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Conjured in the London bedroom of frontman Alex Shields, or should we call it “The Church,” the worshiping sanctuary for a spellbinding lo-fi album. A Grave With No Name’s Mountain Debris is a distinctive new voice in the world of indie music. The collection starts out with “The Sun Rises,” a short instrumental beginning, setting the scene of a trickling waterfall, reflecting the feel we receive through the album title. These haunting first couple of songs feels dream-like in nature; you can almost visualize the swirling kaleidoscope feel of ’60s psychedelic art moving with the music. The album picks up with songs like “Silver,” where they turn up their amps and bellow. The most interesting listen has to be “Horses.” This song summons visions of a primitive war, starting with the marching pace created by the drums, to the battle cry feel in the vocals. This album not only provides a brilliant escape musically but creates an almost visual experience for the listener. A definite listen, a definite purchase, a definite addition to any music lovers collection. http://www.myspace.com/agravewithnoname — Laura Ciampa
Ashes Grammar is one of the biggest disappointments of 2009. All things considered, A Sunny Day in Glasgow is known for their poppy shoegaze sound and every other album they’ve released has been brilliant. However, this record is just too much of a mess to figure out. The first bit of the record is a bunch of really stupid interludes that sound like a haunted choir singing. When the songs finally start, six tracks later, it’s nothing amazing. The biggest flaw with this record is definitely the consistency and structure. If all these elements, whether it be the short interludes or one minute songs, were all flowing in a way that made sense; the record could very well be a solid one. There is nothing worse than listening to a 22-track album with so much substance and no sense of direction. “Evil, with Evil, Against Evil” is a very cool song. The recording was done in an art space, which adds an interesting element to their sound. Aside from those two things, the record is terrible, which — considering their amazing efforts in past release — is kind of a shocker. http://www.myspace.com/sunnydayinglasgow — Max Mohenu
Nitetime Rainbows is the follow-up record to A Sunny Day in Glasgow’s Ashes Grammer. This EP features only seven tracks, three of which are remixes of the title track. Nitetime Rainbows opens up with a mix of synth tones that evoke a feeling of transformation somehow, like change is in the air, this may be the perfect precursor to the three remixes of the song that come later. The steady drum beat and the droning vocal paired together is what creates such an interestingly quirky song of sorts. The sequel to the title track is “Daytime Rainbows.” More on the pure pop side of things, this song’s driving bass and blurry guitar sound create a real head bobbing track. “So Bloody So Tight’s” ethereal chanting style vocal and screeching synth sounds meld flawlessly together in this track, but the stand out in this song has got to be the uplifting drum beat. The title track’s remixes each offer a new sound to the song, one being more dance concentrated, one more noisy, and the last very delicate. A Sunny Day in Glasgow’s dream pop album, Nitetime Rainbows, may be their brightest sounding album to date. http://www.myspace.com/sunnydayinglasgow — Laura Ciampa
Back in 1986, AC/DC released Who Made Who, a semi-compilation which also served as the soundtrack to the forgettable Stephen King film Maximum Overdrive. Some 24 years later, the music of AC/DC rocks another film, this time Iron Man 2, starring Robert Downey Jr. Unlike Who Made Who, which saw three new AC/DC tunes, this one is all previously released material. Having said that, it is AC/DC and you’re getting quite the collection of tunes here. The album spans their career, from the Bon Scott era (“T.N.T.”) right up to their 2008 release Black Ice (“War Machine”, appropriately also the name of a character in the film). “Shoot to Thrill”, “Thunderstruck” and “Back in Black” simply rock anyone’s socks off. Although there’s nothing new here, it is AC/DC after all; they wrote the formula for head-banging, fist-pumping rock decades ago and have stuck with it ever since. If you don’t own an AC/DC album yet, this might be a good one to pick up. — Jon Brazeau
Motivated by his days as a choir boy and his nights as a member of Weight Room, Pat Grossi delivers two inviting songs that are almost dreamlike in their quality. Grossi’s poignant falsetto/folk sound is reminiscent of Bon Iver’s folksy indie pop and the indie/baroque pop of Owen Pallett. Originally hailing from New Jersey but calling L.A. home now, Grossi releases She Was a Vision, a single release consisting of the title track and “Voice of an Old Friend.” The title track’s echoing drum beats combined with Grossi’s dreamlike voice create a relaxed atmosphere, you can almost feel your stress falling away; it’s the ultimate song after a long day of work. The B-side, “Voice of an Old Friend,” has been described by some as chillwave. Electronic in nature, this song leans more to an eerie territory that captures a ghostly organic sound that feels new in indie music today. Pat Grossi’s She Was a Vision is a grand effort that all indie music fans should own. http://www.myspace.com/activechild
If the Strokes collaborated on a writing project with the Boss and the songs were performed by Pulp it would produce something very similar to The Airborne Toxic Event. The reason The Airborne Toxic Event (LA Times’ band to watch in 2008) draws so many comparisons to other bands is that there isn’t an original idea to be found on this, their eponymous debut, but somehow it is easy to forgive the familiarity from the five-piece from Los Feliz, California. The simple grooves, staggering jangles and guessable lyrics are the formula for irresistibility for the neophyte unaware of their musical derivations, but hackneyed enough for anyone paying closer attention. The aptly named, “Something New” warrants giving this album a listen and is a glimmer of what this band is capable of when not trying to live up to its own hype. - Gord Reilly
Judging by Versicolour’s album cover, vibrant colours may have inspired Aidan Knight to give each of the songs a distinct sound. However, this couldn’t be achieved without the assortment of instruments, voices and sounds which add substance and depth to otherwise simple pop songs. At the beginning of his recording process, Knight had only his guitar arrangements, followed by a few other instruments that he layered on top. However, he enlisted the help of The O’Darlings to help him complete his songs, and provided a huge impact since they supplied everything Knight’s song were missing (i.e. strings, brass, horns, percussions and voices). In songs like “The Sun,” “Fighting Against Your Lungs,” and “Jasper,” the extra instruments add much needed depth and emotion. One of the best songs on the album is “Knitting Something Nice For You,” and begins by pairing Knight’s voice with guitar arpeggios before eventually building up to incorporate other instruments and voices. Next, a memorable moment in the song “North East South West” occurs when, during the instrumental jam, various kitchen products are used as percussion instruments. Even with all of these resources, Knight never gets ahead of himself by over-using the extra instruments, especially in songs where the extra sounds are unnecessary. In the songs “Eyelid Clicks” and “Sorrows,” Knight embraces a far sparser and more minimalist sound. Aidan Knight displays his versatility as an artist on each of Versicolour’s tracks, whether he is simply featuring a lone, somber piano, a collection of voices reminiscent of a church choir, or an ensemble of instruments and voices. http://www.myspace.com/aidanknightmusic — Joseph Fava
It’s been a busy few years for Akron/Family. After releasing the mind-bending and genre-jumping Love is Simple in 2007, lead singer Ryan Vanderhoof left the band and Akron/Family left their label. Two years later, we see Akron/Family have themselves a new label and have also solidified themselves as a trio who are now even stronger than their former quartet. Set ‘Em Wild, Set ‘Em Free is Akron/Family’s fifth album but can also be regarded as a departure point as the band starts anew. Right from the album cover, we can see this change as Akron/Family pays tribute to Sly & The Family Stone and indeed there is a riot goin’ on here right from the opening of “Everyone is Guilty,” a psychedelic tour-de-force featuring funky beats, hard rock riffs and a poppy bridge. Akron/Family has always been difficult to categorize and now with the band stretching their talents even further with the gospel sounds of “Last Year,” the simple country harmonies of “Many Ghosts” and the inspiring psychedelia of “Sun Will Shine,” categorizing this trio is nearly impossible. There is an incredible expanse of music contained within Set ‘Em Wild, Set ‘Em Free, but it’s never overbearing or painfully jammed in. It’s easy to hear Akron/Family could to be the new Princes of psychedelic rock, and it’s difficult to imagine anyone taking that title away from them. http://www.myspace.com/akronfamily - Joe Veroni
I’ve never been into girls but I have to say, if there ever was a crush-worthy album, All The Real Girls have created it. The feelings this album incite are as inexplicable and delightful as a good old high school crush minus all the crushing parts. The songs feel somehow completely fresh and new despite the standard four-piece rock and roll band aesthetic. Also, their lyrics, while sensitive and emotional, (not to say “emo” lest we all suffer a collective societal shudder), tread familiar moments: falling in love (“The Night We First Met,” “Oqunquit ’74”); breakups (“Scenes From Hotel Weatherford,” “The Night You Stopped Coming Home”); reconnecting with a first love (“Teenage Sweethearts”) and relationship troubles (“Confederates In The Attic”). However, just like the best crushes, All The Real Girls make these simple things special. It doesn’t hurt they’re talented and technically impressive musicians. Just like one of those bizarre crushes that jumped out at your 15-year old self from around the hallway corner, the songs will sound unremarkable at first until suddenly (not too much later) you will need them in your life. You will want All The Real Girls to be around you all the time. Consider yourself warned. http://www.myspace.com/alltherealgirls - Sally Walker Hudecki
Home Acres is the sixth full-length album from Home Acres. Originally from Bowling Green, OH, the indie rock quartet are now stretched across the eastern United States but distance hasn’t stopped them from making a surprisingly enjoyable album. “Building a Fire” opens with a rumbling bass line that leaves you wondering where the song is going to head until the keys kick in. “Microviolence” is more about listening to and appreciating the instrumental talents of the band members mixing together (after all, tracing the band’s related artists will lead you to experimental rockers Joan of Arc). “Everything Goes My Way” is a little too sprawling at times but stick it out and later on the album you’ll hear toe-tapping drum beats, warm melodies and catchy guitar riffs on songs like “Cold Storage,” “Blackout” and “Waterwheel.” “Searchlight” is an upbeat rocking track and as close to a catchy song on the album you’ll find. Home Acres is a solid album and quite possibly the band’s best release so far. — Jon Brazeau
Brooklyn-based post-psychedelic five-piece Amazing Baby debuts with an album that delivers like a slow-motion punch. At first you’re not quite sure if it is quite happening or if you should take it seriously, but ultimately your face receives a proper shredding, knuckle-ring imprint and all. But when you are best friends with tiny titans MGMT, perhaps some of that swagger rubs off on you. The hippie-friendly “Headdress” is not only the standout track but also the honestly head-hanging “take me back, oh wait you can’t” song, with lyrical explanations: “We make love like each other/We were made for each other but we grew up differently.” Then there’s “Smoke Bros,” which is the most pop song of the album with potentially poetic yet most likely nonsensical lines like, “We are starving cannibals/She protects her animals.” http://www.myspace.com/amazingbaby — Melissa Kim
Andy Bell, one half of Erasure fame, has again surfaced with the second of his solo efforts, Non-Stop, and judging by the history behind this album it certainly seems as though it wasn’t an easy ride. Sessions that were originally worked on with producer Stephen Hague were criticized as sounding “too much like Erasure” and were abandoned as a result. This coupled with the fact Erasure will also be releasing a separate album later this year added more to feed the fire of the conflict. Next came the arduous task of re-recording the entire album, forging a sound that wasn’t as “Erasure-like” as the first trial. Presumably this task was not an easy one to take on considering that Bell has such a uniquely sweet-sounding and distinctively powerful vocal style. But with the help of replacement producer Pascal Gabriel, the album now takes on a darker, more mysterious rhythmic pace. Even though the element of dance and electro-pop are clearly evident, the overall vibe of the music takes on a distinctively different tone than that of any previous Erasure release or even that of Bell’s previous solo venture, Electric Blue (2005). Strong and confident as a synth-infused dance album Non-Stop reveals a much more direct approach to Bell’s charismatic songwriting ability and his talent for instantly capturing your attention and maintaining it throughout. Non-Stop shows us the uniquely fresh electric quality of Bell’s take on modern electro-pop from the opening beat of “Running Out” straight through to the Perry Farrell assisted “Honey If You Love Him (That's All That Matters)”. The newly fashioned sound that both Bell and Gabriel have forged truly defines him as a successful solo-artist versus simply being “Andy Bell of Erasure” — and the difference is actually quite captivating. http://www.myspace.com/andy_bell — Stephen Lussier
On their latest EP, Fall be Kind, Animal Collective has taken a step back from the complexity of their last album, Merriweather Post Pavilion, and have written songs that are not as densely layered and instead feature more linear structures. The first track, “Graze,” is the only song that doesn’t have one dominant verse that is repeated throughout the duration of the song. Both “Graze” and the second track “What Would I Want? Sky” incorporate samples from other bands, including The Grateful Dead. These two tracks stand apart from the others not only because they feature samples but also because of their lofty and beautiful upbeat tempos and harmonious lyrics. The subsequent tracks — “Bleed,” “On a Highway” and “Think I Can” — evoke a more sombre mood by decreasing the tempo and privileging one element of the music above the others. In these tracks, the dominant sounds are ambient in nature, with only a few other elements added which are rarely substantial enough to alter the overall flow of the track. By injecting more emotion into their songs, the album diverges from the methods that brought the band success on their previous album and while keeps their various idiosyncrasies intact. http://www.myspace.com/animalcollective — Joseph Fava
Mixing together traditional folk with a country flavour, the latest album from Montreal-based singer/songwriter Angela Desveaux is a fantastic release. The full band sound captures a rich harmony, especially Mike Feuerstack (aka Snailhouse) blending in on lead guitar and background vocals. There is just a pinch of pop in a few of the songs, like “Shape You,” providing a bit of an upbeat, catchy feel. Title track “Mighty Ship” is one of the few songs on the album that has that distinct, stripped-down, folk feel and it flows nicely with Desveaux’s mellow vocals. Desveaux has made the perfect soundtrack to heartbreak with hints of better days. It’s definitely an album worthy of praise. - Jon Brazeau
