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Athens, which is credited to Underworld vs. The Misterons (an alter ego consisting of core members Karl Hyde and Rick Smith, alongside Darren Price and Steven Hall) features 12 varying tracks of musical styles that have been seamlessly brought together. The album is a compilation of musical inspirations, from the sounds to the technical aspects, that Hyde and Smith have grown from and have incorporated into their own masterpieces. With a heavy focus on live musicianship, the album delivers great improvisational playing. There’s the deep- bluesy bass in Alice Coltrane’s “Journey in Satchidananda” and the stumbling snares in Osunlade’s “The Promise.” Mahavishnu Orchestra’s beautiful “You Know, You Know” bears perfect guitar improve along with unique harps and these spontaneous squeals of sound that definitely jolt you from your thoughts — really, with my volume on its highest setting, they scared the hell out of me! Athens also features two masterpieces from Underworld themselves. There’s the techno-dance “Oh,” with its intertwining trumpets and the busy- jazz-spoken word; and “Beebop Hurry” with words by Hyde. — Xolisa Renee Jerome
Watch out! It’s another Brooklyn band that likes to sing about Brooklyn! Luckily, Up the Empire’s EP, Loose Ends, has only four tracks; three of them are original tunes and the last is a cover of Dinosaur Jr.’s “Feel the Pain.” It is difficult to tell where each song is going because the lyrics are in a directionless daze, too doped up on the rigid guitar riffs to care. The EP plays as one whole song but not because of an effort of continuity. With the lyrics in account, the lead singer sounds like a loser boyfriend who loves emotional abuse and won’t stop harassing you in each song until he gets it. For example, in the first track, “Last of the Bullets,” he repeats, “You said you were tired and I believed you.” This is followed by a question from the second track, “Reasons Why It’s On,” with, “When are you going to see that you’re never going to get rid of me? Lie to me and I’ll agree.” Then in the third track, “It’s Alright (For Now),”now more self-aware, he concludes, “It’s true. I threw it away for you. You wanted sacrifice. It’s nice for you.” In conclusion, cut the loose ends. - Melissa Kim
This sophomore outing from Toronto treasure Valery Gore is a fresh, any season of the year type of album that feels just like home. This will warm any bitter cold evening, and I’m sure come summer, will cool down any sweltering day. Gore’s breathy delivery, along with the lighter jazz feeling much of the record has, is bound to remind people of Leslie Feist. There is something a bit more playful, natural, almost magical at work here though. With a full band behind her for much of the album, Gore’s ambitions tend to lean towards a more bombastic sound. These arrangements are extremely sophisticated and one cannot help but be excited to see where she goes from here. Full of triumphant horn work and upbeat pianos, “Worried Head,” for instance, is catchy from the first listen. When the ambitious productions and creative piano playing do take a back seat to the vocal at the song’s centre, like on “Strange Way,” we feel the bittersweet inspiration that has driven the whole album, and realize that there is a great variety of emotion, depth and innocence at it’s core. - Daniel Demois
While it’s highly unlikely that Vampire Weekend will be converting any of their very vocal opponents with this album, Contra is an inventive, crowd-pleasing creation for their current followers. The first few tracks provide a nice sunny bridge from VW’s self-titled debut before they branch into more experimental territory. “California English” proves Auto-Tune undead (to Jay-Z’s chagrin) with disconnected vocal melodies and a turn for the philosophical. However, don’t look for anything terribly insightful. Their predictable dissatisfaction with a superficial and sheltered popular culture echoes most effectively in the docile and pensive “Taxi Cab.” “Cousins” is a relatively aggressive and fast-paced return to the typical VW catchiness which will, for better or worse, conjure up many a singalong. Surprisingly, the album ends on a rather sleepy note with “I Think Ur A Contra.” Although a good flex of vocalist Ezra Koenig’s emotional muscles, the song comes off whiny, producing a disappointing end to an otherwise pleasingly diverse album. http://www.myspace.com/vampireweekend — Chantelle Renee
Lush orchestral arrangements and ethereal vocals drift, swell and build into rich, textured soundscapes on Azar, the second LP from Athens, Ga.’s Venice is Sinking. The band describes their sound as undefinable with a style that’s hard to pin down or pigeon hole and they’ll get no argument here. On Azar, they’ve crafted an album that at times feels like Radiohead’s Kid A without the over abundance of electronic noise, crossed with Manchester Orchestra, but somehow with a 50’s, Celtic, big band, blue grass, pop, soundtrack feel. The dual male and female vocals drift in and out and blend together in perfect tandem, while strings, synths, horns, and guitars pile on one after the other in a seven-layer dip of orchestral pop, set to a consistent beat. One thing is certain, while it’s hard to define the style on Azar, the quality is obvious. This album is definitely worth checking out. - Aaron Long
