This is the self titled album by up and coming band the
Pacific. It is fun, indie rock affair, which was simply made for summer
listening with its cheery anthem and radio friendly feel. Many of the songs on
this album just scream out hit single, without being cheesy, bland or being the
same as something else. The band, who recently played at the world famous South
by Southwest festival in Texas, (which is practically a stamp of approval on
it’s own), hail from Los Angeles, California. In their own words they describe
the bands sound with the words, “a “Whirlpool of madness and love” which after
hearing this album is a fair comment.
In places the album is mellow, but not slow to the point of being boring, and
when you learn they come from California it is easy to imagine these songs being
sun soaked summer anthems. Many of the songs like “Come on, come down” and
“Drunk Stumbling Suitcase” are catchier than a bout of the clap, and you could
imagine them being played live with a room full of people singing along and
bopping along to them.
Very mature sounding, and it really sounds like a band that has been
together for a long time. The songs feel familiar on first listen, but you don’t
feel like you’d get sick of them in a hurry. This is a wonderful summer album
that will hopefully gain them the popularity they deserve.
www.myspace.com/thepacific
Adrian Huggins
back to top
Winnipeg’s Paper Moon has been a very busy band since forming
in 2000. Their debut One Thousand Reasons to Stay…One Reason to Leave, was
released both here and in Japan to favourable reviews. They toured endlessly
across Canada, and played several festival shows which included CMW 2003 and Pop
Montreal. They’ve even had their music featured in film, television, and
numerous international compilations. Impressive!
Now they’ve burst forth with their second disc, Broken Hearts Break
faster Every Day, predominantly utilizing the rich sounds of keyboards meshed
with a collage of other instruments (including a violin expertly handled by
another PM member, Nicole Pielou) to colourfully enhance these expressive
melodies. Added to the mix are Allison Shevernoha’s honey-sweet vocals which
blend in perfectly to take the songs to an even higher level.
Paper Moon, besides being talented instrumentalists, can also write
elegant lyrics that hint at something deeper. Take for example the pretty
“Turning Colours into Greys”: I have a choice to make/ but I can’t take the
blame/ so I choose silence every time/ I don’t know how to breathe. Or in the
sensitive, but melancholy “So Far Away”: It’s hard to get by in this substitute
home…but that distracting, oh miserable, relentless wind outside reminds me that
I was carried here on such a whim. Be sure to tune in to the energetic “Daytrip
to Salzburg,” “String of Blinking Lights,” (co-written with New Y ork
Producer/Ivy member Andy Chase) as well as the catchy “Less than Perfect.”
There’s a little treat at the end of the album too. Just when you think your
listening pleasure is over, wait a few seconds and then you’ll hear a faster
version of the track “So Nice.”
It’s said that Hugh Hefner is the godfather of sexual
liberation…in the 1970’s. It’s about time for revolution and Peaches is our
leader. Hyper-sexualized and gritty, she adds spice and sparkle to her witty
hits that feature teasers like, “Hurts so good I got a soregasm” and “I think
your mack needs more ram”, both from “Tent In Your Pants”.
Peaches is the
real deal because she is calling the shots and she is spitting and twisting her
own rhymes with conviction. On hits like, “Two Guys (For Every Girl)”, a
gender-bent version of the Jan and Dean hit, and “Fuck or Kill”, where she spits
that she would "rather f**k who I want than kill who I am supposed to", reviling
a certain chief (mis) leader’s political choices.
Pay attention to "Boys
Wanna Be Her" and "Downtown", both songs have two vastly different musical
styling - the former riding in on a Joan Jett-sized wave of rock and defiance
while the fifth song on the album is dipped in honey and thrown to the lesbians
- but that’s okay with Peaches.
www.peachesrocks.com
-Jessica Shulist
back to top
Pearl Jam
Pearl Jam
J-Records
The story is all too familiar. A band struggles for years to
make it big, when they finally do make it to the top they get sick of the music
that they have been playing and move on to a new sound. This often alienates
their fans, all in hope of being recognized by critics for the new evolution of
the music the band is creating. Pearl Jam has just the opposite problem, they
have been doing the same thing for almost 15 years to the delight of their
ever-loving fan base, yet they get blasted by critics with each new recording
for not adding anything new to their sound. It is a no-win situation.
I must admit that this review comes from a slightly skewed perspective,
as they all do. I have been a Pearl Jam fan since the beginning. Their debut,
1991’s 10, was the first CD that I bought with my own money and it still gets
regular play in my music rotation. The whole truth is that I have since traded
it in for the import version which includes the Jeffrey Dahmer inspired ‘Dirty
Frank’ and b-side ‘Wash’. I own the entire catalog except for the over 100 live
recordings they released between 2000 and 2003 (I am not that hardcore), and
have never been disappointed by any of their releases.
The same can be said of the new self-titled record. It is classic Pearl
Jam in every sense of the word. From the opening riffs of “Life Wasted” to the
closing notes of “Inside Job” Eddie and the gang know what keeps the fans coming
back and they don’t stray far. It has been almost 4 years since their last album
of original material (2002’s Riot Act), but there is no rust to be seen on this
record. The first radio single “World Wide Suicide”, although far from being the
best track on the album, is a rocking anti-war song that reminds me of “Do the
Evolution”(from 1998’s Yield) both in its political undertones and its
straight-forward rock riffs.
After listening to the album several times over I have several favorite songs
including “Severed Hand” with its unrelenting pace and killer solo’s, and the
closing song “Inside Job” which starts off slowly but builds to close the album
on a high note. That being said, I’m sure that every song on the album will be a
favorite at one point or another. If you are looking for something new or
different from Pearl Jam…look elsewhere because you won’t find it here. But if
you are a fan like I am, buy this record and appreciate it for everything it is.
A great rock album by one of the best and most uncompromising rock bands in
recent history.
www.pearljam.com
Matthew Gorman
back to top
In 2005 singer/songwriter Stephen McBean released the self-titled debut of Black
Mountain to critical acclaim. That record seemed to summon the spirits of
classic rock bands like Led Zeppelin & Velvet Underground with psychedelic
sprawling rock tunes, without sounding nostalgic or dated. His latest effort,
the second by another incarnation of the band, Pink Mountaintops does not bode
as well. It seems that these might all be tracks that didn’t make the final cut
for one of last year’s most well-received Canadian products. On the opening
track “Comas” as well as closing track “How can we get free” Mcbean’s hollow
sounding lyrics repeat choruses over simple guitar licks that could put you to
sleep if you’re not careful. Throughout the middle of the album McBean falls in
love with distortion, both of his guitar and voice, that despite my best efforts
could not be fixed by adjusting the settings on my equalizer. The track “Plastic
Man, You’re the Devil” has a buzzing sound throughout that had me looking around
to see if there was a fire alarm going off in the hallway. With shades of Beck
shining through the better parts of the album McBean definitely has something
going for him, he just has to figure out what it is.
- Matthew Gorman
back to top
Pink Nasty
Mold the Gold
Indie/None
Pink? Yes, singer/songwriter Sara Beck’s voice sounds all shades of
feminine pink from raspy magenta to vulnerable pastel. I can hear the
influence of Fiona Apple in Sara’s velvet vocal delivery. Nasty? Not so
much, more so the opposite with sweet and innocence pouring through each
poppy ballad. Although there are the occasional naughty words (swearing)
in the lyrics, when you spin Pink Nasty’s second album, Mold the Gold,
you can’t escape the feeling of summer in the 1970’s. As if belonging to
the soundtrack of Now and Then, I imagine slow dancing a safe
arm’s length away from boys and staying up rebelliously late in the
confines of a treehouse. This album evokes safe pop and quirky fun with
13 tracks ranging from tambourine shakin’, hand clapping, good ol’
chants/rants to very slow, acoustic tunes. The instrumental backdrop of
guitar, drums and piano are quite simplistic, directing listeners to pay
greater attention to the vocals. My favourite songs include vivacious
“Take it Back” and groovy “Thirsty Thursday”, with my preference to stay
clear of the duet tracks she sings alongside songwriter brother, Black
Nasty.
www.myspace.com/therealpinknasty
www.pinknasty.net
-cAthy
back to top
Plumerai
Ses Cogitans
Siber
Records

According to their
press release, the name Plumerai “comes from a French lullaby about
depluming a bird". Interesting name for an interesting band, that
despite the lack of feathers, they demonstrate they can still take
flight. Although Ses Cogitans is only 4 tracks long, each song is
longer than the average with, "Avernal" lasting about 7 minutes. After
two years of instability, the four-member band has solidified their
sound and declared this 2007 EP to be their true debut album.
Fronted by a female
vocalist, Elizabeth Ezell delivers her raw feminine tones, resembling at
times like a sexed up Bjork, ending her lines in subtle quirky vibrato.
The keyboards, guitar, bass and drums converge in good chemistry,
emitting their influential roots—80's punk and alternative—to create
dark, mysterious, enchanting modern rock. Their raw energy is captured
in their production process by focusing on greater live recording with
minor overdubs. And this steer away for that studio perfect sound is
rather quite perfect for them.
My ears welcome the
long musical breaks with my favourite found in the last few minutes of
“Avernal” where instrumental noise entwine to blood pumping climax,
sounding appropriate for a Pulp Fiction soundtrack.
www.plumerai.com
www.myspace.com/plumerai
-cAthy Lee
back to top
Pomegranates
Everything Is Alive
Lujo Records

With their 2007 debut EP Two Eyes leaving fans wanting more,
Pomegranates deliver an additional round of experimental pop goodness
with their first full-length album. The Cincinnati-based quartet
continue their off road path, with a sound ranging from jangly guitar
bands of old to modern acts like the Unicorns and Modest Mouse. With
guitar-driven tracks and dance-worthy drum beats, the album evokes
instant head bobbing and foot tapping. “The Bellhop” would feel timeless
if it weren’t for the modern production value. “Honey Moon Pie” also
opens with a pure 1960's feel, with Byrds-esque guitars and a Phil
Spector-like drum beat before evolving and ending the song with the
screeching wail of guitar distortion. Fuzzy, heartwarming indie pop,
like everything, is indeed alive.
http://www.myspace.com/pomegranatesart
-Jon Brazeau
back to top
The Ponys
Turn the
Lights Out
Matador

Sure it’s is a typically weak indie rock title, but this album is not
typical indie rock by any stretch. With this album The Pony’s step
up and prove themselves worthy successors to Sonic Youth and Yo La
Tengo. The whole thing is doused with feedback making it a post
punk/grunge/new wave pleasure complete with vocal effects and styling
reminiscent of Television and My Bloody Valentine. “Poser
Psychotic” has guitar work that is way more Stooges sounding than the
new Stooges album and on the whole, Turn the Lights Out has no
shortage of songs that sound strikingly familiar. As most great albums
tend to do, these tracks remind the listener of something they are sure
they’ve heard before. It’s the feeling when something has such a
catchy riff that you are positive you must have heard it before because
it grabs you right away. For me it took about three listens before
the songs stood out, and all of a sudden the hooks became more apparent
and the melodies grabbed me. I don’t mean to suggest that this is
100% original, as many of the moments seem snatched from the groups
listed above. I was even reminded of The Guess Who at one point,
but this group is successful because they combine all of these elements
into their own brand, creating something unique.
The Ponys exhibit great patience with their songs, and therefore the
album never seems rushed or too long. They could have gone from
quick rock song to the next but what makes it different is that the band
has no issue with taking it down once and a while for a slower track, or
going off on a spacey jam session. Maybe the beat slows down, but
the guitars are always wailing somewhere in the mix, with riffage that
can rarely be found outside of the greatest pre-punk records. This
is a very strong album and not to be ignored!
www.theponys.com
Daniel Demois
back to top
Pop Levi
The Return
to Form Black Magick Party
Counter
Records
UK funk phenomenon Pop Levi sets the party on fire with his debut LP, an
addictive mix reminiscent of Prince, Blue Cheer and the Bee Gees but
fused with a contemporary electro edge. Full of energy and great hooks,
the album runs a gamut of related genres, from the twitchy electro
sensibility of album single
“Pick-Me-Up
Uppercut”
to the smooth disco trip of
“Skip
Ghetto,”
to the bass-driven psychedelic rock of Blue Honey. As Pop Levi himself
describes it,
“it’s
bad music for bad people.”
Right on. Get your bad self onto myspace and check a sample of the man’s
work, available at www.myspace.com/poplevi - or watch for him as he
tours across North America with Swedish rock gods Mando Diao.
- James Sandham
back to top
Porcupine Tree
Stupid Dream
Lava Records
There’s a long story behind the Porcupine Tree. Born in 1987 in London, it is
the work of one Mr. Steven Wilson. Wilson had been recording music in his home
studio for several years when, with friend Malcolm Stocks, he came up with the
idea of a fake, legendary, 70s psychedelic rock band, complete with false
discography and bio. Retreating into the studio, he recorded several hours of
music to back up the façade. The Porcupine Tree was the end result of this
indulgent endeavour. Two years later their music was being featured on UK
underground compilations and now, with the release of Stupid Dreams almost 20
years later, the latest in a long-ranging string of albums, the charade
continues. But thought their background may be fake, the quality of the
Porcupine Tree’s music is certainly not. Less psychedelic than some of its
forbearers, Stupid Dreams is an enthralling album of experimental sounds,
swelling guitar anthems, rolling soundscapes, and gripping choruses that
immediately enthral the listener. Nonetheless, hints of early psychedelic
influences still abound and comparisons to early Pink Floyd can’t be avoided.
Plus, the CD features a neato DVD to boot. How can you lose?
www.porcupinetree.com
-James Sandham
back to top
Porter Wagoner
Wagonmaster
Anti-
The thin man in the rhinestone suits is back! Another country legend is
given a push and some backing to release new material. When Johnny Cash
and Rick Rubin teamed up for the American Recordings, they started a
trend of revisiting forgotten territory, and Porter Wagoner is the next
on the list that is deserving of a new audience and some recognition.
The difference between Wagoner and Cash though, is that Wagoner isn’t
changing his sound the same way Cash stripped his. This way, old and
new audiences can each appreciate what Wagoner is and always has been: a
master showman, with stone country credibility. One Cash penned song
appears on the album, and covers a topic that both he and Wagoner are
familiar with. The song Committed to Parkview tells the stories
of broken dreams inside an asylum that both Cash and Wagoner had resided
at one time or another. It’s a simple song, with minimal
instrumentation, emphasizing the sadness of the lyrics. Allegedly the
song was given to Marty Stuart to give to Wagoner many years ago, but he
forgot. Luckily he finally remembered when he began producing this
album, so listeners can finally enjoy the chilling track. The whole
album is filled with similar songs and common country themes of love,
religion and redemption. At 80 years old, with a lifetime of highs and
lows behind him, Wagoner has never sounded more honest or timeless.
www.anti.com
-Daniel Demois
back to top
Pretty Girls Make Graves
Élan Vital
Matador Records

It’s been said that Pretty Girls Make Graves sound a lot like
Sleater-Kinney.
They don’t.
They do, however, sound nothing like they used to. The album title, courtesy of
Leona Marrs, a recent addition to the Seattle quartet, speaks volumes of the
direction the band has taken. In it’s literal translation, Élan Vital is “the
driving force of life”, and to PGMG it means evolution. With equally shared
efforts on tracks like, “Pyrite Pedestal” and “The Number”, you no longer hear
their musical styling of yester-year; think less shouting for the sake of making
noise with guitar duels to the death, and more lyrical melodies and instrumental
compromise.
And while you may be thinking that another of your punk-rock bands has
gone and matured, I will say that they have, but their follow-up effort to 2003’
debut, The New Romance, promises nothing and makes no apologies. I do dare you
to try and press stop after hearing singer, Andrea Zollo’s strong, and
mysterious vocals on the opening track, “The Nocturnal House”. It’s as if she’s
standing at the end of a long tunnel, pleading to be heard and yet coming in
loud and clear over the referee whistle at the beginning. Yes, change is good.
www.prettygirlsmakegraves.com
- Jessica Shulist
back to top
The Priddle Concern
The Priddle Concern
Sparks Music

Former Treble Charger
guitarist Bill Priddle returns to his indie rock roots with his new
band, The Priddle Concern. Having also clocked in time with Broken
Social Scene, Priddle’s album is filled with guitar-driven indie rock
songs. A few familiar faces also make guest appearances, among them
fellow Broken Social Scene members Brendan Canning and Justin Peroff as
well as Stars’ Evan Cranley and Amy Millan (both of whom also spend time
with the Toronto indie collective). The guests help flesh out the album
greatly, especially Millan’s contributing vocals on “Back Around”, as
her lush vocals provide the perfect extra ingredient to the acoustic
tune. While there is some filler here, the album mostly hits the mark
and shows a lot of promise along the way.
http://www.thepriddleconcern.com
-Jon Brazeau
back to top
Priya Thomas
You and
Me Against the World Baby
Priya
Thomas/Boiling Pt
Almost two years
ago, when You and Me Against the World Baby was originally slated
for release, those in the know who had a chance to hear some of the
early recordings were betting on this album as the one that finally
garnered Priya Thomas the attention she deserved.
While on tour in
the UK is 2005, Thomas was approached by Paul Cartledge, who worked with
Tony Visconti, who worked with David Bowie, T-Rex and Roxy Music, who
was impressed with her art-punk, gas fire stage show. He suggested
remixing many of the tracks on the album to better capture her on stage
presence with a more unrefined sound.
So after all of
this time, with all of its mixing and remixing, the album seems
particularly underwhelming.
Kudos to Priya
for what she’s trying to do, which seems to be create a solid, head
banging, rock out album full of inspired lyrics that make you think.
However, more often than not, this attempt seems to be buried underneath
a bland rock-wash of similar arrangements that make you want to use your
expectant, devil horned fingers to hit the “next track” button.
And how often can you use the word “baby”, really?
There’s real
potential here and it’s unfortunate that it seems to be stuck in a vague
cloud of guitars somewhere between “Patti Smith Hard” and “Souxie Sioux
Lite”. The 10 track album does pick up towards the end, most
notably with track 8, “A Little More Fine” and track 9, “Fireflies”; the
first songs which are clearly distinguishable from the ones that precede
them.
This disc is
worth a listen but I’m more interested in hearing what comes next.
- Sarafina DiFelice
back to top
PROGRAMMED
FOR DESTRUCTION
SELF TITLED EP

Programmed for Destruction wastes no time getting to
the point of kicking your ass on their debut EP, with
their killer riffs and punishing sound. This band is
a perfect mix of grindcore, screamo and straight up
heavy metal giving them a very unique sound which is
pretty impressive considering that the average age of band members is
16.
If they
sound this good now, it's scary to think what they'll be pulling out by
the age of 20.
The first track, "Infliction", is an awesome way to introduce
the listener to the PFD sound, in this track it's
clear who has influenced their music, with shades of
The Black Deliah Murder, Mysery Signals and Pantera,
you get the sense that these guys clearly mean business. This
track is caked with layers of wicked guitar riffs and
freakishly tight drums that are iced off with the
ripping satanic barks from vocalist Jeff Donahue.
The second track, "Volatile", showcases the band's killer
musicianship throughout, with very difficult parts and
changes carefully crafted to keep the listener on
their toes and not for a second straying from sick-ass
heaviness.
The third track, "Reflection in Blood", touches on death metal
while keeping it's songwriting maturity and slowing
down at the right moments to keep the track complex
and sounding well thought out. "Reflection in Blood", is
like a mini opus similar to tunes from Protest the
Hero and Death.
The fourth track, "Eradicated", demonstrates drummer Kyle Clarke's
awesome ability behind the kit, where you can hear his
tight double kick chops come out while
keeping up with full-on coordinated insanity. Once
again the band pulls out the stops with complex verse
to chorus changes over crushing guitar and bass riffs.
I have a feeling that we'll be hearing a lot more from
this hard-hitting band in the near future. If PFD can
keep up intensity and keep writing killer tunes
while continuing to pack halls full of screaming teen
angst, then I think their dreams of becoming rock gods
will be a definite possibility.
back to top
Proton Proton
Proton Proton
Self-produced
Here are the opening line’s of Proton Proton’s website:
“paul, roving and trilling through northern spanish lands, parks his flxible™
back in brooklyn. amidst saw dust, transformers, and soldering fumes, aron
amalgamates harmonics into a single entity. kaboom—jarrod, the band's
christopher robin, unleashes his ardor. proton proton began during long
spontaneous sessions in a dark, carpet-lined room on the mediterranean coast.”
What this means, whether any of this is relevant or even true, is beside the
point. It provides insight in that if this absurdity were translated into
musical form, you would be enjoying the sounds of Proton Proton.
Parenthetically, however, one may be interested to know that at least the second
sentence of the above excerpt has in fact been translated into music. It refers
to the creation of Aron Sanchez’s gass, a combination of guitar and bass.
Perhaps that is what gives Proton Proton the sound I so very much need. Or
perhaps it is the kindred sound as found in early Bowie and Ima Robot. Or,
perhaps, it is the hole in my soul that Proton Proton so neatly fills.
- James Sandham
back to top
Ra Ra Riot
Ra Ra Riot EP
Unsigned

