The Spill Magazine Online



CD Reviews A-E \| F-J \| K-O \| P-T \| U-Z Reviews U-Z U ----------------------------------------------------------- UNDADOGG - Jinxed Underoath - Define The Great Line Underworld and Gabriel Yared - Breaking and Entering United Steel Workers of Montreal - Kerosene and Coal Unknown Instructors - The Master’s Voice The Unseen - Internal Salvation The Used - Berth V ----------------------------------------------------------- Valencia - This Could Be a Possibility Valet - Blood is Clean Vandaveer - Grace & Speed Various - High School Reunion Various Artists - A Murderous Mix Various Artists - Control Soundtrack Various Artists - Give 'Em The Boot V Various Artists - Manoeuvres 1: A Collection Of Vancouver Electronica Various Artists - SC100 Various Artists - Pure(ly) Acoustic The Vincent Black Shadow - Fear's In the Water The Vines - Vision Valley Von Spar - Von Spar W ----------------------------------------------------------- Walking Bicycles - Disconnected Wayne Petti - City Lights Align The Wednesday Society - Making New Friends Wendy Atkinson - Pink Noise Wheat - Everyday I Said a Prayer for Kathy and Made a One Inch Square The Whigs - Mission Control White Cowbell Oklahoma - Casa Diablo White Hinterland - Phylactery Factory White Whale - WW1 Whitey - The Light at the End of the Tunnel is a Train Widespread Panic - Free Somehow Wil - By December Wilderness - Vessel States The Winterpills - The Light Divides Woodhands - Heart Attack Wormburner - A Hero’s Welcome Wrinkle Neck Mules - Pull the Brakes Wrinkle Neck Mules - The Wicks Have Met Wussy - Left for Dead X ----------------------------------------------------------- Y ----------------------------------------------------------- Yacht - I Believe In You. Your Magic Is Real. Yellowcard - Paper Walls Yesan Damen - Chronos/Kairos Yoko Ono - Yes, I’m a Witch Youth Group - Casino Twilight Dogs Z ----------------------------------------------------------- Zom Zoms - Yellow Rainbow Zs - Buck Zuku - Here With You ___________________________________________________ UNDADOGG Jinxed Independent release UNDADOGG is Toronto’s answer to the ‘90s wave of trip hop soul that brought us perennial depressed-teenager-but-it-never-gets-old faves Portishead and Massive Attack. The group formed in 1998 and has been performing in and around Toronto regularly in recent years. On this latest of three independently released albums, UNDADOGG presents a five track mix of songs and remixes. The drum ‘n bass-tinged remixes mesh singer Andrea Lucarelli’s self-styled “heartbreak trip hop” lyrics with some proper dance beats. UNDADOGG should keep the dance tracks coming—without the beats, the songs end up sounding excessively sappy and Lucarelli’s voice unnecessarily whiny—more diva-esque a la Celine Dion than Beth Gibbons style. But when the beats kick in on those last two tracks—the remixes—UNDADOGG’s style flies much better than on the straight-ballads of the first three. www.undadogg.com Aurora Prelevic Back To Top Underoath Define The Great Line Solid State If you should put the word 'Christian' and 'metal music' in the same sentence, you will probably get more than a few raised eyebrows, but that's exactly what this six-man band from Florida is all about. Religious beliefs aside, Underoath's Define the Great Line is the follow-up to 2004's breakout disc They're Only Chasing Safety, and is far from preachy. It's a deeper and more personal album, but it's difficult to appreciate the lyrics while being assaulted by the signature screaming. Still, if you read the words from the dakly beautiful CD booklet, you can't help but be moved by their meaningful lyrics. Frontman Spencer Chamberlain, who recently joined the band, pours his heart and soul into the 11-song disc with a scorching delivery of powerful vocals against the backdrop of variegated harmonies. I love how these guys can go from bitingly aggressive to mellow. You can even discern 'normal' singing, which there is more of on the track 'Writing on the Walls.' Employing Atlanta-based producer/drummer Matt Goldman and Killswitch Engage Adam Dutkiewicz, who encouraged the use of various guitars and delays and effects pedals, helped the band to stretch their musical capabilities, as evidenced in the introductions on the tracks 'Salmarnir' and 'Casting Such a Thin Shadow.' Define The Great Line, is a superb album, and should definitely put Underoath on the road to even higher success. You won't be disappointed. www.underoath777.com Charmaine Merchant back to top Underworld and Gabriel Yared Breaking and Entering (Soundtrack) V2 Records It’s been quite some time since Underworld wowed the world with their Trainspotting-inspired beats and thumping electro-rave rhythms. But nonetheless, here they are again, having surfaced this time around as the musical team behind the soundtrack to Anthony Minghella’s 2006 film Breaking and Entering. The movie stars Jude Law, Juliette Binoche, and Robin Wright Penn. It played at the Toronto Film Fest, and also picked up three noms (but no wins) at the British Independent Film Awards. So apparently some people must think the movie’s pretty good. The soundtrack, on the other hand, well, it’s hard to evaluate having never seen the movie, but the best I can say about it is it’s very ambient. And it’s very different from the Underworld of Trainspotting. To be honest with you, I don’t know why anyone would want to buy this meandering hour of drifting atmospherics. I guess it would make for okay background music if you’re doing yoga or meditating, but only because you don’t have to think about it really – but that’s not really the kind praise music should garner, is it? That it’s okay if you don’t really pay attention to it? It’d be good music for falling asleep to in any case. - James Sandham back to top United Steel Workers of Montreal Kerosene and Coal (weewerk) The eagerly anticipated second LP from Montreal’s “citygrass” pioneers is finally available, much to the relief of urban cowboys (and cowwomen) everywhere. Like the Steel Workers’ 2006 debut LP, Broken Trucks and Bottles, 2007’s Kerosene and Coal is a gritty mix of the best the alt-country genre has to offer. A full band featuring everything from banjo to mandolin to accordion give the stomp to USWM’s bluesy jams, while Gern F.’s Tom Waits-inspired vocals firmly anchor this album in the smokey basement bars from which it was born, and contrast perfectly with the beautiful bluegrass warble of singer Felicity Hamer. At times sweet and waltzing, at others rough and raucous, Kerosene and Coal shows you where the country genre should gone before it’s big names started marrying Hollywood starlets and starring in Ford ads. Check it online at www.myspace.com/unitedsteelworkersofmontreal. - James Sandham back to top Unknown Instructors The Master’s Voice Smog Veil Records If Dada is in essence a form of anti art, then this album certainly falls into that category. What we are given here would be challenging for its musical ambitions alone. If the presence of the former Minutemen rhythm section grabbed you, I’ll advise you not to expect anything like those old recordings. The free form, spacey jazz sound of the music is so hallucinogenic that it comes close to being nauseating. To make the proceedings even more difficult, we have vocalists that spout poetry over the music and against the beat which is both distracting and at times quite laughable. Remember in the Kids in the Hall’s Brain Candy when the rocker Greedo comes out and preaches to his followers/fans: “Sometimes it’s dark/ Sometimes I work. / I work Alone!” The abstractness of the poetry on this album comes close to the ridiculousness of that scene. Track three starts off with an awesome beat, bass line, and heavy feedback guitar work. Once the guitar solo winds down though, the words start again, and just like on the other tracks, the words don’t benefit the song. Now, it may very well be the point to make this a challenge for the audience, so I’m not sure if I can fault them or not. These tracks demand the listeners’ attention, and the Unknown Instructors stick to their guns until the end. At times the songs reach a level of Captain Beefheart style Dadaism, like on “Twing-Twang,” which is a wonderfully bizarre little piece of work. Simply reminding the listener of Beefheart does not however, make you Beefheart. The Master’s Voice comes off like a group of friends that sat down in the studio and decided they wanted to make something artistic. I suppose that sometimes artistic means inaccessible. If not for the cast of characters