Dublin’s Villagers, fronted and largely comprised of singer/songwriter Conor J. O'Brien, release their debut full-length album Becoming A Jackal. Fans had already been exposed to the band back in 2009 with their EP Hollow Kind. It was a previewed glimpse into the musical warmth and creative maturity that O’Brien was capable of and that he eagerly yearned to show the world. Now signed with Domino Records the evolution of the music has become even more elegant and inviting than before. Spiritual and emotional, Becoming A Jackal is beautifully composed, well thought out and brilliantly produced. The album opens with an uncomplicated piano intro combined with mounting strings and a pure and sweet narrative tying the two together. “I Saw The Dead” immediately reveals the complexity and evolutionary standard that has been set with only more extraordinary work to follow. Using obscure and dark poetry combined with a comfortable acoustic backbone, the album consistently delivers music that simply washes over you in a veil of grace and charm. The lyrical style is reminiscent of an early Leonard Cohen or Donovan with its dark and sensitive wordplay. Tracks such as “Home” or “Pieces” bring to mind a similar song-making style akin to Arcade Fire, elevating the strength of both voice and instruments to a fevered pitch. Folk-inspired arrangements mingle together with songs containing an unruly heightened passion that clouds any specific genre or category that might pigeonhole the band’s sound. “To Be Counted Among Men” finishes the album with another appropriately shadowy storyline. This stylish finish encapsulates the same mystery and somberness that the preceding songs had held, providing a soft finality to a tour de force debut. http://www.myspace.com/villagers — Stephen Lussier
This should not however be seen as a negative trait, as the tendency of other current and trendy sounding bands to phone in performances for effect (or perhaps out of lack of talent) is completely absent in the Virgins. The song writing is strong and varied, creating a mixtape quality that can often sound messy in lesser hands but works in this case. This is largely due to the solid rhythm section of Erik Ratensperger and Nick Zarin-Ackerman who are as adept at the mid tempo balladry of closer “Love is Colder Than Death” as they are at the rhythmic stop-start funk of “Murder”. The Virgins are also no strangers to melody and lyricism in spite of their seemingly party-ready instrumentation. “Fernando Pando” in particular seems genuine and heartfelt in way that is immediately familiar and anything but disposable with sentiments such as “The kids I used to know they died/Well they’re not around/I wonder what they think of life/When they’re looking down”. http://www.thevirgins.net
When Brooklyn’s buzz hits the streets, you better take cover cause it’s usually a pretty blowup. The self titled album by Vivian Girls is no exception. The girls refine garage rock from start to finish on this record. “Tell the World” hits hard and the girls’ vocals could not be anymore beautiful playing in the background with tambourine. “Where To Run To” has a lot more harmonies and catchy lines, which work just fine for the song. “No” has a lot of old punk rock elements to it and the girls’ vocals are very reminiscent of the a lot of females of that era of music. Garage rock is a hard genre to do right but add a little sass, awesome drumming and a hint of shoegaze here and there and you’ll know what has got people hooked on these girls. http://www.myspace.com/viviangirlsnyc -Max Mohenu
The twelfth studio album from Canadian heavy metal band Voivod also happens to be their final one as well. Featuring tracks written by their late guitarist Piggy, the album serves as tribute not only to the band’s career but to Piggy as well. Infini falls somewhere between thrash and prog, being dominated with plodding, brooding guitar riffs. Also worth noting is former Metallica bassist (and Voivod fanatic) Jason Newsted on bass. Much like his work with Metallica, Newsted follows the main guitar riff and doesn’t overshadow the other members of the band. Opening track “God Phones” has catchy single appeal but given that they also have a song called “Krap Radio,” it’s doubtful the band would want any station to play it. “Destroy After Reading” features a stunning guitar solo that injects a breath of fresh air into the middle of the album. Final track “Volcano” is a fitting ending song as it’s Voivod in pure thrash form and it’s almost sad to say that it’s the last Voivod song ever. Are they finished for good? In the music industry, never say never. — Jon Brazeau
- William Self
