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Get Hot is the second album from Oakland, California’s Facing New York. They’re kind of a prog or post-rock sort of thing, but all Get Hot is good for is getting progressively worse from track to track. The album actually peaks about half-way into the first track “Cops On Bikes,” a fun and funky tune that manages to collapse into messy self-indulgent shit. And guess what? It’s all downhill from there. Eleven tracks ending with “Me N My Friendz,” a song about the singer and his friends. Yup, pretty exciting stuff. If Facing New York could compose a tune that was half as sexy as this album tries to be, there might some musical value in it. As it stands, this reviewer looks forward to never seeing Facing New York live or listening to another one of their songs. - Joe Veroni
For those who can’t wait for The Knife’s follow up to 2006’s Silent Shout, here’s some good news and bad news. The bad news is The Knife is currently on hiatus but the good news is The Knife’s Karen Dreijer Andersson has a solo project. Fever Ray’s self-titled debut album showcases a side of Andersson that may have been too much for The Knife. “If I Had a Heart” is spooking shoegaze that you can’t get enough of even after multiple listens. “Dry and Dusty” is four minutes of amazing noise, droning voices, and bird chirps. Andersson’s vocal range in the song is impressive and plays well into the other elements of the song. “Triangle Walks” is one crazy dance party that breaks all genre boundaries. What carries the album as a whole is Andersson’s ability to embellish and distort different elements of electro and push those elements into other dimensions that have yet to be discovered. If this is the start of a new and the end of The Knife for now, well then let’s roll out the welcome mat. http://www.myspace.com/feverray - Max Mohenu
Drunken Trees is the first EP release from First Aid Kit, a Swedish duo comprised of two sisters, Johanna and Klara Söderberg, both still in their teenage years. Armed with just a single guitar and the occasional xylophone chime, the vocal abilities of these young women shine. The album combines pleasantly off-kilter harmonies like “Pervigilo” with hauntingly cheeky tracks like “Jagadamba, You Might.” Also on the album is an outstanding cover of Fleet Foxes “Tiger Mountain Peasant Song.” First Aid Kit performs the song with a beautiful simplicity that recaptures the mood and feeling of the original. http://www.myspace.com/thisisfirstaidkit - Allison Smith
To say that The Five Corners Quintet’s latest release, Hot Corner, is busy would be an understatement, however the album pulls off an eclectic, jazz fusion, danceable sound in a ridiculously charming way. Tuomas Kallio spared nothing while arranging the songs for the album with rich instrumentation on every track. With a heavy string backing throughout the album, the saxes and trumpets had the freedom to take on a more melodic role, resulting in a fast paced feel throughout the album. Track by track, you’re taken on a journey through Eastern-inspired mystery, dark dissonant corners, trips to South America, and 1970’s style bar hopping. The frequently changing keys will definitely keep you awake to take in the sights. A definite guilty pleasure is “Easy Diggin’.” With a boat chasing groove and great horn harmonies, the tune is straight out of a James Bond movie. The only unsettling part of the album was the vocals. Mark Murphy was a strange choice for a guest singer, and quite the enigma. His sound combined the best and the worse; there are moments when he uses his voice as a tool to annoy like Dick Cheese, and there are others when he phrases like Tony Bennett with the tone quality of Kurt Elling. Good luck getting your head around this one. Great instrument paring (the vibe and tenor sax unison in “Midnight in Trieste” was perfection) and percussion that comes in all shapes and sizes add a modern distinction to the album. The fact that Mikael Jakobsson wasn’t afraid to use the bottom end of the keyboard added some great twists as well. Definitely pick up a copy of Hot Corner to shake up guests at your next dinner party. http://www.thefivecornersquintet.com/index.php - Melissa P.
Toronto-based psychedelic shoegazers Fjord Rowboat return with their second studio album, Under Cover of Brightness. Matched up against early Interpol and the like, the music follows the same formula of quick, reverb-soaked, straightforward arrangements. Like most similar albums, the initial listen might not have enough to grab you at first — but subsequent plays have the strangest effect of making a more permanent impression in ones mind. Each song is always engaging, never muddling together stylistically so much as to lose its uniqueness from one to the next. The ghost-like vocals of Craig Gloster harmonize cleverly within the waves of interplayed guitar riffs, always maintaining a gloomy, dream-like quality that the shoegazing genre typically encapsulates. It’s this moodiness that plays well with the strength of the instrumental music itself — the combination of both creating an ambitiously fuzzy disarray of music that somehow merges together effortlessly. Songs such as “The Only Ones”, “When I Speak of Violence” and “Set Your Sights” are clear examples of how the music builds to heightened levels, almost overwhelming the vocals yet never creating a sense of conflict between the two. Washed out and oversaturated guitars riffs release raw energy that counters drums so off-calculated and clear that they lose nothing of the original studio recording. The culmination of all parts involved with the quintet will appeal to most with a yearning to soak their ears full of wonderfully dreary, reverb-saturated shoegazing music. The style, it seems, just will not go away — and Canadian contributors Fjord Rowboat are a wonderful addition to the catalogue. — Stephen Lussier
Listening to Cosmogramma is like riding a zero-gravity intergalactic roller coaster. Flying Lotus (a.k.a. Steven Ellison) combines bass-heavy electro, with flavours of hip-hop, jazz and Nintendo to create a genre-bending masterpiece. Although everywhere appealing to dubstep headz, Ellison often breaks for string and even scatting solos. This is also FlyLo’s most collaborate venture to date. Recently commencing an opening gig on a tour with Thom Yorke, Ellison secures his vocals on “…And The World Laughs With You.” Yorke’s ethereal echoing “I need to know you’re out there,” ostensibly addresses some other-worldly being. Vocals from Laura Darlington, who also appeared on FlyLo’s first album 1983, continues the cosmos exploration theme with references to gravity, velocity and energy transfers. Ellison continuously creates harmony between disparate sounds such as Ravi Coltrane’s smooth tenor sax which layers chaotic drums. The juxtaposition is unlikely to be a fluke. The death of Ellison’s mother last year coincided with the most recognition and acclaim he has yet to receive, spurring emotional highs and lows he’s tried to capture with this album. At once stimulating and calming, new and familiar, visceral and spiritual, the third album from Flying Lotus is an avant-garde musical contribution not to be missed. http://www.myspace.com/flyinglotus —Chantelle Renee
- Joe Veroni
Follow That Bird’s “one-sider” promotional album features three tracks, giving listeners a taste of the trio’s infectious rhythms and vocals. “I Want You To Know” opens the album hard- hitting right off the bat with a catchy chorus, tumbling bass line, gritty vocals and on-point percussion, which together, gives the song a great vintage rock ’n’ roll voice. “Where They Rest” displays a slightly lighter side to the band while “In The Trees” offers an all together different sound to Follow That Bird’s lineup. The song is a little deeper with its rich bass line and highlight on the lead guitar; which listeners get to enjoy a great psychedelic-like solo of towards the end of the track. This being but a bite-sized portion of Follow That Bird’s musical collection, this promo album definitely provides a good insight of this trio’s versatility and creativity. http://www.myspace.com/followthatbiiird — Xolisa Renee Jerome
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
Forward, Russia’s second album, Life Processes, seems to suffer from the sophomore jinx. While working with Matt Bayles has helped the careers of bands like Minus the Bear and The Blood Brothers, it’s not so much the case for Forward, Russia. The concept of the album is based around particular facets of life, which is brilliant. “Welcome to the Moment” has a ‘rise and fall’ kind of feel, the guitars are very hard hitting and the overall delivery of the song is amazing. “We Are Grey Matter” is when the rest of the record dwells into more post-hardcore and stays that way. With the exception of really solid tracks like “Fosbury In Discontent” and “Spanish Triangles”, the album is average at best. Forward, Russia has definitely reinvented their sound and the album has a great concept, whether or not their change is for the better or worse is a matter of opinion. - Maxwell Mohenu
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
http://www.myspace.com/frankturner
Brooklyn-based Frankie Rose — drummer, vocalist, guitarist and bartender — has parted ways with the critically-acclaimed groups Vivian Girls and Crystal Stilts to venture out and start her own project, an all-female quintet, Frankie and the Outs. Rose sounds like she holes up with the band in her parents’ house making garage/surf/noise pop on a four-track, but I suppose Marlborough Farms Studio is a good substitute for that homey sort of vibe. At any rate, Thee Only One’s title track is a two-and-a-half minute wave ride of long ago teenage wonderment. Yes, vintage cool, but definitely not in the ironic sense, mashing ’60s-’90s sounds and influences. Listen to the reverberating three-note power chords of “Thee Only One” while reminiscing about beaches and sun and then flip to the B-side and drift off into the ghostly synth world of “Hollow Life,” a spooky, organ-heavy track that features ethereal vocals that seem to swirl around the melody, eventually crescendoing into a cacophony of sound. Both tracks compliment a brooding existence (read adolescent hormonal fluctuations), while Frankie and the Outs, unique and suitable for an array of musical palates, is one outfit that will hopefully be in vogue for years to come. http://www.myspace.com/saintoftherose — Chloe Vice