involved, I doubt this project would have ever gotten a release. Please don’t get me wrong; I’m for challenging music. There are few things more rewarding than when an album finally clicks after ten listens. While the music on this album has grown on me each time, I think it’s only because I’m tuning out the stream of consciousness poetry that is being pushed upon me. I admire that this is something different, but deep down it just feels like the kind of thing I can hear by any local kid in a basement www.myspace.com/unknowninstructors Daniel Demois back to top The Unseen Internal Salvation Hellcat Records Formed in 1993, street-punks The Unseen come off as a slightly more aggressive Rancid on their latest, Internal Salvation. Like most bands in the Hellcat Records stable, The Unseen have a flair for political thinking, street-hustled publicity and die-hard punk sensibilities. The bands sixth album, Internal Salvation, has all the hooks that made the band popular. With political lyrics stacked on gritty punk guitar lines, bouncing bass lines and hammering, kick-heavy drum beats, Internal Salvation beats the shit out of the listener and leaves their ears bleeding. But could you respect The Unseen if they didn’t do so? The 30-minute album doesn’t have a track longer than three minutes. But amongst the mind-hammering songs of political disdain, is a band with something to say. What separates The Unseen from their peers is their ability to deliver a raw, basic sound with quality production. The Unseen have achieved what many punk bands have tried to do – create an album that carries the grimy underground sound but is professionally recorded. After 14 years of blood and sweat The Unseen have carved a gash in punk music with no stitches in sight. www.unseenpunks.com – Andrew Seale back to top The Used Berth (CD) Warner Music Canada (This is a review of the live CD only as it will be released with a DVD as well) I finally get to the restaurant, sit down and wait for my meal. At this point I am bloody starving and could eat the person next to me. Then, just as I am about to walk in the kitchen, my appetizer arrives. The Used served us up a little something just in time. With their long awaited third album still to come, they release Berth. A live album hitting us right in the face with “Take It Away,” Listening” and “I Caught Fire.” Some of you may be thinking it’s all from In Love and Death, but fear not. Old favorites like “The Taste of Ink” and “Blue and Yellow” creep into the mix as well. The translation of live sound onto CD works incredibly well for this band. Not only musically, but through Bert McCracken’s vocals as well. He gets the crowd involved and proves that dynamics aren’t dead. We get to experience an intense kick in the ass that only pushes us further into anticipation of the new album and a strong need to see The Used live. Check them out live as part of the 2007 Taste of Chaos tour or via the web www.theused.net -Rayna back to top Valencia This Could Be A Possibility I Surrender Valencia is the latest in a long string of pop-punk debuts that have been surfacing in the music world. Unlike many genre compatriots however, Valencia shows a rare talent with both strong vocals and catchy beats that will likely soon draw a large (screaming girl) fan base. Could they be the next big thing for the My Chemical Romance / Simple Plan crowd? I think so! Their debut album, This Could Be A Possibility, is jam-packed with energetic, catchy pop melodies that instantly get the body moving and foot tapping. This, combined with surprisingly strong vocals and lyrics that aren’t too emo to be tolerated, create a refreshing album with great potential. The Philadelphia-based Valencia has both the look and talent to get noticed by the hordes of pop-punk fans tired of whiney lyrics, greasy dyed-black hair and the eyeliner-and-piercings look of many of the cookie-cutter bands out there. Songs such as “Que Sera Sera” and “Will We Ever Know How?” showcase the band’s ability to play high-energy and intensely catchy tracks that make you want to sing and shout along, while “Tenth Street” and “The Closest I Am To Living On The Edge” show that they can also pull off slower, more sentimental beats without losing their unique feel. Their songs travel the emotional range, commentaries on life, love, loss and our modern society. “Born in a generation of bright lights but no inspiration, where people tell you what you need to believe and throw away your integrity” (Backs Against The Wall) – Valencia makes an inspired attempt to transcend the ordinary and retain their musical integrity and I think that, with this album, they have succeeded. Whatever comes next for Valencia, This Could Be A Possibility is a promising debut album for a rather promising band. If they keep up their energy, originality, and solid songwriting they could easily become the next big thing in the pop-punk world. Even avid haters of the pop-punk genre may even be won over by Valencia’s sincere attempts to bring forward their musical vision. Give it a try, it might surprise you as it surprised me. Stella Simeonova back to top Valet Blood is Clean A fixture of the Portland music scene, Honey Owens releases her first album under the name Valet. This is a mix of Psychedelic Blues and Ambient music. Much of the album is reminiscent of the ambient recordings by Brian Eno and Co. Owens has even suggested that one major influence was Eno collaborator Jon Hassel, whose worldly sounds are definitely apparent here. Most of the album is filled with a droning noise, suggesting a less focused album than those of Eno. While the album has been described as ‘deceptively simple’, it still sounds at times like somebody is just banging kitchenware together. Still though it does have a certain quality that will appeal to people that aren’t looking for melody or hooks. The opening track for a while sounds almost exactly like a fire burning, and the title track features some pretty fierce guitar work. It sounds kind of like something off one of Morricone’s western scores, only drenched in feedback and high on some serious hallucinogens. This is definitely the highpoint of the album, but Blood is Clean does maintain a spooky feel to it throughout, with indistinguishable noises that at times sound like distant whispering c/o the soundtrack work of Goblin. If not in the right mood, this could sound more like a Halloween noises tape, but if in the right state of mind its some pretty cool noise. Owens should probably stick to making the noise rather than speaking on future albums, as her poetry takes away from the audio environment she has created. Lyrics like “Tame All The Lions,” don’t have the impact she intends. I can’t fault her though because she claims responsibility for anything on the album by stating that ‘she wanted to serve as a medium channeling sounds from an unknown space.’ This is a pretty humourless gal, but the album isn’t angry or black thankfully. Instead it’s just kind of bleak. Next time I go for a walk through the desert I might bring Blood is Clean along. www.myspace.com/honeyowens -Daniel Demois back to top Vandaveer Grace & Speed Gypsy Eyes Records Vandaveer’s Grace & Speed is a sparse acoustic folk rock debut that succeeds in spurts but slips short of the excellence exuded by the McCartney’s, Dylan’s and Wait’s it tries to emulate. Mark Charles Heidinger the man behind Vandaveer has his fair share of talent. The percentage of well-written songs on Grace & Speed delivers the man a whopping’ A- average. “Crooked Mast”, “Different Cities” and the title track all jingle and jangle alongside their sliding acoustic riffs and fast fingered hammering while proudly wearing Dylan and Neil on their sleeves like buttons and pins. There are enough “doo doo doos” and harmonized hummed melodies to keep anyone with decent pop sensibilities happily singing along. Vandaveer even manages to not once but twice add vaudevillian jazz clarinet solos in the mix presumably just to show he could pull it off. Musically the album is solid and for being largely a man and his guitar record it manages to keep things interesting and varied. Lyrically the man jumps around aimlessly and it’s in this department where some of the songs lose their lustre. Many of the songs lack a focal point or deliver their message through sophomoric and juvenile imagery and boy he certainly loves those ‘doo doo doos’. The subject matter on the album is hit or miss and neither relatable nor imaginative. One gets the impression Vandaveer is holding his cards close to