The War on Drugs tumble out of the gate with their first full-length album, a swirling mix of guitars, slow drum beats, moody bass lines and depressing lyrics. Their variety of guitars – acoustic, electric and twelve-string – tug at the emotional heart. The songwriting is akin to a lost early Bruce Springsteen album drowned in guitars of misery and spacious, ambient feelings, especially on “There Is No Urgency”. Vocalist Adam Granduciel sings about there being trouble everywhere, a clear indication of futility. “Buenos Aires Beach”, driven by Granduciel’s lyrics and an acoustic guitar, is a timeless little tune in a Tom Petty-like fashion, although with an added touch of guitars fading in and out in over a minimal drum beat. Not all the songs are depressing, as “A Needle in Your Eye #16” features loud, upbeat drums but combined with the bleak, black-and-white album cover, there is an overall feeling of sadness here. It works quite well for the band though and it’s only a shame this nine-track album isn’t longer. http://www.myspace.com/thewarondrugs –Jon Brazeau
When former Red Hot Chili Peppers guitarist John Frusciante considers you a fan (and subsequently mixes your album), you know you’ve made it. The debut EP from Los Angeles art rock band Warpaint, Exquisite Corpse, was originally self-released before given the Frusciante touch. The six-track EP features hauntingly hypnotic vocals, unorthodox song structures and moody guitar licks that drive songs like opener “Stars” into spooky territory. “Elephants” speeds up and carries and chaotic vibes, with a furious bass line and drum beat that really shine through. “Billie Holiday” slows things down again with acoustic guitar and lush vocals, reminiscent of Cat Power at her greatest. It’s a delicious 33.5-minute sample of the band’s early stages and it’ll be interesting to see where they go from here when they release their first full-length album later this year. http://www.myspace.com/worldwartour — Jon Brazeau
http://www.myspace.com/thewarped45s — Andre Skinner
Identical twins Chandra and Leigh Watson have steadily risen through the indie rock and alt-country scenes. They made a name for themselves on 2006's Rabbit Fur Coat, a joint effort with Rilo Kiley’s Jenny Lewis. Now on their first full-length album as just a pair, the Watson Twins continue to craft enjoyable folk tunes with a touch of pop rock spice. Their cover of the Cure’s “Just Like Heaven” is an enjoyable treat and while it has been covered before – most notably Dinosaur Jr.’s noisy guitar version – the Twins’ version slows the tempo right down, turning the upbeat love song into a mellow, heart-warming singer-songwriter tune. The Twins’ own tunes are also quite enjoyable, showing their pop and folk sensibilities on “Fall.” Overall, while Fire Songs loses some of its momentum over the course of eleven tracks, the album is a delightful collection and worth a listen. http://www.myspace.com/thewatsontwins – Jon Brazeau
If there’s one thing We Were Promised Jetpacks will do, it’ll be to depress the hell out of you. This just-under-20-minutes five-song EP consists of post-punk tunes that’ll turn any smile upside down. And it’s not just the moody vocals or the fuzzy guitar notes. “Short Bursts” adds strings to the mix that’ll really bring you down. The sad instrumental “The Walls Are Wearing Thin” shows that even without the depressing lyrics, the band can still capture the mood. There’s still some pop sensibility, such as the start-stop quiet-loud-quiet progression of “With the Benefit of Hindsight” but the sombre piano and Jeff Buckley-lite vocals on “This Is My House This Is My Home” will convince you that they’re really trying to break the listener’s heart. All in all, for what it is it’s quite good but honestly, cheer up. http://www.myspace.com/wewerepromisedjetpacks — Jon Brazeau
Celebrating their sixth anniversary, (weewerk) has released this compilation of songs from their artist roster. Although a little heavy on the Tony Dekker/Great Lake Swimmers side (which isn’t really a bad thing), the album also includes songs from FemBots, the United Steel Workers of Montreal and others. With the emphasis on rarities, demos and upcoming tunes, this compilation serves both as a nice introduction to the label’s alt-country lineup as well as something for fans that is worth tracking down. Both “Songs for the Angels (Miracle Version)” and “Hands in Dirty Ground” were only released on vinyl, so it’s nice to have these rare-ish Great Lake Swimmers songs in digital format. Here’s to six more years (and then some). -Jon Brazeau
I can’t even count how many times I’ve heard people go on about how great the Collingwood, Ontario music scene is. Okay, that’s pretty much a lie, but Collingwood and the Wasaga Beach area is home to Weybourne Project. This self-titled album is their debut and their sound is straight off the beach, blending reggae with a smooth brand of ska to create a relaxed and mellow high. The nine tracks never fall far from Weybourne Project’s comfort zone but there’s not a bad song in the bunch. Songs such as “Pill Popper” and “Would You” will have you longing for that summer feeling. If you’re looking to give a well-earned rest to your Sublime and Toots and the Maytals albums, then Weybourne Project is something you might want to check out. http://www.myspace.com/weybourneproject -Joe Veroni