Where has the time gone? On their seventh full-length album (or more depending on who’s counting), Pittsburgh hardcore punk band Anti-Flag has returned to its underground roots after releasing two albums on big label RCA (a subsidiary of Sony BMG). The band has de-sold out and are free to rage against the system, capitalists and “the man.” Opening track “Sodom, Gomorrah, Washington D.C. (Sheep in Shepherd’s Clothing)” is a sure sign of what to expect as lead singer Justin Sane screams vocals while a thrashing of guitars and drum beats flutter in the background. “The Economy is Suffering...Let it Die” could be a poignant observation of these times but as always, with a punk twist: with shouts of “we don’t give a fuck” and “when the cities burn down, we’ll all keep warm.” Other songs “The Gre(a)t Depression” and “You Are Fired (Take This Job, Ah, Fuck It)” continue the economic crash theme with more aggression and punk authority. Anti-Flag can safely say they’ve reclaimed their hardcore punk cred with a solid album but cheer up, the Pittsburgh Penguins just won the Stanley Cup. http://www.myspace.com/antiflag - Jon Brazeau
Brooklyn’s The Antlers take indie insomnia pop into the Sylvia Plath-infused hospital ward in this debut full-length album. With 10 tracks in 52 minutes, Hospice reveals in singer Peter Silberman’s too quiet vocals and Florence Nightingale syndrome as he tries to care for a damaged soul who becomes his ruin. Most of the songs have overlapping instrumentation that concocts a clouded mind. The only two exceptions are the last two tracks. “Wake: Or Letting People In,” unlike any other song on the album, actually reaches a climax, albeit near the end of the song, with Silberman pleading, “Some patients can’t be saved, but that burden’s not on you/Don’t ever let anyone tell you you deserve that!” The final track, “Epilogue: Or, Sylvia Alive in Nightmares,” is more stripped down and explains his whispery singing voice because it explains that, “your face is up against mine, and I’m too terrified to speak”; showing that even as he recorded this album, he is still jolted from a ghost in his past. It’s a delicate vulnerability that should be carefully handled and what better place than a hospice. http://www.myspace.com/theantlers — Melissa Kim
Ar’ Back Yard is a sometimes great, sometimes not novel set during the 1980s and early 1990s in Manchester, England. It follows a young kid name Chopper as he rises through the ranks of a street gang, from a petty teenage thief to a gun-carrying, drug dealer as a young adult. Along the way, Chopper’s relationship with his friend Scotty, who begins as Chopper’s partner-in-crime, deteriorates as Chopper grows closer towards his boss, Prey, while ascending the ladder of Prey’s crew. Music fans shouldn’t get too excited as the “Madchester” scene is merely used as a backdrop. The Stone Roses’ massive gig at Spike Island is used as a location for one chapter but other than that, musicians from the scene are merely mentioned in passing here and there. This isn’t High Fidelity with constant “Top Five” lists, the story sticks to the characters and crime. The narrative is predominately told in first-person from Chopper’s perspective, although a few parts are told in the third person, focusing on other characters. While this allows for the narrative to branch out, flipping back and forth between perspectives is confusing at times, especially when it happens within a chapter. At times the novel is a gripping read and almost hard to put down. However, it’s difficult to sympathize with the characters simply due to the nature of the novel. The ending, without spoiling it, is also rather disappointing. Overall, it’s an interesting read, albeit one with a number of flaws. Lovers of crime novels will enjoy it, all others should pass. –Jon Brazeau
With a deep guitar-growling sound ala Queens of the Stone Age, APlotAgainstMe prove that you don’t need to live in the desert to master the stoner rock formula. The Ottawa-based band’s album features a bass-heavy sound that feels fresh and demands your attention. The album feels very much like the early work of QotSA, which is very much a good thing. “Primum Nil Nocere” features a catchy riff and aggressive drums. “Leah Leave” adds in a bit of a psychedelic twist, almost like a drug-induced haze to an otherwise hard rocking tune. “My Horse Has Cancer” is probably an early contender for “oddest song title of the year” but the track itself is quite good, with Sylvain Lavigne and Shawn Bradley’s vocals leading the charge and adding an extra level of tripped out goodness. Rock fans should definitely keep APAM on their radars as Deuce is an album worth checking out. www.myspace.com/aplotagainstme - Jon Brazeau
http://www.myspace.com/adrianteacher — Joseph Fava
Another World is essentially just a little taste of what to expect from the band’s 3rd album, The Crying Light, which is due out in January 2009. This five-song EP includes the first single, “Another World.” The EP channels every from old soul R&B rhythms, jazz, and soul, all delivered with vocal melodies that are soothing and hypnotic. “Shake That Devil” is one of the more upbeat songs on there, the jazz beats and soulful style make it an interesting listen. The album illustrates a lot of different stories or feelings and really paints a good picture of the subject. This EP is the perfect combination of melodic vocals and powerful lyrics. Hopefully it’ll suffice for fans who are desperately waiting for the release of the new record. www.myspace.com/antonyandthejohnsons -Max Mohenu
Much like I Am A Bird Now, Antony’s thought provoking subject matter and soulful harmonies will make your heart melt with this third release, The Crying Light. This album takes you through Antony’s fascination with the transitions of birth, life, and death. “One Dove” is beautiful and composed very well. “Another World” is Antony’s list of things we’ll miss when he passes onto the after life. The rest of the album continues on the same vibe. Antony’s uses hyperboles a lot in most of the songs like “Daylight and the Sun,” which illustrates the vision of his stories in a way that a lot of artist can’t. Overall, the album is beautiful and long overdue for diehard Antony fans. http://www.myspace.com/antonyandthejohnsons - Max Mohenu
The album may have taken a couple years to reach this side of the Atlantic Ocean, but it’s here and was worth the wait. Originally released in the U.K. in 2006, Lights has drawn comparisons to everyone from Pink Floyd to Massive Attack and for the most part, it is justified. The U.K. band is all over the map, taking electronics into the sparse, spacy territory previously ventured by Pink Floyd but they also add beats here and there for the up-to-date club scene. “Sane” can be danced to but other listeners may just close their eyes and let the fast drum beats and synths take them along for a ride. The only lackluster moments are when the band ventures into Coldplay piano ballad territory with “Fold,” fortunately it’s only a minor detour as they return to the ambient madness on the 18-plus minute title track, “Lights.” Overall, Archive put together a variety of electronic genres and the result is a pleasant surprise. http://www.myspace.com/archiveuk - Jon Brazeau
- Bethany Hansraj
Comedic hip hop is one of those arduous genres that, most of the time, feels contrived and unnecessary. So, when you throw experimentalism into the comedic hip hop mix, it’s almost impossible to pull off — with integrity, anyway. Yet, Los Angeles rapper Awol One has done just that, creating an intentionally amateur but enlightened and intelligent record that also happens to have a humorous perspective on the world. Created with DJ/producer Factor, whom Awol met while on tour with Busdriver years ago, Owl Hours deals with themes of extreme drunkenness and high school heartbreak, and features well-known MCs like Xzibit and Aesop Rock. Still, Awol and Factor’s collaborative style may take some getting used to. Upon first listen, the album feels slightly inaccessible; Awol’s vocal delivery is often awkward and his lyrics occasionally cringe-worthy. But, after two or three repeated listens, Awol’s and Factor’s tunes begin to make sense — these dudes want to remain part of the underground scene, slightly inaccessible and exclusive; everything is on purpose because it’s part of the comedy. With drone vocal effects and erratic, confluent beats, the endearingly overbearing Owl Hours is a worthwhile record that seems to get better with every listen. http://www.myspace.com/awolone
— Jessica Carroll
Azeda Booth’s In Flesh Tone has a lot of different layers to it, which makes it a good listen on repeat. “In Red” is a really interesting song; there are lots of great drum machine and background noises, the vocals blend nicely into the rest of the song. “First Little Britches” starts out really upbeat, but then tones down into a more lo-fi song. “Lobster Quadrille” gives a drum ‘n bass song a bit of a spacey twist. “Numberguts” has that ‘homemade’ quality to it, utensils are used in the background, the buildup doesn’t really hit until the end of the song, which makes the final product amazing. Overall, it’s an easy listen, and considering that the vocalists are men, you’ll appreciate the beauty of the vocals in each song even more. - Maxwell Mohenu
It’s too bad The Bad Plus (joined by alt-rock singer Wendy Lewis on this record) didn’t write For All I Care. It would be all the more impressive had it been all originals rather than covers but they do very well with the material they’ve chosen. The jazz piano trio is wonderfully talented and apply their technical skills beautifully among smooth and moody production to create a lovely, melancholy, stirring atmosphere. The simplicity of Lewis’ voice is sumptuous and blends perfectly with the instruments and hopefully the success of this combination leads to further collaborations. The concept of the album is to reconcile the estranged genres of jazz, classical, rock and pop through covers, which aim to place all types of music, regardless of how commercial, on an equal stage. Certainly, placing a cover of the Bee Gees “How Deep Is Your Love” between Milton Babbitt’s “Semi-Simple Variations” and Heart’s “Barracuda” makes a courageous, effective impact. However successful though (particularly “Radio Cure,” which is strikingly gorgeous) it may be hard for some as the opening stilted and syncopated cover of “Lithium,” although interesting, drains much of the fragile and pained emptiness of the original by Nirvana. Overall, it’s worth it to experience a jazz album that is recent, innovative, yet feels like a classic. http://www.myspace.com/badplus - Sally Walker Hudecki
This Texan six-piece’s third full-length album, All is Wild, All is Silent, would be the answer to the need for an airy instrumental soundtrack to gleaming cinematic landscapes featured on the Discovery channel in high-definition. The opening track, “Settler,” rightly sets the tone for the rest of the album which keeps up the pace accordingly without faltering. Although there are only nine tracks, the album plays out to be a devil’s food cake rich 42 minutes. Instruments include, but are not limited to, guitar, piano, banjo, violin, cello, and the upright bass; all of which coalesce into scenic background melodies, tickling the senses like pollen in the field it has taken to be its setting. Originally the group was a duo, and only with this album did they formally add the other four members to the roster after previously working together unofficially. Finally cementing this relationship with the newly accredited members incorporates an extra dose of confidence. Balmorhea’s album may not be all that wild, but it’s for the best that it’s not all that silent either. - Melissa Kim
If you’re into laid-back southern rock or take comfort in the unassuming tone that a lot of today’s folk music scene encompasses, Infinite Arms is sure to appease. Front man Bob Bridwell and his latest assemblage bring to the table their third album under the moniker Band of Horses. With a fervor that supersedes similar alt-country folk bands out there, Band of Horses possesses the unique talent of creating something remarkably distinctive with their music. The band’s third album comes out with humble appeal, trumping their first two records by a long shot. That’s mainly because the preceding recordings relied on highlight singles, while Infinite Arms gives us the whole package. The album is based mainly in folk and country roots but manages to capture a fair amount of rock ‘n’ roll charm. A hybrid of Neil Young meets Sloan gives a better understanding of the musical fusion that they have created on their newest record. The folk element takes you in immediately with “Factory”, baiting you with soft acoustics, orchestral strings and echoing harmonized vocals. The initial track builds itself to a peak where it aptly introduces the first more rock-oriented song “Compliments”, a piece poised for radio play and as such has become the first single off the album. Heightened levels of guitar, piano and drums raise this and the following track “Laredo” to a much more uplifting country-rock tone. The somberness of the next few tracks ground the album again to its folk roots, drifting in and out with lazy guitar melodies washing together with Bridwell’s weary yet entrancing vocals. Country-western music takes over with “Older”, a ballad whose sentimental lyrics and lackadaisical slide-guitar might be best enjoyed on a porch sipping some lemonade on a hot, hot day. The piano and harmonically driven apex track “Neighbor” finishes the album in a predictable manner but nonetheless appeals. An overall excellent collection of music, Infinite Arms is sure to please country fans with an edge or rock fans with a secret desire to ‘country up’ their library. http://www.bandofhorses.com — Stephen Lussier
Legendary Canadian singer-songwriter Barney Bentall doesn't seem to be making any plans to retire these days. His passion and unmatched talent really shine on his latest release, The Inside Passage. We get started with a catchy upbeat tune called “Hold My Heat,” which does a perfect job pulling you in and building you up for the irresistible chorus. The song instantly grabs your attention and puts you in the driver’s seat for this amazing album. “Sending Out a Message” rounds out and softens the overall sound of the album with a beautifully written mid-tempo song that contends for best track. There is a great range of instrumentation used on this album with horns, pedal steel, piano, fiddle, glockenspiel, mandolin and even whistling. Bentall’s musical seasoning and life experience really shine with “I Never Meant To Make You Cry.” This beautifully timeless ballad is a great addition this impressive set of songs. One track in particular that really stands out is “Papa Henry’s Boy”; it's got an old-time country feel to it and would get any crowd to their feet in a hurry, it's a hootin’, hollerin’ good time. If you're a fan of artists like Bruce Springsteen, Fred Eaglesmith, Bruce Cockburn and Steve Dawson, this is a must-have in your collection. http://www.myspace.com/barneybentall — Andre Skinner
Heart of My Own is Basia Bulat’s second album and the follow up to Oh My Darling, which was nominated for the Polaris Prize in 2008. Between you and me, I wasn’t too excited about some of the slower tracks on Bulat’s first album because they seemed overly sparse compared to the roaring energy present in her more upbeat numbers. However, on Heart of My Own’s slow title track, the dark undercurrent from Bulat’s guitar is intriguing enough to support her high, trembling voice. The chorus ushers in banjo and vocal accompaniment to build up momentum and further solidify the track. Album highlight “Gold Rush” features Bulat in all her autoharp-playing glory, accompanied by drums, violin, viola, backup vocals, and even accordion as she cries, “I know I would find them gold, up there on the hills they find me on.” Bulat is at her best when her music supports the full power of her folk-meets-classical voice and most of the tracks on Heart of My Own give her voice the support it deserves. http://www.myspace.com/basiabulat — Jess Harris
Geoff Barrow of Portishead is notorious for taking years to work on material so it might be a shock to hear that side-project Beak>’s debut album was recorded in only 12 days, live in one room and without any overdubs. However, don’t expect a trip hoppy album either. Opener “Backwell” starts off slow but picks up midway through once the drums kick in and the Krautrock-inspired keyboards do their thing. It’s an opener that would make Neu! and Kraftwerk proud. “Ham Green” feels haunting with its deep bass and unintelligible vocals that echo like ghosts; it only gets more chilling when the crunching guitars come out of nowhere at the halfway mark and then jump into Pink Floyd-like psychedelic madness. “Battery Point” borders on shoegaze guitar-noodling, adding a weighty dream quality. “Blagdon Lake” is another album highlight, with catchy rolling guitar and synth riffs. Other times, the concept feels like a chore to sit through. “Pill” and “Dundry Hill” don’t have the same hook and instead plod along as you’re waiting for the big bang or pop that never comes. “Barrow Gurney” sounds like an old dial-up modem connecting to the internet and thankfully it’s only two minutes long. Beak> is what it is and once you get over the fact that it’s not Portishead, you’ll be left with an interesting album worth listening to. http://www.myspace.com/beak2009 — Jon Brazeau
