Herohill

Quick hitters:: Rae Spoon

2008-09-05T11:47:00.002-04:00

myspace

I am not an expert in every music genre, but really who can be? For example, I am relatively unfamiliar with trans gender folkers from Alberta, especially those switch it up and start dabbling in indie rock anthems, country and every genre in between. As a result, well, I wasn't up to speed on Rae Spoon until I talked to my buddy Ken at the Azeda Booth show (side note, Azeda Booth are fan-f*cking-tastic. Seriously, the record is beautiful but the live show transforms the slow moving, orchestrated electro jams into heavier, energetic crowd pleasers).

Any way, back to Rae. His previous work was more in the country realm, but the lead single from superioryouareinferior marks a big shift in sound. Come On Forest Fire Burn The Disco Down is a perfect combination of hand claps, infectious guitar and foot stomping, surging energy. It's pretty well impossible to not sing along when Rae hits the chorus and Rae has written one of the most instantaneous song of the year.

MP3::

Rae Spoon - Come On Forest Fire Burn The Disco Down

News:: Matt Mays & El Torpedo On Tour

2008-09-05T10:30:00.003-04:00

I don't base this on any official facts & figures, but by my calculations, Matt Mays is currently the 2nd most popular export from Cole Harbour Nova Scotia. The young chap holding down the number one spot seems to be doing well for himself. Mays and his band El Torpedo released their sophomore album, Terminal Romance, earlier this summer, and I, amongst others, thought it was a rather solid rock album. Well Mays & Co. have just started out on an extensive Canadian tour (with some US dates added to the mix), so if you'd like to find out how they rock it live, here's your chance.

In fact, the tour is so extensive that if you're in Sydney, Northwest Territories tonight, you can check out Mays & El Torpedo at Smooth Herman's. The only problem there is that Sydney happens to be Cape Breton, Nova Scotia. Cape Breton might feel like the Northwest Territories to someone from Toronto, but it is most assuredly part of Nova Scotia. Someone at the PR firm handling Mays' press either has a pretty good sense of humour or their Canadian geography is a tad lacking.

Anyway, now that we've got that Maritime pettiness out of the way, I suggest you check out the video for Tall Trees below (mainly because Mays drives what appears to be a Delorean during the video, which is all right. He drives along Marginal road on the Halifax waterfront, which happens to pass by the Garrison Brewery, maker of some very tasty beer. If anyone reading this happens to be from Garrison and you'd like to work out some kind of sponsorship deal with the hill - we shamelessly accept). Also check out the bands' tour dates and see if they're making a stop near you.

MP3::

Matt Mays & El Torpedo - Building A Boat
Matt Mays & El Torpedo - Tall Trees

Video::

Matt Mays & El Torpedo - Tall Trees

Sep 5 2008 Smooth Herman’s Sydney, ~~Northwest Territories~~ Nova Scotia
Sep 6 2008 The Ditch/St. Francis Xavier University Antigonish, Nova Scotia
Oct 1 2008 Middle East Upstairs Cambridge, Massachusetts
Oct 2 Jammin' Java Vienna, Virginia
Oct 3 2008 Piano’s Bar New York, New York
Oct 7 2008 M Room Philadelpia, Pennsylvania
Oct 9 2008 Club Cafe Pittsburgh, Pennsylvania
Oct 10 2008 Beat Kitchen Chicago, Illinois
Oct 15 2008 Garrick Centre at The Marborough Winnipeg, Manitoba
Oct 16 2008 Odeon Events Centre Saskatoon, Saskatchewan
Oct 17 2008 Dog House Rocks Medicine Hat, Alberta
Oct 18 2008 Edmonton Events Centre Edmonton, Alberta
Oct 21 2008 BJ’s Grande Prairie, Alberta
Oct 22 2008 Blue Grotto Kamloops, British Columbia
Oct 24 2008 Sugar Nightclub Victoria, British Columbia
Oct 25 2008 The Commodore Ballroom Vancouver, British Columbia
Oct 28 2008 Red Deer Memorial Centre Red Deer, Alberta
Oct 29 2008 Flames Central Calgary, Alberta
Oct 30 2008 Pump Roadhouse Regina, Saskatchewan
Nov 1 2008 The Outpost Thunder Bay, Ontario
Nov 4 2008 Barrymore’s Ottawa, Ontario
Nov 6 2008 The Phoenix Concert Theatre Toronto, Ontario
Nov 11 2008 Elements Nite Club Kitchener, Ontario
Nov 13 2008 Cowboy’s Ranch London, Ontario

Reviews:: Kellarissa Flamingo

2008-09-04T18:24:00.002-04:00

myspace

It's only fitting after talking about No Kids all week that I spend some quality time with Kellarissa. Former p:ano and current The Choir Practice member Larissa Loyva made the decision to go solo and Mint was smart enough to pick her up. Her debut record, Flamingo, is fixin' to be released on Sept 9th and you'd have to be a cold soul to not feel a little rush of warmth when you hear the quirky synth driven tracks.

Obviously, a record full of synth jams, especially one from someone as creative as Larissa, is going to have hits and misses but she manages to balance her artistic side with surprising accessibility and the end result is a pretty balanced record. I'll Sing of Kings is the perfect opener, as Larissa opens up over a simple piano line and with an effortless falsetto she's able to comfort the listener. Her swirling vocals works perfectly with the staccato notes that start Night Wind and slowly and surely she adds layers of reverb and endless loops.

Loyva's biggest strength is how well she crafts emotions. Flamingo and Tiny Things shimmer like the sun, warming the affair, but she's able to switch gears completely as the notes of the title track fade into Pienet Sanat. The sounds flicker like a flame in a dark room and her hushed tones make the song feel like that most intimate of conversations - a secret meant just for you. She's able to craft a tense, haunting ballad like the introspective When Did I Become but never lets the darkness overpower the record.

By the time she ends with the bongo backbeat of the traditional Finnish song Taivas On Sininen Ja Valkoinen, Loyva has exhausted every possible emotion you can think of. Her record might not be for everyone, but it's full of personal moments that transfer easily to the listener and I've found myself letting it loop over and over all day.

MP3::

Kellarissa - Flamingo

Reviews:: Moka Only - Claptrap

2008-09-04T10:39:00.002-04:00

Trying to review a Moka Only album is like trying to review fall: You know it's coming every year, but you aren't exactly sure when, you don't remember much detail from last time, but you know you enjoyed it, and based on the rich memories you have from last time, you're pretty certain you're going to like it this time around. Or something. There's a metaphor-laced intro that even the Ack could get behind. Anyway, Moka's latest release Claptrap came out about a month ago on Urbnet, and as you might expect, it's an enjoyable ride.

