Right now my apartment is lousy with boxes. Nicola and I are moving to Halifax in 5 days, and everything we own is either in a box, a dumpster or somewhere in between. Basically, we'd had the Itunes working overtime as we cram everything we own into perfectly arranged compartments.

Here are a few tracks that have made the effort bearable:

I feel a little bad billing this show as only The Coast, but typing the names of the other bands in the title would make it uber long, and in reality it was The Coast I dragged myself downtown on a rainy Thursday night to see. The Toronto quartet was sandwiched between fellow Torontonians The Matavaras and Halifax odd squad Heavy Meadows. It was a slightly strange mix, considering the different styles of the three bands, but overall I think the smallish crowd was pretty pleased with the evening.

The Matavaras kicked things off, and although based in Toronto, three of the members hail from Nova Scotia. They seemed pretty happy to be back in NS and even happier to be playing before a decent sized, receptive crowd. Sounds like they've played some less than stellar gigs on this tour, and I'm sure they were doubly pleased by all the friends and family that showed up. I knew nothing about these guys, but as I discovered, they play a riff-heavy, almost 70's sounding rock that was warmly received by the crowd. I thought they were solid, if not spectacular, but they seem, to me at least, to be a young band still learning their craft. Their stage presence is developing too, and if I could offer them one piece of surely unsolicited advice: if you're going to bring up a dude to make a cameo on the mandolin, perhaps it should be plugged in. At the very least make sure we can hear it.

The Coast were on next, and quite frankly, they killed it, even though only a few people noticed. I wasn't even sure it was them at first to be honest, as they ripped through three songs before identifying themselves. But even when I wasn't sure if it was them or Heavy Meadows (of course after seeing Heavy Meadows it would be impossible to ever mix them up again), I was thinking to myself "man, these guys are good". Other than perhaps some witty banter, they had pretty much everything you like in a love act - tight sound, efficiency (they went from one song to the next in mere seconds), and boundless energy. The whole band brought the energy, but frontman Ben Spurr led the charge, bouncing from his electric to acoustic for a great version of Killing Off Our Friends, and on to the Piano to do Nueva York. Just a great set in my opinion, despite the fact there were a lot of people talking while they were playing. I'd certainly recommend checking out The Coast if they're playing your town (check their dates in our show preview post).

Heavy Meadows finished the evening. Boy did they. I knew nothing about them, other than hearing their name a couple times, so although I was tired and saw what I came to see, I thought I should stick around and see what the Meadows are about. They're kind of about strangeness, as they tried to add an eclectic/arty flair to their set. It was kind of an odd setup, that brought to mind an Arcade Fire song being done on the Christmas Daddies telethon. That sounds meaner than I intend it to be, but that's what came to mind. They started with some slower songs, and gradually increased the tempo with some loungey rock songs that got some people out grooving on the floor - they definitely had some fans in the crowd. They also had their female tambourine/shaker/clapper boards player bring our a big bag of balloons and bat them into the crowd, which kind of went over like a balloon of the lead variety. It was interesting, but I don't have much else to say as I bailed about five songs in.

Anyway, it was a solid evening and I should say big up to herohill associates Malcolm, Barbara, and Kimber for making it out to the show.

myspace :: web site

I've been on a nice run of piano driven pop lately. I still throw on Brent Randall countless time each week and the new Royal Wood record is out of sight, but first things first. Will Currie and the Country French have just released their debut full length on Murder Records and quite honestly it's no shock that the band was discovered and subsequently signed by Jay Ferguson.

Will Curries crafts piano pop songs that could have been enjoyed in the 60's, 70's or any generation thereafter and his pop stylings lie directly in Jay's wheelhouse. It would be easy to starting dropping names like Newman, Folds, Folds and McCartney, but it's the energy the tracks command, not the influences that make Will Currie stand out. Even on the most tender ballads - like Maybe - Currie's voice conveys emotion and immediacy.

Instead of sounding like a man pouring out his sorrows over the same old piano line, the songs come of as fresh and vibrant and that has a lot to do with the song length and the support of the Country French. Currie doesn't drag out any track, opting for quick hitting riffs with the occasional surprise (the horns and feedback on Thunder Bay Coastguard Radio for example) and whether it’s a simple vocal accompaniment like Amanda Currie offers up on Mannin Veen or the flushed out arrangements (like the three part harmonies, drums and nice bass line of Friendly Fire), the band seems to be there whenever Will needs support.

If this doesn't put some pep in your step to star the weekend, something might be wrong with you.

web site :: myspace :: label

We are starting to put the finishing touches on the Alberta edition of the Great Canadian Mixtape - tentatively called Alberta: Hoodoo You Think You Are? - and not to toot our own horns, but we have some good exclusives coming as well as some under appreciated acts from the Energy Province.