“Frankie say . . . no more . . .” – and they have done so now for almost 25 years. However, Zang Tuum Tumb Records has now decided that a reissue of the landmark Frankie Goes to Hollywood signature-piece Welcome to the Pleasuredome was due for a new generation of listeners. The label had previously released a greatest hits album in 2009 but reissuing the album in its entirety certainly gives more justice to the creative mind behind the music. Trevor Horn, who is noted glowingly for his production talents working with such ’80s pop icons as The Buggles and The Art of Noise, had far surpassed his creative limits with this groundbreaking album. With this reissue, ZTT now also grants a fair amount of bonus material to appease the masses. FGTH was hailed as being a band that had somehow broke the mold of ’80s conventional electronic dance music, revealing that they were a shining light of uniqueness in an otherwise blasé world of pastel-coloured, hollowed-out pop music. Fronted by Holly Johnson and backed by “the lads”, FGTH had literally taken the world by storm with their tour de force double-album debut. Now remastered and inclusive of Horn’s still-timeless twelve-inch remixes of “Relax” and “The Power of Love”, the album also contains raw audio interviews with the band, previously unreleased demo versions of “War”, “Two Tribes” and “Welcome to the Pleasuredome”, and a first release of an unheard track from the end of the Frankie wake, “Watusi Love Juicy”. There is also an 11 minute version of “Ballad of 32” that still radiates the extensive production value that the combination of Horn, FGTH and a studio full of talent was able to create. Fans will also delight in browsing over the added artwork, liner notes and photographs that have been selected for this reissued classic. — Stephen Lussier
Coming soon to a Hollister near you. Born Radical is officially the first full-length effort from the state of Michigan's three-piece band Friendly Foes. The album is so much fun with it's happy go-lucky lyrics and melodies. Even contemptful lyrics such as “Don't let those motherfuckers hold you down, cuz you don't want those motherfuckers coming round” in “Rush the Land” are delivered like a ray of sunshine. If you like Apples in Stereo and The Submarines than Friendly Foes is definitely a band that you can get into. There is definitely lots of teenie bopper appeal on this album. - William Self
Frog Eyes’ follow-up to 2007’s Tears of the Valedictorian took three years in the making, during which time the Victoria, B.C. four-piece had signed to a new label. With Paul’s Tomb: A Triumph, the nine tracks that come in at just under 50 minutes of play continue the epic lyrical voyage of their previous four records, mincing these mythical tales with fuzzy guitars, synthesizers, and Carey Mercer’s feral yelps, strong and present on each track as if he’s just about to slay his first dragon. Recording a number of the tracks live off the studio floor gives Paul’s Tomb: A Triumph a rawness that has perhaps not been explored yet from this band, adding depths to their already unmistakable sound. For an experimental rock band, Frog Eyes makes no excuses and their music is, in essence, timeless and that’s the point — to make music that can be plucked from any time period in rock history as though there are limitless possibilities of still making original music. Critics and those who have followed Frog Eyes tend to hail them as of one the most innovative bands recording now. A new listener, however, would find it hard to jump into this latest release without a debriefing of West Coast indie rock that includes former keyboardist Spencer Krug of Wolf Parade and Sunset Rubdown, collaborations with Dan Bejar of Destroyer and The New Pornographers, and countless others. If you can get something out of how this band has influenced the above named artists, then this will be your go-to record for 2010. If not, getting through the nine-minute album opener “A Flower in a Glove” might prove to be the greatest triumph. http://www.myspace.com/frogeyes — Chloe Vice
Fruit Bats has always been a band that’s been on the fence. Their third album, Spelled in Bones, actually had a lot of really great songs and was a lot more interesting then their previous two records. The Ruminant Band could be one of their most boring records ever. Songs like “Hobo Girl” are kind of interesting because it’s a different more upbeat acoustic track. The rest of the songs are very pop driven and fun, but the lyrics aren’t that great and it doesn’t really stick to you the way a record like Spelled in Bones would. The title track is probably be the best song on the record next to “Hobo Girl,” but everything else is very forgettable. Overall, the record is very much a pass. If you like good folk pop songs, you may find a few gems, but this is far from being a good record. http://www.myspace.com/thefruitbats — Max Mohenu
Needless to say, a lot of cynics have been quick to label Gang Gang Dance as next year’s big “hipster” band. If being the current opener for Of Montreal’s tour doesn’t suffice, Saint Dymphna is definitely going to be the period at the end of the sentence for the haters. The album starts out with “Bebey,” a song that is an entity all it’s own. Sound distortion, consistent drum, and chimes eventually build into a sound collage and keeps the song solid without being boring. “Princes” combines Liz Bougatsos Bjork style vocals, clever hip hop verses and very intricate beats; all of which make the song the most diverse on the record. The remainder of the record dwells into everything from: tribal beats, freak folk, and right back to that really dingy Brooklyn indie rock, but each song maintains a certain element that’s either totally detached from the initial flow of the record or the polar opposite of what you’d expect. Rest assured, this record has all the qualities necessary to usher in a new era to Brooklyn’s already obscure music scene and bring Gang Gang Dance one step closer to taking over the world. -Max Mohenu
It may have taken them three years as a band to release an EP but Edmonton’s The Get Down aren’t the time of band that needed to jump on the ball and cash in on trends. Their five-song EP could have been released, well, three years ago and you wouldn’t be able to spot the difference. Listening to the title track is all you need to know about the band: dirty, sweaty, guitar-driven rock-n-roll. “This Is the City” hits like roundhouse, wasting little time getting to the punchy guitar solo. The Get Down are the kind of band you see at a bar on a Saturday night and know they’ll shake the floors with the thunder of bass and drums. It might not be new or original but it’s a classic formula that works. http://www.myspace.com/thisisthegetdown — Jon Brazeau
What began as a few friends getting together to form a band has now turned into a band that’s critically acclaimed north and south of the border and one of Toronto’s must-see live bands. Youthfully energetic and a blaze of indie pop, the feel of The Ghost Is Dancing is captured perfectly on their sophomore LP, Battles On. The title is a good indication of what to expect as the band has put in all their chips for this 12-track, winner-takes-all delightful affair. Opening track “Dream of a Failed Architect” may start off sounding like a more youthful Arcade Fire or Islands-lite but the song builds into its own epic qualities with guitars, keys and drums. “Rogues & Heroes” features a catchy, singalong “nah nah nah” chorus and the album’s introduction of trumpets, during a solo no less. “This Thunder” is another cheery poppy feel-good tune that ends all too quickly. The band shines together on “Louis Riel,” with a solid and tight rhythm section and intriguing male and female vocals. A stunning and surprisingly enjoyable release, The Ghost Is Dancing is certainly a band to keep an eye out for if you haven’t already. http://www.myspace.com/theghostisdancing -Jon Brazeau
The Canadian band Ghostkeeper with their Métis soul is a pure Canadian gift. The blues-rock indie band have what they need to become one of the biggest Canadian bands. Their album Children of the Great Muskeg is just the beginning. With vocals, guitar and drums coming from the two very talented original members Shame Ghostkeeper and Sarah Houle, you get a feeling that the two grew up with each other and have been writing music with each other long enough to have a perfect equilibrium. Add Jay Crocker and Scott Munroe and you have a solid band with all the spices that create a perfectly stewed band that will last as long as they can write music. Need proof that their cool jazz-rock can totally rock your summer? Check out their song “From the Muskeg” This band is cool, and there is no other word for them. With any luck Canada will hear more of this band and their cool natural sound. http://www.myspace.com/childrenofthegreatnorthernmuskeg -Ana Cristina da Silva
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
http:// www.myspace.com/girltalkmusic -Danielle Cowie
San Francisco-based garage pop band Girls have, thanks to the elusive nature of their name, created an almost invisible Internet persona. Searching “Girls” on Google results in hits that are almost entirely pornographic in content. Fortunately for them, this association with the dregs of humanity and in general, deviance, is not completely unrelated to the band’s musical aesthetic. Album is an inconspicuously despondent venture, masked by some truly joyous chord progressions. It’s an homage to angst-ridden rock ’n’ rollers of the past (like Roy Orbison or Brian Wilson); a 12-song bundle of lyrically unsophisticated love songs accompanied by country and Motown-influenced guitars and the distortion that has become omnipresent in the West Coast indie scene. Album is both kitschy and completely unconventional, with whimsically contradictory track names like “Darling” and “Big Bad Mean Motherfucker.” Let’s put it this way: if it were a porno, it would be softcore, but in no way amateur. http://www.myspace.com/girlssanfran
Bridging the gap from dance floor to headphones, The Glitch Mob strongly succeed in transposing their already familiar club energy and bass-driven darkness into what is now their debut album, Drink the Sea. Moody and exceptionally polished as a studio piece, the sophomore record takes the already well-known club sound of the band to unexpected new heights. Pushing the envelope of “conceptual” electronic song-making, the trio of Josh “Ooah”, Justin “Boreta” and Ed “edIT” come together after years of scattered internet single releases and produce a disc that not only shows the band’s obvious development but also takes us on a journey of bass-driven ambient rhythm. Spanning many electronic genres and musical styles the Los Angeles-based consortium are able to capture their own trademark of dark, danceable energy and with polished studio production have brought the music to a much wider listening audience. A departing example of trip hop meeting this electronic bleakness surfaces on SWAN’s vocally driven “Between Two Points”, a track that blurs any true definable genre ideals that The Glitch Mob might have carved out for themselves. Returning to the more formulated style the remainder of the album again surfaces a generous helping of electronic, body-moving music. Forceful bass-drops consistently combine naturally and effortlessly with a barrage of roughly pumped synth samples and create a chaos that somehow appeals as you listen more and more throughout. It’s not so much an album that simply makes you want to tap your feet, it’ll urge you to lunge yourself smack into the over-saturated club rhythms – rhythms that have now been freshly composed into a wonderfully conceptual full-length offering. http://www.myspace.com/theglitchmob — Stephen Lussier