As played out as it is, I think I need to add the "enjoyable if you like what Moka does" qualifier to that last statement, as I imagine Moka's prolific and dusty, true-school steez may not be for everyone. But I will then qualify that statement by saying that if you don't like Moka, you're likely a picky so-and-so. I mean, putting it simply, listening to a Moka Only album means getting an enjoyable experience for very little investment. The songs on Claptrap are rarely longer than two minutes and change, and while Moka's lyrics are actually pretty engaging if you take them in, he does make it pretty easy to zone out. I don't mean to sell Moka short, his production is always solid - soulful and melodic while at the same time being chunky and gritty, and he possess a confident and versatile flow that makes his "everyday-life" raps better than pretty much anyone I can think of.

To give the whole "putting it simple" thing another go, I can't think of another artist who makes records that are more perfect for "vibing out" than Moka. I do, however, wish I could think of a better phrase than "vibing out" though - as that sounds fairly lame. But it is a compliment, as I've made it all the way through Claptrap's 22 songs quite a few times, whereas a lot of the hip hop albums I hear these days start to feel like work after five or six songs.

Having a bangin' opener certainly helps draw the listener in, regardless of how many tracks your album has, and the computerized-soul of the self-titled starter on this album is mighty addictive. As creative as he is, you'd expect Moka to switch things up now and then, and the dark thump of Summer Stalker is indeed a solid change-up from his normal sound. The jazzy horn loop and floaty background vocals on Trinity Hill bring back the summer vibes in a hurry. Mos Eisley from Sweatshop Union makes a cameo on the knocking Me and Mo, and helps to highlight the fact that some of these songs really are too short. Hotels has a pretty thumping beat with a dash of soul, and is perhaps the best song I've heard that references Super 8. Sh*t Talkers is an infectious ode to both spaghetti and the loose-lipped amongst us. Album closer And I Love Her finds Moka showing his singing chops and reviving his tradition of finishing off with a sung jam.

In the end, I like Claptrap quite a bit. It isn't tremendously deep or challenging, but who cares really. It's hip hop that's both true and enjoyable, and that's an underrated combo in my humble. Moka is simply one of the real true talents we have in Canadian hip hop, and he's pretty much always going to have my recommendation. Check out Claptrap for yourself.

MP3::

Moka Only - Claptrap
Moka Only - Summer Stalker

Vancouver shows for me:: No Kids, Azeda Booth, and the Agnostics

2008-09-04T00:52:00.004-04:00

I actually meant to throw this post up a few days ago, letting the good people of Vancouver know about some great shows that are happening this week. Obviously, the Victory Square Block Party was a big draw - I got to see No Kids - but tonight and tomorrow shows my favorite venue hosting two acts that are sure to make my Best-of list at years end.

First off - Azeda Booth is playing a show at The Railway Club. In typical fashion I have yet to see one flyer for this show, which is a shame as these boys from Alberta are amazing. I read a terrific review that describe the band nicely.

"Azeda Booth gets it right, somehow capturing the raw power and vastness of where we live and using that inspiration to create beauty. They pass on the buzz saw guitars that normally dominate the Alberta scene and resist the need for "epic" crescendos and false importance and seem to despise the "quiet, quiet, loud, quiet, deafening" pattern that you hear too often. The songs speak softly, but with a clarity and confidence that makes you listen… intently." (note: I wrote that review)

And to completely contrast those glacial paced sound scapes, Friday night shows one of my favorite discoveries this year tearing up the stage. The Agnostic Mountain Gospel Choir are exactly what you'd expect with a name like that - Delta blues, mountain music - but even better than you could imagine. I seriously haven't been this excited for a show in a long time.

MP3::

No Kids - Regrettable End
Azeda Booth - Big Fists
The Agnostic Mountain Gospel Choir - Go Back Home

Quick hitters:: The Hoa Hoa's

2008-09-03T17:34:00.004-04:00

web site :: myspace

It's hard for me to review bands that channel the Velvet Underground. They are probably my favorite band of all time, and sadly they have fueled far too many drug hazed covers/rehashes by sub par art school drop outs garbed in thrift store leather.

Enter The Hoa Hoa's.

When I heard the first few notes of Yellow Jacket, I wondered how long I could handle they sounds I was hearing, but luckily I kept listening. Obviously inspired by the gritty NY scene, The Hoa Hoa's really get the whole balance the Velvets perfected. They mix the dirt of an overcrowded, unforgiving city with the infinite hope and beauty of the deepest reaches of outer space.

They venture into the trippy unknown, mixing soothing female vocals and drug hazes, but what helps the Hoa Hoa's stand out is how they manage to ground even the lightest grooves with a cold grip of reality; almost like when you start coming down and suddenly get terror stricken knowing you have to go out and find another hit. Somehow they manage to soften the hardest lines, but never let you escape your own existence.

Sonic Bloom is too long - fourteen songs, most of which top out over the 4-minute mark is simply too much and forces the songs to start to blend - but it's obvious that the Torontonians certainly have the chops to pull this sound off. The rough edges that pierce through the haze give the record a much needed punk edge, forcing the crowd want to push and move instead of sway. They aren't perfect, but too much polish goes against what this style of music is all about.

MP3::

The Hoa Hoa's - The List

Quick hitters:: Oh No Forest Fires

2008-09-03T11:31:00.002-04:00

myspace

Right now my life is in chaos. My job is a complete mess. I'm back in Vancouver to try to figure out what is going with the integration of my company - this is the polite way of saying I have no idea if everyone from my team is being made redundant - and whether or not I'll have a paycheck in a day, week, month or year.

The company is handing out pink slips like it's a Victoria Secret sale and as a result, my days are filled with tense meetings and general anarchy. Needless to say, pristine pop is not really settling into my moods these days.

That's why I've been shuffling back to Oh No Forest Fires so often. The two new demos they are giving away on the ole myspace are terrific and if they are a glimpse at what their upcoming album - The War on Geometry - has to offer, we are in for a treat. Unlike a lot of bands that try to control the uncontrollable by adding more layers or members, this Toronto based quartet uses only the bare essentials to to turn disorder and general unruliness into moments of brilliance.

Swing and a Misdemeanor is a cloudy mix of drums, guitar and bass but somehow the band keeps it all together with nice dueling vocals and shouted "hey"s. Usually I tire of proggy builds, but with Rajiv's vocals driving the song forward, the guitars dart and weave around, over, below and through each other in a way that make you think the train is about to fall off the tracks at any second. You Know What That Is... Trouble turns a chaotic intro into a embraceable piano pounding pop song, but they make sure to leave the rough edges in tact and build to another heavy outro. I'm fairly new to this band, but I'm more than a little intrigued by them. I have no idea when the record is hitting the street, but I for one can't wait.