Austin, Texas produces some of the most minimalist folk-pop around and Nigel Rainey’s Bear Claw is no exception. This four-track EP, originally put out on tape by Rainey in 2009, caught the attention of Monofonus Press, the multimedia DIY-style arts and record label. Since then, the acoustic Bear Claw has pressed a number of 10” “one siders,” an intriguing series that Monofonus has put out as a way of fostering the emerging talents of local artists that feature music on one side and art on the other. Rainey cites Young Marble Giants as an influence and the forlorn Britpop tone to his singing can realistically make for a delightful soundtrack to an Ellen Page film; or maybe it’s the melodica and kick drum on “Romantic Period” and the sweet female harmonizing on “Needle and Thorn” that makes this EP a perfect companion to an early spring’s sentimental Sunday listen. http://www.myspace.com/nigelrainey — Chloe Vice
As Seen Through Windows is definitely one of Bell Orchestre’s most beautiful records to date. Their talent overall goes without saying but this record seems to builds up in a way that after you are done, you truly feel like you have experienced them live. “Elephant” is drawn out so carefully. Everything guitar swing, horn and violin is meticulously played into each other. “The Gaze” is very fast and aggressive from the start. It’s one of the shorter songs on the record but by far the best. The record is very great in the way it showcases a lot of the instrumentals but also dwells into their lo-fi side in the best way. Members of Bell Orchestre can go back to their respective bands (including Arcade Fire, The Luyas, Snailhouse and Torngat) knowing that they made a real winner. http://www.myspace.com/bellorchestre - Max Mohenu
Unless you are a Chili Pepper of the Red Hot variety, you don’t often get a second chance in music. I mention this because Dutch indie rock band Bettie Serveert sounds like it deserves a reintroduction. Their new album, Pharmacy of Love, even sounds like a debut album. With a rocking first couple tracks, it sounds like the band is trying to get your attention, begging for you to like it. And you probably will if you like heavy, indie rock with clear pop and classic rock influences. The songs are, at times, ear-gougingly catchy (blame Carol Van Dyk’s vocal melodies) but they are compensated with interesting-but-done-before guitar textures and feedback (like in “Calling,” “Souls Travel” and the album’s best track, “Semaphore”). Pharmacy of Love doesn’t fail in getting your attention, but in terms of keeping it — the most important factor in any album — it does slightly-better-than-okay job. The second last track, “Change4Me,” paints the picture of an indie rock band just starting its metamorphosis to a contemporary adult radio group. It sounds like a boring An Horse song. But like An Horse, the one bad song doesn’t define them; it simply seems like they didn’t have enough good songs and added this one at the last minute (the lyrics even sound like the product of an all-nighter with such gems like “If you don’t love yourself, then how can someone else?) It’s a good thing they saved the closing track slot for the bluesy “What They Call Love,” an okay stand-alone track, but excellent concluding tune to cap off an overall good CD. http://www.myspace.com/bettieserveert — Robert Vandrish
Pianist Bill King’s keen sense of phrasing is joined with a richly orchestrated band of incredibly talented players, each musician’s virtuosic ability displayed but not overdone. The music is unobtrusive yet driving, and the solos are thoughtful and make great use of space, bringing a Miles Davis sound to some of the ballads. With grooves that fit perfectly in the pocket, the up tempo numbers range from the controlled percussive chaos of tracks like “Beat Street”, to the unpredictable melodies and crunchy chord changes that bring a Hard Bop feel to tunes like “Archie Speaks”. No stranger to the element of surprise, King spices things up by adding a steel drum to a Latin funk tune, and proves indeed that an organ can swing. The highlight is definitely “Wake”, his almost lyrical tribute to the artists we’ve lost. Throw in a gospel number and some crazy fusion and you have the perfect soul jazz album. - Melissa P
http://www.myspace.com/birdsofwales — Bethany Hansraj
How do you critique the man behind the Pixies? Who, after the Pixies disbanded, somehow comes up with Frank Black and The Catholics and follows that up with Black Francis. Frank Black, Black Francis, whatever he wants to be called, is a man who just doesn’t stop writing music. And never mind that, doesn’t stop writing awesome tunes. Now granted Francis’ latest effort, Nonstoperotik, isn’t his best work (I mean he’s got Dolittle under his belt, so that just goes without saying, right?) Hell, there are even a few tracks on Nonstoperotik that the album could simply do without (“O My Tidy Sum” and “Corrina”). But if this record was released as a debut it would be the darling album of the year. Unfortunately one just can’t judge Black Francis on the same curve as the rest of world’s indie bands. In a sense, Francis is a victim of his own musical genius. That said, I guarantee that anyone who wants to hear a solid rock album can put on Nonstoperotik and be blown away by the same vicious voice and screaming guitar that has endeared Francis to the music world since 1988’s Surfer Rosa. Nonstoperotik, like much of Francis’ later work, takes a while to find its groove. The title track is sentimental but powerful, while the super-sexy “When I Go Down On You” (which is about . . . well exactly what you think it’s about) makes Nonstoperotik into the closest Francis will come to writing a make-out album. And that fact alone makes this record well worth your time to check out. http://www.myspace.com/officialblackfrancis — Joe Veroni
With kicking dance beats and thrilling bass and synth riffs, the Black Ghosts aim to make the summer a non-stop dance party. As the former vocalist of Simian, Simon Lord brings the genre cred and together with Theo Keating, the duo have smashed together an album full of energetic, heart-pounding music. Blur and Gorillaz frontman Damon Albarn makes a guest appearance on “Repetition Kills You”, although his vocals are not that prominent but rather blend in with the other vocalists. First time listeners may not even notice it’s him and hopefully the constant repetition of the title in the song doesn’t kill anyone. However, it’s a charming little song, with 8-Bit Nintendo-like keyboards mixed in for some nostalgic feel. Indeed, the band relies on synth riffs that harken back to a couple decades ago. It’s an album that can be a hit on the dance floors and in the bedrooms of those spending their nights playing video games. The band’s songs aren’t too long, which is good because the repetitive lyrics don’t become too grating. With dance punk being one of the “it” dance genres, the Black Ghosts are heading in the right direction and pulling it off without a hitch. http://www.myspace.com/blackghosts –Jon Brazeau
The Black Keys have definitely solidified their foothold on blues and funk-infused rock with their sixth album, Brothers. After the success of the Danger Mouse-produced Attack and Release, two solo projects, and a hip hop collaboration album produced by Damon Dash, Brothers is a clear declaration of their energy and creativity. The 15-track album feels neither repetitive nor distracted. Their first single is the catchy “Tighten Up”, which reunites them with Danger Mouse and will be sure to draw new fans. However, it is their second single “Next Girl”, cathartic for guitarist and vocalist Dan Auerbach post-divorce, which provides the raw, bluesy rock The Black Keys are known for. The forward-looking lyrics are consistent with the new territory explored on this album, such as when Auerbach extends his distinctive timbre to falsetto for “Everlasting Light” and “The Only One”, executing both brilliantly. The duo even wanders into soulful territory with the cover of Jerry Butler’s “Never Gonna Give You Up”. Overall, this is an album not to be missed by any classic rock, blues or Motown aficionado. — Chantelle Renee
The fifth album from Atlanta, Ga.’s Black Lips sees Cole Alexander and his band of crass and outrageous lunatics continue their unrelenting attack on all things pure. 200 Million Thousand is a raucous, aggressive, rebellious, angry and funny album. Best of all, it sees the Black Lips crank up the lo-fi. The band’s brilliant yet very polished 2007 album,Good Bad Not Evil, didn’t leave the Lips with any options except to get back into the garage; that is to say that the band gets down, dirty and rolls around on the blood and shit-stained floors they’re so comfortable with. Above sloppy guitars and accompanied by sleazy backup vocals, Alexander croons on the slower “I’ll Be With You” and goes on to wail on the soon to be fan-faves “Starting Over,” “Trapped in a Basement” and “Elijah.” All these songs will lend perfectly to the Lips’ demented live shows that have gotten the band banned from several Georgia venues in the past. On a foundation of broken whiskey bottles, smashed beer bottles and sheer insanity is where the Black Lips have built their home, and let’s hope they never move out. http://www.myspace.com/theblacklips - Joe Veroni
I’ve heard poorly produced albums before, and usually, once I adjust my ears, I can appreciate the music. Black Tambourine’s self-titled LP, on the other hand, is not one that lets ears easily adjust. The production qualities for the vocals, bass and drums are good, but that of the guitar is poor in comparison. While vocals and drums should be the best produced, they are relatively overproduced for the guitar. It’s like wearing stained sweat pants and fine jewellery at once, i’s just awkward. Black Tambourine takes the worst moments of pop (arguably: clichés) and forges them with the noise genre. Imagine an album with short songs, composed of earworm progressions and melodies that are then blurred with hard-to-decipher guitar. What’s worse is that all the songs sound the same. Overall, the album sounds like a mediocre ’80s pop band trying to put a spin on perfectly done-to-death songs by simply turning up the overdrive and spending less money in the studio. If you’re into tried and tired progressions, rhythms and melodies that are poorly produced, invest your time in this album. — Robert Vandrish
Blackie and the Rodeo Kings formed in 1996 for the singular purpose of releasing one record, a tribute to Willie P. Bennett. Over the next decade, this Canadian trio would go on to release four more folk-infused country albums full of songs about trains, drugs and diesel fuel. Wrapped in flashy packaging and with lengthy linear notes by Rob Bowman, Swinging on the Chains of Love is the best of those last four records. The best of Blackie and the Rodeo Kings gets started with the dark and eerie “Stoned” before picking up the pace with the catchy tunes “49 Tons” and “Water or Gasoline.” Also included are two new songs, “The Caves of Jericho,” starring the late Richard Bell, and a great cover of Johnny Cash’s “Folsom Prison Blues.” - Joe Veroni
Phoenix five-piece post-hardcore (or Christian punk) band blessthefall is back with a new album and a new singer. Beau Bokan now handles the soaring “clean” vocals while bassist Jared Warth continues to destroy his vocal chords with the screaming choruses. Of course, thrashing, crunching guitar chords and double bass kicks are aplenty as well. Lead single “God Wears Gucci” is about bands using God as a way to get famous, which is actually an alright song despite the lame title (although seeing as how the band’s name is all one word and all lowercase, expecting decent titles might be asking for too much). Every song tries to build, attempting to be epic, but it just ends up feeling repetitive as it happens again and again over the course of 12 tracks. The duo vocal gimmick quickly becomes overplayed and makes you wish they’d just stick with one and save the other for special bursts. Even the band’s lyrics are a little lacking, such as the cliche line in “Skinwalker”: “I’ll live to see another day.” In the end, Witness starts off rather promising and Bokan’s vocals are a nice addition but the album quickly wears out its welcome and ends up feeling rather flat. http://www.myspace.com/blessthefall — Jon Brazeau
Not to be confused with the Jean-Claude Van Damme film (you know, the one where he does the splits and punches a dude in the groin), the band Bloodsport (un)fortunately sounds nothing like their name suggests. Instead, a better comparison for the Halifax group would be to Toronto band Uncut. This 12-minute, four-track EP serves as a quick in-and-out bite of the band’s post-punk sound, with pulse-thumping drum beats, speedy guitars and emotionally-drained vocals. Opening track “Photos from My Last Trip to Salem” is the “epic” song on the album (at just over four minutes) and serves as a nice introduction for the band. “Swallowing Werewolves (I Heard Mary Timony Used to Live There)” and “Accidents with Homemade Fireworks” are short bursts, like comets screeching across the sky. Closing track “Japanese Democracy” mellows down with a slower beat. A surprisingly enjoyable EP and a treat to listen, be sure to check out their MySpace page where the entire EP is being streamed. http://www.myspace.com/ianfraserpresentsbloodsport - Jon Brazeau
Blue Rodeo’s newest addition to an already impressive catalogue is a live record, a bootlegged video of the same set and a great documentary all rolled up into one tight package called Blue Road. The multi-time Juno Award winners were inspired to create this live record during the band’s launch of their last album, Small Miracles. Jim Cuddy, Greg Keelor and company hit the streets of Toronto to perform acoustic sets for their fans. The stripped-down shows were such a hit that Blue Rodeo decided to record their show at Toronto’s Massey Hall. Showcased is a side of Blue Rodeo that has rarely been seen before. The boys have gone back to their roots playing all their hits to a softer tune. “Five Days in May” is extended and elegant while “Try” has all the charm and simplicity of a great country roots band. To get a true feel for the show, Blue Road also includes bootlegged footage of the Massey Hall show. Recordings were made by fans have been used for the DVD, a true testament to Blue Rodeo’s fans first mentality. However, the gem of the entire package is a 50-minute documentary showing the band at their most honest: hanging out, practicing, and jamming on Greg Keelor’s farm. Blue Road is an integral piece of Canadiana and a must-see for all fans of Blue Rodeo. -Joe Veroni
Standout songs: “Come Deliver Me” is a killer track with amazing three-way harmonies that showcase the band’s great vocals and superb arrangement skills. “A Little Bit Lonesome a Little Bit Blue” is a throwback to traditional country from the ’50s and early ’60s, which is great since we hear the band go from old school country to rockabilly and other styles in between. On disc #2 they do a smokin’ cover of Merle Haggard’s “If We Make It Through December” and also give us their take on Joni Mitchell’s “Raised on Robbery”. If this sounds like your kind of thing, then On the Floor of Heaven is a must have. This release is nothing less than 90 minutes of solid music. — Andre Skinner
- Bethany Hansraj
http://www.myspace.com/bmocrazy - Max Mohenu
Cannonballs, Cannonballs, the debut album from Winnipeg-based indie-rockers Boats, is a wholly unique creation that immediately sets them apart from anything else on the scene right now. The album opens with "Sunrise on the Muffin District", full of soft melodies and eerily beautiful harmonies. The album then explodes into a bright display of what Boats is really about: quirkiness and eccentricity. In songs like "Drinking the Lake" and "TV Scientist", Boats set beautiful melodies against guitar riffs that can only be described as strange. The majority of the album, however, sees heavy electronic sounds as they emerge from the band's guitars and keyboards, weaving an unusual composition that, somehow, works in an innovative way that is certainly pleasing to the ear. Mat Klachefsky's voice is almost comical, but works with the eclectic mix of rhythms and timbres. With Cannonballs, Cannonballs, Boats does something that most bands today try to do, but can never achieve – they've created an album that sounds unlike anything else you've ever heard and still manages to be both musical and enjoyable.
