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Kasabian’s third and latest release is in fact a 52-minute concept album where each track is based on a fictional inmate from the alluded 19th century English asylum. But pretending to be poor crazy people who were also subjects of Queen Victoria is not the only stunt Kasabian pulls within the 12 tracks of this album. Actress Rosario Dawson, who showcased true vocal talent in the feature film Rent, duets with lead singer Tom Meighan (if by duet you mean backing vocals and the occasional solo line) in the track “West Ryder Silver Bullet,” mostly singing the line “oh how I want your touch far too much” with Meighan.” Then Kasabian got themselves nominated for the 2009 Mercury Prize in Britain, a huge honour if you don’t mind being nominated alongside the likes of Glasvegas. The opener “Underdog” is very catchy and sets a good tone for the album and the current single “Fire” successfully piques the curiosity of any casual listener who is unfamiliar with the band’s previous work. It’s a pretty good album if you can get past the fact that actor Daniel Radcliffe was seen carrying it, Meighan is sporting the ridiculously long hair obligatory to any English band’s third album (Alex Turner, anyone?), and songs about crazy people are not necessarily as good as songs by crazy people. http://www.myspace.com/kasabian — Melissa Kim
When Weezer released the blue album it was bashed by critics and Cobain-worshiping grungers alike. Of course, time proved that first impressions aren’t everything. Those hair metal refugees soon reached cult status thanks to Rivers Cuomo’s brain child of nerdy power pop meets guitar-enthused basement rock. My first impression of Primary Colours: while I’m sure they’re nice Nova Scotian lads, Kestrels sound like a bad Weezer tribute band. And whereas early Weezer benefited from polished production, Cuomo’s clever lyrics and most importantly, an ironic seat amongst the many too-serious eyeliner-wearing bands of the time — Primary Colours suffers from messy amateur production, trite lyrics, and predictable guitar hooks. Even the album cover is embarrassingly reminiscent of Weezer’s debut: a pale blue background and a cartoonish sketch of three dopey hipsters showing off their less-than-impressive facial hair. Too harsh? I recommend purchasing this album only if you have a time machine — and then take it to 1994 where it would still be a waste of time. http://www.myspace.com/kestrelskestrels — Erin Klassen
Since it’s highly doubtful anybody reading this is between the ages of one and five (the target audience for Alphabutt, Kimya Dawson’s sixth full-length album), I’m really not quite sure what to say about this record. Dawson’s music makes up the entirety of the Juno soundtrack and brought the singer/songwriter’s work to a whole new audience. As if to shrug off any and all impending fame, Dawson decided to follow-up the hit soundtrack with her first children’s album and the record is certainly designed to be a childish sing-along not intended for the ears or stereos of sane adults. We’re looking at 15 tracks of fart jokes and ridiculousness written specifically for young children and the really fucking stoned. With this in mind, Alphabutt is recommended for the child of someone who you hate. The kid will love it and the parents will be driven mad by their child’s imminent repetition of such brilliant lines as, “Z is for farts that smell like the zoo” (“Alphabutt”), “It smells good going in and bad coming out/there’s a big strawberry on the way to my mouth” (“Seven Hungry Tigers”), and “Pee-pee in the potty starts as milk from mommy” (“Pee-Pee In The Potty”). Well, it beats the hell out of Raffi. -Joe Veroni
From the crazy antics of their live shows, it’s hard not to feel that energy emitting from the speakers while listening to King Khan and the Shrines. The album combines a rhythm and blues feel with a rock crunch and the positive feel of gospel added on top. There is a definite old school feel, with saxophones, jangly guitar riffs and drum beats reminiscent of songs you’d hear in used record stores that carry vinyl. With every other genre getting a revival, hearing Khan songs like “I Wanna Be a Girl” is equally refreshing. “Welfare Breed” may just make you want to wave around some bills (or a loonie). For something that is just a little left of centre, it’s worth making the effort and checking out to King Khan and the Shrines. http://www.myspace.com/kingkhantheshrines - Jon Brazeau
Considering most of Bloody Kiss was mixed by Michael Barbiero (GNR, Metallica, Scorpions, Anthrax) the fact that this debut CD from Toronto’s Latefallen has such a classic, hard-rock vibe is not surprising. The album was recorded and produced by guitarist Vanya Drakul, and is a kind of contemporary throwback, with serious riffage and themes without getting too dramatic. Hard but not harsh, these are head-bobbing/banging melodic songs making them very singable, even if one or two are slightly pole-danceable. Standouts like the title track and “Dead Set Against,” solidify Bloody Kiss as a massive record cover-to-cover from a band that has no identity crisis despite its relative infancy. - Gord Reilly
As a member of Henri Fabergé and the Adorables and the Hidden Cameras, Barrett is used to being a member of an ensemble cast but she really makes a name for herself on this solo release. Relying heavily on the kalimba, an African thumb piano, and mixed with witty folk lyrics, the “music box” feel of the album evokes a mystical yet charming sound. Thrown in for good measure is her cover of Weird Al Yankovic’s “Smells Like Nirvana.” Barrett’s unique interpretation makes it feel like it’s one of her own. The remix of “Stop Giving Your Children Standardized Tests” by Joshua Van Tassel (Stop Die Resuscitate) is an interesting tune to hear as it combines Barrett’s original with electronic beats and other effects. Overall, Barrett’s quirky sound makes the album an enjoyable release and a pleasure to listen to. http://paperbagrecords.com/bands/laura-barrett - Jon Brazeau