One that I couldn't continue to sleep on is the Agnostic Mountain Gospel Choir, and the name gives you a good idea of what they are about. Feverish energy, banjo, stand up bass and soulful, ragged vocals are just the tip of the iceberg. It's easier to picture these guys playing in a tiny joint deep in the South than at a club in Calgary, but it makes no difference. They will take you to the crossroads, leaving you whiskey fueled and sweat soaked.

This track is from their '05 release - Fighting and Onions, but we are hoping to get a sneak preview from their upcoming record for you all on the Mixtape. Need more convincing? They are friend with William Whitmore... that's enough for me.

Well I'm sure this lovely Friday morning finds you thinking about your plans for the weekend, and if you're in Halifax I have a pretty impressive option for you: Biz Markie at the Marquee Saturday night. Chances are if you are actually in Halifax you've already heard about this show, but I'd be very remiss if I didn't at least mention it on the site. It's the Biz after all!

At this point in his career, the Biz is known more for his DJ sets, so this is a pretty rare chance to see him do his classic jams. And yes, I imagine he'll play the song everyone and their 12 year old sister wants to hear: Pickin' Boogers. I keed, I keed, but the desire to hear Just A Friend will likely send the drunken college girl numbers through the roof at this show. Seriously, they were out in force for the KRS show at the Marquee ("Oh, I love him, he's so great!" Yes, yes he is.), so this show is going to be lousy with them.

Regardless, it should be an entertaining show, I mean it would likely be entertaining if he just stood up there. Halifax vets Universal Soul are also on the bill, and I imagine they'll do a good job getting the crowd nice and hyped up. So if you have the chance, go and check out the latest big-time Halifax hip hop show. For now I'll leave you with a song that is not only my favorite Biz song, but also perfect the arrival of some long overdue warm weather: Spring Again. Enjoy.

It's becoming a disturbingly all too common trend for punk/hardcore rawkers to jump onto an acoustic and sing poorly crafted whisky soaked ballads. Sadly, artists think twang equals credibility and fail to realize that country fused tracks aren't as easy to write as you'd think.

That's why I was a bit skeptical about the debut LP from Sleepercar, appropriately named West Texas. Basically, if you read any of the press you'd know it was the new side project for former At The Drive In, current Sparta member, Jim Ward.

While I happily can listen to the technical fury that was ATDI, I kind of never bothered with Sparta since they followed the same path and I kind of thought there would be very little addition by subtraction. What I didn't know is that Jim's been writing these stripped down tracks for years and finally took the time to release the songs and tour. Naturally, being the hater I am, I assumed any venture into country would be a tough listen.

Well, this is me eating my words - well, sort of. The press surrounding the record is very misleading. This record is more than just a collection of tear-in-your-beer tracks. It offers a lot of melody, diversity and density. Even at it's dustiest (tracks like Fences Down and Wednesday Nights), Ward's arrangements scoot along and have an energy crackling through them. Instead of trying to re-invent himself, Ward has used his experience to help put his stamp on an oversaturated genre. As he screams the outro to Wednesday Nights over some heavy electric and drum crashes, you get transported from the open air to the grit of the city. More importantly, you realize the power some of these songs have.

Heavy Weights reveals itself slowly, stepping out of the scattered noise into a graceful acoustic/slide number, but still has some heavy backing vocals and a surge of energy that continues to build on Sound the Alarm. What I like about this effort is that unlike so many of his peers, Ward wasn't limited by a sound. He didn't set out to make an alt-country record or even any "type" of record at all. It's a collection of songs that he's been working on for years and really demonstrate how talented he is. As a result, a lovely duet like End of a Year (which vocal help from Denali's Maura Davis) doesn't sound out of place compared to some of the heavier tracks like Wasting My Time.

Sleepercar is playing here in Vancouver on May 21st/08 with another punker turned alt-country guy, Dallas Green (from Alexisonfire) aka City & Colour.

myspace :: label

London, Ont. MC Shad was in Halifax in February to play the Marquee with Classified, and only three short months later he's back to play the Pavilion as part of the Skate4Cancer tour. I'm a big fan of what Shad does - I thought his last album The Old Prince was awesome, certainly deserved its Juno nod, more so than most of its fellow nominees - and so that would be reason enough to check out this show. But add in the fact that it's connected to a great cause in Skate4Cancer (more about S4C at the bottom of this post) and really it's win-win for everyone.

