Posting time is tight right now for yer man Naedoo, as I try to run the gauntlet between impending moves in real life and blog life (former: we're building a new house, latter: we are moving this baby to Wordpress as we speak), and so you can expect a steady diet of this here kind of post. What kind of post is it? Simply one where I tell you about a group, album, or song, then tell you it's good, and you take it from there. I get a post up, you get music without all my usual waffle. It's win and then win again.

Today's group then? It's The Nope, which is a duo comprised of Psy from the Oddities and Canada's rap endurance champ, Moka Only. Their debut album, Melba came out on Urbnet in December, and if you like anything in Moka's substantial back-catalog, you're gonna be saying Yep to The Nope in a hurry. After all, according to their bio, the guys aren't trying to break any ground here:

As The Nope emcee Psy shares, "We're exactly the same as every other music group you've ever heard before. So, prepare for absolute boredom." For once, a rapper tells the truth.

Certainly a little bit of the facetiousness in there, as they play on the fact that so much hip hop does sound alike in '010, but there's no much boredom to be found. What you can find is Moka's trademark chugging grooves in their production, and Psy is a perfect lyrical foil for Ron Contour, as they are both able wrap the lightest of lyrics around the most mundane topic.

It's good springtime music, this, so go check it out.

MP3:: The Nope - Rain All Day
MYSPACE::www.myspace.com/itsthenope
GET IT::thenope.bandcamp.com

Labels: Canadian Hip Hop, Hip Hop, Moka Only, Vancouver

Oh, we're feeling good about ourselves today, aren't we Canada? We were a nation of nervous-nellies after getting our collective asses turned into a hat by the US on Sunday night, but in light of our 7-3 ass-hatting of the Russians last night, we're all feeling better about ourselves - to say the least. And that's to say nothing of our complete domination in the women's two-man bobsleigh!

So then, what better way to celebrate this AM than with the newest single from one of Vancouver's biggest bands? And how about a pic of them in hockey skates to boot! The new Pornographers will be releasing their new album, Together in early May on Matador records, I do believe. The full eight-person deep NP lineup was in effect for the making of this album, and if this up-tempo, communal rocker is any indication, it will likely be a solid outing. Enjoy.

MP3:: The New Pornographers - Your Hands (Together)
MYSPACE:: www.myspace.com/thenewpornographers
WEB:: www.thenewpornographers.com/

Labels: Matt Dillons Soul Patch, Singles, The New Pornographers, Vancouver

Did you know that the Olympics are about to start and the world spotlight will be shining on Vancouver, Squamish and Whistler for the next three weeks? Obviously if you own a TV, read a newspaper or have a computer, you've been inundated with coverage over the last few weeks and it's only going to get worse.

I know a mid-level music blog isn't the place for political pontification, but I'm one of the few that don't see the two week athletic combination as a great thing for the city or the country. Without a doubt, Vancouver is the most beautiful place I've ever lived, but there's a darker side to Vancouver that once you've seen it, you can't ignore. It's all well and good to show off the best side of Vancouver and the surrounding areas, but people in the city are trying to sweep the unsightly elements (and the "unsightly people") under the rug.

That's why the release of Cameron Reed's - a.k.a. Babe Rainbow - Shaved EP seems incredibly timely. Instead of rays of sunshine reflected around the glass city and pristine mountains and ocean views, Reed's self described "surf step" sound moves slowly, hidden by the shadows. The songs take on the feel on the city and even though they might not be the picturesque images outsiders associate with Van-city, they are just as beautiful and more realistic (just listen to Tummy Sticks to hear what I mean).

By no means am I a dub step expert and any meaningful comparisons I try to come up would simply be an exercise in name dropping that would ultimately fall short, but when I sit down with this 7-song effort I get hit with a swell of emotion. The rubber band bass lines and echo filled drum claps that make up the foundation of Screwby are captivating, as are the atmospheric electronics that grab your ear on the opener, Popcommon. The gentle, uplifting feel Cameron subtly adds to offset the unsettling undercurrents and harrowing vocals of Care shows a complexity you might not expect in such stripped down arrangements.

Right now we all seem focused on showing the world what we have to offer, and musically that's just what Shaved does. Reed's unique spin on dub step is entrenched in the gutters of the city, but still manages to walk alongside the ocean side beauty of Vancouver, and really gives Canadian dub stepping producers something to strive towards.