The still free agents Ra Ra Riot have put together a sweet little mix of
youthful energy and developed musical talent on their self-titled debut
EP. The “six friends getting together and jamming” notion can get a
little tired at times and conjure up some scary ideas about what these
so-called musicians might think music sounds like but thankfully Ra Ra
Riot aren’t one of those six friends. They’ve avoided the indie cliché
of making garbage garage rock and included some quaint melody in their
pop/rock roots.
The six-track EP subtly sounds like Dexy’s Midnight Runners but the
bandmates avoid falling into the trap of being a reincarnated ‘80s band.
The thumping bass line, charming honest lyrics and fine violin strumming
smoothly weave together to create a new successful sound.
They’re indie enough to be in their own musical world but unique and
talented enough to avoid the “what the hell are these guys doing?”
unattractive indie sound.
www.rarariot.com
www.myspace.com/rarariot
-Antoinette Mercurio
back to top
Raccoo-oo-oon
The Cave Of Spirits Forever
Time-Lag Records
No, not just a whack-load of instruments all playing in dis
(harmony) at the same time. No, you want to be repulsed, but at the same time
you know you’re also looking, and listening for the “inside” of the sound, the
only point at which art really exists. Like the eye of the storm, that eerily
calm interior space of nothingness and yet everything. Think of listening to the
four guys who make up the art rock/manic psych/punk-free jazz band as looking at
a magic eye poster. Relax your mind, your eyes and most importantly your ears.
The sounds will present themselves.
As the album progresses, I am finding a strong resemblance to Sigur Ros,
especially on the last two of the seven tracks, “Forever” and “In The Woods”,
respectively. The former begins with an exciting drumbeat that builds in
feverish anticipation likening the listening experience to the opening of a
martial arts competition. Listening to this album gives you the sense that their
music precedes them and not the other way around; music for music’s sake.
http://raccoo-oo-oon.org
- Jessica Shulist
back to top
Rachael Sage
The Blistering Sun
Mpress Records
Mpress Records' founding lady returns with yet another
musical offering, this one a sultry mix of soul, folk, pop, jazz, and a few
subtle yet intriguing Irish and Middle Eastern influences. Yes, the album is
certainly eclectic in influence if nothing else. But after a life in the music
community, perhaps such eclecticism should be expected. Currently based in New
York's East Village, Sage has been making music in one kind or anther since she
was three years old. However, despite her sprawling history of musical releases,
including everything from jingles for national ad campaigns to award-garnering
folk releases, the music on Blistering Sun too often and too closely resembles
that of her contemporaries. Many of the tracks - "Featherwoman," for example -
fall too neatly into the mould long-established by just about every performer on
the Lilith Fair tour. Nonetheless, other tracks such as the opener "Alright, OK"
and "Hit Song" present a unique context for Sage's long-honed skills as a
singer-songwriter. This results in the innovative and experimental balladeering
that distinguished similar acts such as Ani DiFranco. The final word: you'd
better like Lisa Loeb before you think of picking up this album.
www.rachaelsage.com
- James Sandham
back to top
The Radar Bros.
Self-titled
Merge Records

The Radar Bros. are back and out with their newest album off of Merge
Records titled Auditorium. This is the Los Angeles’ band’s fifth
album. There’s something comforting and soothing about this album, as
well as poetic. The last track titled “Morning Bird” has the sweet
sound of birds chirping softly away in the distance, a great way to end
the album. It’s the kind of album to put on and lay back on the grass
looking at the clouds or the stars and their sound will put a smile on
your face making everything relaxed and alright. This album definitely
has a way with words and is a great grab. To get an idea of what I’m
talking about check out
www.myspace.com/radarbros.
Enjoy fellow music lovers!
-Danielle Cowie
back to top
Rage
Speak of the Dead
Nuclear Blast

I was totally unprepared for what I was about to hear from
this metal outfit out of Germany, known as Rage. From the moment I heard a
trumpet blast to kick off the disc, I knew this was not going to be your average
metal band. This powerhouse trio is back with their (wait for it) seventeenth
release, and last year marked the band’s twenty years together. Impressive.
Keep an open mind as you listen to the first half of the album, which is
mostly instrumental. Classical meets metal to form a unique sound on the new
disc. Influenced by the beauty of classical music, the band recorded with the
Minsk (White Russia) symphonic Orchestra. Some of the songs start off with long
introductions, something that is not uncommon in the musical European tradition.
They tend to be more varied and more willing to experiment with music. On “No
Regrets,” one of their better tracks, there is a distinct piano in the
background.
“Beauty” is another stand-out track, which starts off extremely gentle, and just
seems to flow sweetly. After that, Rage loses the Orchestra and launches head on
into full metal mode beginning with “No Fear” to attack you with their biting
guitars and growling vocals.
Fans are treated to a bonus on the disc, which is a non-english version
of the fantastic track “full Moon,”. Future special editions promise Spanish,
German and Russian versions of the song.
Watch for Speak of the Dead next month when it makes its North American release,
and hopefully, as they are in Europe, they will be all the ‘rage’ here.
www.rage-on.de
- Charmaine Merchant
back to top
Raising the Fawn
The Maginot Line
Sonic Unyon
The third album since their 2001 debut, Raising the Fawn’s
“The Maginot Line” provides a good three-quarters of an hour of swelling drums
and tumbling guitars, rushing melodies and half-dreamt lyrics, all recorded up
“at Sarah Harmer’s home outside Kingston, ON March 05,” according to the liner
notes. In the spirit of their affiliates Broken Social Scene, Raising the Fawn
offers a ghostly, almost chaotic fare of aural intoxication. It’s good music for
drugs. It carries you along with it. But perhaps not at first; it did take a
while for it to grow on me, lordly sober as I was when I put the CD on. There is
a lot of “ambient noise,” I guess you could say, in this album. You’ve got to
get into it. It’s not a good album for making love to. It’s distracting,
sometimes disconcerting. Performance can be affected. But if you’re forging on
into the heart of a impassioned bender, or wallowing deep in the flames of a
rising acid trip, or perhaps even you may simply be a spiritual type of person,
this could be the music to put on. It’s very moody, and very groovy.
-James Sandham
back to top
This Changes Nothing
Ready Fire Aim
Expansion Team Records

Dark synth pop is still
alive, thanks to the debut album from Ready Fire Aim. Pieced together by
singer Sage Rader and DJ/producer Stakka (Shaun Morris), the duo created
an album loaded with twisted, hypnotizing synths, hard beats and Rader’s
soft vocals. The sound is well established on opening track “End of
Over” and through the course of the album the band rarely deviates from
the formula. Rader’s vocals blend nicely with the music on “Beautiful
Thing,” with his gentle vocals being an antithesis to the grimly layered
syths and hard beats. However, the simplified lyrics demand more,
especially on “So Fine” with the groan-inducing line, “You’re so fine/Gonna
make you mine.” It’s a minor gripe though, as the album succeeds at
creating dance-worthy tunes crafted by the gloomy side of the keyboard.
http://www.myspace.com/readyfireaimnyc
-Jon Brazeau
back to top
The Reason
Things
Couldn’t Be Better
Smallman
Records / Warner

There’s no reason people shouldn’t pick up The Reason’s new album
Things Couldn’t Be Better. From their opening track “My Broken Legs”
to the intensely somber “Reset The Breaker,” this 12-track disc covers
every mood and musical taste that a listener would be craving. Sounding
a little like Bert McCracken from The Used, lead vocalist Adam White
offers a youthful yet mature sound to the band’s cool rock, fine-tuned
beats. Working together like a well oiled machine the band delivers a
skillful simple sound that makes you think they’ve surpassed their small
town status and moved onto to greener pastures but somehow they’ve
maintained an adolescent passion about their artistic goals. At times
bordering on emo, the few screaming verses that are sung can throw you
off here and there but in the end you appreciate the track nonetheless.
You realize afterwards the gut-wrenching verses and vocals work because
this so-called labour of love the band created is indeed something that
couldn’t be better.
Recorded in the summer of 2005 in a remote cottage in Ontario, the
Hamilton natives let the music take them for a ride and in the end the
music speaks for itself. Mellow and energetic with a yearning for trust
and truth, this album is an honest expression of the band’s growth and
optimism of things to come. If this is truly considered a departure from
their last LP Ravenna, then I say keep going at it alone guys.
www.thereason.ca
www.myspace.com/thereasonrock
-Antoinette Mercurio
back to top
Recoil
SubHuman
Mute
Records

This is
about the twelfth Recoil album to come out, but for those unfamiliar
with them, it’s worth stating that Recoil is the musical project of ex-Depeche
Mode member Alan Wilder. That said, it may be a redundant to comment
that there’s definitely an element of Depeche Mode present in Recoil,
but I will anyway. Beyond that you might also compare them to Moby
because, like him, Recoil plays with discordant genres and fuses them
into something new via a good beat and some catchy electro wizardry -
witness, for example, opening track “Prey”. It’s got a definite British
pre-rave era feel to it too, along the lines of Happy Mondays, but can
then go and get all sound-scapey and ambient, and it’s like, “where did
this come from?” But in the end, it doesn’t really matter, because it’s
a solid album and probably the best course of action is just to go along
for the ride and let Wilder look after the direction, because he’s been
around, after all, and knows his sonic geography well.
www.recoil.co.uk
- James
Sandham
back to top
The Red Jumpsuit Apparatus
Don’t You Fake It
Virgin
The Red Jumpsuit Apparatus are a true testament to what can happen when
determination takes precedence over defeat. Having tasted success back
in 2003 when they first came together, the band quickly reverted back to
struggle - enduring label rejections and discouraged band members
leaving.
But frontman Ronnie Winters’ (one of two original members left) belief
in the band pushed on, and the pace picked up again when they brought in
a couple of new guys (who were actually old guys who were friends of
friends, or who Winters had worked with before) and signed to Virgin
Records.
Now, these young
Floridians (The average age is just 21) have burst on the scene with
their debut Don’t You Fake It. But, please don’t let their age fool you.
Their songs are chock-full of meaning, and Winters isn’t afraid to
tackle tough subject matters like he does on the confrontational “Face
Down,” a song about domestic abuse. Nor does he mind laying his soul
bare in the gentle, creamy love song “Your Guardian Angel.”
Their refusal to be
categorized is evident on every track, which borrows elements of pop-
punk, pop, screamo, love ballads and even metal. “In Fate’s Hands” is
angry and guitar-driven, while the melancholy “Cat and Mouse” has a
pretty piano thread. At the disc’s completion, listen out for the bonus
track. Armed with a steady line up, a fresh sound, and a growing fan
base, it looks like the boys are ready to take the world on.
www.redjumpsuit.com
www.myspace.com/redjumpsuit
- Charmaine Merchant
back to top
The Red Button
She’s About
to Cross My Mind
Grimble

“Cruel girl/ Why you gotta treat me like a fool, girl? / Bring me down
with everything you do girl? / Break my little faithful heart in two,
girl? /You cruel girl.” Pretty cute right? Given the retro
looking cover art, these are the kind of lyrics I might have expected
from The Red Button. I also however expected there to be some kind
of new spin put on the music. I thought it might combine a little
bit of modern bite like The Pipettes’ album does. It took very
little time before my first scan through the album helped me realize
just how weak and futile the whole thing is. This is what The
Beatles might have sounded like if an uninspired Elliot Smith imitator
was the lead vocalist. This is as wholesome as they come, complete
with obvious harmonies and sugary lyrics. Phrases like “You’ve got
a thing / that I can get used to,” or “She’s about to cross my mind”
start to venture into ‘too cute’ territory. Even in the genres
heyday, this probably wouldn’t have had much of an impact. “Pop music
the way God and Paul McCartney intended,” says John Borack. Sorry
Paul, but what have you done for me lately?
It’s possible I can’t stand this because it may be growing on me, but
I’m not ready to admit that. Even if I ignored my lyrical and
structural qualms with these songs, as an album the whole sound tires
quickly. The music these folks are trying to revitalize was made
for being played on singles, in a one or two song package. Trying
to stretch this sound over a full album is hard to pull off and in the
past has traditionally resulted in a lot of filler between two or three
singles. That’s why they didn’t release LPs back in the day.
Despite being a short album, The Red Button can’t quite hold my
attention for the full length. They just can’t help sounding like
the cover band for a failed pop group from forty years ago. Even
if you like this kind of thing, I’d suggest only venturing this
territory if you’ve already exhausted all the classic brit pop
available.
www.myspace.com/theredbuttonband
Daniel Demois
back to top
Red Light Rippers
Nobody Likes a Rat
Fading Ways UK

A quote from the bands’ website states, “In a world where
bands are a dime a dozen, Red Light Rippers have arrived to save the day.”
Hmmm…Well…I’ll give them that no, they are not another generic dance/pop act,
but, Red Light Rippers are just about as generic a rock act as there ever was.
Nobody Likes a Rat, the bands’ first full-length album, employs approximately
every cheesy rock stereotype there is. Fast cars, fast women, and fast times?
“Drag Race”, “Trailer Trash Trixie”, and “Addicted” are the first three songs.
Musically, they remain as banal as their subject matter. For those who have been
listening to sleaze/glam/punk rock for ages, there is nothing innovative about
this album. It’s not bad…it’s just been done.
The influence of bands such as AC/DC, Van Halen and Guns n’ Roses can be
felt; RLR emulate gritty, sleazy, 80’s rock well. However, the band doesn’t
appear to have found their own sound, or their own style, and I’m not sure if
they want to. The unsurprising cover of the New York Dolls’ “Pills”, which felt
a little bit like a drunken sing-along at the Bovine, was conventional. This
hard-rock “conventionality” is what makes the Rippers’ album so uninteresting. I
wanted them to break out and do something tremendous, track after track,
until…the album ended.
Thankfully, Staci T. Rat is an outstanding guitar player. The albums’
best ingredients are without a doubt, his. The intensity of his playing needs to
bleed into the rest of their music. Perhaps something is lost in the recording.
I can envision Red Light Rippers as a good live act, but the album feels
incredibly lacklustre. Give them a chance to prove me wrong, they’re playing
April 7th @ the Elmocambo (w/ Automatic and Romeo Liquor Store), and April 8th @
the Wick (w/ Dyneomight).
www.redlightrippers.com
Sara Percival
back to top
Red Shag Carpet
Lift and Drop
Self-Produced
With a sound somewhere between Spoon and Wilco, Alberta’s Red
Shag Carpet have released a consistent if not particularly innovative album of
indie rock and roll. Piano-driven melodies such as “Drop” help to raise this
album above its competitors, but Lift and Drop often lack the hooks to truly
distinguish this work. Other notable tracks, such as “So and So,” are clever and
catchy but again somehow miss the essential element of the great song status.
Though they playfully tease the listener, they fail to grip the listener in that
visceral way powerful music is supposed to. The result is an album that is
enjoyable, danceable and upbeat, but not particularly memorable save for a
select few tracks. Of course, to the band’s credit, the album has been
completely self-produced – there’s no fancy label standing by to inject their
magic commercial juice. Featuring Daniel Yarmon, Ted Ani, Allan Pickard and Matt
Darrah, Red Shag Carpet are nonetheless a promising new outfit and touring
furiously in support of their latest release.
www.redshagcarpet.com
James Sandham
back to top
Reset
No Worries, No Limits
Union Label Group

Before
there was Simple Plan, there was Reset. And I don’t mean that
figuratively. Before Canada’s most commercially successful candy punk
outfit actually became candy and blew up in the States, they were a
bunch of hardcore kids cranking out blazing fast power-punk, singing
about stuff that’s actually semi-relevant socially, and playing with
punk masters like Pennywise and NOFX. I don’t know what happened, but I
guess somewhere along the line they decided that being millionaires
south of the border would be more fun than remaining poor, struggling
and authentic in Canada, and I can’t say I really blame them for selling
out. Their music may have suffered, but thanks to the Union Label Group,
the best of Reset’s first two albums are now available, reissued almost
ten years after the fact on this 25 song compilation. Sounds like most
Canadian hardcore. Makes me want to rock out.
-
James Sandham
back to top
Richard Ashcroft
Keys to the World
Parlophone/EMI
With each Richard Ashcroft album, I miss The Verve less
because the band’s ex-front man is doing more than filling the void. He’s
leaving his own legacy. Ashcroft lingers in a place somewhere between depression
and introspection; seemingly a lonely observer of the outside world weighing in
on the bloody mess we call life with his guitar and army of rented studio
musicians. The songs connect and they resonate which, at the end of the day,
makes for a great album. Musically still very close to The Verve albeit less
poppy and more serious, Ashcroft takes over the room with his distinct vocals
leaving you no choice but to listen. A fine recording and worthy of repeat
spins.
www.richardashcroft.com
Michael Cool
back to top
Richard Swift
Dressed Up
For The Letdown
Secretly
Canadian

Presenting himself as “an honest man with some honest songs”, the ten
songs on Richard Swift’s album are just that, an incredibly earnest
collection of folk rock gems from an inspired and talented
singer-songwriter. Each song is presented with an open-heart tenderness,
wrapped in a self-deprecating humour and doubt that makes the whole
album accessible and endearing. Dressed Up For the Letdown is
anything but one.
Swift bounces back and forth between two distinct styles on the album,
that of an acoustic guitarist and the other, a Late period-Beatles Paul
McCartney-esque piano rocker. Richard Swift is fully capable of both
methods of delivery however it is with a guitar in hand that he succeeds
most brilliantly. “Buildings In America”, a gentle guitar track that
builds to a fuzz-bass crescendo captures beautifully the embarrassed
recognition of a failed relationship, as narrated by a hung-over and
pathetic Swift. “Most of What I Know” a rocking reflection on faith,
American imperialism and love, and the eerie title track also standout
on a wonderfully thick album, both lyrically and musically.
The only fault to be found with Dressed Up For The Letdown is a
mid-album sag found in the successive tracks “P.S. It All Falls Down”
and the overtly long “Ballad of You Know Who”. It is here where Swift’s
own self-criticism “there’s no radio /that likes to play the
songs/ of your lover’s sorrow” (plucked from the coy “Artists &
Repertoire”) rings true.
Richard Swift’s penchant for songwriting and acute ear for melody is so
mesmerizing you may find yourself humming “I wish I was dead/ most of
the time” (the refrain from “The Million Dollar Baby”) with a smile on
your face. Dressed Up For The Letdown is a near perfect album and
a great early step in what looks to be a successful and prosperous
career for Richard Swift.
www.myspace.com/richardswift
-
Sam Stilson
back to top
Rilo Kiley
Under The
Blacklight
Warner
Bros.

If anyone else were
to make this album, I’d hate it; I would trash it and then throw it
in the trash. But because of Rilo Kiley’s frontwoman, the Queen of
Indie, Jenny Lewis, and her delightful bandmates, Pierre de Reeder,
Blake Sennett and Jason Boesel, it works. Fresh from her solo tour,
giving fans less than a second to refill their Kombucha tea cups, Lewis
et al. work it out and by work I mean wringing out the tired, drenched
hanky that catches all the tears of California’s lost ones. From
Lindsay to Perez Hilton and all that is inside the Hollywood sandwich,
smatterings of sparkle and flash have dulled and broken down at a
break-neck pace, leaving none other than Silverlake’s darlings, Rilo
Kiley to pay mock (?) homage to their place of residence and to pull out
into the glare, the seediest and seamiest bits and pieces of the
Holyland.
The album is a
collection of less Jenny and those other guys and more togetherness,
Lewis playing live alongside the band instead of out front in a recent
episode of Jimmy Kimmel. A smart move on her part considering the
latest disc is glamourous, shiny and slap-happy without sounding bitchy,
cheesy or annoying; hence my allowance of their focus on rougher,
rowdier tracks like, “The Moneymaker” which surprised me when I heard it
because it was almost brash and tacky at first, but after opening with
such a warm lullaby as “Silver Lining”, crashing cymbals are in order
for a wake-up/shake-up of Indie-rock and in Hollyweird; literally
shaking the rich and famous from their self-indulgent slumber, or
causing them to nod their heads in agreement over the bizarre bubble
that has been created to preserve it’s inner workings. Like Hollywood,
Rilo Kiley’s newest offering is entertainment at its best: weird, wild,
soothing for a moment and then back to weird again.
http://www.myspace.com/rilokiley
-Jess Shulist
back to top
The Riptides
Hang Out
Union
Label Group

This
is the latest full-length from Ottawa-based punks the Riptides. Like the
rest of their decade-spanning catalogue, it’s pretty straight up,
four-on-the-floor punk rock “with no gimmicks attached,” as their press
release informs us. It’s punk from the Old School so all the band
members have to have names like Andy Vandal (vocals) and Skottie
Lobotomy (guitar). Easy comparisons abound to the cannon of punk – the
Ramones (see “Detention”, a catchy little anthem), Joe Strummer, and
DOA. Some Rancid comparisons apply too, but only because Rancid already
sound like so many of the aforementioned bands. If you like your punk
hard, raw, and gimmickless, this is a solid choice of an album. But
hopefully you like your punk pretty traditional and repetitive too,
because these guys serve up a hot, heavy dose to that as well. Check
their website at
www.theriptides.com.
-
James Sandham
back to top
Robert
Pollard
Coast to Coast Carpet of Love and Standard Gargoyle Decisions
Merge Records

