 |
|
|
|||||||
 |
|
|
| features | cd reviews | live reviews | video & media | news & events | columns | about us| |
|
|
||||||||||||||
|
|
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
 |
|
In 2007, Liars released their self-titled fourth album to critical acclaim. It was an introspective pop juggernaut that showed the band edging away from their earlier, more experimental sounds. Now Liars are back with Sisterworld. It’s most definitely experimental and Liars would say devoid of all influence. But let’s say that it’s an album about their hometown of L.A. and dedicated to a psychedelic synthesis of dance, pop and punk. Sisterworld is eerie, hypnotic and complex, layering drum machines, strong grooves and lead singer Angus Andrews’ disaffected vocals. Liars like to punch their listeners in the ear drums after lulling them into a false sense of security. This is the case on the album’s opener “Scissor,” a track featuring intense outbursts of rock ’n’ roll alongside a slow and meandering melancholy. “Scarecrows on a Killer Slant” is a terrifying bit of angry electro-punk with a strong and unstoppable rhythm. Liars are at their best when they unleash their aggressive hooks but that style is built up all the more through the lull of psychedelic tracks like “No Barrier Fun” and “Drip.” The highlight of the record is “Proud Evolution,” a danceable track with a strong hook that is both melancholic and poppy — as if Sonic Youth and Radiohead teamed up with the good intention of making all the kids dance again. http://www.myspace.com/liarsliarsliars — Joe Veroni
“Did I miss something?” was the first thought that occurred to me as the opening track came streaming through my speakers. Curt, lacking in dynamic and repetitive to the point of annoying, I momentarily convinced myself that I must have accidentally held down the seek function and/or somehow caused the disc to skip. After realizing in fact that this was not the case, it all became very clear to me. By that I mean why Starr’s name recognition largely revolves around her success as a music publisher, as opposed to a performer. With punchy “oh-oh-ohs” reminiscent of bad ’80s bands we’re all still trying to forget, computer-generated instrumentation that wavered between making me feel as though I was trapped within a Mario Bros.’ game and a bistro on the edge of Paris, complemented by weak flat vocals in the vein of Feist and Katy Perry, I can see why 30 seconds of anything Starr produces is perfect for a quick TV spot. As for a listenable album? Not so much. While the moments where she took pages from the books of Jason Mraz and The Pigott Brothers proved tolerable, her complete and utter bastardization of Queen’s “Another One Bites the Dust” was enough for me, as an audiophile, to lose all faith that this listening experience would improve. Described as “hip hop aggro groove” (whatever the hell that’s supposed to mean), I’m not too sure there’s much I’d describe as “star-quality” about this Starr. http://www.myspace.com/kinniestarr — Rose Cora Perry
Dark and unsettling, Become Secret would be home in any silent black and white vampire movie. Picastro is the brainchild of Toronto based singer-songwriter Liz Hysen, who is accompanied by several guest vocalists and musicians. The album’s predominant use of the cello and piano create a simplistic repetitious sound that ensures Become Secret is one of the most eerie and sinister sounding records you have ever heard. Although the album may be somewhat forbidding, there is a beauty in the melancholic mix of instruments and vocals. The sound of the piano in the opening of “Twilight Parting” conjures visions of a self-playing piano in an old abandoned manor. Coupled with Hysen’s haunting vocals, and the light strum of the cello, this song is truly menacing and the perfect choice of song for what is to come. “A Dune a Doom” varies between disjointed patterns and the screech of electronic noise, simultaneously with the foreboding assault on the piano. Songs like “Pig & Sucker” and “Neva” sound, to some extent, like traditional folk with their simple acoustic guitar lines but the sound of the cello scratches in and envelopes you in an ill-omened atmosphere. The most lingering and haunting song is definitely “A Neck in the Desert.” This song is where we finally see the vocals match the creepiness of the music. The vocals cry softly around you like spirits, and the urgency of the bass note pushes throughout the song, and when it’s over it leaves you stimulated like after emerging from a haunted house as a child. Become Secret is wonderfully avant garde and is a definite worthwhile listen. It’s a fair assessment to say that it may possibly be the only album to make you look over your shoulder while listening. http://www.myspace.com/picastro — Laura Ciampa