http://www.myspace.com/wheatmusic
Based on the strength of their 2005 debut album, Give ‘Em All a Big Fat Lip, the evil empire that is Rolling Stone touted indie rockers The Whigs as a band that you might want to keep your eyes on. Five years later, we see The Whigs release their third album, In the Dark. The band has traded in a lot of their indie sound for polished production. Now they’re about as indie as post-grunge — which is exactly what this album is. Imagine if Kings of Leon were a Foo Fighters cover band and you’ll have an idea what the most of In the Dark sounds like. It’s good polished fun and easy-listening for those with fond memories of the grunge scene. And hell, if you want an even better idea of what this album sounds like check the link out as we’re streaming the entire damn thing. http://www.myspace.com/thewhigs — Joe Veroni
White Cowbell Oklahoma are back with Bombardero, their third full-length effort, and this time there’s a slight change of pace. Gone are the days of song titles like “Put the South in Your Mouth” and the totally insane stage-show that went along with it. But this isn’t necessarily a bad thing. Bombardero is a tightly-packed southern fried rock-n-roll bombardment. From the opening of guitar explosions of “Bombardero 1,” to the infectious circular riffs of “Keys to the Universe” through to the unrelenting “This Cracker,” there’s hardly a dull moment. WCO even take time to pay homage to one of the origins of their sound with a stellar cover of The Edgar Winder Group’s “Frankenstein.” Bombardero is undoubtedly a success, I just hope that the band’s live show doesn’t get toned down too much – after all, who doesn’t want to see a chainsaw blasting sparks off the white cowbell? http://www.myspace.com/whitecowbelloklahoma - Joe Veroni
Casey Dienel’s far too young to sound so good. Or is it the profundity of her lyrics and the depth of her musicality combined that make her precocious talent seem so incredible? Regardless, her classical piano training and propensity for fantastic story-like lyrics come out all-too-perfectly beautiful for a twenty-two year old. Even if we never figure out the age riddle, it is still difficult to describe this album; its instrumentation seems almost jazzy, but yet, it’s not at all. Dienel and her band, rather, pull off a Regina Spektor-kind of pop/rock thing with the piano, but it’s not comparable either. It’s just lovely. Ok, her voice is eccentric but smooth, the lyrics dancing-dreaming-wonderland-specialness, the songs flowing along as naturally as the changing seasons, like fall swings snowily into winter and the snow melds meltingly into spring, a soft drum beat pushing us forward, slowly, (summer soon) but surely, forward…it sounds whimsical, but it’s not that, either. It’s mischievous, it’s playful, but yet it’s quite serious, not silly at all. It’s melodic, it’s original: the instrumentation organic, it’s a searching, serenading journey... and that’s what makes it all such a wonder... However, even more puzzling is why there are hyenas ripping apart a zebra on the cover, do let me know if someone’s uncovered that riddle. Aurora Prelevic
UK rockers White Lies’ debut album To Lose My Life landed the number one spot in it’s first week on the UK Album Chart this past January. Producers on the album include Pulp’s Ed Buller and mixing by Alan Moulder (My Bloody Valentine, The Smashing Pumpkins), and the combination has an unexpected outcome. With such heavy influences combining to create this record, it’s surprising to hear how White Lies were able to make it so much their own. The production quality is very impressive, and they’ve taken songwriting to a storytelling level that has been unheard of for a long time. Most of the songs are very dark and mournful with a very heavy tone; yet the array of musical instruments used on this album makes it so full, powerful and extremely emotional. To Lose My Life definitely has an undergoing theme: death. All of the songs are about death, though every one is written in a different light; “Farewell to the Foreground” is about escaping a dead town, where “Unfinished Business” is about a recently deceased man trying to contact the love of his life. Definite Joy Division and Interpol fans will enjoy this musical trip to the funeral parlor. http://www.myspace.com/whitelies - Brittney Townson
The problem with White Rabbits last release was that they had a beautiful body of work, but nothing that really hit you hard. It’s Frightening, their sophomore album, compliments their musical range and really sells the more classical side of writing and song structure. The album opens with “Percussion Gun;” the lyrics are strong, the drums even stronger and the delivery is just beautiful. “Lioness” has amazing piano parts that really build the songs intensity ten-fold and the lyrics are extremely catchy, which is fun. The album’s backbone is definitely in the production. Teaming with producer Mike McCarthy (who has worked with Spoon in the past) has given the record a sound that couldn’t be any closer to perfection. Overall, don’t expect to press a button when this record is on because its starts out strong and continues right till the end. http://www.myspace.com/whiterabbits - Max Mohenu
