to release his new record - In Vein - and it's a diverse listening experience. Sure, he can write a confessional like Falling Down Sober and make you feel a pang of sympathy for a man who just can't get passed his demons, even when he's trying his hardest to move on, but this record has a lot more wrinkles than you'd expect.
The record opens with the vocal distortion of A Hollow Wind, but the track quickly shifts into a reggae tinged, horn laced stomp. The piano bounces along, keeping time with the drums and leaves the rest to Matheson's vocals. Another Seven Minutes (Shot to Hell) follows the same pattern, as Matheson draws your ear with an ironic, almost uplifting breeze and a nice Avett Brother-ish section to freshen up the dark subject matter of song.
That's why this record is so engaging. He's able to change pace with countless styles that still manage to fit together like a coat of many colors. Whether it's a classic singer songwriter piano epic like Down On the Main (even though he adds some terrific horn work at the end of the track), a folky, back porch ditty like Blues From The Register Side, a spare, electro effort like Gone or simply adding some computer blips and bleeps to down and out anthem like You Can Curse the Dark, Matheson makes you want to keep listening. It's an amazing talent to make your voice be heard when it rarely creeps above a whisper, but one Lorrie has in spades.
Reviews:: William F. Gibbs My Fellow Sophisticates
It's a shame most CDs come with stickers that are jammed to the gunnels with RIYL and hyperbole laced descriptions. As I flip through the countless records on my desk, seeing that an artist might sound like, oh I don't know, M Ward, Langhorne Slim or Ryan Adams, increases the expectations to a staggering height. I know those are there to help the record bubble to the top of reviewers piles (note, it rarely works), but for a poor fella like William F. Gibbs it really pigeon holes a creative artist.
Now, at times I can see how the comparisons really fit (like the prototypical Adams sound on the nice piano tracks Oh Pollyanna and Ankle Deep In The Atlantic), but Gibbs song writing is really more soulful and genre bending than those listed on his one-sheet. Now, I'm not trying to say he should be placed above those great artists, more that he shouldn't simply be lumped into the masses that try to emulate them. On LA Money he shows that he can craft a soulful, Amos Lee like ballad. It's laced with nice acoustic guitar and organs and Operate is an almost Brit-pop, heavy falsetto, piano number that catches you off guard, but he his work really crackles when he takes his style down to the Bayou.
You can't ignore the horns and piano breakdown that dominates the last half of Darling, You Were Beautiful Once, especially after Gibb's vocals builds the intensity for the first three-minutes. Here Comes Your Steamboat Brother! Here Comes Your Freightline Sister! And Brother John! have a bit of that Cajun swagger mixed with some Red Elvises guitar styles. When the high pitched, 50's female vocals come out of nowhere on Here Comes.. or the piano dances behind hand claps, shouted choruses and strings on Brother John!, his music is about as far away from what you'd expect as it could get.
If I had to pick faults with his constant sound shifts, it's that probably he tries to do too much with this record. Streetfighter - which doesn't reference Van Damme or Deion and Hammer collabo Straight to My Feet - is a disco, funk heavy track that explodes (or maybe implodes) before you. It sticks out like Ginobli's nose and really makes it hard to recover when he shifts back into a more familiar style on Tomorrow Never Comes.
Reviews:: Hey Rosetta! - Into Your Lungs
...still here? I thought you might be. If you're a loyal reader of the hill, you know I couldn't review the cereal I had this morning in one word (milky...cereal baby! See), let alone an album on the scale of this one right here. Everything about the this album is on a grand scale, from the title (Into Your Lungs (and around in your heart and on through your blood) is the full title), to the lengths of the songs, the depth of the lyrical content, and the sweeping musicianship found throughout the album.
Pulling off an album of this scale is no easy task, it takes both skill and smarts, and Hey Rosetta! is a band with both. Front man Tim Baker is no dummy either. He writes some beautiful, poetic lyrics, as the very first verse shows: "what's to come only fate can show, see her move like a toreador, wielding her cloak and sword". I actually love that line, and I'm a big fan of Baker's lyrics in general, but twelve songs (at over five minutes each) of material like that could get kind of heavy.
But Baker clearly realized this a while ago, so he surrounded his lyrics with the expansive sounds of the five other musicians that currently make up the band. And not to say the band didn't do some great work on Plan Your Escape, but their contributions are more up front than ever on this album. Whether it's Kinley Dowling's violin on I've Been Asleep For A Long, Long Time, Josh Ward's bass work on Handshake The Gangster, or Phil Maloney's drumming on Red Heart, all the players get the chance to showcase their skills at one point or another, and the album is all the better for it.
