In the last few years, the concept of an open letter has evolved from poignant criticism or observation to a default mechanism for forced comedy akin to bashing hipsters and making videos/images of cats for satire. In the hands of most, the results are at best disappointing (at worst, rage inducing) but when done right, the message can be biting and engaging.

So when criminally underrated rocker Walter Schreifels (Gorilla Biscuits, Quicksand, Rival Schools and Walking Concert) decided to name his latest LP, An Open Letter to the Scene, it could only go one of two ways. Thankfully, instead of an angry rant to the kids of today, this letter reads like a "how-to" for any artist looking to tackle the indie folk rock scene.

Walter has seen more than his fair share of things in the 20 years he's been writing music, and An Open Letter To The Scene shows him aging gracefully without losing his roots. He looks back with a fondness - interesting reworks of Agnostic Front's Sucker City and Don't Gotta Prove It (a song he wrote for CIV) fit perfectly into the record, as does the nostalgic title track - but the record never gets stuck in the past. He manages to add just enough muscle to keep his long time fans happy, but witty tracks like The Ballad of Lil' Kim, touching tributes (Arthur Lee's Lullabye) and reflective moments like Shootout keep Walter's songs fresh.

In the end, Walter accomplishes everything you should with an open letter and more importantly with a solo record. His opinions are presented clearly, without needless screaming or vitriol, but never is the music sacrificed for the message. An Open Letter to the Scene is full of thought provoking observations, hope but the quick hitting 30-minutes are hook laden and always enjoyable. Bloggers and cynics take note; when a seasoned pro takes the time to deliver a piece of art, instead of rushing through a "me first" exhibit, we all win.

Walter Schreifels — Arthur Lee's Lullaby from The Town Pump on Vimeo.

MP3:: Walter Schreifels - Arthur Lee's Lullaby
MYSPACE:: http://www.myspace.com/walterschreifelsmusic
BUY:: http://www.bsmrocks.com/main.html

Labels: Music, Reviews, Walter Schreifels

UPDATE - all 5 copies are now gone. Thanks for entering.

It's not surprising that an artist making the long, lonely trek up North would search his inner soul for inspiration. The thing is, when it comes to The Burning Hell's front man Mathias Kom, I'm not sure he's ever held anything back from his audience. He had long since found alienation and loneliness so instead of a collection of songs offering up a glimpse into his most personal thoughts and fears, Kom's trip to Whitehorse just provided him new subject matter and settings.

What did change is how the songs were delivered. The Burning Hell has just released a tour only 12" (or downloadable record) - This Charmed Life - but instead of standing alone with his uke or with the support of his rollicking band of noisemakers, the record is Kom, his uke, the wonderful cello work of Darcy McCord, and the subtle electronics of Walter Bloodway.

Obviously, the journey affected Kom. The songs were born from random road signs and town names, cold nights and bus trips (including three moody, cinematic instrumentals written as he traveled up North) but it's the interesting arrangements that really make you sit up and take notice. Kom has always had a knack for using his sad baritone to draw you into the most bizarre lyrics, and of course that doesn't change (the record's opening line is "Robert, you're such an idiot", which sung by almost anyone else would leave even the biggest fan a bit suspicious), but the way he presents his thoughts certainly does.

Instead of uke picking, the opening number Robert's Bad End really builds from Darcy's slow bowed strings. It's a subtle shift, but gets you ready for bigger changes. The second track - Don't Let Your Guard Down - is where things get interesting. Walter adds a pulsing heartbeat to the song and Kom's staccato delivery suits it perfectly. His backbeat transforms the oddly summery riff of Last Winter into a head nodding, windows down car ready ditty that I didn't think Kom had in him. The rest of the record is equally as enjoyable and surprising. Northern Life uses a darker, almost ominous electronics and string arrangement to push Kom's trademark word play and wit into the shadows. Honestly, Kom's clever metaphors and deprecating humor benefit from the modern textures his friends add to the mix, and make this EP/LP a necessity for fans of the band.

So, how can you get a copy? Well, we have 5 - that's right 5 - digital copies up for grabs and we will make this easy. The first 5 people to email us (herohill AT gmail DOT COM) or leave their email in the comments section below will get a nice download code from zunior in return. Not a bad deal there folks, so make with the entering.

MP3:: The Burning Hell - Last Winter
MYSPACE:: http://www.myspace.com/mathiaskom
LABEL:: http://www.weewerk.com/

Labels: Canada, Music, Reviews, The Burning Hell, Weewerk

A few months ago I gave my friend in Toronto a couple of passes to see The Avetts play at the Horseshoe. She was new to the band, but more than willing to risk a night of letdowns to see a band I had showered with compliments for years. When I asked her what she thought, her response was very fitting.

"It was love, man. From the band. From the fans. From everyone."

While Haligonian bluegrassers, Moonshine Ramblers can't match The Avetts emotional narratives and heartbreaking balladry (although they try on Darkness and Stars), the love they show for the music they play is certainly on par. Their debut record - recorded live off the floor with some nicely executed vocal overdubs - finds the band paying homage to the past (Lonesome Road could easily be mistaken for a traditional number) in a modern, unique way.

Banjo picks dance around guitar licks, 60's era harmonies and a solid rhythm section, but the boys make sure that their appreciation of the greats doesn't result in a simple exercise of name the influence. Chicken Skull shows the musicianship is top shelf, as the harmonies are spot on, but it's the way The Ramblers slow things down with an almost sludge-y, guitar and stand up bass breakdown, before spiking the tempo back with a riff that would make the Duke boys proud. It might seem like a minor detail, but it helps the quintet from dating their efforts. The heavier tone they take on the United Steelworkers of Montreal inspired St. Stephen's Fire and the surge they deliver on Heavy Drinkin' Woman do the same.

But at the end of the day, this band is a bluegrass, banjo driven band and a talented one at that. With Old Man Luedecke getting ready to win the province (and the country over) with his claw-hammering, it might pave the way for this hardworking bunch of musicians to get back some of the love they give out.

MP3:: Moonshine Ramblers - Chicken Skull
MYSPACE:: http://www.myspace.com/themoonshineramblers

Labels: Canada, Halifax, Moonshine Ramblers, Music, Reviews

Think about every guy you've ever seen strumming the chords to High and Dry and singing the falsettos with eye closed tight in some dorm room hoping to pick up a naive freshman looking for a sensitive artist. Now, think about every former pop punker that heard Matt Skiba of Alkaline Trio (or maybe that Saves the Day acoustic EP) close off records with an emotional, fast strummed acoustic ditty and tried to put together some lightning fast power chord riffs. We won't even get into the dramatic increase Jack Johnson has had on song writers.

The sheer volume of horrible acoustic songs dying to get put on display at open mic nights and house parties is overwhelming. Bottom line, buying an acoustic guitar is kind of like being able to vote; just because you have the power to exercise your voice, doesn't mean you should.

The nice thing is, for artists writing quality tracks, that volume of blah is exactly what helps them stand out. On the surface, Mike Bochoff might be using the same chords and is influenced by the same people as tons of other singers, but his new record - Horror Culture - just sticks. You start to hum the melodies and sing along on the choruses. You start letting the record repeat. Like any young song writer, the record is a bit top heavy and a bit too long but Bochoff certainly pens some songs that creep into your brain with little to no effort.

