It’s always a good sign when an artist you like randomly suggests you to listen to someone else’s music. Such was the case last week when Jon McKiel suggested we take a listen to Halifax-based song writer Klarka Weinwurm. Obviously since he's been known to share the stage with Klarka he might be biased, but for me it goes back to simple idea that talent attracts talent ideal, not misguided musical nepotism.

Klarka’s debut EP – labeled with the creative title EP – is full of the type of songs you’d expect to hear after a late night when the sun starts to creep over the horizon and only your closest friends are left around. The honesty and fragility revealed over a few spare strums aren’t something you share with a stranger. I know how horribly generic that overused description is, and honestly, it casts a poor light on Klarka’s work, but these aren't uptempo strums and sing-along choruses. There’s little worse than picturing another coffee shop entertainer alienating patrons with grim tales set to spare and disjointed arrangements, but make no mistake, Klarka’s songs grab your attention instantly.

Sure, over the six songs she weaves some eerie tales (thanks to the creepy strings that float on Explorer and Wood Stove Fires), but Weinwurm isn’t indebted to the swirl and ghosts that plague most acts experimenting with the same subject matter and tones. Warm and inviting, the gentle picking that backs the Toronto transplant’s voice is comfortable blanket or sweater you can use to ease the chill she often delivers with her voice. The familiar sounds and reassuring strums help take the sting out of sentiments like "evil all around" or traditional imagery like an ominous crow peering through your window.

The ukulele ditty (True North) that closes the recording channels some of the joy that has surfaced in Julie Doiron’s music of late and shows that Klarka isn’t strictly trapped in the shadows. Sure the song turns out to be a heartfelt apology, but whether it's vulnerability, regret or even the brief flash of optimism she offers when she admits, "we’re getting much better at this" on Can You Go For A Walk, Klarka shows that this EP just scratches the surface of what she has to offer musically and who she is as a person.

MP3:: Klarka Weinwurm - Wood Stove Fires

MP3:: Klarka Weinwurm - True North
MYSPACE:: www.myspace.com/klarkaweinwurm

Be sure to check out Klarka play with Dan Ledwell and Thomas/Richard on Wednesday @ Tribeca, or her EP release show @ The Paragon on May 20th with Jon and Ruth Minnikin and her Bandwagon.

This Ontario singer probably hates the reading snippets written about his work. I mean, most are complimentary – and deservedly so – but the ease at which his songs force you to think about other artists must start to grate on the young man.

I usually try to avoid the “sounds-like” trap, but on House on the Hill there are terrific subdued moments that help Fraser sound like Teitur (the opening number Dusklight and Man Playing The Guitar In The Subway would fit perfectly on Poetry & Aeroplanes) and his laid back delivery might remind you of a more rural version of a certain Brushfire Records founder (if he preferred a banjo to a uke), but I think those kind of favorable comparisons are just a way of saying how impressive Fraser’s songs are.

Even with some sketchy production and a couple of stumbles, Fraser’s talent oozes out of this 10-song effort. He splices in a few more uptempo roots/rockers (Let You Down, Rules and the bluesy stomp of Lead Me) to change the pace, but for me he is much more successful the more reserved and emotional he gets. The simple piano chords and picked riff of Love Song and the back porch ready, steel and harmonica laced Fire Elegy let Fraser open up to the listeners and his natural charisma holds you to his words and really shows that House on a Hill could be a great stepping stone for this young London based singer.

MP3:: Fraser - Dusklight
MYSPACE:: www.myspace.com/listentofraser
BUY:: CD Baby

Bitter:Sweet - The Bomb
Male/Female electronic duo from WEST HOLLYWOOD (as their myspace indicates):: This song is the theme for NBC's Lipstick Jungle :: This album is more "organic" then their "intoxicating" debut



Sarah St. Catherine - Soul-tied
Singer-Songwriter from Calgary (Maybe? Long-winded website makes it hard to tell) :: Owns her own independent label :: Seems to be a fan of the site, but mixed up who was who on the hill by recently asking how Shane was adjusting to Halifax life



Erin Lang - Youre Coming Home
Electro/Ambient Singer-Songwriter from Canada (Toronto maybe?) Now based in London:: Father was bass player in April Wine :: Invited Ack and I out to her show at NXNE in Toronto, although as you know, we do not live in Toronto

All right, I think it's high time we get back on the Alberta rap train here at the hill. Not counting Cadence and his Weapon, it's been a while since we had some Alberta hip hop content, but like so many albums before it, Soulden Era the new album from Calgary MC Deezuz showed up randomly in my mailbox a few weeks ago. I remembered Deezuz'a semi-unfortunate name from his guest appearances on Lyric1's album, Get In On The Ground Floor, which I thought was decent enough, but didn't leave me super-jazzed to get my Deezuz on. However, a quick perusal of the track list showed guest spots from Kool G. Rap, Sean Price, Joe Scudda, and Buckshot. Certainly enough to peek my interest.