The album also seems the better for the involvement of one Hawksley Workman, who came aboard as producer. Clearly he got the memo about aiming for the Epic on this album, as the songs often build from hushed intros into brisk rockers and then fall into hushed breakdowns so Baker can deliver a heartbreaking conclusion to his tale. Considering that the band is a six-piece, the sound would be pretty full as is, but Hawksley & Co. often round out the sound with piano, various horns (sax, tuba, trumpet), some choir-style backing vocals, and even in one instance the lovely instrument that is Jenn Grant's voice. It all usually works in my opinion, and more is more where Hey Rosetta! is concerned.
If you're asking me (and you're here, so that implies you are), Hey Rosetta! has very much delivered on the promise their EP showed and is certainly justifying the hype bestowed on them by Hawksley and others. If you've yet to check out this band, wait no longer.
myspace :: web :: buy it from Zunior
Tuesday, June 3, 2008
Reviews:: The Golden Hands Before God Here EP
Sometimes you stumble upon a band that you really want to get behind. The trouble is, in today's over saturated blogosphere, you usually end up trying to hype up a band that is already showing up on more blogs than adsense banners. Well, one that hasn't bubbled over but most assuredly will is the The Golden Hands Before God. When I reviewed the demos they sent me I said:
You get caught up in the head nod state that bands like Mazzy Star and BJM do so well. They play the type of songs that leave your feet cemented to the floor, eyes closed just soaking it all in as you explore your subconscious. The subtle textures of acoustic, electric and percussion weave around each other, and from the country-tinged acoustic that starts Interlude to the slow burning build and shimmering textures, not a note seems wasted or out of place. And this is all before the levels have been fixed.
Now that they've finished the recording of their Here EP, they expose a lot more styles and diversity. Sure the dream-like, blissful fuzz is still present and accounted for (like the terrific The Ladder or Interlude), but tracks like Communist Party show that the band is just as eager to melt your face with some classic rock. I had high expectations for this Pop Echo release, and I can honestly say that all were exceeded. Look for this on my Best-of list in at years end.
Talking Points:: Hand'Solo Records Mixtape
I don't often talk about mixtapes on the hill, but when I do, I usually make some mention of how I don't review mixtapes (yes it is contrary to keep mentioning that in posts about mixtapes, I shall stop). But, considering the connections Hand'Solo has with Halifax hip hop, and the time and effort that has clearly gone into this Uncle Fester-mixed effort, I needed to give it some coverage. Basically it features a ton of solid underground Canadian MC's matched with beats that have appeared on previous Hand'Solo releases. It's good stuff, but here's my thoughts on the songs, talking points style:
- The intro features OK Cobra's Fritz the Cat doing a College Boyz style phone-freestyle, before it blends into a Buck 65 feat. Stinkin' Rich song which must be from the time he was transitioning from his old moniker to his current. "Fuck you and the brushes you paint with" is a good line though.
- Saskatoon's Epic is an endearing MC, if that's possible. He rhymes like a frail man who woke up from a coma 2 days ago, but he drops lines like "I'm a left-wing Canadian like Steve Shutt", which are hard not to enjoy. Touch joins him for a fine verse on Rhyming Into a 4 Track.
- Dartmouth native and current Vancouver (I think) resident Tachichi does some fine work over a Buck 65 produced beat that sounds like it samples a didgeridoo. Which is solid.
- Tour de Gallows features another Buck 65 beat, this one very serious sounding with a thick bassline, and it is laced with some equally serious rhymes from Halifax(now Edmonton)'s Jesse Dangerously and Modulok from Red Ants. After reading the track listing, I was looking forward to hearing these guys matched up, and it didn't disappoint.
- Out of the MC's I wasn't familiar with on the album, Toronto's Royce Birth might've made the most impression on me: "I might forewarn ya, appear out the clear blue and PM Dawn ya". Good stuff.
- Ira Lee is as clever as ever on Just Let It Happen, but I think Wordburglar steals the show with his verse that features him doing a spot on imitation of Buck 65. At least I think that's what he's doing, but I enjoy it either way.
- Epic returns with a wacky ode to Edmonton Oilers forward Ales Hemsky. I suppose the fact that it's about a mid-level NHL player means I could've left "wacky" out of the previous sentence, you would've figured that out.
- More Or Les is someone I've wanted to cover before on the hill, but hadn't managed to as of yet. So I was happy to see he was on this mix, and he's paired with a DJ Moves-produced beat that features some solid olde english trumpets on Talk 2 The Hand (Solo). I would like to hear, umm, more, from More Or Les. Yowtch.