his chest and in the genre of solo acoustic performance, honesty and transparence are the benchmarks of success. If I was eating lunch in a trendy café and Grace & Speed was playing over the speakers I certainly wouldn’t leave but by that same token I wouldn’t ask the waitress for the name of the album either. Vandaveer’s debut has its moments but they’re mostly fleeting and forgettable. www.vandaveer.net - Sam Stilson back to top Various High School Reunion American Laundromat Records and Face Down Records Was I ever excited to play this C.D.! Take me back twenty some odd years to the land of jelly shoes, fluorescent shirts and hair as high as the hills. This compilation of 80’s tunes, covered by indie artists, were all featured in 80’s movies such as The Breakfast Club and Pump Up The Volume. Our first track “Somebody’s Baby” (Fast Times at Ridgemont High), is done by John P. Strohm. Not only am I taken aback because it’s not really how I remembered it, but there are too many guitars in this one as well. Hmm, maybe the others will bring me back instead. Matthew Sweet manages to pull off “American Girl” (Fast Times again). Interestingly, Blank Pages doing “Turning Japanese” (Sixteen Candles) sounds more like a song you would hear on Happy Days…not the right era guys. “Weird Science” is definitely weird as The Bennies manage to keep it that way. Yet, probably the most strayed song on the album comes from AM doing “Don’t You Forget About Me” (Breakfast Club), I barely recognized it! So that is what you will find, songs that stray from the originals and have a unique twist, including the very jazzy country lounge version of “In Your Eyes” (Say Anything) by Lori McKenna. Just when you think it can’t get any cooler, The Modifiers give us an emo inspired version of “Love My Way” (Valley Girl) and a female led punk cabaret group The Dresden Dolls cover “Pretty In Pink.” Don’t expect to hear similar versions of what you remember these songs to be, but you will get a new twist as in Frank Black’s take on “Repo Man.” Now, I think I’ll get some popcorn and break out the Garbage Pail Kids stickers. Rayna Slobodian back to top VA A Murderous Mix Music Ration Entertainment Hold on a minute. Where are we - 1999? Not that anybody needs to stay thoughtlessly current with their music, but when did rap core make a comeback? Though in all fairness, A Murderous Minute isn't completely rap core, preferring to select tracks from gothic-inspired hip-hop and industrial that harkens back to the mid eighties, it still points an indicting finger at the industrial genre and gothic music fans. One can't help but wonder why the industrial dance mode, once so willing to explore the outer limits of the music world, has for at least the last seven years failed to offer anything other than rehashes of that genre's luminaries. Though the mascara-stained sentimentality of AMM is appreciable, this lot of burnt offerings fails to live up to their sources of inspiration, namely Pop Will Eat Itself, pre-Closer Nine Inch Nails, and Ministry during the same time frame. Industrial dance's über Caucasoid take on hip-hop rarely meets and has arguable not yet surpassed the bar set by Pop Will Eat Itself's output, though SMP makes an entertaining attempt with "Tombstone," which is basically a gravely-voiced, antiwar, antigovernment rave with guitar and synth accompaniment closer to NIN's Pretty Hate Machine than PWEI. Unfortunately, by the time the Loyal Opposition's "Under the State" comes around, the well of inspiration has pretty much run dry, as within the first three tracks two sound too much like "Head Like a Hole" to keep an average listener's attention span. This trend continues through the next eighteen tracks, and though synth beats may be more or less entertaining, they don't deviate from their narrow band of what is 'industrial.' The major problem with this is that when the whole industrial dance metal movement conglomerated into it's own genre, there was a much greater breadth of tone and emotion than there is today. Over the last decade and a half, industrial has slithered around, as have rock and hard rock, sampling from various genres, especially those of noise, breakbeats and house. However, these 'experiments' were cliché by the end of the nineties, and it seems that industrial artists are constricted by their need to much gloomy, angry choices in orchestration and instrumentation than by industrial in its heyday. When was the last time an artist brought something as interesting as PWEI's outback lounge rap sound on "Familius Horribilus," or the party rock of NIN's "Head Like a Hole?" For two tracks with remarkably depressing lyrical content, PWEI and NIN's material often captures an element of fun that seems miles away from anything today's artists are capable of. On the hip-hop side of the mix, AMM fails to offer much more than Castlevania-obsessed Loop Troop copycats (see Ascetic's "Soft Asylum" or Fatal Wisdom's "Pandora's Box"). The Marginal Prophets' "Do it Like That (Ill Media Mix)" tries to be ominous and ends up sounding something like an angry Ugly Duckling, which is hard to take seriously. Slave Unit falls much more back into the industrial side with "In Time," but their driving guitars, though by no means original, manage to entertain. This is likely because the track manages to remind this writer of both Pretty Hate Machine as well as "Just Another Victim," the track Helmet did with House of Pain for the Judgment Night OST. That takes me back to high school. Once all the references to tech 9s (don't goths ever use glocks?), abusive governments, and sexual sadists are through, all the listener really has is a selection of tracks that are largely forgettable, though some will likely break through industrial's current use - as filler on teenage suspense/slasher/horror movies. Rather than grab AMM or wait for Tankt's "Tribe Act I" on The Faculty II or The Covenant III OST, why not pick up a copy of Ministry's The Land of Rape and Honey, or hell, Marilyn Manson's Mechanical Animals - that might have been the last truly groundbreaking industrial album, not to mention a resounding failure. For shame, gothies, for shame. -Christopher Langer www.musicration.com back to top Various Artists Control Soundtrack Rhino Records This album, like the movie, is focused on providing insight on the legendary post-punk band Joy Division. And this compilation proves to be educational for those who are not intimately acquainted with the band, while also bringing listeners back to another era. Three of the seventeen tracks are well-known gems—“Dead Souls”, “Love Will Tear Us Apart”, and “Atmosphere”—while most of the album includes music from the band’s biggest influences including Velvet Underground, Iggy Pop, David Bowie, Roxy Music, and Kraftwerk. “Warszawa” by David Bowie is a mostly instrumental track, with vocals first introduced into the fourth minute with monk-like chants, spiritual ohms and a haunting beautiful melody. I picture a man, playing back his most vivid memories in his head, while sitting alone on top of a mountain. The Killers perform their cover of “Shadowplay”, recorded specifically for the movie and it seems to be a common complaint for die-hard fans for its lifelessness, but I could see myself playing this song more than once. Cast members also practice the art of rendition through “Transmission”, which is glorified for successfully capturing an authenticity of Joy Division’s energy and sound. New Order has a strong presence on this record with its 3 previously unreleased pieces, one of which is just talking (“Hypnosis”), while another is only instrumental except for a shout at the beginning (“Get Out”). Overall, this album gives you non-poppy David Bowie and New Order, a nostalgic taste from Joy Division’s hits and a better understanding of their sound in sampling their Gods. cAthy Lee back to top Various Artists Give 'Em The Boot V Hellcat Records This is the fifth, (yes indeed I did pay attention at school), from Rancid frontman Tim Armstrong's record label Hellcat. This is yet another compilation featuring a combination of some new and unreleased songs from some of the better known bands on the label - along with some of the newer and up and coming bands. This album, as these albums usually are, is packed full of punk rock goodness. Although I do find a lot of the more straight up punk rock bands do sound incredibly similar to Rancid and Tim Armstrong in particular, but maybe that's just me. Since I have mentioned punk twice in the sentence, it is vital to mention that this