Shad actually took the time to answer some of our questions to help promo the Pavilion show and S4C in general, and I think it's a pretty solid read, so check it out for yourself:

hh:: Congrats on The Old Prince, I think it's fantastic, what's the response to the album been like as you've toured since its release?
shad:: I've been pleasantly surprised with the response. I'm glad you dig it.

hh:: I think you toured a bit with Classified and the Halflife crew, what was that like considering your respective audiences are likely a little different?
shad:: It was different night to night but generally the crowds were just excited for a show. I'm used to playing for a wide range of audiences so this was actually a closer match in terms of fan base than I'm used to. They were a fun crew of guys to tour with.

hh:: Congrats on your Juno nomination, how was that whole experience for you? Were you hoping to win? (Shameless suck-up, but I would have voted for you easily) I know the hip hop community in Canada has always had a bit of a skeptical view of the Junos, what's your take on it?
shad:: Thanks. I wasn't expecting to win to be honest. It was an honour and the nomination was unexpected so it was great to be there in Calgary with some of the people that I work with and perform with and sort of enjoy the honour together. I think the Junos and awards in general are a nice way to get a lot of people together and celebrate whats going on musically in this country cuz there is some exciting music being made here. I think its kind of lame that some of the categories are based entirely on sales. Not that there's a perfect way to decide who wins these things, but basing it entirely on sales just kind of takes the fun out the process I think. With any awards it's never gonna be perfect, and it's not the reason people should be making music, but it's still a cool thing and especially if it keeps improving and reflecting more and more accurately what's happening in Canadian music. It's important to celebrate accomplishments in anything.

hh:: I'm not even sure where I read this, but did you ever wear that shirt that said "black people love Feist" to the Juno's?
shad:: haha. No. I was too scared to introduce myself let alone wear that shirt! that was something i wrote in my myspace bio at some point as a joke. I'm a huge fan though. And her performance on the Sunday was incredible... love that woman.

hh:: How did you get hooked up with Rob and Skate4Cancer?
shad:: I met rob through a friend, Justin Broadbent, who did design work for both of us in the past. I played a show for skate4cancer in... 2006 i think and we kept up the relationship. we're friends. We have lots of mutual friends. I'm continually impressed by the guy and what he's dedicated his life to. He has vision and he has a genuine love for people and for what he's doing. I'm glad I can be a part of whats he's doing.

hh:: Have you done any work with an organization like this before? Sometimes it almost seems a bit cliche, but do you think kids are likely to be more receptive to getting involved with something like this if the message is coming from people they look up to like skaters or musicians?
shad:: I think the music brings the people together and from there, the message can be spread. Music usually plays some part in of most social/charitable/political movements. I help out with some different not-for-profit programs. As musician, as an organizer - I'm a pretty lazy dude I have to admit, but I try to support people I see doing positive things when i can.

hh:: Skateboarding and hip hop have always had a pretty good relationship, did you have any skating connections before getting involved? Have you ever skated?
shad:: ha. Nope. No balance. Fear of falling... I'm more into basketball.

hh:: Likely because of the frivolous direction mainstream hip hop has gone in over the last 10 years or so, I don't think rappers on the whole are looked at as the most socially aware group anymore. Based on your experience, do you think more hip hop artists would participate in this kind of initiative if given the chance?
shad:: The music business is a weird thing where so much is focused on the individual or the band. It can be really hard to escape the mentality that it's all about you and your career. It's hard for anybody really, no matter what you do in life. I think hip hop artists and musicians in general would love to see their music used to help spread a message or support inspiring people and help them do their thing, but the modern go-for-self mentality in hip hop and in music and in society at large makes us forget whats really important and what really makes us happy at the end of the day. So I guess all that to say I think more artists would get down with this sort of thing if there wasn't those pressures to push their own agenda all the time.
That being said, there's of course the reality that artists can't donate their services all the time if they hope to make a living at what they do. Also, theres a lot of CDN hip hop artists out there that support social and political movements on the underground level. For example, just yesterday a friend in Montreal was telling me about a collaboration between a hip hop artist there and an Algerian man seeking refugee status here in Canada and the project raised awareness about his situation. A Toronto based group called LAL came up and did their CD release show along with them in MTL to help support, so there's lots of things going on in the hip hop community that fly under the radar...

hh:: What is up next for you in 2008, are you working on a new album?
shad:: Hopefully getting this record out in a couple other places. maybe tour japan a bit - the album was just released there. we'll see what happens...

Thanks to Shad for the excellent interview, and I encourage everyone to check out the show tomorrow (it's an early one I think, 6:30 according to the S4C myspace). If you can't make it to the show, check out the other events Skate4Cancer has going on and see if there's a way for you to get involved.


Skate4Cancer is a organization/movement started buy Rob Dyer, who skated from LA to Toronto a few years ago to help raise cancer awareness in youth. It's really an amazing story, and Rob and his crew are involved in a number of events right now, so please check out the S4C myspace for more info.