MP3::

Oh No Forest Fires - Crimes and Misdemeanors
Oh No Forest Fires - You Know What This Is... Trouble

News:: Rich Terfry Has Drive, Rich Aucoin & The First Aid Kit Play Live

2008-09-03T10:30:00.003-04:00

These things have nothing to do with each other, but separating them would mean two posts, and here at the hill we're all about giving our readers the info they need in the most concise manner possible. Well, either that, or I'm too lazy for two posts. Yes, on further review, it must be the laziness.

Anyway, on to the newsy bits. I'm sure many of you have heard, but for those who have not: Mount Uniacke's own Buck 65 started his new radio show on CBC Radio 2 yesterday. Or rather I should say Rich Terfry started his new show yesterday, as Buck has chosen to undertake this rather grown-up endeavour with his government name (I was hoping he'd use his old nom de radio, DJ Critical, but no dice). I hear some funless classical types are upset that Rich and his musical mashup is replacing their beloved Jurgen Goethe. I can't say I'm one of them. I wasn't sure we even got Radio 2, let alone what frequency it was on before tuning into some of Rich's show yesterday (it's 102.7 in Halifax, you can find out yours here), and surely I wasn't only the new listener.

So if you're looking for something new to listen to between 3 and 6 on weekdays, I'd give Terfry a try. I don't think he picks all the music, but it's eclectic (while I was tuned in yesterday: Sweatshop Union, Alex Cuba, City & Colour, Plants & Animals, Sharon Jones & The Dap Kings, Blackie & The Rodeo Kings) and better than, well, pretty much any other station I can think of. Plus, as roughly 75% of his songs would indicate, the guy is a pretty good storyteller, and who doesn't enjoy a good story from their radio program? Come on grumpy old classical folks, I know you like stories too!

If it's live music you're looking for, then I have a show you might not want to miss on Friday night at the Marquee. It is as follows: Rich Aucoin, The First Aid Kit, The Rhythm Method, Pete Samples, These Hands. For five bucks, you'd have to work mighty hard to beat the entertainment value that a solid lineup such as that can provide. Other than the borderline ridiculous Rhythm Method and Pete Samples, we've covered everyone else on the hill (Rich, TFAK, These Hands), so if I think all the ecstatic frosh that will no doubt be in attendance won't drive me batty, I may attend.

MP3::

Buck 65 - You Know the Science
Rich Aucoin - At War With The Cynics (An Opening)
The First Aid Kit - Rocket Summer
Pete Samples - Bobby Raindrop
These Hands - Zoe Montreal (Antique #1)

Reviews:: Chad VanGaalen Soft Airplane

2008-09-02T15:57:00.003-04:00

myspace

"No one knows where go when we're dead or when we're dreaming."

After powering through most of God Is Not Great on the plane yesterday, it's hard to immediately change gears and spend time questioning what happens after you die. That being said, when the questions come courtesy of the beautiful songs Chad VanGaalen wrote for Soft Airplane, the experience is a rewarding one. Chad has always written tales of death, murder and rage, but in a way that forces you to start asking the same questions and feeling the same emotions.

I read an interesting review of the new Okkervil River record on Rawkblog where Dave mentioned that "critics as musicians are failures, much more often than not; they know too much to fuck up, which is unfortunately a preventative measure to playing rock 'n' roll music." If that statement is true, the other side of the coin would indicate that only when a musical soul is secluded from the shouts and whispers of the critical public can true greatness or incredible failure occur. Such is the case for VanGaalen.

I hesitate to rely on the easy play of labeling him as a musical recluse riddled with insecurities when I talk about his songs, because that cheapen the success of this record. Even if it's only subconscious, those words force the reader to think the sounds were contrived by luck or simply good timing; the result of someone stumbling upon the combination of sounds without much thought and that couldn't be less true when it comes to VanGaalen.

He's obviously a unique man with social anxiety and an unquenchable thirst for creative expression and as a result Soft Airplane is incredibly spontaneous and challenging, but at the same time multiple listens show how well the record is thought out. Sound effects, textures and emotion are nestled into the folds and corners, and until you can listen to the complete song, you aren't really hearing Chad's visions.

The opener, Willow Tree, is more or less a banjo-driven tale, but in true VanGaalen fashion it is all questions about death and what to do when he dies. The simple banjo riff is ear grabbing, but it's the development of the track that helps it work. The tracks grows just like we do; from simple tasks of youth to a reflective adult who questions our all too short time on this earth. Layer after layer of horns, self harmonies, accordion, xylophones appear and retreat with perfect timing and the 3:13 song is as powerful as any I've heard this year. Chad is secure and strong and at the same time racked with fear.

And that is what makes Soft Airplane great.

VanGaalen can pen a straight-ahead rocker or an intimate, folky ballad but for the most part he's able to blend his inspirations and influences into a sound that is unique to him. Tracks are picked up by ramshackle percussion and drum machine electro driven beats - TMNT Mask is a fantastic collection of sonic explorations, but he can soften tracks about death, murder and revenge with well placed, double tracked vocals, harmonica and xylophones or break them apart with static explosions.

At the end of the day, Soft Airplane is probably the best record I've heard all year - from Canada or anywhere else - and should solidify VanGaalen as the musical talent his fans have long been been screaming to anyone that would listen. He's taking everything great about his back catalog and improving on it with every song.

MP3::

Chad Van Gaalen - Willow Tree

Video:: Molten Light

Live:: Bloodsport, Hospital Grade, Just Barelys & Memories Attack

2008-09-02T13:11:00.004-04:00

As the Ack mentioned the other day, we hit the Seahorse Friday night for an evening of musical entertainment provided by Bloodsport, Hospital Grade, The Just Barelys, and The Memories Attack. These are all bands we (or I, I'll speak for the Ack here as he's in Vancouver for the week and likely too busy to even read this) were kind of only "myspace familiar" with (except for Hospital Grade, who I reviewed last week), and so we weren't sure what kind of show we'd get. What we got was one of the better shows we've attended since the Ack made his return to Halifax. All four bands delivered, and this time, if you happened to be within earshot of us, you wouldn't have overheard two old grumpy dudes complaining about how late it was and will the next band hurry up and play already.

I'm not going to go into great detail here, but perhaps a brief word about each band. Although the Ack and I are familiar with frontman Matt Charlton's work in various other areas, this was the first we'd heard from his band Bloodsport. They were a pleasant surprise, opening the evening with some catchy rock songs that grabbed our attention. The band also featured the antics of Petra's favorite CBC correspondent Tara Thorne on bass. Saint John's Hospital Grade were up next, and they kept the quality coming while kicking things up a notch. The songs from Secrets & Sawdust sounded very solid, and I thought the guitar work from frontman Jason Ogden and the fellas was especially good. These guys are vets, and I figured they're probably be pretty tight live, I'd say I was right.