album offers more than just three chord playing angry young dudes. There is an increasing amount of old style ska and reggae music on here. The likes of the Slackers with "Crazy" and "I'm No different" by Westnound train - shows obvious similarities to Long Beach legends Sublime at their most mellow moments. The Aggorolites bring some funky vibes to the table with the rather aptly titled "Funky Fire". Also on offer are some Psychobilly tunage from the likes of Tiger Army, Nekromantix and the Horrorpops - all going to show that punk rock is not such a straight forward scene. I was expecting 18 songs lasting around 2 minutes that would make me want to don a pair of doc Martins and get a Mohawk hair do. Fear not, as there is more than enough punk which does exactly what it should do. This comes in the form of Rancid themselves, with their new song "Tattoo", which is a great example of Rancid at their finest, with a catchy chorus and street poetry-esque lyrics. Also, there are sing-a-long style anthems with a song title I would be far too embarrassed to write in public. For the sake of politeness we'll say it's called "I'm a 'James Blunt". It starts out more than a little stupid and juvenile, but turns out to be a fantastic punk rock number. You could imagine it being a drunken set closer style song, that seems to rip-off/pay homage to the Sex Pistols, the Libertines and the Descendants all at once. Nevertheless, it is fun. This is a cheap compilation with plenty of good tunes that would make a perfect soundtrack for a punk-fuelled night out, so you cannot argue with it. Adrian Huggins back to top Various Artists Manoeuvres 1: A Collection Of Vancouver Electronica* So Called Recordings Manoeuvres 1: A Collection Of Vancouver Electronica is true to its title – that it’s a collection of Vancouver artists who not only deliver a chilling mix of tracks but pick just the right balance of hip hop, up-mid and down tempo songs to round out the electronica genre on this album. The first three tracks make things interesting for the listener since none of the songs sound at all similar to each other and set the fan up for an unexpected musical journey. The opening song – The Hermit’s electro-pop “Si Vous Me Quittez” appeases the up-tempo electronica sound and is an unusual introduction to the second track – Baba Brinkman’s hip-hop mastered “Step Inside.” From there, the relaxed Phontaine breathes her sleepy track, “Nonsense (Disaster)”, onto the record, curving out the beginning of the album as a smorgasbord of light, airy musical tastes and melodic keys. Telefuzz’s “The Financiers Of Samsara” is slightly reminiscent of Portishead’s “Roads” considering both tracks share the same haunting soft drumbeat in the background. But thankfully Telefuzz adopts their own identity and avoids ripping off Portishead by using two different vocalists with a heavier delivery than the lingering torment of Portishead’s singer. Au4’s “An Ocean Measure Of Sorrow” is a deep track to say the least, something to helabelp you fall asleep but might give way to nightmares with its slow, hypnotic drum tappings and dark, whispery singing. Trek-e’s “Stories They Sing” is another Portishead influenced delight but again, diverts itself by indulging in some sleepiness with its rhythmic drum beat and the singer’s soft, subtle voice echoing over the spacey movement of the instrument keys and notes. Overall, the collection is pretty good. Not as hype or up tempo as one expects it to be but definitely a smooth groove if you’re looking for something to chill out to. Some songs are with vocals, some without but each are a variation of electronica and the selected artists have managed to arrange their different instruments and keys in a way that reflects the versatile aspect of electronica. Plus the odd hip-hop track here and there never hurt anyone so that’s a bonus. Who knew Vancouver’s lush landscapes and wicked west coast lifestyle could foster such a trendy, urban concoction of synthesized beats and chilled out melodies. www.socalledrecordings.com www.myspace.com/recordingsocalled -Antoinette Mercurio back to top Various Artists SC100 Secretly Canadian Secretly Canadian is comprised of a pretty eccentric group of artists, from high pitched wailers to mellow moaners. Regardless of the artist though, with a Secretly Canadian record the listener is usually guaranteed something quite different. For their 100^th release they have produced this compilation, which like so many compilations is slightly hit and miss. It does however have a clever gimmick going for it: Secretly Canadian artists covering each other! Each artist pretty much performs a cover and has one of their songs covered, so for each performer on the label that you enjoy, in most cases you get two songs. The whole thing feels like the end of a music festival, when all the musicians come out for an encore jam session. At the time these moments are a whole lot of fun, but once you get it home and listen to your bootleg a few more times the moment kind of loses a bit of its’ magic. So, unless you are a die hard fan of the artist(s) or the song, then these tracks that won't warrant a ton of repeat listens. Considering the eclectic group involved, the compilation does have a decent flow. The more standard rock & roll songs start the album, followed by the spacey tracks, followed by the bigger band stuff. This means that there are very few abrupt contrasts in style between tracks. For instance, Danielson is followed by June Panic, doing a fine sounding Danielson cover, minus the shrieking. Two highlights come courtesy of Jans Lekman, one being his cover of Scout Niblett’s “Your Beat Kicks Back like Death” on which his Morrissey-like croon sounds wonderfully bored. This is followed by a somber and relaxed cover of Lekman’s track “Sky Phenomenon” by Marmoset. It is rare that a compilation works as an album, but this one does succeed in two other areas: First, as a novelty for fans who want to hear their favourite artist covering or covered by another, and secondly by exposing listeners to other artists on the label, either for their creative songwriting, or for their unique sound. www.secretlycanadian.com -Daniel Demois back to top Various Artists Pure(ly) Acoustic EMI Some CDs you just know are destined to be sold in Starbucks. You don’t even have to listen to this one to see it falls into that pile; it just screams “vente Sumatra with soy milk.” It’s what yuppy parents buy their teenage kids as a way of saying “see, I’m still down with the hip stuff,” but without the risk that the album might actually turn out to be loud or offensive. This album is about as trendy and commercial as you can get. And to be honest with you, that’s a bit of a disappointment, because it does have some pretty good musicians on it. In fact, almost the entire line up is pretty respectable: Radiohead, Sarah Harmer, Sam Roberts, Ben Harper, Stabilo… even the Yeah Yeah Yeahs do a cut on this one. But while these bands may all be good on their own, on this album they somehow take on a weird, synthetic sheen of inauthenticity. Their pseudo-tortured, acoustic versions all seem to fall a bit flat. Maybe it’s the packaging. Maybe it’s the fact that this album is just such a blatant attempt to make money in a new market by artists and labels that are already dead rich anyway. But whatever it is, this album can safely be given a pass. Unless you really love acoustic sets. - James Sandham back to top The Vincent Black Shadow Fear’s in the Water Her Royal Majesty’s Records Somewhere between No Doubt and Queens of the Stone Age, TVBS rock an upbeat sound that wavers between the manically happy (for example their opening track “Metro”) and sultry darkness (“Don’t Go Soft”). At times incorporating ska-inspired bass lines, while at other times rocking a lounge – or even disco – vibe, TVBS has a diverse sound that seems as if it may still be clarifying itself – understandable for a debut LP. But if their sound can be pigeonholed, perhaps it is best described as Prozac rock – sweetly synthetic, glazed with an intentionally self-conscious artificiality. Or maybe this is just a side effect of their penchant for disco beats. Whatever the case, this Vancouver quintet, including the striking Cassandra Ford on vocals, Mary Ancheta on keyboard, and brothers Rob and Chris Kirkham on guitar/vocals and bass/vocals, respectively, have put together a solid package of music that, while not mind-blowing in it’s originality, still manages to distinguish itself from much of the current pop competition. Hear for yourself