More importantly, instead of the same strums and power chords, Bochoff's experiments with sounds, instruments and textures (the Volcanoless in Canada-ish rocker The Dropout, like the more worldly sound on and the subtle female harmonies on the celtic folkish Broken Heart of Gold) helping cement that his potential is probably the most exciting aspect of this record. He's still trying to find his preferred voice; is he a working class, Irish hero, a fractured uptempo punker, a more fleshed out mature story teller? Only time will tell, but already Bochoff is a story teller above using default cliches to describe the everyday and one that keeps you listening. When its comes to a dude on an acoustic, that's the most important thing.

Plus, the video for Everything Burns is delightful. Playful marionettes and models completely contrast the song about an abusing husband and a woman fighting back and like many of Mike's songs, you find yourself just listening/watching intently.

MP3:: Mike Bochoff - Everything Burns
MYSPACE:: http://www.myspace.com/mikebochoffmusic

Labels: Canada, Halifax, mike bochoff, Music, Reviews

As the indie music scene gets more and more flooded with with lo-fi, sun kissed melodies, it becomes harder and harder to remember that rough bedroom recordings have been a way of life for artists long before chill-wave or bro-fi became the flavor of the week. Those lo-fi recordings weren't done to mask limitations; they were used to add life and reality to the songs.

For NB's Ian Wilson - a.k.a. koAk - his preferred collage of fuzz, acoustics and drums has been evolving for years and stems from legends like The Microphones and Eric's Trip not Memory Tapes and Washed Out. KoAk's new record disregards a reliance on synths and samples, as Wilson adds to his structures with sonic blasts and distortion, but this time around, Ian and Meg expanded their sound by fusing in a slowed down surf rock feel to the appropriately titled, In the Sun.

Instead of beach side relaxation and sun bronzed, Dick Dale influenced shakers, the songs move at the pace of a lazy, sun-filled afternoon allowing the psychedelic tones transform the lo-fi tracks in something unexpected and transfixing. There are moments of jaw dropping beauty - the album bookends, Sleepytime (destined to soundtrack your night when the party ends and the sun starts to creep up over the horizon) and Delinelle (an opener that fulfils the crucial task of engaging you in the LP from the opening note) certainly standout - but koAK's liberal use of traditional sounds and mood prevents the dreaded blending of tracks.

They still offer up drone filled bliss, but even the muddiest of terrain - except maybe Highnoon Harmonica - seems to be free from clouds and shadows. The hint of warmth and some nice harmonies gives the songs a soul that powers through. The drums and feedback are simply used for support and embellishment, not distraction. In the Sun manages to surprise and excite you, but also relax you as the 40 minutes starts to wash over you.

Oh, and the band is giving it away for free.

MP3:: koAk - Sleepytime
MYSPACE:: http://www.myspace.com/koakrock
WEB:: http://koakrecordings.blogspot.com/

Labels: Canada, koAk, Music, New Brunswick, Reviews

It's a bit surprising that we haven't beat you over the head with Steve Poltz coverage here on herohill. Considering the Halifax born, San Diego resident has been writing music for years and how easy it is to sink in to his mix of charm, humour and simple, but amazingly catchy melodies, you'd think every update he offers would be documented in all of the social media outlets the hill has access to.

Sadly, that's not the case. This is our first post on the man and even though I thoroughly enjoyed anything I've heard from him and his charismatic live show, I never made the effort to put pen to paper so to speak.

The remarkable thing about the 50-year old, road warrior is how current his sounds can be. For a man that's been writing songs for decades and fine tuning his own unique style, Poltz's latest effort - Dreamhouse - isn't just a rehash of old tricks and finds him meshing perfectly with some of Nova Scotia's most notable names (Jenn Grant's - whose harmonies sound perfect throughout the record, David Myles and of course, Joel Plaskett). I know that shouldn't be a surprise considering that Poltz is probably best known for his collaboration with Jewel, but Dreamhouse really shows a mature song writer that is able to benefit from his experience and still try new sounds.

I'm not sure how much that has to do with Joel's input on production - from an outsider's ear, Digging for Icicles has a lot of Plaskett's signature sounds and how the pair interacts on License Plate Eyes is worth the price of admission - or just Poltz flexing his song writer muscle, but it really doesn't matter. Steve sings with a smile and an optimistic spirit as he throws in often hilarious word play (Wish the Wind) and lighthearted, airy sing-alongs (I Love What You've Done With This Place) alongside heartbreaking tales (Dreams #23 and Dog in Bosnia - which incidentally sounds like it could be a Tom Brosseau effort) and powerful instrumentals (A Song for Kosovo).

I'm not sure if Dreamhouse will change Poltz's status among casual music fans (a quick look shows that without the undying support of songsillinois.net, he's almost be ignored in the blog world), but for those that already know how enjoyable his music is, this record will be another gem in his sparkling catalog.

MP3:: Steve Poltz - Digging for Icicles

MP3:: Steve Poltz - Dog in Bosnia (Daytrotter)
WEB:: http://poltz.com//blognews/index.html

Labels: Music, Reviews, Steve Poltz

It's hard not to push Zeus into the stratosphere after an out-of-nowhere EP that offered a brief glimpse at the heights they can reach. The retro-fueled quartet from Toronto has been working hard to find their sound; whether as part of successful and highly underrated bands (The 6ixty Eights and The Golden Dogs) or out on tour as Jason Collett's backing band, and as hard as it is to not build a comparison on another multi-voiced band that got it's start playing behind a great artist, it's even harder to ignore the obvious mythological tie-in to the power and status the band could achieve.

But for me, Say Us actually brings another classic tale to mind. Icarus was given the gift of flight thanks to the precision craftsmanship of his father Daedalus. Zeus too rockets from the ground with hooks, harmonies and melodies that are indebted to their predecessors (The Beatles, The Kinks and yes, The Band ). Don't get me wrong, the band puts their own, more muscular spin on the sweet sounds music lovers have gravitated to for years, and naturally, that swagger and confidence pushes band higher and higher. Sadly at times, Say Us gets too close to the sun, singing the tips of the wings that gave the band flight.

But unlike the classic tale of the impetuousness of youth, great music only comes from taking risks, especially when you find the ingredients in a cupboard pillaged by countless bands. Zeus thrives on a confidence and precision that results in a musical freedom and while Say Us might not be the start to finish transcendent escape we all hoped for, for the precious moments when they soar without fear or repercussion (How Does It Feel?, Kindergarden, and I Know stack up against any of the output of any Canadian band out there today), this TO quartet owns the sky and you realize with a bit more patience there's no limit to the heights they can fly.

MP3:: Zeus - Marching Through Your Head
MYSPACE:: http://www.myspace.com/themusicofzeus
LABEL:: http://www.arts-crafts.ca/

Labels: Canada, Music, Reviews, Zeus

It's not surprising that Matthew Barber's upcoming release - True Believer - is flying under the radar of most of the sites I read and most of the music loving public in general. Barber is easy to classify - essentially he's a rock solid song writer that could charm you with just an acoustic or a piano - but the surprising range he presents when he writes songs makes it almost to lock into a sound or style. His understated arrangements consistently display his talent, but really don't translate into press quotes and hyperbole. He can't be put in a box with a generic, "he sounds like X + Y and a little Z" and sadly, that leaves this incredibly talented musician in a bit of a critical purgatory.