Messy, chaotic, raw and at times quiet — The White Stripes’ Under Great White Northern Lights is a compilation of live recordings from the group’s 2007 Canadian tour for which the duo visited cities such as Burnaby, Edmonton and Iqaluit. The album goes hand-in-hand with the documentary sharing the same title directed by Emmett Malloy, capturing on and off-stage footage from the tour. Under Great White Northern Lights is full of unwaning energy and adrenaline. Listening to the album, it’s like you are actually there watching the duo perform right before your eyes! The album provides the perfect live performance atmosphere and experiences for listeners in the comfort of their own home. For example, with most live shows you get to hear new versions to original songs. With the album’s opener, “Let’s Shake Hands”, the performance starts off with a 56 second-long bag pipe session before jumping into the original song. Also, the album does a great job capturing special moments within the crowd. With, “I Just Don’t Know What to Do With Myself”, you get to hear the back and forth singing between Jack White and the audience where you can hear the crowd singing the chorus of the song and Jack responding with the following verses. Through each of the album’s 16 tracks, listeners get an opportunity, whether recaptured or for the first time, to experience a moment in music history. http://www.myspace.com/thewhitestripes — Xolisa Renee Jerome
This is the tenth studio album from America’s favourite touring rock band Widespread Panic. It was recorded with big-deal producer Terry Manning, the man of Led Zeppelin, Lenny Kravitz and ZZ Top-recording fame. It rocks, yeah, but there’s pretty much nothing original about it, at all. I suppose it’s an American thing. They tour cross-country to mass audiences on a yearly basis, but yet they sound like standard rock band pub fare. It seems like the kind of thing they’re going for is major radio station airplay, a well-attended every-town U.S. tour, Billboard Top 200, million-dollar-grossing tours and album sales. So clearly they’re doing well at it. Widespread Panic has the kind of Dave Matthews Band cult-like following, and those people are damn excited for this album. The rest of us, however, are not likely to be swayed if we haven’t been already, and that’s not likely to affect the turnout of this Athens, Georgia band’s tour this year, or the next. http://www.widespreadpanic.com/ - Aurora Prelevic
http://www.myspace.com/thewildernessofmanitoba — Anne T. Donahue
Paper Bag’s newest recruits Winter Gloves have really taken notes on what makes bands like Tokyo Police Club and Born Ruffians so damn addicting. About A Girl has a little bit of everything, without giving you the same idea over and over again. Songs like “Let Me Drive” and “Invisible” have dance party potential and are pretty damn catchy after a few listens. The rest of the album keeps that sugar pop rock feel, but as different elements are introduced from song to song, the album eventually grows on you and keeps you interested. About A Girl has enough handclaps, lovely cutesy pop hooks and synth beats to keep you busy until they drop another album. In the mean time you’ll be happy to listen to this record over and over again. It’s hard to believe that one band can be so damn good. - Maxwell Mohenu
Unfortunately for fans of early Wintersleep, the band has continued the trend of developing a more radio-friendly sound with their new album New Inheritors. Elements of Wintersleep’s sound that defined the band in the early stages of their career have been glossed-over in their latest release. The band has embraced a cleaner, less complex, power-pop sound compared to the more harsh and intricate sound that permeated the bands early years. “New Inheritors”, “Black Camera” and “Terrible Man” are just a handful of the songs on this album that show the direction the band has slowly been turning towards. The songs are up-beat and the instrumentation, for the most part, is fairly unimaginative. That being said, vocalist Paul Murphy still manages to deliver solid vocals and lyrics; and I’m sure fans of Wintersleep had little doubt that he would come through on this album. Although his lyrics probably aren’t the best he has produced, they still have a lot of depth and are just as thought-provoking as his lyrics on previous albums. He also gives some stand-out performances; the tracks “Experience the Jewel”, “Blood Collection” and “Mausoleum” are memorable tracks because Murphy’s lyrics are fantastic and his vocal performance on these the songs were different from anything I’ve heard from him. Even though this has seemed like a negative review up until this point, New Inheritors is a good album, but when compared to Wintersleep’s previous album, it doesn’t meet the standards that those albums established. http://www.myspace.com/wintersleep — Joseph Fava