I've heard The Just Barelys name plenty over the last couple years, but hadn't heard much from them. I had an impression that they were kind of light and poppy, which they may be on record, but they were pretty darn fantastic live. Looking forward to hearing more from them. The Memories Attack made it back to back 2-pieces to close the show, and they were also quite impressive. They were nice and loud, and are another band we'll be putting on the hill's watch list.

Great evening all in all, here's some pics and songs from the proceedings. I'm working on ID-ing the songs from the Just Barelys and the Memories Attack, but for now they are guesses.

MP3::

Hospital Grade - Walking Papers Too
Just Barelys - Wide Awake
Just Barelys - Sinister
Memories Attack - Something

Quick hitters:: Matt Bauer

2008-09-02T09:31:00.003-04:00

myspace

It's not too often that we post on a single song - one where we've given the entire album a brief pass over, but Matt Bauer is something special. I was leaving the No Kids show - which was a rare treat to say the least, as they rarely play out and it was free - and threw on my Zune expecting to hear Chad Van Gaalen.

Instead, it was the new Matt Bauer record that I had absent mindedly thrown in my reviewing queue and well, obviously he grabbed my attention. The Island Moved in the Storm is perfect. Emotional, spare, powerful and simply beautiful. I walked around Vancouver reestablishing myself with my old home with little chimes dancing in the background as Bauer's voice repeated, "It's so pretty. I can't stand it, it's so pretty. I can't take it" really powered the occasion and says more about his music than I can.

MP3::

Matt Bauer - Don't Let Me Out

Old School Mondays:: Here's To Us, The Best There Is Edition

2008-09-01T13:28:00.003-04:00

First off, happy Labour/Labor day, depending on whether you are north or south of the 49th parallel. Usually here on the hill we try to portray an air of modest confidence: secure in the knowledge that we're presenting you with some fantastic musical selections on a daily basis, but still trying to be humble & self-deprecating as to not come across like a couple of windbags. But if I've learned anything from hip hop over the years, it's that braggadocio and chutzpah can sometimes get you further than actual talent (certainly convenient for us, HI-O! Self-deprecate on Ron). Essentially what I'm saying is we feel we have a pretty solid site here, so what's wrong with celebrating that now and then?

What's that you say? You agree and want to know how to help us celebrate? Well you're in luck. Right now The Coast is holding the voting for their annual Best Of issue, and there happens to be a category for best local blog. So, if any of you fine folks are feeling so inclined, you can head on over there and vote for your pals here at the hill.

So whilst pandering for votes might be a little cheesy, I think it's warranted in this case. One of our main aims here at the hill is to help spread the word about all the talent here in Halifax (and the Maritimes), but some folks here don't even know we're based in Halifax (yes, that is the CN Tower on our header, no we aren't in Toronto. We were working on a coast to coast re-design scheme for quite some time before the Ack moved back to Halifax. We realize the timing wasn't great). Getting some run in The Coast would likely help spread the word about the hill to other musicians, and in turn we'd pass the musical goodness on to you. Plus, it would help us increase the size of our posse. We have a moderate sized posse now, but as Arabian Prince knows, a big posse is always best.

So if you're in Halifax or anywhere near, head over to The Coast and vote for your friends Bryan and Shane. Not in Halifax? Vote for us anyway!

Here's some classic jams about being the numero uno, because, in the words of the immortal Ricky Watters:

there is no competition 'cause we are the best

MP3::

Boogie Down Productions - I'm Still #1
Raw Fusion - #1 With A Bullet
Eric B. & Rakim - No Competition
Doug E. Fresh & The Get Fresh Crew - Keep Risin' To The Top
Doug E. Fresh & Slick Rick - La Di Da Di

Sunday Morning Coffee:: The Just Barelys

2008-08-31T07:28:00.004-04:00

web site :: myspace
Friday night - as you will probably read more about later - was a nice night of music here in Halifax. Bloodsport, The Hopsital Grade and The Memories Attack all graced the stage at the Seahorse. But for me, the highlight was catching The Just Barelys.

I don't know if I have a favorite band in Halifax, but The JBs certainly jumped high on that non-existent list. This Halifax two-piece has been around forever - Stephen Kelly started writing songs under the moniker back in 2000 - but he and drummer Eleanor King are really hitting their stride.

On record, their quirky songs are filled with instruments (keys, drums, banjo, guitar, bass) but Friday it was just guitar and drums. The songs were up beat - King's drumming and harmonies really added some depth to Kelly's songs, and the energy between them crackled. They played a lot of new songs - hopefully that means they are heading into the studio soon - and some classics like (S)kills and Raising Kids. Be on the look out for these two.

MP3::

The Just Barelys - (S)kills

Quick hitters:: Novillero

2008-08-29T10:23:00.006-04:00

web site

U got beef? According to the urban dictionary, when you don't like the way a certain person acts and call them on it, well, u got beef with them. In fact, their definition is pretty spot on (except for the fact no one likes SOAD):
+ Some guy: "System of a Down sucks!"
+ Some guy who likes System of a Down: "u got beef?" [*]

Well, instead of trading verbal jabs about something as useless as System of a Down, maybe we can put this into better context:
+ Some guy who writes for A Limerick Ox: "Halifax, and those two handsome devils who blog from that location smell funny!"
+ Some guy who writes for herohill: "U got beef?"

We were quite willing to let these confrontations slide, even commenting that A Limerick Ox is easily the best looking blog out there. He lured us in with a snazzy outfit and striking features, and as is so often the case, we let another pretty face treat us like shite. But, after he jumped the gun and posted on Novillero before we could, well, as they say in the biz - "it's on."

We thought this release would fly under the radar, and we could bring it up the mod-poppers as the centerpiece of our upcoming Manitoba edition of the Herohill Mixtape Project. But Mr. Ox has stolen that joy from all you readers, but that's ok. We are still excited about the news. Novillero is back with their third release - A Little Tradition - and as the sizzling title track shows, these Manitob-ians still deliver the goods. Life In Parentheses starts the record off with a bang - horns, uptempo guitars, catchy drums and lots of keyboards. The quick start hooks you and the band keeps the energy up for the 12 songs that follow.

The band is at its best when they keep the tempo moving. Tracks like A Little Tradition, Lost Possibilities and the heavy, horn filled, chaos-infused Camaraderie Or Bust force you to crank up the volume - but without question Novillero is moving in a lot of new directions. They've offer a lot more than infectious mod-pop jams (as shown by the Long Winters style indie rock of The Prank Note and the Spanish themed instrumental Paco Rabanne), and the new line up includes some terrific female vocals courtesy of Keri Latimer and a slew of new ideas.