Descriptors like effortless, timeless, and classic are easy to throw around but really don't equate to anything you can hold onto. At the end of the day - to bastardize a Miles Davis quote - music either makes you smile and tap your foot or it doesn't. It would be easy if saying that Barber's songs make you move was enough, but the undeniable shift in how we gauge song writers makes that almost impossible. Barber's influences are people that wrote songs for the masses, unashamed that their strums made people happy, dominated the radio and could be enjoyed by anyone that listened, so why should we not extend the same courtesy to song writers in the current age?

I guess in an ironic twist, Barber puts out record after record of songs that fit all of those qualifiers but you rarely hear his name mentioned among our nation's best. To be honest though, I think Barber is ok with that and if pushed, he might say that he'd rather his songs be compared to his predecessors instead of his peers. So when he and producer Howie Beck sat down to record True Believer and Barber says that he was influenced by Neil Young, Tom Petty, Al Green, The Boss and The Band, I think those names are listed as a sign of respect and a potential measuring stick but not a blueprint for his sound. Barber doesn't want to sound like them, he simply wants his catalog to stand alongside theirs. Even when he adds some summery Paul Simon-esque guitar and percussion, the song is still built on Barber's musical foundation.

That small but significant difference is why the stripped down melodies he offers on True Believer are so infectious. Instead of forcing comparisons, you simply settle into the record knowing Barber's sound is his own. With only some perfect harmonies and a picked guitar line, Barber captivates the listener on The Little Things. Even when he beefs up the sound, layers are added for impact, not novelty. The booming horns and strings that get you nodding on the title track or the banjo and finger snaps that catch your ear on Comeback Baby never detract from the guitar and vocals, they just complete the sound. The gentle swell of horns on Revolution of the Sun don't overwhelm you, they force you to focus on his words and feel his emotion.

The ten songs on True Believer show the trademark flexibility of his voice - it's hard to imagine another contemporary artist that can deliver a perfect road trip anthem (Hawks on the Highway) and still sound completely comfortable on the most spare arrangements (Suddenly) or sharing the vocals with his talented sister (@JillBarber) - and should help cement his status as one of Canada's greats. I guess it all depends if people are ready to say sounding like Matt Barber instead of the slew of artists on which we gauge every song writer is finally good enough or not. Hopefully you are, because I certainly am.

MP3:: Matthew Barber - Revolution of the Sun
MYSPACE:: http://www.myspace.com/mbarber
BUY:: outside-music.com

Labels: Canada, Matthew Barber, Music, Ontario, Reviews, Toronto

It's very fitting that BC's Aidan Knight is traveling the West Coast in the luxurious comfort of Dan Mangan's van. That comparison isn't based on a similarity of sound, more that both BC boys have that something... whether it's the ability to turn the simplest of chords into something meaningful, the subtle turn of phrase that puts you along side them as the story is told or how they can cram layer after layer into a beautiful composition and never get lost in the mix. Whatever "it" is, both young song writers possess that talent in spades.

The thing is while Dan is a bar room prophet, a man observing the human condition from the stool in the bar or restaurant, Aidan Knight comes across as more of an innocent, wide eyed poet. By no means is that a slight, as Versicolour effortlessly strips away the stress of life with each picked riff, vocal harmony (courtesy of the lovely girls in O'Darling) and subtle nuance that catches your ear as you listen to Knight's 8-song debut.

If I had to pick a single moment of Versicolour, it would be the gentle collage of banjo and steel that run alongside the summery guitar of Jasper, and the immediate release you feel. Be it the baggage of stress or heartache, it's hard to focus on Aidan's lyrics because the three and a half minutes transports you to a better time. It's impossible to see this song through Knight's eyes, as he paints a scene we all hold close. I'd say it's that freedom of youth, but that would trivialize the emotion he delivers. Some people find salvation singing in church, letting the sway of the congregation cleanse their soul. Aidan lets us feel that same relief just by triggering memories when life just made sense.

That's not to say this record lacks depth or maturity. Knight moves from sun to shade nicely throughout this quick hitting LP; the beautiful Altar Boys is heavy in melancholy, Knitting Something Nice For You makes a song about knitting like a metaphor for a heroine user and even the opening number, The Sun uses atmosphere and piano to set a darker tone before horns and harmonies brighten the affair) - it's just when his melodies float along Fighting Against Your Lungs, the songs tend to soar.

Regardless, whether he tends to look for the sun or relish the shadows, it's pretty obvious Aidan will be successful. I wouldn't bank on the astronomical leap his current tour mate has seen, but I'm pretty sure once people get their hands on Vescicolour and give the record a few plays, he's no longer going to be an unknown solo artist playing in support for other bands.

MP3:: Aidan Knight - Jasper
MYSPACE:: whttp://www.myspace.com/aidanknightmusic

Labels: Aidan Knight, Canada, Music, Reviews, Vancouver

We've already beat you into submission when it comes to Saturday's scorching Seahorse sets (alliteration, you know you love it). Toronto's The Balconies are blogging their way across the Maritimes and partnering with some stellar local talent to make sure you get rocked. Cold Warps and Soaking Up Jagged are two acts familiar to many local music lovers, but the diamond in the rough for this show is Bad Vibrations.

Led by front man KC Spidle (The Hold, Husband & Knife, Dog Day), for the most part this three-piece is a wall of guitars, bass and drums; nothing more and nothing less. Topping out at 20 minutes, pounding chords and keep time drums (apparently, Meg had never played drums before the band started) are the backbone of most tracks (Got to Run, We're Dead and Care About Yourself), but when you really get into the 9 songs (well 8 really, as one is just an odd answering machine message) you realize there is something more to Bad Vibrations.

Harmonies and surprising melody creep into the chaos, and the band shows nice depth considering how new they are. Nowhere is this more clear than the harmonic, atmospheric opener Think About Life. The strums of the acoustic and echoing vocals that hover in the distance show that Bad Vibrations isn't just here to reproduce sounds that have been around for decades. No, Bad Vibrations want to form their own sound in a genre that makes it incredibly tough to do so. More importantly, this EP lets anyone born after 1980 that punk ain't quite dead yet, it's just grown up and left the mall behind.

MP3:: Bad Vibrations - Care About Yourself
MYSPACE:: http://www.myspace.com/bdvbes
BUY:: Buy from Zunior

Labels: Bad Vibrations, Halifax, Music, Reviews

When people think of Winnipeg, thoughts undoubtedly drift to the Golden Boy, Louis Riel's home and frigid winters. Thanks to talented song writers like John K. Samson, we all have vivid mental images of a city most have never even stopped in; the music we love has made their stories our stories. We've all been on that bus or alone in that shitty apartment. We've all spent cold nights with broken hearts and broken dreams, trapped in The Gateway to the West. Undoubtedly, we've all hated or loved the Winnipeg Jets and muttered, "I Hate Winnipeg" with more conviction than we have about any other city.