A lot of the things I said about Matthew Barber's record hold true for the latest effort by The Violet Archers. I'm not trying to say they sound the same, because sonically they aren't even close, but both understand how important the little things are when it comes to making a song complete. With Barber, it's a result of a methodical approach to song writing, but for Tim Vesely and the rest of The Violet Archers it seems to be more the benefits of experience.

If you look at Insecure, you get an idea of the confidence and experience the band has and how it helps their song writing. If you asked a bunch of teenagers to hop in a car and drive six hours, they'd speed along, trying to get there as fast as possible, leaving lulls and disappointment. They'd get bored and looks for ways to have fun. For bands, that translates into adding unnecessary layers, huge out of place solos and a tendency to race through a melody.

The Violet Archers are able to treat the drive as an adventure, taking the time to see the sights and just enjoy what creeps over the horizon. On the surface, the track should be able to break the 5-minute mark, but the band shows patience and understanding by adding snippets of horns, dueling vocals and guitar work at just the right times; no element stays too long or takes away from the keep time drums and acoustic riff, but each part has something to say that is worth hearing. Taken on it's own, no element would command attention, but the arrangement builds nicely and really rewards the listener.

That's not to say this record comes off like a drive with your parents. The Violet Archers sequenced the album beautifully. The 90's minor tones (and vocab - as they chorus drops "lame") and crunch of Tired fuels the middle section of the record and really takes you back to a time when Indie rock was not a generic moniker slapped on music. The hook breaks down into some sonic, chaotic wash and really gets you excited for the next track (the single and most enjoyable track on the record), Sunshine at Night. The road trip ready rocker Don't Talk infuses another jolt of energy that pushes you through to the end of the record.

For people outside of Canada, Vesely's involvement with The Rheostatics might not be a selling point, but even without the solid musical pedigree of him and the band (all staples in the Canadian scene) there are countless tracks to be embraced. Whether it's the John Roderick like whimsy of Sunshine at Night, the unashamed catchiness of the "bonus track", Another Round or the Nada Surf like vocals on Transporter, the Violet Archers reveal new wrinkles that will appeal to music lovers everywhere.

You get to a point in life where you stop caring what people think and what is cool. Instead of trying to write songs that fit a little niche, The Violet Archers are just writing the songs that work for them and as a result they make a connection. When they sing "this is love" on You and I, you really get the feeling that love is exactly why they keep playing music and why you are listening.

myspace :: web site :: buy the record from Zunior

It's fixing to be a big summer for the wonderful people at Mint Records. Some big signings - Hot Panda and Kellarissa - and now some concrete information on the new record from The Awkward Stage. Street date is June 10/08 and the title is Slimming Mirrors, Flattering Lights.

Front man Shane Nelkin seems to hold onto every doubt and insecurity we ever had as teenagers and channels each and every powerful emotion into hook after hook of glowing Indie pop. The new single - Anime Eyes - cranks up the rock, and benefits from a great bass line and trumpet work, and more or less sounds terrific from the opening note till the final fade out. Like a confused teen finally finding out where he fits, this track displays a surging confidence. Remarkably, he's able to add a face melter before the final verse that not only doesn't distract from the track, it manages to complete it.

The Awkward Stage is holding court at the Railway Club the day I leave Vancouver (for ever), but if you are in town, you might want to check out these three shows:

• Thu May 15, 2008 - The Railway Club
• Sat May 17, 2008 - The Railway Club
• Fri Jun 13, 2008 - The Biltmore Cabaret

myspace

The Coast are billed as one of the hardest working bands in Toronto's indie music scene, and a quick look at their touring schedule seems to back this up. This Thursday night, those of us in Halifax will benefit from the The Coast's extensive touring as they play the Marquee (along with The Matavaras and Heavy Meadows).

We've covered The Coast on the hill before, and when I say we I mean mainly the Ack, as he reviewed their debut EP, and previewed their latest album Expatriate. I, on the other hand, am like a fresh-faced, ultimate frisbee toting Upper-Canadian teen arriving in Halifax for university - new to The Coast. And after a few listens to Expatriate, I have to admit I'm kicking myself. I also thought "These guys are great, why didn't the Ack tell me to check them out?". That's typical Ack though, hoarding all the good bands for himself and leaving me to do the dance music and Alberta rap (NOTE: This is slander. I constantly recommend bands to him).

Anyway, back to The Coast and Expatriate, an album full of the kind of anthemic indie pop songs that I wish would actually become anthems on a wider scale, instead of the mostly un-inspiring songs that do. In his review, the Ack talks about the Brit-pop influence and soaring textures found on their EP, and while I wouldn't say those elements aren't found on the new album, the band has tightened their sound and turned the tempo up a few notches. The results are pretty hard to deny.