The thing is, the band is so tight that whatever they try seems to work. Every track is jammed full of energy and the hooks they seem to stumble on so effortlessly are undeniable. Plastic Flag is a slinky, indie pop number that shouldn't blend so easily into the jazzy pop arrangement and staccato vocal delivery used on Daydreams & Distractions, but it does. A Little Tradition might just be enough to keep summer going for a few more weeks.

MP3::

Novillero - A Little Tradition

* - actual beef may not exist and you should read A Limerick Ox as it's as entertaining a blog as you will find.

Quick hitters:: Wintermitts release Heirloom

2008-08-29T08:04:00.005-04:00

web site :: myspace

There are some band's you always remember for a certain reason, whether it's for the music or just the situation. For me, the Wintermitts falls into that category. When I first moved to Vancouver, I was staying on Shawn Lapaix's couch until I found a place. I won't lie, living in an apartment with no furniture, TV, phone or food is a pretty boring experience.

Being the kind hearted guy he is, he gave me some music to listen to through the factory speakers on my iBook. One of those records was the Wintermitts Alouette EP and it's one I still listen to today. And since I'll be back in Vancouver for a week, it's perfect timing that Lise Monique sent over a sneak preview of the new record.

It's hard to describe the 'Mitts in words that make sense musically. They are bilingual, quirky, folky, get terrific use of an accordion, constantly change their sound and for some reason, even though it seems like an unintentional slight, I think it's important to mention that I don't think they take themselves too seriously. Their music is fun and they have fun playing it.

They play emotional, lo-fi nuggets (which isn't surprising since they are named after a Julie Doiron tune) and even though Schoolyard retains the gritty DIY style I'm used to, for some reason, it just seems bigger - everything about Heirlooms does. Xylophones, a fuzzy bass line and the accordion dance and ooze around Monique's vocals. I remember when I saw the Mitts open for Julie Doiron and the Superfantastics they had the Church crowd crowd dancing (as usual) and I think Heirloom is the record that transfers those fun loving live sets to the studio. It's the little things, like the well placed triangle (that adds so much to a live show) that comes through so clearly that make these recordings so nice.

Crossing Bridges showcases some flute and heavy guitar, and the band makes the 2:39 feel like twenty seconds. The song barely ends before you feel the urge to hit repeat. It also makes me think the Mitts would be a perfect collaboration contender for a rapper on the CBC Fuse series. Mer de L'Atlantique starts of with some cymbal washes, more xylophone and beautiful slow bowed strings. The accordion thickens up the mix, but the track is still intimate. But over the 4-minutes, they heighten the intensity and the track smolders.

But so far, the star of the show is DANS. Quite simply put, the song explodes out of your headphones. The electric, drums and melodica craft a bouncy riff and the sing shout chorus makes it impossible to ignore the catchiness of the song. Plus, Lise lists her favorite beer as Granville Island Winter Ale, which could be the nectar of the gods. All in all, this has got me excited to pound my feet on some familiar concrete next week.

MP3::

Wintermitts - DANS
Wintermitts - Stove Top

News:: We Like The Blogs With The Zune

2008-08-28T22:47:00.001-04:00

I'm a freak
I like the girls with the boom
I once got busy in a Burger King bathroom

What does a classic line from the best dance-related hip hop song ever made have to do with Microsoft's new(ish) music player? Nothing really, except I needed a catchy title for this post, so I swapped out Boom for Zune and, uhhh, boom, there you have it (well I switched Girls too, our wives come by here every once in a while, need to keep things on the up and up). Anyway, like most people in Canada with a music-related blog read by more people than their Mom and the guy that sits next to them in English class, we were asked if we wanted to try out Microsoft's new music player as one empire attempts to eat into the iPod empire.

There are two reasons we agreed to do this. One, we listen to a lot of music, and obviously the people that frequent this site likely do as well. So, we figured who's more qualified than us to check out a device that could potentially help out our readers? Well, lots of people are more qualified actually, but reason number two is also very important: we enjoy the free stuff. We have our scruples where the music we cover is concerned, and we don't want to propagate the music blogger stereotype of grubbing for any and all freebies available, but still, free stuff is aight.

We've put the Zune through some hill-related paces over the last few weeks, so how about some pros and cons:

Pros

Design: I think basically the Ack and I agree that they designed the hell out of this thing. From the packaging, to the look and feel of the unit itself, to the interface, they have certainly paid a lot of attention to the details.

Interface/Display: Putting it simply, the Zune is pretty to look at. There's something very satisfying about the full-screen album covers that are displayed when you are playing music. There's also a number of ways to navigate through the Zune, which makes it seem easier to use that the iPod's menus. The Zune click/scroll wheel is also superior to the iPod's scroll-only steez.

Better Software: The returns are early, but I like the Zune software better than iTunes. I didn't mind iTunes really, but it was a little too flaky for me, crashing quite a bit. I keep my music on an external hard drive on my network, and iTunes found this rather challenging. The Zune software seems to be ok with it.

Size/Weight: This thing is light, and the Ack gives it his running stamp pf approval. I can vouch for it being an easy commute companion, taking up no space at all.

Cons:

Install: The Ack was not a fan of the Windowsy goodness of the install for the Zune software. It take some time, with multiple updates required before it would run. He's a Mac guy though, I didn't notice really, that's kind of the norm isn't it?

Wireless Sync: This is really a plus, as when I got it to work (after much messing around, really not that easy), it was mighty slick. However, if you run Zone Alarm as your firewall, as I do, then you can forget about getting it to work. Well I'm not turning off the firewall, so it's wired sync for me. I was looking forward to this feature immensely, so not being able to use it is a negative.

Headphones: We got some of the deluxe headphones with our Zunes, and while they are really quite nice (I really like the cool rope-like cord on them, another of those solid details I mentioned), they ended up being kind of a disappointment. For whatever reason, they don't seem to stay in my ear all that well (I tried all sizes of the rubber covers that come with them), we Ack and I both felt our existing headphones were better (Bose and Sennheiser respectively)

So after that, what's the verdict? I have to say I'm pretty impressed with the Zune overall, and I think it's a worthy competitor for the iPod. If you're in the market for a new music player, at least give the Zune a look.

News:: Husband & Knife + The Prospector's Union

2008-08-28T14:25:00.003-04:00

As is often the case, looks like me getting shipped out for work will result in missing a few good shows. First, I miss These Hands, First-Aid Kit and Rich Aucoin. Then I realized I'm going to miss The Pack A.D. when they tear down Gus' and now the news that Husband & Knife/The Prospector's Union will be playing the Lost & Found will I'm away.