Without typecasting the sound - especially after we found out just how diverse the sound was on our Manitoba mixtape - I've found a surprisingly high number of acts that effortless blend emotion, energy, characters and heart into surging anthems that make you move, even when you focus in on what's being said. Whether it's The Weakerthans, The Paperbacks (a band Ian shares a sound and member with) or new to me, but seasoned vet of several releases, Ian La Rue & The Condor, Winnipeg seems to be full of artists that pen songs tug on your heart strings, but sound better the louder you crank them up.

A History of Layers is heavy on sing-alongs and fist pumpers (Sanguine Cursive, Cadence) and slow burning ballads (A Crow's Flight, Altruist's Anthem), but La Rue never hides his narratives behind the music. On every song, you get the impression the words La Rue sings mean something to him, and as a result, they mean something to us. More importantly, no matter how much emotion the Winterpegger adds to his songs, he never drifts into the emo-esque emotional realm that caters to angst ridden mall teens and no one else. The record is accessible and easy, but has a depth you don't get from people that haven't experienced life.

La Rue's songs move with a sense of purpose. The undercurrents that run through the record's narratives (fear is the one that you get hit with most often) are matched with atmospheric undercurrents that add drama and electricity to even the most restrained of songs. The B-side of the record is slowed in pace, but the Condor (his band) really thickens up the mix and keep things interesting. The nicely executed slow build of the penultimate track - And It All Comes Down To This - is heavily influenced by Death Cab for Cutie, a band La Rue sites as a potential jump off point for new fans. A History of Layers may never reach the heights of Gibbard's best work, but it certainly fares well enough to warrant the comparison.

MP3:: Ian La Rue & the Condor - Sanguine Cursive

MP3:: Ian La Rue & the Condor - A Crow's Flight
MYSPACE:: www.myspace.com/ianlaruemusic
BUY:: http://www.ianlarue.ca

Labels: Canada, Ian La Rue, Music, Reviews, Winnipeg

When it comes to electronic beats, keytar licks and spasmatic drumming I'm kind of like the Philadelphia Eagles of blogging; even in when the situation deems otherwise, I tend to pass. I'm not really trying to get amped up for the clubs and freaking the funk to the early light these days, so it's no surprise that pedal steel, acoustic and the banjo tend to dominate my listening patterns more than beats.

But when it comes to Toronto's Woodhands, they might just be the proselytizers that open up my ears (and my closed mind) to different sounds. Dan Werb and Paul Banwatt have the unique ability to write a love song, one that runs you over with sadness and could uncovered on a dive bar jukebox, but hide the message in frantic shout/screamed vocals, an almost punk rock like anger and drums that never give up.

You could dance all night to the Cansecos-inspired hook and vocals of Talk, the Maylee Todd/Dan Werb duet Dissembler or Sluts (especially when the breakdown gives the track a spacey like vibe), but you can also listen to the record in almost any situation. When the duo is operating at top speed, Werb delivers his message with the energy of one of the crazy Kensington Market preachers or a hardcore front man (just listen to I should have gone with my friends) and Banwatt's intricate drums dance around your headphones nicely. It's almost impossible to disregard the bank of synths that fill up the stage when they play, but I've always felt Woodhands was a band that played electro jams, not just another electro act rehashing the overused sounds and repetitive beats. If Remorsecapade can change my mind, I'm sure it can change yours too.

Update - how about a Woodhands vs Pitchfork unreleased track? Ok! Download P'iss right here, right now.

MP3:: Woodhands - Pockets

MP3:: Woodhands - Dancer ft. Maylee Todd
MYSPACE:: http://www.myspace.com/woodhands
BUY:: http://www.paperbagrecords.com

Labels: Canada, Music, Paperbag, Reviews, Woodhands

When Basia Bulat stumbled onto the scene a few years back, you couldn't help but fall in love her. Oh My Darling was the type of record you felt lucky to hear and instantly, Basia became one of the artists you wanted to do well. You wanted everyone to hear her sing, soak in her surprising confidence that balanced her quiet persona and ability to make you feel as she delivered her most tender of moments.

Thankfully, Oh My Darling got heard - and nominated for the Polaris - and that success has given Basia the time to grow as an artist and deliver a sophomore LP that exceeds even her amazing potential. Looking back, much like Zach from Rogue Wave, when you listen to her debut album you sometimes get the feel that even the biggest arrangements she put together grew from the most humble of beginnings; visions in her head that a studio band could play with if ever given the chance.

As Heart of My Own explodes out of the gate with the surging power of Go On, you see that Basia and her band are now a single, cohesive entity. The clacking rim shots, marching drum snare and deep hollow bass drum build a tension behind her voice that flows perfectly into collage of strings. It's not often you think of a folk artist that hooks you with an opening track, unless it's one of those 8-minute epic tales that details the human condition, but Basia manages to show she's still as talented as we remember, but she's stronger, more experienced and more willing to push her boundaries. Run is another perfect representation of her new sound. In theory, the song could have fit nicely amongst the tracks from her last record, but every note, every harmony, every idea seems to move in perfect step. Subtle flourishes chime in and out without distracting you, as if the band is one step ahead of you, knowing what you want next before you do.

Heart of My Own was born on the road, but more importantly, even as it grew from Basia's soul, it could have grown for ours. She embraces the happiness we feel amongst our friends as we share drinks and laughs, but understands life is hard and being alone is something that not only happens, sometimes is needed. She invigorates the listen (and the listener) with at just the right times - the uptempo, horn filled romp If Only You, a track so infectious you can't do anything but listen intently wishing it would run for about five more minutes - but also lets you retreat with personal, moving songs like The Shore. She still presents tender thoughts - Sugar and Spice is beautiful and the playful notes of Sparrow just exude the playfulness she can deliver so effortlessly - but even the gentlest of songs have a density.

Too much importance is put on that dreaded second record, but not only has Basia cleared that hurdle with Edwin Moses like precision, she shows that she will be an artist judged by a catalog not a single record. She shows she can write songs that will stand the test of time (If It Rains), and start speaking for everyone not just the young Toronto-based singer. Even with how much I loved her first effort, I don't think even I expected her to reach that level so quickly.

Hali readers, don't forget Basia is going to be playing with Owen Pallett on Feb. 10th @ St. Matthew's Church. I can't think of a better venue to hear her belt out the spiritual Hush, so I'd move fast and get your tickets now.

MP3:: Basia Bulat - Gold Rush

MP3:: Basia Bulat - Go On
WEB:: http://www.basiabulat.com/
BUY:: http://secretcityrecords.com/

Labels: Basia Bulat, Best-of '10, Canada, Music, Reviews, Secret City Records

There comes a time for most artists, at least those that venture out into the unforgiving world of touring, that inspiration for songs shifts from the sketches and emotions you hold close to fragments of diner conversations or late night, after show drunken exhaustion scratched on napkins and stuffed into your jacket pocket.

The excitement of playing shows is overpowered by a longing for home and missing people you had only the most banal and casual of interactions slowly starts to consume your every thought. Thankfully, for the artist's that continue to grow, that odyssey last only as long as the dreaded second album and doesn't become Homer-esque.