Robert Pollard’s Coast to Coast Carpet of Love and Standard Gargoyle
Decisions go hand in hand. These Merge Record discs are nothing
less than enjoyable. They are very refreshing albums to hear, kind of
like a “no strings attached” albums. Just pop it in your CD player and
go. Also it is a refreshing start to finish album. Pollards voice is
awesome in itself and the music is just good old rock. “Our Gaze,” the
first track off of Coast to Coast Carpet of Love, for example, is a
great starter to an album because it catches on to you making someone
curious as to how the rest of the album is. “I In The World” is a great
strumming and knee-slappin’ tune off of Standard Gargoyle Decisions.
They are both great albums worth checking out.
-Danielle Cowie
back to top
Robert Pollard
From a Compound Eye
Merge Records
Weighing in at a whopping 70 minutes and 42 seconds, with two
discs and 26 tracks under its belt, “From a Compound Eye” is one album you
wouldn’t want any other way. It’s good. And those 70 minutes come to a close too
soon. Drawing influence from the Beatles and the Beachboys – especially evident
in the vocal harmonies – Robert Pollard fuses 60s-style pop with punk, psych,
and prog. The result is a strong, guitar-driven album with catchy rhythms you
can get into. Although at times I experienced what I can only assume to be some
serious déjà vu – either I’d heard some of these songs before, perhaps
under the auspices of REM or 54-40, or they were hitting a definite chord or
resonance in me – the experience was a pleasant one. Some of the highlights from
this all-around worth while album include “TheRight Thing,” “The Numbered Head,”
and “Love is Stronger than Witchcraft.” The obvious criticism of an album like
this, however, is that, at 70 minutes length, Pollard could have afforded to
drop some of the weaker songs. At times the guitar work slides into patches of
uninspired distortion and unoriginal, repetitive chord progressions,
overwhelming they lyrics and resulting in an amateurish, garage-band sound at
odds with Pollard’s decade-plus of musical experience. But such faults are
excusable, few and far between as they are, and easily ignored in an album of
otherwise solid pop-rock tunes.
-James Sandham
back to top
Rock Kills Kid
Knock Out
Reprise Records
Rock Kills Kid have been listed by Rolling Stone as one of
the year's ten best new bands. They have been pegged by Blender as one of the
top 20 bands to download, and featured in Spin, the Alternative Press and,
somewhat incongruently, Penthouse. Yes, this Los Angeles-based quintet are a
group on the rise. And pleasantly, Are You Nervous demonstrates that this rise
is not built on hype alone. It is a solid debut album that evokes the sound of
early U2 meeting the Cure and Modern English. Like their contemporaries the
Killers, Rock Kills Kid deliver catchy, synth-driven new-wave hits in rapid
succession, all flavoured by a gritty bite of lyrical urban realism. Unlike the
Killers, however, who seemed to rise to fame almost overnight, RKK's bite comes
from the genuine experience of living life hard. As their frontman Jeff Tucker
recounted to Spin magazine, his times before RKK were so hard he was forced to
live in his friend's recording studio "for close to three years. There was no
shower, so I'd clean myself with babywipes." Are You Nervous is his
long-deserved success.
www.rockkillskid.com
-James Sandham
back to top
Rock Plaza Central
The
World Was Hell To Us
After the critical success of Are We Not Horses (an album about
robotic horses) Rock Plaza Central have decided to re-release this,
their previous album. I’m sure the reason for this is so that new
audiences have a chance to pick up an album they may not know existed,
but I still can’t help but laugh when the first lyric is sung: “You know
I’m only in this for the money.” That being said, this is album is a
nice slice of rootsy Americana that is worth a second look. The
arrangements are very casual and slow building, and the album on the
whole feels quite grey. It’s definitely not sunny where this was
written and recorded. Now I don’t mean to suggest that it is depressing
or dark necessarily, but it is very bittersweet. Most of the tracks
have very peaceful instrumentation, which is often in contrast with the
quivering voice of Chris Eaton. Eaton sometimes sounds like Jeff
Mangum, and his lyrics are sung with similar honesty and authenticity
that only takes a track or two to fall for. This genuine feel protects
the more bizarre/silly lyrics, because when someone believes what they
say so much, we tend to ignore how odd the words “We fuck like glaciers”
sound. The whole thing is not so cryptic though, and on songs like “You
don’t need” Eaton’s sadness becomes infectious, which is what makes the
best songs on this album so pleasing. Follow the lyrics with some
lovely horns, an accordion, some nice guitar picking and you’ve got a
full sound that refuses to simply take a backseat. The music on this
album is just as important as the words.
One song that didn’t quite work for me was “Fuckup” in which Eaton sings
“All of my relationships/I’ve fucked up” and rhymes “ways” with “ways.”
This serves as kind of an amusing intermission at the album’s middle,
and is slightly amusing. After that though, it’s back to the
confidently sad feel of the first half, which makes me feel oddly
comfortable. There’s something wonderful about listening to somebody
who seems so at ease with the sadness they are singing about.
www.rockplazacentral.com
Daniel Demois
back to top
The Rogers Sisters
The Invisible Deck
Beggars Group

A heavy dirty dance beat greets me on opener "Why Won't You."
Definitely for dancers who don't find rock usually moveable and/or for rockers
who find dance unmoveable.
Starting out playing Brooklyn loft parties that made even the too cool
stand up and shake it, The Rogers Sisters have three other releases under their
collective belt (Let's Fly Away, Purely Evil and Three Fingers). It's not hard
to see their leap to opening for the Yeah Yeah Yeahs or the Kills.
A male and female (Jennifer) trade off lead duties on vocals with each
song. "Your Littlest World," dips the mood slower and more psychedelic. "Money
Matters" continues the laid back style with both vocalists harmonizing.
I dare you to try not standing up, tapping your foot, shaking your fist
and inadvertently singing along. The deck is no longer invisible.
www.beggarsgroupsa.com
-Heather Rayment
back to top
Rosewood Thieves
From the Decker House EP
V2 Records

You know when someone tells you that a band sounds like
someone else, and when you hear them that is the only thing you can hear?
Before listening to this record someone told me that lead singer Erick Jordan
sounded like a young John Lennon. Lennon is one of my favorite artists of
all time, so I was eager to compare the two. Upon my first listen I could
definitely hear the similarities, unfortunately that was the only thing I could
hear. I’ve listened to the 20 minute EP at least 10 times now, and tried
with all my might to clear my mind of all preconceptions, but it’s far too late
at this point. On “Diamond Ring” the similarity is unmistakable. I
might have even believed that this was a lost Beatles track if I didn’t know
better.
Although the John Lennon
similarities were somewhat distracting, “From the Decker House” is a solid EP. A
mix of moody piano tunes and country driven toe-tappers, this New York City band
had to seclude themselves in the small-town of Deposit, NY to dig deep and come
up with a collection of tunes that sounds straight out of the 70’s. With
influences like the Band and Bob Dylan, the Rosewood Thieves have put together a
solid introduction to their music. I can’t wait to hear a full length record…now
what did I do with my John Lennon box set?
www.rosewoodthieves.com
-Matthew Gorman
back to top
Rum Runner
Guns at Cyrano’s
Stumble Records

Calgary’s
perpetually struggling Rum Runner are back with a new line up of
musicians and a new LP to boot. If you’ve heard these guys before,
expect more of the same: Irish roots folk married to punk. For those of
you who are Rum Runner neophytes, think the Drop Kick Murphys meet the
Pogues. Or, just pick up a copy of the Mahones latest LP – it’s
practically indistinguishable from Run Runner’s latest release except
for the cover art. Not particularly original at best, blatantly
repetitive at worst, Guns at Cyrano’s is clearly an album meant
for the dedicated Rum Runner fan – no one else would pay for something
so completely lacking in creativity - Rum Runner sound like they’ve
reached the bottom of the barrel and exhausted all ideas with this LP.
Hear for yourself at
www.myspace.com/rumrunner.
- James
Sandham
back to top
The Rosewood
Thieves
From the Decker House
V2

New York City
quintet, The Rosewood Thieves, escaped the clutches of the city to
record From the Decker House at, appropriately if not a little
obviously, Decker House, a rickety white farmhouse in Deposit, NY, and
the former home of the late Deposit socialite Bonnie Decker. Over six
weeks they wrote and rehearsed the songs that would appear on the
eponymous EP, and it sounds like the stripped-down, rugged aesthetic of
the house may have rubbed off on the music. The result is like a
grittier version of the Beatles-meets-the Band, something along the
lines of Spoon. The opening track, “Los Angeles”, with its drifting
vocal harmonies and merrily plodding rhythm, is a perfect example of
this. “Diamond Ring” channels the same vibe while also incorporating the
lo-fi sound of the White Stripes’ “Apple Blossom”. A great album of
rugged folk pop that could only be improved by being longer. Hear it at:
www.myspace.com/therosewoodthieves
- James Sandham
back to top
Royal Wood
A Good Enough Day
Dead Daisy Records
Self-taught one-man musical master and Toronto native Royal Wood’s third
album is set for release Jan. 30 and showcases a mind-bending range of
musical talent – all contained in one man! Royal Wood very capablely
personifies the word “multi-instrumentalist.” But I guess he can’t take
all the credit; his latest album also features musical support from such
luminaries as Hawksley Workman, Kurt Swinghammer, Harmony Towbridge and
Kevin Fox, and together they have created something quite beautiful.
A Good Enough Day is a piano-driven LP comparable to the musical
sensibilities of an early Elton John fused with the Beatles, carrying
forth together the vocals of a young John Lennon. Gently rolling piano
melodies carry Royal Wood’s resonant and softly spoken lyrics, and are
accented by simple acoustic guitar arrangements and dreamy, sighed
choruses. Check him online at
www.royalwood.ca, or just keep an ear open: Royal Wood’s music is
already featured in a variety of shows and movies, including “The End of
Silence” (with Sarah Harmer), “the Surreal Gourmet”, and “This is
Wonderland”.
- James
Sandham
back to top
Royksopp
Royskopp's Night out Live
EMI

Electroclash outfit Royksopp, huge in Europe, has released a
live EP but it’s not obvious why they would do that at this stage in their
career except as a quick cash injection by EMI (unlimited supply). The CD offers
9 songs recorded live in Oslo, 8 of which are indicative of Royksopp’s new sound
– mainstream melodic dance. This may be an effort to capture a wider audience
but it falls flat in terms of creativity. Reminiscent of Chris Sheppard’s Love
Inc., the songs offer soft, mindless melodies and predictable beats. The lone
standout being Remind Me, the clever and totally catchy synth-pop zinger. Not
really worth the effort. You’re better off with one of their earlier full-length
studio releases.
www.emimusic.com
-Michael Cool
back to top
The Sainte Catherine's
Dancing for Decadence
Fat Wreckords

The Sainte Catherine’s are one of Canada’s hottest punk
exports at the minute. They were picked up by US punk rock legend/all around
goof-ball turned political activist Fat Mike of NOFX. With that knowledge it
comes as no surprise that The Sainte Catherine’s were snapped up by such a
label. The Sainte Catherine’s are one of an increasing numbe rof new punk rock
bands that are very much in tune with the origins of punk music, and are doing
their best to keep the scene thriving. These bands are playing hard, fast,
aggressive music with a social conscience rather than some of the more
self-obsessed punk rock bands that have been spawned in recent years. Bands like
The Sainte Catherine’s are proving again that punk is well and truly NOT dead.
Other bands such as Against me, Sinkin’ Ships, Pink Punk, are all bands that are
showing that the only people who could believe that real punk is dead, are
people that are just too lazy to see past MTV and all it affiliates.
The
Sainte Catherine’s come kicking and screaming out of Montreal, naming themselves
after one of the less attractive areas of the city. Their sound is above all
loud, making full use of the three guitarists the band boast. While singer Hugo,
(come on, you couldn’t be more French than a guy called Hugo could you?), lends
his gruff and heartfelt vocals to the mix to make punk rock songs that sounds
just like they were meant to.
The fact that all the members are still doing regular jobs, including a
janitor, record shop assistant, and a full-time Greenpeace employee, now that is
punk. No hanging around in coffee shops after recording sessions, no sir, it’s
back to the office for these guys…or back to the toilets for some of them. This
just fuels the punk feel to this band, they really believe and live punk rock
attitude and clearly aren’t afraid of working really hard for it.
Although the band are hardcore punks they also clearly have one element
which may also have led to them being picked up by a certain Fat Mike. A sense
of humour. These guys aren’t sat around moping, they are also having fun while
raising a little punk-fuelled Hell. Whether the songs are serious or not, you
know a band with song titles such as “Ring of fire = 4 points”, “The
international Badminton championship: La P’tite Grise vs Jeff” and “The shape of
drunks to come” has to have a sense of humour. The fact that the band also has a
side project dealing in the fine art of Country Western music, (Yesterday’s
Ring), only seals this idea.
These guys are weird, funny and are the real deal as far as punk rock
goes. Do yourselves a favour and go catch them when they tour with Me First and
the Gimme Gimme’s. If nothing else it could be a good chance to wheel out that
high school French we’re all dying to use again.
-Adrian Huggins
back to top
Saint Etienne
Tales from Turnpike House
Savoy Jazz
With a career that spans over a decade, Saint Etienne have
nestled into their “Darlings of Electro-Pop” well enough to make you believe
Tales from Turnpike House is some sort of departure or musical growth. Taking a
break from just twiddling there knobs, this is a concept album of sorts with the
concept being the cd’s artwork and website. Apart from the superb graphic design
team at work, Saint Etienne only manages to succeed when ripping off the
brilliant career of Gilberto Gil as on track one, “Side streets” or “Sun in my
Morning”. From there, the album quickly becomes a game of “what other song does
this sound like?” When the acoustic guitar is mixed with processed drums, a la
“Milk Bottle Symphony”, the album continues to veer into the kitsch, bubble gum
sound that you either quickly become bored with or that makes you feel superior
to your friends - who listen to bands that have “music videos”. Imagine P.J.
Harvey’s bland, boring distant cousin. Firstly, I wish Saint Etienne’s songs
were as interesting as the Cd’s cover. Secondly, I wish they did not seem so
intent on getting you to join their “free fan club” at www.saintetienne.com - do
not fret, you can purchase t-shirts there as well.
But in Saint Etienne’s defense, Jeremy Deller does mention Ege Bamysai by Can in
the liner notes. I love Can.
-Jordan Somers
back to top
The Salads
The Big Picture
Kindling Music
Dudes, I can finally use my favorite so-bad-it’s-good quip:
“Fun times, noodle salad”. Yeah, I’m sure very few of you will remember that
this is from Jack Nicholson’s character on As Good As It Gets where he snarkily
snaps this and I laughed at the silly simplicity of it. From then on, I’ve
slipped it in conversations but I mostly get blank stares and glassy-eyed looks
when I try to explain. However, the first line of The Salads press release sheet
states that “Over the course of the last ten years, Toronto band The Salads,
have become Canada’s leading ambassadors of fun times.”
Well, if that
were the case, we’re in for fun times, with The Salads. While at times they
sound like any big name ‘screamy’ punk/ska/rock band like Third Eye Blind that
has come out in the last five years, we must remember that they have been out
for the last ten years and that they are the ambassadors of fun times (I’m aware
I sound sarcastic. I am not) and are most probably the real deal. And maybe I am
biased because this rock, reggae, ska, punk quartet are one of our very own,
hailing from Toronto, but there’s something extra special about these guys that
makes me want to throw my voice out screaming along to their smart lyrics.
And since The Salads will be performing during NXNE, maybe I’ll get to crash
their show and ask them a pivotal question like: So what kind of salad are you
guys?
I’m hoping it’s noodle. Fun times.
www.thesalads.com
www.myspace.com/thesalads
-Jess Shulist
back to top
Remix Romance Vol. 1
Sally Shapiro
Paper Bag Records

A remix of Shapiro’s Disco Romance, this album serves as a nice
complement to her 2007 debut. Shapiro’s breathy, dream pop vocals are
woven together with disco-thumping beats and New Wave-inspired synths.
There are exceptions, as Holy Fuck’s remix of “Find My Soul” sounds like
one of their own. With the inclusion of acoustic drumming on the track,
it’s a nice change of pace from all the electronic beats. Likewise,
Woodhands’ remix of “Anorak Christmas” fuses acoustic and electronic
drumming with keyboard licks. Between Interval’s remix of “Sleep In My
Arms” changes things up a bit also and offers an ambient take on
Shaprio’s work. However, the ten-track album feels a bit lengthy at
times, especially Lindstrøm’s nearly 11 minute remix of “Time To Let Go”
(Shapiro’s version is half that length). Still, it’s a delightful album
with interesting interpretations of the original tunes.
http://paperbagrecords.com/bands/sally-shapiro
- Jon Brazeau
back to top
Brass and Gold
Sean Ashby
Black Sparrow Records

Sean Ashby has worked mostly
as a session musician and most notably as Sarah McLachlan’s guitarist
but he finally emerges as a solo performer with this debut release. The
album displays Ashby’s guitar expertise by combining grungy tunes with
acoustic singer/songwriter ballads. Ashby’s vocals work better with the
latter as his soft voice fits in nicely on title track “Brass and Gold”
and gels with the string arrangement on “Nova Girl”. However, the album
is mostly driven by radio-friendly, up-tempo rock tunes like “Star 98"
and “Baby Yes”. Ashby continues to grow as a solo performer and his
first album is a worthwhile listen.
http://www.seanashby.com/
-Jon Brazeau
back to top
Sean Lennon
Friendly
Fire
Capital
Records

It’s been eight years since Sean Lennon’s last (and only) album Into
the Sun, and, at least sonically speaking, little has changed. The
summery piano, Brian Wilson-like overdub effects and twee acoustic
guitars are all still present and accounted for on Friendly Fire.
Unfortunately, the album’s mood has veered from jaunty and carefree ‘60s
pop into darker territory, the subject matter revolving around his best
friend’s death in a motorcycle accident. Compounding this tragedy,
Lennon had not spoken to his friend since learning of his infidelity
with Lennon’s then girlfriend, Bijou Phillips.
It is this move to the dark side that is the album’s weakness.
While the songs are catchy enough, with a fine eye for detail and
pathos, Lennon is simply not accomplished enough as a vocalist.
Coincidentally, Friendly Fire suffers from the same trait as Bijou’s
father John Phillips’s solo effort “Wolf King of LA,” issued thirty-five
years earlier; Lennon’s vocals don’t carry the emotional heft and are
somewhat lost in the effects-heavy production.
Bringing along friends helps the affair, even if they are incongruously
the aforementioned Bijou Phillips and another ex, Yuka Honda. Special
attention should be paid to the tracks featuring the talented
multi-instrumentalist Jon Brion (playing organ on “Spectacle”; guitar on
“Tomorrow”, and drum and bass duties on the title track). Spooky string
sections lend a sense of emotional suffocation to the Friendly Fire’s
lone cover, a murky but effective rendition of Marc Bolan’s “Would I Be
the One?”
The package comes with a DVD containing a suitable series of Wes
Anderson-lite videos. The Beastie Boys-friendly subject matter includes
laser beam battles, hallucinogenic caballero fencing duels, and a tale
of unrequited love at a rollerderby in 1982. Strewn throughout the
hipster clips of mopeds and Gravitron-rides is a narrative devoted to
Lennon and Phillips’ tragic love story. But, as aesthetically-pleasing
and ambitious as the DVD is, the project is too conscious of itself as
an Important Work of Art; one would want to be a serious fan to sit
through until the end.
www.capitolrecords.com/seanlennon
-
John Tracey
back to top
Seconds to Go
Seconds to Go
Pop Culture Records
Seconds To Go are a five-piece out of London, Ontario, who
cite a slew of influences including Radiohead, Foofighters and fellow
pop-punksters, Face to Face. In fact, Seconds To Go frontman Nick Harris
and Trever Keith, vocalist for Face To Face, sound almost identical, it’s
uncanny. Perhaps it’s not surprising, since they worked together
too. Keith first signed the band to his own label imprint Antagonist
Records before they got snatched up by Pop Culture Records. A North
American tour alongside both Face to Face and My Chemical Romance soon followed.
Now, after almost five years together, and no more delays, Seconds have
unleashed their self-titled debut. The signature guitar chugs are there,
and it is unmistakably punk-rock, it’s just a tad disappointing.
Judging
from what I heard on “YoungBlood” and “Soldier,” the highlights of the disc,
Seconds are not a bad band. Harris has an amazing voice which brightens
the other tracks, but after a while they start to sound the same. The tunes just
need a bit of spice to perk them up. Hopefully the potential that I caught a
glimpse of here will present itself more fully on the next disc.
http://www.secondstogo.net
www.myspace.com/secondstogo
-Charmaine Merchant
back to top
Secretary Bird
Self-titled
Seaward Records

LA-based
trio Secretary Bird play the mellow, surf-infused pop for which their
city is known, but with a doleful, melancholy undercurrent. It’s sweet
and gentle, and at times I didn’t even realize I had it playing in the
background – until I noticed I’d been tapping out the rhythm to the last
few tracks. So while it’s likely a discs that’ll take a bit to grow on
you, it’s nonetheless well worth the time it takes to warm up to.
There’s a bit of an alt-country influence on some of the tracks -
“Cornerstore”, for example – which adds to the group’s multifaceted
style and sound, while others buzz off in a haze of soft distortion and
drifting, ambient sound layers. Kind of reminiscent of the sound coming
out of Toronto’s Broken Social Scene. But overall: pretty damn good for
a band who don’t even appear to have a proper website.
www.myspace.com/secretarybird
- James
Sandham
back to top
Seedy Seeds
Change States
Eurodorable
The Seedy Seeds
make pop music that consists of vocal harmonies and dance beats. For a
moment it seems kind of inappropriate, almost to the point of being
obnoxious. The same goes for the harmonies, which upon first listen
seem obvious, derivative and forced. The second listen through though,
you will find yourself looking forward to those vocal hooks, which
aren’t always lyric driven, and often consist of simple humming. This
is catchy pop music. Sure, sometimes I hear something in there that
reminds me of a Springsteen song (keyboard in ‘Rise to Receive’) but
everyone borrows from everyone so what can I say about that. I might
even suggest that at times The Seedy Seeds have a refined pop sound and
harmony system similar to Yo La Tengo, quite evident on the track
“Calliope.” It may take a few tries to get through the whole thing, but
once you have the return listens will get easier and easier.
www.myspace.com/theseedyseeds
-Daniel Demois
back to top
Seether
One Cold Night
Wind-up Records

