I have to start with a simple admission. I have no idea what the thought process is for major labels. Do they draw names out of a hat? Nettwerk records – home to Sarah McLachlan, Avril Lavigne and Six Pence None the Richer - are generating a stable of blue grass artists. It seems like w eird decision to me, but I can’t complain. I really like the Be Good Tanyas and Virginia native the Hackensaw Boys are an enjoyable listen.

Like the name dictates, the Hacksensaw Boys are all about finger picking banjos, fiddles and baritone harmonies run through the punk rock blue grass ringer. They are as likely to hit home with hippies as rockabillies, or anyone who wants to raise a glass and stomp a hole through the ole wooden dance floor.

Look Out! is the second record the band put out on Nettwerk and its 12 songs you’d expect for friends to play on a camping trip or in a tiny bar, jammed on stage. The band got some help from part time member, Tom Peloso (of Modest Mouse fame) but the sounds on the record really showcase how tight the six core members are. The album starts with a bang, as the pace of Look Out Dog, Slow Down Train is frantic and helps show why this band is getting the name of a kickass live band. It’s hard to imagine this song getting played without dozens of sweaty, pint guzzling fans dancing and singing along with the band.

Continuing at this pace for a full record would be insane, and the band really changes tempo well without losing the bar room feel. Oh, Girl slows down but somehow the sing-along chorus keeps the energy up. I think the fact each member writes songs also helps keep the sound fresh and uses different styles without sounding forced. The sing/shout punk anthems come from Moyse, where Harrison/Fiske rely on more melody, but the band plays so well together that the songs don’t come across as disjointed. Fans of ALO will love the carefree vocals of Too Much Time.

MP3:: Look Out Dog, Slow Down Train
Video:: Alabama Shamrock

Labels: Music, Reviews

I have to be completely honest. I had never heard of Karl Blau, D+ or Bret Lunsford, so the ambitious nature of this project is kind of lost on me. I mean, I appreciate the effort required for Dance Positive – Karl took songs by his former band mate and reworked them into a completely new form – but I don’t think knowing that effort really changed how I listened to the record. I found it hard to picture the song in any other fashion, and I think that’s ok. Instead of rock, Karl uses a reggae influenced, minimal electronic vibe that is as warm as a sun filled day at the beach.

I’ve always been a fan of the washed out electronica sound, but all too often artists find it necessary to muffle the vocals and the record becomes a continuous, solitary 45-minute track. Karl’s vocals are crystal clear and as a result you can easily appreciate the subtle varieties of the record. Well placed horns and guitar noodles add another layer to the reggae back beat, which really helps make this more than another electro dub album. The jazzy electric on Take You For Granted really adds a summery, relaxed feel to the track and lets you escape from the pulsing theme of the record without sounding out of place and he shines on the funk heavy Kill the Messenger. The dirty beat he constructs on Put Me Back fits nicely into the mix as well and the chimes really make What’s Not to Fall in Love with a head nodder.

Perhaps the most interesting aspect of the record is the obvious contrast in the style of the music to the lyrics. I think the fact the vocals have a rock theme (like the Americana themed “driving down the freeway and my load is oversized, thinking about the town I left and all those I despised" of Heatherwood) adds another layer of complexity to the simple, well crafted beats. The record avoids the obvious trap most reggae artists fall into and the themes are more accessible.

I’m sure a fan of D+ will have another take on the record, but from a first time listener, Blau’s beats and instrumentation really shine through for an enjoyable listen.
MP3:: What's Not to Fall in

Labels: Music, Reviews

Laura Peek is very busy. Along with her job as music director at Halifax's CKDU and her solo work (with her band The Winning Hearts), she's also been involved with a number of other groups & side projects: The Maughams, Brent Randall & His Pinecones, Le Coque et les Phoques, and playing in Buck65's band. So all things considered, I suppose it's not surprising her debut album, From The Photographs, took 2 years to make. But make it she did, and that's a good thing, because it's really an enjoyable album.

Originally, I was planning to say that Laura's piano playing was the main focus of most of the songs found on From The Photographs, but after a few listens I had to rethink that. I think her songwriting shares top billing with her piano work. The songs are cleverly written and cover normally serious ground without feeling too serious, if that makes sense. There is an appealing, light-hearted quality to these songs, which is impressive considering most of the songs deal with some form of loss or regret. I think part of the appeal comes from the fact that very few of the songs feel dark or heavy. Peek's piano is used to craft peppy arrangements, and her voice is warm and friendly, so that helps draw you in, regardless of the subject matter.

With someone so involved in the Halifax music scene, you might guess Laura probably had some quality help making this album. Well you guess correct friend. Recorded by the omnipresent Charles Austin, Peek also tabbed Mike O'Neil to make his debut as a producer on From The Photographs. Thankfully for all, Mike is far more believable as a producer then he is as Tom Collins in the latest season of Trailer Park Boys. The Winning Hearts are comprised mainly of Dave Ewenson on drums and Joel Goguen on bass. Ewenson's drums are upfront with the piano on most tracks, with Goguen providing solid background work. Although the bassline on Stand Right There is rather excellent.

The album opens with A Name, a tale of a failed adolescent love. It's a sweet prelude to the kind of short-story songwriting Peek uses throughout the album. So Sorry opens with a piano breakdown that Dr. Dre would be envious of. It also has a jazzy chorus that is mighty catchy. I often find myself wishing there were more sunny piano-pop songs about landlords observing their surroundings in a disapproving manner. Oh Lenny helps satisfies that request, plus it opens with the line "Family out back don't care much for haircuts", which I enjoy.