The third album from Wolf Parade does not stray enough from either of their previous efforts to gain or lose members of their fan base. Expo ’86 is a title that allegedly refers to the beginnings of the groups friendship in mid-eighties Vancouver, perhaps suggesting that this is the first time they have all been on the same page since then. Much has been said about the group finally finding a comfortable middle ground between the styling of co-leads Dan Boekner and Spencer Krug. The songs are certainly more consistent this time around, but without the two writers playing foil to one another the excitement has lessened a bit. At three albums the group seems to have settled into a sound. Expo ’86 is still a completely satisfying album from start to finish, with more of a mainstream 80’s feel added to many of the songs, making them catchier on the first listen. This album is very good, but while previous albums tended to grow each time you heard them, Expo ’86 delivers maximum potential immediately, perhaps making it slightly less rewarding. http://www.myspace.com/wolfparade -Daniel Demois
The Wooden Sky isn’t interested in approaching music normally. While If I Don’t Come Home You’ll Know I’m Gone cannot be categorized as entirely “unconventional,” there is something to be said about vocalist Gavin Gardiner’s raw delivery that gives the album a more post-modern feel than other comparable Canadian folk-rock releases. After all, the band got people talking in Toronto and Montreal after they began staging impromptu shows on rooftops, parks or in friends’ apartments and If I Don’t Come Home You’ll Know I’m Gone is a good reflection of these impulsive desires, effectively wrestling with influences outside of indie, implementing tinges of pop, country and even psychedelia into their tunes. There is a feeling of dreary romanticism that touches every facet of this record, which is perfect for gloomy dreamers. Not only is it startlingly beautiful, but also completely fluid and, if my impulses are correct, will skyrocket them into fame. http://www.myspace.com/thewoodensky — Jessica Carroll
Woodpigeon fans are never left waiting too long. The Calgary-based band is dedicated to their craft and their fanbase, releasing EPs in between each of their full-length albums. Woodpigeon’s most recent effort is called Spirehouse and the five songs on the EP are distinctive tracks that showcase different sides of the same band. “Music for the Naturally UnHip” and “Don’t Fret My Pet” assume a very modern identity, making interesting and experimental use of chimes and echoes to create depth. “Toil” and the title track, “Spirehouse”, on the other hand, are very reminiscent of Simon and Garfunkel and could easily be mistaken for some of their lesser-known songs. A remix of “Spirehouse” closes the EP, and is much more compelling than the song on which it is based. It’s a much busier rendition, with a string section and more prominent percussion — but it still maintains the original song’s calming ambiance. Diverse and intriguing, Spirehouse does exactly what an EP is supposed to do: leave you wanting more. http://www.woodpigeon-songbook.com/music/spirehouse/ — Bethany Hansraj
- Melissa Kim
I’m not sure whether to commend Woven Bones for creating new tunes for old school punk fans to enjoy or bash them for mimicking a genre without adding much of anything new to it. In and Out and Back Again is a shadow of the punk music that was so groundbreaking in its time. As a new release, the album stumbles in its attempt to reach the glory of its predecessors. Droning, ominous melodies, unoriginal rhythms and three-chord segments fill the 26-minute LP. “Blind Conscience” features a subtle wailing on the guitar in the background, a welcome variation in a half hour of monotony. It feels like I’ve heard this before, as if this new release were off the soundtrack to Empire Records or a ’70s best of punk compilation. Punk roots may be woven into the bones of this band, but the group has failed to offer listeners anything that hasn’t been done before. It’s like what Wolfmother is to classic rock, but worse. Holistically, the music is solid in its instrumentation (it sounds good and the players seem adept at their instruments) and its vision (it’s not very flexible from the old school punk genre). In and Out and Back Again is punk without the movement and, without the movement, guess what? It’s not going anywhere. http://www.myspace.com/wovenbones — Robert Vandrish
Xavier Rudd has once again succeeded by aiming to please his audience. It’s hard to believe that this multi-instrumentalist is capable of coming out with a bad or even mediocre album. The fourth track,”Guku”, is filled with an immense amount of soul, feeling and free spiritedness. You can tell how much emotion and effort is put into each song. The track ”Secrets” is a great song with a funky beat and Rudd’s voice could stop anyone in his or her tracks for a listen. Overall it’s a great album and should be checked out.