Some people were made to be really funky. And then others were made to be just sorta funky. Unfortunately for God Made Me Funky, they were only born to be sorta-kinda-but-not-really-that funky. Which is a shame because god bless ’em, they do try. Welcome to Nu Funktonia is the Toronto band’s fourth album and — dare I say — least funky to date. After all, it was always the instrumentation, specifically the brass, which gave the funky backbone to GMMF’s live performances. It wasn’t until after GMMF gained some recognition that they added in vocalists — specifically Leah Speers, Canada’s answer to Fergie and her Black Eyed Peas. It’s these same vocals that get in the way of the funk. That said “Power House (Impeccable Process)” is the crux of the whole album, the song that welcomes us all to Nu Funktonia with a raging guitar riff and some catchy work by the horn section. God Made Me Funky, we must have more horns! Give us more guitar! Both would be welcome additions to an otherwise confused record. Is this a funk album? Nu funk album? Or just more limp hip hop? http://www.myspace.com/godmademefunky — Joe Veroni
— Bethany Hansraj
The new album from Golden Bloom is definitely going to be a great summer pop record. The title track “Fan the Flames” is really great. “Dead Petals” has a lot of crazy harmonies and it’s quite danceable. The record jumps around a bit but the slower mushy love songs and synth pop songs all seem to work well together. A few songs near the end of the record are very religious and up lifting, which is awesome. The second you hear the tambourine and xylophone parts in the beginning of “If You Believe,” you just know it’s going to be a fun song. The lyrics are very cute and lovely, the synth parts are a good touch. Overall, the record is amazing and a great listen for anyone just getting into this band. http://www.myspace.com/thegoldenbloom — Max Mohenu
Golden Boots are a satisfying dip into golden afternoon melancholy. The Winter of Our Discotheque is the perfect album for watching the light fade in your high school-era bedroom, sprawled on the floor, utterly fulfilled in your stasis. The compositions waver bittersweetly between fragility and pleasant, rollicking alt-country. This album is, as Joe Strummer would say, “like honey for the soul”; suitable for moments of calm and reflection. Although after stunner and favourite “Ghosts,” there is little that is new to be heard; the album continues to build with lovely lyrics and soft jams. Don’t be fooled (or put off) by the “discotheque” in the title, there is very little that is disco-informed on this album. This is perhaps the more optimistic summer 2009 equivalent of last summer’s Modern Guilt; they share the same gentleness and lyrical element of existential expression. Without a doubt, Golden Boots have crafted a lovely album that explores an original sound and will burrow into a quiet place inside of you and empty you of stress and fear with no saccharine aftertaste. http://www.myspace.com/goldenboots - Sally Walker Hudecki
Alison Goldfrapp and Will Gregory are back on the dance floors and have literally gone head first into the glitzy ’80s sound. Opening track “Rocket” fires off with a synth riff that's fit for Van Halen’s “Jump” before building higher with a dance-worthy beat that’s all held together by Alison Goldfrapp’s alluring vocals. All that’s missing is the hairspray, legwarmers and spandex. “Believer” is less theatrical but still hits the same target. Goldfrapp’s layered vocals on “Alive” give the tune an ABBA-esque feel and the song shimmers like the stars and heavens she sings about. Forget the ’90s revival, Goldfrapp still intend on making us enjoy the ’80s for now. Head First a fun album and hey, isn’t that what good pop music is all about? http://www.myspace.com/goldfrapp — Jon Brazeau
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
Rock ’n’ roll’s swing, punk’s attitude and pop’s catchiness weave together in the fabric of Gorevette’s Lustfully Yours EP to create a collection of seven dance-worthy tunes. It has an amalgamation of influences from Blondie, Ramones and, of course, Nikki and the Corvettes. This latter influence comes in full force as Nikki Corvette herself plays with bandleader of Gore Gore Girls, Amy Gore, in this hard rocking band. Crunchy, distorted guitars drive this EP under the support of an energetic rhythm section to bring a punk-influenced sound that isn’t too derivative of its roots. With Nikki Corvette in the band, Gorevette can escape the accusation of trying to be old school punk, but may still be convicted of not bringing something revolutionary to the genre. The title track’s lyrics are somewhat fitting to the EP in that it “seems like it’s all been done before, and yet this feels brand new.” For what it is — a fun, quick and hard piece — it satisfies on all fronts. http://www.myspace.com/gorevette — Robert Vandrish
You have to respect that Black Francis’ creative juices continue to sizzle, and that he and any number of bands since the now-defunct Pixies are always working on something fresh. Francis knows as well as everyone else that reunion tours might be a great cash-grab, but all-in-all they’re boring, contrived and rock-n-roll’s biggest sham. So what’s Francis up to these days? Hard at work composing music with his wife, Violet Clark. Together they call themselves Grand Duchy, and their debut effort is titled Petits Fours. Francis delivers what we’ve all come to expect from him: his trademark vocals set to the key of drone alongside his distorted guitar squalls. But it’s Clark who piques the most interest on Petits Fours. Clark’s vocals drive the record; she manages to come across as innocent, refreshing and yet a total pro. She can be soft and subtle as on “Lovesick,” or wail away on the album’s most infectious tune, “The Long Song.” Though the album occasionally starts to wear thin, it never disintegrates as Grand Duchy keeps their effort brief with just nine tracks. Petits Fours may not stand up to Doolittle, but new music from Black Francis will always beat the hell out of another Pixies reunion tour. http://www.myspace.com/grandduchymusic - Joe Veroni
Great Bloomers has successfully captured the essence of Canadiana with their debut LP, Speak of Trouble. A tapestry of indie rock, ragtime, folk and much more, the record’s unique presence and positive overtones cement it as a relevant contribution to the Canadian music scene and a staple of any music aficionado’s summer music mix. Tracks like “The Young Ones Slept” and “Honey Blanket” act as the perfect soundtrack for a road trip with friends, while the title track is a throwback to classic ’60s pop with perfect harmonies, upbeat tempos and charming lyrics. Lead singer Lowell Sostomi’s vocals impressively carry each tune, capturing listeners and telling stories while managing not to pompously flaunt his talent, while each musician clearly works to compliment the others — making it obvious that the five-piece band not only enjoy their music but each other’s company too. Speak of Trouble is a delightful release that captures the freedom and joy of summertime, transporting listeners to both happy and simpler times and to the warmer and brighter summers of years past. http://www.myspace.com/greatbloomers — Anne T. Donahue
Aside from the absolute beauty that is the Rachel Stolte’s voice, Remind Me Where the Light Is has a lot of great elements for an indie record of its kind. “Houses” has amazing drum parts that flow into the rest of the song so beautifully. The way Stolte and Solon Bixler’s female/male vocals are layered on “Fingers” make the song stand out big time. The record is very well produced but that’s not the only good thing. The vocals are perfection right off the bat and the way the songs have been written is another plus; they’re all very simple yet so beautifully done. The rest of the record is pretty mellow but upbeat in certain areas. Great Northern will win any listener over upon pressing play but more importantly, they have made a record will surely propel their greatness to a whole new fan base very soon. http://www.myspace.com/greatnorthern — Max Mohenu
Guelph’s Green Go has been stirring up shit in their small city for years now, throwing basement dance parties where the notable and fashionable of Guelph come to writhe and sweat in a tiny student house because they know the music is going to be good. I found myself at one of these parties once and my memories of the night are flashes of laughs, bottles breaking and a ton of making out. Green Go has a definite grasp on the values of their audience because the euphoric memories one acquires at a Green Go party feel exactly the same as the ones one gets when listening to their new record, Borders. It may seem contradictory but their brand of electro-punk is both grimy and thrashy, as well as meticulous and intellectual. It’s obvious these guys (and girl) have spent a ton of time perfecting their craft, which includes mastering not only the synthesizer but perfectly expressing the existential nature of their genre. If Camus were in his mid-20s in 2009, Green Go would be his favourite up-and-coming band. http://www.myspace.com/greengomusic —Jessica Carroll
Alright, lets get the pun out of the way first: there are no problems with With Trumpets Blaring. The oddball collection on Guelph-based musician Gregory Pepper’s album is full of 60s style pop tunes, Moog synths and quirky lyrics among other things, including, well, trumpets blaring. Opening with an accordion of all instruments and then shifting seamlessly into a disco-style grove, “7ths and 3rds” introduces the listener to what Mr. Pepper’s music is all about, complete with lyrical references to The Fonz. Second track “I Was a John” opens with “I was a John/back when you were a whore” but with Pepper’s soft, uplifting vocals and charming piano, the pop sensibilities shine above the vulgarity. “Drop the Plot” features a faster tempo and it may make you want to dance. “Built a Boat” travels into ballad territory while “Gregory Pepper Coronation” is driven by chants and guitars. This 13-track, 30 minute album may seem like it’s all over the place but surely that isn’t a problem for Pepper as he keeps it all tightly-wound into a delectable treat. http://www.myspace.com/greygorygregian — Jon Brazeau