If the producers of 300 intend to make a sequel to their film (301 perhaps?) an appropriate soundtrack for that film would be Hidden. Tracks like “We Want War,” “5” and “Attack Music” use high intensity, loud volume, energetic percussion, and ominous melodies from the instruments and choirs to create a very epic-sounding album. However, there are also some tracks that are surprisingly tame. “Hologram” is a relatively happy song featuring bright melodies from the piano (even though the piano sprinkles in dissonant chords here and there) and familiar pop rhythms from the vocals and drums. “Canticle” is a brass piece that sounds like it came out of the Romantic-era of classical music and is a welcome change from the epic, movie-soundtrack songs that dominate the album. Although the tones of most of the songs on the album are similar, the band uses a variety of brass, woodwind, percussion and electronic instruments to distinguish one track from the other. The downside of the album is singer Jack Barnett’s voice, which lacks the presence the music has and fails to carry the weight of the songs he sings in. Also, Barnett’s lyrics, which attempt to sound imaginative and cryptic, occasionally end up sounding silly and nonsensical. For example, he sings, “Inside the pyramid, deeper in it, hidden exit after Osiris/All the stars are swords, I’ve never been so sure.” With the exception of the singing and lyrics, Hidden is a good album. http://www.myspace.com/thesenewpuritans — Joseph Fava
Oh, the art of parody. Generally meant to amuse or provoke insight, the debut of Everybody Was In The French Resistance…Now! shoots wide of this goal. Eddie Argos of Art Brut, and Dylan Valdes of The Blood Arm, claim to be Fixin’ the Charts by stripping down pop songs and recreating them with antithetical responses. However, no track achieves the composition or lyricism that gave the originals their fame. Their own frivolity trumps many of the songs they intend to mock, perhaps with the exception of “G.I.R.L.F.R.E.N (You Know I’ve Got A),” which is a stab at Avril Lavigne’s “Girlfriend” — an easy target. Even the chuckles come mainly from the song titles: “Billie’s Genes,” “Think Twice (It’s Not Alright),” “Coal Digger” etc. Argos does contribute a humorous response to “My Way” when he postulates, “I should form some sort of committee/of people/to guide me through life safely.” It is entirely possible such wit is generated from superior intelligence which translates poorly to the songs’ subject matter. Thus, it’s worthwhile to give a track or two a listen. If you appreciate it, the album claims to be Vol. 1, so you can anticipate more fixin’ in the future. www.myspace.com/fixingthecharts — Chantelle Renee
If love ballads from the ’50s and ’60s were re-worked so that the music had a more indie sound, the result would be Gigi’s Maintenant. Nick Krovich and Colin Stewart assembled a large group of musicians (including Owen Pallett) for the album. However, all of the different musicians didn’t result in a diverse collection of songs; the majority of the songs don’t diverge from a basic formula. The themes of the lyrics, structures of the songs and the instruments being used are similar in each song. The first track, “No, My Heart Will Go On,” sets the stage for the rest of the album; it features cheesy lyrics about love, relationships and broken hearts supported by basic pop music. There were times when I felt like I was listening to The Supremes or any band from that era of music that plays that similar style. This comparison is not meant to criticize these groups; I am merely illustrating my point that as a listener, I expected more from a collaboration that features an assortment of musicians including the imaginative Pallett. The only track that stood out was “The Marquee,” if only because it diverted from the basic formula used in every other song on the album. Maintenant is a very disappointing album because it leaves so much to be desired musically and lyrically. http://www.myspace.com/gigitheband — Joseph Fava
Imagine a collaboration between Chris Martin, Shep Pettibone, and William Orbit, complemented ever-so-lovingly by synth effects plucked out at random by daughter Apple of the aforementioned Coldplay lead singer, and you get New Zealand-based, self-described “indie pop” band, The Ruby Suns. While their label status (they’re represented by both Sub Pop in the U.S. and Lil Chief domestically), along with their extensive touring itinerary pledges to their popularity, Fight Softly was the sort of listening experience that undoubtedly has to be accompanied by the ingestion of psychedelics — and plenty of them, at that — in order to really “get.” In a word, it’s just “weird.” Accordingly, the album’s interior artwork, which looks as though it was completed by a very disturbed four-year-old, aptly represents The Ruby Suns’ sound. But I guess I should’ve known better when the primary reason I chose to review this album was based on its inclusion of a track entitled “Olympics on Pot.” I wonder was this pot the band speaks off laced with anything else? When it comes to tactics for violent regimes, as the title alludes to, the band’s specialty is clearly “psychological warfare.” I know I could barely make it past the 20 minute mark without becoming seriously agitated. http://www.myspace.com/therubysuns — Rose Cora Perry