Dog Day's KC Spidle - incidentally, that is also an awesome hobo name - is playing a few East Coast dates to celebrate the release of his new record, An End. After seeing KC play during Pop Explosion last year, I have to admit I'm surprised by how melodic and fleshed out the lead track is, and I'm much more excited to hear the full product. He's taking Matthew Charlton of The Prospector's Union - solo, as the rest of the Hali super group will not be making the trip - for some intimate nights of dark tales of heartache, drinks and death.

Here's a full list of the dates, along with a sneak peak of each record.

Sept. 7 Halifax, NS Lost & Found
Sept. 11 Toronto, ON The Boat
Sept. 12 Guelph, ON The Kitschin
Sept. 13 Montreal, PQ Home Debro
Sept. 15 Quebec, PQ P572 House
Sept. 16 Sackville, NB George's Roadhouse
Sept. 17 Fredericton, NB Renew Boutique

MP3::

Husband & Knife - The Sea
The Prospectors Union - Flaming Death

Quick Hitters:: Hospital Grade

2008-08-28T11:10:00.002-04:00

Ok, I'm pretty sure it would be remiss of me to mention that one New Brunswick band is playing a Halifax show this Friday night to celebrate the release of their new album, and ignore another that is doing the same thing. So I hope the Chuck at BBQ records and the fine gents in Hospital Grade will forgive me for only getting this up the day before the show, but I only realized yesterday that they were playing the Seahorse with The Memories Attack, The Just Barelys, and Bloodsport.

We featured Hospital Grade on our New Brunswick mix, but like a lot of the bands on there, neither the Ack and I were familiar with them. But I was happy to check out their new album, Secrets & Sawdust, and unless I'm mistaken, I believe this is the second full length release from this Saint John four piece. Because I'm trying to beat the clock and get this posted before their show tomorrow, I haven't spent as much time with the album as I would like, but I can say that the confidence exuded across these eleven songs gives the impression you are listening to a band with many more releases under their belt. This may be due to the fact that frontman Jason Ogden and bassist Andrew Earle have been collaborating since the early 90's with NB punk-scene stalwarts NFA (Ogden certainly has no derth of experience, his acoustic-ish side project Penny Blacks has also recieved some run here on the hill).

The thought and effort put into Secrets & Sawdust is really quite obvious. It is loud, aggressive, and yet also melodic. It is explosive and quiet. The song structures and tempos are varied not only from song to song, but also within songs. None of this feels forced however, and the result is an album that feels a little challenging - it doesn't allow the listener to go on autopilot, but it's still an enjoyable listen. The post punk guitar and drum aggression of songs like The Sea Will Punish Us, Empty Ambulance Bay, and Walking Papers, Too is matched in equal measure by the melodic indie rock found on the likes of If I Said Helvetica, An Essay In Your Lungs, and Ten Year Ring. And if that's not enough, there's the crazily named Co_pachuuh_coah, which feels like a jammin' post rock instrumental until the vocals after about a minute and a half.

I think it's safe to say I'm going to be spending a bit of time with this album in the immediate future, and I'm hoping I won't be the only one. With three other solid bands joining them on the bill tomorrow night on the Seahorse, I doubt the Ack and I will be the only ones spending our Friday night with Hospital Grade.

myspace :: label :: buy the record

MP3::

Hospital Grade - The Sea Will Punish Us
Hospital Grade - If I Said Helvetica

Reviews:: Sing Leaf Wandering EP

2008-08-28T08:49:00.002-04:00

myspace

When it comes to experimental electro-folk, it's hard to stand out without going too far and alienating all but the most dedicated listeners. Swirling textures, staccato blips and creaking voices often suppress melody and unnecessary intricacies often take the place of brevity, leaving every idea overexposed and run into the ground.

People often assume throwing together some slow moving, ethereal beats is relatively easy, but in reality,most people fail to deliver music of substance. For Toronto's Sing Leaf - led by song writer David Como - their aptly named EP is a brief look into how successful the genre can be.

The band uses interesting textures, playfulness and airy melodies to counterbalance the electronic density of the songs. North uses a droning back beat, scrambled audio transmission, and an electric current to drive the song, but it's the flute that helps transform an electro track into an organic experience. The track only lasts 2-minutes, but it showcases what this band is all about.

For me though, the EP comes to life on the first vocal track, Yavanna. Much like another favorite of mine (Canon Blue), Sing Leaf loops electronics with instruments to create beautiful soundscapes but add strong vocals to help the songs stand out. All too often, electro-folk arrangements add layer after layer, working dutifully on the recipe, but then toss in vocals almost as an afterthought. As the textures float around your head, the banjo and claps warm the affair and blips and beeps dart back and forth between your headphones, it's David's voice that stabilizes the whole affair.

Never One For Goodbyes is another swirling track, heavy with sound blips and a well executed build that expands so slowly you barely notice the weight it accrues. The track retracts and grows, almost like the beat of your heart, until it finally surges forward with adrenaline. The all to brief EP closes with the poppy, 2-minute gem, Golden Yellow Oak. The gentle acoustic brings the song to life and David's reflective vocals fit nicely into the vastness of the track. All of the sounds seem to echo and extend forever, and the beautiful harmonies that end the track are the perfect ending to the song and this surprisingly diverse EP.

MP3::

Sing Leaf - Never Been One For Goodbyes

Reviews:: Ribbonpigeon

2008-08-27T15:00:00.001-04:00

myspace

Normally, we keep the Hill pages as Canadian as back bacon, terrible football played on ridiculously wide fields, or shitty national sport teams. That being said, when it comes to rootsy/swampy blues tracks, we have been known to head south of the 49th parallel.

At the end of last year, we stumbled on the amazing (free) record from The Glossary, a band from the heart of Murfreesboro, Tennessee. Now, my experience with Tennessee is probably pretty common place for people who grow up in the area. I used to go camping there, eat pulled pork and kill hangovers with biscuits from Lynchburg's own "Biscuit ville."

I also spent hours listening to music that could best be described as pure. Country, roots, gospel, soul; all chock full of friendship, family, love and heartbreak. Basically for those few days a year, I had everything I could want. The Glossary's last record summed up those feelings perfectly, and now we have the chance to talk about another band from the same town that hits us the exact same way.

Ribbonpigeon plays straight forward Southern rock. While that might seem simple, that's all it takes when it's done right. Little things like the fiddle that darts around foot stomping anthem, Leave Us Now or the emotion of the beautiful, stripped down acoustic driven Devil Wind are what makes these songs ones you'd expect to hear on a porch jam session after a few too many cold drinks.