Oxford native Gregory Webster has been making music for decades in U.K. bands Razorcuts, Staturn V and Sportique, and now as a solo artist. Slumberland Records has recently wrangled in Webster in the U.S. and his debut 7” release, Promised Land, features the title track, a simple acoustic number that showcases, above all, his songwriting. Entrusting his 12-string guitar to provide the backdrop to his songs, using a word like earnest to describe bare bones folk and country music can seem rather disingenuous or even lazy. But there is such an appeal in the simplicity of the harmonizing vocals and the major-keyed guitar chords that instantly draws you in because it’s easy on the ears and easy on the mind. Flip the vinyl and discover an almost unrecognizable version of Hank Williams’ “Won’t You Sometimes Think of Me?” True, Webster’s musical roots are in the post-punk scene of the early ’80s but his love of American folk and country has broken him from his 15-year recording hiatus, ultimately creating a nice, intimate homage to a musical genre that is more in line with yesterday’s classic country than today’s folk rock. http://www.myspace.com/gregorywebster — Chloe Vice
All The Way is a record that can really hold its own. It’s noise pop done right. “Rave Pie Only” could be a dance track on Battlestar Galactica. The song has a lot of crazy loops and obscure sound distortion; it’s probably one of the best dance tracks you can listen to for seven minutes straight. “Innit” is drum and bass heaven, but it maintains the same feel throughout, which can be boring. “Reconstruction” is by far the best song on the record because it stimulates the ear in so many different ways. Layer upon layer of crazy beats and loops in the song create a wall of sound so beautiful it makes you grateful that you are capable of hearing. - Maxwell Mohenu
Husband-and-wife team Dan Boeckner and Alexei Perry are back with a fiery vengeance on their sophomore release, Face Control. With a completely upbeat, danceable feel, the album expresses the young couple’s love (and the band’s sexy press photos certainly display that love too). Face Control is also more suited for the clubs than their more laid back debut effort, Plague Park. Simply put, Face Control blows its predecessor out of the water. Opening track “Legal Tender” sets the tone quite well, as Perry’s bouncing beats blend nicely with Boeckner’s frantic guitar riffs and vocals. The Cold War backdrop doesn’t put a freeze on anything; “I’m Confused” keeps things heated up midway through the album, with more infectious beats as Boeckner screams the song’s title during the chorus. Even closing track “Radio Kaliningrad” keeps the dance party atmosphere flowing. Face Control is easily an early contender for “Canadian Album of the Year” and should remain in critics’ (and listeners’) playlists for quite some time. http://www.myspace.com/handsomefurs - Jon Brazeau
This Is Good is the debut LP from Hannah Georgas and it is an incredible introduction to Canada’s music scene. All of the 11 songs on the album feature beautiful yet whimsical melodies set against familiar and comforting guitar riffs. Georgas has that sweet, throaty voice that is an identifying characteristic of most female indie singers, and it lends itself beautifully to the simple yet engaging accompaniment. Each song, at some point in time, will be one of those tracks that you put on repeat for days. In particular, “The Deep End” currently holds that status on my Mp3 player, with its wistful melody and presenting some of the most honest and tender songwriting you may ever hear. Next, I’m sure it will be the quick and upbeat “Dancefloor” or “Something For You” — Hot Club-inspired jazz piece. Diverse and delightful: this isn’t just good — this is fantastic. — Bethany Hansraj
The Harlem Shakes name started to spread during their early days touring with bands like We Are Scientist and Deerhoof. All their hard work has lead to their debut album, Technicolor Health. The album shows a lot of growth from their EPs and also embodies a strong sense of their musical abilities and influences. “Strictly Game” features poppy drum beats and catchy hooks that hit hard like Born Ruffians, minus the sugar rush. “Sunlight” is all-out party with everything from harmonica, distorted beats and a swagger that will make Beach Boys fans go crazy; it’s definitely a good song for lovers of new and old music. It’s safe to say that in recent years early indie and new indie have always been seen as two different shades of blue; this album will be the one to erase that notion. http://www.myspace.com/harlemshakes - Max Mohenu
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
Continuing in the direction of their 2008 LP, Some Racing, Some Stopping, Champaign, Ill. band Headlights return with another album of delectable indie pop tunes. Opening track “Telephones” is quite the catchy little number; principle members Erin Fein and Tristan Wraight’s airy, breathy vocals blend together and mix with an upbeat tempo that serves as the perfect backdrop. “Get Going” is more lively than the tracks preceding it, with Wraight’s vocals and the lonely guitars sounding a bit louder and more demanding of your attention. “Love Song for Buddy” shows the band can handle the slower, mellower tunes just right, as long as they mix in some bells and keys. “I Don’t Mind at All” sounds like 1986-era My Bloody Valentine without all of the distortion and what you’re left with is a soft, charming indie pop song. The album does have its down moments; “Secrets” and “You and Eye” are too soft to the point of being dull and uninspiring. Refreshing, earnest and very enjoyable, it’s the right album to be listening to on a rainy Sunday afternoon when you’d rather there be nicer weather. — Jon Brazeau
Album, remix album, album, remix album. Such is the formula but when the band is as good as HEALTH, why mess with it? The L.A.-based noise rock band follow up the critically-acclaimed Get Color with ::DISCO2, featuring one new track (“USA Boys”) and 11 remixes. The remixes are quite strong and tend to deviate greatly from the source material. CFCF’s remix of “Before Tigers” becomes a CFCF song, with ’80s-style warm synths mixed nicely with HEALTH singer Jacob Dezsik’s lush vocals (about the only thing that reminds you it’s originally a HEALTH song). Javelin ups the funk on “In Heat”, taking the bass to the forefront and letting the track find its groove (the original version is a spastic noise-fest that at one point sounds like an alarm over a drum beat). While there is some repetition of the remixes (“Nice Girls” and “Die Slow” — two remixes each, “Before Tigers” — three), it’s interesting to hear how artists re-interpret HEALTH differently. Pictureplane brings out the club elements of “Die Slow” and features strong beats, meanwhile, Tobacco’s version focuses on the squealing synths instead. Let’s not forget Toronto’s Crystal Castles’ remix of “Eat Flesh”. As the title suggests, the original sounds like the soundtrack to a Grindhouse film; the remix opens with Dezsik’s vocals sounding like a distant dream, followed by a frantic breakout of beeps and drums before the two parts blend together which leaves you wondering what the heck you were just listening to (in a good way). ::DISCO2 is the pefect companion to Get Color and since The Spill Magazine already recommended you get that one last year, you should pick up this one too. http://www.myspace.com/healthmusic — Jon Brazeau
Noise rockers HEALTH have come a long way since playing free shows in their hometown of L.A. Their Crimewave release with Crystal Castles hit number nine on the U.K. indie singles chart and they recently opened for Nine Inch Nails on tour. HEALTH’s second album, Get Color, mixes together tribal, furious drum beats, spastic guitar and bass and their unique use of the Zoothorn with industrial influences over the course of nine tracks and just over half an hour. “Die Slow” is reminiscent of early-90s KMFDM, featuring a laid back, danceable beat and catchy-as-hell analog keys and guitar. Jake Duzsik’s breathy, ethereal vocals add a new dimension to the noise genre (thanks to that handy Zoothorn), making each song feel somewhat pleasant during the instrumental onslaught. “Die Slow” is also the most structured song on the album, as others like “Eat Flesh” feel a bit disjointed and are just an all-out warfare of drums and screeching guitars. Benjamin Jared Miller’s assault on his tom tom drums continues on tracks “Nice Girls” and “Death+” and there’s no other way to describe the start of “Severin” than to say it sounds like the perfect soundtrack to those Hostel films; buzzsaw-like guitars and a heart-pumping drumbeat make it the sound like you’re watching a Grindhouse horror film. “We Are Water” is another album gem, perfectly meshing together the instrumental thrash with Duzsik’s soft vocals. “In Violet” concludes the album with a gentle hush rather than a knockout punch but by then, your ears would probably stay down for the ten count anyway. If you’re looking for an album to rock your socks off, look no further than Get Color. http://www.myspace.com/healthmusic — Jon Brazeau
With the release of their debut album, Loveallover, it’s evident that Calgary-based Heat-Ray loves to rock. With their fast tempos and powerful guitars, the band wholeheartedly embraces the edgy sound of the 1990s but with the album’s polished production and obvious commitment to “rock ’n’ roll,” the rawness, emotion and honesty that defined aspects of ’90s rock seems to be missing. Tracks like “If Love Is the Drug” succeed in capturing the balance between mainstream and indie hard rock, while “Oooh Yeah” — in addition to failing to dazzle listeners lyrically — seems to align itself with the fun and simplicity of pop rock as opposed to the hardcore sound the band was undoubtedly aiming for. A far cry from the electronic or folk-based indie prevalent in the genre today, Loveallover may alienate audiences who embrace current indie darlings and less “in your face” acts. However, the record will appeal to listeners who pine for the more mainstream and structured sound of years past — provided Heat-Ray truly loves to rock and not merely being “rock stars.” http://www.myspace.com/heatray77 —Anne T. Donahue
While listening to Hey Ocean!’s sophomore album, It’s Easier To Be Somebody Else, it’s a bit unpredictable what you’ll hear next. With a little bit of folk, funk, jazz and rock, the Vancouver band has blended it all together. “Greeko” tends to lie in the jazz area, feeling like a cool, summer album. Touring mate Shad makes an appearance on “Vagabond,” a funky pop tune where vocalist Ashleigh Ball sounds more like an R&B artist than your typical indie frontwoman. Guitarist David Beckingham also sings on the album and his vocals provide a more traditional Canadian rock sound, ala Sam Roberts, on “Humaita.” The two vocalists blend their harmonies together on “Moving On,” a short but sweet acoustic-based song. The diversity of sounds help keep the album sounding fresh and overall, it works well. http://www.myspace.com/heyocean - Jon Brazeau