Juliana Hatfield really asserts her independence with her 10th solo album, Peace & Love. Not only did she release it on her own record label, she also composed, produced, and performed every track. This is enough to garner a reasonable amount of respect. Hatfield settles from her ’90s grunge roots and opts for more subtlety with several tracks featuring only layered vocals and guitar. The album sounds like readings from her journal, which may resonate with the Birkenstock-tapping, dreadlock-nodding crowd. Topics include broken and/or struggling relationships, a battle with anorexia, and a hypothetical, empathetic letter from stalkee to stalker. Although continuously literal and repetitive, her musings have certainly matured from her greatest hit, “My Sister.” Nonetheless, Peace & Love would be best placed in an early ’90s coffee co-op. Or a Lilith Fair reunion tour . . . in coffee co-ops. http://www.julianahatfield.com — Chantelle Renee
July Flame, the seventh album from Laura Veirs in just over 10 years, is a revelation. Her previous work tended to be quite gloomy but here, the title track is a breath of cool, summer-evening air. Inspired by the name of peaches Veirs consumed from a Portland, Ore. farmer’s market, the song provokes a fitting understated sweetness. Darker subject matter is explored with “Sleeper in the Valley” and “Wide-Eyed Legless,” both producing imagery of fallen soldiers and exploring human loss. Throughout the album, smooth arrangements of guitar, banjo, piano and viola are complemented by poetic and soulful lyrics. Notable collaborations are also achieved; The Decemberists’ guitarist Chris Funk is featured and Jim James of My Morning Jacket contributes vocals. However, mastery is achieved when Veirs’ warm and delicate voice stands alone. On “Make Something Good,” she declares: “It’s gonna take a long, long time/But we’re gonna make something so fine.” July Flame proves it may not take as long as she thought. — Chantelle Renee
In the past quarter-century, the records of Lincoln Neb.’s For Against have probably never been represented in terms of cat lives but it’s not hard to make such metaphorical comparisons. Known for taking extended breaks from recording over the years, there were, at times, questions about the band’s life being in jeopardy. But this just doesn’t seem to be the case anymore. Alive and kicking, Never Been, their ninth studio record, comes hot off the release of 2008’s critically acclaimed Shade Side Sunny Side and delivers some more of those moody post-punk/proto-shoegaze good times. Of the nine tracks, some stand outs include the darker-sounding Joy Division-esque “You Fade” and “Antidote,” with the reverb and hard hitting drums interspersed between piano-driven tracks, such as the building dream pop track “Of a Time,” which has the same other-worldly atmospheric vibe of “Space Oddity.” One thing that seems fairly reasonable is For Against doesn’t seem to stray too far away from their roots and that’s great for them because at times Never Been is very good. The only problem is Jeffery Running’s vocals don’t seem dramatic enough to take on the darker, more (and I hate to say) Goth tracks, which is probably why the two instrumental tracks “Black Willows” and “Per Se” work really well. However, should you be into staying at home on a Friday night with a bottle of Merlot and your notebook, trying once again to make a stab at some poetry, these nine tracks could inspire nine good reasons to listen, and perhaps drink, in moderation. http://www.myspace.com/foragainst — Chloe Vice
It took some getting used to but after a few listens, my ambivalence towards Bobby Birdman’s New Moods was replaced with a growing appreciation of his music. Birdman’s surf rock style of singing works well with the electronic instrumentation featured on the album. My unfamiliarity with Birdman’s style was a hurdle that I had to get over in order to appreciate his music. Techniques I expected wouldn’t work, like a cappella over electronic beats, define Birdman’s style and make his music that much more intriguing. “Truth be Told,” “Weighty Wait” and “Victory at Sea” stood out the most. Along with his signature a cappella singing style, these tracks juxtapose Birdman’s bright voice with the darker tone adopted by the instruments. Birdman relies heavily on a cappella in the tracks “You’d Be Surprised,” “Silent but Violent” and “Only for a While,” which results in a barber shop quartet sound. At first it sounds out of place when layered over electronic instruments but Birdman makes it work. The rest of the tracks adhere to Birdman’s distinct sound and style, with the exception of tracks like“Dust Design” and “Well Sprung,” which feature organic instruments like percussion and acoustic guitar. Although Birdman’s quirky sound is unfamiliar and may take time to get used to, New Moods is a fun album that is definitely worth checking out. http://www.myspace.com/bobbbirdman — Joseph Fava
A five-piece band from Los Angeles, Local Natives’ Caribbean cruise sound is the epitome of weekend “chill out” music. Gorilla Manor’s ethereal drum beats and memorable tribal chants demonstrate genuine emotion. From the opening song, “Wide Eyes,” to the heart tugging “Airplanes,” the album is full of radio-friendly melodies. “Sun Hands” has a steady drum beat that makes you tap along on any available surface, which would be best reserved for your steering wheel on a weekend trip. Unfortunately, there are songs that take some time to improve, like “Shape Shifter,” which only becomes worth it after the first minute and a half. One noticeable disappointment on the album is the similarities of the opening guitar lines from “Wide Eyes” and “Warning Sign,” which you may not notice after one listen but become apparent after a few go-rounds. The stand-out song on the album is definitely “Cubism Dream.” This song mixes instruments beautifully, from the piano to strings to the ever steady drum beats that define the album. Yet, the song’s success has to be the strong but soft vocals that make it a feel good classic. Gorilla Manor is the perfect album to have in your driving collection; it’s a mix of beautiful lyrics, instruments and vocals, which create a down-right, feel good sound. http://www.myspace.com/localnatives — Laura Ciampa