Although the aforementioned Stand Right There has a bass & kickdrum combo that will keep your head nodding more than your average breakup song, it also uses a cello and some organ flourishes on the chorus to nice effect. Vermont is perhaps the sweetest song about summer camp romance I've heard this year. Well perhaps not just this year, perhaps ever. Last Thing You Deserved and The Verdict are enjoyable, uptempo songs about the various ways life can deliver a swift kick to the coin purse. I also enjoy the spacey piano breakdown on Last Thing You Deserved.

I heard someone describe Peek's songwriting style as literary, and this line from the Gatsby-esque Social Graces is a good example of that: When in the salons of elite patrons of art, spare a thought for all your colleagues who were not quite as smart". For some reason, I love that line. Quite a feat to drop that and not come off as super serious.

The more I listen to this album, the more nuances I pick up in both the lyrics and music. It could just be I'm too thick to pick them up on first listen, but I'm going to assume it's mainly a sign of a good album. If you've been looking for some quality, non-depressing piano-pop, I would suggest you check out this album. Well even if you haven't been looking for piano-pop at all, From The Photographs is well worth your time.

mp3:: So Sorry

Labels: Halifax, Music, Reviews

Click here for the Fields record. You might have seen the indie click banner on countless sites over the last few weeks, and usually I shy away from those albums for two reasons. The first: Usually the records that are mass marketed on the ole indie click systems aren’t actually that good and come attached with quotes from mags I hate (“2007 will surely be theirs” – NME). The second: Well to be honest, we aren’t big enough to get added to the advertising world, so those records are a constant reminder that our status is not the baddest.

The thing is, the Fields record – Everything Last Winter – actually deserves the attention it is getting. The band made a complete shift of sound from their dynamite 7 From The Village EP. They still rely on nicely matched girl/boys vocals, but they have evolved into a large scale anthem band. Even the subtle textures and sounds (like You Don’t Need This Song) really have an underlying feeling of significance that wasn’t present on the last EP. I don’t know if it is the pull of the major label, or just simply the fact the band has the talent and maybe the desire to be a household name, but this album seems focused on making that big step. School Books is a prefect example. The gentle soothing intro gradually breaks down into a triumphant, driven march and fits well with the swirling, chaotic guitars of the Death.

For fans of the original EP, I can see how the extra polish and super sized efforts could be a bit of a letdown – for example, the new version of Song for the Fields doesn’t live up to the original, but I don’t see the overall transition as a negative aspect. I don’t think there is anything wrong with a band trying to approach things on a more grandiose scale, as long as they don’t let it destroy the music they are writing. The band still combines shoegaze, folk melodies and powerful choruses; they just do it in a more polished manner. I think a lot of this can be attributed to the production work of Michael Beinhorn (I choose to ignore the fact this is the same person worked with Korn and mention that he turned dials for Mew, another band that has a knack for creating soaring, arena style rock for an indie audience). His presence and past projects really show up on a lot of tracks (like the RHCP tinges on School Books).

For any doubters, simply listen to If You Fail We All Fail and you will realize that sometimes running a shammy over the hood of your car can really make it sparkle.

MP3:: Chasing the Flames

Labels: Music, Reviews

I will easily admit that I gave Schooner a pass on name alone. Growing up in Halifax, Schooner was the beer of choice for herohill (and if Schooner needs to gets some traction in the indie blog scene, we will sell out for free cases… just sayin’), so seeing the name of the Chapel Hill outfit being one in the same warmed my east coast heart.

After the promise of their first LP - You Forget About Your Heart – I was excited to so the band returning with the follow up on 5440’ or Fight. Hold on Too Tight is nothing if not ambitious. Sixteen songs (well three brief interludes), each of them showcasing the fact that the band relies on a lot of influences, but doesn’t try to force songs into a certain style. Gone are a lot of the Shins-y / Rosebuds style riffs, and in their place is more mature, country winding undertones with nice harmonies. Instead of jangly indie pop, the HoTT uses warm, fuzzy guitars and a Will Sheff slow delivery to set the mood.

It may seem like a big jump, but the band seems comfortable with the change and it flows fairly naturally. The arrangements feature a trunk full of well placed instruments (case in point, the beautiful sounds on one of my favorite tracks Leaving Your Room) and rely more on gradual builds than instant hooks. I think the mix works, and Reid and Kathryn’s double vocals still stand out work well, but on songs like Married, it’s the extra touches (like the distant lap steel) that add the emotion to the song.

The record is well thought out and it’s obvious they took the time to get the sound they wanted on each song. The choral backing of The Pox Family Singers on They Always Do! or the nicely placed chimes on Ladybug add that little push needed to help these songs really pop, despite the slow pace.

This record won’t grab you with a heart thumping kick drum or crunched guitars, but with all the acts trying to use the same routine, it’s refreshing to hear a band looking past the draw of a quick hit and move more towards the lovely, brooding, heart warming depression I prefer to hear.

MP3:: Married
MP3:: Trains and Parades
Web page :: label :: more tracks

Labels: Music, Reviews

Not many artists have the opportunity to revisit a creation and invest the time required to fully realize their vision. That’s probably a good thing. When you over analyze anything and have access to a bigger budget, the original vision usually gets forgotten. So when I heard that Matador was giving Shearwater the chance to expand Palo Santo I was a bit skeptical. I mean, the emotion of the “demo” version of the record was fantastic. Jonathon’s original take on the songs were rough and powerful drenched in dark, moody emotions, but the arrangements were remarkably subtle and beautiful. How much could they really improve the record?