BONUS:
Just so this post isn't all doom and gloom, it's worth pointing out that Babe Rainbow and Rico Uno have a pretty killer mixtape out as well. This collabo (with help from fellow Vancouverites, Basketball) is a bit more uplifting and melodic and shows another side to Reed's compositions.

Babe Rainbow X Basketball X Rico Uno - Proper Feeling

MP3:: Babe Rainbow - Screwby
MYSPACE:: http://www.myspace.com/bbrnbw
TUMBLR:: http://baberainbow.tumblr.com/
BUY:: http://warp.net/records/babe-rainbow

Labels: Babe Rainbow, Music, Quick Hitters, Vancouver

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

All too often in this age of indie collectives, you get bombarded with songs steeped in layers so thick the melody and intricacies are lost, along with any spontaneity. The desire for epic sounds leads overproduction and a polish that takes away the heart of the songs or a muddled combination that makes it impossible to feel your way through.

Thankfully, when it comes to The Geese - a folk collective from New Brunswick that recently moved to Vancouver and changed their name from The Family Band - the songs on their EP are full of ramshackle and creativity. Each of the five songs are loosely held together by the shared members but almost nothing else.

The opening number - Le Beau Risque - is a beautiful, bilingual track full of mandolin, drums, acoustic, female vocals and spirit; a clever song from Quebec to the rest of Canada disguised as a back and forth between two lovers, the track sounds like it could be a standard from years long since past but the foot stomp beat that darts in and out and the cymbal washes make the song feel alive. The band does an abrupt turn on Zachari's tender Ancestors, a heartfelt tale about family and love. The piano, long bended notes and gentle picks held complete the cozy setting Zachari sings about, but right around the 3-minute mark, the band adds some playful hand claps to refocus your listen. It's only for a few seconds, but it shows complete control of sound.

Each of the five songs makes an impact, and could stand alone but it's the way the potential and talent the collective offers that really excites me. The songs are heavy in emotion, but the band manages to keep the whole affair fun.On the spiky New Brunswickers, the lead vocals, sing shout chorus and percussive stomp could be slipped into a Bruce Peninsula set, but the band uses strings and accordion to soften the impact.

By the time they experiment with some heavier, almost Crazy Horse inspired electric work on the country rocker, Frustration, you are left wondering if there is any style they won't fuse into their sound. The song, obviously, doesn't crank up the amps and distortion but the slight bit of muscle works well and as they fade into another mix of electric and accordion on God's Children you realize the 17-minutes of music leaves your completely satisfied, and you wouldn't change a note.

MP3:: The Geese - Le Beau Risque

MYSPACE:: http://www.myspace.com/familybandnb
BUY:: http://music.thegeese.ca/

Labels: Canada, Family Band, Folk, Music, New Brunswick, Roots, The Geese, Vancouver

I always hate it when I hear about a terrific band from Canada from a blog running south of the border. Not like we can know about every band in Canada, but we should be surfacing the best talent for you.

I guess though, when the band is as good as Vancouver's Apollo Ghost and the blogger is Ryan over @ The Catbirdseat, playing second fiddle is ok and finally getting on board is much more important than being "first."

Apollo Ghosts - a three-piece from Vancouver - is the type of band you hear once and fall in love with; it's that simple. Witty, infectious, spontaneous. The Vancouverites transform the most common of descriptors into something meaningful and true. If I had actually heard this record, it would have easily made my Top 10 for '09 and knowing that another LP is just around the corner is enough to make me happy and forget the huge oversight.

So, the single we have here- Land of the Morning Calm - is a perfect intro to the band. On Hastings Sunrise, the band successfully moves all over the map, but the creativity and talent that oozes from every song holds it all together. Land of the Morning Calm lures you in with chugging guitars and baritone, yelping and group shouted vocals, but instead of simply building and building to a feverish level, the band keeps both feet on the ground. If you can listen to this song only once, you are a better (wom)man than me.

* The thing is, I could have picked any song from this record to prove my point. The simple intro of Dobermans uses accordion and catchy lyrics to peak your interest, before the band kicks in and turns the quick hitter into something magical. The energy of Little Yokohama. The smile inducing, quirky, acoustic/horn filled ditty, Maybe Its Me... actually, just go stream the whole record and discover the joy for yourself.