Back in 1980, Martha and the Muffins’ single “Echo Beach” became an instant classic and after cementing themselves internationally as an innovative New Wave collective (and one of just a few that featured a female vocalist), they produced a number of albums throughout the ’80s and ’90s under both the Martha and the Muffins name and M&M, a scaled down formation of the original members. Delicate marks the triumphant return of Martha and the Muffins after an 18-year studio hiatus and it has been the talk of the Canadian music industry since they announced in ’08 their reforming under the original name. This 12-track record showcases Martha Johnson’s compelling vocals over absolutely gorgeous guitar phrasing throughout the record, particularly on the quieter, more intimate “Even in the Rain” or “Love Began With Eve,” the latter a track that Daniel Lanois has praised as being “one of the most beautiful, original songs [he’s] ever heard.” This is an album that is full of emotional ups and downs, ranging from the playful to the profound and fans and new listeners will be pleasantly surprised by the sheer musicianship of this legendary brood. Delicate, but enduring. http://www.marthaandthemuffins.com — Chloe Vice
2 Duluth, Minn. natives Retribution Gospel Choir are described as possibly being the fittest band on Earth. Marathon runners and swimmers are they and semi-pro athletes they have been. Simply put, this trio of Alan Sparhawk, Steven Garrington and Eric Pollard is ripped. Forming in 2007, RGC’s sophomore album, 2, and the first with Sub Pop, has the ability to soar up into fist-pumping anthemic rock songs but listeners be warned: if you’re familiar with singer/guitarist Sparhawk and bassist Garrington’s primary band, the slowcore movement poster child Low, you’ll be in for a few surprises. First, RGC is a straight-up rock band that verges on the psychedelic throughout the majority of the 10 tracks on 2. Also, this album was produced by L.A. up-and-comer Matt Beckley of Britney Spears and Paris Hilton sex bomb techno-pop infamy. And although these seem to contradict one another, technologically-speaking, there is an inventiveness to the overall quality of the album’s production, like a hi-fi body buzz that at once feels warm and inviting while at the same time producing icy cold chills up your spine. Heavy guitar chugging with loads of reverb and steady 4/4 timing throughout most of the tracks makes this album fairly consistent, but also a bit nostalgic for the earlier days of Sub Pop (think Screaming Trees). All in all, a meat and potatoes effort, but what else would you expect from the Midwest? http://www.myspace.com/retributiongospelchoir — Chloe Vice
Puff Goes the Dragon's Mystic Fire is an interesting album filled with ear-catching rhythms and creative musicianship. The Micronite Filters grab the attention of listeners with tracks like “The Electric Blue Sun,” with its lazy country drawl and rolling rock ’n’ roll/blues rhythm, or “When the Giant Wakes,” with its spontaneous yet subtle guitar solos and off-key vocals. Throughout the album, the Micronite Filters hold onto this rough-underground country sound that’s fused by an upfront, in-your-face attitude brought on by their distinguished vocals and musicianship. In “Revolution Blues,” you hear a gritty and almost dirty sounding track mixed with an underlying bluesy rhythm to it that sounds great. On “From the Outside,” you hear a lighter side to the album with its slow-lagging country rock ’n’ roll vibe that's really nice to listen to. Puff Goes the Dragons Mystic Fire is very dynamic from start to finish and keeps listeners tuned in through each of its 11 tracks with ease. http://www.myspace.com/themicronitefilters — Xolisa Renee Jerome
Austin, Texas produces some of the most minimalist folk-pop around and Nigel Rainey’s Bear Claw is no exception. This four-track EP, originally put out on tape by Rainey in 2009, caught the attention of Monofonus Press, the multimedia DIY-style arts and record label. Since then, the acoustic Bear Claw has pressed a number of 10” “one siders,” an intriguing series that Monofonus has put out as a way of fostering the emerging talents of local artists that feature music on one side and art on the other. Rainey cites Young Marble Giants as an influence and the forlorn Britpop tone to his singing can realistically make for a delightful soundtrack to an Ellen Page film; or maybe it’s the melodica and kick drum on “Romantic Period” and the sweet female harmonizing on “Needle and Thorn” that makes this EP a perfect companion to an early spring’s sentimental Sunday listen. http://www.myspace.com/nigelrainey — Chloe Vice