After three years, the High Dials have finally returned with a full-length effort following the critical success of their last album, War of the Wakening Phantoms. They’ve picked up where they left off, and have continued to move forward with their unique brand of dreamy psych-pop. Moon Country feels like it could have been released in the 70s, a feeling that is only enhanced by the fact the album comes with two discs, representing side-A and side-B. Moon Country is an argument for the tactile in the electronic age and a reminder of the simple pleasure of holding a record, enjoying the cover art and switching the sides of an LP. The High Dials have forced their audience to engage their album, not simply let it play obliviously in the background. Side-A ends with “Seagull Blues,” a song by no accident culminates with spacey, yet peaceful sounds reminiscent of Pink Floyd’s Dark Side of the Moon. But to dig deeper into Moon Country, you’ll have to press play on side-B where you’ll be treated to the brilliant and sprawling “Open Up the Gates.” The High Dials intention was to create a cohesive record in two halves - they’ve succeeded and have also managed to create a very cool and beautiful album at the same time. -Joe Veroni
Detroit’s The High Strung sure don’t sound that high-strung but that’s a good thing. While they are energetic, no one could mistake their sunny indie-pop with anything highly strung. Although they may err on the side of repetitiveness, their sound is original and refreshingly upbeat—both in mood and tempo. “Guilt Is How I’m Built,” in the middle of the album, is a welcome, oasis of rawness after several songs that could easily blend together in one’s memory and is as fun to listen to as it sounds to play (especially for drummer Derek Berk, who is in great form). Unfortunately, it’s followed immediately by album weak point “I Got Your Back,” a generic acoustic guitar “heart-melter” that sounds like a different, much more boring band altogether. Oddly, that is a standalone, as the rest of album contains several unique moments of beauty (“Anyone” and aptly named jam “House Party”) and music that demands dance (“Rope”). They are talented musicians, and while some compositions may stand out less than others, The High Strung’s sound is unique and fun in a pessimistic present. http://www.myspace.com/thehighstrung - Sally Walker Hudecki
The third album from Vancouver’s Hinterland is anything but predictable. Opening with dark guitar riffs and heavy bass, the first few tracks feel like walking through a dark forest with only Michaela Galloway’s soaring vocals leading the way. Like waking up from a bad dream, the haunting nightmare ends as “Future Ghost” relies on a keyboard melody that sounds like a soothing lullaby. “You Speak-I’m Silent” and “Gemetry” add a dash of synth pop but the final track, “Sentinel”, returns to the darkness, concluding the album with a swirl of guitar distortion. Hinterland tries to cover a lot of territory and overall the band have crafted an enjoyable album. -Jon Brazeau
It’s been two years since The Hoa Hoa’s (pronounced “wah wahs”) dropped their critically-acclaimed debut album, Sonic Bloom. But just before you finish tabulating your “Best of 2009” list, you may want to give Pop/Drone/Pedals a listen. The Toronto band’s sophomore release is a more mature, stronger release as the band ventures further into the realm of psychedelic pop. Opening track “Postcards” begins with a slowly building danceable drum loop and mysterious vocals, reminiscent of My Bloody Valentine (the moody album cover also helps reinforce the MBV image too). The spacious synths and layered vocals of “Vinyl Richie” make it possible to feel like you’re tripping out even without the consumption of drugs. “Wasting Time” mellows out with a slower beat, which is quite the relief after the adrenaline punk rush of preceding track “Intensity.” “Waves” gives a Jesus and Mary Chain vibe, complete with ’60s pop-styled vocals mixed with fuzzy guitars. Pop/Drone/Pedals is a surprisingly enjoyable album and The Hoa Hoa’s should have a bright future in the Toronto scene. http://www.myspace.com/thehoahoas — Jon Brazeau
You’ll only need a few minutes of Record In a Bag (which really did come in a bag) to understand why Jack White handpicked them to open for The Dead Weather at their surprise show in Toronto on June 13. It is a testament to their energy and composition skills that Hollerado held their own in front of a crowd of someone else’s rabid, impatient fans. That same energy is at full power on Record In a Bag, (only a bit less nervous, for obvious reasons). Their sound is clean, almost horrifically catchy and absolutely distinct. Hollerado really don’t sound like anyone else. Occasionally, there are hints of something else (Kooks vocal melody on “Do the Doot Da Doot Do,” White Stripes simplicity on “Riverside,” New Pornographers shout on “Reno Chunk”—a 10 second song that they still manage to get stuck in your head, those adorable twerps). But the “something else” is always peripheral, never truly the essential to the song. The quality that makes each song so lovable is uniquely Hollerado. Drummer Jake Boyd knows exactly how to drive the band, unlike some contemporary drummers who seem to just hang on for the ride. There is a not a weak point on this album. It won’t be long before you believe exactly what the first song has to say: “There’s no better place than Hollerado Land.” http://www.myspace.com/hollerado - Sally Walker Hudecki
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
Since forming in 2002, Chicago’s The Horse’s Ha have spent over a year working on a debut that would successfully deliver a memorable mix of folk, jazz and storytelling. An intimate, sophisticated piece of work, Of the Cathmawr Yard exceeds all expectations with its beautiful simplicity and raw talent, drawing listeners in with its haunting lyrics and total earnestness. James Elkington (of The Zincs) and Janet Bean (of Eleventh Dream Day and her country side-project, Freakwater) complement each other perfectly as their smooth, clear vocals maintain the essence of ultimate musical chemistry. Songs like “Asleep in a Waterfall” transport listeners to quiet, cozy places, while tracks like “Left Hand” manage to capture the ideals of downtown music clubs of days past. Featuring instruments from the jazz and rock genres (including guitar, bass and cello), Of the Cathmawr Yard takes listeners on a unique journey across a land seemingly far away, cementing a fairytale quality that combines the smoothness of jazz with the purity of folk from long ago. http://www.myspace.com/horsesha — Anne T. Donahue
Jordan Geiger has put in work for some the best there is (Shearwater, The Minus Story). Oh, Ramona is two and a half years of Geiger’s incredible songwriting, all wrapped up into a very beautiful debut album. On the record, Geiger really dives into a lot of love, love lost, friendship and life in general. “Baby J” has a bit of a “Mates Of State sugar rush,” but it works well with the sweet lyrics. “Sink Your Teeth Into Me” is a bit more acoustic, Geiger’s vocals are very boyish and the lyrics are very romantic and cleverly worded. The rest of the record is very dreamy, bedroom poppy and super sweet. Oh, Ramona definitely tells a good story and is an overall great listen. http://www.myspace.com/hospitalships -Max Mohenu
Is the world ready for one more dirty, rock-n-roll, Stooges-esque band? Well, if your Hot Blood Bombers, you’re probably hoping the answer is yes since their album, Dirty Little Party, fits that description perfectly. At times, it sounds a bit predictable and it’s all been done before but it hasn’t stopped others from trying. On “Why Do You Have to Love Me,” the band finally let loose a bit, with a faster drum beat and guitar riffs. Unfortunately, it’s also the shortest song on the album at one minute, 21 seconds. “Hey Man,” is another good track and it happens to be twice as long. The song features good harmonized background vocals and adds a guitar solo just before the big crash finish. Overall, Dirty Little Party is decent enough that it’s not bad but it doesn’t stand out enough to warrant much attention. Move along, this really is a little party. http://www.myspace.com/hotblood — Jon Brazeau
Howie Beck is one of the Canadian music industry’s most multi-faceted musical minds, taking on the roles of instrumentalist, producer, engineer, and solo artist. Throughout his endeavours, Beck has worked with Canuck powerhouses Sarah Harmer, Feist, Jason Collett and Hayden but How To Fall Down In Public pairs him with his (self-declared) most important collaborator: himself. On his fourth album, Beck serves as performer, session musician, producer, and arranger, delivering indie charm and sentimentality. Each of the collection’s nine tracks are beautifully orchestrated, starting from stripped-down vocals with guitar or piano and growing to include horns, strings and attention-grabbing textural elements, particularly on tracks such as “La la la,” featuring Feist. Through his work with other artists, Beck has learned not only when to add to a mix but when to hold back, creating miniature journeys out of each song on How To Fall Down In Public. http://www.myspace.com/howiebeck - Heather Adamo
Nick Thorburn has certainly been busy in 2008. After releasing Arm’s Way earlier this year with his main band, Islands, Thorburn teams up with former Islands guitarist Jim Guthrie for Human Highway. There is a clear difference in the two bands’ sound as Human Highway is more folky, guitar-based music and relies on harmonic vocals as opposed to the strings-and-rock combo of Islands. The band’s sound is clearly defined on “The Sound,” a straight-forward, mellow tune where both Guthrie and Thorburn shine. “All Day” begins without a full band sound, relying just on vocals and guitar, allowing the relaxing song to make the listener feel like they are on, of all things, an island. Being released at the tail-end of the summer, this album will make you want another vacation. http://www.myspace.com/humanhighway - Jon Brazeau
In the wake of the release of the film Control and the documentary Joy Division, it isn’t a surprise to see a slew of Joy Division clones crop up. Toronto quartet Human Kind have been around longer than both films but the JD influence is all over their debut EP. Produced by Mike Turner, former guitarist for Our Lady Peace, Human Kind have a clear post-punk sound, mixing a Joy Division-like rhythm with singer Shawn Tucker’s vocals that are reminiscent of a young Robert Smith (The Cure). The album sounds well-polished and fresh enough that it’s not retro and outdated. Paul Anderson’s guitar riffs are fast and clear but also repetitive over the course of the album. The title track also sounds too much like Joy Division, as Tucker’s monotone is very similar to Ian Curtis’, which is quite depressing. Slower beats and darker guitar riffs also bring down the song, especially when it’s sandwiched between upbeat, dance-worthy tracks “Letters” and “Don’t Follow.” At not even 20 minutes, the EP shows a lot of potential for the band and clearly defines what era they have their musical tastes set to. It is a fun, energetic disc, worth at least a listen by fans of the genre. http://www.myspace.com/humankind -Jon Brazeau