Then I started reading stories about how the band felt the record was rushed, and they felt forced to deliver a collection of songs that didn’t match their vision. They simply didn’t have the time or money to make every note sound as they wanted. While this is a fantastic reason to revisit a project, it is a bit idealistic. I mean, how many writers would love the chance to go back and rework their work (I’d love to go back and really invest the time and thoughts about the original version of this record, but it wouldn’t really change much about how I felt and certainly not make more people want to listen to the record)? How many bands would love to tweak the sound of the drums or work a better solo? Those decisions are part of the process and give the project its sincerity. Simply taking more time and throwing more money into the hat doesn’t mean it will be better and more importantly, once you start making changes, how can you step away and simply stop?

All of these thought shave been running through my head each time I’ve listened to the bulked up Matador version of Palo Santo, and you know what? Reworking this record was a fantastic idea. If you doubt me, simply play the intro to Red Sea, Black Sea and compare. The banjo and chimes now power through the mix and breathes life into the song. The underlying keys are gone, and the bass is much stronger. Every nuance they added to the re-recorded songs adds something, not only for the listener, but for the band. You can read their thoughts here, and it shows you what they were really trying to accomplish.

Originally, I said the record was a sort of music theatre experience and that’s about the only aspect of my first review I still agree with. By taking the time to bulk up the mix, it’s almost like seeing a fantastic show make the required steps to reach a Broadway audience. Simply overwhelming the crowd doesn’t work. Losing the focus and attention just makes the project a mess, and the same can be said about Shearwater’s vision.

I don’t think you can listen to the crescendo that hits at the two minute mark of Red Sea, Black Sea (the buzz of a guitar and the chorus of background voices) and not feel the energy rise to a new level. Seventy four, seventy five is now a thick arrangements that builds and sways perfectly. The pounding piano chords are now just another sound that grabs your attention, before being replaced by bowed strings, long horn notes, drum crashes or feedback. The chaotic structure of Hail Mary contrasts Jonathon’s angelic falsetto nicely.

They band made so many good decisions with this release. If they had thrown the extra 8 (9 if you prefer it on thick slabs of vinyl) songs onto an Sufjan Avalanche style outtakes EP, fans would have been disappointed. Instead, the Matador release gives the fans the re-recorded, better sounding work along with 8 new songs (four demo versions of album tracks) like a loot bag they can take home for later. They don’t fit into the flow of the record, but are well worth a listen. Probably the most compelling reason to pick this new expanded version is simple. After listening to the new songs, I can’t really picture the original visions. The changes that once were so obvious have disappeared and all I hear is the new songs. I honestly don’t know if I will ever reach for the original version of this record ever again.

MP3:: Red Sea, Black Sea
web site :: label :: more tracks

Labels: Music, Reviews

It’s extremely hard to stay current with a band like Spoon, because almost every song requires countless listens to truly, fully appreciate. Much to Merge’s dismay, Ga Ga Ga Ga Ga leaked and started to trickle onto the NET (and by trickle, I mean flooded) along with countless fan’s opinions. For a lot of bands, people’s initial reaction is usually accurate, but when it comes to Britt’s unique brand of song writing, I find something I missed with every listen.

Sure, the crunched guitar sound and his voice are standard, but my gut reaction usually ends up being different from the way I feel about the record two months down the road. Before hearing a peep of this record, I wondered how the soundtrack scoring would affect (and hopefully improve his already amazing songwriting skills). Would Britt start painting with longer strokes? Well, he did and he didn’t. Some of the songs seem more, I don’t know, purposeful? But did the songs change as much as I thought they would? Again, I’m not sure. A smattering of well placed horns help, but do they go far enough?

That’s why I’m reserving judgment of Ga * 5. I’m going to give my initial reactions, and I think over the next few months (especially after seeing some of the songs performed live at Sasquatch next week) I think my opinion will change. Right now, I think there are several standout tracks and Britt and Jim really threw enough curves to keep us all guessing. Was I blown away? At times, but let me stress that I don’t think that is a cut n’ dry statement.

I’ve been listening to the record non-stop as I walk the streets of Paris this last week and despite the fact a lot of the sounds are short and crisp, it has combined with the street scenes and old style police sirens to paint a cinematic landscape. Britt and Jim (and their rotating cast of musicians) have never ventured into lush arrangements, but I’ve realized that unlike, say the Zidane film Mogwai scored, this Spoon record could easily fit into a city based movie ... a movie I’d like to be watching.

Don’t Make Me a Target has been floating around since Britt played it at SXSW two years ago, and is a perfect starting point for the record. Simple elements. Most Spoon songs rely on basic sounds combined perfectly. The track steps along, using a fairly standard scale, before breaking down into a free for all for the last minute and a half. The piano, guitar and drums swirl aimlessly, but somehow still sound somewhat cohesive. The arrangement hasn’t changed enough for me to call it a new song, so the first signs of a new Spoon started with the fantastic simplicity of The Ghost of You Lingers. This is exactly the type of change I never expected, but somehow (after hearing it) wanted them to make. It’s just a simple piano line, reverbed vocals and a smattering of atmosphere, but it come together so well.

It’s actually from this point on that the record seems more interesting to me. The swell of horns, percussion and the falsetto in the distance all make the tapestry on You Got Your Cherry Bomb detailed and enjoyable. They band still drifts into familiar territory (Rhythm & Soul for example), which is more than ok with me. I don’t need a Radiohead transition on each record, but like the band, I don’t want the same record every time. Bouncy bass line and double kicks/tight snares make these songs incredibly catchy. I don’t know how anyone can hear the guitar burst and bassline on Eddie’s Ragga and not be intrigued.