No Hope, No Future is upbeat, energetic and consists of anything but dull moments. Whether it's in the enthusiastic “The Way My Heart Beats,” or the twisting “Under Control,” you can’t get bored with this album. Written entirely by Good Shoes, the tracks on No Hope, No Future are, for the most part, filled with a blend of spoken/sung vocals and spontaneous melodies and rhythms, which seem to always be a step ahead, with no set direction making the album fun to listen to. There are also great instrumental breaks that listeners can appreciate. For example, in “Do You Remember,” with its infectious chorus line, the instrumental break is filled with upbeat guitars and fleeting drums. The album on the whole makes for a pretty great dance record, whether that’s what the band was going for or not. It holds an energetic tempo throughout that forces you to tap your feet or bob to, if not get up and dance. http://www.myspace.com/goodshoes — Xolisa Renee Jerome
There Is Love in You, written and produced by Kieran Hebden, showcases an arrangement of abstract sounds and cut-up melodies that, when pieced together, produce a creative fusion of jazz, hip hop, techno and electronic elements. Hebden’s production on the album is complex — or at least sounds that way at times, filled with endless layers of harmonies and unique sounds. Beginning with the mystic “Angel Echoes” and ending with the down to earth “She Just Wants to Fight,” with its tribal-like drums, the album is completely instrumental, except for the occasional slur of ambiguous vocals that sprinkle the album’s songs and add an endless depth. There Is Love in You provides an engaging journey through each of the album’s nine tracks, from beginning to end. http://www.myspace.com/fourtetkieranhebden — Xolisa Renee Jerome
One-fifth of Black Moth Super Rainbow, Maux Boyle releases her debut solo effort, Periphery. The Seven Fields of Aphelion utilizes classical instruments like the piano and fuses them with vintage synthesizers. The result of this musical marriage creates an evocative and delicate sentiment and its ambient synth sound suggests an ’80s inspiration. However, the use of piano in songs like “Sunburst Chemicals,” “Lake Feet” and “Mountain Mary” add a somewhat affecting touch to the music that is further evolved than the music of the ’80s. These wordless stories sound warm and intriguing at times but the album almost feels like it’s missing an indefinable feature of some kind. One interesting quality that must be noted about Periphery is the way each song corresponds with the title of the track. It’s almost as though an unknown story is coming to life through the music. Periphery is a definite candidate for an interesting listen every now and then. http://www.myspace.com/thesevenfieldsofaphelion — Laura Ciampa
I really love intelligent lyrics and Jenny Whiteley’s poetry and word-smithing is superb on her new album, Forgive and Forget. Whiteley teams up with world-renowned Canadian producer Steve Dawson, who can turn almost any song into ear candy. His production genius makes a potent elixir of great performances and smooth sounds from start to finish. Stand out tracks to listen are: “Forgive and Forget,” which has a really nice ’70s style production and gorgeous vocal performances all around including backups and harmonies. “Kind Mirror” is straight up goosebumps; it’s a soft ballad with reverbed electric guitar pads floating in the background in a Lanois-esque style. “Cold Kisses” is a cool, spooky country twanger with whiny pedal steel and deadly harmonies that put you in the moment of serious heartbreak. Watch out for the song slack, its catchiness will creep up on you and stick in your head for days. Forgive or Forget is a solid album from start to finish. http://www.jennywhiteley.com/home/index.php — Andre Skinner
Although Twin Sister’s Vampires with Dreaming Kids EP features only four tracks, it’s an extremely promising debut from the New York-based band. The first track, “Dry Hump,” begins with a slow acoustic guitar, before adding in bright flourishes of distortion. Singer Andrea Estella channels Karen O of the Yeah Yeah Yeahs as she fills in an abrupt pause with a delightfully off-key invitation: “If you’re all alone, bring over your bones.” The EP’s second track, “Ginger,” is a heartfelt ode to redheads that brings the Jesus and Mary Chain to mind. Next, the brief and beautiful “Nectarine” moves away from distortion and features a male lead vocal over acoustic finger picking. The EP finishes with the absolute gem “I Want a House.” It’s bright, catchy, switches time signatures and features backing vocals by the entire band. Throughout Vampires with Dreaming Kids, Twin Sister expertly balances between shoegaze and structured pop, delivering an album with just enough ambience and just enough coherence. The band has another EP, Color Your Life, coming out in March. — Jess Harris