It might be hard to believe but Bob Mould has released more solo albums than he did as the guitarist/vocalist of legendary underground punk band Hüsker Dü. On another note, don’t be confused by the title of Mould’s ninth album. Life and Times relates more to Mould’s reflection from an everyman’s perspective rather than an autobiographical work (expect that from his memoir to be released in 2010). The 10 songs on the album are more mature, radio-friendly than his raunchy earlier work with Hüsker Dü. “The Breach” and “City Lights” both carry a self-reflection theme but also feature an upbeat tempo and surging hooks which are a treat to listen to. “Argos” is the first song on the album to really kick it with a punk fury, although don’t expect Mould to scream like back in the day. Despite the lengthy and maybe humourous song title, “I’m Sorry, Baby, But You Can’t Stand In My Light Any More” is an acoustic guitar-driven touching song that ends too soon. It’s now been over 20 years since the breakup of Hüsker Dü and Mould has crafted an interesting solo career, with Life and Times being another standout point. http://www.myspace.com/bobmould - Jon Brazeau
It took some getting used to but after a few listens, my ambivalence towards Bobby Birdman’s New Moods was replaced with a growing appreciation of his music. Birdman’s surf rock style of singing works well with the electronic instrumentation featured on the album. My unfamiliarity with Birdman’s style was a hurdle that I had to get over in order to appreciate his music. Techniques I expected wouldn’t work, like a cappella over electronic beats, define Birdman’s style and make his music that much more intriguing. “Truth be Told,” “Weighty Wait” and “Victory at Sea” stood out the most. Along with his signature a cappella singing style, these tracks juxtapose Birdman’s bright voice with the darker tone adopted by the instruments. Birdman relies heavily on a cappella in the tracks “You’d Be Surprised,” “Silent but Violent” and “Only for a While,” which results in a barber shop quartet sound. At first it sounds out of place when layered over electronic instruments but Birdman makes it work. The rest of the tracks adhere to Birdman’s distinct sound and style, with the exception of tracks like“Dust Design” and “Well Sprung,” which feature organic instruments like percussion and acoustic guitar. Although Birdman’s quirky sound is unfamiliar and may take time to get used to, New Moods is a fun album that is definitely worth checking out. http://www.myspace.com/bobbbirdman — Joseph Fava
It’s safe to say that if this reviewer had the job of handing out an award for album of the year, Bodies Of Water would win it hands down. A Certain Feeling is the perfect combination of beauty, grace, and great use of multi-instrumentals, all wrapped into one incredible album. “ Gold, Tan, Peach, And Grey” starts out with Meredith’s sweet vocals, but then as the vocals start the layer, a wall of sounds form, and once you add in some chanting, trumpet and heavy drum beats, it just becomes a symphony. “Under The Pines” is very magical, the type of song you’d put under the category of an “easy listen”. The guitar riffs on “Only You” give the song a bit more bite, but has the dramatic tone necessary to draw you in, some of the same elements can be found in “If I Were A Bell”, but only with a more melodic tone to it. This record will do things to you that you never thought possible, so fasten your seat belt and enjoy the ride. - Maxwell Mohenu
Bon Iver’s amazing 2008 release For Emma, Forever Ago may have been the record that could’ve easily trumped Fleet Foxes last year, but that is an argument for another time. Blood Bank is a four song EP, but like For Emma, Forever Ago; the initial bliss, amazement, and intrigue you experience when listening to Justin Vernon is still there but even more than ever. The title track, “Blood Bank,” is illustrated a lot differently than his work on the album. Vernon uses words as building blocks to paint the picture in your head as appose to giving it to you all in one meticulously written hook. Songs like “Beach Baby” stay true to Vernon’s acoustic side, but almost border on neo-soul more and more as the song progresses. “Woods” is a very intriguing song because the vocals are unlike anything you’d expect from a record like this. The vocal distortions, along with amazing lyrics, make the song by far one of the most powerful soul songs ever heard on an indie rock record of this kind. If one EP can deliver the rawness and spirit of this record, Vernon’s next album may be too much emotion for one human being to handle. http://www.myspace.com/boniver - Max Mohenu
The Bowerbirds have an exceptional sound that will sooth your soul and leave it craving more. Listening to their new album “Hymns for a Dark Horse,” will leave you feeling tingly and warm. Although many indie rock bands are using a lot of keyboards to make a distinct and different sound, the Bowerbirds take the other direction that music fans are used to hearing with bands like Arcade Fire, by using an accordion. The instrument is highly underappreciated and usually associated with old European folk music, but the Bowerbirds wouldn’t be the same without it. This isn’t the only thing that is unique about the Bowerbirds. With only three band members they manage to sound like six. With the soothing vocals and awesome guitar playing of Phil Moore, the fabulous accordion, percussion, and autoharp of Beth Tacular, and the violin, foot synth, percussion of Mark Paulson, you’ll begin to wonder when this talented team has a chance to breathe in one song. One of the best examples of their addictive and smooth sound is “Hooves”. It can only be described as one of the most beautiful songs you will ever hear. - Ana Cristina da Silva
Quirky, original and oddly enthralling, Charlottetown’s Boxer the Horse’s full-length debut release comes through with enough energy and appeal to certainly delight their already active fan base. Previously releasing a self-titled demo and an EP since materializing from their native PEI, Boxer the Horse dispenses a diverse musical mixture that manages a maturing structure and overall distinctive flow. As such, Would You Please marks the band’s first truly prepared premier, showing heightened production value and an honest musical development that the previous offerings fell short with. The music continues the general Strokes meet Violent Femmes vibe that we’re accustomed to from the band. But with this release those parallels seem to have diminished and a new maturity highlights this new collection. Always poppy and entertaining, Boxer the Horse have now injected a richer creative component to their already addictive brand of dance-rock. Fans will not be disappointed and newcomers to the sound will instantly be won over by the sunny, upbeat pop music element. Frontman Jeremy Gaudet has a vocal style that possesses all of the charm and dignity of a Franz Ferdinand record, but diverges towards the more obscure through his tonal range and unpolished off-key moments. Would You Please is an enjoyably light-hearted listen; but don’t be fooled by the surface sound. There is definitely more that lies beneath from this quickly emerging band from the east coast. More and better music will surely come if this album is any indication of Boxer the Horse’s swift musical progression. http://boxerthehorse.com — Stephen Lussier
The new Bowerbirds album seems to take a different direction from their debut but it isn’t that much different. “House of Diamonds” is very beautiful. The lyrics in “Silver Clouds” are awesome and for an acoustic song, it’s pretty solid overall. The album really doesn’t have any flaws but a lot of it is just the same stringy folk rock with a lot of harmony. It’s almost too boring, even for a folk rock record. “Beneath Your Tree” is heavier and the harmonica parts are amazing; definitely a stand out track on the record. Bowerbirds never disappoint live — and this record is far from a dud — but there is something to be said about a record that could put you to sleep four tracks in. A few more tracks like “Beneath Your Tree” may have made this one a hit but this record may also need to be on repeat multiple times before it sticks. http://www.myspace.com/bowerbirds — Max Mohenu
The debut full-length album from Vancouver’s Brasstronaut, Mt. Chimaera follows up on the band’s 2008 EP, Old World Lies, and continues the band’s all-out jazzy affair. Opening track “Slow Knots” shows a band sprawling into a frenzy with a variety of instruments but still held tightly together by frontman Edo Van Breemen's vocals and piano. “Hand Behind” mellows things out with a slow, smooth drum beat and Bryan Davies’ trumpet carrying the solo. “Hearts Trompet” slowly builds with keys and strings and that infectious drum beat will have you tapping along. Van Breemen’s soft, sombre vocals perfectly fit the cool mood of the album. “Insects,” originally from their aforementioned EP, is an eight-minute track that showcases the maturity of the band as they remain focus and the song doesn’t linger on. http://www.myspace.com/brasstronaut — Jon Brazeau
Gimmicky name aside, Brasstronaut’s debut EP is a mature, wonderful sample of what they have to offer. The Vancouver band fuses indie rock sensibilities with chamber pop, jazzy drums and trumpets, creating a memorable, unique listening experience. Edo Van Breemen’s emotional vocals and keyboards on “Requiem for a Scene” are simply a delight and Bryan Davies rocks the trumpet (how often can you say that?) The band’s dystopian lyrics only add to that, such as the line, “Sharpen your pitchforks and burn down the Internet.” The instrumental “Fan” showcases the band’s musical talents while the title track opens with just Van Breemen performing, setting up the sombre tone for the rest of the song. If an EP can qualify for album of the year, then Old World Lies should be a strong contender. A fabulous release and a true pleasure to listen to. http://www.myspace.com/brasstronaut -Jon Brazeau
Bravestation’s self-recorded debut EP harks to the not-too-distant first half of the decade when post-punk revival bands like Metric and The Stills popped up on the scene (and before the genre became played out). Fortunately for this Toronto four-piece band, their album still sounds fresh and unique enough to warrant our attention. It’s quite easy to throw the “Joy Division” tag at the band but Devin Wilson’s vocals are lively and sound more like Jim Morrison than monotone Ian Curtis. Multiple listens do the album justice as the catchiness of songs like “Everglades” emerge, especially the “don’t get too close to me” chorus. “Makeshift Cities” is a song that never lets up, with a driving bass line and ass-kicking guitar and drums. “Lady Talks” opens with an almost tribal beat that becomes the highlight of the song as Jeremy Rossetti continues the assault on his kit with authority. A surprisingly mature and polished EP, Bravestation is certainly a band worth keeping tabs on in the future. Colour me impressed. http://www.myspace.com/bravestation — Jon Brazeau
Austin, Texas’ latest indie rock offering, Brazos, have spent the better part of this year gearing up for the release of their debut LP by touring extensively with the likes of Vampire Weekend and Grizzly Bear; gaining notoriety for their musical presence and feel-good sound. However, unlike some hype bands whose record offerings fail to maintain the interest of previously enamoured concert-goers, Phosphorescent Blues captures the essence of indie rock as an album that delivers the same magic and rush as attending your favourite outdoor music festival. While songs like “Avignon” exude serious self-reflexivity, the band’s first single, “Day Glo,” straddles both the light-hearted and relevant without being obnoxiously indie. Embracing the earnestness of indie nostalgia with thought-provoking lyrics complimented perfectly by simple guitar, piano and non-cringe-worthy handclaps, listening to the Phosphorescent Blues has the same effect as a summertime afternoon picnic — it’s impossible not to enjoy it. http://www.myspace.com/brazosbrazos — Anne T. Donahue
When presented with Brilliant Colors, you’d assume you were hearing the latest U.K. it-band or another act that cites a number of punk rock pioneers as major musical influences. However, after listening to Introducing — the debut LP from the San Francisco trio — you’ll quickly give the band the credibility it deserves. With their strong guitar, fast tempos, commanding-yet-subtle vocals and aura of positivity, Brilliant Colors succeeds in producing a record that mixes elements of various genres from different backgrounds. With a play-time that comes in under 40 minutes, Introducing’s short tracks don’t fail to hit their mark by including songs like “Mythic” and “Yell in the Air” which maintain punk tendencies and “Should I Tell You” and “Absolutely Anything” which borrow from the page of Brit-rock. Though the album won’t leave critics and music snobs speechless, it succeeds in offering a generous helping of classic punk nostalgia. While the band may not indulge in complicated riffs, profound lyrics or lengthy sentimental segways, Brilliant Colors embraces its self-appointed “pop-pop hardcore” title wholeheartedly and provides sunshine in the wake of dreary. http://www.myspace.com/brilliantcolorssanfrancisco
The lyrics, however, are not really the political manifesto the cover art would have one believe, often dealing with politics at the personal level - raging on about a number of topics such as sexual empowerment (“My Body”), twenty-something self destructive party lifestyles (“Neverland Forever”) and scene politics (the appropriately titled “Scene Politics”). The tendency toward directness that characterizes this album is summed up neatly in “This Distortion” when singer Nick hollers, “All this abstraction is a distraction....This ain’t no poetry, this music is reality”. Mostly though, it just kicks a lot of ass.
Broken Bells’ self-titled debut is a skillful and harmonious collaboration from James Mercer and Danger Mouse. Mercer, the frontman of The Shins, supplies vocals, guitars and bass while Danger Mouse (aka Brian Burton and one-half of Gnarls Barkley) provides organ, drums, piano, synths and bass. Mercer has been on a three-year hiatus from The Shins, whose last album went #2 on the U.S. and Canadian charts. During that time he’s replaced the keyboardist and drummer and has slowly been working on a new album. Perhaps he’s feeling nostalgic because most Broken Bells tracks could pass for remixed versions of unreleased Shins songs. However, Mercer’s distinctive voice and the mastery of Burton’s production are also likely to generate this outcome. Burton has spent the last four years since the remarkable success of the Gnarls Barkley album producing for the likes of The Black Keys and Beck, among others. His ability to simultaneously enhance and conform to artists’ sounds must be why he’s in such high demand. While Broken Bells does not seem to breaking any new ground and is well within what seems to be the comfort level of either artist, each track is sure to please most pop-indie loving ears. — Chantelle Renee
No, this isn’t a Broken Social Scene Presents album, this is the real deal. After five years since releasing their self-titled third album, the Toronto collective has released this 14 song behemoth. Opening track “World Sick” is more reminiscent of the band’s earlier days of long, ambient guitar-driven rock. Before you label this one as a return to the old days, think again. Other than “Meet Me in the Basment”, where the band jams out for a few minutes, the album is more of their indie pop form. “Chase Scene” is a fight song filled with energy and just about everyone singing. “Forced to Love” has a beat that’ll get you moving, soaring moments and you may just find yourself singing along to the song’s title during the chorus. Lisa Lobsinger takes over the vocals on “All to All”, a synth-driven song that the band handles surprisingly well. “Sentimental X’s” sees Emily Haines make a powerful return on vocals. While it doesn’t have the immediate impact as “Swimmers”, it’ll surely be a grower. And that sums up the album overall too, there’s a lot here to like and while it may not jump out at you right away, after it all sinks in you’ll find a solid, consistent album. http://www.myspace.com/brokensocialscene — Jon Brazeau
Circumventing the whole mainstream pop-rock genre, instrumental musicians Brookhaven release their second full-length album aptly named When the Chorus Walks. Bringing to the frontline an irrefutably post-rock sound, the Oakland-based band gives a breath of fresh air to a genre that can very easily fall towards repetition. Following up their 2005 debut Transitive Verses the band produce a superb live performance aura with this new album. Seemingly effortless with a flow of ambient melody they allow the music to generate its own momentum with songs that combine haunting electric guitar riffs, laid-back violin and incisive percussion. The musical development of the seven songs on the album is gradually progressive, growing just enough to remain interesting and fresh, yet never exploding into a frenzied electric mess. From the opening song and title track (‘reprised’, no less) you get that you are in for the smooth and graceful ride of Brookhaven’s own audio exploration. Waves of music bubble beneath the surface, highlighting each instrument amicably. The gentle rise-and-fall of the instruments reveals Brookhaven’s distinct direction towards more guitar-based compositions. Electric-guitar is the primary element here. It provides the backbone to the many supplementary instruments that fade in and out from track to track. The modest elevation of drums, bass, synth and violin join in lucidly and always with profound harmony. Fans of instrumental electric post-rock or those who take pleasure in listening to relaxing background music on long road-trips will both find something to enjoy when listening to When the Chorus Walks. Brookhaven personifies nicely how an extensively large collective can work together to create something so uncomplicatedly expressive. http://expelrecords.blogspot.com — Stephen Lussier
There’s something in the Toronto water that just keeps breeding alt-country rockers who own that down-home twang sound. Canteen Knockout’s first album, Navajo, was released in 2008 and now the roots rockers are back with their sophomore album, Broken Down Town. The album follows in the footsteps of The Sadies, Blue Rodeo and the United Steel Workers of Montreal. Canteen Knockout offer an honest Canadian sound that will prove infectious to any fan of that alt-country sound. If you need some proof of just how Canadian Andre Skinner and his band are, they dish up a melodic cover of Gordon Lightfoot’s “The Wreck of the Edmund Fitzgerald.” But the Toronto boys are at their best when they let their roots side out on the track “My Head’s on Fire” or when they show off their rock ’n’ roll sensibility on the track “Louisiana.” Broken Down Town is 12 well-crafted tunes and serves as proof that Canteen Knockout should be drawing crowds all over the country — not just in Toronto’s own Horseshoe and Dakota Tavern. — Joe Veroni
In the vein of downbeat electronic acts such as Royksopp and Air, Canadian musician Daniel Snaith unveils the long awaited follow-up to his critically successful 2007 release, Andorra. Swim marks his fifth full-length album to date under the moniker Caribou and the deliberate advancement into a more experimental electronic world is definitely worthy of a listen. From the infectious “Odessa” and onward, we are welcomed into Snaith’s watery world of electronically controlled psychedelic clutter. Caribou endeavors to create a hybrid of eclectic rock mixed with much more electronic character than they have ever taken on before. The combination of calculated off-tempo beats uniting with soft, harmonious lyrics are equally unusual and absorbing. Snaith’s whisper of a voice fills the layers of obscure sound effortlessly, grounding the designed complication of the music from beginning to end without falling short. Caribou’s mix of off-key harmony and catchy, simplistic rhythms create a wonderful hybrid of studio musicians integrated with wonderfully calculated electronica. Waves of sound wash throughout at an even and steady pace, captivating the listener to experience what Snaith has composed as his thematically “watery” electronic album. The liquidity of the music that is brought to the foreground quite solidly with Caribou’s newly defined electronic sound might have some diehards shrugging their shoulders. However, those who welcome change will unquestionably appreciate the path by which the band has now taken. http://www.myspace.com/cariboumanitoba — Stephen Lussier
City of Refuge is the one record that sums up the greatness that is the Castanets. The record dwells into different elements of psychedelic rock, freak folk and distorted noises, all of which are combined and used differently in each song, make for a very solid fifth record. “The Destroyer” is a nice little interlude into “Prettiest Chain,” the song is very well written and the guitar riffs play into the bulk and the background of the song. High Plain 1, 2 and 3 are all a variety of different instrumental distortions that either work as interludes into a song or just as their own individual track but flow beautifully with results that are hypnotic and affecting. Overall, the record will move you in way that the other releases couldn’t. myspace.com/castanets Max Mohenu
Texas Rose, the Thaw, and the Beast is a gem. Raymond Raposa takes freak folk to new limits. The first half of the record channels early Bob Dylan wordplay with spooky acoustics. The second half of the record gets really heavy with songs like “No Trouble.” The guitar riffs are very dominate through the duration of the song, but then drums kind of play over the guitar and the song just continues to build and get more intense. “We Kept Our Kitchen Clean and Our Dreaming Quiet” is a one-minute experimental interlude similar to the ones heard on the band’s last record. It plays very beautifully into the next song called “Down the Line, Love.” The lyrics are beautiful and the piano parts in the background sound amazing even in the heavier parts of the song. A lot of the beauty in the record is the arrangements. Everything is beautifully layered to fit the songs lyrics and vibe. Overall, the record is solid and speaks loudly from the very beginning, which will make it hard to miss. http://www.myspace.com/castanets —Max Mohenu
Catfish Haven’s sophomore effort Devastator might catch your eye with it’s hot pink cover featuring a high-heeled vixen but the record itself could only seep into your collection if you were dating a friend of the band. Devastator follows up 2006’s Tell Me with more of the same old not-too-bad-but-not-too-good directionless rock. This Chicago-based trio would be well instructed to keep things simple and straight-forward like on this album’s highlight “Halftime Show” (yes, it plays in the exact middle of the record). It’s an instrumental ditty that spares the listener from vocalist George Hunter’s forgettable, raspy voice and often sappy singing style. “Tripping in Memphis” is a perfect example of one of Hunter’s ballads that would play better in a trashy bar to a live audience of beer-soaked, heartbroken drunkards. Devastator is a little bit country, and a little bit rock-n-roll, but when you add it up it’s just not much of anything at all. -Joe Veroni
Brazilian singer/songwriter CéU holds her own during a wild ride of instrumental and percussive mayhem on her sophomore album. A follow up to her self-titled, Grammy-nominated debut, Vagarosa — which translates to “slow, easy going and leisurely” — dances with easy laid back feels, ’70s style porn riffs and flirty, trance-like harmonies; in other words, it’s a perfect summer listen. With scattered yet impact filled orchestration, each musician plays up what’s delightful and gluttonous about their instrument. Almost every track is heavy on the organ and electric guitar — both instruments comp in a highly retro, rhythmic way. “Cangole” combines murder mystery organ licks with an off-the-wall solo unlike anything you’ll ever hear. Backed by a Reggae bass groove, the tune is so out it’s in. “Viva Lata” brings each instrument forward at different times in such a way that it almost creates a Brazilian Peter and the Wolf. It would be easy to forget about the singing itself amidst such colourful instrumentals but CéU somehow manages to not let you off the hook. Her vibrato controlled and tasteful, and tone cool and sultry reminiscent of Astrid Gilberto. She manages to range from cute and sassy to optimistic torture and she’s effortlessly in time over grooves that take her from São Paulo to New Orleans. Her skills as a songwriter are masterful with melodies that are fluid, yet concise and to the point. Lyrics like, “Don’t take yourself to seriously, Papa used to say to me,” reaffirm the laid back south-of- the-border style consistent to the entire album. http://www.myspace.com/ceuambulante — Melissa P.