They play songs you'd rather hear played while you are surrounded by your friends, instead of in a bar full of strangers (although the bending notes of the nostalgic Sweet Ghost of Mine would warm the hipsterest crowd you can imagine). They help end a night as the first hints of new light surface and you are all singing loud and out of tune. Basically, these guys play the type of music you hold onto like old photos and cherished childhood memories.

The boys in the band look exactly like you'd expect, and I'd guess the music they play is a part of where their from as much as it's a part of them. It's that reality that helps Kent pen lyrics that are as reliable as an old pickup truck. With a bit of tinkering, he's able to get surprising mileage out of trusted phrases and ideas, and avoids the temptation to supplant modern themes in place of salt of the earth stories that we've all heard and relate to.

Ribbonpigeon aren't going to make you want to go out an buy a Prius, eat healthier or learn downward facing dog, but they are going to help you remember long summer days, fighting your best friend over a girl and the simple pleasures we too often take for granted as we get older. With the state of the world right now, which do you think is going to help you more?

MP3::

Ribbonpigeon - Leave Us Now
Ribbonpigeon - Devil Wind

Reviews:: Modern Boys Modern Girls I Might As Well Break It

2008-08-27T10:11:00.001-04:00

web site :: myspace

When it rains it pours I guess. Yesterday, I mentioned that a lot of the sneer and energy of rock and roll has decimated into swirling, folk and chamber pop. Thankfully, young bands like Toronto's Modern Boys Modern Girls are doing their part to crank up the amps and put the brashness back in rock 'n roll. The band's debut record - I Might As Well Break It. - is ten songs that really play like a gig at a dark and dingy club. It leaves you sweat soaked, bruised and battered and remembering.

My Baby Says Boy, Don't You Ever Go jump starts the effort with a Ramones count and Akira's gruff vocals, but it’s the backing harmonies that make the song sizzle. Aimee's voice is pure and clear, and balance the energy. The two-minute thirty seconds start your heart pumping and they follow it up with Stay Under, a searing, dance able anthems you'd expect to come from across the pond, but the band pulls it off with such confidence that you never think they are simply following some of the acts that are already making waves. Where's Your Boyfriend? uses some perfect hand claps and lead female vocals

For a debut record, the band offers up remarkable restraint and control. Sure, they keep it rough and the band is full of potential, but that doesn't mean the polish isn't there. All too often, young energetic bands stumble back to the same riffs, themes and pace, but MBMG spices up tracks with piano (missmybabygirl) or by taking the foot of the gas with the theatrical tones of Tell Them Everything; a track that lets Aimee's vocals offer a more guttural, Joan Jett punch to contrast the delicate tones that dance in the background.

Nice sequencing allows MGMB to flow naturally into the slow burn of A Hammond Organ Singing. Akira's vocals are smoothed out, emotional and move in tandem with the beautiful Hammond notes and acoustic strums that frame the track. The slow pace helps you become a part of the song, and the band pulls off a perfect slow build towards a searing finish. I've never seen these guys play live, but if this isn't the set closer, I'm not sure what could be.

Critics might mention that I Might As Well Break It is top heavy, but even when the band starts to stumble - like on Leave the Army, Lose Completely - they manage to right the ship with sudden bursts of creativity that are beyond their years and experience. The repetitive chorus and shout/sung vocals are refreshed by a flourish of tribal drums and muted guitar strums.

MBMG has done more with their debut record than could be expected. They've shown heaps of potential, written a few instant hits that will have fans packing into their gigs, and showed they have enough creativity and desire to be around for years to come. They might not save rock 'n roll, but MBMG certainly shows it's not dead.

MP3::

Modernboys Moderngirls - missmybabygirl
Modernboys Moderngirls - A Hammond Organ Singing

BOX:: Everlast, Heltah Skeltah, Shad

2008-08-27T08:31:00.002-04:00

BOX is back! I'm sure you feared that BOX, our newly-launched recap of random rap songs we receive, was going to be a short-lived experiment like some other sections (the Big Ups anyone?). Nay, BOX is here for the long haul, and to prove that we've got the second edition ready to roll. Canadian Rap-house, Everlast, Shad as the Fresh Prince, and Heltah Skeltah? Sounds good no? Let's do this.

MP3::

Art of Fresh - Forth And Back

D.O. and Slakah the Beatchild are otherwise known as Art of Fresh and they are the best rap-house act Canada has produced since Simply Majestic featuring B-Kool (As an aside, if anyone has a digi copy of that Simply Majestic album, they should please send it my way). Art of Fresh may not be the average hip hop head's cup of tea, but they do make some mighty catchy jams for the dancefloor. They have an new album & tour on the horizon, so if you like what you hear, check them out.

MP3::

Greg Street f. Lupe Fiasco, Wale and Kardinal Offishal - Dope Boys Remix

Greg Street is a DJ of some rep representing Marietta Georgia. He has an album coming out that features tons of name MC's. In fact, I was pretty close to not posting this song after paying a visit to Greg's myspace and hearing I'm Popping On Myspace, which jacks Mix-A-Lot's Posse On Broadway. Ordinarily I'd be all for this, but the song features Souljah Boy, who is, you know, a goof. But anyway, this jam right here is pretty awesome. Lupe, Wale, and T-dot's finest, Kardi over T.R.O.Y horns? Nothing goofy about that.

MP3::

Everlast - Folsom Prison Blues

Oh, you want to hear Everlast cover Johnny Cash over the horn stabs from Insane In The Brain? Done. Yeah, I don't really have anything else to say about this one.

MP3::

Heltah Skeltah - Everything is Heltah Skeltah

Heltah Skeltah has always been my favorite act from the Duckdown camp. I have one or both of their previous albums, so the fact they have a new album coming out at the end of September is a welcome development. Sean Price has been everywhere the last few years, doing more cameos than Stiller and Ferrell combined, but after having a mild beef with Duckdown and striking out on his own, Rock has come back to the label. The album is called D.I.R.T. (Da Incredible Rap Team), and this here is one of the lead singles. It sounds solid, plus Rock says "...like Proactiv cleared Diddy's face", and you have to enjoy that.

MP3::

Shad - The Old Prince Still Lives At Home

Sure, there might be better Canadian hip hop albums than The Old Prince, but the list isn't very long. Shad is nominated for the Polaris, and deservedly so. I'd certainly vote for him. I mean there are very solid albums on the nominee list, but how many of those artists have a video where they re-create the intro to The Fresh Prince of Bel-Air? Yeah, I thought so.