That's why when Kate Maki repeats "home sweet home" on her new album - Two Song Wedding - you never get the feeling she is longing for the comforts of her own bed, more that she is completely content to spend her nights writing songs and playing music in those friendly confines. The difference may seem subtle (or even insignificant), but that little distinction allows Kate to supplement her songs with the efforts of tons of talented musicians - Howe Gelb, Nathan Lawr, Nick Luca, Thoger
Lund, Tommy Larkin Dale Murray, Jeremy Gara to name just a few - without losing focus or ever offering tracks that sound muddled. Remarkably, these songs were written alone, and must of the musicians had never heard the songs (although several had collaborated with Maki on her last record) before they started practicing for the recording, but instead of a gloomy, personal journey, Maki's emotions can be shared by almost any one that listens.

On the slow burning opener, Bloodshot & Blistered, Maki tries to process exhaustion and sadness, but instead of alienating us, the harmonies and traded vocals, piano, banjo and drums, Maki somehow transforms the song so we never get dragged down by the loneliness. The summery, sun-kissed melody that follows (In Comes the Light) or the rollicking, fuzzed our density of Message Delivered (how great is the horn that shows up out of nowhere?) are invitations to listen, and make dusty trail numbers like the From Below hit with a much harder impact.

Maki changes pace extremely well on Two Song Wedding, and even when she is at her most sombre - like the dreary Carved in Sand - she balances the melancholic with interesting strings, blasts of electric or an unexpected texture. Ripped Out of the Moon starts as a grim, dark tale, but slowly and confidently Maki and the band add a surprising build that energizes the song and gives the record another layer.

The success of this record is simple. Maki was able to write a collection of songs that probably shouldn't fit together as well as they do - the gentle picking of Upon a Time should stand out and disrupt the record, but it doesn't - and never loose steam. Maki's decision to reveal the emotion and ideas she has when she sits at home alone expands her sound and provides the freedom for a table of talented guests to experiment with her and offer their own emotion to the process. The end result is personal and intimate, but at the same time accessible and spontaneous. The 41-minute run-time feels more like 25 and you eagerly let the record loop over and start again; which is a wedding gift most song writers would love to receive.

MYSPACE:: http://www.myspace.com/katemaki
WEB:: http://katemaki.com

Labels: Best-of '10, Canada, Kate Maki, Music, Reviews

A few months ago, Craig over @ songsillinois.net started a 'finger pointing, pass the buck session' amongst a few Canadian bloggers that enjoy the roots music. "Sure, I might have missed out on Cam Penner, but so did X, Y and Z! And they live closer to him!"

Since that time, it's been nice to see Cam's record - Trouble & Mercy (review) - show up on some best of lists and really shine a light on the amazing Alberta roots/country scene, but more importantly it's made me recalibrate my daily searches to include significantly more Albertans. Specifically - fearing another scolding - whenever I get a request from Calgary, I scan the details like an old fashioned detective, complete with magnifying glass, pipe and oddly constructed hat.

The latest artist to cross my path is PEI transplant and Calgary resident, Scott MacLeod. A seasoned story teller and song writer, Old Soul may only be Scott's second full length, but it takes on the aura of a veteran musician that is completely comfortable with his style and sound, and plays music with his friends because it's all he's ever wanted. MacLeod is lucky enough to have some extremely talented friends - Lorrie Matheson produced and played on the record, as did Cam Penner and Brooke Wylie (and many others) - but he manages to fuse the unique collection of voices and textures into a seamless tapestry without losing control of the songs.

Old Soul, like the title indicates, takes the listener back to simpler times. Whether it's the vivid image we all have of coal mines, the romantic feel of watching the world fly by your window on a long train trip or painful memories his family past down of the 1940's flood, MacLeod's voice is like an aural time machine. Remarkably though, he doesn't let the burden of nostalgia drag down the listener, often adding bursts of electric (Grain Elevators, Standing Still), group sing-alongs (on the terrific Drank the Ocean Dry and the fun closer Day by Day), beautiful harmonies or effortless shifts from full band arrangements to more stripped down confessionals.

MacLeod is never going to be a name that dominates the blog world - right now there is exactly 0 posts on hypem.com with featuring his music - or find a home among the blindly loyal country fans that simply want to sing along to country pop anthems, but he's a roots artist that will still be writing songs long after the popular sound stops including lap steel. Gritty songs like Let You Down fit nicely alongside more traditional numbers and show that MacLeod can write albums that fit your mood, whether it's simply for a casual listen, a tear-in-your -beer evening after love runs you over once again or when you and your friends just want to hoist some drinks and laugh.

MP3:: Scott MacLeod - Drank the Ocean Dry
MYSPACE:: http://www.myspace.com/scottmacleod
WEB:: http://www.scottmacleod.ca/

Labels: Alberta, Calgary, Cam Penner, Reviews, Roots, Scott MacLeod

Ira Lee's new album, My Favorite Songs By Me, puts me in a bit of a quandary. I mean, I liked Ira's last album, and I really like this one, but I don't exactly know what to say to you fine folks to induce you to have a listen. And that's kind of the point isn't it? Well it's the point here, to spread the word about music we like - I realize other blog-type sites appear to have some other agenda, but your best friends here at the hill.

So then, what to say about Ira Lee? Would something like "Hey, do you like rap-house songs about a neighbor that used to masturbate in public and bang on the door looking for a fix before eventually dying of an overdose? Yes? Well then Ira Lee's Donna Jones Remix is for you!" lure you in? Perhaps not. Ira's narratives are painted from a wide-ranging palate, albeit he usually favours the section of the palate whose colours are various shades of gut-kicking sadness. When you add to this his off-kilter delivery and his clever & cantankerous personality, you get a very challenging brand of hip hop. And most people don't want challenging hip hop. Despite how many people make claims to the opposite, most folks just want the hip hop Arrowroot - easily digestible.

But here's the rub: despite all of the above, Ira's songs are really listenable. And that is impressive. He's a great storyteller, mixing people, places, and events (both personally earth-shattering and mundane) into eclectic songs that draw me in every time. Consider that his new album alone has songs about stealing a little girl's bike, the stankness of other people's bathrooms (which may or may not be Ira doing a Moka Only impression), various horrible and/or insane people he knew (Mike Brown, the aforementioned Donna Jones, Henry, The Pigman), various people he cares about (his grandmother Ruthie, his mom, and his man Matt), Montreal, and under-age lust. If you can take that list of subject matter into an engaging 16-song album, you've certainly got some talent.

I have no idea which bits are fact and which are fiction, but the detail in his writing makes everything so vivid and believable. But if I had to pick one song to try and sell this album to a first time listener, it might be Montreal, which is chock full of detail about Ira's newest city of residence, and while it seems much more positive than the similar Alberta's Trying To Kill Me from his last album, you're still kind of left wondering how he actually feels about the place. That said, it's hard to deny the appeal of the macabre glee of the sing-songy Your Little Sister's Bike, the naughty Juno-esque charm of All The Places We Did It, or the desperate sincerity of Ira's grandma-ode Ruthie.

Re-counting the the good songs on the album reminds me that I shouldn't give short shrift to the production on the album, which was done by Ira and folks like Scott Da Ros, Mattr, Funken, Ryan Stinson, Factor, petit BIG, and Critical Mass. I remember the production on Ira's last album being rather subdued for the most part, but this time it takes more of a co-starring role with Ira's narratives and beats like Factor's dusty throwback for Henry seem to inspire Ira to kick his flow into a higher gear/

Even though it's good to see that my rambling is just as strong in 2010 as it's always been, I'm gonna just assume I've peaked enough of your curiosity enough that you're ready to go check out My Favorite Songs By Me for yourself. If you're ready for a hip hop album that will make you smile, laugh, cringe, frown and perform various other one-word facial displays, then you'll likely be glad you did.