- The last 1/4 of the album has a bunch of pretty excellent posse tracks. The Ripped Thong Song, Keep The Channel Locked, and Heads Up (American Pie with Canadian Bacon refit) feature a number of MC's (many of whom are American: Cas Uno, Esh, Big Ref, Myf, Xczircles, Megalynk 3) I didn't really know, but the beats are pretty sick, so these are all pretty enjoyable.
- The mix also serves as a good intro for Halifax & Hand'Solo's own Wordburglar as he's on a few songs. Burg is the king of punchlines in Canadian hip hop, well I just crowned him that, and his The WBmix helps wrap things up and also serves as the first single from the mix.
Sounds good no? Get a copy yourself today via download or just fire up the paypal and send $10 to handsolo@primus.ca and you'll get a CD copy.
Reviews:: The Two Koreas Sessions EP
There's a terrific scene in Ratatouille where the spindly armed, long faced critic realizes that at best, his words are still nothing in comparison to those who create even the most mediocre product. I've always believed this to be true, which is why you never really read scathing reviews or quick dismissals on herohill. So, before we get started I'll just admit that it's easier to throw this out there and move on. Front man Stuart Berman writes for Pitchfork as well as the highly credible Eye Weekly, but rather than hiding behind his pen (errr… keyboard), his band - The Two Koreas - opened themselves up to the harsh ears of their peers.
The thing is ... The Two Koreas really know what they are doing. Sure, a cynic could say of course music critics can write music that impresses other music critics, but their modern take on '77 style punk hits you in the jaw with swagger and disdain, but they add more than enough melody to keep you bouncing. They site the right influences (VU, Stooges, Steely Dan), but the band never seems like they are trying to ape any of the acts. In fact, despite drawing from the same sonic library, The Two Koreas seems to be doing their damnedest to make sure you never try to lump them into those all too common descriptors.
So why am I talking about them a year after their last record dropped? Well, they are about to release a live recording from XM Radio session - cleverly titled, Sessions - which features a collection of tracks from their first two LPs and a sizzling new one - Withering Heights - that will be released in EP form later this year. If you are new to the band, this is a great introduction. First thing first, the key to their sound is putting the huge bass lines front and center. Ian Worang leaves no fret untouched and his steady fills push Berman's vocals along and let Kieran be creative with guitar bursts and riffage.
Instead of solely focusing on Berman's piss and vinegar, you want to get up and dance. Instead of hustling for artistic appreciation, The Two Koreas are more concerned with their fans drinking some pints and having a good f*cking time. Whether it's the driving pulse of Steely Can, the machine gun drumming that finishes off Cloth Coat Revolution or the straight ahead, no bullshit of Boy Teen Oslo, this EP should find a spot in anyone's collection. Plus, it's a vinyl only release. Would you expect anything less from a group of writers and critics?
Monday, June 2, 2008
Contest:: Win Tomcat Combat's New CD & Ticket to Release Show
Word to the Genius. Well, we have no LP, double or otherwise, but the Ack and I are reunited, as he's finally made it back to Halifax after a long roadtrip across the country. And I don't know about the world, but Ack and I are excited, and we're passing that excitement on to you in the form of free stuff. Is there a better way to celebrate? I think not.
Anyway, I think this is actually the first Halifax-based contest we've had on the hill, and so we're long overdue to hookup some folks in our once-again homebase. What we have for you today is a copy of the new album from Halifax instrumental heroes Tomcat Combat, I'm Okay, You're Okay, and a ticket to their CD release show June 14th at the North Street church here in Halifax. We have 2 of these packages available, so just add a comment or drop and email to herohill [at] gmail dot com with your name and we'll select two at random. You'll have to attend the show to get your CD, so if you're entering, please ensure you can actually make it out.
We had the chance to chat with Tomcat Combat before their show with Don Caballero at the pre-show for last year's HPX, so if you're looking for more info on the band, you can check that out. Also check out the two songs from the new album below, solid stuff in my humble. So don't wait, enter now!
Quick hitters:: The Paper Cranes
It figures that once I leave BC, I finally give some love to a band based out of the province I called home for 3 years. When The Paper Cranes wrote I'll Love You Till My Veins Explode, well, they basically channeled everything that was terrific about Robert Smith and his black makeup brigade. The duo from Victoria was able to match the Cure's misery and malaise over hand claps, synths and pep.
It would be easy to hide behind such a terrific song, but the consistency of the album really surprised me. As soon as the piano that starts off the catchy as hell 100 Years War mix perfectly with the fuzz and Ryan McCullagh's effortless falsettos, you start to think that this band might just be the real deal. In fact, most of the tracks on Halcyon Days deliver.