The opening track, Tightrope, is all echo-y synths, guitar jangle, cymbal hiss, falsetto vocals, and fist pumping hooks (hey, hey, you!), while Nueva York follows that up with pounding, insistent drums and driving pianos. Two songs with slightly divergent sounds that combine to form a fantastic 1, 2 punch. Being the standout track on an album full of standouts isn't an easy task, but Killing Off Our Friends tackles the job with peppy drums, strummed guitar, spontaneous handclaps and a chorus made for singing along to. The tempo changes and mournful trumpet of Ceremony Guns make it another favorite. Expatriate isn't all indie rock-outs though, as the lovely plink of Song For Gypsy Rose Lee can attest.

So long story short, The Coast are headlining a great show tomorrow night at the Marquee, tickets are but a mere $8, and you'd be a fool to pass it up. I mean, I wouldn't think you're a fool, you're aces with me, but others may think so. The Coast are also playing in New Brunswick this weekend (Fredericton, The Capitol on Friday, Saint John, A Khord on Saturday) so any of our NB peeps should think about checking them out as well.

myspace :: Buy Expatriate on Zunior

Making a cup of coffee. Having a first kiss. Public speaking. Grilling a steak. Dressing up. Mixing a solid martini.

All of these things seems so simple, so easy to do but most people get it wrong. So much so that we excuse a bad cup of coffee, overcooked food or a badly mixed drink with a disappointed acceptance. Instead of pushing it back, we simply shrug as if we have no other choice. Well, the same can be said with a radio ready roots/acoustic track. We are bombarded daily with song writers writing about the love that never faded, and we listen begrudgingly to almost anyone, offering up nothing more than "it's ok."

But when a song crackles through your speakers with purity, simplicity and enough soul to make you believe, well, it's special. And when Matthew Barber strums his trusty acoustic on the intro of Easily Bruised, you are willing to sit down and let the man speak. The slight melding of letters when he sings "PEI" gives the track a nostalgic 70's radio feel, but everything comes across so smoothly, without a trace of pretension and transforms his new record - Ghost Notes - from just another average cup of coffee to one you savor.

The rest of the record follows suit. The songs don't use complex arrangements, often exposing Barber's guitar and vocals with only the support of a smattering of keys, minimal percussions or a well placed harmony. He can use run of the mill phrases like "I'm going settle my accounts with you" or "there's you and then there's me" as choruses and you never think anything of it, because everything just seems to fit.

He adds layers at just the right time, like the female harmonies and steel that grab your ear on You and Me, but isn't afraid to stand alone (like he does on the touching Modern Woman or the piano ballad Where The River Bends). Really, Barber doesn't do anything that should make him stand out from the masses, it's just how well he does the things other people take for granted that makes the record such a treasure.


web site :: Buy from Zunior

I'm just going to continue on the Summer theme. It's hard not to think of the sun when you hear the Beatles influenced intro of Sub Symphonika and with titles like Swimming Pool and The Brightest Hour you start to think everything in their world is rainbows and butterflies. The (almost) naive, childlike premise that dominates the ear candy that is Swimming Pool makes you wonder if the duo lives in a fictional world.

They seem to be ignoring the warning signs just so they can hold on to a relationship that may never work, simply trusting the fact that sometimes you just have to jump in the deep end and hope you can swim as a testament to the whole "love conquers all" idea.

But truth be told, when most of the time when Blake and John start singing you realize there is a lot more going on under the surface. Gone are the smiles and in their place is the wear and tear caused by regret and heartache. No, love isn't easy and neither is always trying to find the good in someone. The duo's personal history is well documented, and it's those experiences that really let's them play with the contrasting idea of fairy tale and reality.

Musically they are mixing and matching more styles than most other electro duos. Sure, they still build patch work electro quilts that can warm the coldest soul, but it's the surprises they add that gives this record a bit more depth. The dub reggae feel on 1940 really strengthens the dark glimpse into the neurotic thoughts of a twisted soul. Despite the beautiful day that waits, Blake's character tosses and turns, unable to think anything will ever be ok.

No, in spite of the summery title - Honeysuckle Weeks - and vintage sounds, the Submarines paint a much more realistic picture, even if the colors they prefer are warm and relaxing.


myspace

The last two days here in Vancouver have been unreal. You wake up to find the sun already shining and the water shimmering like a summer camp fantasy. You feel like you are watching old stock film as the grass shakes off the morning dew and stands to attention in unison. The gentle warmth that encompasses the city is so forgiving, so inviting that you can't help but feel inspired.