The Sea, filled to the brim with Rae’s sultry-soothing vocals, brings to light a blend of soul and alternative rock songs that gleam with bottomless lyrics, in which Rae is the writer or co-writer of for the entire album. With lines such as, “You slept a sigh like the angels speak and we danced into tomorrow with bleeding feet,” The Sea captures from beginning to end. The album offers a great display of musicianship and holds a live quality to it with the various instruments that are featured, many of which Rae can be heard playing in each song. In the fun, out-on-the-town track “Paris Nights/New York Mornings,” Rae plays the glockenspiel, while in the beautiful, “Love’s on Its Way” she can be heard playing the auto harp and the glass organ. In the telescopic, “Are You Here,” Rae leads with the electric guitar and in the upbeat “Paper Dolls” she creatively executes the stylophone. From rolling soulful ballads to seductive-intimate moments, The Sea is a dynamic experience; Corrine Bailey Rae’s best work thus far. http://www.corinnebaileyrae.net/ — Xolisa Renee Jerome
Motivated by his days as a choir boy and his nights as a member of Weight Room, Pat Grossi delivers two inviting songs that are almost dreamlike in their quality. Grossi’s poignant falsetto/folk sound is reminiscent of Bon Iver’s folksy indie pop and the indie/baroque pop of Owen Pallett. Originally hailing from New Jersey but calling L.A. home now, Grossi releases She Was a Vision, a single release consisting of the title track and “Voice of an Old Friend.” The title track’s echoing drum beats combined with Grossi’s dreamlike voice create a relaxed atmosphere, you can almost feel your stress falling away; it’s the ultimate song after a long day of work. The B-side, “Voice of an Old Friend,” has been described by some as chillwave. Electronic in nature, this song leans more to an eerie territory that captures a ghostly organic sound that feels new in indie music today. Pat Grossi’s She Was a Vision is a grand effort that all indie music fans should own. http://www.myspace.com/activechild
“Before Destruction,” the first track on Spoon’s latest album, Transference, features a drawn out, faded guitar that makes you wonder when their irresistible pop rock sound is going to kick in. While the beat does pick up, it never reaches their signature level of catchiness. By the time the second track, “Is Love Forever?” begins, it becomes clear that Spoon has changed. While the first two tracks contain elements of the Spoon that we are used to, they feature a grittier sound that has moved more down the spectrum towards rock and away from pop. On many of the album’s other tracks, Spoon further surprises the listener by incorporating strange echoes, harsher beats, crowd samples, and a generally stranger, more experimental sound than the audience is used to. On the whole, Transference feels a bit mixed up and off-centre from a band known for their tight, precise sound. However, the album becomes more and more compelling with each listen, as preconceptions for the band start to fade. The album’s stranger moments become attractive and daring as the listener settles in to Spoon’s new sound. — Jess Harris
Like the last album from Los Campesinos!, We Are Beautiful, We Are Doomed, their new album mixes pop rock with punk. Apparently, that’s about all their latest album, Romance Is Boring, has in common with its predecessor. Los Campesinos! even acknowledge the change in sound on the inside of the album’s cover: “this album might not be what you expect.” Well, that’s for sure. The first track, “In Medias Res,” highlights this change in sound. The beginning features bold vocals and upbeat xylophone, before taking a dark, hazy turn for the worse. Romance Is Boring trades in the bright, catchy choruses on We Are Beautiful, We Are Doomed for a moodier sound filled with angst and anger. Any bright moments are quickly extinguished by a fierce brand of punk that quickly becomes exhausting and overdone. As a result, Los Campesinos! have lost the spark found on former tracks, like “You! Me! Dancing!” At least this change in sound finally suits lead singer Gareth Campesino’s voice, as he continues to channel an angry teenager. http://www.myspace.com/loscampesinos — Jess Harris
On their latest self-titled album, B.C. foursome Yukon Blonde just can’t seem to decide which genre to settle in. The odd thing is that it works for them. The first two tracks on the album, “Rather Be With You” and “Blood Cops,” begin as mid-tempo pop rock numbers before incorporating catchy hooks and repetitive sing-a-long lyrics midway through. Next, many tracks on the album contain beach rock riffs and melodies that sound like they could be found on a Strokes album. However, the track “Wind Blows” stands especially apart from the rest of the album and features a ’70s influenced folk rock sound with vocal softness that recalls Crosby, Stills and Nash. And finally, the album features ’80s-inspired keyboard on many tracks. So, have Yukon Blonde lost themselves throughout genres and decades? The answer is both yes and no. Fluctuating style inhibits the album’s cohesiveness, but the tracks stand alone as individual successes. http://www.myspace.com/yukonblondeband — Jess Harris