MP3:: Ira Lee - Your Little Sister's Bike

MP3:: Ira Lee - Donna Jones (Remix)
MYSPACE:: www.myspace.com/iralee

Labels: Bike Theft, Canadian Hip Hop, Hip Hop, Ira Lee, M for Montreal, Reviews

I'm currently reading Chuck Klosterman's latest collection of essays, Eating the Dinosaur. So far, the most interesting is his analysis of svelte NBA post man and one half of the original twin towers, Ralph Sampson. His basic premise is that despite his relative success, Sampson was a bust simply because he had so much talent that anything less than super stardom should be viewed as failure.

While I disagree with that notion - and certainly will never let anyone talk smack about Ralph's awesome mini fro / moustache combo or his killer high top Pumas - the two points that resonated with me were 1) the idea that Ralph made it look to easy you naturally assumed he didn't want to be great and refused to make the required effort to take it to the next level and 2) that because he wanted to be a 7'4" PG, he was trapped in a body that prevented him from being the player he wanted.

Klosterman's argument focused on how Ralph never won a big game and despite making the NBA All-Star team and several moments of success he never delivered on his potential. Because he was so talented and made things seem effortless, we assumed it came easy to him and he was above us and that any failures were his own fault. When it comes to Vancouver rockers, Yukon Blonde, I feel a lot of the same - and in their case unfounded - criticism may occur. Jeff, Brandon, Adam and Graham bang out shimmering melodies so consistently that you can't help but think it comes easy to them.

The Kelowna quartet - now based in Van city - is a name few music fans have heard, and their infectious 60's pop will constantly compared to timeless acts like Fleetwood Mac and CSNY. Unfortunately, with the rise of bands like Midlake and Fleet Foxes, Yukon Blonde is probably going to suffer from the "another band revisiting 60's sunshine and multi-layered harmonies" dismissal, simply lumped in with the bands trying to take the easy way to mediocre success. In reality, the band works their ass off as they drive back and forth across the country, fine tuning their craft. A name change probably (they used to be known as Alphababy) doesn't help establishing credibility to their back story, but for anyone thinking success and the purity of their sound came easily, you are sadly mistaken.

On the ear candy that is Babies Don't Like Blue Anymore, they reinforce their working ethic as they repeat, "I would do anything you would do" but in reality this band is making the effort that countless bands balk at. Leaving the comforts of your own scene. Getting back in the band to play a show for the headline band and sound techs and no one else. Yukon Blonde has done this, and if need be, will continue along the same hard path.

But when it comes to tying in this odd (and probably ill fated) comparison of Yukon Blonde to Ralph, the most glaring similarity is that the band can't help who they are. Does the fact that countless shitty bands try to add harmonies now that Fleet Foxes exploded onto the scene make their efforts any less satisfying? It shouldn't, because these guys have perfected their sound and despite the touch points people will gravitate towards, it's more unique and experimental than a casual listen may reveal.

The synths and harmonies that jump start the LP trigger countless memories of a time where music mattered to people - to make it easier, lets just all remember the moment where Zooey Deschanel hooks her nerdy little bro with a candle and a copy of Tommy - but band is determined to prove that they are more than the sum of their influences. Sure, if I had to I could probably find a song similar to Blood Cops or Trivial Fires in my parent's record collection but I'm more than ok with that. For some reason people embrace bands borrowing from the Fab Four or Neil, but other sounds get dismissed out of hand as the overused flavor of the month.

Honestly, if you cant get into this record you are simply trying too hard. The hat trick of hooks that is Trivial Fires, Brides Song and Babies Don't Like Blue Anymore can stack up against any fourteen minutes of Canadian music you will hear this year, but the unexpected highs are just as important to the success of the band. The surging power of the anthemic Loyal Man moves you from the breezy, sun filled days you expect and makes you think anything is possible. When it comes to Yukon Blonde, I'm starting to think that it just might be.

MP3:: Yukon Blonde - Wind Blows
MYSPACE:: http://www.myspace.com/yukonblondeband
LABEL:: http://www.nevadorecords.com/index.php

Labels: Best-of '10, Canada, Music, Nevado Records, Reviews, Vancouver, Yukon Blonde

One of my favorite things to look for when the Year-End floodgates open are bands/albums that affected other artists over the course of the previous year. When it comes to '09, the one new name that kept coming up was Toronto's Lisa Bozikovic. Her record - Lost August - was recommended to us by a few musicians we trust and love, and despite the staggering depth of the record that hits you right out of the gate (and even in today's 'me first' blog culture), I wanted to wait until the new year to talk about this unique song writer, so Ms. Bozikovic wouldn't get lost in the shuffle.

I had no idea what to expect when I hit play on Lost August. It's rare that a record gets sent my way that I have never heard of, so I wanted to relish the excitement and let her songs soak in without any context or preconceptions. The talented multi-instrumentalist writes songs on piano, organ, accordion and guitar, and remarkably uses each sound and texture to weave a beautiful, perfectly flowing tapestry.

With support from some terrific artists - members of Ohbijou and Steamboat make appearances on Lost August - Bozikovic's songs are diverse and detailed, but still crackle with a spontaneity often lost in the melancholic world she prefers to write about. She can strip back any superfluous sound to expose a single, pure emotion (remarkably over spare piano keys, strums or accordion), but Lisa is just as comfortable spiking the tempo and energy with quick moving melodies (Phone Card) or lush, well constructed arrangements (the organ heavy Take and Take).

But without question, what Lisa does best is executing a subtle shift and just the right time. She pulls you close as she whispers her words on No Denial, and just before you hang your head and wish for something better for her (and you), James Bunton's drums kick in, strings are added, and some surging harmonies. The confessional builds into something epic, but remarkably stays grounded to its roots.

Lost August accomplishes something remarkable; it plays start to finish (and with help from co-producer Sandro Perri) and you wouldn't change a note. Lisa's voice is different, slightly off-kilter but full of soul and heart. You can't decide if she's a folk artist with a soaring imagination or a dreamer that makes sure to keep one foot on the ground just in case. Whatever side of the fence you think her songs rest, we can all agree that this young Toronto singer is a talent we should all keep an ear on.

MP3:: Lisa Bozikovic - Phone Cord

MP3:: Lisa Bozikovic - No Denial

MYSPACE:: http://www.myspace.com/lisabozikovic
BUY:: BUY FROM ZUNIOR

Labels: lisa bozikovic, Music, Ontario, Reviews, Toronto

As far as acts that escape the confines of Canada's Ocean Playground, one common trait holds true for any of the bands that get National attention; hard work. Whether it's Plaskett touring his ass off, Holy Fuck getting Polaris nominated or Jenn Grant flying to LA for a ya-Canada pre-grammys show, it takes more than talent to make it in the music business. You have to be willing to put in the hours.