Montreal native Mike Silver (a.k.a. CFCF) has remixed tracks for bands like Crystal Castles, the Presets and HEALTH and now has released an EP of original material. This seven-track EP of vocal-less electronic tunes aren’t as strong as his previous material. The drum beats and synth riffs are mostly repetitive and uninspiring, feeling a bit lackluster even though all the tracks aren’t that long. “The Explorers” is a refreshing change of pace and sounds like the ending music to a Super Nintendo-era video game. It’s simple but has a charming quality to it. “Colour Dreams” shows some energy, with a lively booming beat, but being the closing track, it only makes the listener wanting more and feel a tad disappointed. While not that bad, based on the strength of CFCF’s remixes, Panesian Nights could have been a lot better. -Jon Brazeau
http://www.myspace.com/bombasticmeatbats — Joe Veroni
Soft Airplane is an album that is truly flawless in every possible way. Every song is sharper than the next; the morbid beauty in death presented in a way that will pierce your heart within seconds, and as always Chad has a new set of toys that make their debut onto many of the songs. Recorded on a 4-track in Vangaalen’s bedroom, Chad raises the bar with songs like “Willow Tree” and “Bones Of Man” where Chad resurrects the soul and sound of the early days of Neil Young. “Phantom Anthills” channels the vibrant, quirky feel of a synth pop track, but Chad uses vocal distortion and background noises to give this song an eerie feel. “Molten Light” tells the story of a girl who will not the die and the fear that comes with death, let’s just say that there is no such thing as the perfect murder. Chad debuts his “acoustic gameboy” contraption in “Old Man + The Sea”, which gives the song a more sophisticated, textured sounds that a lot of other folk pop songs don’t give you. It’s safe to say that after three solid albums, Chad’s best work is done in the bedroom, no innuendo implied. Maxwell Mohenu
Brooklyn, N.Y. has given birth to yet another indie sensation. Chairlift’s debut album, Does You Inspire You, is an incredible success that has launched them on an international tour. The band is best known for their song “Bruises,” which is featured in Mac’s most recent iPod commercial. The pop-appeal of this track aside, Does You Inspire You covers expansive musical territory. The album move effortlessly from minimalist ballads like “Don’t Give a Damn” to funky experimental tracks like “Evident Utensil.” Overall, the album is a well done example of synth rock that holds mainstream listening potential. -Allison Smith
Charles Spearin’s combination of amazing jazz and piano loops makes The Happiness Project one of Arts & Crafts’ most interesting new releases for 2009. “Vittoria” has an amazing intro of a young girl talking about Valentine’s Day. The song continues to build with beautiful saxophone, drums, which really give you that live sound and feeling. “Marisa” is very soft and beautiful. The messages in the song promote peace and unity by using repetition in the quotes and sounds. The record’s production alone is pristine but the energy and warmth it exudes just makes you want to listen more. Overall, The Happiness Project is a very strong record and definitely a top contender for any “best of” list for this year. http://www.myspace.com/charlesspearin - Max Mohenu
If there is any justice in the music industry, 19 year old Charlotte Cornfield will be the next big thing in indie folk/rock. Her quirky voice, layered music and clever lyrics fit in right along with Leslie Feist, Kathleen Edwards and Martha Wainwright as well as folk/pop legends Joni Mitchell and Carole King. Cornfield’s debut EP has six very catchy and memorable songs that sound like they are being performed by a seasoned pro. “Like A Traveller” and “The Fawn” are brilliant and showcase her clever way with words. Considering Cornfield began studying piano at five, writing songs at thirteen and is currently studying jazz drums/percussion at Concordia University in Montreal, her musical expression is only going to get better with time. She is certainly a talent to watch. - Diane Foy
Chinese Food’s debut is a very interesting listen. Every song seems to channel a different facet of rock and roll, from upbeat pop rock, polished acoustic, and folk rock; these four gentleman have definitely made a good first impression. “Party at the Kennedy’s” has that upbeat pop feel which makes it very danceable. “Pirates on the Palm Trees” is one of the longer songs on the record and probably on the best for catchy lyrics. The album maintains consistency, giving a hearty mix of everything. This band is well on their way to wowing anyone and everyone and with a solid debut like this; it’s safe to say they’ve already got most of the work done. http://www.chinesefoodmusic.com/ -Max Mohenu
Mixing equal parts ambient, trip hop and synth rock, Christer’s Techna spans several electronic genres but at the heart of it all, contains tunes fit for the dance floors. Vancouver’s Christer adds an extra ingredient with her poppy vocals. “Cadaver” has a nice beat and spacey synths but the Body Parts Remix ends the album with a bang, featuring a furious drumbeat and warpy synth and guitars that are sure to please both dance and rock fans. This reviewer can’t help but like the title “I Heart Johnny” and the song itself is pretty good too, with a dance-worthy beat and soulful vocals from Christer. Overall, the album is worth checking out for fans of the genre(s). http://www.myspace.com/christerama - Jon Brazeau
Vancouver’s Cinderpop return with their third album, A Lesson In Science, and present a lesson in indie pop more than anything else. Their melodies express a certain charm similar to Death Cab for Cutie on their indie rock tunes and Elliott Smith on their piano-driven ballads. At times, vocalist Kevan Ellis does sound eerily like a reincarnation of Smith, especially on the title track. The album is not all cute as their guitars carry a more dirty sound than expected on an indie pop album. Perhaps with their third album in eight years, the band will gain greater recognition for their youthful indie rock tunes before the band members get too old to express such vibrant appeal. -Jon Brazeau
With a roster that boasts former members of Dashboard Confessional and Lifetime, The City and Skyway’s first EP disappoints. For a band full of indie-experienced musicians, there is nothing on this album that sound even remotely indie. Lacking innovation, Compose Yourself is a very commercial rock album, reminiscent of anything you would hear on your local popular music station. Every song will remind you of the last. Like each one was made with a cookie-cutter, there is nothing on this album that breaks the mould. “gWaiting”h could even be the new summer hit, playing in every bar and retail outlet in the Greater Toronto Area. However, for anyone looking for something new and different, Compose Yourself may not be the album for you. http://www.myspace.com/thecityandskyway - Bethany Hansraj
It’s hard not to imagine tin whistles, jigs and beer drinking tunes when one thinks about a music scene in Newfoundland. But let’s put away the tin whistles and jigs (the beer can stay, though) so we can talk about The Class War Kids, a quartet of socially-conscious punk rockers from St. John’s. A Strong People Need No Leader is the Kids’ debut album and it might not contain any surprises but it’s a very strong first effort. Ten tracks clock in at just under 27 minutes and feature blazing drums and consistently fast, raucous guitar work. Highlights include “The Racist Policies of the New World Order” and “Resisting Occupation.” The titles are a little thick but isn’t that preferable to the standard emo bullshit that’s become synonymous with the word “punk?” A Strong People Need No Leader isn’t brilliant but it is a promising debut from an island known more for Celtic sing-alongs than for angry punks. http://www.myspace.com/theclasswarkids -Joe Veroni
Cloud Cult’s Running With the Wolves EP is a short vacation from the trite musical mainstream. Even its cover of Bob Dylan’s “Mr. Tambourine Man” is a special, fragile, hold-it-but-not-too-tight cover of a Bob Dylan classic. Similar to the other songs on the album, this one goes through many metamorphoses; birthing in psychedelic folk, the song grows into an emotional lullaby, reaching a Radiohead-like adolescence before discovering and fleshing out the inner dance-pop personality that was subtly present throughout the whole song. Just past the five minute mark, it is laid to rest in a soft, melodic piano casket. On the whole, Running With the Wolves, a four-track EP, sounds more full than certain LPs. The tracks interact with each other (and themselves) to offer a third dimension to their music. It isn’t too experimental, but it is refreshing to the palette. Interesting progressions, grooves and genre influences all mixed into one tight collection of music. — Robert Vandrish
Clouds have definitely made a record that’s hard to forget. We Are Above You hits you right were it should, from start to finish. “Empires In Basements” is a perfect song for fans of “scream singing”, but also borders on psychedelic rock, which makes it a song that’s hard to miss. “Slow Day” is good for an old punk soul because it channels some of the early work of Minor Threat. “Horrification” is a song that just can’t be explained, but it’s without question the most intense song on the record. “Garbage In Garbage Out” is good for about the first 4 minutes, but than just turned into an extra 8 minutes of the same crap. Overall, a good rock record is hard to find, so consider this one a winner. - Maxwell Mohenu — Jon Brazeau
The seventh studio album from Salem, Mass.-based Converge sees the band continuing their brutal assault on their instruments. Opening track “Dark Horse” is a good example of the band’s hardcore punk/extreme metal fusion, mixing tribal drum beats with guitars that transition from thrashing notes to heavy chords. The jerky fast-slow-fast structure gives you just enough time to catch your breath before lead singer Jacob Bannon delivers more screaming, indecipherable lyrics. Nevertheless, his vocals capture a certain level of angst that fit well with songs like “Dark Horse” and “Reap What You Sow.” The songs are fast and swift, which sort of makes you wonder why they chose to clutter some tracks with guest appearances. Steve Brodsky and Adam McGrath from Caved In appear on “Effigy,” a song that’s less than two minutes long. The album gets better later on as they side with their Slayer-ish thrash metal tendencies on “Cutter” and “Slave Driver” and enter progressive territory with the seven-minute album closer “Wretched World.” Genghis Tron’s Mookie Singerman provides the vocals on “Wretched World” and hey, you can understand what he’s saying! Besides that, the song has an oddly enjoyable doom and gloom feel, like the apocalypse has already happened. Given the destructive sound on the previous songs, maybe it already has. Axe to Fall might not be their opus (they’ve already released that — Jane Doe) but it certainly will be recognized as one of Converge’s best albums for years to come. http://www.myspace.com/converge — Jon Brazeau
The Sea, filled to the brim with Rae’s sultry-soothing vocals, brings to light a blend of soul and alternative rock songs that gleam with bottomless lyrics, in which Rae is the writer or co-writer of for the entire album. With lines such as, “You slept a sigh like the angels speak and we danced into tomorrow with bleeding feet,” The Sea captures from beginning to end. The album offers a great display of musicianship and holds a live quality to it with the various instruments that are featured, many of which Rae can be heard playing in each song. In the fun, out-on-the-town track “Paris Nights/New York Mornings,” Rae plays the glockenspiel, while in the beautiful, “Love’s on Its Way” she can be heard playing the auto harp and the glass organ. In the telescopic, “Are You Here,” Rae leads with the electric guitar and in the upbeat “Paper Dolls” she creatively executes the stylophone. From rolling soulful ballads to seductive-intimate moments, The Sea is a dynamic experience; Corrine Bailey Rae’s best work thus far. http://www.corinnebaileyrae.net/ — Xolisa Renee Jerome
Hard rock and punk can mix together, at least on a split single. On this one, C’Mon provides the grungy side of things while Hot Live Guys add the flavour of punk flurry. Even if you’re not jumping or pogoing to this single, you might want to remain standing while listening to this since both sides are only two songs and it won’t be long until you have to flip over to the other side. C’Mon’s two songs are the definition of dirty, laidback Queens of the Stone Age-style rock with a serious crunch. Not surprisingly, Josh Homme’s former band Kyuss is one of C’Mon’s influences. Hot Live Guys return punk to its three-chord roots and they do a fine job keeping it sounding fresh. Overall, it’s not that bad of a single. http://www.myspace.com/thisiscmon — Jon Brazeau
Contrived’s principal members also dabble time with Holy Fuck and Juno winners Wintersleep, but with their third album, blank, blank, blank, the Montreal/Halifax quintet emerges with a solid release. “Not a Goodbye” opens the album perfectly with hard rock and energy. The band picked the right producer for this one by having David Newfeld (Broken Social Scene) on board. The album flows nicely, with heavy tracks interspersed with mellower songs (“Attention (Black Ops)”) and pop-friendly tunes (“The War to Settle the Score”). “Keepsake” brings it all together in the end, concluding the album with a rocking-out jam ending. Contrived proves they are beyond the “side-project” label and have emerged as a promising Canadian indie rock band with lots of potential. -Jon Brazeau
Named after a park in China that guitarist Michael Timmins became acquainted with while adopting two children, Renmin Park is the first in a series of four albums in the Cowboy Junkies new Nomad Series. For some 25 years Cowboy Junkies have been as much a part of Canadian culture as hockey and beaver tails, so it’s strange to see an album focusing around the Far East – but rest assured: it works. From the incredible found-sounds lifted straight out of the album’s namesake that comprise “Intro” to the simple guitar strings of the title track, Renmin Park is as tight a piece of musicianship as you’ll ever find kicking around the indie music scene. The soft roots country sounds that one expects to find in a Junkies album remains present, as Margo Timmins’ voice continues to be the highpoint of the band. Timmins quietly and elegantly works through the trippy and decidedly un-Junkie grooves of “(You’ve Got to Get) A Good Heart” and “Cicadas”. Though fret not, the divas drifting voice also easily works through the more Junkie-standard slow and methodical ethereal sounds of “I Cannot Sit Sadly By Your Side” and “My Fall”. The Cowboy Junkies have always been consummate professionals and this is one of their most inspired works to date. Hopefully the remaining pieces of the quadrilogy live up to the high standards set by Renmin Park. -Joe Veroni
Calgary’s Cripple Creek Fairies combine old and new on their album CCF War Amps. In 12 tracks and just over half an hour, the band combines old fashioned rock-n-roll with 70s punk and polishes it with a modern touch. If “CCF War Amp” sounds catchy and familiar, it’s because the song is actually a retooling of The Beatles’ “Paperback Writer.” Does it work? Well, yes actually since CCF’s rendition sets out to do what the Ramones were all about: The Beatles on speed. “Havin’ Fun” is another song in the same spirit. No, it’s not another Beatles reworking but it is a fun, upbeat song that’ll make you bob your head. The album closes with “Leavin’ Here,” a song written by Rock and Roll Hall of Famers Holland-Dozier-Holland and covered by just about everyone from The Who to Pearl Jam to Motorhead. CCF’s version lies closer to The Who in that spectrum, with the heavy Pete Townshed-like guitar riff (just don’t windmill like him when you’re listening to this song...or throw a guitar up in the air and hit yourself in the head with it on its way down). Overall, CCF stick to the classic styles and produced an album worth listening to. http://www.myspace.com/cripplecreekfairies