at www.myspace.com/tvbs. - James Sandham back to top The Vines Vision Valley Capitol Records/EMI The first thing you’ll notice about this third Vines album is the copy control measures. Before I could listen to this disc, I had to download a newer version of Windows Media Player to my PC. Then I had to click on the CD’s built-in player to access the goods. But before any songs would play, I had to agree to the compact disc’s terms. It is actually impossible to listen to Vision Valley without first pledging that you won’t illegally copy it. What happened to music appreciation? There are a lot of rules and procedures surrounding mainstream music these days, it seems. In a similar way, the album itself seems to be overly tempered and regimented. The 4/4 beat doesn’t vary much throughout, and it’s overall a very bland listen. Gone is the fiery spazziness of the Vines’ 2002 debut, replaced with what could almost be called “adult contemporary” rock songs. This might have something to do with singer Craig Nicholls’ diagnosis with Asperger’s Syndrome – a mild form of autism, for which he is now in treatment. Because of the disease, Nicholls is unable to tour – living with the syndrome requires stability in one’s daily lifestyle – and I can’t help but suspect that the increased stability (and medication?) in his life could be responsible for the overall flavourlessness of this recording. It’s not exactly terrible, but even with the disc’s few good moments (“Gross Out” and “Fuk Yeh” are probably the most energized tracks), you can’t help but think that the Vines’ growth has been checked. The record label needn’t have worried – I have no plans of piracy towards this sad, disappointing album, and I doubt others will, either. -Jennifer Fabro back to top Von Spar Von Spar Tomlab Von Spar’s second album is made up of two long tracks. “Xaxapoya” builds slowly, and the percussion starts around the five minute mark. At this point the song gets a little bit scary. Somebody starts wailing over the percussion and bass line which are gradually getting faster and faster. It’s hard not to imagine my heart beating faster and faster along with the music. Von Spar makes music that is at times similar to the music of Goblin, and it can be as suspenseful as the films Goblin writes music for. Just after the ten minute mark the electric guitar comes in and begins wailing along with the vocals, and then it’s quiet, except for the steady percussion beat. At about the 16 minute mark the vocals start. “I am searching/I am searching.” They are sung with extreme brattiness, which might be your cup of tea, and they are complimented by some clean and nifty guitar work. The vocals don’t really add anything to the song, and it’s much more interesting as an instrumental track. The second track on the album “Dead Voices in the Temple of Error,” has a much heavier feel to it, but also builds slowly. It eventually evolves into Rammstein territory with growling vocals. It’s not quite as spooky as the first track and gets annoying fast. The song ends with random keyboarding over a funky beat, which is much more interesting than the heavy metal beat that dominates the song. There are a lot of interesting moments scattered throughout this record, and it makes for decent background music, but would have been more interesting if it fully fleshed out a few of the sounds they were going for, instead of dabbling in too many. www.vonspar.net Daniel Demois back to top Walking Bicycles Disconnected Highwheel Records Conceived in sunny California by vocalist Jocelyn Summers and guitarist Julius Moriarty, Walking Bicycles have since relocated to Chicago, Illinois, adding Jason Leather on bass guitar and Cris Castallan on drums to round out the quartet. Like many of the bands breaking from the Chicago scene, Walking Bicycles have an 80s-inspired, post-punk/new-wave sound. Characterized by Summers' Debbie Harry-esque vocals and Leather's punchy bass lines, Disconnected - the Bicycles' second EP release in preparation of their upcoming LP Welcome to the Future - is a solid and consistent album without offering a great deal to distinguish it from other similar Chicago acts such as Bang! Bang! Yet while the sound may be criticized as lacking innovation and experimentation - the eight tracks maintain a remarkable similarity across the album - it is nonetheless catchy, danceable music with more edge and authenticity than some of its more commercially successful cousins. Good news for non-conformist high school grrrls; of little interest to most others. www.walkingbicycles.com -Jennifer Fabro back to top Wayne Petti City Lights Align Outside Music City Lights Align is Cuff the Duke front man Wayne Petti’s first solo effort, and while it is both catchy and melodic, it is also somewhat predictable and lackluster. The usual comparisons made between Cuff the Duke and country pop stars Hank Williams and Jim Cuddy still apply here, and the most significant difference between the band and the solo effort is that Petti’s quiet, acoustic songs lack the energy and excitement of his band. Recorded with Paul Aucoin (of vibraphone enthusiast band The Hylozoists), Petti’s warmth and sincerity is at times poignant, like on tracks like “Here is my Heart” and “I Wait”. While almost every song is catchy, a couple (see “I’ll Be With You”) fall completely flat. Surprisingly, the weakest track on the album is a cover: “The Only Only One” credited to J. Dragonetti. What could be a sing-a-long bedroom record is more likely to be played to cue house guests that it’s time to go home. Simple, subdued and heartfelt, Petti’s vocals sound great, the songs are strong, but ultimately there is nothing extraordinary to be found here. www.myspace.com/waynepetti -Kate Robertson back to top The Wednesday Society Making New Friends This Perth-bred quartets tour EP is a perfect snapshot of a group whose songs will wreak havoc on the souls of your dancing shoes. With a unique brand of dance-punk The Wednesday Society is sure to remind you of the now-defunct Mclusky with Q and Not U’s sense of style. For a tour EP, the plethora of dissonant dance-punk is just enough to make you want to hear more. The final track on the album “Can Can (Master celebrator remix)” is gift in the cereal box; it’s not necessary but it definitely lends to the overall allure of the EP. The album is a perfect hint of the shape of things to come. – Andrew Seale back to top Wendy Atkinson Pink Noise Smarten Up & Get To The Point Pink Noise is Wendy Atkinson’s second solo bass only album. I had never heard a solo bass-only album before so I was intrigued by the idea. Atkinson experiments and explores the sounds of her electric, acoustic and double basses and records the outcome on an analog 4 track. Most of the album is instrumental with some spoken word. The mix is sparse, her playing is minimalist and her ideas are avant-garde. I really wanted to like this CD but it was a bit too abstract and experimental for my taste. Although, I completely respect the creative exploration of Atkinson’s craft, I personally found the CD hard to listen to. I guess I just didn’t “get it.” But there are definitely people out there who do seem to get it. Atkinson has been featured on the CBC and her Pink Noise has charted on several college radio stations in North America. - Liz Lulu back to top Wheat Everyday I Said a Prayer for Kathy and Made a One Inch Square Empyrean Records Tonight’s meal is nothing but wheat. But is it half grain? Is it whole? I open my mouth to let the 11 tracks sink in, though I notice the EP title Everyday I Said a Prayer for Kathy and Made a One Inch Square is more than a mouthful to say. But its effortful utterances seem justified for its’ symbolic depth: It’s a “remembering through ritual” while the square illustrates the paths of turning corners and returning to those things one loves (keep in mind that band members were former art students). And this remembering/return to pleasures follows a truthful narrative of the band: They return to make music after slipping in a shadow in reaction to major label attention in 2002 and bouts of fame (three of their songs belonged to soundtracks for blockbuster films). Opening track “Closeness” begins with an ambiguous noise of static followed by a Raine Maida-esque voice (but really singer/songwriter Scott Levesque) and long toned organ keys. It is an emotional prayer from someone in search of his soul, meaning and a fulfilling love. The tone is both sad and hopeful, heartbreaking and heart filling with beautiful lyrics, “I don’t seem that close