I'll be honest with you, I never listened to the CD since the
DVD is all the same tracks and with pictures is always better. One Cold
Night is an acoustic set with plugged in bass (Dale Stewart) and drums (John
Humphrey). Though even without seeing the concert, all of the songs hold
up strongly.
Oddly lit in mostly bright charming colours you would expect to see only in a
summer collection by Betsey Johnson. Shot this past February 22nd
in guitarist Pat Callahan's hometown of Philadelphia in Grape Street. A
particularly meaningful location for the band as Grape Street is
where vocalist/guitarist Shaun Morgan and Stewart first met Callahan. As
expressed humorously in the interview segment, Callahan recalls having a set
time to audition for the band, after they had seen him play live. He had
not only gotten the time wrong but slept through the audition. He made it
in time to help the band move their gear that they had already packed up.
For fans that were introduced via "Broken," it's here with other equally
melancholic songs. Singer Shaun Morgan's voice is strong, well on display
and cannot be contained in the heavy thick sounded acoustics. If "Broken"
was just a teaser for you, you will not be let down by Morgan's deep feeling
lyrics and Seether's fully realized musical renditions. Well worth adding
to rainy moods.
One of the oddest things was watching the hour long in-depth interview and being
distracted by the blurring out of the beer bottle labels. I would never
have noticed or cared what beer they were drinking. I guess it's so the
beer company doesn't get free advertising, but it only piques curiosity as to
what they are drinking. Though they name so many beverages in their beer
soaked stories, the blurring is curious. They even thank beer for help "in
the making of this project" and include a picture of alcohol bottles in the
liner notes.
Night includes a new personal instant favourite and interviewer Pierre Robert's
favourite song "Sympathetic," along with Morgan's favourite similarly unreleased
gem of a single from Pearl Jam - "Immortality" along with an early incarnation
of Seether when they were known as Saron Gas with rarity "Tied My Hands." Fans
will be excited to see that the CD also includes an alternate shorter mix of
current single "The Gift." Alright I give, I couldn't help but listen to the CD
too. The only other difference is the extended audience appreciation at
the end of each cut.
There is also a video for "The Gift" with a behind the scenes making of tour
with Morgan explaining its concept. A handful of stills from the radio
concert are included. Unfortunately many are too shadowed.
A definite must for Seether fans. If you've only dabbled with a couple of
Seether songs, but loved them, this will convert you fully.
back to top
Seis Pistos
Korima Punk
Discis Patito
This punk band that hails from Chihuahua, Mexico are probably
not keen to be likened with the trendy canines that hail from their home state,
but it’s a surprisingly apt comparison. The band members are feisty, cute, and
small in stature, and they pack an enthusiastically noisy, yet non-threatening,
bark. Featured at this year’s CMW, Seis Pistos proved, both in their live show
and in this release, that language doesn’t really matter in punk rock. Most of
the songs on this disc are in Spanish, though the band does wisely add in a few
English tracks to avoid alienating English-speaking fans. However, with vocalist
Iván’s motor-mouthed delivery, it’s often difficult to tell which language a
song is in. The best songs on the album are the anthemic tracks anchored by
Kenio’s skilful guitar playing and sung in Spanish like “Fuera,” “No Puede Ser,”
and “GFF.” The fast-paced, basic punk recipe in this four-piece has been
referred to as “Mexico’s answer to the Sex Pistols”, but they lack the
snarkiness of the ‘70s Brits. The obvious sense of humour of this punk band (the
English translation of their name is “Six Chicken Broths”) makes comparisons
with groups like NOFX more appropriate. In fact, it wouldn’t be a surprise to
see Fat Wreck Chords (a label founded by NOFX singer Fat Mike) taking notice of
this Mexican foursome in order to capitalize on the USA’s under-represented
Latino punk rock market.
With singalong choruses sprinkled between mile-a-minute verses and strong
instrumentals, Seis Pistos’ fourth full-length album shows that Chihuahua,
Mexico should be recognized for more than just the purse-sized dogs currently
sported by America’s super-rich blondes.
-Jennifer Fabro
back to top
Seizure 17
She Owns
You
Father
Devine Records

Seizure 17 do
post-punk grunge with a disturbed, anomic underbelly. Somewhere between
the Stooges (“All I Want” has the whole “I Wanna Be Your Dog” thing
going on), Nirvana and Lou Reed, it’s short, stripped down,
guitar-driven music that sounds tailor-made to run from the law with.
The minimalism of the sound and structure works well with the feeling of
simmering violence that seems to infuse all four of the album’s tracks.
And bassist
Jamie
Campbell has one of the best bios ever: she was “conceived on a 4th of
July weekend in New Orleans in the cab of a truck that was being used to
transport stolen cars. Forced to move north when the KKK put a price on
her father’s head, she was raised in upstate New York, where she
developed a passion for opera, painting and drugs.”
www.seizure17.com
- James Sandham
back to top
Seizure Crypt
City of New York
Independant
Is
there some rule in the speed core scene that you need to send all the
paper bits of a CD layout sans jewel case? How’m I supposed to
keep track of all of this stuff? Well, I guess with Seizure Crypt’s
album, I can probably just give it all to some Quebecois squeegee kid to
stitch onto his camo vest. At least someone has a use for this sort of
tripe.
I
think the rule of thumb in any music that requires yelling (I’m talking
to you, hard core), is that if you can’t shriek, grunt, bellow with the
big boys, then you really shouldn’t try it. Seizure Crypt attack their
music with raw aggression, but Tom Reardon, Doug Williamson, and Mike
SOS* all just sound like they’re going to cough up a lung trying to do a
second-rate Henry Rollins impression. Varying time signatures and
thrash chords are buried alive beneath the impotent vocal onslaught, the
brightest point being “Death Rider,” which as far as I can tell is
basically a track inspired by Monty Pythons “I Like Traffic Lights,”
except Mr. Reardon’s love for traffic control is not nearly as convicted
as Idle’s.
Definately one for the squeegee kids.
*See my less than fawning review of SOS’s A Guide to
Better Living.
www.seizurecrypt.com
-
Christopher Langer
back to top
Seizure
Crypt
Hello My Name Is
Madness
3:16
Productions
Fate is a cruel mistress. It lets people sleep-in with fire at
their door.
It tears apart lovers and kills goldfish. For this writer, fate
has
brought a second Seizure Crypt album in less than a year.
Though the NYC
speedcore quartet have made some small steps, they still rest
firmly in
the backseat of wrestling-loving, dead body-poking,
gutter-throated
America.
As a band, Seizure Crypt have tightened up. It's easy enough to
say that
all the notes are (pretty much) in all the right places, but
what remains
is a fairly average metal record that's strangely dated (read:
late
eighties), though I suppose this is fair given that's when
anyone other
than the hardcore fans cared about speedcore. Though influences
from
Fugazi to Celtic Frost are at play here, there's no interesting
adaptation
of the blueprints. Chord progressions decisively jump from
minor to minor,
machine-gun drums blast out are little more than genre-specific
talking
heads, and the tracks stick true to their source material, with
tracks
like "The Deadened," "Where the Bodies are Buried," "Inhuman
Nature," and
closer "Eulogy" pointing in the obvious direction of the
lyrical content.
That being said, Seizure Crypt's new album is much better than
last
years offering. Their two-singer attack layers barks over
growls quite
well, considering that is wasn't even listenable one album
before. Even if
all this is for is to spit somewhat archaic material, I still
have
to say that Seizure Crypt are bringing a lot more to the table.
Though the
band sticks too much into the standard speedcore riffs, a few
scattered
bridges and outroes offer some variety, including an interlude
on "Eulogy"
that caries a little 'classic rock by way of John Frusciante'
balladry to
it. That being said, I still stand by my previous assessment of
the band
being "one for the squeegee kids," though their fan base is
sure to grow
incrementally as they continue to hone their sound.
Christopher Langer
www.seizurecrypt.com
back to top
Sevendust
Alpha
7 Bros./ Asylum

Sevendust is a heavy metal band that experienced their 15 minutes during
the late 90’s when asked to perform at Woodstock ’99. Since then
they’ve released five studio albums, each one doing progressively worse
than the one before it. The bands that survive and stick around are the
ones who can evolve their sound to keep grasping the attention of new
fans. A sound that is distinct to the early 2000’s when bands such
as Slipknot and Mushroomhead were prominent, Sevendust have not changed
their sound from when they first broke on to the metal scene.
Alpha
is chalk full of power chord guitars and deliberately fast double bass
drums. Heavy metal has changed so drastically since Sevendust’s
hay-day, but they might be the only ones who haven’t caught on yet.
http://www.myspace.com/sevendust
-Phil Kedrosky
back to top
Shout Out
Louds
Our
Ill Wills
Merge Records

Swedish indie
pop-rockers the Shout Out Louds have taken their oh-so-sweet gentle
sound and injected some secretive ill wills on their sophomore album.
Not even remotely unkind or hostile whatsoever, the 12-track Our Ill
Wills LP is a nifty little chapter into their worldly lives. It’s
been a couple of years since their debut Howl Howl Gaff Gaff and
tracks such as “Normandie,” “South America” and “Parent’s Livingroom”
reveal the quintet have been all over the place, reaping the benefits of
their delectable sound.
Neither
sugary nor folkie, the Shout Out Louds have managed to marry charming
pop musings with crafty guitar and drum beat techniques to create a
fluid, neat record. They’re indie enough in their sound to earn the
respect without being extremely weird and losing it. A great little
ditty of a disc, kind of reminiscent of a John Hughes flick – Molly
Ringwald dancing in the library and all.
www.shoutoutlouds.com
www.myspace.com/shoutoutlouds
-Antoinette
Mercurio
back to top
Shulz
What Apology
Sudden Death Records
If you were missing eighties metal, this album may be for
you. If you like the buzzing sound that bees make when they swarm across guitar
strings, the British Columbia recorded and mastered offering from Schulz, may be
what you've been looking for. What Apology is their debut album and brought to
you by Sudden Death Records. The gruff voiced, somtimes gravel spolen, singer
Jeff Borden, performing with Guenter Schulz on guitar, bass and programming,
cover a slower paced, funked up version of "Love Will Tear Us Apart," the Joy
Division classic just over half-way through the offering. The album closes out
with further rough tracks.
-Heather Rayment
back to top
Shy Child
One with the Sun
Say Hey Records

Shy Child
is another band out of New York City making music for twitching white
college kids and they’re bloody good at it. They’ve released more than a
half dozen EPs, LPs, and remixes, and they’re currently touring in the
UK and France. Not bad for a band without even a proper website. But I
guess they’ve got better things than websites to build, and between the
two members Shy Child manage to buzz out a completely infectious haze of
dancey electro-rock and roughed-up New Wave. Some of the best tracks
from the CD are “Summer” and the album’s throbbing opener, “The Noise
Won’t Stop,” but the whole album is pretty solid and the duo’s style and
ear for catchy beats are consistent throughout. Plus, in an act of wild
desperado, they’ve reintroduced the keytar (the keyboard guitar, aka the
guiboard) to rock dance music; not since the eighties has someone looked
so cool playing it. And not only is it chic, but it also adds a fitting
reminder of where Shy Child’s musical roots lay. It’s taken some time,
but Shy Child may be the eighties most worthwhile legacy.
- James
Sandham
back to top
Siberian
Hey
Celestial!
Sonic Boom
Recordings

Sites like threeimaginarygirls.com claim to have “a crush” on Siberian -
and it’s not hard to see why. They do “handsome” music - Coldplay-inspired
tunes but with a bit more edge.
Finn
Parnell's vocals are strong and melodious. Paired with the rest of his
Seattle-based quartet, it results in an album of respectable if tame
indie-pop. While perhaps a little on the melodramatic, emotional side at
times, the band channels groups like the Shins - on “Forty-Two” in
particular - and have created in Hey Celestial! a decent little
debut EP that may appeal to you if you have a taste for the softer side
of contemporary pop-rock. “Talk to the Moon” is another good track, with
its lilting Brit-pop influence and punchy drum beat. Not bad for
something that grew out of a demo that wasn’t even supposed to be
released.
www.sonicboomrecordings.com/artistinfo.php?bandid=42
-
James Sandham
back to top
Sidharta
The Sid Matter
Self-Produced

Sidharta
are a hardworking, Montreal-based punk group who shout gritty vocals
loud enough to shame Brody Dalle. Having already toured most of North
America and Europe on their own ingenuity and resourcefulness alone,
they are, unfortunately, slightly less accomplished on the musical
front. Their sound hovers around a space only slightly more organized
than complete chaos. It is raw, anarchic punk with little time to pause
and even less time for structure, driven by often dissonant guitar and
drum patterns. On top of this musical madness, singer Ouragan Jacquier
proceeds to vomit bloody murder into the mic. Pretty crazy, but good
tunes if you’re into epilepsy.
www.myspace.com/sidharta
- James
Sandham
back to top
Signal Hill Transmission
An Empty Space
Juice Records

There’s
some pretty rockin’ numbers on this LA-based group’s third release,
evoking a sound (if you can imagine something like this) somewhere
between Bob Seger and We Are Scientists – with a few mellow tracks
thrown in for flavour. So while this may not be the most consistent of
albums, that’s also part of it’s appeal – there’s a little bit of
everything on here. Sometimes it works, sometimes it doesn’t. Tracks
like “Alright” – an ode to the virtues of 1970s music – are a little
over-the-top cheesy and end up sounding somewhat artificial in the way
Jet’s 1970s-inspired music can sometimes fail, but more often than not
you can overlook the substandard lyrics in favour of SHT’s catcy,
guitar-driven melodies. “Polyvinyl Acetate” is a great tune, and “No
More Rides for Free” brings the cowbell back in a way not heard since
the days of Blue Oyster Cult. So rock on like it’s 1979.
www.signalhilltransmission.com
- James
Sandham
back to top
Silence The Foe
Sweet, Sweet Suicide
Lujo Records
A hardcore band from Trondheim, Norway,they play modern
hardcore, have done a few European tours, and played a number of festivals all
over Europe, including the Norwegian version of the North by North West
festival. Listening to this offering, it is clear to see why and how they have
managed to get such a touring schedule. This opening track "Chaotic Mind" lives
up to its name and the other songs pretty much carry this sensation on until you
feel worn out listening to it. They do not fall into the hardcore-style trap of
relying on screaming and yelling their way through, with the music coming a
close second to the screams they can fit into a song. The guitar work from Audun
Storset, Marcus Forgren and Roland Livar Kjenstad are fantastic on their
own, sometimes showing a much softer side; like the likes of Feeder, only with
way more intense vocals. It makes for compelling listening, and could be billed
as hardcore for the more relaxed and less intense. Not to detract from the
heaviness of the band, it is more of a testament to how well crafted the music
is in such songs as "As Holy Spirit" and "Penny For Your Lies". The vocals of
Anders Voldronning often sound similar to that of the black/death metal genre,
yet never make the music feel as dark as that style of music. Their music is
very much lively and uplifting as opposed to being dark and overly aggressive.
This is most certainly hardcore Scandavian style. It is extremely well produced
and put together and sounds technically perfect for a band playing such heavy
songs. Let's just hope their touring schedule carries on into the rest of Europe
and North America again.
-Adrian Huggins
back to top
The
Silt
Cat’s Peak
Fig Records

Skilled multi-instrumentalists Ryan Driver (Deep Dark United), Marcus
Quin (The Sharp Tongues) and Doug Tielli (The Reveries, The Draperies)
play jangly, loose and messy country-folk-blues tracks that are at once
familiar and alien on their third release Cat’s Peak. Comparable
to Neil Young, but also similar to The Beta Band, the album is a
collection of well-orchestrated, yet experimental songs.
Brooding but playful, improvised yet capable, The Silt avoid dwelling
too long on one tone or quality. Robust harmonies erupt out of long,
drawn out notes, while twangy guitars, flutes and organs casually (but
not carelessly) reverberate and bounce throughout the record.
Weird and wonderful, The Silt are a tricky band to categorize. Memorable
and recognizable, yet unpredictable and volatile, The Silt create a
special, unusual and delightful kind of musical ambivalence.
www.myspace.com/thesilt
-Kate
Robertson
back to top
Sin Dealer
Dying to Live
Independent

Sin Dealer should be embarrassed to call themselves metal. The not so
talented lyricist of the band forces us to listen to lines like "Look
into my eyes/addiction doesn't lie" and "Well I'm rocker/and I'm a
roller baby." Wow, now there are some top shelf lyrics. This CD just
screams poser Mamma’s boys with tattoos. These guys try and come off
real bad ass but it isn’t working. This CD is simply a hideous display
of bad metal with unbelievably bad songwriting.
The only thing this album has to offer is decent studio production and
respectable playing. How a band like Sin Dealer can survive today is
absolutely mind-boggling.
- Andre Skinner
back to top
Sinbeats
Sinbeats
Independent
When The Sisters of Mercy toured Germany at their peak in the
1980’s, something fascinating occurred. They left behind legions of black-clad
fans. The Sisters are only an 80’s Goth-rock footnote now in North America and
even in their home country of Great Britain, but in Germany they still maintain
iconic status. The fans formed bands and continue to pay tribute to their
masters. Take Sinbeats. It’s 2006 but if you’re expecting a modern sound with
this latest release, you’ll have to look elsewhere. The album borrows heavily
from First and Last and Always and Floodland (two of the Sisters most prominent
releases) with everything from the brooding guitar riffs to the monotone vocals.
Some of the melodies are identical to the genuine article. In some ways, this
album is a bit of a trip. Flashbacks of sexy girls in Skinny Puppy tee shirts
dancing to This Corrosion at a local Goth hang invade your brain with each song.
On the flip side, the album disappoints due to the wholesale lifting of the
sound and the concept. To top it off, the effort is quite amateur, drawn out in
places where you expect it to rock, too quick to wail on the axe in places it
should slow down – like a basement practice session, really. One would expect a
little more from a band that traces its genesis to 1990.
www.sinbeats.net
www.exodusattack.com
-Michael Cool
back to top
Skye
Mind How You Go
Atlantic/Warner

Nearly two years after the unravelling of Morcheeba, former
front-woman Skye, reintroduces mellow with her hypnotic solo debut. Mind How You
Go is a poignant and poetic offering of pure breathless tranquility.
The sweet, smoothness of Skye’s vocals lullaby us along an intimate
journey. Tender, airy melodies drift over deeply rhythmic percussions… Hints of
electronic blend with acoustic and strings. Jazz-like sensuality is dappled with
melancholic sweetness in her eclectic style.
Fans of Morcheeba should not be disenchanted with this project, although
it is a serene departure from the heavy trip-hop beats that made Morcheeba so
popular during the 90’s. Mind How You Go is much more delicate and personal for
Skye, as she has written on all songs and been present throughout the entire
project. The ambience is very intimate. No longer just the mouthpiece of
another’s vision, this album is undeniably, hers.
Eyes close and body sways…Skye woos us with a cool, beautiful harmony that is
the epitome of chill.
www.skyewebsite.com
-Sara Percival
back to top
The Slackers
Peculiar
Hellcat Records

This is the sixth album from New York based, ska/punk/ roots
band the Slackers. The band are on punk legends Rancid’s record label Hellcat
records, and on hearing the band for the first time, it is not hard to see why.
They seem to take the style of Rancid in their most ska and mellow moments.
Although to simply say this would be an insult. The Slackers stand alone, and
have a loyal fan base across North America and Europe, as was evident as they
recently packed out many punk haunts across Europe including Germany, Britain
and Holland.
The band, while on a punk rock label do play a pretty much straight up ska,
similar to the likes of the Specials, and The Beat, but with a New York accent
in the form of vocalist Vic Ruggiero, which sounds strangely like Rancid’s
frontman, Tim Armstrong on a very good day. They also have a bit of a reggae
feel to them especially in songs such as “Crazy” and “Capo” which are all
thoroughly danceable which of course adds to the appeal of this band. The rest
of the band include Jayson Nugent on Guitar, Glen Pine on Trombone, Ara Babajian
on drums, Marcus Geard on bass and Saxophone is taken care of David Hilyard.
They must have a big tour bus. But all these members make the band such a great
musical force who produce some great songs in the space of this album.
“I’d rather die happy” is a relaxing, acoustic number, which sounds
almost like Sublime at their most chilled out and reflective, you almost hate
the fact you aren’t on a beach listening to it. On closer listen though, the
lyrics seem to have a real old blues feel to them in the self-loathing and tales
of struggle.
“What Went Wrong” is yet another song, which sounds different, but
perfect alongside the rest of the album, its much more of a slow dare I say love
song. It is a sad one though, with some great backing vocals that really show
what great musicians this band are, despite the raw ska punk feel they have.
Title track and lead single, “Peculiar” and “Keep it simple” really sum the
bands feel up, with a real swing in the beat which really does make you sway a
long to it, so you could only imagine what these guys are like in concert with a
room full of people skanking the night away.
This is a great album, which works on so many levels as it is full of
relaxed numbers and up beat songs that all seem to sound like instant classics
that have been around for years. They also have a big social conscience as is
demonstrated on songs like “International war criminal” and “Propaganda” which
really keeps the punk rock flavour alive and also ties in with Two tone legends
The Specials, acting as a social voice, well getting people dancing. Skantastic.
www.theslackers.com
-Adrian Huggins
back to top
Slave to the Square Wave
Big Change
Sparks Music