MP3:: Apollo Ghosts - Land of the Morning Calm
MYSPACE:: http://www.myspace.com/adrianteacher

Labels: Apollo Ghosts, Canada, Matt Dillons Soul Patch, Music, Vancouver

One of the great and sadly underrated festivals here in Halifax is the ice cold In the Dead of Winter Festival that tries valiantly to warm our January nights. This year, the organizers went above and beyond and signed up a bunch of terrific artists that everyone knows (Ani, John. K Samson, Jim Bryson and Justin Rutledge) but there are a ton of lesser known acts that you should think about seeing.

One of those acts is The Abramson Singers. When I was in Vancouver, Leah Abramson played in some great bands (Dyad was always a treat to see) and was kind of the West Coast Julie Fader when it came to being recruited to guest on tracks. Her voice is so pure that she is able to create layer after layer of harmonies and meld them into a beautiful (and equally dense) musical experience.

She's getting ready to release her record on White Whale, and thirty minutes of music she offers up on the self-titled release are pretty amazing. She can deliver amazing vocal dynamics (like the opening number, Take a Camera, Trucker's Prayer and Old Maids) but is just as comfortable fronting a more traditional folk offering (By the River) or dark swirling numbers like Fool's Gold, but for me the album stand-out is her stellar take on the Wiseman number, You Don't Love Me. Leah stands front and center, but when the harmonies kick in it sounds like she is fronting the Deep Dark Woods. The whole album is enjoyable, but when this song comes on I can't focus on anything else. It's probably my favorite song of the new year.

She and David Sikula will be playing Jan 29th @ The Company House with Klarka Weinwurm, the always amazing Melissa McLelland, and Del Barber. Seeing how she transforms the meticulously recorded layers of harmonies should be a real treat.

Click here for the entire IDOW schedule.

MP3:: The Abramson Singers - You Don't Love Me (Bob Wiseman cover)
MYSPACE:: http://myspace.com/leahabramson
BUY:: BUY from White Whale

Labels: Canada, Halifax, IDOW, Music, The Abramson Singers, Vancouver

Last week I mentioned that I had amassed a list of Canadian hip hop records that I'd been meaning to write about for a while now, and these dudes right here are #1 on that list. The dudes in question are the three hungry Vancouver MC's that comprise Brass Tackz: Snak The Ripper, Young Sin, and
Evil Ebenezer. They released this EP to get some buzz going for a potential Brass Tackz full length, and after going back and listening to The Outfit a few times over the last couple days, I would welcome more material from the trio for sure.

I must confess that I'd seen these MC's names here and there on the ole internet box (and unless I'm mistaken, Evil was featured on the last Josh Martinez album), but I'd never heard anything from any of them. Well, there's a wrong I'm happy to have righted, and I'm not sure how close the 3 MC's were before doing this project, but they have plenty of chemistry. Snak The Ripper has a demonic high pitched flow which contrasts well with Young Sin's confident baritone, and Evil is somewhere in between the two, so the mix works well. As the cover might suggest (as well as the creepy guest vocal contributions from Edmonton's legendary Junkyard Dog) there are certainly some aggressive, Horror-core in the Gravediggaz sense, songs on the EP (October Skies, Moral Terror & Find Out), but they aren't afraid to also tackle something like an ode to their respective Moms' Mom Dukes.

Right from the jump you get a "little taste" of what Brass Tackz is all about on the smoothed-out, yet creepy opener October Skies, that features each MC spitting some dark, free-flowing, braggadocios rhymes over a piano-laced QB8 beat. Authentik sounds great - it features bubbly xylophone mixed with old-timey horns and some bumpin' drums provide the backdrop for the trio to rundown their hard-earned hip hop history. The somber-but-still-catchy Broken Promises is the kind of thing pretty much any Canadian rapper can relate too: struggling to continue making music when everyone close to you likely thinks your crazy. Also, the line "It's either broken promises or broken dreams, where I see a career you see hopeless schemes" would also work as the slogan for this here blog. The Aries-produced beat for Find Out mixes electronic bleeps with ominous backing sounds and an ominous & addictive chorus. I should also mention that video for this song was my intro to the group, I was intrigued by the quality of the song as well as the visuals - not many rap groups go with the "western hobo" theme for their videos. Perhaps they should. The heartfelt mom-ode Mom Dukes has a really banging guitar-laced beat that the guys seem to be feeling, as they all turn in pretty enthusiastic performances on the vocals and the chorus is a bit of an ear worm.