Video::

Shad - The Old Prince Still Lives At Home

Reviews:: Tiiu Shooting Stars, Blazing Hearts

2008-08-26T15:19:00.003-04:00

myspace

If you wanted to make a snap decision, you could probably assume Tiiu was worth a listen with a quick glance at the people that helped her out on her new record, Shooting Stars, Blazing Hearts.

Her roommate - Juno award winning Serena Ryder - provided back up vocals on countless tracks and she worked hand-in-hand with Michael Brooks and former Rheostatic and Ron Sexsmith collaborator Don Kerr. Even Ottawa darling Meredith Luce showed up to sing with her on a track.

You'd be naïve if you thought such skilled musicians would attach their name to a second rate project, but would be wrong to assume they dominate this record. Without question, Tiiu's voice is front and center on every track. She opens with Kneeling For You Now, a song with beautiful vocal harmonies (provided by Kerr and Luce and Dave Gaudet), pedal steel and glock, but it's Tiiu grabs the spotlight. Her confession to her lover is remarkably honest, admitting that she thought she might be able to do better. It took time and now she wished she hadn't looked past what was right in front of her, but realizing that she's ready to commit. It's a remarkably male trait, one you wouldn't expect form such an honest female perspective, but it works well.

Shooting Stars, Blazing Hearts might not stand out as anything new (although the gritty album closer More Than One is a shocker) on the first few listens, but Tiiu isn't afraid to put her spin on established sounds and textures. She is engaging and comforting as a performer and it's hard to find fault in a record that floats by so nicely. She doesn't try to force drastic tempo changes, opting to play to her strengths, but she adds enough variance to keep the record from blending. The gentle bounce of Next To You (if you stripped out the rootsy arrangement of course) almost sounds like a beat K-OS would use and letting Brooks add electric guitar feedback to songs like the title track provides more than enough change-ups to keep you listening.

She's able to command your ear over the sparest arrangement (Good Rain), but her voice is strong enough to stand out even with layers of backing vocals, bass, electric/steel, and brushed drums (the ironically titled Sleepy Sunday Town or the ear pleasing Resting Place). Bluesy folk is something lots of people can pull off for a song or two, but to deliver a record that plays without a single misstep speaks louder than who Tiiu got to help her out.

MP3::

Tiiu - Kneeling For You Now
Tiiu - Next to You

Quick Hitters:: The Peter Parkers

2008-08-26T12:09:00.002-04:00

There are things to like about the Peter Parkers. They are from Moncton, which not only has the sweetest Mall in the Maritimes as well as the most baffling, yet awesome, roadside attraction you'll find in these parts, but Moncton is also in New Brunswick. New Brunswick remains the province which gave us the warmest response for the Great Canadian Mixtape Project, so we have a soft spot for New Brunswick. The Peter Parkers formed in 1995, so unless they formed as 10 year olds, they are likely in the hill's age bracket. That's always nice. Best of all, the Peter Parkers are playing the Marquee this Friday night with Tomcat Combat & Share.

Of course there's more to like about these vets of the Moncton scene than the superficialities above, mainly their new album We Were All Born On A Burial Ground. This is the Parker's first release in five years, and the first release I've heard from them. To be honest with you, after taking the psychedelic and chaotic pummeling dished out by album opener Make Out Party, I wasn't too sure I could handle a full album of what the Peter Parkers can dish out. My fears were allayed quickly by the excellent Nod If You Can Hear, which keeps the psychedelia turned up, but tames the chaos into the kind of deep-grooved head-nodder I can get behind.

Despite a couple exceptions, like the aforementioned Make Out Party, or the darn-near peppy Serpico's Gotta Go, the Parkers seem most comfortable plumbing the darker reaches for their sound & song content. I certainly don't have a problem with this, especially when you consider how well they do it. In fact it was the minimalist intensity of the middle portion of the album, songs like the melancholy instrumental Sleazy Dream, the plaintive Afghan Man, and the solemn More Than What Your Ass Could Cash, that really brought me around on We Were All Born On A Burial Ground. The power of these songs also leads me to believe that the Parkers must be rather impressive live.

Which brings us, in super-smooth segue fashion, back to the Peter Parkers show this Friday evening. We've said some nice things about Tomcat Combat and Share on the hill previously, and so if you put any stock in our opinion (and Jebus knows, you certainly may not), you'd have to think this will be an evening of high-quality entertainment.

MP3::

The Peter Parkers - Make Out Party
The Peter Parkers - Nod If You Can Hear

Reviews:: The Disraelis Demonstration

2008-08-26T08:23:00.003-04:00

myspace :: buy from zunior

On the surface, The Disraelis seem like a band I should hate - and to be fair, I'm sure some will. The name (which is taken from the founder of the British Conservative Party), the look, the faux-anglo vocals; they sort of remind you of that dude in high school that used Brit slang and had girls following him around the halls. Like that guy, the band oozes confidence and the thing is, the music scene needs a few more bands like The Disraelis.

Now, I've never met the guys - and they could be the nicest blokes in the world - but on first glance, they give off that vibe of a cock sure outfit that would walk past a fan looking for an autograph, refusing to piss on someone who was on fire and really, thank god. In an time where delicate lap steep is tucked in every crevice and polite enough for afternoon tea collectives soak up the limelight using instruments like the glockenspiel, omnichord and ukulele, more big reverbed-soaked, shimmering guitar lines and some attitude are what this party needs.

And to be completely fair to this Toronto based band, they actually strip out all of the bullshit, refusing to let a banged out synth line be the vital player in their post-punk/shoegaze anthems. Thanks in large to Cameron's deadpanned, melancholic delivery, Mike's straight ahead drumming and Colin's Smiths/Stone Roses influenced guitar style, they forge a melodic sound with just the right amount of psychedelic haze to thicken up the mix.

Demonstration could have taken decades to make; the lush tones, perfect drum sound and a gritty haze that is often lost in today's world sound terrific, but the 5-songs never seem over polished. At times, you'd swear there are three guitarists crammed into the booth, but if you listen close, you realize they never lose the clarity of the three instruments or clutter up the sound with superfluous textures and elements. The Bitter Ash opens up with Colin's simple guitar work, but the drum, bass and vocals come in quickly. What makes the track is the way Cameron's vocals trail off at the end of each line, almost like he doesn't care enough to finish them off.

The next four songs follow suit with equally successful results (although none of the songs blend into the sames-y routine that sinks a lot of new shoegaze acts), the standout being the chaotic Distance - a track that bubbles over and lets the band surge forward, thanks in large part to some backing vocals and Barnes attacking the skins. Demonstration lets you know that this trio is on the right path and although they aren't all the way there yet, when it all clicks, this band could be huge.

MP3::

The Disraelis - Distance
The Disraelis - Secret demo