Slave to the Square Wave aren’t the most innovative band, but what
they’ve chosen to emulate - New Wave by way of the Cure, Flock of
Seagulls, and David Bowie, with maybe just a touch of Talking Heads
thrown in - almost sounds better done by them than by the originals.
Big Change, SSW’s debut LP, is an album full of singles that, at
times, may feel as though you’ve heard them elsewhere, but is
nonetheless infectious in its smooth pop sensibility. The album’s
opening track, “Sinners of Saint Avenue” gives you a taste of what you
can expect throughout much of the album: catchy guitar riffs anchored by
strong synth-driven hooks, slick production, and Colin Troy’s
effortlessly cool pseudo-Brit accent. He’s got the whole Robert Smith
thing going, minus the hair and makeup. This album heralds a whole dance
revolution just waiting to happen.
www.slavetothesquarewave.com
- James Sandham
back to top
Slayer
Christ Illusion
Abstract Recordings and Warner Bros. Records
Not only have these metal masters been around since the dawn
of time, but they still manage to rip into our souls with powerful force, as
evidenced by Christ Illusion debuting at Number 5 on the Billboard Charts. For
those of us that have followed their career, we know that Slayer has always
carried bouts of controversy mixed with lyrics that hold nothing back. We hear
Slayer’s expression of politics and war throughout the album, with such tracks
as “Flesh Storm” and “Jihad.” “Eyes of the Insane” and “Black Serenade” delve
deep into the mind of the soldier during and after battle. Slayer manages to
stay progressive as ever and wank their way with psycho drum fills and ripping
guitar solos. The comforting vocals of Tom Araya continue to prove that he can
still belt his insides out. They will be touring Europe heavily to support the
new album and to learn more, check out
www.slayer.net or
www.myspace.com/slayer.
-Rayna Slobodian
back to top
Slayer
Christ Illusion
(CD/DVD)
Red Ink Music/Sony
This fully-loaded reissue of Slayer's latest album "Christ Illusion"
comes with bonus tracks and a DVD of live footage and videos and it
packs more punch than Bob Villa's nail gun. Cover to cover the music is
fast and furious as the unapologetic Slayer deliver a speed/thrash
cocktail equal in intensity to their ground-breaking 1986 epic "Reign in
Blood". RIB is the obvious benchmark - an album that Slayer has not
been able to top since they levelled the place with it 21 years ago
creating an insanely fast and powerful machine gun metal sound that
countless wannabes have not yet matched. Subsequent releases have been
a combination of genius and disappointment but these old guys cannot do
wrong in the eyes of millions of rattleheads worldwide. "Christ
Illusion" smokes albeit lacking the hooks and groove that made their
sound so deliciously sinister in the past. Regardless, it blows most
modern day thrash/black/death metal bands (most of whom they spawned)
out of the water. While RIB was rejected by Geffen for having all too
realistic songs about satanism, necrophilia and Nazi concentration
camps, "Christ Illusion" follows a similar path with themes of Islamic
terrorism ("Jihad"), anti-Christianity ("Skeleton Christ"), and, you
guessed it - satanism ("Black Serenade"). Not Slayer's best but
listening to it still sends shivers down your spine creating the
impression that shit is finally going to hit the fan and that the
apocalypse is upon us.
http://www.sonymusic.com/artists/Slayer2/
- Michael Cool
back to top
Sleeping In The Aviary
Oh, This Old
Thing?
Science Of
Sound

Sleeping In The Aviary sound like another teenage angst garage band. The
songs on, Oh, This Old Thing?, are frenzied, bitter and angry
with a hint of comfort hiding underneath it all. Fleeting moments of
emotional anxiety flounced by desperate drums and hard rocking guitar
strings accompany each song, making the singer sound more neurotic than
he might actually be.
The first four songs are thankfully pretty short so you breeze through
them quickly. But then “Sign My Cast” comes along and you realize you
don’t want to “sign the [singer’s] cast” but rather beat him over the
head with it. Why are teenagers so angsty? Those are supposed to be the
best years of our life yet we waste them on angry music, bitter feelings
and useless existential questions we’ll never know the answers to.
Oh, This Old Thing manages to accomplish that youthful vigour of
moody depression and heated hormones so prevalent in our teenage years.
Perhaps the only good thing about this album is that each song seems
shorter than the previous one, making it relatively painless. That and
track 10, “Lanugo.” With some trombones in the background a la Mighty
Mighty Bosstones, the singer’s gut-wrenching dismissal of his lover and
their time together seems convincingly justified. Oh, This Old Thing?
isn’t something I would call a complete album. It sounds more like
something the band recorded on-the-spot, in a moment of emotional
despair. Not exactly a top choice for me but if you like whining,
self-pitying, post-grunge rock then feel free to indulge.
www.myspace.com/sleepingintheaviary
www.sleepingintheaviary.com
-Antoinette Mercurio
back to top
Sleepy Brown
Mr. Brown
Purple
Ribbon/Virgin Records

Sleepy Brown is best known as the sunglasses-wearing guest vocalist
featured on many of Outkast’s biggest hits. He has lent smooth and
catchy choruses to chart-toppers like “The Way You Move” and “So Fresh
And So Clean”. Sleepy has also enjoyed a successful career as one-third
of the Grammy-winning production team Organized Noize, responsible most
notably for TLC’s ‘Waterfalls’ and the first two Outkast albums. With an
excellent resumé to back him up and perhaps a thirst for the spotlight,
Sleepy has put together his debut album, Mr. Brown, in hopes of
making it big on his own. Unfortunately the album is about as generic as
its title.
Sleepy Brown’s contributions to Outkast albums have always walked a thin
line between ‘incredibly lame’ and ‘so silly it’s awesome’. His complete
immersion in the funkdafied, soulful, falsetto voiced R&B stereotype of
the seventies is ripe with camp, but at the same time it’s harmless and
a lot of fun. In small doses Sleepy can usually come off looking pretty
cool. However stretched out over a full album his shtick wears
incredibly thin and what we get is a collection of overtly long and lame
as hell R&B songs bursting with clichés. We get it all, from Marvin
Gaye-like ‘oohs’ to downright embarrassing Barry White-type monologues
(“You wonder why I stare at you all the time,baby?”).
“Lyrically Sleepy” offers nothing new (“Ho ho hum/ I love it baby/When
you’re going down on me”), and as deft as he can be as a producer, the
beats on this album are just boring.
It’s uncanny that a man who has crafted so many catchy hooks in his
career could produce such a forgettable album. Even sadder is that the
one track on the album that is worth its beans “I Can’t Wait” is
actually an Outkast song lifted off the Barbershop 2 soundtrack,
featuring Mr. Brown on the chorus. Poor Sleepy, always the bridesmaid…
www.sleepybrown.com
-
Sam Stilson
back to top
The Sleepy Jackon
Personality (One Was a Spider, One Was a Bird)
EMI/Virgin
No,
this is not Sleep Brown, the buttery-voiced hook man for Outkast. This
is Sleepy Jackson, the trip pop alt rock one man band from Down
Under.
It
seems like that these days the indie world (whatever that actually is)
can’t decide whether they still love the Flaming Lips of whether the
band’s recent fame and progressively strange marketing moves warrant the
distain they received between Transmissions from the Satellite Heart
and The Soft Bulleten. The same goes for Mercury Rev’s last
outing, generally derided as hippy fluff. So what of a band that
connects itself to the two bands in its own press?
The
Sleepy Jackson aka Luke Steel does not live up to his EMI-spun press,
which likens him to both Brian Wilson and Jimmy Hendrix, but the native
son of Australia does pen songs in the Flaming Lips mold, sort of in the
mode of “This Here Giraffe” meets a Mentos advert. Personality
was apparently even supposed to be recorded by super producer David
Friedman; though it sounds like whoever they got in the end (Scott
Horscroft) was a decent facsimile, which is what this album really is.
Not the “perfect pop album” it’s author attempted, but a strong
alternative leaning pop album that deserves much of the praise it has
gotten from Mojo and NME, but not necessarily the epic comparisons that
it wishes it had achieved.
A
notably strong effort that fails to live up to its own press. If only
EMI’s PR department was a little more reserved this album could (for
this writer) fit amongst the top of the year. However, the bombastic
claims it makes fall a little short of this mark. But honestly, Hendrix?
www.thesleepyjackson.com
-
Christopher Langer
back to top
Slingshot
Dakota
Their Dreams Are Dead, But Ours Is The Golden Ghost
self released

Slingshot
Dakota is out with their 2008, self released album titled Their
Dreams Are Dead, But Ours Is The Golden Ghost. What an altogether
sweet and colorful album. With Carly Comando’s emotionally beautiful
voice and Tom Patterson’s talent on the drums, it makes for a richly
melodic combo. The opening track “The Golden Ghost,” is a great song to
begin the album with lyrics like, “‘cause we are more than this song
could ever say,” followed by the cute and honest song “Until The Day I
Die,” with lyrics such as, “I just wanted to say that you are one of the
few people to make me feel so beautiful.” It’s an indie-pop album with
a lot of energy and enthusiasm by the two. To put it simply, it’s just a
really nice album and you can check some of it at
www.myspace.com/slingshotdakota.
-Danielle Cowie
back to top
Small Arms Dealer
Patron Saint of Disappointment
Deep Elm Records

Long Island, NY,-based quartet Small Arms Dealer do punk rock the way it
was meant to be done: rough, raw, and brimming with misunderstood
frustration. Eschewing the recent trend towards lyrics about the mall or
the injustice of being young and subject to parental wishes, SAD prefer
instead to vent about the emptiness of existence, the hypocrisy of
society, and the struggle with meaninglessness. And just in time too. It’s
like ever since Avril Lavigne and Sum 41 what passes for mainstream punk
forgot about all this. But SAD are bringing nihilism back big time, all
via a flurry of distorted guitars, crashing drums, and furious,
two-and-a-half minute anthems. It’s
more than you’d
expect from a band who’s
song titles (ex.
“Fake
Beard. Real Moustache”,
“Who
Farted?”)
can, at times, read like the incoherent outbursts of naughty
four-graders. But then they’ll
go and do a totally powerful tune like
“Oh,
My Stars and Martyrs”
or
“Ill
Gotten Gains”
and it’s
like, is this the same band or what?
’Cause
I’m
ready march into destruction.
www.smallarmsdealer.net
- James Sandham
back to top
The Smashup
Being and Becoming
Warcon

At certain points on this disc, the SmashUp seem to have a
near-poetic grasp of the English language. At others, they seem to be playing
word-association with a good thesaurus on hand. But mostly, they seem to be
pouring out the biggest and fanciest words they can think of just to sound
smart.
An example of this, from a track called “Rachel’s Day”: “The mud-bloody earth so
sanguinely runs to embrace the ash the corporeal return to penetrate stone the
firebirds rise take wing through the mantle like seraphim fly.” If those lyrics
made sense, I might be impressed by their vocabulary – but they don’t, and I’m
not. However, most fans of the SmashUp are probably more concerned with the
anguish of their persecuted suburban existence and whether their jet-dyed hair
is falling just-so over their eyes to notice how overwrought the band’s sound
is.
That is not to say this punk/screamo band is not talented, because they are.
Lead singer Watt White shows admirable range, screaming with anguish one moment,
gently whispering the next, and then unexpectedly belting out a catchy melody
with the ease and control of a classically trained performer. The rest of the
band’s performances are equally tight and adept.
“Never Going to Kill Us” is the band’s self-proclaimed anthem, and
listening to its pop-punk infused shouting you can practically feel the sweaty
horde of fans pumping their fists and singing along beside you. Later, with the
slow-paced ballad “Dreams,” the band seems to be making a bid to be the next
radio friendly alt-rock band in the vein of Default or Three Days Grace. And the
final song, “Murder to the Mattress,” is about abortion and unwanted pregnancy.
Lyrics include this passage: “This fate that a mother decides/ This violent
mercy/ Forgive me my delicate child/ May God speed you to grace/ you’ll never
see my face/ God’s will is good./ What could you know?” The band doesn’t take a
firm side on the contentious issue in the song, but their frequent reference to
God/God’s will through the album, as well as the song’s very title “Murder to
the mattress” hint at the band’s beliefs, which probably go against those of
most punk rock fans.
In summary, this album is energetic and varied, and the musicians deserve credit
for their talent and expertise. Just don’t pay attention to the words.
www.thesmashup.com
-Jennifer Fabro
back to top
Social
Clash
Demo
Self-produced
Social
Clash don’t get much sympathy from me other than because of the fact
that they’re indie and Toronto-based and trying to make it on their own,
but when it comes down to it, their music’s pretty bad unless you’re
really upset with yourself, or hate your parents. Lots of tortured
screaming. Lots of breaking it down to get soft and sensitive for a
moment or two. It’s kinda been done, guys. And it’s kinda hard to
understand anyone over sixteen getting this bent out of shape, unless
its over issues of a humanitarian scale - and Social Clash don’t really
make it there with their lyrics. But keep trying, because “For More” has
potential - a great building, tribal percussive beat and some anthemic
“whoa-oa” chants. The other three tracks on the demo: meh.
- James
Sandham
www.myspace.com/socialclash
back to top
Society of Rockets
Where the Grass Grows Black
Underpop Records

Don’t judge a book (or CD for that matter) by its cover. If
you were to glance at the cover of San Francisco’s Society of Rockets new record
you might think you were in for a heavy dose of Goth or death metal. This
couldn’t be further from the truth. S.o.R kick off the album with the classic
sounding rock tune ‘Tangerines and Cigarettes’, a catchy radio-friendly jaunt
whose underlying horn section does a good job of supporting the guitar driven
song. From there they move on to a more familiar sounding territory with the
twangy ‘Out in the Evening’ which takes a sharp turn into the Alt-Country
category. The rest of the album jumps back and forth between the two sounds. The
Society experiment with many different sounds on ‘Dr. X’ and ‘End of the Line’,
but they sound a lot more comfortable on the country driven songs ‘Ballroom
Kicks’ and ‘Suicide Summer’. Overall I thought it was a solid album, but the
Society would be better off in choosing one direction and going forward with it,
rather than trying to do too many things at once.
www.societyofrockets.com
-Matthew Gorman
back to top
Some by Sea
On Fire! Igloo
SideCho Records
Some By Sea is a classic example of a band that should stick
solely to acoustic sets. Their music is abrasive in its lack of subtly, and can
sometimes come across as whiney and immature. I believe this can mostly be
attributed to the guitar and base. Basically, they just don’t work. The
composition overall is way off, it makes On Fire! sound like it was made by a
bunch of sad little MySpace boys, blow drying their hair and taking pictures of
themselves in awkward positions. The piano and cello are ill-directed at times
as well, but do sound lovely nevertheless. I do honestly believe that if they
switched the guitar to acoustic, played up the cello, and fiercely edited it
down they would have a great sound. This album immediately evokes Weakerthans,
so if you like that sad emo boy sound then this is for you. There is no doubt
that they have a lot of potential, they just need to make something that will
please more than just the ears of teenage girls who think that knitting is
ironic.
-Mikalya Carson
back to top
Society’s Parasites
Self-titled
Hellcat
Records

LA-based hardcore outfit Society’s Parasites wear their musical heart on
their sleeve. If the name alone isn’t enough to suggest what this
album’s all about, one look at the Olde English lettering and
black-red-white colour scheme should confirm any doubts that yes, this
is a punk album and one of the hardest variety. But despite the band’s
somewhat generic packaging, they nonetheless manage to surprise - if not
with their innovation on the genre, then with the pure ferocity with
which they deliver their searing fast guitar riffs and dissonant,
off-beat vocals. There is only the barest room for structure on this
album, the quartet preferring, it seems, to dedicate all attention to
squeezing out every last ouce of aggression possible, on a four-man
mission to destroy everything. Because truly that is what this album is:
a full on assault, a sonic Mongolian horde, crashing the gates of all
that is established and leaving nothing but wreckage in their wake.
www.myspace.com/societysparasites
-
James Sandham
back to top
Solace
of Requiem
Utopia Reborn
Ruptured Silence

There is a place in my heart for
total insanity and bone-crushingly heavy music. Speedcore acts like the
Agorophobic Nosebleed or Toronto’s the First Seed fall into this
category, as do over-the-top schlock rock bands like GWAR. But bands
like Hatebreed and Cannibal Corpse annoy the hell out of me. I mean,
come on – do these guys actually take themselves seriously?
Unfortunatley, it seems they do. And equally unfortunately, SoR falls
into the latter of these two categories of heavy music. I know it’s
probably not a good idea to knock a group as apparently angry and
violent as SoR sound, but the last thing we need right now is another
band of testosterone-fuelled psychopaths acting like angry violence is
cool. There’s enough of that in the world already and it definitely
sucks. Solace of Requiem: your name and album art may look like a
Delirium CD, but it’s fooling no one. You’re on notice!
www.solreq.com
- James Sandham
back to top
Someone Still Loves You Boris Yeltsin
Broom
Independentbr>
Were you missing your ooh ahhs and sing along quiet foot
tapping rock with happy pop tinges? Me too. Sweep up Broom into your collection
and we can hold hands, skip, lick lollipops and smile as we blow bubbles with
this fantastic mood uplifter that borrows its get in get out mindset from punk.
All ten of its short songs clock in at just over thirty minutes. Written and
recorded by, first names only please, John, Tom, Will and Phil "at Will's house
in the attic and downstairs," according to the album's liner notes, between the
fall of 2004 and winter 2005.
Instead of coffee, try this perfect morning pick-me-up.
-Heather Rayment
back to top
Sondre Lerche
Dan in Real Life Soundtrack
Virgin Records

Sole declared artist for the soundtrack of Dan in Real Life,
Sondre Lerche injects his intuition for acoustic placement, vocal
sophistication, and simple lyricism. It’s the type of album that is easy
to take in because you don’t have to think; it has logical changes in
the melodies, an uplifting musical atmosphere, and straightforward
messages.
I haven’t seen the movie, but based on the simplistic, endearing, warm,
and safe music, I get the feel of a wholesome, family-oriented flick.
You know the kind that promotes values and friendships (But don’t quote
me, for this is based on superficial reasoning). And now I must see it,
because this cat is always killed by curiosity.
“To be Surprised” has heavenly acoustic plucking, like an angel playing
a harp. And Sondre sings with vocal range, “When I wrap my arms around
you, every mistake we made crumbles”. This song is consistent with the
rest of the tracks, which are slow, ballad-like songs styled in classy
threads. Think top hats, glittery gowns, and shiny black pianos.
Sondre’s “Human Hands”, written by Elvis Costello, gives off that classy
adult contemporary feel, alongside well-known track “Fever” and a duet
performance with Regina Spektor in “Hell No”.
But I prefer to avoid adult contemporary music when I can. I most
related to “Airport Taxi Reception” (also found on his former album
Phantom Punch) which I vividly remember from my last and more
memorable encounter with Sondre Lerche. I understand this is a
soundtrack, but I also understand that he was edgier and more original
with his other sound. Time to turn back the hands of time.
http://daninreallife.movies.go.com
www.virginrecords.com
*cAthy Lee
back to top
Sondre Lerche (and the Faces Down)
Phantom Punch
Astralwerks

Phantom Punch,
the 7th release from Norwegian born Sondre Lerche with his
musical entourage (the Faces Down), is a savory cocktail worth the buzz
it has stimulated. With a mix of the following ingredients: an ounce of
pop, a dash of rock, and enough edge, it will be sure to shake listeners
the right intoxicated way. One can escape mundane reality voyaging
Lerche’s bright vocal tones as they effortlessly fluctuate highs and
lows in soothing satisfaction, all the while maintaining that joyful
state, which usually fades after first consumption. The 11 tracks
showcase both quick-paced edge with choppy acoustic guitar riffs and
sweet strumming ballads, while the album provides video and demo
bonuses.
With a strong sense of self, the music leaks unique style on a landscape
of musical copycats. But if I must pin them down, I think the Strokes
meets Cake meets The Dears. While Lerche thinks, “Orange
Juice meets Fleetwood Mac & My Bloody Valentine meets Gilberto Gil & Os
Mutantes meets early Elvis Costello & Prefab Sprout & XTC meets Thomas
Dolby meets Steely Dan circa Katy Lied, kind of thing”.
Infused with energy, delivered theatrically, the lyrics are
self-reflective themed with love and life. There is optimism and
lightness in this music that will be sure to add an extra spring to your
step. And the musical transitions and placements are creative, novel and
sound beautiful spontaneity (though I know they are tirelessly
deliberate). And contrary to what Lerche belts out in one of his songs
“You don’t want to feel the Phantom Punch”, I am sure we really do. I
totally feel it. My personal favourite is “The Tape”, which is a first
play instantaneous catch.
Cheers! Come here and unwind.
www.sondrelerche.com
www.myspace.com/sondrelerche
-cAthy Lee
back to top
Sonic City
Sonic City
Phd