Now, with interest peeked, how does the Soulden Era fair after a few listens? Not too bad actually. I can't front on the production, especially on the first half of the album, with classic, static-y drum breaks and plenty of soul samples that give the tracks an un-deniable headnod factor. And Deezuz himself is a solid MC, with a flow that shows he has studied the game thoroughly. But over the full 15 tracks, I found I couldn't exactly buy into the album. To me, it felt like every song was a variation on one theme, the whole "I'm on the grind, struggling to get by, I'm sacrificing everything for this, it's life or death, I almost didn't make it, I'm weeded 24-7, and although maybe I shouldn't be, I just can't help it" vibe. I don't know Deezuz, perhaps this is real to him, but it feels a tad forced to me, and after listening to the whole album I still felt I had no idea who this guy was and what he was all about.

That being said, I'm not saying there aren't quality songs on the album. The horns, plucked guitars, and twinkling keys on Break It Down provide a catchy, uptempo backdrop for Deezuz and the immortal Kool G. Rap to go for theirs. I have to say, no matter who you are, or how you made it happen, getting a guest verse from G. Rap on your album is impressive. The autobiographical Livin' Free is a funky ode to the "403", with Deezuz showing Calgary some love. The 80's R&B vibe of Cover My Tracks is a good contrast for Deezuz and the rugged rhyme styles of underground fave Sean P. Deezuz romances hip hop on the solid World Without U, proclaiming his love for the artform and coming across more authentic than many of the other songs. Wistful guitar licks provide the backdrop for Deezuz, Fatty Down, and Moka Only to lament the elusiveness of love on Never Fall In Love Again.

So in the end we have an album with a number of solid tracks, and an MC with skills and some definite potential. As far as I know, Deezuz is a rather young fellow, so he's got plenty of time to find a bit more of a voice. I'm well aware that paying homage to the "real" hip hop aesthetic is something everyone does, but hip hop should also be about originality, and at some point you have to find what it is you have to say. However, Soulden Era is a solid debut none the less and proves the hip hop heads in Alberta are still putting in work.

So, pushing on with my Female Vocalist week I'll move on to Emmy the Great. If I wanted to force a metaphor into this little post, I would say that Emmy the Great was the musical BBQ sauce of SXSW. Yes, she was on everyone's lips. It's pretty shocking that a woman with a few singles and an obscure, hard-to-track down EP was one of the toasts of the town (and already has her own MTV session), but the excitement and attention is well deserved.

Her story is as unique and interesting as her songs. Originally from Hong Kong, Emmy (Emma-Lee Moss) has already been kicked out of her band and became a staple of the anti-folk movement - sharing the stage and collaborating with notables like Kimya Dawson and Lightspeed Champion respectively.

The funny thing is most times when I hear anti-folk, I shy away, but I can't seem to get enough of Emmy. With just an acoustic and a penchant for interesting, intricate vocals there is something about this artist that just grabs people. Throw in her friends on strings or mandolin and it's almost a certainty that her record will be loved by bloggers, critics and fans the minute it leaks. If you look hard enough, you can find most of her songs, but I'll link a couple to make it easy for you:



Seriously, if you can watch her playing Hold On in the back of a cab and not feel your heart warm, I hope you enjoy ruining the Who's Christmas.

myspace

By all accounts, SXSW is an amazing event. It is clearly the event of the year for many/most people in the American (perhaps North American) music biz. Zillions of bands head down, so there's literally 100's of amazing shows, free events hosted by labels, PR firms, companies of all sorts. There's BBQ and beer. Really, it seems like the perfect event, with little to no downside. Oh, well there is one negative I can think of: not going.

That is the boat the Ack and I find ourselves in: receiving tons of emails about awesome events at a festival we aren't attending. Oh well, as Ray would say, if we were to discuss this particular issue with him, "way she goes boys, way she goes". So if you've been wondering why no SXSW coverage here on the hill, that's why. Our sulkiness about not attending has prevented us from talking about it. Or laziness. One of the two.

Anyway, Canadian distributor Outside Music (along with CBC Radio 3 and Exclaim!) is putting on a big party tomorrow, which is called the Basketball & Insulin Party. The idea being Canadians invented both, so this is a celebration of Canadian Innovation. Or something. Anyway, I like the idea, the poster is solid, and there are a couple of very talented ladies representing the Halifax scene playing the event (Rebekah Higgs & Jill Barber) along with legendary can-alt-rockers The Sadies, so I thought I'd mention it. It's certainly late notice, so if you aren't already in Austin, your chances of making the show are a little slim. If you are there though, I'd check this one out.