Everyone seems antsy as they search for something new; love, a patio or a n unearthed corner of the beach. People just stop by as they walk through the neighborhood, avoiding the hassle of making tons of futile phone calls with the hope of seeing your friends. Patios replace couches and ice cold beer replaces those solitary goblets of wine. More importantly, every breath you take is full of life.

Those are the feelings I get when I listen to Freedom Wind.


myspace

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's 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.

I don't take Scott Orr to be a God fearing man, so when he asks the man above for help on Don't Want To See That Again, you wonder if it's because that's all he's got left. He's been to the bottom of the bottle, through the heartache and instead of looking up in prayer for hope, it's more like the one desperate option he has left. The desolation of his aching words is matched with a spare electric guitar and lap steel arrangement and you feel every desperate grasp he makes, trying to hold on to whatever he has left.

Orr's new record is a collection of songs, but more so a collection of emotions. He doesn't force depression on you, as he offers glimpses of hope and nostalgia. There is probably no better feeling in life than the first moments of falling in love, and he paints that picture perfectly on Other Thoughts. Everything seems bigger, bolder and gives you the confidence to do anything; even if that love is more one-sided. He wrestles with insecurities on Wondergirl, as he starts doubting himself, thinking even his best gifts will never measure up.

Scott Orr is able to strip the grime and edge of his hometown of Hamilton, offering smooth, soulful tracks that really channel the emotions we all fight or embellish on a daily basis and offers them up over a pretty diverse amount of sounds. After the country tinges that start the record, the touching piano duet, Take Them Home, is quite shocking (but very beautiful and a sure hit for fans of Glen Hansard's work on the Once soundtrack). Tracks like the Dan Magnan-ish You Know What This Song Is About or the folky, string laced Old Enough stop the songs from blending, but for me it's the roots numbers that really show Orr finding his stride, benefiting from the steel or mandolin that fills up the space (like on the What a Way to Go).

This record, which probably hasn't been heard by too many people, is actually free for anyone willing to spend the time to listen. Orr made the decision that it's better to offer give it away and hope the public gives back. I'm getting less and less optimistic that people still do buy records after reading about them online - although we can confirm that Shane's review of The Human Soundtrack led to at least one sale - but throwing a few bucks in the tip jar for this one is more than deserved. Orr's tracks are beautiful and his words hit home with any listener. Isn’t that what we look for in music?




web site

So it seems the email I got sent on Saturday was false. Well, by now as everyone knows, Tom Waits is touring. Instead of Akron or Chicago, the only option for me this time around in good ole Columbus, unless Thomas wants to head to Jacksonville for July 4th? Tee-box - holler at me.

Here are the full dates for the US leg of the tour

Tuesday, June 17, 2008 @ 9:00 PM Phoenix, US
Wednesday, June 18, 2008 @ 9:00 PM Phoenix, US
Friday, June 20, 2008 @ 9:00 PM El Paso, US
Sunday, June 22, 2008 @ 9:00 PM Houston, US
Monday, June 23, 2008 @ 9:00 PM Dallas, US
Wednesday, June 25, 2008 @ 9:00 PM Tulsa, US
Thursday, June 26, 2008 @ 9:00 PM St Louis, US
Saturday, June 28, 2008 @ 9:00 PM Columbus, US
Sunday, June 29, 2008 @ 9:00 PM Knoxville, US
Tuesday, July 1, 2008 @ 9:00 PM Jacksonville, US
Wednesday, July 2, 2008 @ 9:00 PM Mobile, US
Thursday, July 3, 2008 @ 9:00 PM Birmingham, US
Saturday, July 5, 2008 @ 9:00 PM Atlanta, US

See Tom in all his wacky glory here at the tour "press conference":


And in another slice of terrific news, Rival Schools is getting back together to play a few shows and apparently write new songs. Walter and Ian back together again? Yes, please!


No shows on this side of the pond, but if you live in Europe, get ready.

06/06 - Rock Im Park, Nürnberg, Germany
06/08 - Rock Am Ring, Nürburgring, Germany
06/11 - Kings College London Students Union or University Of London Union
06/22 - Powerfest, Geleen, The Netherlands
06/25 - Hove Festival, Norway

Poppa large, big shot on the east coast!
Typically, the Ack and I have the same convo about the hill on a daily, or every second day basis. He'll be like "when are you posting?" and I'll be like, "I'm busy, but I'm getting to it", and then he'll be like "Oh I know, you're a dad, you're a busy guy" and then I'll be like "I know, I am a dad, and yes, I'm busy!". It's riveting stuff really, but last week during one of these exchanges I referred to myself using the classic Kool Keith line that opened this post. I also immediately thought we need some Ultramagnetic for OSM.