to you, the closer you get/I don’t know why I try and try, the further I get/Most of the time I can’t read my mind, I turn to bed”. This band’s 4^th album is a promising return, embodying the experimental spirit of indie rock. The guitar, drums, piano and keys set a musical atmosphere from a quiet delicacy to a dramatic celebration, but dominated with a slow tempo and a sad/serious tone. Most tracks start off with naked vocals coupled with minimal instrumentation including songs “To, as in Addressing the Grave”, “Little White Dove”, “Move=Move” and “Saint in Law”. What I notice is that the album showcases the vulnerability of Levesque’s vocals: the voice gets scratchy, breaks, whines, extends past his range and at times goes off key. But I see this as good vulnerability—the authentic kind that convincingly relays gray and dark emotions. My main complaint on this end is that sometimes the songs sound the same because the vocal melodies and delivery from song to song are so similar. Get your healthy dose of wheat: www.wheatmusic.com cAthy Lee back to top The Whigs* Mission Control The Whigs have lent a lot of depth to what are basically three chord progressions for most of the songs on Mission Control. They are just so freakin’ catchy. Some people just have a knack for writing beautiful songs without reinventing the wheel, and that is precisely what the Whigs do. Their lyrics are filled with playful metaphors and beautiful poetic images. With traces of Tragically Hip-esque Canadian rock with a twist of bizarre rockabilly they progress into something beautifully raw in production but soulfully played, with heart and purpose. Their sound is kept sane by basing their tunes around a very tight and spunky rhythm section. If you like simple, raw and pretty, the Whigs’ Mission Control will tug at your lungs and rock your socks. - Gideon Greenbaum-Shinder back to top White Cowbell Oklahoma Casa Diablo Slick Monkey This is dirty rock. Filthy, filthy rock. This is black leather, tattooed, whiskey chugging rock and roll. White Cowbell Oklahoma plays a heavy brand of country music that is loud, but not too messy. These songs are well structured, with melodies and intertwining guitar work that never gets jumbled. Each song has a great hook, and after one or two listens they will stick with you. Think of The Butthole Surfers at their most accessible playing country music, and you’ve got something close to White Cowbell Oklahoma. The range found on this album is especially impressive. Littered throughout are heavy rockers, complete with megaphones, and growling vocals. There are also some lighter tracks like “Fly Away,” which you just might find yourself humming along to, and then there’s the very bluesy sound of “Do Me So Wrong.” Whatever style they are exploring, be it reminiscent of ZZ Top, Think Lizzy, or Black Oak Arkansas the group is always playing 100% rock and roll. No matter how hard the album gets, there is no doubt in my mind that the way to hear these songs is live, blasted through giant speakers, in the town’s filthiest dive, with the sleaziest women and the most slovenly men. Have a few drinks, take off your shirt and wallow in it. www.whitecowbell.com Daniel Demois back to top Phylactery Factory White Hinterland Dead Oceans Casey Dienel’s far too young to sound so good. Or is it the profundity of her lyrics and the depth of her musicality combined that make her precocious talent seem so incredible? Regardless, her classical piano training and propensity for fantastic story-like lyrics come out all-too-perfectly beautiful for a twenty-two year old. Even if we never figure out the age riddle, it is still difficult to describe this album; its instrumentation seems almost jazzy, but yet, it’s not at all. Dienel and her band, rather, pull off a Regina Spektor-kind of pop/rock thing with the piano, but it’s not comparable either. It’s just lovely. Ok, her voice is eccentric but smooth, the lyrics dancing-dreaming-wonderland-specialness, the songs flowing along as naturally as the changing seasons, like fall swings snowily into winter and the snow melds meltingly into spring, a soft drum beat pushing us forward, slowly, (summer soon) but surely, forward…it sounds whimsical, but it’s not that, either. It’s mischievous, it’s playful, but yet it’s quite serious, not silly at all. It’s melodic, it’s original: the instrumentation organic, it’s a searching, serenading journey... and that’s what makes it all such a wonder... However, even more puzzling is why there are hyenas ripping apart a zebra on the cover, do let me know if someone’s uncovered that riddle. www.whitehinterland.com/ Aurora Prelevic back to top White Whale WW1 Merge Like the Arcade Fire but from Kansas, White Whale are somewhere between a rock band and a travelling band of minstrels. Ever fond of the epic ballad, swelling with choruses and multi-part harmonies, White Whale also draw a comparison to a certain Georgian band of lore, Neutral Milk Hotel. But White Whale’s music is less an imitation of their sound than a continuation of their genre, one born of sea shanties and most recently revitalized the Decemberists. And while nothing may seem mystical, nautical, or ballad worthy these days, White Whale do their best to weave a spell of drifting, piano-driven symphonies. Thundering percussion and soaring choral vocals help establish this album as more than a musical trip back to what was really popular a couple years ago. www.myspace.com/whitewhalemusic -James Sandham back to top Whitey The Light at the End of the Tunnel is a Train Dim Mak Records Whitey is the solo project of some guy in New Jersey who is rarely seen and “skulks,” according to the Dim Mak website. It also says he’s played over 200 shows in the last couple years, some with the likes of Iggy Pop and New Order, so I’m not exactly sure how much I buy the whole misunderstood, introverted artist myth his label and copy writers seem to work so hard at establishing – but in any case, the music he creates is pretty good and this is a decent debut album. Pitchfork and Vice both dumped on it because it does have a few weak tracks where Whitey’s whole electro/pop/folk fusion thing just doesn’t seem to work – which is true – but on the whole it’s got more good tracks than bad and the style is always diverse. The album swings from thumping techno beats to electro-twitch pop and then to weird, reverb-soaked ballady things, so it’s not exactly a consistent listen, but it’s creative and usually catchy. Check more at http://www.dimmak.com/whitey/ - James Sandham back to top Free Somehow Widespread Panic Widespread Records This is the tenth studio album from America’s favourite touring rock band Widespread Panic. It was recorded with big-deal producer Terry Manning, the man of Led Zeppelin, Lenny Kravitz and ZZ Top-recording fame. It rocks, yeah, but there’s pretty much nothing original about it, at all. I suppose it’s an American thing. They tour cross-country to mass audiences on a yearly basis, but yet they sound like standard rock band pub fare. It seems like the kind of thing they’re going for is major radio station airplay, a well-attended every-town U.S. tour, Billboard Top 200, million-dollar-grossing tours and album sales. So clearly they’re doing well at it. Widespread Panic has the kind of Dave Matthews Band cult-like following, and those people are damn excited for this album. The rest of us, however, are not likely to be swayed if we haven’t been already, and that’s not likely to affect the turnout of this Athens, Georgia band’s tour this year, or the next. http://www.widespreadpanic.com/ - Aurora Prelevic back to top Wil By December EMI Another west coast Canadian troubadour, the hard working and ever-touring William Mimnaugh (aka Wil) is yet another guy with a guitar, doing yet another brand of the folky alt-country for which the west coast is known, although his stuff is perhaps a little more commercially approachable than that of his crunchier counterparts (no doubt due in part to the collaborators on this album, such as Ron Sexsmith, Broken Social Scene’s Jason Collett, and 54-40’s Neil Osborne). Although By December has already enjoyed mild commercial success, it’s not exactly a very distinctive album, in that it sounds like a lot of stuff that’s out right now in that genre. But if that’s your bag, notch another one up for the cause with By December. Yeehaw. - James Sandham back to top Wilderness Vessel States Jagjaguwar I was introduced to Wilderness’ second album, Vessel States, via my editor’s short introduction with descriptive words “dark, art-rock”. I had no expectations and I’m glad for that because the first number, “The Blood is on the Wall”, opened with a lack of a ‘hook’ for the listener, until, that is, three minutes into the song where it pleasantly picks up and starts to cause some trouble within the melody. So how would one best describe their music; a band as unique as their sound, yet with a back-beat as familiar as that of a favorite album that gets played on a lazy Sunday afternoon? The four musicians who comprise the band, Wilderness, are from Baltimore, Maryland and have been making music and art for 11 years now. Their musical collaborations are an emotive based sound that is found in the primal wails of lead singer, James Johnson, and even down to the liner notes, filled with geometric shapes and brash neon colors to impress even the most jaded of 80’s baby. You find yourself straining to hear audible words that might have some groundbreaking meaning to them because they are screamed, wailed, and literally pummeled out with so much raw emotion to them. The best part about Wilderness though is that they “get it”. Music to them is a movement and a world unto itself. And as they say in their liner notes “Thank you to The Music and to all who have been a part of it”, they quietly acknowledge their sound and thank those from the past, present, and future of music. back to top The Winterpills The Light Divides Signature Sounds/Soft Alarm Do you like your indie-rock atmospheric and moody? Well, if you answered yes to that question then The Winterpills sophomore outing, “The Light Divides,” could be the album for you. At times harking back to layered melodies of Elliot Smith and at other times The Red House Painters, The Winterpills have managed to create a stirring and emotive album, which gets better with every listen. It opens strongly with, “Lay Your Heartbreak,” which features haunting harmonies from Philip Price and Flora Reed. The album really gets going by the third track “Handkerchiefs”, which is a country-tinged number featuring Reed’s clear vocals. Also look out for “Broken Arm” (there are two versions on the album), which is a rollicking track that you can’t help but sing along to. Having moved on from Reed’s house (where they recorded their first album), the studio production has only added to their sound and given it a polished and expansive feel. This is an album to put on late at night, with lights off, while you think of lost love. http://www.myspace.com/winterpills -Alice Uribe back to top Heart Attack Woodhands Paper Bag Records After lighting up the Toronto scene with their high energy electronic shows, Woodhands manage to capture that excitement on their debut release. The first half of the album is dominated by tunes worthy of the dance floors.“Dancer” is a dynamic opening track and features the lush vocals of Maylee Todd (Henri Fabergé and the Adorables). “I Wasn’t Made for Fighting” is ripe for shaking to: with a kicking beat and vocoder vocals ala Daft Punk and MSTRKRFT. The album mellows out with “Monsterdinosaur” and “Straighten the Curtains,” two tracks containing space-like ambient beats, allowing the listener to catch their breath. But the final track, “Sailboats,” featuring Laura Barrett (Henri Fabergé and the Adorables, the Hidden Cameras) returns to the assault and ends the record with a lively fury. Believe the hype, Woodhands deserve it as their album is a fabulous debut. http://paperbagrecords.com/bands/woodhands -Jon Brazeau back to top Wormburner A Hero’s Welcome Dive Records Somewhere from the depth of producer David Lowery’s (Camper Van Beethoven, Cracker) mind comes the debut album from New York City band Wormburner, A Hero’s Welcome. Laced with new wave and powerpop the album aims to please fans of Neutral Milk Hotel, The Weakerthans and Grandaddy. The album’s opener “Sleepy Jane” combines the vocal structuring of The Killers with ringing moog synthesizers. Buried below the five-pieces indie powerpop are literary songs using clever wordplay. Somewhat out of place are gritty breakdowns featuring Buzzcocks worthy rhetoric. The band itself is gaining a significant amount of exposure in New York and is acclaimed for live performances. Their New York roots emerge in the second track “Little Things.” The song is fast paced and over almost before it begins but has the energy that made the 80s punk/new wave scene in New York so popular. The synthesizer lead on “Muscle Car” makes it hard to not let your shoulders sway a little bit. Hey, if you’re the only one in your room dancing, all the better. The music sounds just as good alone as it would live. Their lyrics show a band disillusioned with living in the new millennium on “Skinny Leather Tie.” “I wanna feel just like it’s 1985/This new millennium has cut me down to size.” Wormburner comes recommended to anyone willing to get lost in the new wave music made popular in the 80s. Time to get out the skinny ties and ridiculous haircuts. www.spillmagazine.com - Andrew Seale back to top Wrinkle Neck Mules Pull the Brakes Shut Eye Bluegrass, Alt Country and Southern Rock, the Wrinkle Neck Mules cover all these styles and do it well. This disc is very easy to listen to with great production and smart songwriting. You can tell these guys have a past deeply rooted in mountain music as the tunes are laced with banjo, mandolin and acoustic guitars. The presence of the electric guitars, bass and drums give the Mules a sound comparable to Steve Earle and Son Volt. With they’re second album Pull the Brakes it sounds like these guys have found a very comfortable and consistent sound for themselves as all the tunes fit together perfectly with no unpleasant surprises. The standout tracks are “Light of Day” and “San Gabriel” which features the better of the two singers in the band. www.wrinkleneckmules.com - Andre Skinner back to top Wrinkle Neck Mules The Wicks Have Met Lower 40 Records The fourth release from Virginia-based fivesome (or foursome, depending on how things are going) Wrinkle Neck Mules, The Wicks Have Met is only their latest offering to follow on the underground success of the Mules’ 2003 debut, Minor Enough. Steeped in the Americana alt-country tradition, the Mules pack this album full with ironic love songs like “Chemical Dependence” and lonely road songs like “Cadillac Limousine.” And in most cases, they get the genre just right. Their lazy bluegrass guitar stylings hold this album together without descending into repetitive cliché, and lead singer Andy Stepanian easily carries the whole thing forward with his twangy mid-west vocals. The overall sound is reminiscent of bands like Ox and the Great Outdoors. And while the album lacks any definitive high-energy tracks, it certainly captures the grassroots country scene’s dusky ambiance. www.wrinkleneckmules.com - James Sandham back to top Wussy Left for Dead Shake It Records So Wussy took me a while to get into. Another alt-country band, I thought. But having suffered from such unfounded initial scepticism, I think it’s only now fair that I state: Wussy are rockin’ my world. While they do retain an undeniable country element to their songs, present in the rhythms of their acoustic guitar and Lisa Walkers lazy vocals, they incorporate so many other influences - do-woppy harmonies, poppy hand claps - that their honky-tonk leaning can be almost impossible to discern at times. Take their song “Millie Christine”. Over top of the basic country rhythm - the clop of a cowbell in this case - they whip up a flurry of sounds that ranges from epic to haunting to destroyed, and then settles back down into a cool pop calm. It’s tough stuff to nail to one genre, and this is what’s ultimately appealing about this album: it’s not restrained by anything but the musicians’ imaginations, yet retains a solid grounding in identifiable, resonant rhythms. And the writing’s great too. So rock on, Wussy: you have shattered my sceptical expectations. www.wussymusic.com - James Sandham back to top Yacht I Believe In You. Your Magic Is Real. Marriage Records Not really sure what to make of Yacht’s I Believe In You. Your Magic Is Real. except that I know it’s not for me. Production-wise he samples some interesting beats and sounds with songs having a clapping motif in them. The vocals aren’t great; thankfully the album emphasizes his production skills rather than the dull, hollow singing. A couple of tracks carry a funky nuance while “It’s All The Same Price” borders on a techno beat with its trance-like synthesizers and on-and-off again background claps. Yacht – who is a one man