The music that comes out of this band is not what you would expect to hear from a band named Huron. Based mostly on heavy riffs, Huron’s debut, self-titled album features a collection of southern rock songs that you would expect to hear from the likes of Lynyrd Skynyrd. The guitar riffs, around which each song is heavily based, are so catchy and powerful that Huron could make anyone into a believer in the genre. “Chicken Wing”, for example, is thick, rich and full of sound — and most of the songs on the album echo it. Some of the album’s lighter songs are “Could Not Understand” and “Bloodfire”; they present a welcome break between the band’s heavier tracks. Sometimes, the amount of loudness can be overwhelming — perfect for a live show, but a little too harsh for a debut album. http://www.myspace.com/huronband — Bethany Hansraj
Richmond, Va. is not exactly known for rich musical culture (see pg. 99’s bile-filled ode “Richmond is a Hole”) but that’s no reason some musical sunshine cannot be emitted. ILAD’s third album since 2005 already demonstrates their strong work ethic and the variety presented on Here//There is similarly heartening. Upon first listen, comparisons to ’90s post rock heroes Tortoise are inevitable; dreamy, relaxing electric piano melodies, monotone vocals, and track-to-track spontaneity cause certain allusions (a past recording connection to Tortoise leader John McEntire helps reinforce the influence). Drummer Scott Clark is particularly deft and nimble, propelling more temperate melodies with a frantic yet consistent jazz tempo. The last third of the album pushes the mood into more sullen territory, refreshing the listener with sharply moving mopers like “I'm Not Mean.” “Blackgold” is a rough misstep in the band's attempt at songwriting variety, as the hoedown rhythm and twangy vocals are an extremely awkward addition to the album, despite a nifty distorted slide guitar which could have fit on a song more suited to their relaxed style. Here//There may not beckon listeners immediately but will serve as a fine soundtrack to whatever summer is left in the season. — Kevin Harper
I’m From Barcelona has released their second album, Who Killed Harry Houdini? It is unclear whether this is a concept album about Houdini’s death, or a 36 minute allusion to escapism. It is also unclear whether or not this matters. This Swedish band is comprised of over 20 members who play everything from the flute to the glockenspiel. The combination of such a multitude of voices and instruments comes off as slightly campy and difficult to take seriously. There is good music here, especially the psychedelic guitars in the closing track “Rufus” but it is veiled by the band’s sing-songy style. It’s debatable whether the world needed another single called “Paper Planes” this year – or decade - but fortunately I’m From Barcelona’s track of this name is a cool jive and a good example of the entertainment value of their music. Overall, Who Killed Harry Houdini? is an album worth listening to but maybe not more than once. http://www.imfrombarcelona.com/ -Allison Smith
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
Although they've been on the scene for quite some time now, this EP is the first official release from Innes Wilson and His Opposition. The delay is a result of the band's busy touring schedule, which they've used to hone their live performance skills and it shows. The result of all their hard work is displayed on this EP, a callback to early 90s grunge. The band pairs this retro sound with more modern musical principles, layering melodies and harmonic backing vocals. The lead track “Guest Like a Ghost” sets the mood for the rest of the album with its raw guitar riffs and delicate vocals falling somewhere between Blue Rodeo and Pearl Jam. With only six songs on the EP, the band reintroduces an old sound in a new way and leaves you wanting more. http://www.myspace.com/inneswilson
- Bethany Hansraj
Inward Eye is out with their debut EP off of J Records. It’s a tight four-track disc that starts off with an in your face tune. “Shame” is a great starter for this CD. It’s catchy with its lyrics and infectious with its riffs and beats. You can definitely hear a mixture of their influences, ranging from The Clash to Green Day and The Kinks, among many others. The only problem with the CD is that there are not enough tracks and it left this reviewer wanting more. You can check them at www.myspace.com/inwardeye for touring, info, music videos, and tracks. Be sure to catch them when they’re in your town.
In Flight Radio’s sophomore release pushes for a greater sound with a new drummer and an additional guitarist on board, but along the way the album encounters turbulence. The album takes off with “Red Flags,” a soaring opening track carried by singer Peira’s powerful vocals.“Somewhere in Between” continues the momentum as Peira’s vocals rise and fall with the tune’s quiet-loud-quiet progression. Unfortunately, the album doesn’t maintain it’s altitude. The second half of the album lacks the same impact, with repetitive guitar riffs and slow drum beats, making the later tracks feel longer than they actually are. However, “I Am Not Awake” is a pleasant closing lullaby, led by an acoustic guitar, keyboards and soft vocals, but it is a dramatic shift from the mood created at the start of the album. While the band juggles its sound, it’s unfortunate the result feels inconsistent more than anything else. -Jon Brazeau
We Are an Empire, My Dear is In-Flight Safety's second full-length release since their successful 2005 breakthrough album The Coast is Clear. With the poetic vocals of John Mullane set against the band's rich piano driven melodies, there is no mistaking that this maritime band can be considered Halifax's answer to Coldplay. The album is a solid listen from beginning to end. “Model Homes” is a stand out anthemic number, sure to be an instant success. Other notables include the melodic “Amy Racina” and up-tempo “Big White Elephant.” It should also be said that the art for the album cover is simple yet visually outstanding, kudos to the art designer. http://www.myspace.com/inflightsafety - William Self
Following the good-but-not-great Arm’s Way, Islands’ main songwriter Nick “Diamonds” Thorburn decided to take the band in a different direction for their third full-length album. First off, drummer Jamie Thompson is back, after leaving the band and skipping out on Arm’s Way. Secondly, expect to be surprised from the first electronic drumbeat at the start of opening track “Switched On.” The band has stripped down their sound, putting more emphasis on electronics than strings this time around. For the first half of the album, it’s a bit hit or miss. “Devour” delivers a dance club beat but nothing else makes you feel like you’re bouncing on the floor. The second half of the album is where things really pick up. “Disarming the Car Bomb” is a more rocking track, yet it still feels slightly different than the band’s previous material. “Tender Torture” wades in familiar territory, led primarily by Thorburn’s poetic lyrics. And yes, that is Auto-Tune on “Heartbeat” but thankfully it’s only a small slice of the song. “EOL” makes up for that as the band sounds comfortable with their new approach. Vapours is a welcomed change for Islands and works quite well for a band trying to change up their formula. http://www.myspace.com/islands — Jon Brazeau
Jay Dee (aka J Dilla) built a name for himself as a talented producer, working with artists such as A Tribe Called Quest, Busta Rhymes, De La Soul and Janet Jackson (he allegedly produced her hit single “Got ’til It’s Gone.”) His untimely death in 2006 — just three days after he released Donuts, one of the best hip hop albums of the decade — was a tremendous loss but fellow producer Pete Rock and Dilla’s mother Maureen Yancey have put together this album based on beats previously recorded by Dilla. The 28-track album is presented like a mixtape radio show and, not surprisingly, a lot of the tracks are relatively short and focus just on Dilla’s beats (and maybe even thinking about “what if” possibilities). Of course, there are guest appearances, with Phat Kat on “Digi Dirt” and Havoc (Mobb Deep) and Raekwon on the album highlight “24K Rap,” among others. J Dilla fans will find the album interesting but those unfamiliar with his work should check out Donuts first since the non-MC tracks here may not appeal to everyone. — Jon Brazeau
Jamie Lidell’s freshest offering, Compass, just may be the one that takes him to new heights. Lidell is a British-born, Manhattan-living white boy musician with a (nice) twisted blend of funk, soul and electronica. Compass departs and raises the bar for Lidell, who broke out in 2005 with Multiply (also name of song heard on Grey’s Anatomy). Compass surpasses past efforts on many levels. It is the result of some major changes in management, location, direction and control for the artist. The turbulence in his life at the time is reflected back resulting in an edgier, more electronica-heavy and deeper feel of Compass. He started out working with Beck but once the process started, Lidell realized he needed it to be more of his personality and song writing coming through. With the new insight he changed direction, while still working with Beck he decided to follow his instincts and make this one his own. “Completely Exposed”, the title track is testament to the soul-searching process that Lidell went through prior to Compass. “I Wanna Be Your Telephones” shines with its funky grooves and “The Ring” come together nicely with the combined effect of Liddell’s minimalistic arrangements and subtle soul. He also collaborates with members of Grizzly Bear, Zeus and Feist on a few tracks and this diverse mix only adds to the strength of the album. The mesh of electronica and natural soulfulness makes this record a unique listening pleasure and listeners may find it easier on the ears than past records. All of these things combined make Compass the record that surpasses fans expectations and will probably gain Jamie Lidell a wider audience. http://www.myspace.com/jamielidell — Daria Essop-Lafontaine