A quick consultation with Dr. Google will reveal a zillion and one hip hop nerds telling you the same thing, but Ultramagnetic is really one of the truly classic groups from hip hop's golden era. They have all the elements you need, including an iconic first album, a connection to one of hip hop's legendary producers (Paul C), a solid but semi-panned second album, a follow-up to that semi-panned album that was kind of ignored yet reached cult status, and an acrimonious break-up and subsequent make-up years later in hopes of making a comeback with a new album. Seriously, combine unreal production, the charismatic lunacy of Kool Keith matched with the solid frontman skills of Ced Gee, DJ Moe Love on the wheels of steel and TR Love doing whatever it was he did (produce, manage, rap, weed-carry? I don't think I ever knew), and it's no wonder the mere mention of the Ultramagnetic name still gives hip hop purists a trouser tent to this day.

Considering we named our recent New Brunsiwck Mixtape as a kind of joint homage to Ultramagnetic and NB's famous tourist spot, Magentic Hill, it only seems right we get them some OSM coverage. So we have two jams from Funk Your Head Up, Ultramagnetic's second album which certainly doesn't get the breathless tributes it's predecessor does: Poppa Large, which was the genesis for this post, and Pluckin' Cards, which I remember being my favorite song on the album.

MP3:: Ultramagnetic MC's - Poppa Large
MP3:: Ultramagnetic MC's - Pluckin Cards
Hey, is that a copy of "Golf" for the Vic-20 dubbed onto a KMart cassette tape? No, it's actually my copy of Funk Your Head up. After a shitty ghetto blaster ate my tape, I asked my very handy father if he could help repair it, as it was one of my favorites. Well he did the job, re-spooling it on a former Vic-20 game cassette, which is pretty awesome. I lost a bit of the beginning of the album, but I was just happy it wasn't ruined. I've always meant to get around to talking about this album, simply to post a pic of the tape. Now I have, and it makes me smile.

Ahh yes, the songs, right. I don't have the video version of Poppa Large, which I think is a Beatminerz remix. It's too bad, as I like that version better. The album version has a bit too much of the commercial sheen that lead a lot of people to diss this album, whereas the video/remix version has a more manic feel that captures Keith at his best I think. It's still vintage Kool Keith either way, with his unique brand of scientifical nonsense: "pick 'em up picklehead, pick 'em up picky", "not Ricky Ricardo or Guy Lombardo, sporting a ragtop, an El Dorado". If there's anyone who did the stream of consciousness rhymes better than Keith, I've never heard them. The video is also classic, simply because it features Keith, who once did time in a mental institution, wrapped in a straight jacket and wearing some kind of Hannibal Lecter face cage. Classic, crazy stuff.

Pluckin' Cards is just awesome, with Keith unleashing battle rhymes of the generic and specific variety over a simple, yet funky, Impeach The President-based drum track. The first verse is just classic Keith bravado, saying things that likely mean a whole lot to him, yet are kind of cryptic to anyone else: "Living like Oscar, Big Bird and Grover", "I see rappers I know they turned African, I just pedal my bike, then I laugh again". The second verse is a bit more specific as he take on female MC's "How bout Monie (Love?) and Nikki (D?) they both bullcrap" and then appears to go after the legendary BDK "How could I diss myself in front of Dolemite", "You rap on R&B tracks and whatever, Hi Uncle Tom, go head entertain, Dance and get sweaty, and let me use my brain". I love the Kane long time in all his cheesy, ladies man glory, but these are some funny lines. Anyway, I always loved this song, was happy it was preserved when the tape was eaten, so enjoy.

Video:: Ultramagnetic MC's - Poppa Large

Amazing news. J Tillman is now a member of Fleet Foxes. Basically, adding his amazing talents to an already great band means there is potential for greatness.

The only down side is I wonder what's going to happen with J and his already completed solo record. Hopefully someone wises up and distributes it or he can open up for the band and get the attention he deserves. Either way, congrats J and huzzah to Fleet Foxes for realizing they can benefit from having him around.
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Usually it's not worth the effort required to try to write about big acts, but I've been listening to Lykke Li a lot lately. I don't think the fact that everyone else loves her should make me like her less (but it often does).

The notes move with a quiet confidence, and it's like watching a woman walk gracefully across a room, slowly drawing the eye of every man in the joint. She knows she doesn't need to try, and as a result she's completely compelling.

Lykke is here with blog darling El Perro Del Mar. The show is May 14th @ the Red Room and should be terrific.
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Video:: I'm Good, I'm Gone

It's one of those lazy summer days; one where your only goal is to do nothing at all. But as the sun starts moving and higher and higher, you can't escape your own thoughts and they start consuming you. Every pleasant gust of wind and every passing stranger that offers a nonchalant wave or glance just enhances your depression and the beauty of the day just seems to get darker and darker.