Crystal Castles have been polarizing music fans since arriving on the scene a few years ago. Accounts of plagiarism and attitude problems only gave the haters more ammunition but sorry haters, this is one fine album. Crystal Castles’ second self-titled album is much more cohesive than their debut, which quite honestly felt like a compilation of their out-of-print singles. In other words, you’ll have to wait for HEALTH’s remix album ::DISCO2 if you want “Eat Flesh (Crystal Castles vs. HEALTH 2).” It’s also a lot more laid back than their debut, although the catchy “Doe Deer” features Alice Glass’ familiar banshee vocals and frantic beats. Other tracks like “Celestica” and “Pap Smear” are less about anarchy and more about dreamy electro pop vocals and chill beats that flow together nicely. “Baptism” balances danceable beats and synth with Glass’ shouts, creating one of the album’s best tracks. “I Am Made of Chalk” completely distorts Glass’ vocals to Godzilla-like territory, juxtaposed with warm NES-era synth (Crystal Castles is suited for both the dance floors and those late night Ninja Gaiden sessions). Haters gonna be hating but this is a solid release from the Toronto duo and possibly one of the best albums of the year. http://www.myspace.com/crystalcastles —Jon Brazeau
Take a second to dwell on all of the characteristics of mainstream country music which make the genre so intolerable — and sometimes laughable — and you will automatically know what Cuff the Duke’s album Way Down Here sounds like. The album is saturated with aspects of the country music genre which create a southern feel. Guitars with too much twang, quivering vocals, the sound of slide guitars swaying in the background, and the images of rural life the music conjures up in my head are all present in Cuff the Duke’s music. The tracks “Need You”, “Rockin Chair” and “Follow Me” are all examples of songs that sound like a stereotypical country song. Fortunately enough for the band, they have the good sense to deviate from their niche to explore new sounds and tones. “You Were Right”, “The Words you Ignore” and “It’s All a Blur” are all good escapes from the pervasive southern feel of Way Down Here. There are still elements of country music in these songs but they are blended elements from other genres like folk music and rock that provided each of these tracks with a distinct sound. Although Way Down Here features these welcome detours, the majority of the album is dominated by a country sound that is all too familiar and is notoriously the target of ridicule amongst music listeners. — Joseph Fava
With a name like Cut Off Your Hands, one would expect hardcore punk or death metal but you may be surprised or delighted by the band’s infusion of Libertines-era upbeat post-punk tunes. With an opening track called “Happy As Can Be,” that’s exactly what you get from this New Zealand-based band: cheery, bouncing indie pop. “Oh Girl” and “Turn Cold” are other highlights of the album. While not bringing too much new to the table, Cut Off Your Hands’ album is still a fun release that you can put on and not be too disappointed. It’s a severed hand’s thumb up. http://www.myspace.com/cutoffyourhands - Jon Brazeau
http://www.myspace.com/damienjurado — Bethany Hansraj
Dan Mangan’s second full-length album takes its title from a Kurt Vonnegut passage (Cat’s Cradle) which answers the age-old question: What do a sleeping drunkard, a lion hunter, a Chinese dentist and a British Queen have in common? While Vonnegut is almost always delightfully ambiguous, brutally sincere and shrewdly self-deprecating, Mangan comes off as green, if not a bit annoying from first glimpse at the lyric booklet, which includes brief anecdotes for each song (in his prologue for “Robots” — perhaps the best song on the album — Mangan admits to surviving without a “mobile” for five days). In any case, those who like the music of Damien Rice and Hayden will surely find some value here, behind the slightly juvenile lyrics: “Are we cool?/Sorry that I brought it up/It’s not nice to piss you off.” Generally, the album is sweet, unpretentious and pleasantly folksy — but Mangan’s shortcoming is that he is neither effectively melancholy nor cheerfully insightful. His songwriting is quirky (at best), but lacks poignancy. About his hometown Vancouver, he sings: “We’re not Elvis anymore/We’re not Frankie in his wild years/We’re not Tina’s glorious comeback.” Here, Mangan asks the age-old question: What do Elvis, Tom Waits and Tina Turner have in common? In 12 songs, we are offered several imaginative (though arbitrary) questions but seldom any reflective answers. I suggest listening to Hayden’s Skyscraper National Park instead — an album which does execute on a Vonnegut-ian level by offering the ambiguous, sincere, self-deprecating experience that Mangan was aiming for. http://www.myspace.com/danmangan — Erin Klassen
Dan Mangan gets the music biz. His recent Roboteering EP features a copyright line that sums up the state of industry: “If you acquire it for free, and you enjoy it, please come to a live show and bring a friend. If you paid for it, you should still come to a show – but know that you are exceptionally wonderful.” Serving as a precursor to his upcoming sophomore album Nice, Nice, Very Nice (to be released in August 2009), the EP is a collection of accessible yet poignant folk-pop tracks that mix Mangan’s often witty lyricism with his definitive raw vocals. The opening and closing songs demonstrate the diversity of Mangan’s abilities; whereas “Robots” is an upbeat metaphor stating that “Robots need love too,” “Tragic Turn of Events/Move Pen Move” is a haunting lament prominently featuring Shane Koyczan’s poem of the same name (“Move Pen Move”). The EP’s five tracks leave the listener in anticipation of the full-length record and thinking that he’s pretty wonderful himself. http://www.myspace.com/danmangan - Heather Adamo
Samples, as the Danks’ EP is aptly titled, is indeed served like an hors d’oeuvres tray; teases of potential. It’s one of those EPs where the listener knows that the band is holding back for their upcoming full-length, which is fine (as the main course should be better than the appetizer). And speaking of food, for the whole 17 minutes of this EP, lead singer Brohan Moore sounds as if a small pile of rice krispies is snap, crackle, and popping away on his tongue as he sings. Surprisingly, it does not do much to hinder the Strokes-like guitar or that Prince Edward Island charisma, but it is odd. Formed in 2006, half of the Danks is actually half of fellow Charlottetown band Two Hours Traffic. The two bands share not only members but also that lackadaisical bouncy flair more often than not found in the Canadian indie rock scene. Either way, it looks like two members trafficked themselves into an unnecessary back-up plan, or so this EP would have one believe. http://www.myspace.com/meetthedanks - Melissa Kim
Daniel, Fred, and Julie is a collaboration between three talented Canadian musicians. Daniel Romano sings and plays guitar in Attack in Black, Calm Down its Monday’s Fred Squire also played in Shot Gun and Jaybird, and Julie Doiron’s solo career requires little introduction. Their self-titled album features 10 songs, eight of which are well known folk songs in public domain. The album was recorded in Squire’s garage, using only a tape machine and a microphone placed on the ground. The songs aren’t perfectly played but they aren’t meant to be, as the group decided that they wouldn’t overdub or edit any of the tracks. Thus, the album evokes true folk spirit as the three musicians play and sing all together as friends recalling traditional songs. However, one of the album’s two original songs stands out as a highlight. “Runner” is a slow and beautiful original by Romano, about a man who lives his life without attachment. Romano fingers pick the strings on his guitar, and he’s joined by Doiron’s soft echoing vocal accompaniment on the choruses. The collaboration album successfully reforms songs that have been heard many times and debuts new tracks that hold their own in the company of tradition. http://www.myspace.com/danielfredandjulie — Jess Harris
Dappled Cities are a strange but clever bunch of Australian indie-rock boys. Not only are their genre combinations unique but in addition, their band name is super appropriate. They are, at the core, a dance rock act but with “dappled” elements of synthpop, space rock and industrial. Essentially, they’re a contemporary Australian Ziggy Stardust ripoff but with less gender-bending; the five-piece make overtly masculine music and have smutty stage names ranging from “Anex Whore” to “All-night Cum-laying” and enjoy creating frat-boy-esque YouTube videos that they place on their MySpace page. Their LP, Zounds, is a wonderful reflection of their stylistic preference for juxtaposition, with fast-paced verse-delivery, heavy drums, disco-inspired riffs and an echo effect. It’s wistfully consistent and optimistic. If, in the future, you ever get the chance to party on the moon with a bunch of Australian party boys, this is what it will feel and sound like. http://www.myspace.com/dappledcities — Jessica Carroll
— Bethany Hansraj
Sometimes, the names of bands are meaningless but calling your group the Dark Romantics and associating yourself with a name that was formerly used to describe the genius of melancholia in nineteenth century literature is a grandiose and utterly pretentious gesture. To be able to get away with it, your art better be as good as the words of Edgar Allen Poe. Naturally, nothing contained within this sophomore release even reaches the level of artistry required to be on a par with the author who invented detective fiction. Also, for an album also called Heartbreaker, the songs are rather obviously masochistic meditations on love, heartbreak and romance, albeit considered through a seemingly dark (as the name implies) perspective. Guitars spike around in the songs in an unsurprisingly post-punk gothic way and there are louder choruses than verses, that say love and pain is the same and women are dangerous and can break your heart. Such sentiments are prosaic in the extreme and are delivered in hushed vocal tones that scream with affectation rather than a needed emotional intensity. Unfortunately, in this contemporary version, the name the Dark Romantics only signifies a romantic folly of inflated and hollow extravagances. http://www.myspace.com/thedarkromantics -Christian Martius
Montreal’s The Darling DeMaes first full-length album, A User’s Guide to Raising the Dead (Songs of Spring) is catchy and certainly pretty, particularly the gentle “A Day in Her Life (Obituary Version).” Their sound is folk-inspired; the strings add dimension and the male-female harmonies are softly lovely. They manage to build songs that both pulse and drift with many layers. But somehow, the overall effect of the album is one of general inoffensiveness. The emotions of the lyrics feel distant, perhaps because lead singer Erik Virtanen’s voice, despite his talent, is inherently mild. The album is just too pretty to be real. This prettiness would be infinitely more powerful if harnessed in contrast with something sharper than the wistful sadness that permeates the album. The songs beg for tension and friction, especially because they have so much potential. The marvelous exceptions that prove this rule are standouts “She Took Off Her Glasses,” which plays sleepy vocals off a throbbing rhythm section, substantial guitars and misty samples of spoken-word performer Song Min Young, and “In Love With Patty Duke,” in which the lyrics, vocals and melody finally converge and project the emotional power that was intended for the rest of the album. http://www.myspace.com/thedarlingdemaes - Sally Walker Hudecki
Toronto band Darlings of Chelsea has been getting some praise for their debut six-track album, The Mimico Sessions. One quick listen proves that it’s largely justified. But let’s be clear: Darlings of Chelsea is not out to rewrite the rock ’n’ roll rulebook. We’re talking straight ahead rock ’n’ roll: guitars, bass, drums and vocals with no space for synths or samples. It’s a little bit punk rock but never straying far from the pop playing field. Right from the intro of “I Want Your Love,” it’s easy to feel the band’s passion and excitement for their craft. The riffs are consistently big from the frenzied sing-along “Riot” to the screams and monstrous hooks of “Devil Is a Woman.” This may be a debut EP but these boys are far from rookies as all members have backgrounds from the Canadian indie map (from The Black Halos to Robin Black). Finally, if I may be so bold as to give a complaint: we need a record that’ll last longer than the walk up Mimico from Lake Shore to Royal York. http://www.myspace.com/darlingsofchelsea — Joe Veroni
The Datsuns are taking full control on Headstunts. Between adding a new group member and self-producing their fourth full-length release, the band is making sure we know they’re comfortable in their own skin. This attitude translates into the album’s 12 tracks and creates a raw energy that is evident from the first distorted guitar slide of opener “Human Error.” The album is unabashedly loud and reckless, yet brings the listener along for the ride. Tracks such as “Eye of the Needle” and “Somebody Better” best demonstrate The Datsuns’ ability to contrast mellow with raucous within a single song, proving these New Zealand punk rockers can also be melodic when they so choose. Headstunts, an anagram comprised of the letters in “The Datsuns,” lives up to its name as it rearranges hard rock preconceptions and repackages them in album form. http://www.myspace.com/thedatsuns -Heather Adamo
Much has been said about the aphrodisiac qualities of The Dead Weather’s debut album, Horehound, and with good cause. Horehound, down to its name, manages to be both overtly sexual and not that at all. Every song is heady, moody, and builds from deceptively fundamental essentials — Jack Lawrence’s rock steady bass, Jack White’s temperamental drumming, Alison Mosshart’s easy snarl, and Dean Fertita’s raucous and teasing guitar — inevitably heightening to a stormy climax. The Dead Weather make every other supposedly “heavy” band sound like they all have the balls of a Ken doll. They sound something like Led Zeppelin at several points but The Dead Weather are much worse teases. When you’re expecting the epic pay-off, they give you a maddening pause instead. And before you think it’s done, they jump into the heaviest depths of the melody. Yet, there are several catchy songs on the album: opener “60 Feet Tall”, “Hang You From The Heavens”, “I Cut Like A Buffalo”, “Treat Me Like Your Mother” and even the epic “Will There Be Enough Water?” Horehound’s maximum impact does not require more than one listen and yet it will probably — as Mossheart moans — “grab you by the hair and sell you off to the devil.” If albums could be described like lovers, Horehound would be unpredictable, indescribable and intense. Even if you spent all your time trying to convince yourself they were too dangerous for you, you would never be able to deny that they never left your mind — everything to do with suggestion and nothing to do with sex, which is, of course, a thousand times sexier. — Sally Walker Hudecki
When The Dead Weather released their debut, Horehound, less than a year ago, the album sounded like a basement jam session featuring Jack White, Alison Mosshart, Dean Fertita and Jack Lawrence. Simply put, the album kicked ass. Less than a year later, the quartet are back with Sea of Cowards, an album that manages to exceed all expectations. “Blue Blood Blues” kicks off the album as you’d expect, with heavy Zeppelin-esque guitar riffs. “Hustle and Cuss” sees Mosshart and White juggle with the lead vocal role until the following track, “The Difference Between Us”, where Mosshart takes it by stranglehold; her sharp vocals carry the track, mixed together with spacey sci fi synths. On the twisted “Die by the Drop”, Mosshart belts out her vocals with authority. The jam session feel of their debut continues here, most noticeably on the drums as every snare hit and bass kick tends to be felt through your speakers like you’re there rather than simply heard; they’re just as loud as the crunching guitars that swirl throughout the album. Only White & co. could make blues rock seem so refreshing in 2010. Get this album and crank it up. http://www.myspace.com/thedeadweather — Jon Brazeau
They Will Take Up Like Serpents by Dearly Beloved is pop rock with an edge to it, or power pop with a hint of grunge if that’s what you prefer. However you choose to classify this sound, you can’t argue that it doesn’t sound very silly. This is a familiar case where a band, in trying to sound edgy while maintaining a conventional pop sound, implements some rawness into their pop songs. It doesn’t work for Nickelback and it doesn’t work for Dearly Beloved. There are some bands that can pull this off but most pop bands trying to sound hardcore end up sounding very silly. The first track, “Move On,” is a particularly funny tune in that it is a very formulaic, testosterone-igniting song. The music is very basic but the players never avoid an opportunity to really accent those downbeats and get your head bobbing up and down to the beat with a serious, rock-out expression on your face. I just can’t help but chuckle as this band tries so hard to sound “bad ass.” Then I laugh even harder when I listen to the vocalist and his serious attempt to sound like John Mayer (where he tries to sound seductive rather than melodic). Though in his defense, he drops this act after the first song and for the rest of the album he just tries to sound raw and edgy. But the biggest problem with this style, aside from it sounding silly, is that it becomes too predictable. Each successive song on this album sounds like a carbon copy of the previous song and by the last song I was really annoyed and frustrated with Dearly Beloved. http://www.myspace.com/dearlybeloved — Joseph Fava