Sure, there are some slips – like the sadly boring My Little Japanese Cigarette Case – but it is followed up with the fantastic maraca/hand clap driven Finer Feelings. After about ten listens I can’t find much fault with this record and in the upcoming months, I bet I’ll find even more things to gush about.
MP3:: The Ghost of You Lingers

Labels: Music, Reviews

Is it possible to like a band when you don’t like the acts they are constantly compared too? At first, I would have said no, but the White Rabbits seem to have changed my mind. I don’t get the mass appeal of the Cold War Kids, the French Kicks or the Artic Monkeys and usually steer clear of any band that is compared to the Strokes. I am not into any of these bands (aside from the Strokes), but for some reason I am completely smitten with the debut White Rabbits release – Fort Nightly.

What really surprises is that they are a band I’d normally assume I’d hate. Two drummers? C’maaaan, I barely accepted two Drummonds. Yet another NY band? Well, they are technically transplants from Missouri. Somehow, despite all these reservations and baseless distaste, I’m 100% onboard with this record. I’m not sure if it is the underlying darkness of the tracks or the infused reggae/island beats that pair with the pulsing rhythms, but it hits home with me.

The band manages to keep the energy peaked for the full record, but avoids ever sounding samey. The crunchy intro to Kids on My Shoulder is intriguing, but unlike so many outfits playing the same style of music, the White Rabbits draw from a vast array of influences and experiment with different beats, tempos, textures and emotions. Instead of forcing the listener to pogo consistently, the band jumps back and forth into calypso driven beats (the cruise ship dance outro of the aptly named Tourist Trap is classic). Even in the middle of the opener, the band throws lowers the drums and adds a nice piano line before exploding back with the double drum line. As the band slows the tempo with Dinner Party, you are constantly anticipating another sonic explosion, and the restraint you feel is instead answered with horns and piano instead of another frantic drum and guitar combo.

The band seems equally comfortable playing either slow or fast, and relies on simple elements to set the tone. The plucked bass line of March of the Camel fills out the mix beautifully, but doesn’t ever dominate. The same can be said about Navy Wives.

Essentially, this record is fun and fresh and doesn’t try to be anything else. That might be exactly why it stands out from the crowd. Just listen to While We Go Dancing and prepare to be hooked.

MP3:: While We Go Dancing
In a side slice of awesome – the cast of Avenue Q (puppets and humans) reviews the lead single: Kid on my Shoulder

Labels: Music, Reviews

I finally had some time to sit down and read (the one benefit of a 14 hour travel day to Paris), and finished Jack McCallum's fantastic book about the 2005-2006 season he spent with the Phoenix Suns.

I'll admit I'm biased. I love the Suns. Their general disregard for defense (D'Antoni often in the book assumes that fixing the O will make the D irrelevant), the bizarre collection of throw aways and character with unique basketball abilities and IQs, and their hatred of Kobe, the Mavs and the Spurs are all huge reasons why I love the team. Obviously, being Canadian and playing point guard and having shaggy hair makes Nash an easy person to cheer for as well.

But the great thing about this book is it is more how the team interacts. How egos are stroked to handle some insecurities (Marion). How Raja Bell is way more of a thug than I thought (and much funnier - telling a heckler that ProActive will clear that right up is a great comeback). How much they hate Phil Jackson and Kobe. How Eddie House is way funnier than I gave him credit for, but still has doubts if he can make it in the NBA. How Boris Diaw's real name is Boris Babacar Diaw-Riffiod. Seriously, if you can't get on board with that, you can't get on board with much. How well the coaching staff interacts. These are the real focus of the book and McCallum toes the line between friend, fan and professional perfectly.

All these factors make it even more fun to watch the most exciting team in the NBA. Sadly, they choked away another game to the blandtastic Spurs, but who knows. Maybe D'Antoni's footstomping tizzy will prevail over the fact that Tim Duncan, Manu, and Fresh Horry don't think they've ever committed a foul.

Either way, if you are a sports fan you should read this book.

MP3:: Why Does the Sun Shine? - They Might Be Giants
Or for haters - MP3:: I Don't Believe in the Sun

Labels: Music, Reviews

It’s not too often you grab a CD from a deeply rooted prog band named after a controversial book about evolution (which for the record, three of the possible republican candidates don’t believe in) and hear pleasantly upbeat, light pop sounds with nice guitar work, but that’s exactly what the Selfish Gene does. The Great Masquerade is an Orwellian view of the false identity and deception present in today’s society, and even with the prog rocking undercurrents and serious, thought provoking lyrics, the songs fly by in a surprisingly light, enjoyable manner.

The record starts off with a simple guitar riff, and it remains throughout. The simple elements the band uses are combined in a vintage 70’s feel and help take the hard edge off the lyrics which I think is the key to the success of the record. All too often, when artists decide to make a political statement, the music follows suit, and you essentially feel like you are (at best) getting lectured, or (at worst) yelled at. By casing their thoughts in enjoyable, unpretentious sounds the Selfish Gene uses a slight smile, a shimmering gloss and a subtle roar to get their point across. The band floats freely into three-part harmonies and crunchy guitar blasts and you find yourself singing along to summery anthems about the frustration at the state of the world (Fist Fed Up). My grandmother always used to say that you catch more flies with sugar than you do with vinegar – and to be honest, I have no idea if it’s true– it that certainly holds true for the Selfish Gene.

The riffage on this record should appeal to any fans of ELO, herohill approved Genesis or (for the youngens) Spoon but the band really tries to put their own stamp on music. Sure it’s a guitar driven record, but the band uses a myriad of instruments to keep things moving and fresh (beautiful summery harmonies, the sublte acoustic layer on Idioum, the shockingly sparse acoustic arrangement on the album closer Wonderfall, or the piano and bouncing bass that attempts to balance the big, flaming guitar noodle of Evolver) and avoids the easy trap of trying to make every song overly complex. Sure they obviously spent a lot of time turning knobs in the studio, but the arrangements never crowd the mix.