Janelle Monae has been stirring up a lot of attention with the release of her first full-length studio album, The ArchAndroid which picks up where her EP Metropolis - The Chase Suite left off. The first track “Suite II” is a classical overture which introduces you to a string of fast-tempo, funk, jazz, techno and hip hop-infused tracks before introducing a soda shop ballad, “Sir Greendown”. Her first single, “Tightrope”. features Big Boi of OutKast however, musically Monae seems more akin to Andre 3000 as ArchAndroid provides at least as much diversity and intergalactic influence as The Love Below. Also like Andre, Monae oscillates between rap and vocals and chooses songs that highlight her range. She even screams over electric guitars on the rock-infused track “Come Alive (The War of the Roses)” and samples Debussy’s “Clair de Lune” on “Say You’ll Go”. All said, ArchAndroid is an incredibly inventive 18-track album that has something for everyone. Ms. Monae is definitely an artist to watch. — Chantelle Renee
Javelin’s No Mas, Spanish for “No More,” is the perfect audio representation of the album’s cover art: it’s bright and exciting, unpredictable with no beginning or end, complex at times and very engaging. No Mas is filled with intertwining, crisscrossing, instrument samples and vocals that are effortlessly weaved together to produce an album that takes listeners to a place of endless imagination; a place that is sometimes upbeat and soaring and other times cool and down to earth. In “On It On It,” listeners are introduced to a funky fun sound that reminds you of popping and locking in the ’80s with its pulsing beat. In “Dep,” listeners can hear a mellow blend of cut-up vocals fused together beautifully, producing an unpredictable arrangement of sounds and rhythms. In “Moscow 1989,” listeners get to hear an upbeat, new wave sound with its soaring synths, simple vocals and electronic edge. No Mas is an album that holds no direction and no category — all you have to do is to listen and let it take you wherever it does, let it sound like whatever it does. All that’s left now is to experience it. http://www.myspace.com/hotjamzofjavelin — Xolisa Renee Jerome
Jay Malinowski, better known as the raspy-voiced lead singer/guitarist of Toronto-based reggae band Bedouin Soundclash, has ventured off into the great solo unknown with the surprisingly well-rounded Bright Lights & Bruises. Following a decade or so of strong, piano-driven male singer/songwriters, Malinowski is one that is coming out on top, not just for his earnest approach to songwriting, but also for his vocal performance. Rough around the edges, his voice has a rawness that adds an aching depth to each line sung — and thankfully, the 27-year-old doesn’t go overboard with clichéd lovelorn on this lyrically-driven album. You’re probably familiar with the first single and album opener “There’s a Light”, which hit the airwaves in this country back in the New Year and sets the tone for a melancholic journey full of self-reflection. Whereas his work with Bedouin Soundclash could be described as more of a rhythmically-driven effort, Bright Lights & Bruises offers up a new folk pop chapter in making music for Malinowski. Comparisons to this new sound could be likened to Jack Johnson, particularly on the track “Songs Never Sung”, however there’s a certain amount of swagger to this record that is reminiscent to a lot of male Quebecois folk rockers, like Jean Le Loup. An interesting mélange of west coast beachiness and east coast attitude. http://www.myspace.com/jaymalinowski — Chloe Vice
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
Jeremy Jay’s sophomore synth-pop album Slow Dance could fittingly be playing at the local 1970’s roller rink under the dimmed lights and the disco ball. This California native is a man of few words, but the words he uses are implemented often. Of the 10 tracks on the album, all probably include something about disco, affirmation via the word “yeah,” ice skating, dancing, moonbeams and cold weather. It’s all a bit two dimensional but the dancing star-gazed innocence surrounding the songs, especially the title track, provides a credible enough invitation to continue listening. His dance may be slow, but he’s certainly on the fast track to dominating the dimly-lit disco niche. http://www.myspace.com/jeremyjay -Melissa Kim
Party of One is the debut solo album from Michigan native Jeremy Porter. But before you quickly label him with the sensitive singer-songwriter tag, take a deeper look. Porter juggles the acoustic side of things (opening track “Sidewalk Ends”) with straight-up rock numbers like “Not Like You're Mine.” He’s part troubadour and part Paul Westerberg. Porter is actually at his best when things are softer, like the acoustic “Hallmark Holiday,” which showcases his fine vocals. “Hundred Bucks” closes the album with slightly humourous lyrics: “as long as you owe me a hundred bucks, you'll never disappear,” showing that Porter can have fun while crafting together a tune. And really, that sums up what the album is all about: rocking tunes that are fun for the musician and the listener to enjoy. http://www.myspace.com/jeremyportermusic — Jon Brazeau
With apologies to the album’s title, there isn’t any question why this EP isn’t perfect. Featuring three songs previously released on the vinyl-only split release with Eluvium, and “alternate versions” of two of those songs, this EP really only serves as a small collection (or cash grab) rather than a proper album and seems like a lazy effort. Even the pyramid album cover is similar to the split release’s cover. The EP is dominated by slow beats and Justin Broadrick’s quiet, monotone vocals, which fail to add much to the music and are rather boring. Layers of fuzzy guitar distortion, creating hypnotizing whooshes is nothing new for Jesu and this album sticks with that formula. The only wake-up call is “Blind and Faithless,” which offers a fresh sound with a lively, upbeat tempo, leaving the three-and-a-half minute song feeling too short while the others tracks lag way past the six-minute mark. Jesu fans probably already have the split release, making this EP not worth the effort to pick up. http://www.myspace.com/officialjesu - Jon Brazeau
It's been a few years since Victoria trance rockers Jets Overhead released their premier LP, Bridges, and it seems like the break has been good for the band. On their new record, No Nations, Jets took a couple puffs from B.C.’s hypothetical psychedelic rock joint, loosened their ties and wrote some tunes influenced by their more experimental West Coast peers like Black Mountain and Pink Mountaintops. Their guitar work sounds more soulful, their drumming more stern and their music more free. Still, the band’s indie pop roots remain intact vocally, with swash-buckler Adam Kittredge at the helm, occasionally accompanied by the endearingly husky drone of Antonia Freybe-Smith, who should definitely have more vocal time on the album; No Nations’ stand-out track, “Fully Shed,” ceremoniously showcases Freybe-Smith’s awesome vocal capacity and she comes across like a ’60s rock maven, unfortunately surpassing Kittredge when it comes to passion. While some tracks on No Nations sound vaguely over-produced and a bit trite (these guys are on a major label after all), it’s evident that the band is moving towards a darker sound, which is a relief because there’s only a tiny bit of room left for in the industry for Interpol knock-offs. http://www.myspace.com/jetsoverhead — Jessica Carroll
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
Punk rockers turned roots rockers are as common as rappers turned movie stars. Thankfully one of those transformations adds art to the world. It’s just a natural progression for an aging punk to find a musical home in the endless green pastures of country. Such ventures must have started somewhere – and here we have the answer in John Doe of L.A. punk band X. He was one of the most influential men in punk, and then one of the first to try his hand at the whole roots rock thing. His debut solo album was 1990’s Meet John Doe, but he didn’t perfect his solo gig until he teamed with Toronto country quartet The Sadies. Country Club is John Doe’s eighth solo album and it’s his best yet. Country Club features plenty of quality covers, such as Johnny Cash’s “I Still Miss Someone” and Roger Miller’s “Husbands and Wives”. However the album’s real magic is unleashed with Doe’s original “It Just Dawned on Me”, a masterpiece of homegrown country free of any newfangled schlock. The Sadies are as tight a backup band as any musician can find, but they go as far as to contribute the album’s final cut, “Pink Mountain Rag”. Country Club is a surefire crowd pleaser for fans of both John Doe and The Sadies, but moreover it’s an instant classic in the roots rock genre. http://www.yeproc.com/artist_info.php?artistId=12948 — Joe Veroni
http://www.myspace.com/johnvanderslice - Joe Veroni
Jolie Holland’s forth album, The Living and the Dead, is a deeply personal collection of bluesy ballads. While listening, you imagine Holland as a beautiful, hippie-chick singing alone on a stool in a grungy bar and that is exactly who she is. Holland’s music exists where Rilo Kiley meets 70’s folk rock. In “Corrido Por Buddy,” a song about not being able to recognize a friend who she passes on the street because he has fallen so deep into addiction, Holland haunts her listeners with a tale of braving life’s consequences. In tracks such as “Fox in Its Hole,” the guitar adds a mystical Spanish sound to Holland’s soulful voice. Holland’s creative mixing of musical genres and the fun she has with her music makes this a truly pleasant album to listen to. www.myspace.com/jolieholland -Allison Smith
The Jolts’ Haute Voltage practically invites you to judge them harshly. The band mugs on the cover in leather jackets literally posing like their apparent influence The Dead Boys and the members have names like Joey Blitzkrieg. Luckily this serves only as a ruse because the music handily rises above the ridiculous packaging. The Jolts are no fools – in fact they’re one step ahead of us all, throwing us red herrings in the form of an inane album title and packaging only to remind you how silly it is to judge a band by such superficiality. Self-consciously unselfconscious, the Jolts ride a fine line and totally pull it off, delivering a solid album that is much a reflection of the current state of music as it is anachronistic. http:// www.myspace.com/thejolts - Orlando da Silva
Whether performing solo or with his band The River, the Toronto-based Fletcher is a sight to see in the local alternative country scene. His powerful, soulful voice captivates audiences and is at the forefront on this solo album. Featuring 10 stripped-down tracks, the concept album follows the betrayal and longing of a man as he comes to terms with the world around him and accepts the outcome. Fletcher’s blend of minimalism and full out throw-down rocking styles shine on the album, a testament to his ability to capture his raw live performances on an album, perhaps owing to the fact the album was rehearsed in one day and recorded the next. Fletcher’s sombre vocals and gentle acoustic guitar strumming mixed with piano and trombone make opening track “Maria” feel like a genuine heartbreak. “The Story” is a more straight-forward country ditty but feels right at home among the other tracks. The album may turn your living room into the Horseshoe Tavern for a night. http://www.myspace.com/jonraef