Although the band may wish to move beyond this singular
taking point, I nonetheless feel compelled to include it in the first sentence
of their review: their guitarist is only 12 (gasp)! Judging by Sonic City’s
promotional material, this fact appears to be their main selling point. For that
matter, having listened to the album, it could also very well be their only
selling point. I don’t mean to crap on a little kid’s band, but being 12 really
isn’t enough to build a band on – or a following. They’ve already lost my
interest, and I only got the album a few days ago. Granted, a guitarist of such
quality and of such young age is pretty cool; the little bastard has even played
with Les Paul. But the fact remains that talented as he may be, Sonic City’s
music is pretty bad. Maybe it’s because curfews, homework, and teenage love
happened so long ago that I have trouble relating to their angst-driven emo-pop.
Or maybe it’s because I’m already inundated by a steady stream of similar refuse
from every commercial rock radio and TV station. Either way, Sonic City’s music
is neither original nor creative nor, apart from buddy on the guitar,
particularly well played. But then again, that doesn’t seem to present much of a
barrier to commercial success these days; perhaps being 12 will prove sufficient
to carrying the band after all.
www.soniccityband.com
-James Sandham
back to top
Sonya Kitchell
Words Came Back to Me
Velour Music Group
Remember holding your best friend's hand when you were five?
A lazy, joyful voice greets me, sometimes in a slightly smoky haze. Piano
tickles me with glee. Sunday mornings and Saturday's dusk never had a better
mood filler. Sexy music and vocals board me on a "Train." Slow lovelies wash me
away on a "Cold Day." Quiet, simple melodies underlay a sure steady vocal on
Sonya Kitchell's Words Came Back To Me. And I for one am sure glad that the
words and music came to Kitchell. Weather-beaten memories appear as words and
pictures as Kitchell's liners, complete with faded postage on the front cover,
waiting for you to rediscover old lovers, haunts and sweet burning
recollections. Wait a moment or two, as the last song finishes, another begins.
As I listen to a CD, I don't want to muddy it in any way by knowing any more
than what my ears hear. As I started reading Kitchell's biography, her age
jumped out immediately. Not in a bad way. I have to say I hate it when I hear,
oh so and so sounds so much older because they are so talented and how could a
younger person produce that? Yes it drives me crazy because why wouldn't they
be. So I won't say exactly how old she is. Part of the reason I won't say is
because the music should speak for itself. Kitchell is a classy dresser and her
air of confidence makes her ageless, like the music itself.
www.sonyakitchell.com
www.velourmusic.com
-Heather Rayment
back to top
The Sorrys
The Last Clear Thought Before You Fall Backwards
Chrissy Horse Music
The Sorry’s are a quartet from Nova Scotia - Halifax, to be precise -
who, like fellow East-Coasters Dog Day, do a simple, stripped-down form
of rock-pop without the pretence. Their debut album, The Last Clear
Thought Before You Fall Backwards, is a catchy collection of short
songs that demonstrates the best of the emerging Canadian indie rock
genre - great hooks, straight forward and relatable lyrics, and an
individualist, DIY ethos that cuts through the crap. And while this
ultra-basic production does have the potential to become a bit
repetitive after long exposure, the Sorry’s quick tunes and catchy
rhythms manage to avoid the worst of this. Drawing a certain level of
influence from 60s pop groups like the Equals (opening track “Druthers,”
for example and the excellent fifth track, “the Falls) and, to a lesser
extent, the Beach Boys, the Sorrys rough up the candy coating on those
sounds for something comfortably familiar yet at the same time
distinctly unique.
www.thesorrys.com
James Sandham
back to top
SOS
A Guide to Better Living
3:16 Productions Inc.
On
the official website, we find out that SOS takes its name from their
generation’s cry to the world for help. How provocative. How epic. How
dated. Something is definitely amiss in the gestation of SOS, as their
sound seems to be drifting backwards rather than building forwards,
relegating their music to those pining for the aesthetic of the mid-90s.
I
picked up this album from the ol’ unclaimed pike because it was
described as metal, and I have a fondness for any band that listens to
Maiden. SOS is not such a band. Rather, they sit awkwardly on the
convergence point where grunge cynicism bleeds into contemporary pop
rebelliousness. On “Star Killers” vocalist Mike SOS bellows that he
“won’t give a fuck when this song never makes it to the radio,” which is
probably for the best because no worldly force could ever get this song
on the FM dial. This sentiment rings hollow, or in the very least
archaic, as the last time using the word ‘fuck’ incited the Gen X crowd
was probably that time Prime Minister Chrétien called that guy a fucker.
So though they try, SOS rages against the machine about as much as the
logo on their CD, which appears to be the Men Without Hats’ logo minus
the crossed circle.
Sonically, SOS range from a paint-by-numbers pre-grunge act to a second
tier post-grunge act, though they never really hit the stride of either
the Screaming Trees or Tripping Daisy of which there sound smacks of. At
the end of the day, this album is guilty of seriously stepping on the
toes of its forefathers - too bad for these rebellious men with hats. A
guide to better living this album is not. Not by a long shot.
www.sosnyc.com
Christopher Langer
back to top
The Soul Of John Black
The Good Girl Blues
Cadabra Records

John “JB” Bigham does not sugarcoat anything. The blues singer quickly
establishes this brutal, raw emotional energy on the opening track “The
Hole” off his latest album The Good Girl Blues. “The Hole” is a
snakey, seductive beat where Bigham twangs his guitar and wails that
“he’s down in the hole.”
The slow, slithering appeal of “The Moon Blues” reveals Bigham has done
his homework and learned from the greats such as Al Green, Miles Davis –
whom JB has written songs for – and John Lee Hooker.
“I Got Work” taps into some Motown flavour and showcases a raw, smooth,
sexy side of the singer as he croons “anyway you want it / anyway you
need / I’m gonna put in some work girl / and bring you to your knees.”
Moving away from the sexiness, JB claims he needs a “Good Girl” and uses
his deep, electric guitar to entice the young female to get on the “love
train.”
Halfway through the album it’s obvious Bigham is a true blues singer at
heart and he wouldn’t feel comfortable in any other genre. His coarse,
manly singing paired with intimate, stripped songwriting defines the
blues genre in a big way. Rather than try to wing it or play it off as
some producer’s side music project, Bigham ingests the blues and spits
it back with his own signature on it.
Raw, real and ruthless, JB bangs out the dirty, gritty blues and sucker
punches the listener with an old school Southern musical beat down. This
is not an album for the faint of heart but definitely one for those who
can hold their liquor and gut it out with the best of them.
www.thesoulofjohnblack.com
www.myspace.com/thesoulofjohnblack
-Antoinette Mercurio
back to top
…The.Sound.Of.Us…
From Basements and Bedrooms
Unsigned
First, this chimera with a Hot Hot Heat body, a Nickleback tail, and
a head somewhere between Pop Will Eat Itself and Lincoln Park needs a
name change.
Second, though the 604 Imprint may listen to this album more than
once, the late 90s or early 00s are too recent to have vintage appeal,
and as From Basements and Bedrooms is executed with far so much “epic”
seriousness to be taken lightly, it definitely can't be taken seriously.
Thirdly, even if this record is a little above “meh” by radio rock
standards, radio rock is hardly the standard-bearer for the genre.
Lastly, for anyone who wished 1999 never really ended, from the small
town to the frat house, this mixed affair is right up your alley. But
you probably don't read this.
So eat a bag of dicks.
- Chris Langer
back to top
The Sounds
Dying to Say This To You
Warner

ABBA, meatballs, Ikea, lovable muppet chefs… lots of cute,
popular things come from Sweden. Rock/pop band The Sounds is no exception,
though they do have a bit more of an edge than some of their countrymates.
The first track, “Song With A Mission,” is a brash, confident, guitar-heavy 70s
rock song with bits of gospel thrown in to complement singer Maja Ivarsson’s
very rock ‘n roll voice. She at times sounds like a small child, and at others
like a sultry, otherworldly vamp, but always with a twinge of the Swedish accent
and a good helping of smoky raspiness.
The album loses its momentum a bit after its fantastic start, and is comprised
mostly of predictable, sugar-high, poppy love and lust songs with power guitars
and synthesizer effects. Track 5 is “Night After Night,” an overdone but
memorable ballad that seems to be about a failed relationship. “Night After
Night” is also reprised in the last track, where it works much better sped up
and without the buzzkill piano of track 5.
On the very catchy “Hurt You,” Maja is joined by an unspecified male
singer and a lot of programming effects. “Running Out Of Turbo” is another
attention-grabbing track (“Hey! Hey! Hey!/ That’s what I say!” is the main
refrain), and the unlisted rehashing of “Night After Night” closes out the album
satisfyingly.
It’s not really clear what these Swedes are “Dying to Say” to listeners.
They’re not doing anything particularly new or innovative – but at least they’re
doing it well.
www.the-sounds.com
-Jennifer Fabro
back to top
Southcott
Flee the Scene
Rust Records
This is the first full length album by young American band
Southcott. The band originates from Rockland County, New York and are certainly
a band that you would class as “emo”. Before you all put this down and move on,
do give them a chance. People are so quick to write of bands like this and the
whole emo scene at the moment. It is not hard to see why, as so many of the
bands sound exactly the same, from the way they sing and play, right down to the
themes of break-ups and growing up. But Southcott are actually pretty good. “Red
lights and Rooftops” is an instantly catchy tune, which will have you singing
along by the end of it, whether you admit to it or not!
They have a happy sound to them rather than a miserable self-pitying
feel, putting them along the likes of Yellowcard, Jimmy Eat World and Sugarcult,
rather than the bands that…oh shit I forgot what they’re all called, but they
may as well be the same. You see my point.
Other album highlights include “Where the Tabloids Won’t Find Us” and “Vengeance
isn’t the Right Word”, that is on the first listen, after that the other songs
seem to catch up and lodge themselves in your head as well, which I guess is a
good thing for the most part.
For a young band Southcott sound very professional and do not come
across like a band who just got lucky. They have a well-polished feel to them
that doesn’t sound stale or contrived, it just sounds like they have a good
knack for writing a good song.
“We’ll Take This Outside 12:45” is one of the best songs on the album and shows
a band that are growing musically, with “We’ll Take This Outside 1:17” finishing
the second part of the tale and the album off excellently.
Southcott will undoubtedly be shot down as another emo/pop-punk band, but they
really are worth a lot more than that. It is obvious that they are good now and
are only going to get better and better, instead of just doing what every other
band in this genre are doing. Good luck to them.
-Adrian Huggins
back to top
Sparklehorse
Dreamt For Light Years In The Belly Of A Mountain
Capitol Records
I don’t think Sparklehorse is capable of
making a bad album. This could merely be my own personal opinion, but I
tend to take it as pure undeniable fact. This being said, the title
track off of Sparklehorse’s new album is a b-side from his last album,
(one that Sparklehorse front man Markus Linkous called his “Godspeed!
You Black Emporer” track,) which certainly points towards the artist’s
difficulty in choosing a direction for the follow up to his heartsick
tour de force.
It says it right there on the second page
of Dreamt For Light Years In The Belly Of A Mountain’s insert,
amidst the bleeding thorned hearts, maple leaves, trees, and bees,
“STATIC KING.” After Wonderful Life, an album so chalk full of pregnant
pauses and delicate sadness that Tom WaitÕs guest appearance was just
too damn cheery, Markus Linkous has returned to his fuzzed-out brand of
college rock more similar to Good Morning Spider than to his
previous release.
Dreamt...
has Linkous moving much sonically to fill the gap left by his
now-departed and oft-compared-to contemporaries, Grandaddy. This
consists of an upping of the average track’s tempo (from “sleepy dirge”
speed to “making out on The OC” speed), the departure of guests
Nina Persson and PJ Harvey from backup vocal duties, the demotion of
guesting Tom Waits from vocals to piano, and the prominent inclusion of
wunderkind producer Dangermouse. Though indubitably Dangermouse’s
contributions will have the hipster set drooling, they don’t seem to
change the formula much from Linkous’ first two LPs. The drum
programming from “Don’t Take My Sunshine Away” could easily have been
done by the Flaming Lips’ Steven Drozd, who shows up later on “It’s Not
So Hard.” Also with the Dangermouse tag comes the use of electronic bips
and blurps that may have sounded cutting edge on a 70s era Who record or
at home on a modern rap crossover, but are too forcefull to fit fully
into the Sparklehorse mold.
The tracks on Dreamt... provide
more unity than previous Sparklehorse releases, but after a five year
hiatus some of us were expecting something phenomenal, not just a strong
indie rock album. I suppose we’ll have to wait with bated breath for the
apparent Sparklehorse/ Dangermouse collaboration to see how much water’s
really at the bottom of Linkous’ well...
www.sparklehorse.com
Christopher Langer
back to top
Spectacular
Find Yourself
DHF Records
Spectacular’s new album Find Yourself,
starts out less than spectacular (ouch). The first tracks roll out
positive reggae/dancehall clichés and not half as well as some other
recent albums. It isn’t until the furious kick of “Loud,” where Spec and
Mighty Tolga spit ragga over a double-time club-ready beat that
listeners begin to understand that Spectacular is out to challenge
dancehall thrones. “Loud” is followed up by the veritable grind-a-thon
of “All My Love,” soon to be outlawed at high school dances across the
land. Guest vocalist Yell and Spec seem to get along famously, or in the
very least they have more chemistry than half of Scarlett Johansson’s
relationships (plus the track lasts longer – ouch again). Unfortunately,
by “Never Let Go” the love songs have grown a little stale, and despite
a killer hip-hop finale, Spec finds himself wading through some middle
of the road material, clutching his jewels to his chest. However, this
Trenchtown local has already made a name for himself in Europe, and with
skills that at their best put the Bujus and Beenies to the test,
Spectacular may very well find himself some love over here in North
America.
In related news, big up/snaps to DHF
Records, as apparently independent German labels have way better taste
in dancehall than American subsidiaries.
www.dancehallfieber.com
- Christopher Langer
back to top
The Spill Canvas
No Really, I’m Fine
Sire Records

Two spills make a right. Spill Magazine meets Spill Canvas, though
through different mediums, they have the same goal: to uncover art. At
first play, SC is undeniably radio ready with their studio crispness,
solid vocals, emotional lyrics, and predictable but ever-pleasurable
chord changes. It’s catchy emo alt-rock in a safe mould for 102.1,
somewhere between Something Corporate, Finch and Further Seems Forever.
No Really, I’m Fine
is a fitting album title: With all the heartbreak, the haunt of a former
lover, the last but resilient seed of hope, and suffering without want,
all listeners are inclined to ask, “Hey man, are you alright?” “No
Really, I’m Fine”, responds the album cover. But the deeper and more
accurate layers reveal “There is a part of everyday when I lie to myself
and say that it’s okay” (lyrics from “The Truth”).
Heavy heavy emotional unburdening, magnified sonically with piano and
organ keys, vocal strains, whimpers and screams, and brought to rock
life with electric guitar power and drumming thunder. This 12-track
album has guest appearances from Andrew McMahon (on piano) and Anthony
Green (backup vocals in “Bleed, Everyone’s Doing It”), and includes song
“Saved”, which was originally recorded for the Superman Returns
soundtrack.
I like “Connect the Dots”, a slow track with simple electric drumbeat,
delicate jumpy guitar notes in the verse and a liquid guitar solo. This
song, also like the acoustic track “Lullaby”, is about unconditional
pampering and undivided attention to one’s idiosyncrasies, the kind of
song that ignites a female yearning and fantasy—that her boyfriend could
write a song like this just for her.
I know all your favourite spots and tonight we will connect the dots
(lyrics from “Connect the Dots”)
It’s the way that you blush when you’re nervous/It’s your ability to
make me earn this/I know that you’re tired/Just let me sing you to sleep
(lyrics from “Lullaby”)
*Sigh* All I want right now is a boyfriend like this…
www.myspace.com/tsc
www.thepsillcanvas.com
www.sirerecords.com
*cAthy Lee
back to top
Star Anna
Crooked Path
Malamute Records

Malamute Records' rising
talent Star Anna is the definition of great alt country, with a style
comparable to Lucinda Williams and Neko Case in production and
songwriting. Her smooth voice and seasoned tone takes the listener on
long journeys into her personal life, and it's this rare story telling
talent that Star Anna possesses that makes her music really stand out.
Specific tracks that really hit home are "If Wishes Were Horses" an
amazing track that instantly puts you in the driver’s seat of a scenic
summer drive through the country. It's loaded with hooks, and awesome
instrumentation that shows off that bands musical chops and Star Anna's
exceptional songwriting skills.
"No Surprise" is a really nice slow jam with velvety vocals, lazy
guitars and a real comfy vibe. "Five Minutes to Midnight" is quite
simply a killer, a show stopper that will leave you breathless. This
album will blow you away.
-Andre Skinner
back to top
Stars of the Lid
And Their Refinement of the Decline
Kranky

From atop the tired, majestic cloud where Stars of the Lid call home,
comes another eclectic lesson in dreamy drone-ambient music. And
Their Refinement of the Decline is a noble effort from the Austin,
Texas natives who have released seven albums since 1993. For those not
familiar with drone music, it’s the tired sister of ambient music
involving minimal instruments and drawn out single notes. On And
Their Refinement… central musicians Adam Wltzie and Brian McBride
paint elaborate soundscapes of melodic violoncello-driven ambiance. It’s
hard to find a standout track as the entire double disc plays as one
solid orchestra leading the mind on a sonic adventure. The epic “Don’t
Bother They’re Here,” clocking in at just over 10 minutes long, wouldn’t
be out of place in an adventure film score. Stars of the Lid’s,
And Their Refinement of the Decline, is the perfect album to fall
asleep to.
– Andrew Seale
back to top
Starsailor
On the Outside
EMI
Vol. 1
Starsailor are a rock band from England. They
do English rock. Think Coldplay, sometimes reminiscent in the vocals; elements
of Oasis; maybe a bit of Interpol tossed in there. Other than that, I don’t what
I can say. It’s not exactly a unique sound. But it’s solid. If you like any of
the aforementioned bands you’ll likely find Starsailor appealing. In fact, if
you generally appreciate radio-friendly anthemish rock, you’ll like this album.
It’s comfortable listening – not “easy listening;” there is angst involved in
this album, passion and alienation in those earnest vocals, but it’s the
emotional equivalent of a BigMac: sure, there’s beef in there, but so processed
and standardized that it barely qualifies as such. But perhaps that’s too
critical; there were some standout tracks. “In My Blood” is brought to life by a
slight gospel tinge, and “Keep Us Together” is pretty damn catchy in fact. But
generally, as I said, the album is probably best described as “solid,” again in
the sense that a Big Mac is solid.
-James Sandham
back to top
STATIC THOUGHT
In The
Trenches
Hellcat
Records
It comes as no surprise that Static Thought has wound up recording for
Tim Armstrong’s Hellcat records. The band bears quite a
resemblance in sound to Armstrong’s punk outfit Rancid, with an
intensity that was present on Rancid’s albums before they softened up.
The vocals are reminiscent of Lars Frederiksen’s grating voice, but are
sung with an intonation and occasional slur similar to Armstrong, with
many of the words being slightly off time or sounding difficult to
phrase. The themes of the album are pretty standard censorship and
corruption of the youth type fare. An older audience may not
appreciate these tired punk clichés, but the youngsters are likely to
eat it up. Even the title of the album is a little bit too loud
for my liking, but punk isn’t exactly a subtle genre, and what they lack
thematically they make up for in their enthusiastic delivery. One
of the more exceptional tracks is the response to Hurricane Katrina
entitled “Dead and Gone.” The song features the lyrics ‘They’re fucking
gone,’ which may not be the most compassionate or thoughtful response,
but it is angry, and to the point.
Static Thought is all about volume, and they’ve got it in spades.
The album is tight, the twin guitar assault is in your face, and there
is no shortage of ripping solos. The group is off on the right foot, and
they have clearly chosen the proper bands as influences. Static
Thought pride themselves on their straight ahead punk demeanor, and
front man Eric Urbach claims that aside from the obvious targets in each
song, the music is an attack on the poppy faux-hawked bands finding
acceptance in the mainstream. ‘In The Trenches’ is their effort to make
an album that is punk as it was before it became fun. This is
bile, anger and resentment, and it’s exactly what their audience will be
looking for.
back to top
Steve Dawson
Waiting For The Lights To Come Up
Black Hen Music
Dynamically rich and tasteful would be a great way to begin explaining
how this new CD from Steve Dawson sounds. Having paid his dues as a
producer for years in various Canadian recording studios, Steve has been
actively releasing solo projects for well over 10 years. His attention
to detail and craftsmanship as a songwriter and producer really shine on
this new album.
This CD truly get going on track 2, "Dry as our luck", it introduces the
listener to Steve Dawson's seasoned songwriting skills and amazing
acoustic guitar chops. It's a beautifully crafted tune, with impeccable
production that really draws you in with its rhythmic folk appeal. Next
up is a killer blues piece called "Fire Somewhere" which features some
amazing slide guitar playing and sweet female backup vocals. There is
one funny sounding keyboard harmonica that kind of throws the tune off
kilter a little with its very synthetic sound. On track 5, Steve pulls
off and amazing version of Dylan's "Walking down the line" which
features some amazing acoustic finger picking and a Leslie organ solos.
Bob would surely approve.
The album chugs along with great diversity and is just so genuinely
country/roots-y, its hard to hit the stop button. Track 8 "Hurricane"
is a welcome ballad with great metaphors such as how "Silence hits like
a hurricane missing its mark", among many others in on the tune. Track
9 is a nice little acoustic jam that once again showcases Dawson's
exceptional guitar skills. This is a chilled out tune that has a tasty
xylophone added over top of a Lanois-esque keyboard in the background.
Steve Dawson is a great Canadian ambassador to country/folk music, and
should definitely be heard.
Andre Skinner
back to top
The Stooges
The
Weirdness
Virgin
Records

The Weirdness?
There is nothing weird about this album, except that it is painfully
conventional. If you’ve come here looking for the one review that
doesn’t slam The Stooges’ comeback then stop reading. Sure it’s
easy to pick on Iggy. He’s old, he’s hideous, and he’s still
topless. He does deserve some credit for consistently putting out
new albums, even though he’s been coasting off of five albums from
thirty years ago. Let it be said though, that Iggy should have a
statue erected for those five albums. When he appears in the movie
Snow Day as an easy rock listening ice rink supervisor it’s kind of
funny. Nothing wrong with a little bit of the old irony right?
It’s supposed to be funny though. This steaming pile of an album
is so appalling that it’s not even close to humourous. Why record
new music?? Why not go on tour and play the old songs if you’ve gotta’
do anything at all? Why sully the Stooges perfect track record?
The musicianship on the album is pretty good, fast paced rock, but Iggy
just sucks it up. So many of the Stooges songs featured repetitive
lyrics, but they were authentic. Iggy made you feel the impending
doom he sang about, and there is nothing more wonderfully filthy than
The Stooges back catalogue. The Rolling Stones were Dirty Rock?
Listen to Fun House’s raunchy saxophone, or that moment when Iggy
tells you he’s “gonna stick it deep inside.” That stuff still
sounds potent today. Why release something that is watered down
and doesn’t come close to touching the inventiveness of Fun House?
Iggy has never been the most subtle character, but listening to him
claim that his “dick is growing like a tree” is such painfully obvious
high school imagery. The whole album is littered with similar
moments. He moans about mankind, and proclaims his “idea of fun is
killing everyone.” Good god man you’re killing me with this shitty
album! It’s just so contrived; and instead of focusing on the
songs Iggy has chosen to focus on fitting into an old caricature.
This album should have been scrapped and the tapes destroyed. This isn’t
even outtake material. These are concepts that should have been ignored
from the get go. Where’s Bowie when you need him?
www.myspace.com/iggyandthestooges
Daniel Demois
back to top
Street Drum Corps
Street Drum Corps
Warcon Records