That's the feeling I get when I listen to Sandro Perri's incredible Tiny Mirrors. Admittedly, I'm late to the game on this one, as it really should have been a record I embraced last year, but the songs are undeniable. Moving away from his electronic moniker, Tiny Mirrors is Sandro's first venture into heavy lyricism and emotion. To the casual listener the songs might come off as light; daring you to dig deeper and enjoy the horns, wind instruments or piano that twinkle in the distance, but it's the emotion that runs throughout the record that makes it special.

Although I hate to use a cover to prove a point, Perri's take on Everybody's Talkin' is the perfect example. The classic Fred Neil track has become one enjoyed by people as they drive effortlessly down the open road. Despite the subject matter, the song has become synonymous with summer and good times. Perri's reworking strips away any sunshine that you might have expected and the way his voice lingers on words casts a cloud of depression that you can't turn away from.

The folksy tracks like You're The One float by unassumingly, but when you really listen to the complexity of these "simple songs" you are rewarded heavily. Sure, his voice and structure do sound similar to M Ward (which is not a bad person to be compared to), but the way he switches effortlessly from folk to cabaret to jazz prevents you from thinking this talented man is aping anyone.

This is one of those records that really is more expressive and enjoyable than the words that might describe it. The dueling melodies of Double Suicide or the electric shock that pierces the gentle calm of the acoustic guitar and tuba on White Flag Blues are much better heard than simply read about.



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All right, it's Friday, the sun is shining (where you are hopefully, it's rainy and, to borrow and Ack-ism, cold as a whooore's heart in Halifax), and you've come to the hill for one reason: TO DANCE. Well I'm sure someone has. Maybe. Now, because we're old and curmudgeonly, we are likely the last two dudes who know what jams will get the indie kids up and shakin' their snug-fitting pants, but that doesn't mean we can't try. So try I will with two albums we've recently received from Cut Copy and James Pants.

The accompanying bio for Cut Copy's new album In Ghost Colours is one of those ones that makes me feel like unfrozen caveman hip hop, part-time indie rock reviewer guy. I'm just a simple caveman reviewer guy, I don't understand what you mean when you say "epic sax-house" or "from the vocodered robo-pop of French house to prog's soaring harmonies to the texture of shoegaze". What I do understand is that the three young Australian chaps in Cut Copy have made an album that has managed to find a natural melding of electronic sounds and organic instruments that quiet simply works. The 15 songs are so consistently upbeat and propulsive that even the most cynical of the many cynical bastards perusing the music blogs would have a hard time denying it.

Right out of the gate the big beat/guitar strum combo of Feel The Love lets you know that you've got something mighty, mighty catchy on your hands. The funky bassline, guitar licks and synth bursts of the first single Lights and Music come together like Hammer and go straight to your feet. So Haunted could pass as a fuzzy rock song that someone slipped handclaps, synths, and a pumping drum track into at the halfway point when no one was looking. The shimmery, sample-spliced chorus on Hearts On Fire makes it a guaranteed dancefloor winner I would say. The disco-fied 80's feel of Nobody Lost, Nobody Found is enjoyable enough, but the conga-ed out breakdown at the end of the song is pretty solid.

The awesomely named James Pants is also using the 80's as a touchstone to get folks moving, but he leans a bit more on the electronic blips and blurps of that decade's soul, electro and even R&B sounds to get the job done. Coming out of the Northwest (Spokane, Wash.) on the legendary, Peanut Butter Wolf-helmed, Stone's Throw records, Mr. Pants does it all on his debut album, Welcome, playing drums, keys, guitar, singing, yelping, and crooning. Did I mention there's a Cameo reference in James' the bio sent out with his album? Man, if there had also been a pic of him in a red codpiece, this have been a shoe-in for my best of '08. As it is, Welcome ends up being quite the eclectic mix, and it might be dance music of the headphone variety compared to Cut Copy, but it's an engaging listen.

Each song finds James reaching out and experimenting with various sounds, the big bass kick and electro fuzz of Dragonslayer contrasts nicely with the 80's drum machine knock of Crystal Lite. We're Through finds James laying down the relationship law over a handclaps and a sassy synth bassline. The horns & thick bassline on Good Things are just plain funky, and it has the James Brown sample to prove it. The bouncy I Choose You breaks out the computer vocals to get toes tapping, while James breaks out his Prince/Bootsy Collins impression and some solid tambourine work to get down on the catchy Ka$h.

Well there you have it, to different acts to pep some pep into your Friday afternoon step. Check the songs below and get down for yours in whatever way you deem appropriate.