There are some stumbling points on the record – the carnival feel and sped up tape nonsense at the end of Fox Hole or the almost glammy vibe of Bidding War – but for a band to tackle such an ambitious project, a few missteps are expected and easily looked past because the rest of the record is so damn solid. It’s a different sound with a band that has something to say. I’d suggest people listen up.

MP3:: Overboard

web site :: label :: more tracks

Labels: Music, Reviews

As loyal readers of the hill know by now, I regularly scour the land looking for new Halifax music to talk about on this here site. Of course, when I say scour the land, I mean read The Coast, but still, that's hard work. So when we get sent an album from a Halifax band via an outside source, it's a nice surprise. Halifax's Dog Day, and their debut Night Group, is a fine example of just such a surprise.

I suppose the external buzz Dog Day is receiving is due in part to the fact they're signed to German label Tomlab (Black Mountain Music in Canada). Tomlab's roster leans heavily towards electronic or experimental music (Final Fantasy, Deerhoff, Casiotone For The Painfully Alone, etc.), so the fact that they were interested in signing Dog Day, a band that makes early 90s-ish, melodic pop songs, has to say something. What does it say exactly? Not sure, perhaps it says that the Germans are jonsing for piece of the new Halifax music scene like Freddie Holburn was jonsing for a dip. Perhaps I just wanted to work Freddie Holburn into this review, but either way, Tomlab liked the cut of Dog Day's jib, and I can see why.

Dog Day is a four piece which is actually comprised of two couples. Keyboardist Crystal Thili and drummer KC Spidle are married, while guitarist Seth Smith and bassist(?) Nancy Urich live together. In both cases, it's not the first time the couples have played with their respective partners. Smith and Urich are members of Halifax indie mainstays The Burdocks, whereas Spidle and Thili are members of Halifax hardcore outfit The Hold. This whole couple dynamic might have some kind of impact on Dog Day's music, but listening to the album, it's hard to discern what it could be. Perhaps it just adds a level of comfort when they're playing together, as the band certainly meshes well musically, no one sound overpowers the rest.

I suppose technically you'd say Dog Day are a "guitar" band, but for me it's the bass & drums that propell this album along. The album moves at a brisk pace From start to finish, with Smith's guitar, more often than not, acting as a jangly accompaniment to the rhythms laid down by Urich and Spidle. Songs like End Of The World and Know Who You Are are prime examples of this. Thili's keyboards adds a welcome, lighter touch to songs like Great Pains that would otherwise be all melancholy business. Gayhorse isn't really an example of any particular point I'm trying to make, but I do like the sweet boy-girl trade off vocals. Acutally I just wanted to mention the song because the title is Gayhorse, and that makes my inner grade 7 laugh.

Speaking of the vocals, I suppose if anyone where to have a beef with this album, it would be on the vocal tip. Smith's vocals are very low-key throughout the album - both because they seemed to be purposely mixed low so they kind of blend into the song and also because he sings in kind of straight-ahead monotone way throughout the album. I think because of this, the lyrical content doesn't stick out on each song, and the tracks tend to blend together. I'll admit that even after listening to the album a few times, I don't have any clear idea of what each song is about. I will also freely admit that I don't care. The songs on Night Group are dead catchy, with melodic, sing-along choruses, and that is enough for me.

The press around this album is filled with comparisons to 90's heavyweights like Dinosaur Jr., Superchunk, Yo La Tengo, and Sonic Youth - and musically, I think I can see where that comes from. When you consider all the 90's talk in this review, it's rather impressive that I've gotten this far without comparing Dog Day to Sloan, but now that I stop to think about it, there are some songs here I could compare to Smeared or Twice Removed, but I shall digress. Living up to all those comparisons is a tall order and it's probably better to consider Night Group on it's own merits as catchy pop album that will more than likely work it's way into your rotation once you hear it. Definitely worth a listen.

mp3:: Oh Dead Life

Labels: Music, Reviews

Keep the EPs coming! I have to be honest. When it came to Middle Eastern music, my list pretty well started with Erick Sermon’s React, ended with that Diwali song they played on the Office and had nothing in between. I’m pretty well in the dark about Iranian music, so Haale kind of went under my radar. What’s that? You slept on an Iranian singer who mixes “traditional sufi rhythms with her own interpretation of sixties psychedelica?”

Even reading that description, I can easily see how people are skeptical about this unique fusion of influences. Haale is born-in-bread in NYC and her music is an interesting ménage of her home and her heritage. Electric guitars, pulsing rhythms and a heavy bass provide an interesting backdrop, but the highlight is the seductive movements of Haale’s voice that dances like a sultry belly dancer. Her voice becomes intertwined with the percussion and bends around the hazy fuzzed guitar. She is getting recognized for her commanding presence on stage and on record. She can dominated a sexy, uptempo track – like the EPs final track Before the Skies which is a beautiful duet with Sean Lennon – but she also exposes her sensitive side on the finger picked ballad, This High.

This self-released 5 track EP is certainly going to be one of many releases, but the DIY style she is using is certainly going to change soon (as I would imagine majors will be lining up to get her to sign).

Buy paratrooper here.
MP3:: Home Again

web site :: myspace

Labels: Music, Reviews

I am not sure, but I think I’m setting some sort of record for reviewing the most consecutive EPs. So, I’m going to run with it. It would be easy to try to lump the sounds you hear on the new Two Gallants EP with those of their label head, Conor Oberst. Their interpretation on rootsy folk is similar at times. Both rely on vocals that are as delivered with a subdued rage that expose their emotions to the listener and both pair that rage with beautiful, melodic riffs.