Interesting, A bit like the wonderful and highly imaginative
“Stomp” Strange in places, but a really interesting listen.
The album starts off with “Police Beat introduction” which flows quickly into
the first full-length song “Wrecks” This is for the most part an “instrumental”
album. I use the word instrumental loosely as it is basically three
percussionists, Bobby Alt, Adam Alt, and Frank Zummo and they do not play things
that could be exclusively found in a music shop. No, no these guys use their
imagination and whatever happened to be laying around the house. Things like
buckets, kitchenware and aluminium garbage cans are used here. But be assured
they do use RECYCLED aluminium garbage cans, every little bit helps right?
This use of household objects is again very much in the vein of Stomp.
This is a good album for this genre, if you will, as there are moments where you
forget it is just a few guys with drums, the fact that there are few vocal
samples thrown in, within songs “Body sounds 101” and “Bang”, for good measure
which make the music feel much more like hip hop or dance music, rather than
“experimental”. This album does sound like hip hop, on a budget, only with less
profanity and murder confessions. And one thing is for sure if this doesn’t get
you tapping your knife and fork or garbage cans, I don’t know what will.
This is a fun and really interesting album, which manages to steer clear
of ending up as just background noise, just don’t give it to children or overly
active house mates, or you will never sleep or see half your kitchen again.
www.streetdrumcorps.com
-Adrian Huggins
back to top
The Streets
The Hardest Way to Make an Easy Living
Locked On Records

The follow up to his sophomore LP A Grand Don’t Come for
Free, the Streets’ Hardest Way trades A Grand’s two-step hip-hop beats for more
dance club friendly rhythms, while retaining the Streets’ distinctive lyrical
stylings. For those of you as yet unacquainted with the Streets, he’s probably
best described as the musical equivalent of Coronation Street: working-class,
dramatically mundane, and quintessentially British. At least, that may have been
the best way to describe him on A Grand; since then, however, things have
changed distinctly. No longer is the Streets struggling to make a grand, using
cheap cellphones, and “roaching a spliff at ’is girl’s gaff,” to employ his
particular vernacular. The disillusioned working-class lout he was has now made
it. And while retaining the accent and values of his past self, the context in
which they exist has altered dramatically. Fame and wealth have introduced a
whole new set of problems for the Streets, and these are chronicled throughout
Hardest Way. The bottom line is that if you loved the first album, you might be
a little disappointed with this attempt; the authenticity that made A Grand so
appealing seems forced on this album. On the other hand, if this is your first
introduction to the Streets, and you enjoy quirky lyrics rapped with a
Birmingham accent, this album is worth checking.
-James Sandham
back to top
Subtitle
Terrain To Roam
Alpha Pup
Terrain to
Roam
is one of the biggest blips on the underground hip-hop radar this year.
Though I’d like to follow this up by tacking a “best of ‘06” label onto
it, Subtitle comes across as an artist fighting his form, paving the way
for one of the more conflicted albums of the year. Subtitle (Giovanni
Marks to his mother) is without doubt an emerging talent as far as
lyrics are concerns. Terrain to Roam tends to stay within the
safety of the “what’s wrong with hip-hop” tent, but there are glimmers
of a larger mind behind the standard underground grumbling, giving hope
that one day Subtitle will release the proverbial “next level shit,”
using his wry humor and hard-hitting frankness to roam over wider
terrain than he does here.
To make matters worse, while Subtitle
looks good on paper, his style is defined by struggle- his distinctively
nerdy enunciation draws the comparison to Mike Skinner, though
Subtitle’s rapid fire university-bred vocabulary is not nearly as
entertaining as Skinner’s white bread blues. Subtitle seems to
spend a lot of time in Europe with acts like TTC, and his style would
seem to fit either the British or French styles of beat making to
American ones, as even with tracks donated by Madlib, Th’ Corn Gangg
(for Christ’s sake...), and current lablemate Daedelus among others,
Subtitle seems to have a good idea as to where he wants to end up, but
doesn’t really know where he is.
www.giovannimarks.com
Christopher Langer
back to top
Sultan
Yoshitoshi Montreal
Yoshitoshi Recordings

Yoshitoshi
Recordings are at it again, but this time they’ve chosen Euro-Canadian
hotspot Montreal as their house music haven and local DJ Sultan as the
master mixer. A high energy blend right from the beginning, Sultan uses
his keen skills to add some personal flavour to some of the tracks,
while staying true to the hard-partying scene that is Montreal.
A DJ of
global proportions whose shared turntables with the likes of Tiesto,
Armin Van Buuren and Deep Dish, Sultan manages to keep his cool
throughout the 14-track mix to elicit some heavy duty beats like
“Together We Rise” and “Aidan.” The intensity is high on this record
with rare moments of chillness but it all works together to create a
stellar house album.
With
residency at David Morales’ club Stereo, Sultan is definitely the ruler
of the records in Montreal and Yoshitoshi is just one example of his
wicked vinyl play.
www.yoshop.com
www.djsultan.com
www.myspace.com/sultansoultan
-Antoinette
Mercurio
back to top
Summer Hymns
Backward
Masks
Misra

This is music for either an early morning or a late night. It’s
this kind of stuff that will either make you smile at its innocence or
cry at how melancholy it is. That is at least the intended
response. After a while though, I conclude that the album never
really gets off of the ground. The songs don’t really have any
hook, instrumentally or vocally. Lead singer Zachary Gresham is
definitely the focal point and his voice is the dominant sound on this
album. The rest of the band is strictly background, repeating
similar bass lines and guitar riffs to the same leisurely beat on each
track. Once in a while there is a brief instrumental break, that
is likely meant elevate the energy level, but it doesn’t. For an
album that features a fairly nice sound on the surface, it is amazing
how flat it falls after a track or two.
Gresham sounds like a cross between Wayne Coyne and J. Mascis, but his
lyrics are pure Coyne. He sings things like “I wanna love you in
the most physical ways” or “I’m trying to not to go insane,” but in the
end it’s hard to feel any pity for this guy and his somber whimpers just
become annoying. Up until the last Lips album, Coyne could pull
off innocent lyrics because he just seems like such a nice guy right?
But if the Flaming Lips can get trapped in their own sound like they
have, what hope has Summer Hymns got. Innocent lyrics can only
take you so far, and unfortunately Summer Hymns don’t have a musical
guru in the background coming up with a bombastic sound to support the
vocals. This is an album I wanted to like, but ultimately, it’s
just a tedious.
www.summerhymns.com
Daniel Demois
back to top
Susheela Raman
Music for Crocodiles
EMI

This shouldn’t be taken the wrong way, but I think the
easiest way to describe this album is to say that it’s the kind of stuff you
might expect to hear and see for sale at Starbucks. Or, alternatively, it’s the
kind of music you might find recommended in the LCBO’s Food and Drink
publication. Mind you, this is in no way meant to disparage the artist – or the
listener for that matter. In fact, I found this album quite enjoyable. It’s been
sitting (not inactively) in my player for the past couple days now. Upon hearing
the sounds issued forth, people have complimented my taste. I’m serious. What
this says about me or the people who frequent my apartment is another matter;
the issue remains that this is a good CD, regardless of whether it’s likely to
be sold in Starbucks or the Taj Mahal. It is, however, most definitely of the
mellow, yuppie variety. It is what Norah Jones would sound like were she to
incorporate an Indian influence with her music. Lilting, soft, savoury, accented
by hints of the exotic – a description of the album reads like a bottle of wine.
But let’s not be too cool. The album is indeed pleasant. Incorporating the work
of contemporary Western producers as well as that of traditional Indian
musicians, Raman creates a cultural fusion whose arrival on the mainstream music
scene is long overdue.
www.susheelaraman.com
-James Sandham
back to top
Swan Lake
Beast Moans
Scratch Records
I have to apologize. I have for quite
some time rained as much as I could on Spencer Krug’s parade of critical
acclaim. However, where I to dismiss Wolf Parade as infantile
Unicorns-aping and Sunset Rubdown as under-fueled and infantile Wolf
Parade-aping, Beast Moans shows Krug in very good company, with
Dan Bejar (of Destroyer and the New Pornographers) and Carey Mercer (of
From Eyes) sharing frontman duties. Krug definitely plays up to the next
level under the tutelage of these slightly more seasoned songwriters,
showing off a more mature, more sentimental side to his music. As a
whole, Swan Lake allow their songs to build from quiet contemplation of
vocals, guitar, or keyboard into soundscapes awash in manic guitar
strumming, sparse drums, and digitally crushed organs, and in only a few
cases do they forget to taper off the sonics before they grow stale. The
only mark against against Beast Moans is that sometimes the
“psychedelic” folksiness moves into rabid guitar strumming (as in
“Nubile Days”), which may not warrant criminal charges but- well, it’s
really the only setback on a rather superb album from a rather superb
band.
If one were to consider which were the
standout (or iTunes store worthy) tracks, “Widow’s Walk” starts the
album strong, with Bejar’s typical word-jammed verses, Krug’s unusually
clear crooning, and Mercer’s psychedelic keyboard arpeggios. “All Fires”
also warrants standout status, as does the schizophrenic Bell and
Sebastien impersonation on “Are You Swimming In Her Pools,” perhaps the
best track on an album filled with complex, rewarding material.
There. I did it. I got through the review
without using the supergroup angle...
www.jagjaguar.com/swanlakeband/
Christopher Langer
back to top
Swearing at Motorists
Last Night Becomes this Morning
Secretly Canadian
truly wanted to like Swearing at Motorists’ fourth official
studio release, Last Night Becomes This Morning. But ultimately, this Dayton,
Ohio duo disappointed. The music intelligentsia seems to unanimously call Dave
Doughman and Joseph Siwinski’s project “lo-fi” but does not “lo-fi” refer to
simply more than instrumentation? Has “lo-fi” simply become the lazy music
critics’ semantic game to describe the genre-less?
As I was saying, there is promise somewhere in Swearing at Motorists,
but the concept far outweighs the reality. The result, which sometimes sounds
like Ian Curtis punching Weezer directly in the mouth collectively, lacks the
kinetic energy the duo may possess in concert. On the positive side, it is the
album’s (for loss of a better term) “throw away” songs including "Losing the
Battle, Losing the War" and "Lost Your Wig", that do manage to capture the
emotional rawness the rock pieces with drums lack (sorry Joseph). After
extensive touring, this is the band’s first album since the 2002 The Flag
Signals Goodbye. According to the band’s promo material, Last Night Becomes This
Morning "chronicles the struggle to live life on the road in spite of lack of
fame or fortune”. When all the linguistic gymnastics by critics and the record
company are said and done, I just found this effort, for the most part,
mediocre.
But in Joseph Siwinski’s defense, those are some bad-ass sunglasses you sport on
your promo photo.
-Jordan Somers
back to top
Tacoma Redd
A Momentary Misfortune
Independent
On the cover of Tacoma Redd’s A Momentary Misfortune one of
the guys is wearing a Bionic shirt. Has Jonathan Cummings already invaded the
T.O. without some sort of early warning system coming into effect? We should
have learned our lesson from the Katrina/FEMA debacle.
Local boys Tacoma Redd are out of the gates with this EP; produced by
the Pursuit of Happiness’ Moe Berg, who I saw being harassed by a homeless guy
for an autograph (he’s the singer, right?). Though the crunchy radio-riffs of
their debut get the job done, the mid-nineties quality of TR’s vocals (think
Incubus gone power pop) did it for me about as much as the aforementioned
homeless guy’s hug did it for poor Moe. Apologies if it wasn’t Moe, whichever
member of POH was victim to a random hobo-hugging.
Our very own Spill Magazine gave Tacoma Redd a shining review for their
live show, and though I have yet to witness the “full throttle” sound the band
apparently brings live, on the album they end up coming across as an older
version of any Much Music Cancon, with fairly generic riffs, harmonies and
hooks. This in itself isn’t necessarily an unforgivable thing, but like the west
coast American town they apparently take their name from, Tacoma Redd suffers
from being a little too typical. Their influences list both Husker Du and the
Doughboys, but they would have fit much better on a Doughboys tour circa-1994
and wouldn’t likely get to sniff a Husker Du tour from any period.
The production value is fairly slick, which could either be a saving grace or
responsible for wearing down Tacoma Redd’s sound that one reviewer (Jeremy Shum)
has likened to Thin Lizzy. I get the feeling that Jeremy Shum has never heard a
Thin Lizzy album if he thinks Tacoma Redd have any sort of ‘classic’ sound,
especially comparing them to such a quintessential rock group. If Shum is
hinting that he thinks that TR are future rock royalty, the throne must most
certainly have been abdicated.
At this point all I can say is that maybe you should check out this
supposedly great live show and take a pass on this EP. A momentary misfortune
indeed...
back to top
Tahiti
80
Fosbury
TMG

For me
Tahiti 80 hit the spot – but probably only because I got their CD just
before hitting the Scissor Sisters’ Koolhaus show. Tahiti 80 caught me
in the mood for disco – and delivered, big time. But maybe too much so
in some cases, because whereas, for example, the Scissor Sisters manage
to do disco with a super-gay flare of dance club camp, Tahiti 80 stick
way too close to the relatively more earnest Beegees model – which isn’t
bad in short doses, but gets tiring over time. It’s a tough balance to
strike. Tahiti 80’s music is fun, upbeat and sythetic, and the US
release of Fosbury comes with a bonus EP (if you need more even more
disco than the LP provides), but overall lacks the depth and resonance
necessary to distinguish itself as anything more than a goodtime album
you quickly forget. It’s the musical equivalent of a one-night stand.
- James
Sandham
back to top
Tall Hands
Self-titled
Pulse
Their self-assigned genre is “boat rock.” What exactly this
categorization is intended to convey is a mystery but, according to singer
Justin Raisen, “when a boat rocker hangs out with yacht rockers he has to tone
it down a little.” You can draw your own conclusions about what that means. But
artistic pretences aside, a more widely understood way to describe the Tall
Hands’ sound would be Velvet Underground meets Elton John. The Tall Hands’ piano
and acoustic guitar driven melodies fuse perfectly with Raisen’s powerful if
slightly burnt out sounding vocals. This is quintessential New York music,
drifting up from your speakers like city street sounds to a top floor apartment.
It is eclectic and vibrant, weary at times but still optimistic. Slightly
theatrical at times, but always catchy and upbeat, the seven songs that comprise
this EP come to an end far too soon. Standout tracks include the opener “Fifteen
on Ice” and “Medici.”
www.myspace/tallhands
-James Sandham
back to top
The Teeth
You’re my
Lover Now
Park the
Van Records

Yet another strange
find from the Park the Van label, the Teeth are a quartet affiliated
with the Philadelphia scene that started to gain attention with the
success of fellow Philly rockers Dr. Dog. Like Dr. Dog, the Teeth do an
eclectic sort of jam music that draws influence from psychedelic rock
but also has its own distinct style and doesn’t seem to quite fit into
any one genre. Some songs are slow and waltzing, like “A Fight in the
Dark,” a strange geek-rock spin on early 60s soul. Others, like “The
Trumpets Blared” and “Walk Like a Clown”, are fast and almost frantic.
“The Coolest Kid in School” is a perky little jam with a giddy-up beat.
So really, this album’s all over the place.
www.theteeth.net
- James Sandham
back to top
Tegan and
Sara
The
Con
Superclose Records

Twin sisters
who live on opposite Canadian coasts – Tegan on the west side
(Vancouver) and Sara on the east side (Montreal) ensures that they
pretty much have the Canadian Indie scene covered. No matter how far
apart they are, they do have that twin connection that everyone who is
not a twin is fascinated by. BUT, I’m here to talk about their new album
and not their beat-to-death “twin thing” that does factor in for them
just a little bit of marketability.
So aside from
that, the sisters have managed, with their superclose musical team, to
deliver an album that is at the same time familiar and soothing in it’s
Tee and Ess qualities (quirky, button-nosed cute, with singing that
doesn’t quite sound like singing, or talking) yet new and able to push a
bit further along the line of musical experimentation.
Tegan and
Sara’s fifth album, The Con, starts with a song penned by Sara,
“I was married”, which gives the listener a push into philosophy,
metaphor and insouciance that, if you haven’t noticed by now, encompass
many of Sara’s songs. Every other song on the album save for a couple
are offset by Tegan’s pop-heavy/lite songs that are quick to filter into
your brain and stay for the night, like one of my favorites’, “Soil
Soil”, which sounds an awful lot like “Where does the good go”, from
their last album, So Jealous. Sara’s songs are more contemplative
and eerie, like “Walking With a Ghost” from So Jealous, which also bears
a small resemblance to the first track on this album, “I was married”.
How you like your bread, with butter or honey, is up to you, but the
slice you grab may just feel like a “knife going in”. Mmmm, delish.
http://www.myspace.com/teganandsara
-Jess Shulist
back to top
Telepathe
Farewell Forest
The Social Registry

"Pet Communicator" stands out and is so full in sound, with
tribal rhythmic drumming and crying melodic guitars, that you almost don’t
notice that there are no vocals until the dense, dark, layered, music box, rock
based second song "Blinded Mouths". Bringing a banging on pots and pans rhythm,
that carries through to the third song "Envoy". The filtered female vocals are
used more as a musical accompaniment than, for the most part, real decipherable
words. "The March" closes out with a creepy horror B movie sound that your mom
warned you not to watch when you were eight and still had nightmares from such
horrors.
The Will Lemon III silk screened inner and back cover both have
fantastic visual interest. The rubber stamped looked mass of flowers and birds
would make a great shirt design. The black lined red and purple back cover
perfectly illustrates the sounds found inside Farewell Forest.
For the adventurously inclined, at just over fifteen minutes the self
co-produced and co-recorded effort with their “good friend” David Sparks, the
sound conjures up just what you think the word telepathy would.
www.thesocialregistry.com
www.thesocialregistry.com/releases/tsr025.htmll
Heather Rayment
back to top
Terra Diablo
ST
Nocturnal Records
Like an indie Keane, Coldplay, or to a greater extent the Wedding Party
or Snow Patrol, Terra Diablo's self-titled release is slick Britpop all
but ready for the majors. Featuring a former member of Snow Patrol who
checked out before the band cashed in, TD’s own attempt to reach the top
of the pops may be guilty of too much apathy and too little character,
but their tried, tested, and true UK rock formula will have consummate
fans of the genre more than satisfied, even if the genre actually died
with Blur and only now exists in the post-apocalyptic zombie known as
Jarvis.
www.terradiablo.com
-
Christopher Langer
back to top
These United States
A Picture of The Three of Us At the Garden of Eden
United Interests

A Picture of The Three of Us At the Garden of Eden
is the infinitely long titled album of These United States, the band
disguise for the songs of singer/songwriter Jesse Elliott. Singing in a
soft cracking voice that reminds strongly of a slightly more awake Jack
Johnson, Elliott’s songs are mellow, bright acoustic rock tunes.
Musically, These United States blend guitar base tracks with layered
percussion, keyboards, electronic drum kits, choral singing and anything
else the band could shake, strum or blow into. Lyrically, Elliott’s
poetry is dense and contains more than a couple quotable couplets. While
the songs never rise above a mid-tempo swing they contain a melodic pop
sensibility that recalls at times a solo Paul Simon. Simply put, A
Picture of the Three of Us... is a pleasure to listen
to.
www.theseunitedstates.net
- Sam Stilson
back to top
Think About Life
Think About Life
Alien8 Recordings
Despite being a fresh new Montreal band, and despite being
personally invited by Wolf Parade to play as their support act during last
summer's autumn tour, Think About Life's debut LP fails to impress. Maybe groups
like Wolf Parade and the Arcade Fire have set the bar too high. Or maybe the
hype of being associated with the Montreal scene invites inevitable
disappointment once the product is finally released. Or, as seems to be the
case, perhaps Think About Life simply don't have a lot to offer beyond their
reputation for coolness. The band may be lead by Graham Van Pelt, studio
proprietor and one of the main organizers behind Montreal's super hip
party-palace the Friendship Cove, but where he's leading it appears to be over
well-travelled ground. Think About Life's sound lacks distinction and
innovation, too closely evoking the stripped down post-punk feel of predecessors
like Television and Talking Heads without capturing the pioneering ethos that
established those bands' influence. The group does shine, however, on their
track "What the Future Might Be," featuring L.A. rapper Subtitle. Unlike the
rest of the album, this is a standout track that fuses genres into a bold and
creative new style of sound.
http://thinkaboutlife.org
James Sandham
back to top
Thom Yorke
The Eraser
XL Recordings