With slick guitar riffs, and just the right amount of cowbell, XX Teens have utilized every possible sound and style to make their album, Welcome To Goon Island, a solid debut for this five piece indie-rock band from London, England. “B-54” has got that snap, crackle, pop of a post-punk song, but with a garage rock swagger. “Round” is a pretty weird song, there is some chanting in the background, but the synth beats make it a tasty treat for your ears. “My Favourite Hat” will get you moving and “Darlin” is a ska-influenced track that’ll bring the 16-year-old out of you and have you skanking for hours. For any other new bands coming out with their debut this year, take note, because this one will be tough to top. - Maxwell Mohenu
Taking your first listen to Odd Blood is quite blindsiding and hard to digest simply because the album is so fucking awesome! The songwriting is unbelievable and spans from experimental electronic vocal to complex pop songs that kill the competition. This album is getting plenty of college and satellite radio play and to be honest, I think it’s too advanced for the general public’s top 40 pallet, making Yeasayer a hidden gem for those into the more obscure bands. That said, it wouldn’t be surprising to see Yeasayer explode in the near future, either way I suggest you get your asses to iTunes or their website to pick up a copy. Standout tracks: “O.N.E.” — If you’re looking for ear candy, this track is the best of the bunch; so rich, so catchy it’s what all songs should strive to be. “I Remember” — The fact that a guy can sing so high is incredible, the lead vocalist hits inhuman highs but handles it with authority creating a super electro pop song. “Rome” — This track is another potential single for Yeasayer, a very danceable, upbeat percussive tune full of energy. http://www.myspace.com/yeasayer — Andre Skinner
Formed in 2006, Yellow Fever has been a staple act in their hometown of Austin, TX since their inception, and with two EPs and a 7” released on Hugpatch, it was high time for this trio (that started as a duo) to venture forth and record their boppy 11-track LP. And while no one could possibly blame them for recently signing to the Vivian Girls’ Wild World label, some followers of the band, and in particular locals of the Austin music scene, will pass this full length recording off as a redux of their earlier work — and for the most part, it is. The rest of us, however, have a nice, compact introduction to the musical styling of Jennifer Moore, Isabel Martin, and Adam Jones’ bass/guitar/drum/keyboard mix-up. Martin harmonizes with Moore on the tracks and the effect is a melding of two rich altos that could be like the musical version of loping around in an easy manner — it feels good. Citing Young Marble Giants, Stereolab and early Rough Trade as musical influences, there isn’t anything complicated about their compositions but who really cares? With song titles such as “Cats and Rats,” “Cutest” (which has a familiar summer camp sing-a-long melody) and “Donovan,” they are what they are: lo-fi psych pop with a cuteness factor that is extremely high. http://www.myspace.com/yellerfever — Chloe Vice
Vancouver’s You Say Party! We Say Die! are back, sort of. The dance punk band have given their 2007 release, Lose All Time, the remix treatment, track by track, for this digital-only release. Dropping some of the punk in favour of dance, the songs have been given a facelift for the dancefloor. “Downtown Mayors Goodnight, Alley Kids Rule! [5-2 Beatdown Mayors Mix]” puts more emphasis on the electronic drum beat, while “Monster [RAC Remix]” has an 8-bit Nintendo-like synth added to it. Unfortunately, some of the songs lose their angst edge, such as the remix of “Like I Give a Care.” Remik’s Cube serves as a nice companion to Lose All Time and putting this album on might turn your computer room into a dance club. http://www.myspace.com/yousaypartywesaydie - Jon Brazeau Hamilton, Ontario’s Young Rival describe themselves as wildcat rock ’n’ roll and on their self-titled album, it’s hard to argue against that moniker. Opening track “Got What You Need” is a driving number that’s quite enjoyable too. “Modern Life” has the same sort of vibe going for it as well. The rest of the album doesn't stand out too much and the band’s limited vocal range make the album feel like Sloan-lite. “At the Break of Dawn” mixes things up a bit as it sounds like it belongs on the soundtrack to a Spaghetti Western film. Overall, Young Rival have a solid rock sound but there is room for improvement.