production composer by the name of Jona Bechtolt – enlists the help of various vocalists but none of them mesh well with his digital concoctions. Since the album caters to Yacht’s spawning of beats, it might be helpful to note that he has an interesting ear for the absurd and unusual. Going from dance-pop tunes to new wave synth-crazy sounds to hip-hop tendencies, this album is a schizophrenic’s dream into the musically unknown. If you’re a production enthusiast and overall open-minded sound freak, then this might be a good pick for you. But if you’re an old-fashioned gal like me who enjoys some clear and logical beats to jam to, then I’d stay away. www.teamyacht.com www.myspace.com/yacht -Antoinette Mercurio back to top Yellowcard Paper Walls EMI/Capitol Records The latest release from Jacksonville, Florida, punk pop quintet Yellowcard, Paperwalls is pretty straight forward MTV-friendly mainstream suburban angst music. Lots of tunes about broken relationships (“Shrink the World” for example) and just being pissed off ’cause there’s nothing to do and no one understands you. There’s a whole bunch of punk-popster bands from the 90s that these guys could be compared to, but with an EMI contract, it’s probably not necessary to make such comparisons as you’ve likely heard Yellowcard yourself somewhere. It may not be the most unique music, but with more than three million albums sold, someone must be digging it - namely, misunderstood emo high school kids. The band takes the energy down a notch for the start of the moody track “Keeper”, then rockets back off for the rest of the track with anthemic choruses and rapid rhythms for the rest of the track. That describes a lot of the album. www.yellowcardrock.com James Sandham back to top Yesan Damen Chronos/Kairos New Wine Records On the surface, Yesan Damen sounds like straight-poppy mid-90s alt-radio rock. Which is not bad at all, and quite comforting in a nostalgic kind of way. Some of the fast-paced tunes remind of those hits that made you rock your head off when you were fourteen in your bedroom alone. But as you bop your head along the second time around this Seattle indie pop quartet’s second full-length effort, you may discover some distinct creative forces hidden beneath the familiar formula. Yesan Damen and their motley crew of special guest friends take us on an altogether enjoyable ride. With hints of Beach Boy-like sounds, the band constructs some very nice, multi-layered pop songs that make you smile and dance and swoon and generally feel all sunny inside. As the last song trumpets out an epic choral devotion to the album’s main theme “time,” Yesan Damen leaves us on a high note. www.yesan-damen.com Aurora Prelevic back to top Yoko Ono Yes, I’m a Witch Astralwerks No one ever knows what to make of Yoko Ono. Some people demonize her, some people celebrate her, and a lot of the time it’s difficult to distinguish whether they’re talking about her as a person or her as a musician. I guess it’s an accomplishment in itself to be able to create such controversy, even if the final score is kind of ambiguous. That can also be said about her latest album, Yes, I’m a Witch, a collaborative piece with some of today’s most progressive experimental rockers. Featuring reworked Yoko songs done by everyone from Peaches to Le Tigre to Cat Power and the Flaming Lips, the end result is ultimately an ambiguous kind of accomplishment, but sure nonetheless to stir a bit of controversy in music circles. The basic concept of the album was that Astralwerks would supply any element of a Yoko Ono track – vocals, a beat, instrumental samples, etc. – to an artist and they could rework the song as they saw fit. Most of the tracks on this album are built around Yoko’s vocal samples, layered over music completely different from that to which they were originally attached, so if you like experimental tunes, you might like this. To me, it just seemed like an hour of various hip people trying too hard to reinforce the consensus that yes, they are indeed really hip. Lots of dancey remix numbers. - James Sandham back to top Youth Group Casino Twilight Dogs Ivy League Records I was sceptical of this Aussie quartet when I first popped in the CD - anyone drawing this heavily from the Beatles, I reasoned, must be covering something, quite likely the possibility that they don’t have anything original to contribute themselves. Opening track “On a String” is a case in point. But then I realized: who cares, because this is great music in either case, and anyway, who in contemporary pop-rock doesn’t owe the Beatles a huge debt? Thus assuaged, I sat down and thoroughly enjoyed the album. Anchored in catchy guitar-driven rhythms and soaring orchestral backing, the strangely titled Casino Twilight Dogs, the band’s second LP after their acclaimed debut, Skeleton Jar, is held together by Toby Martin’s beautiful vocals and admittedly sexy Aussie accent, and the fact that, Beatles-esque or not, these boys know how to string together one hell of a pop song. Their single, “Catching and Killing” is a prime example. See for yourself - the music video’s available on the band’s website, www.youthgroup.com.au. - James Sandham back to top Zom Zoms Yellow Rainbow Business Deal Records WARNING: May cause extreme giddiness and/or agitation, the urge to rip one’s hair out or someone else’s, severe heart palpitations and most defiantly the urge to cause immediate destruction. If you are taking any medications for the heart, mind, body or soul, listen to this album on low or not at all. Otherwise, proceed with caution. Wow, is all I can say and keep saying while I listen to this album, a second for the foursome who are heavy on keyboards, synthesizers and polka dots. Their sound is defiantly odd with a pungent taste of electronica on overload, especially heard on the first track, “Deciduous Prophet” and the third, “Caught On Tape”. The former sounds like a sped-up version of the South Park theme song with a little Tetrus thrown in for good (?) measure. After awhile, the hyper-mania grows on you and while you want to do something wild and illegal, you’re sitting there trying figure out if these guys are putting you on by how odd they seem, or if they just are. It seems like a clever business ploy because weirder is better, but you’ll never know because who are they to tell you. And for that, I like them; when they aren’t inducing seizures in listeners and dodging questions. For instance, after searching online for an answer I found their Myspace page ( HYPERLINK "http://myspace.com/zomzoms" http://myspace.com/zomzoms) and asked them precisely why they were banned from Canada during their 2005 tour in May, for one whole year. Zoms Frenchman, the “plastic drummer” of the group responded with, “Mounties have it out for us. We're just that good.” Whatever, dude. www.tubezomzoms.com - Jessica Shulist back to top Zs Buck Gilgongo Records I never feel comfortable judging music you need a degree to understand, let alone compose. With that in mind, all I can say about Zs is that they produce some kind of experimental jazz – whether good or bad I am unsure. It’s very ambient, unstructured, freeform stuff, the kind of music you’ve got to put some effort into when listening, and the whole album was recorded live. They describe their work as “music that is variously categorized as no-wave, post-jazz, brutal-chamber, brutal-prog, and post minimalist… angular, repetitive, and either very loud or very soft.” I guess that about says it all. I tend to stick to classics when it comes to jazz. www.zzzsss.com - James Sandham back to top Zuku Here With You Independent Toronto-based quartet Zuku draw members from two previously established and critically acclaimed local bands, Goathorn and Kill Cheerleader. That might explain why their debut EP, Here With You, sounds so damn good. Somewhere between Danzig, Weezer and …And You Will Know Us by the Trail of Dead, their sound a mixture of crashing drums and heavy guitar riffs, all tempered with a hooky early ’60s pop sensibility. The result is a catchy collection of fast, anthemic tunes that seem designed to drive crowds in sweaty dive bars to a frenzy. Songs like “The Wave Washes Away”, a little moodier than the rest of the album, take things down a (half) notch from Zuku’s typical manic energy, but still retains the power and edge that makes this release so addictive. Get your fix online at www.myspace.com/zukuband. - James Sandham back to top	Website News Live Reviews Want to be kept informed on all of Spill Magazine's biggest news and updates? Click Here!