You can get yourself a copy of The Outfit gratis from Camobear Ditigal, so why wouldn't you? Solid Canadian hip hop for a price anyone can afford. Get on it.

MP3:: Brass Tackz - Authentik

MP3:: Brass Tackz - Find Out
MYSPACE:: www.myspace.com/brasstackz

VIDEO:: Brass Tackz - Find Out

Labels: Brass Tackz, Canadian Hip Hip, Evil, Hip Hop, Quick Hitters, Snak The Ripper, Vancouver, Young Sin

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

Again, I'm not sure if you can miss an album that was a DIY, limited release (500 EPs), but up until a few weeks ago I had never heard of this young song writing scamp from Vancouver. Considering Mac DeMarco (with drumming support from Alex Calder) - aka Makeout Videotape - had a lengthy tour with herohill favs Japandroids (and signed to the same label), you'd think we would have hipped ourselves to his style many moons ago.

It's fitting that as we get closer and closer to the new year, a few lo-fi, fuzz outfits have been getting the royal treatment. '09 was full of records that could have been recorded in a dumpster behinds the Hardees, but however you looked at the whole chill-wave movement, the talent of a few of the bands was undeniable. For me, it was the artists - like Makeout Videotape or Little Girls - that didn't try to hide their pop sensibilities, they merely chose to balance them with hiss, fuzz and static-y blasts.

Unlike Little Girls - Josh seems more like an 80's club kid caught in the wrong decade at times - Mac's melodies often rely on jazzy chords or blues-y stomps that mix with the sunshine swirl, ohs and ahs to create a debut EP that turns heads. MV is already prepping for a full length on Unfamiliar and chances are even when the lo-fi wave inevitably crashes, Makeout Videotape has already shown they have the chops to stick around.

Makeout Videotape - Heat Wave from ryan anderson on Vimeo.

MP3:: Makeout Videotape - I Guess the Lord is in New York
MYSPACE:: http://www.myspace.com/makeoutvideotape
LABEL:: http://www.areyoufamiliar.com/

Labels: EP, Makeout Videotape, Music, Unfamiliar Records, Vancouver

I have to admit, I can't really ramble on aimlessly about EP Island trying to sell you on the sounds. The output is much more immediate and compact, and even if I could, it would be against everything LL Schultz and Melanie Covey stand for and rely on as a "band." Both woman have spent years in bands, on the road touring and sleeping in shitty hotel rooms or on friend's couches and really, they don't want that anymore. Practice schedules and the pressure to always be playing aren't really big motivators either.

Instead, you have EP Island, a recording project that involves flashes of creativity instead of meticulous sessions and recording processes. The duo - supported this time around by the always terrific Lyn Heinemann (Portico!) - writes songs when they feel like it and records in the same manner. Deadlines are short and the pressure to get the songs done is one of the biggest motivators. Last time around they named their songs Good'ish, this time they upped the ante and dubbed the three songs Rad-ish.

I know you are probably thinking that the end results will be patchwork, rough and unfinished, but that couldn't be farther from the case. The opener - Broken Social Smoker - could be a b-side from the last Portico record, and after three and a half minutes of crunching chords, they follow up with two more delicate songs. October Fantastic is a beautiful, moody emotional number that ebbs and flows nicely into Heart Felt. On first pass, you might think the closer relies on some of the same sounds as the opener, but the vocals that grab you from a muddled distance and the constantly shifting guitar sounds and textures give the song an unexpected depth in your headphones.

MP3:: EP Island - Broken Social Smoker
MYSPACE:: http://www.myspace.com/episland
BUY:: http://episland.bandcamp.com/

Labels: Down the Lees, EP Island, LL Schultz, Music, Portico, Vancouver

Back in the day, I started the Sunday Morning Coffee sessions largely because of the Vancouver based Gospel outfit, The Sojouners. Their first record was the knock you on your ass type of gospel record that just made you feel better.