- Jon Brazeau
Josh Doyle’s newest EP certainly has several virtues and quite a bit of value. Doyle’s plaintive voice and insightful, inspiring lyrics carry the album through somewhat familiar territory (epic, sensitive ballads). However, it is not his genuine nature that pulls the album out of the arena rock mediocrity that it might have rested in, although he certainly does come across with an honest, authentic presence. It is not even the excellent, crunchy guitars that wail to a nearly theatrical climax in several songs. What sets Values and Virtues squarely apart is the fact that it has more raw energy than you’d like to shake a stick at because it would probably just eat you and the stick. Doyle’s punk rock credentials remain swiftly intact as each track roars into life. He puts so much of his heart into each lyric, you’ll be hoping by the end for someone else just for the sake of his health. Opener “High School Soldier” is the most catchy and addictive without typical saccharine-aftertaste. Strings add depth to “Concrete Moon” and showcase Doyle’s arrangement and songwriting skills. It’s not often that such musical virtues are equaled with such widely appealing emotional value. http://www.joshdoyle.com/valuesvirtues.cfm — Sally Walker Hudecki
Jet Lag is the debut album from Why? drummer Josiah Wolf and it’s just as out there as his main band’s material. Okay, maybe not that out there but it’s a little weird. The oddly-titled opening track “The Trailer and the Truck” starts off the album with a lot of promise, mixing together bells, thundering drums and Wolf’s soft, lush vocals. But in the end, it's depressing, as Wolf wrote the album following a lengthy breakup. “The Opposite of Breathing” and “The New Car” delve into the aforementioned breakup but with Wolf’s confusing and forced lyrics, the album start falling apart. Musically, the album is fine, as Wolf shows he’s just as talented on the drums as he is on the guitar on “Skull in the Ice,” an album highlight. Overall though, here's hoping Wolf is over this breakup as the depressing act just doesn’t work. Cheer up dude. http://www.myspace.com/josiahwolfjetlag — Jon Brazeau
With lyrical virtuousness and a knack for creating contemporary yet infectious repeats, The Joy Formidable leap out of the gate running with their premier full-length “mini” album A Balloon Called Moaning. Everything from a Kim Deal/Silversun Pickups drive plus reminiscent Karen O. elements combine together and bring alive a collection of songs that will most assuredly have anyone humming along even after the first couple of listens. Abrasive, always mounting electric-rock drives each song on the album with a post-grunge flair that is as full and rich as it is inviting. It’s encouraging to see a band successfully maintain a consistent and engaging sound that mirrors a teaser single like “Cradle” — especially in a world of indie bands that constantly contradict themselves once they finally come together with a full collection of songs. On A Balloon Called Moaning, wonderfully arranged electronic post-rock marries seamlessly with the vocals of lead female vocalist Ritzy Bryan, creating an effortless listen for those who enjoy a fusion of art-rock with clear-cut pop strings attached. The Joy Formidable have been noted as being ones to watch for and with this release they have already managed to live up to a still-developing hype. http://www.myspace.com/thejoyformidable — Stephen Lussier
DC group Jukebox The Ghost has been gaining momentum and a steady following lately, largely due to their playfully rocking live shows. Their self-titled EP seems to back up all the hype that fans have been spreading about this three-piece outfit. Kicking things off with “Good Day” the set starts with a terrific piano line that is complimented by quick guitar riffs and a very subtle vocal part. It goes on this way, building tension until the song’s hook in which vocalist Ben Thornewill speeds up his singing, but still manages to sound calm, and most likely smiling. On “Hold It In” the group serves up a lyric that reflects the self-conscious anxieties of teen-dom. The instrumentation and frustrated vocals begin to build tension in the listener as well until the whole thing comes to a breaking point. Instead of screaming in exasperation though they throw in a fun little piano solo, or a falsetto “whoo.” While clearly any three elements (piano/guitar/vocal) could dominate a track, the mix is always even. It’s a nice change up to hear a piano solo where one expects a ripping guitar from time to time. Thornewill’s vocals and piano playing are likely to draw comparisons to Ben Folds, and the song “Victoria” has something very Billy Joel going on. That said though, Jukebox the Ghost just seem a bit more optimistic, and therefore less likely to attempt murder on their supermodel wives; content to just make the listener smile along with them. www.myspace.com/jukeboxtheghost -Daniel Demois
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
New Brunswick singer-songwriter Julie Doiron, formerly of Eric’s Trip and currently of the duo Calm Down It’s Monday, sings what few musicians write about these days: happiness. Whether she plays acoustic or in a lo-fi friendly way, her voice is so sweet and clear. The themes of her songs include being in love, being a mom, and being grateful for the life that she leads. Two of the songs are not by her and are instead by her current boyfriend Fred Squire, and even then they do nothing to repeal her personal parade of bliss. The album opens with “The Life of Dreams” and closes with “Glad to Be Alive,” perfectly bookending everything else that comes in between. “Consolation Prize,” bucks the theme a bit by talking about a mutual break up but it makes up for that with a more pop sound and the light-hearted spirit of the crashing of a tool box mid-song. Overall, it’s a strong album that is enjoyable if you do not hate another person’s happiness. http://www.myspace.com/juliedoiron - Melissa Kim
Jump Clubb’s debut album, The Love of No Dance, belts out a seven-track compilation of soul and disco mixed with elements of dance and electronic with each track short and pleasantly to the point. From beginning to end, each song delivers a different sound consisting of subtle vocals that tend to sit in the background, allowing listeners to hear words being sung, without actually knowing what’s being said. What’s capturing is the way The Love of No Dance simultaneously presents two different vibes: an upbeat drive and a hushed mellowness that seems to smoothen everything out, giving the album the opportunity to be a backdrop for an off-the-wall party, or a relaxing chilled-out night. — Xolisa Renee Jerome
The Junction’s new record, Another Link in the Chain, is interesting because it’s very different from their 2007 self-titled album. Upon first listen, you might be turned off by it, but it’s actually well-written and some of the songs really stick out. “No Road” is a really fun rock pop song. In certain parts, trumpet and other horns are added, which gives the song an interesting touch. “Pick Your Battles” sounds almost like a very early Sam Roberts pop song. The song is high energy and the lyrics are great. The record shows that the boys were not afraid to experiment this time around, which is awesome. Anyone who was drawn to their early sound may shy away from this record, but overall it’s definitely an effort you can appreciate once you really listen to the fine points of each song. The production is amazing and the songwriting is also great. It’s definitely worth checking out. http://www.myspace.com/thejunction — Max Mohenu
You know the voice and you know the songs, even if you don’t know the name Justin Hines. Hines and his music have been featured in commercials for Wal-Mart’s Walk for Miracles and Ontario tourism, his song “Wish You Well” off his debut album Sides was a success on the radio and “Say What You Will” from Chasing Silver was featured on an episode of Degrassi: The Next Generation. It’s no surprise then that all the songs on this prolific singer-songwriter’s sophomore album feel like home. The album could also easily be mistaken as a folk pop album from the 1970s in the tradition of James Taylor, Carole King and Cat Stevens. Other stand out tracks include “Are We,” “The Troubadour” and an incredible version of Peter Gabriel’s “Solsbury Hill.” The album includes a wonderful remix of the title track featuring the South African vocal group All Things Are Possible. For adult contemporary pop music fans, Hines is a talent not to be ignored and an artist that is sure to be an international success. http://www.myspace.com/justinhines — Diane Foy
Following in his father Steve’s footsteps, Justin Townes Earle certainly has a lot to live up to. Fortunately for him, his first full-length album is a promising release. Taking a page from his father as well as another country legend he shares a name with – Townes Van Zant – while also adding a few pages of his own, Earle has crafted together a folky blues album harkening back to the days of old. “Hard Livin’” and “The Good Life” spin the universal topics of travelling and love but mix together a richness of acoustic instruments, keyboard and fiddle. “Who Am I to Say” showcases Earle’s fine vocals, mixed with a more minimal approach, allowing him to showcase his own talents. Earle’s flavour for the old takes a shine on “Lone Pine Hill” as he flashbacks to the isolation of a Civil War soldier. Overall, not bad for someone who was fired from his father’s band. http://www.myspace.com/justintownesearle –Jon Brazeau
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Fjord Rowboat 
Fol Chen
Frankie Goes to Hollywood 
Born Radical
Paul’s Tomb: A Triumph
The Ruminant Band
Saint Dymphna
Maintenant
The Glitch Mob
Welcome to Nu Funktonia
Gogol Bordello 
Fan the Flames
The Winter of Our Discotheque 
Gorevette
Harlem Shakes
HEALTH 
Loveallover
It’s Easier To Be Somebody Else 
Moon Country 
Ode To The Inverse Of The Dude
Record In a Bag 
Record in a Bag
Oh, Ramona
Dirty Little Party 
Moody Motorcycle 
Huron 
Who Killed Harry Houdini?
EP 
Inward Eye EP
We Are An Empire, My Dear
Vapours 
Jamie Lidell
Janelle Monae
Bright Lights & Bruises
Party of One 
No Nations
Joan of Arc Presents: Don’t Mind Control 
Romanian Names
The Living and the Dead 
Oh Maria
The Joy Formidable 
I Can Wonder What You Did With Your Day
The Love of No Dance
Another Link in the Chain
Chasing Silver