It’s also very tempting to put a back story on The Scenery of Farewell. After finally resolving a terrible incident of police brutality and criminal charges, the band retreated into a studio and created a very introspective, stripped down EP. Did the incident change how these young men see the world?

With titles like All Your Faithless Loyalties, you’d think it has to, but the songs aren’t asking questions about society. They are more focused on the questions Adam and Tyler are asking about themselves. The stripped down feel of the EP mirrors the sentiment well. Simple drums and a picked guitar lay the foundation of the tracks, but provide the room for the vocal lines, harmonica and violin to really occupy the large amounts of open space. The pain of being alone is never easy to deal with and these songs give the duo a chance to get things off their chest.

As so often happens, you start with a simple thought and it constantly expands to take a new shape. These thoughts culminate on the closing track, Linger On. All we want to do is move on, but we can’t escape the past, and often we don’t want to - “though I keep your picture on the wall, I unplug the phone in case you call.” It’s only five songs and the theme might come off to some as self indulgent, but when you are left alone, being selfish and hoping anyone will listen and feel your pain is what keeps you going.

Two Gallants are playing Sasquatch, so hopefully I’ll get some pics for you next week.
MP3:: Seems Like Home to Me

web site :: label :: hype machine link

Labels: Music, Reviews

The Rawluck Movement's new album poses a bit of a dilemma for me. Formed by 5 Toronto MC's to honour of their friend Donnie Rawluck, the group intends to give all the proceeds from the album to Rawluck's son Kadin. Donnie Rawluck was killed in 2005, and the guys hope to raise $10,000, which will be placed in an education fund for his son.

Being a new father of a 10 month old son, I cannot approach this album either rationally or objectively. I would be lying if I told you I loved this album, but I also cannot say anything negative about the album without feeling like I might be taking money from a little boy who has a long road ahead of him. So I won't.

Drex Inkredible, Remey, Tommy (The Grim Preacher), Audi and Gavin Sheppard (Gavatista) are the 5 MC's the comprise The Rawluck Movement. They hail from Toronto's tough Lakeshore area, so when you factor in the tough neighborhood they're reppin', and the circumstances surrounding the group's creation, you shouldn't be expecting an album full of happy club tracks. What you get is an album of understandably somber songs that reflect the gritty backgrounds of the group members.

Songs like Time and Rip 'Em Apart have the kind of anthemic choruses that could stick with people. Eyes Of A Stranger samples the Payolas song of the same name to good effect, so I can cross that one off my "Can-Rock songs I want to hear sampled in a hip hop song" list. The hardest working man in the indie rap biz, Planet Asia, makes a guest appearance on Suspended In Time.

I don't think there's any need for me to go into much more detail on this album. The bottom line here is if you want to hear some decent hardcore Canadian hip hop, you should pick up a copy of this album. You get some hip hop, and you put some money into Kadin Rawluck's education fund.

mp3:: Eyes Of A Stranger

Check out the video for Time:

Labels: HipHop, Music, Reviews

I definitely don't give enough love to local boys Ladyhawk. Sure we had their debut on the best-of-list, but I always end up passing on their shows, maybe because I'm spoiled by the fact they play here a lot. Well, it's time to give them some more praise. They are fixing to release a new 6-song EP - Fight For Anarchy - on jagjaguwar and it's impressive.

To keep the bloggers happy, the label released the opening track War some time last year. It was the first song from an all day recording session, but it doesn't really sum up the rest of the EP. The band is much more experimental on this quick hitter and balance some Okkervil River-esque ballads (and I think I'm one of the only people who didn't hear those similarities on the full length, but the Sheff influence on Boy You Got Another Thing Coming is strong) with static, feedback, grunts, screams and countless other sonic explosions and exploration.

This freedom really shines through, and the 6 songs (well 5 really - you can't count a 45 second interlude as a full song can you?) are stronger than a lot of the full lengths discussed ad nauseam in the blog-world. It's challenging and accessible, rough and soft, somehow all at the same time.So this is my humble apology to Ladyhawk. I'm sorry I took you for granted, and look forward to your return to Van-city.
MP3:: Boy you Got Another Thing Coming

Labels: Music, Reviews

Remember that scene in High Fidelity when Barry is convincing a guy to pick up the Jesus and Mary Chain record?
Barry: How about the Jesus and Mary Chain?
Barry's Customer: They always seemed...
Barry: They always seemed what? They always seemed really great is what they always seemed. They picked up where your precious Echo left off, and you're sitting around complaining about no more Echo albums!

Well, after embracing the new Jade McNelis EP – All the Fables – I feel like I’m trying to convince the masses that she’s picked up right where the rest of the Montreal collective (the Stars, Metric, the Dears etc.) left off, but no one seems to be noticing. Jade McNelis is a Florida native who migrated North, landed in Montreal and found a home with a stable of talented musicians, including Chris Seligman, Murray Lightburn and Andrew Barr.

Jade – born in Taiwan – has been playing piano since she could walk and despite her obvious skill (or maybe because of it?), she manages to avoid the trap of most young piano based artists and creates an icy, hard edged as opposed to a summery, sugar coated radio pop. Jade’s lyrics take on an almost fairy tale style (she said she was heavily influenced by Aesop’s tales), but the dark textures and swirls add a maturity to the morals in a Pan’s Labyrinth style.

She’s already writing songs you wouldn't expect to hear from a twenty-year old, and I think she’s benefiting from the touches of some seasoned indie rockers. Murray’s guitar work (especially the jangle on Lies and Locks) and Chris’ fingers in the mix really keep this debut EP on track. If she’s this good already, it’s not hard to picture her reaching the same status as other prominent female chanteuses like Chan Marshall.