Since that day, I've seen The Sojouners charm a room full of people at the Mississippi Sheiks fundraiser, heard them guest on a few records and really grow into something bigger than just a fantastic gospel outfit. Martcus Mosely, Will Sanders and Ron Small can trade vocals like kids trade baseball cards - wait, do people still do that? - but they sounds they dabble with range from R&B to soul to blues to, of course, gospel.

The single from their new record - Nobody Came Turn Me Around - is warmed by some organ, but all of the new tracks I've heard really smoke. They have blossomed into more than talented vocalists, no, these three gentleman have become a full fledged band that can make you sway, make you dance, but most importantly, make you feel alive.

MP3:: The Sojourners - Nobody Came Turn Me Around
MYSPACE:: http://www.myspace.com/thesojourners

Labels: Black Hen music, Gospel, Music, Sunday Morning, The Sojourners, Vancouver

A few days ago, Victoria’s Immaculate Machine rolled into town. Normally, the Mint records pop rockers are more than enough reason to get any music fan out on a Wednesday night, but this time they brought some friends along for the ride. Sadly, I had (a) never heard of The Zolas and (b) never bothered to figure out their deal even after someone asked me about them. (A) + (B) = me (C)-ted on my couch, which was a big mistake.

From all accounts, The Zolas are a rollicking two-piece from Vancouver, driven by banged out piano hooks and strong choruses, and more importantly (when it comes to regrets) they are fantastic live. As life would have it, two days after the show, I received a manila envelope stuffed to the brim with one sheets and a copy of The Zolas record, Tic Toc Tic. You might as well get Brother Pele and Sweet Zina to talk about elephants and acrobats my friends. How bizarre!

Zachary Gray and Tom Dobrzanski can write a catchy track, but unlike other famous piano songsters, they never let the songs become sappy ballads or goofy, overly clever nerd anthems. Instead of poking fun at themselves, Zachary and Tom use a critical, darker side to shake free of that Folds-ian “aw shucks” and offer some depth to the listen. Tic Toc Tic finds the band stamping down on the gas on the first track, and rarely letting up.

You’re Too Cool is a scathing look at the Vancouver scene, but it’s cased by such an infectious melody that it’s hard to focus on Gray’s biting pen. The special thing about this song is how the band lets you take a quick breath exactly when you think they song will explode. Instead of a huge booming chorus, Gray drifts into a gentle, restrained falsetto before gunning it one more time. There are countless winners on this record. Body Ash is a quirky romp that fans Mother Mother will enjoy instantly. Cab Drivers surges forward as the band throws some layers over top of the banged out piano chords, but it’s the solo and backing vocals that finish the song that make the whole affair so fun.

The second half of the LP start with I’ve Got Leeches and finds the duo peering into the shadows, but I find the listen does lose some steam on the back side. These Days swirls about, but doesn’t deliver a punch and the horn laced ode to a fellow bus rider (You Better Watch Out) sets the tension but the falsetto filled chorus just doesn’t hook me but they find their stride for a strong finishing kick. The shout filled chorus of No Talking is infectious. The energy of the quick hitting three minutes is contagious, and you can’t help but sing along to the chorus before you even know the song and flows nicely into the rock solid sounds of Queen of Relax.

Considering I had never heard a note from the Vancouver duo a week ago, I’m surprised by how often I have gone back to the record in the last few days. The first few songs are catchy as hell, but the record morphs constantly over the collection of songs and never stops challenging you. Throw in some nice backing vocals from Hey Oceans! Ashleigh Ball and I think we have a winner… and they didn’t even have to throw in an ironic rap cover.

MP3:: The Zolas - You're Too Cool
MYSPACE:: http://www.myspace.com/thezolas

Labels: Canada, Music, Quick Hitters, The Zolas, Vancouver

The amount of funding being awarded to the independent and small label bands in Canada is pretty impressive. You constantly hear about people like The Swiss (@polarismusicprize) or something like the Verge awards raising cash to help support the arts and in a time where the government is doing the exact opposite, it’s the very tiny silver lining in a very large dark cloud that constantly pours down on musicians.

For BC emerging artists – not exactly sure what that term implies, especially when one of the nominees has been grinding for 10 years – the Peak Performance Project is something that will literally make a band’s career. Twenty bands get hand picked for a week long knowledge session and the top three have the chance to split 275,000 dollars.