Another act that would be on that list is Wintersleep. The band has grinded out a successful career and realized their talent with the release of the stellar (Juno award winning) LP, Welcome to the Night Sky. While most of Canada (and the UK) waits for their follow up record, guitarist Paul Murphy and his brother Michael set to work on recording an emotional collection of songs for their mom.

The songs - recorded under the moniker Postdata - were not written as work. No, the nine songs are an expression of love; an expression of reality. I hesitate to put too much of my own words into such a personal record - the family dynamics revealed on these heartfelt, honest compositions will probably be misinterpreted by everyone as we try to relate to the Murphy's story - but that desire to relate to his words is why the stripped down songs work so well. Like good music should, each of these songs forces a connection on the listener, causing you to scramble through your own memories of awkward love, family bonds, and pain as you try to answer questions that have no real answers. The words send chills down your spine, but are delivered in such a beautiful melody, you want to let the record play over and over again. Postdata documents the past in an effort to look forward... pretty fitting as we all try to start fresh in 2010.

MP3:: Postdata - Tobias Grey
MYSPACE:: http://www.myspace.com/postdiddy
BUY:: http://postdatamusic.com/site/

Labels: Halifax, MNS artist of the month, Music, Postdata, Reviews

Taking a day off from the Best-of (tomorrow will be the EPs and TRUST ME, you will want to tune in for a bucketload of unreleased/new songs) to give Kelp rocker Chris Page some much deserved love. Every few months, I randomly get upset that the Pager hasn't delivered a new Camp Radio record in a few years, tweet the label like a smart ass and get on with my day. About a month ago, Jon replied with some news: Page has a new solo record and the new Camp Radio record is getting worked on as we speak. So, as excited as I am for more killer jams from CR, Chris' solo work is more than just a stop gap for fans.

A Date With a Smoke Machine is a stripped down effort that is essentially Page with his trusted axe, a sense of nostalgia and a freedom not often found in song writers repertoire. Sure, Page adds some harmonies, some well placed cymbal washes (Unwind, Unwind) or the occasional epic, slow build (Coax the End of the Day), but you could strip away everything but his voice and his guitar and the songs would still hit you the same way. They would still make you breath, make you bounce, force you to remember and help you to forget.

Whether it's the punchy rebellion of youth (Two Twenty-Twos) or the longing that overcomes you on the touching, Irish bar ready Quit While I'm Behind , Page presents his emotions clearly and succinctly, but always lets you run with your own thoughts. It's hard not to let your mind drift as you digest the slows strums of Hello Danger Bay or feel a little Ponce De Leon-ish when you pogo around your room (Fall Back Morning), but I guess that's what makes Page such a talented song writer. Every song forces you to listen, but he never bombards you with an onslaught of the sames. He touches on your sadness, but follows it up with an optimistic nod to life and the possibilities. Sadly, every beginning has an end, but every end can be a new beginning.

So, even though the single is the terrific TTT, Page is letting us offer up a new version of Slideshows. It's a fleshed out take on a demo from 5 years ago, but fits perfectly in this ever moving time capsule.

Slideshows (demo video)

MP3:: Chris Page - Slideshows
MYSPACE:: http://www.myspace.com/chrispagemusic
BUY:: http://kelprecords.com/

Labels: Chris Page, Kelp, Music, ottawa, Reviews

I don't really have a set method for deciding what I post about on herohill. I have a couple review stacks that I organize in order of interest, countless emails with stars beside them, some playlists with the bands I want to talk about, and the best of intentions, but when you get flooded with emails on a daily basis, it's hard to prioritize and give each record enough time to really sink in.

Case in point, I was all set to start banging out my thoughts on EP Island - a new project ft members of Portico (!!) and Down the Lees (!!) - when I made the mistake of clicking on an email from one of the guys in the Edmonton quartet, Falklands and listening to the lead single from their new 7".

Once the crunch of some delightful mod-ish guitar exploded out of my speakers, I was hooked. The lead single, Stephanie reminds me of the songs that made Chisel so fantastic - I know all you Ted Leo fans have liked him long enough to remember that band - heavy on punch, melody and blissful, teenage style love sickness. The riff is a head nodder and even the heavy guitar work that shreds through the last minute and a half seems natural and gets you giving that guitar face even if you are rocking out alone.

The band shows a more diversity on the b-side, hitting the listener with the more soulful Jeez Louise. The 50's rock vibe is bolstered by surprising horn work. The crunch is still there, as are the nice drum fills, but its the blasts of horns that really grabs you and shows this band could grow into something special. This seven minutes is the type you just leave on repeat - my play count seems to prove that - and if they can come close to replicating this excitement on a full length, well, look out.

MP3:: Falklands - Stephanie
MYSPACE:: http://www.myspace.com/thefalklands
BUY:: http://falklands.ca/

Labels: Edmonton, Falklands, Music, Reviews

With the holiday season bearing down on us, it's awfully fitting we take a closer look at Haligonian born, France based Samuel Hill and his musical project known as The Centre Piece. This bedroom style project expands and contracts like a heartbeat as Hill adds and removes layers with a deft touch and understanding of emotion, tension and feel.

The EP opens with In Your Basement and an oddly familiar sound. You can't help but think of DevotchKa's classic track, How It Ends, but that quickly changes. Hill adds guitar to beef up the sound, but instead of building and building until he reaches soaring choruses, he retreats. Barely audible textures slowly appear to end each line, but just as quickly fade away.

Sure the guitar bounces around the room at times, but this song works as just a simple keyboard back beat and his vocals. He keeps you intrigued with flourishes, but instantly you realize Hill refuses to force the issue. Even the builds seem natural. This continues on the EP stand-out, the quick hitting Ultra Neon Gold. Hill veers into a beautiful darkness, before adding heavier, distorted guitar work that thickens the sound. The drum clap beat does more than keep time, it gives the song a pulse.

But Hill is just as successful playing a more understated style. Rhythmic Summer essentially uses some guitar, simple drums and traded vocals (courtesy of Eagle/Deer) and the beautiful closer Little Feet draws you close with simple, hollow body chords before finishing you off with well placed flugelhorn. The songs probably shouldn't be as enjoyable as they are, but Hill's voice and emotion shines through, somehow making you feel lost in the city lights but secure with where you are at.

All too often artists flood the mix trying for something epic and larger than their situation and song writing ability allows. Hill, on the other hand prefers subtlety and it's that discretion that makes his songs truly special and more than the sum of their parts.

MP3:: The Centre Piece - Ultra Neon Gold

MP3:: The Centre Piece - Little Feet

MYSPACE:: http://www.myspace.com/thecentrepiece
D/L:: Dedicated Records

Labels: EP, Halifax, Music, Reviews, The Centre Piece

Ruth Minnikin and the bands she played in were always ahead of the curve. I mean, Booming Airplanes got signed to EMI when she was barely out of high school and without a doubt, if The Guthries were making music today in the "everybody wants to be a rootsy, lap steel heavy, cowboy shirt wearing music player" they'd be huge. That same "what if" type pondering could easily be applied to the orchestral pop The Heavy Blinkers delivered so well.