Alright calm down, the end of Radiohead is not in sight just because
Thom Yorke decided to make this album, although the same was probably
said about DFA 1979 and they just called it quits recently.
Anyway, fans that feel uneasy about this latest turn of events will have
their brows smoothed when they listen to an album that is not far from
the digitized siphoning-off of emotion that Thom et al. usually produce.
While each of the nine tracks on the album feature Yorke's painful
fumbling at trying to coexist in a world that builds you up as it cuts
you down, the general reflection is solemn.
Most surprisingly,
Thom swings a beat upwards on "Atoms For Peace" where he appears to be
giving the world a second chance to prove him wrong while hopelessly
lamenting the heart-breaking isolation of a future that quickly becomes
the present with no acknowledgment for the present or the past.
www.theeraser.net
Jessica Schulist
back to top
THOR
Devastation of Musculation
Smog Veil
Pretty much every scene, local or otherwise, has its grandfathers. The
Seattle sound had its Melvins, just as the New York art rock set had the
Velvets and the pupae industrial scene had its Throbbing Gristle. Though
not nearly as ubiquitous to his genre as these acts, it is my firm
belief that Vancouver’s metal scene will always be firmly indebted to
one man- Jon Mikl Thor. Without THOR’s brand of classic heavy metal
meets Mr. Universe showmanship, the city’s metal bands would likely have
less of an inclination towards Conan the Barbarian aesthetics that make
it so entertaining.
Perhaps Robert Hicks and company at the New Times sum up THOR best.
“Imagine Hulk, Chippendales, the Norse god of thunder, Alice Cooper,
David Bowie, and Superman all rolled into one man. That'll give you an
idea of the appeal of Thor.” Described by Thor himself as a heavier
endeavor then previous albums, Devastation of Musculation
describes the process of destroying one’s body in the pursuit of
physical perfection. What this translates to is chugging guitar riffs
and anthem-like solos which fall somewhere between classic hard rock and
metal and the somewhat dated metal of the 90s. This is not to detract at
all from the album though, as nearly every single moment of
Devastation... approaches either truly epic or in the very least
golden cheese. Perhaps the standout moment of Devastation... is
“Cold White Ghost,” which makes a serious drive to bring back the
classic rock power ballad.
It’s
not to say that this album is amazing. Thor is not as young as he used
to be, and his voice is growing hoarser with every album (notice on the
Viking portrait inside the album, Thor pilots his Viking war boat with
reading glasses). However, this doesn’t really even matter, as this just
makes him sound lmore and more like a Viking, if not the actual lord of
thunder himself. This quality complements THOR’s live show, where the
lead vocalist bends metal bars with his teeth, explodes water bottles
with his thunderous lung power, and battles evil demons in front of
awestruck fans. Though it may be an impossible to bottle THOR’s live
lightening, Devastation of Musculation is a strong, entertaining
album which will slay metal unbelievers from Vancouver to Valhalla.
www.thorcentral.com
Christopher Langer
back to top
Those Transatlantics
Knocked Out
Suburban Sprawl Music
From Mount Pleasant, Michigan, come Those Transatlantics,
diligently trotting out their third sonic release. Clocking in at just under an
hour, the 13 tracks that comprise Knocked Out are pop-rock stripped to its most
basic elements. Simplistic but catchy, the songs are innocently upbeat and
unnaturally wholesome college bar music. In fact, I'd have to say I question the
sanity of a band that sounds this happy - there's something creepy about it,
evident on the first track, "Boys and Children Sing for Summer," in particular.
Nonetheless, Knocked Out remains sweet without being saccharine, and immediately
gets in your head. Based around the pop staples of simple beats and equally
simple guitar work, and fleshed out with the obligatory dose of "na na na"
choruses, Knocked Out incorporates the essentials of the pop genre. With
beautiful vocals by lead singer Kathleen Bracken and guitarist/vocalist Michael
Spence, Those Transatlantics deliver an infectiously joyful sound comparable to
the Cardigans, the New Pornographers or a more polished Mouldy Peaches.
www.thosetransatlantics.com
James Sandham
back to top
Tiger Army
Music From
Regions Beyond
Hellcat
Records

With the release of their latest album, Music from Regions Beyond,
Tiger Army may be what all the kids are talking about today, but this is
no flash-in-the-pan buzz band. Music from… is in fact the fourth
from the pseudo-goth, LA-based punk trio. No strangers to the music
scene, these guys have been around since the mid nineties, working their
way up and playing gigs at legendary places like
924
Gilman in Berkeley, CA, where groups like Rancid and AFI got their
start. It was in this way that they came to the attention of Tim
Armstrong, Rancid frontman and co-founder of Tiger Army’s current label,
Hellcat Records. As Music from… makes clear, Tiger Army was a
solid investment for him. While it retains a touch of the psycho-billy
sound the Tigers made their name with on tracks such as “Pain,” drawing
comparisons to classic acts like the Misfits, it also fuses a poppy
sensibility that may just be what’s needed to take this band into the
mainstream. Whether that’s a good thing or not is debatable - some may
accuse the band of selling out and softening up their more hardcore
roots - but it’s certainly brought the trio broader attention. “Ghosts
of Memory” is a prime example of this pop influence, and tracks like “As
the Cold Rain Falls,” with it’s synth-anchored beat, could even be
mistaken for the Smiths. It may not be for punk purists, but Music
from… is an undeniably diverse album from one of punks breaking
bands.
www.tigerarmy.com
-
James Sandham
back to top
Tim Armstrong
A Poet’s
Life
Hellcat
Records
My interest in modern punk music pretty much peaked when I was about 19
or 20 years old, and Rancid was definitely at the top of the heap in my
eyes. Great instrumentation, barely coherent vocals, and signs of
growth gave their records a quality that was worth returning too. I was
amazed by the scope of experimentation on the album, Life Won’t Wait,
and equally impressed by the return to fast-short rawness present on
their follow up to Rancid. Now, if Tim Armstrong’s solo debut had come
out somewhere in this time frame, I might have had some great things to
say about it. I might hint at how impressed I was that he decided to
take things down a notch, but because of recent Rancid and side projects
that have grown pretty soft already, this is just another in a string of
letdowns for fans of the old Rancid. Tim Armstrong has made a fairly
obvious sounding reggae tinged album, for mall punks who think he’s
revealing a softer side of himself. It’s all pretty easy going, which
is kind of nice for one or two tracks, but wears off quickly. It also
seems that Armstrong is trying to actually sing, covering lead and back
up vocals on most of the songs. Anyone who knows Armstrong knows he
doesn’t have much of a voice, which is part of his charm. When a voice
like his combines with original and raw music it works, but with these
slow beats and ska horns he just sounds old. The title might indicate
this is some kind of examination of his life because he is an aging
punk. Many of the songs speak of regret, and second chances, which
might have worked if he really stripped things down. Instead though,
the album is packed with obvious production gimmicks and effects. The
end result is something that doesn’t qualify as reggae or ska or punk,
but just gets muddled in the middle somewhere. This comes with a bonus
DVD featuring a bunch of music videos.
www.hell-cat.com
-Daniel Demois
back to top
Tin Bangs
Heavy-handed
Darling
Constant
Crush Music

This young, fresh Toronto band rocks hard like the entire last third of
the 20th century. Blending top-notch pop-rock vibes from ‘60’s surf-pop,
to a broad spectrum of New Wave influences with a 21st
century modern rock sensibility, Tin Bangs is fast being realized for
they are, and their popularity is resultantly achieving exponential
growth. They’re set to open for The Killers on Oct. 20 @ the Kool Haus,
the latest in a string of increasingly high profile gigs. Excitingly
catchy, impassioned and swaggering vocals, up-tempo high energy riffing
for ears at play; Strong wafts of New-Garage, Punk, Surf, and
persistently driving rhythms makes this all-too-short five-song EP an
introduction to a band that’s sure to be launching a full length in the
not-too-distant future. Tin Bangs is a strong positive indicator for
Toronto’s happily bourgeoning rock scene. Constantly catchy, but never
annoyingly so, these local boys know how to vary up sounds and melodies
with a persistently high-energy exuberance that’ll keep impressionable
fans of The Killers rocking out hard later this month to their
new favorite band.
www.tinbangs.com
-
Jesse Kline
back to top
To the Lions
Baptism of Fire
Goodfellow
Records
One look at To the Lions’ debut album, Baptism of Fire, and you
know what you’re in for: hardcore madness. And they waste no time
getting to the point. Lions jump in without restraint from the very
first second of their opening track, “Ride the Apocalypse.” I was blown
back from my speakers and lay, stunned, in a crumpled mess on the floor,
not quite sure of what just happened. Yes, as their press release
proudly proclaims, this Burlington, ON-based group “plays, lives and
breathes hardcore.” As the album makes clear, however, this is not just
promotional hyperbole either. Baptism of Fire is, as the name
suggests, a searing collection of quick odes to anger and
disillusionment. It’s very reminiscent of hardcore’s nineties heyday,
recalling the sounds of bands like Unbroken, Chokehold and maybe even a
bit of Slayer. And while it may be hard to distinguish songs like “Born
to Die” from “Nightmare Begins”, the band is consistent if nothing else.
This is the soundtrack to the end of the world.
www.tothelions.ca
-
James Sandham
back to top
Tokyo Police Club
“Smith”
Paper Bag Records

Some things need not the ambiguity of gray, but can be stated in full
clarity as black or white. Smith is just that—clearly great.
Ambitiously creative, catchy, infectious, refreshing, unique… I am a
believer in the Tokyo Police Club and this four-track release, alongside
three videos is a bible sure to convert the most skeptical being.
Although it is a short EP, it highlights the range of their sound. The
first song, “Box”, is a fast-paced adventure analogous as the Strokes,
with the electric guitar emitting liquid variable notes behind
unpredictable vocal melodies and a resonating drumbeat. And while that
song exhibited vocals delivered with aggressive confidence, “A lesson in
Crime” contrasts with vulnerable, almost trembling vocals. It’s a slow,
simplistic, more emotional track that shows the variability in their
art.
“Be Good (RAC Remix)” is so awesome that my heart is still beating in
love. With a drum machine, the song propels you into wicked electric
energy. This hyper song is so damn intriguing—with chimes, handclaps,
organ keys, tambourines and voices changing to electric streams—that it
would take a hundred plays to habituate to the novelty.
Whoever mixed this is a delicious God.
The three videos featured in Smith include “Nature of the
Experiment”, “Cheer it On”, and “Citizens of Tomorrow”. They are
thought provoking, ironical, entertaining and only add to the marvel of
the music. “Cheer it On” features a man-made world fit with plastic
figurines, buildings and roads that initially portrays suburban
peacefulness, and later transforms into utter chaos: Animals are
unleashed and attacking people, and there is nakedness, vandalism and
riots. But best of all, the figurines take control of the (real) human
that made their world. Love it. And lyrics from “Citizens of Tomorrow”
describe the future of 2009 where bassist and vocalist, Dave Monks
sings, “I have a microchip implanted in my heart, so if I try to escape
the robots will blow me apart”. Goooo Newmarket!
www.tokyopoliceclub.com
www.myspace.com/tokyopoliceclub
*cAthy
back to top
You Will Land With A Thud
The Tom Fun Orchestra
Company House Records

The Tom Fun Orchestra is a nine-piece Nova Scotian band that mixes
bluegrass, Celtic and traditional East Coast influences on their debut
album You Will Land With A Thud. Despite press coverage touting
the band’s “new East Coast sound,” there’s not much newness going on
here. That being said, if East Coast sound is your bag, these guys are
rocking it well and trying to do it theatrically too. The band’s a
definite handful for the ear with lead singer Ian MacDougall's intense,
unwavering Great Big Sea-gruff voice, this one’s not an easy listen.
There is a brief soft moment at the end of the album, but generally,
every soft moment gets summarily wiped out by the overwhelming band size
and sound. Tom Fun would likely be a romping good time to catch in a pub
full of people, drinking pints and dancing their faces off on their
native Cape Breton Island—if they could find a stage big enough to fit
them, of course.
http://tomfun.ca/
- Aurora Prelevic
back to top
Torngat
You Could Be
Alien8 Recordings

The third release from Montreal trio Torngat, You Could Be is a
meandering, dream-like collection of instrumental songs. Like vaguely
recalled scraps of memory, the tracks drift, swell and fall through your
consciousness as they gradually unfold. There’s
an anachronistic, surreal feel to the album, perhaps due to its reliance
on the French horn, the primary instrument on each track beyond the
basics of drums and keyboard, and is provided courtesy of
Pietro Amato, already well-known for his work with Bell Orchestre and
Arcade Fire. Semi-experimental, the album has an almost cinematic feel
at times, comparable to the work of Yann Tiersen. It’s
the kind of music meant to accompany something epic, and is refreshing
in its distance from mainstream contemporary music. It’s
poetic. And it’s
very beautiful in a modest, understated kind of way.
www.torngat.ca
- James Sandham
back to top
Tracey Thorn
Out Of The
Woods
Virgin
Records / EMI Group

Tracey Thorn is back, people. After not singing a note for five years
and raising three children with professional and life partner, Ben Watt,
the vocalist of Everything But The Girl has rehashed her sexy melodic
voice and come back with a strong, solid solo album. Out Of The Woods
highlights Thorn’s timeless voice and versatile talent to sing just
about any kind of song – electronic, folk or a classic Brit ballad – she
can sing it. The album is a mixed concoction of electronic beats, deep
house and flutey sounds that leave you drunk with musical desire.
After appearing as a guest artist on other people’s music, it seems as
if Thorn’s album is a reflection of her life’s work. Not quite a
greatest hits since everything is newly written material but maybe it’s
more of a testament to her well-rounded artistic abilities. “Grand
Canyon” taps into deep minimal house to remind listeners why we feel in
love with EBTG in the first place. While “Raise The Roof” channels some
old school hip hop and funk to remind fans why we fell in love with
Thorn’s voice in the first place.
The opening track “Here It Comes Again” sounds soothing and
instrumental, tricking listeners into thinking motherhood has softened
Thorn into a lullaby-singing musician. But then the second track “A-Z”
turns up the hotness and produces a synthesized, slow, subtle song of
youthful awakening. The gentle luring groove of the music coaxes the
listener to give into Thorn’s voice and “pack your cigarettes / your
life is waiting for you / love is waiting for you.” The 1980s synth
driven first single “It’s All True” picks up the pace and kind of makes
you think Yaz will turn up around the corner. But who cares? Thorn and
electronic producer Ewan Pearson can pull it off – not just in a good
way but effortlessly. It’s true, most of the album is the tried-and-true
musical style we know of Thorn – that of an electronic, dance reputation
– but she’s included off-kilter tracks such as a cover of New York
disco-cellist Arthur Russell’s “Get Around To It” and the piano-heavy
“Hands Up To The Ceiling” to showcase the range and depth of her musical
flair. For the classic EBTG fan, this is a good pick. For any new
listeners, I’d borrow a friend’s copy first if you’re not sure about
Thorn’s lack of risk-taking.
www.myspace.com/traceythorn
www.traceythorn.com
www.ebtg.com
-Antoinette Mercurio
back to top
Track a Tiger
Woke Up Early The Day I Died
Future Appletree

Am I ever "Glad To Be Scattered." Thank you for including
lyrics in your liner notes, as I am among the worst of people who like to sing
along but often with the wrong words. Country aficionados would appreciate the
hurtin' lyrics. "Happy" is happy on the facade, as we all have after having a
lover's spat and we're not entirely happy with the outcome but they are still
there lying next to us in the dark. "Flood" peps up the music and hand clapping
once more. Along with the usual fare, Woke Up also has banjo, cello, a
documentary guy talking about polar bears, with one male on vocals and a
rotating line-up of female vocalists. Lead by Jim Vallet from his Chicago
apartment, Track A Tiger took shape over two years. Bringing different talents
on the record, female vocalist Alisa Jo Monnier, besides Vallet, is the only
original cast member in the touring band, where she also lends a hand (or two)
on keys. Easy to listen to, Woke Up will get you in a calm state in no time.
www.myspace.com/trackatiger
www.futureappletree.com
back to top
Track a Tiger
We Moved
Like Ghosts
Deep Elm
Records
Sometimes poppy, sometimes mellow, and always very melodic, We Moved
Like Ghosts can evoke several different emotions. Overall, it is a
very peaceful record. It does not demand much of the listener except
that they sit back and enjoy. It is not simple mind you. There are
enough sounds on each track to entertain subsequent listens, and it is
this musicianship that makes the album. The strings add more than just
obvious harmony, the keyboards are reminiscent of Jay Bennett era Wilco,
and the ambient background sounds add a dense layer that would work just
as well without the other instruments. The vocal duties are shared by
Jim Vallet and Kristina Castaneda. In a style similar to Yo La Tengo
the two harmonize together extremely well, be it on one of the more
upbeat songs or the low-fi stuff. When singing solo Jim Vallet has a
bit of a country feel that is reminiscent of Ryan Adams, which provides
a nice change of pace once and while. The whole affair is over after
about half an hour, and will probably warrant future listens on those
medium days when you aren’t quite sure what mood you’re in. It won’t
make you feel great, and it won’t make you feel terrible. It’s a nice
lukewarm album that will just make you feel good. From time to time
that’s kind of nice.
www.trackatiger.com
Daniel Demois
back to top
Troy Von Balthazar
Troy Von Balthazar
Le Tribu

TVB’s self-titled release plays like a musical trip into Von
Balthazar’s inner musings. Quirky, quiet, troubled, at times inane, the music
TVB presents takes time to compute. In fact, I’m still trying to figure it out.
At times discordant, at times softly beautiful, the album is, overall, a bit of
an enigma. Original in almost every aspect, I suppose it could perhaps be
compared to Moufette or, less favourably, to a really stoned kid screwing around
with his electric guitar and a feedback peddle. I’m still trying to decide
whether to label TVB an inspired artist or a self-infatuated elitist revelling
in his own individualism. Indeed, it is difficult to discern what exactly Von
Balthazar hopes to express through his particular brand of rhythmic noise and
apparently free form poetry. Not a particularly complicated sound, his eerie
guitar strumming and barely stammered lyrics can be both grating and
provocative. But perhaps his own words are the best with which to explain his
style of music, these particular ones taken from his online blog: “In paris I
lost myself completely. I wasn’t there. it was my ghost singing through me. In
Spain I felt their eyes and I was lubricated! then the last 3 days with
Dionysos, all those people so warm, so kind with their human hearts beating in
wildly. All I ask is to be completely covered in music.” If you found this
profound or intriguing, you might like TVB. If you thought it was pretentious
crap, give this album a pan.
www.troyvonbalthazar.net
-James Sandham
back to top
The Truly Me Club
Popstar
on the Lam
Sonic
Boom Records

Jason Parker,
multi-instrumentalist and The Truly Me Club brainchild, is nothing short
of curious. His debut effort, Popstars on the Lam, is a perfect
soundtrack for morning after coffee sips and jaded walks through busy
cities long after closing time. Swimming in a sea of mediocre
singer/songwriters, TTMC keeps afloat long enough to gain the listener’s
trust. All tracks on the album blend together to create a full sound of
organ driven, orchestral pop (Brings to mind a stripped-down Sufjan
Stevens album). But what drives the curiosity about Parker’s music is
his lyrical content and song titles. Songs like “When the Cops Use Their
Guns” – a graphical look at a bullets journey or “Cal-ifor-Ni-Ay” – a
chance at break dancing fame. TTMC will likely become a staple of any
singer/songwriter collection, so you might as well buy the album now,
before radio is plagued with cheap remixes.
www.trulymeclub.com
–
Andrew Seale
back to top
Twelve Thousand Armies
The Mirth These Days
McRisen Records

These are Twelve Thousand Armies I would be okay going into
battle against. They’re more likely to pick a perfect daisy and give me a shy
peck on the cheek than ever come at me in any way other than the daisy centre
coloured album implies. Sparse keys and sometimes harmonizing vocals greet
listeners on this sleepy album. The mirth these days is only found in the hearts
of daisies as most of Twelve Thousand Armies' songs titles are dour. “Sugar
Magnolia” brings some hope along with its peppy beginning and its “I’m on my way
home” end. “We Buy Broken Gold’ has sad and lovely harmonies that break my
tension and release me to sad days.
www.twelvethousandarmies.com
www.mcrisen.com
-Heather Rayment
back to top
Two Hours Traffic
Little
Jabs
Bumstead
When it comes to
music that is defined as ‘powerful pop’ the inevitable comparisons to
pioneers, Big Star, are bound to follow. Two Hours Traffic also like to
give credit to their other big influence, The Cars. If those references
are too old for you, they at times sound similar to Winnipeg’s,
Weakerthans. The dual guitar harmonies combine with straightforward
vocals and a forceful rhythm section that keep the songs upbeat and
poppy. The groups’ Maritime roots shine through often, giving many of
the songs a bit of an easy folk feeling. Lyrically the songs are often
simple, but simplicity is not necessarily a weakness. The words are sung
with urgency and conviction, meaning that while the lyrics may not
always be of great complexity, they are true to lead vocalist Liam
Corcoran.
Friend Joel
Plaskett has returned to produce this album, and that should give an
indication of what kind of feel it has. Little Jabs is very
tight, and there are only a few frills that may seem out of place.
There is occasional chatter and spoken dialogue that doesn’t really suit
my fancy, but is obviously all in the name of fun. The album is ideal
for the summer, and will help get fans of power pop in a great mood at
the start of their day. Little Jabs is indeed an ideal album for
maintaining your sanity while in the middle of a pre-work traffic jam.
www.twohourstraffic.com
-Daniel Demois
back to top
Two Ton Boa
Parasiticide
Kill Rock Stars

Dark and ambient, Two Ton Boa’s second release and debut LP
is an emotional if somewhat incoherent voyage through singer, bassist, and
composer Shelly Fraser’s frayed psyche. Her adept and, at times, theatrical
vocals are carried on this album by a building storm of rumbling, thundering
double bass lines, complimented by the instrumental work of Dan Rieser on
percussion, Brian Spearhawk on bass and baritone guitar, and Scott Speckington
on piano and synth. With a sound somewhere between the Dresden Dolls and Tool,
TTB have ignored the limitations of conventional genres and crafted a sound all
to themselves, characterized by dynamic vocals, moody double bass lines, and a
generally ominous ambiance. But maybe such sinister, disturbed sounds should be
expected – after all, Fraser says, “people in the orchestra always make jokes
about the oboe players being neurotic,” and Fraser is a classically trained oboe
player. It’s a background that seems to have served her well, as this disc amply
demonstrates.
www.twotonboa.com
-James Sandham
back to top