Vocally, her range and tones are strikingly similar to Emily Haines solo work, but the songs are in no way derivative. You can’t help but think of Doctor Blind, but the intricate piano work and more uptempo electronics really beefs up the mix. While Emily purposely stripped down her sound, Jade went the opposite direction by adding layers to keep the sound thick.

Don't tell anyone you don't own "Blonde on Blonde". It's gonna be okay.
MP3:: Lies and Locks
Video:: Wins


Web site :: more tracks :: label

Labels: Music, Reviews

A slightly slurred delivery and heavy souled Americana/blues is going to draw inevitable Dylan and Springsteen comparisons. Sadly, no matter how interesting or inspired the artist is, it’s impossible to measure up to the bar that is set oh so high. It’s not fair, but that’s how it works.

Enter Stoll Vaughan. The former guitarist of Chamberlain released his second solo record, Love like a Mule, and like the title leads you to believe the record is a heart on your sleeve Americana record. Stoll is young, but speaks in metaphors and experiences of a much older man. He already has the ability to draw you into a narrative. His characters seem real and he turns phrases effortlessly (you will slander my name, like we all sometimes do). He’s at his strongest on the slower numbers like Fade Away (which warms my Dire Straits loving heart) and No Stopping. The subtle instrumentation and walk along tempo really showcase his lyrics, which are the key for any artist walking the same path as the aforementioned influences. His songs tell a story and sooth the soul. He has moments of brilliance (for example Savior) that help you look past some of the clichés of youth (lonesome is as lonesome does).

Unfortunately, it’s almost impossible to separate the man from his influences. If people could, Stoll’s records would be getting radio play from DJ’s and be displayed on the walls of record stores instead of the countless Dylan reissues and greatest hits collections. Don’t get me wrong, I’m not comparing the two. Dylan is as much a genre of music as he is a fantastic songwriter. It’s impossible to compare a 23-year old to two of the greatest wordsmiths of the last 40 years, but if you look past his influences, you will be rewarded with a very enjoyable record from an artist with the potential to make a big name for himself.

MP3:: Fade Away
Video:: Complain


web site :: more tracks :: label

Labels: Music, Reviews

In a complete change of pace after this morning’s post about the effortless dream pop of the Clientele, Chris & Mollie is as unique an outfit as I can remember hearing in a long time. I mean seriously, a concept album about a couple breaking up but giving birth to a kid as the vessel for lo-fi twee/folk songs (sorry, I hate using that term as much as you hate reading it) that are depressing as hell and nothing you’d ever want to come across in your daily life. It’s not really your standard fare or anything that would jump off the page and grab your interest.

What it is however, is surprisingly beautiful. Instead of the lush arrangements that bands rely on these days, Chris & Mollie use a simple guitar riff and drums, or a well placed horn blast and some sonic explosions that sound like the duo recorded a jam session (instead of the incredibly well-thought out record it really is), but made the jam incredibly structured and melodic. They may be making up as they are going along, but the sound works perfectly. Without self-indulging, they stumble from what you’d think is confusion into addictive melodies with an honesty that other bands would kill for. Picture a more lo-fi, but more focused, sincere Unicorns and you are almost there.

There are so many amazing tracks on this record – the instant catchiness of Mice Eyes, the clap along bounce of Waltz are two - but the fragmented, quirky nature of each song makes every song enjoyable and worth while. I’m sure this record won’t end up on many lists when the end of the year roles around, but I don’t think I’ll find a more interesting record for a long time.

MP3:: Transition Trade
MP3:: Mice Eyes

web site :: more tracks

Labels: Music, Reviews

Before jumping into this review, I will quite honestly say that I ignored the Clientele’s new record on title alone. I had no idea what type of music they played or what they were all about, but God Save the Clientele made me pass. Music snobbery revealed itself again, and I lost out. Over the last week, I’ve been listening non-stop and fallen in love with the gentle, dream pop this band delivers.

The Clientele resides in the haze right before you fall asleep and your first moments of peaceful sleep. The melodies and instrumentation float along so effortlessly, in whimsical arrangements that seep into your subconscious. The songs are gentle combinations of harmonies, strings, and liberal use of double tracked vocals that bring to mind the content, joy filled psychedelic Beatles materials (with suitable comparisons to the Velvet Underground on Dance Floor of Hours, the Monkees, or in more contemporary terms, Lambchop on Dreams of Leaving).

The instrumentation on this record swirls in and out with such tranquility that you actually can feel yourself relaxing as the notes seem to pour out of the headphones. The band uses instrumentations so perfectly, like the gentle steel on the breath taking Queen of Seville, or the inaudible whispers of Dance Floor of Hours, that you find yourself sinking into the dream like state of the melodies. Interestingly enough, I even find the middle section of the record comforting. As the songs border on a constant blend of sounds and feel, I finally feel like I’m getting a comforting rest, only to be woken by the sudden change in tempo on the surprisingly upbeat Bookshop Casanova and raging chaos of The Garden At Night. But as simple as rolling over and resettling, the Dreams of Leaving helps you return to a comfortable, dream filled slumber.

MP3:: The Queen of Seville
Stream @ Merge Records

web site :: more tracks :: label :: del.icio.us

Labels: Music, Reviews

After reviewing a few hip hop albums from Alberta, I thought it was high time to review an album named after a town in Alberta. (As an aside, why does Alberta love the hill so much, yet the other prairie provinces continue to deny us their hip hop? What did we do to you Manitoba hip hop? What exactly is your problem Saskachewan rap? Maybe I'm being paranoid, but it seems like we're getting a middle of winter-in-Churchill-Manitoba style freeze out. But I shall digress.) Moka Only's new album, Vermilion fits the bill quite nicely.