Without question the songs hit you with a heavy dose of melancholy. Ryan let's you know how easily love can rip you apart, but honestly, getting your heart broken shouldn't sound this great. The darker sounds of Cobwebs or the terrific bass line, cowbell and unashamed Morrisey influence that perk up Middleclass Guilt all flow together nicely and make your thoughts drift to times when John Hughes flicks were more than just cheesy movies you watch while you nurse a hangover on Sunday afternoon and when a song said described everything you stood for in a peppy three minutes.
Reviews:: Black Diamond Heavies A Touch of Someone Else's Class
When I talked about the debut record from the Black Diamond Heavies (review here), I made mention that they toed the line between heaven and hell, between sainthood and sin on almost every song. I talked about how rough and raw the keys were and how the kit exploded out of my headphones. I also talked - repeatedly to anyone who would listen - how kick ass these two men were.
Well, after what seems like an eternity, they are back with their sophomore release, A Touch of Someone Else's Class, and it is full of progression and changes. Sure the lineup is still in tact and some of the influences remain the same, but BDH don't seem as concerned with where they will end up when their time is up, knowing life is what it is and the only thing you can do is enjoy the ride. Aside from the terrific Nina Simone cover (Oh, Sinnerman) and the reference to Balaam's talking donkey on Numbers 22 (Balaam's Wild Ass), Leg seems to have stopped worrying about what the man above thinks.
Even on the most soulful ballad (Bidin' My Time), Leg's pontification is replaced with regret and questions about himself and the sound is bolstered by stellar backing vocals (courtesy of the Tour-ettes). It's much more personal, more fleshed out and really shows that BDH are more than just a killer blues duo that can make you spill whiskey and sweat as you stamp along on the floor.
Sure they can still hit you in the mouth with some blistering numbers - Make Some Time, as my grand dad would say, shakes like a dog shittin' razor blades under the weight of the heavy feedback on the keys and Van Campbell obliterating his kit and their take on Tina Turner's Nutbush City Limit is smoking - but they offer up a much more refined, even polished sound at times.
On the last record, they definitely drew from the RL/Model T Ford catalog, and on certain tracks - like the Model T cover (Take a Ride) or Everythang is Everythang - they still revisit those sounds, but they hit me more like the sessions RL did with Jon Spencer, right down to hovering back shouts. To me though, it's the huge shifts in sound that are even more shocking. Loose Yourself drifts to the edge of metal, with crazy arena choruses and thick sludgy sounds. Solid Gold is still a heavy jam, but it feels like the band (with the help of Dan Auberch) took the time to sand the edges - even if it was recorded in a mere three days. While this might be a bit concerning to fans that dug the first record, I'm actually surprised by how well the band makes the transition.
I could try to come up with something catchy to sum up, but the band found a little passage that totally fits - "Behold, as wildasses in the desert, go they forth to their work."
Old School Mondays:: Lord Finesse (Loss Of The Funky Man Edition)
Percee P was selected for a 1992 Source Magazine "Hip Hop Quotable" for his verse on Lord Finesse's "Yes You May", from the album Return of the Funky Man.
Well then, that's all I need. A Lord Finesse OSM was certainly in order, for a couple reasons. The first being that Lord Finesse is really rather excellent. He's one of those MC's for whom a a large portion of their awesomeness is tied to the fact that they have an awesome voice, Guru being the prime example of this phenomenon. That being said, I think Finesse was a bit more of a technician (or you might say, a funky technician if you wanted to turn the punnage up another notch) than Guru ever was, but he really does have a great voice.
The other reason I'll always a soft spot for Finesse and Return Of The Funky Man is because that tape was in my slick Sony yellow walkman when I forgot it in the classroom after accounting in grade 11. I hadn't had the tape long, but I thought it was awesome, and I was pretty sure whatever skiv ended up with my walkman didn't appreciate the gift of golden age goodness that I un-willingly gave them. Oh well, I'm happy for any chance to re-visit this album, so we have the the title track along with the aforementioned Yes You May.
Both tracks are produced by Showbiz and have that awesome DITC sound - tight drums, horns, basslines - that just feels like hip hop. Return Of The Funky Man features Finesse going for his with punchlines and battle raps ("trying to hang but they softer than baby shit"), and appropriately samples Guru in the chorus. Yes You Man is just a vintage posse cut, with Percee P. and the under-rated A.G. joining Finesse over a tight beat. I can certainly see why Percee's uptempo verse got the Source's attention, he can clearly rhyme his ass off. Makes me wonder why he never made a bigger splash, well other than the fact that the industry is gross and often rewards very un-talented people. A.G. also kills it in my humble, and Finesse brings it home. Really great stuff, enjoy these.
Video::
Lord Finesse - Return Of The Funky Man