Basically, in a nutshell:

The PEAK Performance Project is a seven-year, $5.29 million contest open to all musicians in British Columbia. The project was created by 100.5 The PEAK and Music BC to develop BC based emerging artists. Every year, twenty finalists from BC will receive an intensive, one week training program in the music business, live performance, songwriting, marketing and promotion. Artists will benefit from mentorships from some of the music industry’s top professionals and performers. All of these artists will have the chance to perform live in Vancouver on the PEAK Performance Stage. Of these twenty artists, the top three will be crowned as the PEAK Performers of the year and will share $275,000 in cash for career development. First place receives $150,000; second place receives $75,000; and third place receives $50,000.

Obviously any of the twenty finalists would benefit by cracking the top 3, but I’m pulling for one in particular. Kelowna bred and Vancouver based rock revivalists Bend Sinister take you on nostalgic trip to the 70s, but handle the whole trip with such taste and skill, you can’t help but fall for the sounds. A love of proggy builds, the drama of Queen, the swagger of a young, pre-Disney Elton, the feel good vibe of Boston, and the phrasing and influence of The Beatles all play a huge part in their sound, but every time I listen to their latest record – Stories of Brothers, Tales of Lovers – I can’t help but picture the boys snapping along before a throw down with the Sharks either.

They fuse that Broadway feel with muscular riffs and banged out piano lines, giving Dan Moxon the perfect support for big, dynamic sing-along ready choruses, but rarely fall in the trap of becoming too showy. Tracks like The News, Brother of Human Kind and the Benny and the Jets inspired Jimmy Brown have been on regular repeat for me lately, and thanks to these Vancouverites ( and the almighty Zeus), 70’s rock is primed to make a triumphant return and hopefully the showmanship the sounds require will be close behind.

Part of the prize is for creative marketing and publicity, and I think the idea of slapping together a free, 8-song get to you know you Greatest Hits for new fans is pretty stellar. All you need to do is head over to their revamped, blog heavy web site and sign up. If you like what you hear, vote for the band. For Bend Sinister, this chance that won’t come along again.

MP3:: Bend Sinister - Jimmy Brown

MP3:: Bend Sinister - Happiness is a Warm Gun

MYSPACE:: http://www.myspace.com/bendsinistervancouver
WEB:: http://bendsinisterband.com/

Labels: BC, Bend Sinister, Music, News, Vancouver

Without launching into another pointless debate on the value of art, musicians today aren’t pushed on pedestals like they once were. With bloggers dissecting records to lukewarm levels before they even get released and the simple fact that going to a rock show isn’t the life changing experience it once was, it’s hard for any act to gain the cache needed to become legendary. It’s funny, but on Metric’s new record when Haines wonders if you’d rather be the Beatles or the Rolling Stones, it’s painfully obvious that the statement holds much more weight than someone asking ten years from now if we’d rather be Metric or Nickelback... or U2 or Coldplay or Radiohead.

It’s easy to assume that cheap recording techniques makes it easier for bands to put out shitty music and downloading and has made it easier to find new bands (and easier to dismiss them), but for me what’s gone is the freedom people got from listening to songs decades ago. Rock n roll used to be loud and hopeful, or beautiful and sad. Irony and self-pity weren’t the dominating themes, so music was often the only escape from the constricts of life, love, or war. Good songs got played on the radio, were popular and artists weren't ashamed of that.

Which I guess is why it’s so perfect that Lions in the Street play music my parents could have loved – not now (jesus, don’t get my dad started on the state of music if Fucked Up can win anything), I mean twenty years ago. The Vancouver band has escaped the chains and shackles of a terrible record contract with TVT and long since forgotten the big studios they were pushed into and now record in more gritty locations more suited to who they are. Their EP – Cats Got Your Tongue (review) – was recorded in a basement, and channeled the sounds of The Stones and The Allmans perfectly, plus they threw in a healthy dose of R & B for good measure. It was the type of 5-song affair that reminded you that rock wasn’t dead, and proved that not all rock revivalists were simply rehashing classic sounds.

Flash forward to their new self-titled record, and happily all I need to say is that the sound remains the same. They boys aren’t afraid to melt your face off with huge riffs and intricate guitar work, but never jump into the dangerous realm of wankery. No, the band just bangs out classic rock jam after classic rock jam. If the huge guitar, sing-along chorus and harmonica that explode out of the gate on Moving Along don’t wake you up, I’m not sure anything will, but after opening on such a high, you'd expect some sort of slip. When it comes to Lions in the Street it’s the consistency that's most remarkable and why it's damn near impossible to turn the record off.