The Deep Dark Woods’ third full-length release, “Winter Hours” is inappropriately titled. All 12 of the tracks featured on this album are far too rich with character and warm tones to be considered a winter-themed project. There are no lapses of hibernation or icy stares signaled in their songs at all, even if the album art encourages that sentiment. This Saskatoon-based four-piece easily meander back and forth between the highs and lows of traditionally minded roots music. There’s no skimping on the pedal steel, which makes for a consistently nice flourish indeed. If nothing else, the song “All the Money I Had Is Gone” makes it clear why this band is one of Exclaim!’s artists to watch for in 2009. This track rolls its narrator in like a kayak on a turbulent river, ultimately capsizing him to where he consents to defeat with the words, “I can weep and I can cry. I can wonder why.” They may call themselves The Deep Dark Woods, but this band certainly is not in the dark when it comes to resonating with sounds of the heartland. http://www.myspace.com/deepdarkwoods -Melissa Kim
Southern folk rock from Rhode Island? Not to be judgmental of where you come from but sometimes when things aren’t quite natural, overcompensation becomes evident in some form or another. In this case, trying too hard comes in the form of an attempt for gruff, twangy vocals that could easily be mistaken for coughing after gargling tar like mouth wash. Deer Tick’s 10-track sophomore release has instrumentals that are catchy enough with just the right amount of harmonica but vocalist John Joseph McCauley III sounds like he needs a cup of tea to soothe his throat post haste. The standout tracks are “Smith Hill” and “Little White Lies.” The latter track complements blooming pedal steel well with the lyrics, “Please let me be lonely tonight/Because I know in my heart you’ll be just fine.” All in all, if McCauley’s voice doesn’t tick you off, you’ll probably hold them dear. http://www.myspace.com/deertick — Melissa Kim
Spirit Youth carries with it an effortless air of depth and clarity from beginning to end, taking listeners on a dream-like journey — delving into an endless space in each of the album’s 10 songs. With songs like “A Key Turns”, with its steady tempo and gentle-subdued vocals that’ll have you singing along (without actually knowing what the words are), and the far away single, “Dream About Me”, listeners are brought to a place where they can dance, fall in love and completely space out with this dreamy collection of artistry. Spirit Youth is simply intriguing. http://www.myspace.com/thedepreciationguild — Xolisa Renee Jerome
There are certain metal albums that you want your non-metal friends to hear to prove that the genre has merit. Then there are others you tend to hide in your collection and hope your friends never hear them for fear of ridicule. Day of Mourning is one of the latter. Where the machine gun bass drum and rapid fire heavy guitars work in the “deathcore” category, it’s the growling, Cookie Monster vocals that’ll make your friends wonder what the fuck you’re listening to. Indeed, the indistinguishable vocals get boring right around “MVP” (the third track on the album) and those brief spurts of guitar solos, especially during opening song “Les Temps Changent,” only serve as breaths of fresh air from the burning hell that is the rest of the album. The jerky mid-song change-ups aren’t enough and even the trigger-happy drums get played out over the course of the 10-song, 35-minute album. While not necessarily a bad release, there’s little going for it to recommend it either. Just look at the album cover and you’ll know whether or not this album is for you. http://www.myspace.com/despisedicon — Jon Brazeau
Ohio-based electronic forerunners Devo return after a 20 year hiatus with Something For Everybody. As the title denotes, this album unquestionably has “something for everybody” within its comprehensive 12 track collection. When the band had faded into obscurity they left us with an empty nerdy hole to fill after their last full-length 1990 flop Smooth Noodle Maps. However, their long-awaited comeback Something for Everybody manages to fill this emptiness with reverence and a great deal of progressive success. With their attitude always pointed toward the future Devo has held a place in our hearts over the years with their blend of obscurely complex electronica and electric New Wave rock. The sense of naiveté the music once held has now become fused with modern attitude, providing a more polished and calculated sound on the album. This refined studio sound has allowed for more of the band’s attention to be spent creating memorable riffs, catchy melodies, and a flow throughout that clearly shouts out that this is undoubtedly a “Devo album”. Memorable tracks such as “Please Baby Please” and “Don’t Shoot (I’m a Man)” indisputably reflect Devo’s abilities as creative and innovative songwriters. The majority of the music on this disc follows suit and will present the listener with the challenge of getting such melodies and lyrics out of your head. In today’s somewhat repetitious electronic music scene it’s ironically refreshing to have someone like Devo to come out of the woodwork and show us the entertaining importance that the genre still holds. Distinctive and deliberate, the revitalization of their own sound on Something for Everybody gives us a flourishing creativity that has thankfully shown us that the stagnation of Devo’s music is officially a thing of the past. With a sound both simplistic and captivating, now is the perfect time for Devo to come together and pay proper homage to a signature style that has never been forgotten. —Stephen Lussier
A Mad & Faithful Telling is a sometimes bustling, sometimes lulling, altogether original listening experience from DeVotchKa, the American indie band with a growing reputation for all manner of strange instruments and influences. In a Beirut-style gypsy-indie mix, DeVotchKa travels a roundabout road from Eastern Europe to a Parisian street corner where a lonely old man plays the accordion. Then they run off to join a mariachi band in Mexico, travel up through California to play with aged-but-undying American folk singers and end up surfing couches in the basement apartments of struggling students in New York or Montreal or some other indie haven. Except they’re from Denver, Colorado and Zach Condon was probably twelve when they first started touring. Nonetheless, “it seems the world has caught up with them,” as their press release reads, and through the hills and valleys of their worldly influences, announced by the boom of the sousaphone like a marching band coming to town this album’s a real gem. The band’s a beaut. Their big break came from scoring the Little Miss Sunshine soundtrack, and just like that vanload of underdogs you can’t help but love them. They’re eccentric, they’re fun, they’re heartfelt—they’re an experience unto themselves. - Aurora Prelevic
It is no doubt a thrilling event whenever Dimitri From Paris releases a new compilation and Get Down with the Philly Sound; a first ever-double CD documenting the birth of Philadelphia disco, is no different. Not only is this a first to pay tribute to the Philly sound but also a first to give respect to neglected musicians who played on the hits from the likes of the late Teddy Pendergrass, the Jackson 5, Trammps and Melvin and the Blue Notes. GDWPS is the fifth compilation from the French DJ and ambassador of disco and style, until now the Playboy Mansion compilations were Dimitri’s confirmation of success at turning disco and soul into great house music. All tracks on GDWPS were created in Philadelphia and feature the core of the rhythm sections that invented and defined the sound of the genre. CD1 features Melvin and the Blue Notes (“The Love I Lost”), the revival of the Jackson’s career with a soul-stirring mix of “Living Together”, Teddy Pendergrass gets his props from Dimitri, with two gorgeous tracks, as do lesser known like Charles Mann with “Do It Again”. “The Night the Lights Went Out” by The Trammps is explosive and truly captures the feel of the era. CD2 pays tribute to the original creators and innovators of the Philly sound. The remixes live up to Dimitri’s statement on the notes: Remixes and edits all respectfully done by Dimitri From Paris utilizing the Original Multi Track Parts. The DFP remix of “The Love I Lost” sends a chill down your spine with it’s richness and uplifting sound, same song as on CD1 but with a totally differently spirited outcome! Listening parties will take place in many cities as well as the popular themed DJ events with DFP, something to look forward to and something to dance about (as the DJ loves to play in Toronto). Dmitri From Paris created a tasteful, enlightening, and rapturous tribute to the Philly sound and an intoxicating experience. Formidable! www.myspace.com/djdimitrifromparis — Daria Essop-Lafontaine
With Vampire Weekend working diligently on their sophomore album and Ra Ra Riot’s 2008 debut, The Rhumb Line still making waves, RRR’s Wes Miles and VW’s Rostam Batmanglij have decided to pass some time with a little side project called Discovery. Their debut, simply titled LP, mixes early R&B rhythmic, crazy electro hooks and a lot of awesome Auto-Tune parts, which may not sit well with Auto-Tune haters like Jay-Z. “Orange Shirt” is very slick and an overall good mid tempo dance track. “Swing Tree” is really awesome overall; the beat is really addictive and the hooks shy away from their indie rock background. “Can You Discover” is the knockout of the bunch; think Ra Ra Riot’s “Can You Tell” if it featured T-Pain and the result is a wicked indie remix that will most likely be on repeat. Overall, Miles and Batmanglij have definitely given us a summer banger, so be sure to thank them when you see them again in their respective bands. www.myspace.com/discoverydiscovery — Max Mohenu
On this five-track EP, Toronto band the Disraelis display a raw, post-punk sound that shows a lot of promise. Cameron Ingles’ vocals hover between the bleakness of Joy Division’s Ian Curtis and R.E.M.’s Michael Stipe. Colin Bowers’ guitar depresses at times but also gives that faint tweak of hope of something better due to the fuzzy warmth of the lo-fi sound. Closing track “On Earth” is the epic tune on the album, clocking in at over six minutes (everything else hovers around the four-minute mark) and feels like an alternative jam session. A solid release from top to bottom, it’s a short but delectable treat. http://www.myspace.com/thedisraelis -Jon Brazeau
http://www.myspace.com/dogdaytheband - Joe Veroni
Don Vail is a four-piecer from the Toronto area who have just released their self-titled debut album. The album was produced by Jordan Zadoronzy, who has also produced records for Stars and Sam Roberts. This pop-influence is obvious in Don Vail’s mainstream sound. The band is reminiscent of Incubus or Foo Fighters but without the certain Je ne sais quoi that made these acts so special and successful. The record is not bad but it offers nothing original or exciting. The best that Don Vail can hope for is a hit radio single and the chance to plummet into the heap of Canadian alt-rock acts that no one ever really cared about. - Allison Smith
Taking on a defined “jam-session” format with an album is a difficult task to take on by any artist, and being able to endure this style for the duration of an entire disc is not typically successful. However, Martin Dosh’s latest exploration into just such a venture is as equally enjoyable as it is captivating. Independent label Anticon Records release Dosh’s fifth full-length album, Tommy, and it holds a surprisingly winning combination of predominantly instrumental studio sessions mixed with a laid-back electronica backdrop. A distinct impression of the live acoustic sound plays well throughout this audio departure, sometimes recessing itself but always returning. Subtle synth nuances of sound weave in and out in a raw and genuine manner that invite you to listen more as each song unfolds from beginning to end. Categorically defiant, Tommy ultimately holds so many elements of diversion that tedium rarely settles in. From the opening percussive moments of “Subtractions”, Dosh sets an upbeat pace to the album — albeit harnessing more energy than fans might be use to, this offbeat yet somehow mellow upsurge heightens and finishes without disappointment. “Yer Face” follows with a jazz-infused vocally-driven confusion that, along with similar songs on the disc, cements the album through its oddly chaotic arrangement. Andrew Bird provides the vocals later on with “Nevermet” — a song which may again stand out unusually within this instrumental dreamscape, but somehow reveals a softer, more lyrically based approach to Dosh’s music. High-point numbers outweigh the minor filler tracks by far on this album. The strength of musical construction shines brightest with the closing track, “Gare De Lyon”, possessing an overcharged electric guitar presence and climaxing built-up finale. Jam-session folk-electronica proves itself to be anything but drab with Dosh’s flair for the creative with Tommy. http://www.myspace.com/doshanticon — Stephen Lussier
http://www.myspace.com/vancitydreadnoughts — Joe Veroni
Ryan Graveface is the musician behind Dreamend and The Long Forgotten Friend is his second full-length piece. As the band’s name implies and the album’s cover art confirms, Dreamend works with sounds that are largely melancholic and dreamy. The Long Forgotten Friend plays with those magical moments between sleep and waking life as Graveface composes hopeful sounds on “If Only For a Day” only to drag the listener into remorse and melancholy on the next track, “The Tulip Staircase.” The sound is always eerie, and though the album may be short on lyrics, it is certainly high on emotion as can be seen as the record culminates with the horrifying “Deathwatch Carnival 1965.” For fans, it should be noted that the double LP version contains four extra songs not available on the compact disc. http://www.myspace.com/dreamend - Joe Veroni
If you’ve ever listened to a Dr. Dog record, you know that it’s always a wild ride. Fate gives you the meat and potatoes of rock, but in a way that sets the bar way higher than any release in recent years. “The Old Days” is very catchy song; the combined elements of psych rock and twangy folk pop give this song a little groove. “The Rabbit, The Bat, and The Reindeer” feels like a poppy little ditty from the days of the Beach Boys. The vocals in “From” give the song a very soulful/gospelish feel, but chants and piano give it that obscure indie street cred all the cool kids crave. The end of the record channels an old school New York rock edge with songs like “The Beach” and “My Friend”, which makes the overall project a very good experience and a great listen for anyone. - Maxwell Mohenu
For me, the excitement that comes with listening to a new band starts with not knowing what to expect. It’s not often, however, that a band can keep me excited for the duration of an album because I’m continuously learning what to expect from the band as each song comes to a close. Drink Up Buttercup is a rare band that can keep you guessing, and their album, Born and Thrown on a Hook, is one of the few albums I would describe as unpredictable. The majority of the songs on the album are disjointed and spontaneous. “Seasickness Pills” and “Sosey Dosey” highlight the band’s style and their disregard for conventional song forms. Every time I got comfortable with a progression, the band would quickly take the song on an unrelated tangent by changing the tempo or the mood. Although it is very easy to disregard music like this as pretentious and self-indulgent; on the contrary, Drink Up Buttercup’s music is very approachable even though it is pretentious. They have a great sound that is not overly polished, their music has an abundance of energy, and the generally up-beat tempo of the album makes their songs really fun. http://www.myspace.com/drinkupbuttercupband — Joseph Fava