So even though Ruth's solo work was strongly rooted in the realm of folk, it's not surprising she refuses to sit still. The first half of her new record - Depend on This - hits me the way the same way Jets To Brazil's Perfecting Loneliness did. Even with the strides and fleshed out sound the band made, it was the perfect summation to Blake's evolution from the early days of Jawbreaker to his more mellow, melodic stylings under the JTB moniker. For Ruth and her friends, the tracks still dabble in the country, down home sounds we've come to expect, but she fuses that traditional feel with the lush orchestration and quirkiness you could find on a Blinkers effort.

Orchestral horns blasts and group vocals stand on equal footing as steel guitar and. Tracks like Theme Song and Sleeping and Dreaming expose Ruth's more playful side, where as Four Churches moves into the chamber pop realm and Animals of Bremen is about as traditional as Ruth gets this time out, but the meticulously arrangements she constructs help weave the songs together in a warm, multicolored quilt. Perhaps the standout is the blissful title track that uses terrific horns and steel during the verses before exploding into a sing-along chorus.

Even if this effort was a simple, six-song EP you'd feel satisfied after each listen, but what really stands out is the progression in sound she made for this record. The b-side of Depend on This will shock even her oldest fans as it finds Ruth exploring an end of the evening vibe thanks to her ambient, atmospheric collaborations with Dreamspolitation's Chuck Blazevic. She revisits each of the themes and titles of the A-side of the record in a completely new fashion, transforming each in a way that inspires and challenges the listener, but never loses them.

The flute that makes an appearance on Theme Song II and the hand claps and heavy plucked bass line of Sleeping and Dreaming II peak your interest, but the echo-y horns and computer effects on the later are what really takes you into a more magical, dream like swirl. The first few tracks on the second side are shocking and enjoyable, but the effort peaks on Four Churches II. The smooth horns, hand clap beat and rapid fire synth all dance around terrific vocals, swooning strings and and terrific, long bended guitar notes and really demonstrates how effortless Ruth could find a home in this new style. She follows up with the click clack, flute filled Depend on This II, a track that never moves past a brisk shuffle but spikes the record with energy and emotion.

Amazingly, even with all Chuck's electro flourishes she still manages to hold true to the spirit and soul of the original versions. Animals of Bremen II still feels traditional - especially when the piano ends the track - even though it's filled with computer effects and a heavier bass line. I'll be honest. This isn't the record I expected from Ruth, but I'm not complaining. The funny thing is, just when you think you know where Ruth is going to reside, she shifts and her next record could be recorded in a farmhouse, a disco, on a bus or with Symphony Nova Scotia playing behind her. That's the great thing about a creative spirit. You never know where it's going or where it will end up, but you know the risks will end up in rewards for the us all... it just might take us a few months to catch up.

MP3:: Ruth Minnikin - Four Churches II
MYSPACE:: http://www.myspace.com/ruthminnikin
WEB:: http://www.ruthminnikin.ca/

Labels: Best-of '09, Halifax, Music, Reviews, Ruth Minnikin

Last year, I was blown away by a little EP from Montreal’s My People Sleeping. The songs seared with an intensity and torment I never expected. The standout track, Seahorse, painted a vivid picture using beautiful, slow, moving three-part harmonies and terrific strings, but there was an underlying man vs. machine frigidness that made parts of the song chilling. The tension and beauty of the release was something that hit me hard and stuck with me for weeks, so when the new record ended up in my inbox this weekend, I pulled a Cappadonna and “put all other LPs back on the shelf.”

Feye - released in Montreal on Dec 11th - is an epic collection of songs suited for grandiose cinematic sweeps. MPS still deliver the same intensity, but the effort seems to be more controlled as the quartet allows the listener to settle into long, beautiful instrumental sections and often relies on understated vocals (just listen to Cortes or the last few minutes of the strong opener Pope). Oddly enough, feye means destined to die, but the heartbeat of this record is strong and defiant. Each of the seven songs is moody and pain filled at times, but surprisingly determined. You succumb to the nostalgic beats and chords as you looking back to happier times but somehow still find a surprising comfort in your modern melancholy.

At times the band sounds a bit like Beach House, which is always a good thing, but the recordings are far from a simple “sounds like” ode to a popular sound. They change pace more successfully, keeping the listeners ever so slightly off-balance. The shuffling percussion of Bloodhounds finds the band stretching their legs and the frantic energy of Yes No No mirrors the chaos of an ocean storm and shows the band is willing to push the boundaries of what most would find comfortable. Ruby Kato’s falsetto moves alongside the organ on the powerful Take Anything, but the band finds inspiration as they slowly build to an optimistic crescendo.

But at the end of the day, it's the icy tones the the Montreal band uses that captivates you. For the most part, the compositions are often made from crystalline winter textures, the type you search for as you huddle in cold rooms hoping to see an all too brief appearance of sun during the coldest months. You can almost see your breath when you listen to Sounding Pitch and sometimes it's that snap of cold that makes you feel alive and sends a warmth coursing through your veins.

MP3:: My People Sleeping - Cortes
MYSPACE:: http://www.myspace.com/mypeoplesleeping

Labels: Montreal, Music, My People Sleeping, Reviews

There is a unique sadness that most Canadian’s eventually succumb to. Distance and industry drive a wedge between towns, friends, families, and lovers; one that feels even vaster than the 7500 kilometers that one must travel to reach the coast. Over fishing, clear cutting, and our society’s dependence on oil have made steady jobs and prospering towns a distant memory and forced people to follow the paycheck, no matter how hard that reality is for all involved.

For Alberta’s Trevor Tchir, the distance is documented in the subtle observations and stories that make up his new record, Sky Locked Land. Trevor’s songs have always touched on the state of the country, whether it be sustainability or just the people he’s met, but this time around he’s speaking softer, letting his eye and tongue tell everyone’s story. Instead of pushing a message of sadness, Tchir creates characters and relives moments that could apply to any of us, and with a fleshed out folk/rootsy backdrop, it’s hard not to give in to the swells of emotion.

The 11-song LP is laced with full band affairs. The songs emit the energy of a room full of friends playing music – the arrangements feature strings, horns, banjo, steel, harmonica, accordion and countless other instruments – but Trevor also knows when to pull back. The simple folk picking of Beneath the Mountain Ash gives an honesty to the tale that would have been lost by a heavy handed mix of sounds. The same can be said about the gut wrenching Stones in the Ground.

The amount of maturation Tchir offers up this time around is remarkable, so much so that the undoubted comparisons to other artists sort of seem hollow. Trevor does his best Eric Bachmann impression on the delightful (albeit sad) The Sweeter Air, and I’d be hard pressed not to mention the distinct Calexico feel of the record, but the songs reveal too much of Tchir’s life to be considered knock off.

Whether it’s a touching road trip (Are We There Yet?) or simply a political analysis masked by an every day event (Tearing Down the Garden), this collection of songs is carefully penned to let you into Trevor’s world - the little details and emotion that runs through songs like Stones in the Ground make you wonder is these seemingly fictional tales are actually a part of Tchir’s life that he offers up to anyone that takes the time to listen - but also show that we are all here together. Say what you will, but there's comfort in that, no matter how bleak things may seem.

MP3:: Trevor Tchir - The Sweeter Air
MYSPACE:: http://www.myspace.com/trevortchir
WEB:: http://www.trevortchir.com/

Labels: Alberta, Canada, Edmonton, Music, Reviews, Trevor Tchir