— Jon Brazeau
— Andre Skinner
On their latest self-titled album, B.C. foursome Yukon Blonde just can’t seem to decide which genre to settle in. The odd thing is that it works for them. The first two tracks on the album, “Rather Be With You” and “Blood Cops,” begin as mid-tempo pop rock numbers before incorporating catchy hooks and repetitive sing-a-long lyrics midway through. Next, many tracks on the album contain beach rock riffs and melodies that sound like they could be found on a Strokes album. However, the track “Wind Blows” stands especially apart from the rest of the album and features a ’70s influenced folk rock sound with vocal softness that recalls Crosby, Stills and Nash. And finally, the album features ’80s-inspired keyboard on many tracks. So, have Yukon Blonde lost themselves throughout genres and decades? The answer is both yes and no. Fluctuating style inhibits the album’s cohesiveness, but the tracks stand alone as individual successes. http://www.myspace.com/yukonblondeband — Jess Harris
There are certain genres that transcend time. With unparalleled momentum and a consistently enormous fanbase, artists within this realm often have long and prosperous careers. One such constantly evolving genre is classic heavy metal and Vancouver’s 3 Inches of Blood seem to perfectly embody the perpetuation of this super nuanced style. On their fourth record, Here Waits Thy Doom, they wear their influence on their sleeve, intentionally (and effectively) channeling the theatricality of Iron Maiden, intensity of Motörhead and the storytelling ability of DragonForce. We’re talking classic metal storytelling here; song titles range from “Battles and Brotherhood” to “All of Them Witches” to “Snake Fighter” and speak of epic frontiers, lecherous virility and assassinations — you know, mystical stuff that’s totally badass. Although the integration of secondary vocalist Justin Hagberg’s throaty growl and the rapidity of the guitar hooks gives the band a thrash and speed metal edge, this album is definitely a throwback work, and frankly, perfect for fans of classic, straight-up, no-nonsense heavy metal. I mean, there’s a song with a play-by-play on how to tame a venomous snake. How can you go wrong with that? —Jessica Carroll
While it’s been a long time since “She La” and even “Ocean Pearl,” alternative rockers 54-40’s latest release is less flashy but still catchy even with more mellow tunes. “One Hundred Songs” features a banjo, harmonica and even a xylophone mixed together with a thumping drum beat; it’s an easy song to listen to and enjoy. Title track “Northern Soul” is also quite enjoyable. Neil Osbourne’s easily recognizable deep vocals are the only reminder that this is a 54-40 album. “Where Did the Money Go” is reminiscent of the band’s early comparisons to R.E.M., with a bit of a quicker tempo and nice melody. Overall, Northern Soul has a unique feel to it and it is an alright release. http://www.5440.com - Jon Brazeau
The year 2008 saw the reissue of four original ZTT pressings from one of the premier U.K. electronica music acts that came out of the acid house music scene. 808 State’s hypnotic, trance-like style of electronic music is notable for giving us some of the clearly defined character that we now see in a lot of today’s house music. Over 20 years later it now comes alive to an entirely new generation thanks to these remasters. Though some of the original sound techniques incorporated may seem dated by today’s standards, one must remember that 808 State was at the cutting edge of electronic dance music breakthroughs at the time and should be revered for establishing some fairly creative audio techniques and pretty memorable music. Ninety (or 90 – depending on how you remember it) marked the band’s second official full-length release, and the music offered on it shows an expansive look at how the British house music scene broke free of its North American counterpart. Songs that encompassed more than simple danceable electronica emerge on this album, showing how 808 State had taken the stagnation of the musical landscape at the time and helped to breathe new life into it. The North American rave scene had embraced this album at its time of arrival and listening to it today brings with it a clear understanding of what 808 State’s innovations brought to the genre in order to distinguish itself from the norm. This, as well as each of the other three ZTT 808 State reissues, includes a second bonus disc of B-sides, remixes and unreleased tracks that will appease any ’90s club-goer that wishes an LSD-laden trip down memory lane. Newcomers to the music may enjoy what the band had done with this album to push the envelope with out of the sake of interest alone – but being only their second attempt at creating breakthrough music it might leave some house-music hardcores wanting much more. — Stephen Lussier
Through the recent flux of ZTT Records album reissues, the 1991 release ex:el grants us another glimpse into acid house forerunners 808 State and how their maturing level of electronica furthered the evolution of dance music in the early ’90s. Following the band’s successful debut with the hugely acclaimed acid-house single “Pacific State” in 1989, ex:el propelled the band creatively and innovatively a mere two years later into the U.K. and North American mainstream club scene. Chronologically the third full-length release from the electronic music collaboration, ex:el shows a strong sense of evolution and polished finesse that had developed in their music – swaying away from the typical house music of the early ’90s and showing more innovation and sophistication than had been witnessed on their first two albums. With an arsenal of new techniques, collaborations with prominent artists, and a culmination of infectious samples and loops, 808 State had again reaffirmed themselves as one of the most distinguished electronic house acts at that time. Ex:el highlights the talents not only of the collective that make up the band but also such guest vocal-styling from the likes of ex-Sugercube Björk as well as New Order’s Bernard Sumner. It’s electronic fusion at a time when rave-based repetition had taken over the North American club scene. With originality and strong levels of maturity involved with each growing 808 State album, it’s clear that their U.K. influence of acid-house had changed the electronic club genre from mundane one of a trance-infused electronic music world. — Stephen Lussier
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Venice is Sinking
Villagers
We Were Promised Jetpacks 
Various Artists 
Wintersleep
Woods
Woven Bones
Yellow Fever
Young Rival 
Yukon Blonde
808 State 
808 State