Dustin Bentall delivers some good old Americana on his latest album, Six Shooter. Bentall clearly pays great attention to detail with delicate instrumentation and production while intentionally avoiding clichés. A huge single quickly hits the speakers with track two, “Take the Money And Run.” In this tune, we get hit with big hooks, great lyrics and an all around great mid-tempo feel. There's no shortage of outlaw style lyrics on this record, with references to: a suspended driver’s licence, doing lines on the hood, spending Christmas in jail, robbing banks, late night love affairs and countless miles spent on the road. My favourite song on the album is track eight, “Secrets.” This creepy yet alluring song pulls at the heart strings while painting a vivid picture of open country roads and making you feel as though you're driving on a cold fall night obsessing over a bar room beauty of days past. “Little Bird in a Big Wind” is classic material; Bentall’s smooth yet slightly raspy voice really pulls this song together with smart lyrics and a backing band remindful of Ryan Adam’s Cardinals. With song titles like “Railroad,” “Six Shooter,” “Arizona and Deserts of Our Minds,” it’s easy to paint a picture of what this album’s all about. http://www.myspace.com/dustinbentall — Andre Skinner
If there is nothing new under the sun, then perhaps this six-piece, difficult-to-categorize prog/country/indie rock ensemble from Anaheim, California is on to something. Dusty Rhodes and the River Band’s sophomore release, Palace and Stage, is a mixed bag of goods, which unabashedly pays homage to dozens of musical influences, old and new. The record is chock-full of feel-good melodies which offer clever, Sloan-like lyrics (as showcased in “Andy”), whiny dirt-rock vocals as in “Sorry for Now” (ala Mick Jagger), swelling orchestral harmonies (borrowed from one of their reported influences, Swedish Prog rock band Dungen) and a pinch of psychedelia throughout, best exemplified in “Fire in the Sky” (which reeks of Jefferson Airplane or Yes). All of this is served with a side of spirited violin accompaniment and a bag o’ mean guitar riffs. The recipe: two parts jam-band, one part careful construction of an epic sound mosaic. Bold, flavourful and cooked to taste, Palace and Stage is just raw enough to really rock. Perhaps it’s impossible to be everything to everyone but as much as one River Band can, these guys deliver an album that is deliciously rock ’n’ roll. http://www.myspace.com/dustyrhodes — Erin Klassen
This past decade has been a real breakthrough where smaller indie artists have finally taken centre stage. Bands like The Strokes saved music from the manufactured crap that was being churned out in the late ’90s and in effect established a fantastic up-tempo and twangy sound that would be copied over and over again throughout the current decade. What we need now in 2009 is a band or an artist that will take us into a new direction and lay the foundation for the upcoming new decade. It's time for music to change. Will Philadelphia's East Hundred be that band? No. Okay, so Passenger is not a groundbreaking release so let's look at what it does offer. It is not unlike any Metric album we may have already heard maybe four years ago with its twangy guitar licks, dominating synth sound and all around solid musicianship accompanied by the captivating voice of their frontwoman Beril Guceri. So if this formula can work for Metric surely many will be taken by this release from East Hundred. Songs like “Slow Burning Crimes” and “Plus Minus” bring lots of energy and do make the album worth checking out despite their strong resemblance to that other band. William Self
Imagine you are on the California coast. Just relaxing on the beach, the hot sun being replaced by a refreshing evening breeze. You’re having a really pleasant time. A Volkswagen hippie bus appears out of nowhere and out bounce eight or nine modern hippie types. This might give you a bit of an idea what you are in for with this album. If you are the kind of person who would join the hippies for a sing along, you’ll love it; if not, you’ll probably despise it. Think all the things that Devendra Banhart stands for but subtract his high warbling voice and replace it with more of a group sing along that I’ll lazily refer to as a kind of hippy Arcade Fire sound. Right, so what do we do with this thing that is pretty much against everything we want as serious music listeners? Little asides between band members as they whisper sweet nothings to each other are almost gag inducing. At the same time, it’ll grab even the most apprehensive listener. The first half of the album features harmonies, strings and production layers that will have you singing along if you submit. After the halfway point, which features the playlist ready song “Home,” the album takes a nose-dive. It loses all the energy of the first half, thus leaving the listener wanting or feeling justified in their initial apprehension. At least three or four of these songs would be welcome on any mix, but listening to an entire album from this crew can be quite taxing. http://www.myspace.com/edwardsharpe — Daniel Demois
Just when you thought the indie music world had reached its maximum capacity with regards to neo-psychedelic pop rock acts, along comes New York newcomers Electric Tickle Machine and their record, Blew It Again, to snap you out of it. Don’t let their sing-songy name get in the way of your first impression; these dudes have made a record that is two parts accessible and one part raving mad and is anything but cutesy. Zig-zagging across genre lines, they experiment with reverb garage rock, dream-like bluegrass and shoegazing punk, ultimately achieving a brand of pop rock that will be potentially detrimental to your sanity because you won’t be able to get it out of your head. Like similar sounding their peers — Tapes ’n Tapes, Man Man, and even Passion Pit — their vibrant use of drums and airy organ surrenders a sort of frenzied gratification. ETM aren’t necessarily presenting anything new but they’re kind of like that hot shy girl in high school who was friends with all the popular chicks (see record cover, above) — when she spoke, she was so much more witty than her friends, but she was still an unattainable popular girl after all. http://www.myspace.com/electricticklemachine —Jessica Carroll
Los Angeles native Eleni Mandell is not easily classified in one genre. Her voice fits unquestionably within the jazz aesthetic, which is often reflected in blues-based chord progressions and riffs. Just as often, listeners will find undertones of singer/songwriter style and rock and roll within her songs. This diversity of influences is present throughout Artificial Fire, Mandell’s seventh full-length album. Whereas past releases were more genre-specific, Artificial Fire combines jazz (“Artificial Fire”), blues (“Right Side”), acoustic (“Personal”), pop (“Front Door”) and rock (“Bigger Burn,” “Cracked”) with Mandell’s storytelling narrative, resulting in a mélange of musical elements. What remain consistent, however, are Mandell’s smooth vocals, which capture the listener with their depth and sensuality. Artificial Fire presents Mandell’s growth and maturity, while maintaining a fun-loving edge. http://www.myspace.com/elenimandell - Heather Adamo
Lightheartedly self-proclaiming that they are in the business of producing modern “hindi rock”, Elephant Stone follow up their Polaris Music-nominated disc The Seven Seas with their most recent teaser EP, The Glass Box. Led by front man Rishi Dhir, the band has already gained positive recognition in the global indie-music scene for their unique blend of pop rock. Emerging out of the always-growing Montreal music community, they are showing no signs of regression – only indications of ongoing creative development are evident in this newest collection of songs. Limiting themselves by recording with an all-analog recording/mixing process, the five-song-EP successfully supplies a creative blend of power pop/psyche music with appeal for anyone longing to hear “mainstream alternative” with an inspired and imaginative twist. Dhir’s departure from the pop scene in 2006 into that of a more classical form of Indian music has obviously benefited him creatively in emerging more as an artist. Only recently has he worked his way back into the popular music landscape. The Seven Seas was testimony to the creative stronghold that he and the band possess for creating excellently crafted, catchy pop music with a wonderfully optimistic vibe. Now with this newest collection of tracks, the strength in both songwriting ability and musical composition seem better than ever. Limitations that might have surfaced from the use of such an archaic form of recording never rear their head in this mix. Instead, the combination of elemental rhythm and catchy rock melody is more than enough to ground the music solidly – almost effortlessly. Elephant Stone is clearly defining their style right now and should be earmarked as a band destined to only progress on the path which they have distinctively marked out for themselves. http://www.myspace.com/elephantstoneonline — Stephen Lussier
Elephant Stone’s latest album, The Seven Seas, seems to stay very linear throughout the duration of the first half and the rest of it slips under the radar of being mediocre because it’s actually somewhat good. “How Long” starts out really good, but doesn’t really break out the way it should. The title track has a great twee pop feel to it, which makes it the best song on the record. Someone once said there are bands that are good at writing songs but not so much at making records. Elephant Stone has a wonderful way of writing but this record could definitely use a bit of oil in some of the more rusty parts. http://www.myspace.com/elephantstoneonline - Max Mohenu
With their second LP, Toronto alternative country trio Elliott Brood avoid the sophomore slump and have crafted a fine release. The album uses the history of the Mountain Meadows massacre as a jumping off point for the band to launch into an album with a real traditional feel. “Without Again” starts off with a rocking drum beat that will make you bounce your head until the song is served a dish of country flavour — banjos and harmonicas — that make you feel like you’re in the Canadian Prairies. It’s a fun little song much like the opening tune, “Fingers and Tongues”. Mark Sasso’s raspy vocals give every song that worn down feeling and it’s very fitting with the old time vibe. The album is a worthy follow-up to their 2005 Juno-nominated release, Ambassador, and things can only get better for the band from here. - Jon Brazeau
January 8, 2010 marked the 75th anniversary of The King of Rock ’n’ Roll’s birth. Immortalized as the hunka hunka burning’ love, his presence in pop culture is still enormously felt in the form of constant re-releases of song catalogues and films, impersonators, kitsch, and the overall swagger of his demeanor. Let’s face it: he’s not The King for nothing. Enter Toronto’s Elvis Bossa Nova!, an instrumental quintet which is the furthest thing from your grandma’s tribute band, and before you can say, “Instrumental Elvis? WTF!” you’d be hard-pressed not to be at least intrigued, right? What started as an experiment by blending rock, jazz, country, bluegrass, Latin and classical, these seasoned musicians have been honing their skills as a Sunday night fixture at a popular west-end eatery for the past two years, and have since become one of the tightest ensembles around. Combining guitar, vibraphone (yes!), bass, drums, and percussion, Elvis Bossa Nova! has re-imagined such classics as “Viva Las Vegas,” “Blue Moon,” and “Are You Lonesome Tonight” into limitless, otherworldly possibilities. Maybe it’s just me, but the eight-track debut (appropriately released on the anniversary of the big 7-5), is almost Barbarella-ish in spirit: the slinkiness of the slide guitar, the vibraphone gliding over the melodies, there is definitely a retro sci-fi moodiness to the intuitive chemistry this band proclaims to have (those who have seen them live will attest to this). But what’s more captivating is that many of the tracks are unrecognizable versions of the originals, save for a chorus or a hint of a reworked line, making you work almost as hard as them to figure out where they’re going. Elvis covers, yes, but this is something you can and should put on for many an occasion. — Chloe Vice
When Feist released The Reminder and went on to be featured on an Apple commercial with that catchy tune of hers “1234,” a trend in modern age music had been observed: a new wave of Canadian indie songbirds has arrived. Enter Toronto's Emma-Lee with her second release Never Just a Dream. Her voice, rich and striking spans throughout the smooth listening blues, jazz and folk numbers throughout the album, crossing genres in the tradition of Norah Jones. There's a little something for everyone here, perfect to play on a Saturday afternoon while reading the paper and sipping on coffee. -William Self
Eric Hutchinson’s second album, Sounds Like This, has been a long time in the making. The vocalist/guitarist/pianist/percussionist (and there’s still 15 other credited musicians on the record) was left in the lurch when the Maverick label folded in 2005 but Hutchinson persevered and has finally come up with his follow-up to 2003’s That Could’ve Gone Better (an honest title if I’ve ever heard one) and 2006’s live EP …Before I Sold Out. Sounds Like This was worth the wait. It’s a slick pop record full of groovy clap-alongs and jazzy vocals. Hutchinson is at his best when he lets his vocals really take flight on songs such as “You Don’t Have to Believe Me” and “Outside Villanova,” where Hutchinson and his band just seem to be having fun. Finally, it probably should be noted that internet blogger, gossiper and all around weirdo Perez Hilton even recommends the album - take that for whatever it’s worth. http://www.myspace.com/erichutchinson -Joe Veroni
Not your typical all-girl band, E.S.L. boasts a cellist and violinist as well as a plethora of backup musicians on other instruments. Combined with their original tunes, there are also three cover songs on Eye Contact, “Like a Hurricane” (Neil Young), “Venus in Furs” (the Velvet Underground) and “Girls” (Beastie Boys). While it’s interesting to hear the band’s take on these tunes, having all three of them on an eleven-track album is a bit excessive and they’re not exactly songs that haven’t been covered before. It’s only a minor gripe as “Girls” is a fun tune no matter who’s performing it and E.S.L.’s version is no exception. “Like a Hurricane” feels stripped of its rocking glory but completely warm and bundled with the band’s strings added to the mix. As for the band’s own songs, those with an appreciation for a variety of instruments will surely enjoy “Walk with Me” and “Not About You.” It’s certainly not for everyone but those who like it may like it a lot. http://www.myspace.com/eslband –Jon Brazeau
Oh, the art of parody. Generally meant to amuse or provoke insight, the debut of Everybody Was In The French Resistance…Now! shoots wide of this goal. Eddie Argos of Art Brut, and Dylan Valdes of The Blood Arm, claim to be Fixin’ the Charts by stripping down pop songs and recreating them with antithetical responses. However, no track achieves the composition or lyricism that gave the originals their fame. Their own frivolity trumps many of the songs they intend to mock, perhaps with the exception of “G.I.R.L.F.R.E.N (You Know I’ve Got A),” which is a stab at Avril Lavigne’s “Girlfriend” — an easy target. Even the chuckles come mainly from the song titles: “Billie’s Genes,” “Think Twice (It’s Not Alright),” “Coal Digger” etc. Argos does contribute a humorous response to “My Way” when he postulates, “I should form some sort of committee/of people/to guide me through life safely.” It is entirely possible such wit is generated from superior intelligence which translates poorly to the songs’ subject matter. Thus, it’s worthwhile to give a track or two a listen. If you appreciate it, the album claims to be Vol. 1, so you can anticipate more fixin’ in the future. www.myspace.com/fixingthecharts — Chantelle Renee
http://www.myspace.com/extrahappyghost — Joe Veroni
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AC/DC 
All The Real Girls
Andy Bell 
Band of Horses
Heart of My Own
Beak> 
As Seen Through Windows
Pharmacy of Love
Rhythm Express ‘Beat Street’
Birds of Wales
Black Francis 
The Black Ghosts 
The Black Keys
Black Tambourine
Swinging from the Chains of Love
Witness 
The Blue Shadows
The Blue Van
Boats
Boxer the Horse
Mt. Chimaera 
Old World Lies EP 
Phosphorescent Blues
Introducing Brilliant Colors
The British Columbians 
Yesterday You Could Save The World 
Broken Bells
Brookhaven
Devastator 
Vagarosa
Panesian Nights 
Soft Airplane
Does You Inspire You
It’s Like That Here 
When the Future Caught On Fire
Techna 
A Lesson in Science 
Compose Yourself
Cloud Cult 
Axe to Fall 
The Sea
C’Mon/Hot Live Guys (7” split single) 
Cowboy Junkies
Run For Your Life
CCF War Amps 
Crystal Castles 
Cuff the Duke
Damien Jurado
Samples 
Zounds
Turn Time Off
Heartbreaker
The Mimico Sessions
Headstunts
Horehound
The Dead Weather 
Depreciation Guild
Devo 
Dimitri From Paris 
Demonstration 
Don Vail 
Tommy 
Victory Square
The Long Forgotten Friend
Fate
Drink Up Buttercup
Passenger
Artificial Fire
Elephant Stone 
Hi, I’m Elvis Bossa Nova!
Never Just a Dream
Sounds Like This
Eye Contact 
How the Beach Boys Sound to Those with No Feelings