I would guess Moka is most widely known as a on-again, off-again, err, member, of Swollen Members. An original member of that Vancouver-based crew, Moka left the group to pursue (many, he's put out some 22 albums) solo projects. However, it was Moka's work as a guest on Swollen's Bad Dreams that launched both the group, and Moka, into the Canadian mainstream. His sing-song hooks on songs like Fuel Injected and Bring It Home turned out to be the gift and the curse, as they were catchy as hell, but the success garnered from those songs ultimately led to the release of Heavy in 2003, which leaned a little too much towards those mainstream sounds.

Moka ventured off into solo projects again and hooked up with Nettwork to release The Desired Effect in 2005. I will be honest and say that when this album dropped, I saw that video with Moka walking around with chicks on the beach (Once Again), and read some less than favourable reviews and ended up not checking it out for myself. In reality, I should know better than to trust music reviewers, but it seems that Moka wasn't all that happy with The Desired Effect either, feeling he was pushed in a certain direction by the folks at Nettwork. It seems industry rule number 4080 still rears its ugly head, even in Canada.

"Thanks for the Moka Only history lesson!" I hear you saying somewhat sarcastically, so let's discuss the new album. Vermilion was originally done in 2005, but shelved after the aforementioned unpleasantness with Nettwork. But after Urbnet approached him with the idea of putting out an album, Moka decided that Vermilion deserved to see the light of day, so he remixed some of the tracks and voila - a new/old Moka Only album. And the timing couldn't be better, as this is a perfect album for the summer. The breezy tracks and Moka's charismatic, laid-back flow come together Voltron-style to create an album ideal for pumping in the ride with the windows down or jamming in the iPod as you stroll along the waterfront (Haltown or Vancity, I would chuck Toronto in there, but who actually goes down to the waterfront in TO?) on a warm summer day.

Moka produced the entire album, and as rare as it is in today's rap biz, I believe there are no guest MC's. Moka favours programmed drums and synth sounds in his production, but Vermilion certainly has a very traditional hip hop sound to it. Do and God Bless open the album with the organ-filled, slice of life tracks that Moka does so well. I could Give A... is perhaps as angry as you'll find Moka on a track, as he discusses the unpleasant side of the rap biz: "Nettwork didn't want a second round, word? Word, for reasons unknown, but you can take a wild guess. Cause I'm a wildebeest? Cause I'm a mild threat? Cause I'ma still release as often as I get the urge?". It appears Nettwork could not handle the wildebeestness that is Moka Only, or Torch, as he would really like to be known as.

So Kona is a breezy as you would imagine considering it's about Moka cooling out in Hawaii. The Ukulele solo at the end of the track is a very nice touch. The single Search is one of many of the tracks on Vermilion which use vocal samples to help create the light, summerish feeling I mentioned previous. Vermilion, and it's rather elastic bassline, features one of the more bumping beats on the album and Moka rides it to perfection. The jazzy Let Me Down wouldn't be out of place on an old ATCQ album, and is a perfect background for Moka to reaffirm his love for hip hop.

Perhaps you thought Jack Johnson's little ditty would be the only song entitled Banana Pancakes that you would ever hear? Well thanks to this album, you stand corrected. The Taste features a vocal sample which, on first listen, I found annoying, but on subsequent listens became catchy and impossible to get out of my head. Shake Dat Neck is also tabbed as a single, and is probably the closest thing to a "club" track you'll find on this album. Although it isn't really a club track at all, so that might not make sense. The bouncy speakers would've been a nice way to finish up, but for good measure, Moka throws in a non-terrible Tears For Fears cover as a hidden track.

Add it all up, and you have a very good album. Moka is one of the few dudes I've heard that can take what he did yesterday after supper and make it into a song I enjoy listening to. Lyrically, he's not changing the world, but he's not greasing it up with fake-thuggery either, and with the state that hip hop is in now, sometimes that's all you need. Vermilion should certainly appeal to fans of Moka's older work, but I would be surprised if anyone really hated this album. It's really a likable album, and, oh, did I mention it's great summertime listening? Check it out before you blink and summer is gone.

mp3:: Vermilion

Labels: HipHop, Music, Reviews

Where do you go with a review once the band is labeled as a shoegazer, My Bloody Valentine, Galaxie 500, Jesus and Mary Chain, or Cure sounding outfit? I mean, each of those bands has such a distinct and trademark sound that just by name dropping, you kind of get an idea of the band’s sound. And to be honest, it’s a real easy way for a reviewer to describe a band without dissecting the elements.

Sadly, most bands that draw inspiration from those bands usually end up falling short. It doesn’t seem hard. I mean, fuzzed out guitar trapped with warm pop hooks. It sounds so easy, so why do so many bands struggle trying to find the right combination of dream filled bounce and earthbound grittiness. Cat-A-Tac is one of the bands that succeed and power through the haze so essential to the sound.

Their new record – Past Lies and Former Lives - should hit home with any shoegaze fan. The warm buzz of Credit Whore, complete with swirling backings and crunchy riff blends nicely into the poppy, weightless feel of Respite and the seamless transition shoes the skill this Denver quartet brings to the table.

The band isn’t afraid to rely on a straight hook either. The title track is a textbook indie number that relies on the personality of Jim’s voice and subtle feedback on the chorus to draw you in, before evolving into a dense, although surprisingly harmonious cloud. They use enough structure to keep me interested, but never let themselves be defined by it.

I don’t think there is much else to say other than I like the bands Cat-A-Tac lists as influences, and I like their own unique take on the music. It’s got the right amount of drive, muscle, melody and spacey zoning required to keep my head nodding. Coming up with anything else takes away from everything I like about this type of music.

MP3:: We’re All Gone

Labels: Music, Reviews