Record in a Bag might be Hollerado’s first album but the band’s accomplishments already speak for themselves. Suffice to say, Jack White personally picked the band to open for The Dead Weather. They’ve also shared stages with Andrew W.K. and The Black Lips. Oh, and they’ve played SXSW and Pop Montreal, . Not bad for a little rock ’n’ roll band from Manotick, Ontario (where the hell is Manotick anyway?) Record in a Bag is some seriously low-budget power pop, each song more infectious than the last. “Juliette” is three minutes of pop paradise, while “Fake Drugs” is more melancholic without losing any of guitarist Menno Versteeg’s incredibly hooky riffs. Versteeg holds the band together with a charismatic singing style and a minimalist style to writing rock tunes. To get a glimpse of Hollerado’s straight-forward, hard-working rock ethics you can check out their videos — of particular interest is the song “Americanarama,” featuring Dave Foley of Kids in the Hall fame and an abundance of scantily clad ladies. One listen and you’ll be sold. This album reminds me just how good indie-rock can be. Oh, and if you order Record in a Bag, Hollerado will give you a free baggie to carry that disc in (or whatever else you might need to carry in a Ziploc bag) — now that’s salesmanship. http://www.myspace.com/hollerado — Joe Veroni Video for “Americanarama”: http://www.youtube.com/watch?v=jvj5JRFNrXw
Don’t Mind Control is a varied assortment that is sure to please indie music lovers, featuring 18 Chicago-based bands who have collaborated with Joan of Arc’s frontman Tim Kinsella. The collaborations are either hit or miss, which, considering the number odd artists that have contributed, it is somewhat expected. The compilation opens up on Litesalive’s “Uwar.” The sounds of a screeching subway ride melded into a carnival game prize melody, the music is definitely “interesting.” Not the most head-bobbing tune in the collection but unique in its own right, and a distinct attention grabber. Songs like “Privacy” by Birdshow and Disappears’ “Guider” are reminiscent of the psychedelic music out of the ’70s, which classic rock lovers will enjoy. The Cairo Gang’s “Oh Solo” though is most suggestive of folksy rock music like Neil Young circa 1971. This song’s vocals are hauntingly appealing and the steady beat laid upon the soft melody encourages relaxation. Two other songs that stand out on the album as well have to be Slick Conditions’ “Spit in Layers” and The Zoo Wheel’s, “Flicker.” If you like bands like The Yardbirds or The Rolling Stones, then you will appreciate these two. All in all, the collection is a unique combination of artists and sounds that oddly enough flows pretty well. Although it doesn’t exceed expectations, it’s still a success and deserves a listen. — Laura Ciampa
While it’s highly unlikely that Vampire Weekend will be converting any of their very vocal opponents with this album, Contra is an inventive, crowd-pleasing creation for their current followers. The first few tracks provide a nice sunny bridge from VW’s self-titled debut before they branch into more experimental territory. “California English” proves Auto-Tune undead (to Jay-Z’s chagrin) with disconnected vocal melodies and a turn for the philosophical. However, don’t look for anything terribly insightful. Their predictable dissatisfaction with a superficial and sheltered popular culture echoes most effectively in the docile and pensive “Taxi Cab.” “Cousins” is a relatively aggressive and fast-paced return to the typical VW catchiness which will, for better or worse, conjure up many a singalong. Surprisingly, the album ends on a rather sleepy note with “I Think Ur A Contra.” Although a good flex of vocalist Ezra Koenig’s emotional muscles, the song comes off whiny, producing a disappointing end to an otherwise pleasingly diverse album. http://www.myspace.com/vampireweekend — Chantelle Renee
Daniel, Fred, and Julie is a collaboration between three talented Canadian musicians. Daniel Romano sings and plays guitar in Attack in Black, Calm Down its Monday’s Fred Squire also played in Shot Gun and Jaybird, and Julie Doiron’s solo career requires little introduction. Their self-titled album features 10 songs, eight of which are well known folk songs in public domain. The album was recorded in Squire’s garage, using only a tape machine and a microphone placed on the ground. The songs aren’t perfectly played but they aren’t meant to be, as the group decided that they wouldn’t overdub or edit any of the tracks. Thus, the album evokes true folk spirit as the three musicians play and sing all together as friends recalling traditional songs. However, one of the album’s two original songs stands out as a highlight. “Runner” is a slow and beautiful original by Romano, about a man who lives his life without attachment. Romano fingers pick the strings on his guitar, and he’s joined by Doiron’s soft echoing vocal accompaniment on the choruses. The collaboration album successfully reforms songs that have been heard many times and debuts new tracks that hold their own in the company of tradition. http://www.myspace.com/danielfredandjulie — Jess Harris
A trio that transcends a fixed genre of music, Infusion brings an evolutionary approach to electronic/modern pop with their third album, All Night Sun Light. The album, written and produced by the band themselves, is indicative of the New Wave/synthpop movement of the 1980s. The vocals featured on the album are reminiscent of Erasure’s Andy Bell and Dave Gahan of Depeche Mode. Stand out songs include the melodic and synth songs like “Two Player Game” and the dance-friendly songs like “All That’s in Your Head.” The most notable song on the album has to be its last, “Try It On.” Not only is the song extremely radio friendly but you’ll find yourself singing the chorus almost immediately after the first listen. “Try It On” wraps up the album perfectly, allowing a wide range of music lovers to enjoy. But don’t be fooled, this sound is far from the modern pop out there today and conjures an appetite for more bands brave enough to delve into the electronic and synthpop sounds of the 80’s without sounding retro. http://www.myspace.com/infusion — Laura Ciampa