I’ve heard 14 songs from the band, and not one is a throw away. The banged out piano that duels the guitar on Gold Pour Down or supercharged, road ready anthem Already Gone power you through the first third of the record before you have a chance to breath. Luckily, they hit you with the morning after balladry of Lady Blue, a song that could be fused into countless Cameron Crowe movies if the film maker every stumbles upon LITS.

You can’t help but think of barbeque, muscle cars, juke box favorites and high school nights when you sink into this record. The killer harmonies on Walking Back to You oozes a swagger and confidence that most bands don’t have the chops or the balls to pull off. They launch into a full on jam for the last half of the song and your head starts nodding and that little white man’s overbite takes over your face. They keep the pedal grounded on the single, Hey Hey Arlene, another scorcher that benefits from classic rock n roll guitar work and Jerry Lee Lewis piano work.

I could go on and on – in fact I already have – because every song on this record takes you to a time where music mattered and musicians were people you wanted to hang out with, not a bunch of pasty faced, sad bastards trying to drag you down to their melancholic realm. No, even when LITS slows it down and gets runover by love (All Because of You), they splice in some beautiful, subtle steel to peak your attention. I know the boys from Vancouver had their one brush with celebrity and the results almost ruined them, but if they keep hammering out classics, they aren’t going to have a choice in the matter. Gigs will be packed, drinks will be guzzled and for a few brief hours, they will make us all feel alive again.

MP3:: Lions in the Street - Hey Hey Arlene
MYSPACE:: http://www.myspace.com/lionsinthestreet
BUY:: http://www.lionsinthestreet.com/

Labels: Best-of '09, Lions in the Street, Music, Reviews, Vancouver

When it comes to musicians that incorporate jazz techniques and background into their pop songs, (to quote Adrock) "I’m about it bout it." When I lived in Toronto, one of my favorite hangouts was the Rex on Queen. For some reason I loved hearing the U of T students pass the hat after showing off their modern take on the classics. I know from a purists point of view, 18-22 year-old kids trying to "improve" Hancock, Grant Green or Mingus isn’t really a good thing, but the passion the young artists had always meshed well with the Labatt 50 coming from those dirty taps.

So when I heard jazz musician Josh Cole of the October Trio was branching out and trying his hand at indie-pop, I figured it would heavy on melody and rhythm and eschew the tight structure and restrictions of the standard v-c-v output. The potential and creativity that could come from the project had me intrigued, to say the least.

Here is What Is – which I can only assume snags its name from the Daniel Lanois record – is a Cole’s Vancouver quintet and their debut EP is a nice collection of grooves, atmosphere and mood. Cole and the band piled into the studio and recorded sketches, not songs, giving them the freedom to grow and breath. Eaqch band member had a say, and that’s why the vocals and instruments work so well together. With surprisingly powerful harmonies fused into the sounds, Done Before It Starts shows that HIWI can pen songs to make you move (You Can't Not Dance and Done Before It Starts) or that simply make you fall deeper into the folds of your couch, overcome with emotion and thoughts (Lucy And The Lost Lions).

This new band gives Cole the chance to move and really get lost in the audience. I’m no virtuoso, but I get the feeling Cole is used to playing off his band members, not the energy of the crowd. With this collection of songs, snaps and approving nods will be replaced by sing-alongs and swear. The guitar noodle of On 4 hooks you, but it’s obvious that live this song will take on new life. Please Wake Up is darker, and the dueling vocals add depth and chaos to the track, but it’s the harmonies on the chorus that seal the deal.

As it should be, the single - You Can't Not Dance (Jimmy's Dance) - is probably the strongest song on the EP, but really all of the thirty minutes are rewarding. More importantly, these 6-songs show that Here Is What Is can go in countless directions and have the musical chops and songwriting skill to deliver a great record.

MP3:: Here Is What Is - You Can't Not Dance (Jimmy's Dance)
MYSPACE:: www.myspace.com/hereiswhatis

Labels: Canada, Here Is What Is, jazz, Music, Vancouver