http://www.myspace.com/thewarped45s — Andre Skinner
Imagine you are on the California coast. Just relaxing on the beach, the hot sun being replaced by a refreshing evening breeze. You’re having a really pleasant time. A Volkswagen hippie bus appears out of nowhere and out bounce eight or nine modern hippie types. This might give you a bit of an idea what you are in for with this album. If you are the kind of person who would join the hippies for a sing along, you’ll love it; if not, you’ll probably despise it. Think all the things that Devendra Banhart stands for but subtract his high warbling voice and replace it with more of a group sing along that I’ll lazily refer to as a kind of hippy Arcade Fire sound. Right, so what do we do with this thing that is pretty much against everything we want as serious music listeners? Little asides between band members as they whisper sweet nothings to each other are almost gag inducing. At the same time, it’ll grab even the most apprehensive listener. The first half of the album features harmonies, strings and production layers that will have you singing along if you submit. After the halfway point, which features the playlist ready song “Home,” the album takes a nose-dive. It loses all the energy of the first half, thus leaving the listener wanting or feeling justified in their initial apprehension. At least three or four of these songs would be welcome on any mix, but listening to an entire album from this crew can be quite taxing. http://www.myspace.com/edwardsharpe — Daniel Demois
Vibrant. Innovative. A deliciously visceral experience. Whether a long time fan or first-time listener, Hawksley Workman’s Meat is sure to surpass your expectations and knock you on your proverbial ass. Whereas his 2006 and 2008 releases were arguably not much more than radio-friendly sap-rock, Meat showcases Workman in a return to form but edgier, sexier, and more controversial than ever. More layered and musically complex than his usual brand of sexually charged dance-pop, this album is the result of a seasoned songwriter; no word, note, or beat seems forced or manufactured with agenda. Standout tracks include “Chocolate Mouth” (which sounds like a distorted version of “Dear Prudence” meets something from the Hair soundtrack) and the impressive eight-minute acid trip “You Don’t Just Want to Break Me (You Want to Tear Me Apart).” But the #1 reason I’m sold? There isn’t a single throwaway track here (and I haven’t made an assertion like that since Kid A). You get the impression that you’ve got tickets to a show and this is an album in the most straightforward sense, not merely a collection of tracks. Hawksley Workman continues to earn the reputation of an artist who refuses to fit neatly within a genre or take refuge in comfortable surroundings. This is music as it should be — and certain to be one of the best of 2010. http://www.hawksleyworkman.com/ — Erin Klassen
January 8, 2010 marked the 75th anniversary of The King of Rock ’n’ Roll’s birth. Immortalized as the hunka hunka burning’ love, his presence in pop culture is still enormously felt in the form of constant re-releases of song catalogues and films, impersonators, kitsch, and the overall swagger of his demeanor. Let’s face it: he’s not The King for nothing. Enter Toronto’s Elvis Bossa Nova!, an instrumental quintet which is the furthest thing from your grandma’s tribute band, and before you can say, “Instrumental Elvis? WTF!” you’d be hard-pressed not to be at least intrigued, right? What started as an experiment by blending rock, jazz, country, bluegrass, Latin and classical, these seasoned musicians have been honing their skills as a Sunday night fixture at a popular west-end eatery for the past two years, and have since become one of the tightest ensembles around. Combining guitar, vibraphone (yes!), bass, drums, and percussion, Elvis Bossa Nova! has re-imagined such classics as “Viva Las Vegas,” “Blue Moon,” and “Are You Lonesome Tonight” into limitless, otherworldly possibilities. Maybe it’s just me, but the eight-track debut (appropriately released on the anniversary of the big 7-5), is almost Barbarella-ish in spirit: the slinkiness of the slide guitar, the vibraphone gliding over the melodies, there is definitely a retro sci-fi moodiness to the intuitive chemistry this band proclaims to have (those who have seen them live will attest to this). But what’s more captivating is that many of the tracks are unrecognizable versions of the originals, save for a chorus or a hint of a reworked line, making you work almost as hard as them to figure out where they’re going. Elvis covers, yes, but this is something you can and should put on for many an occasion. — Chloe Vice
|
Sisterworld 
A Different Day
Become Secret
Maintenant
Gorilla Manor
Delicate
Retribution Gospel Choir
There Is Love in You
The Sea
She Was a Vision
Transference
Romance Is Boring
Yukon Blonde
Record in a Bag
Joan of Arc Presents: Don’t Mind Control 
Contra
Meat
Hi, I’m Elvis Bossa Nova!