Following stints with Said the Whale and Prairie Cat, North Vancouver/Victoria-based Laura Smith has now dropped her own, self-released debut album. Smith’s high-pitched youthful vocals are the major standout on the album, especially on “I Spy a Monster” and “It’s All About You,” complimented just fine with her piano. “Break” shows Smith’s multi-talented abilities with the introduction of an accordion; as if it wasn’t hard enough to classify her as indie pop or jazz! The title track is a gradually-building song that takes full advantage of how high Smith’s vocals can traverse. “Can’t Stop” is a more traditional pop-oriented song but based on her other songs, it’s not all that traditional after all. With her soaring vocals and upbeat tempo, her songs are bright and cheery like the morning sunshine. http://www.myspace.com/laurasmithmusic - Jon Brazeau
Everything is Real is Leeroy Stagger's follow-up to his 2008 release, Depression River, wherein recording the album he found sobriety. The album continues to build on Stagger's evolving sound, featuring songs that come from an obviously clearer perspective with much more optimistic undertones. Through a soft, country-rock sound, Stagger provides his audience with an honest depiction of his descent into addiction and his struggle to become sober. His effort and honesty is endearing but he falls into the lyrical cliches that are common among the country music world. Musically, however, the album is satisfying. From folk (“Red Bandana”) to country (“Hell of a Life”) to Blues Rock (“Higher Than Heaven”), each song draws on a unique vintage sound that overshadows the saccharine lyrics. http://www.myspace.com/leeroystagger - Bethany Hansraj
The sound that permeates the majority of the songs is a cinematic minimalist industrial beat that could be referred to as trance if that name were not already used (perhaps erroneously) for a completely different brand of music. The simple beats complement slowly morphing aural scenery consisting of keyboards, guitars, Theremin, found sounds, and many other elements that are harder to pin down such as the underwater church organ of doom heard on “Faded Photograph”. Relief from this claustrophobia comes in the form of a few forays into pop territory - the downright pretty “World Without Mirrors”, which glides along on little more than light acoustic strumming and flute; “My First Zonee”, an 80’s leaning synth pop update to Tom Waits’ “Step Right Up”; and the creepy but playful banjo-led “Mailman”. It is difficult to convey the variety of sounds and ideas found on Plutonium Blonde – no song sits in one place for long, and no ideas are recycled. Even the strange sequencing that has the record starting with two of its longest songs only adds to its enigmatic nature. This is required listening for anyone who fancies them self a fan of modern psychedelia.
If you’re expecting an It’s a Shame About Ray throwback album, you’re in for disappointment. Varshons is, in the strictest sense, a concept album intended to feel like an old-school DIY mixtape and contains no new material. Rather, Varshons presents a seemingly arbitrary selection of cover songs, from artists as diverse as Leonard Cohen (“Hey, That’s No Way To Say Goodbye”) and infamous punk hero GG Allin (“Layin’ Up With Linda”). The band’s song choices assuredly showcase their vast knowledge of their peers’ work and their appropriation of tunes is often vivacious and inspiring; they touch upon a plethora of genres from bluegrass to prog rock to 80s-influenced electro and prove more than capable at all. Yet, although most tracks are exclusively enjoyable, the album’s confusing genre experimentation and general track-to-track incoherence often feels like a 12th grade essay, that is, it lacks connection. Still, what Varshons lacks in overall consistency, it makes up in celebrity collaborations, with vocal appearances by Kate Moss and Liv Tyler. This record is probably most entertaining when listened to in one-track bursts and placed among other artists’ tracks on a personal mixtape. — Jessica Carroll
Somewhat a departure from the heavy guitar prog rock of Black Mountain (of which Lightning Dust members Amber Webber and Joshua Wells are part of) this second outing from Lightning Dust drops the electric guitar almost completely, focusing instead on melody and harmonies closer to Fleetwood Mac than King Crimson. Many of the songs still retain the slow, post-apocalyptic feel of Black Mountain but they carry much more emotional weight due to lush piano/keyboard arrangements and the lilting voice of Ms. Webber front and centre. While the album certainly appears quite stark on the surface, there is an overwhelming feel of positivity that becomes evident as the collection progresses. Infinite Light is the story of looking for love and finding it against tremendous odds and I mean like, biblical war-time odds. Each song on the album plays out like the ending to some medieval battle scene in which the male and female find each other alive among the dead bodies strewn around them. The path that brought them together was quite the ordeal but the outcome is ultimately hopeful. In the hands of these two musicians who seem to have experienced the journey first hand, this message is delivered quite convincingly. http://www.myspace.com/lightningdust — Daniel Demois
Dear John is the second major label release from Swedish singer/songwriter Emil Svanängen aka Loney, Dear. The album has a great variety of multi-instrumental, vocally focused tracks. Loney Dear uses a unique combination of toned-down dance beats and melodic vocals to create interesting and enjoyable music. The tracks are synthesized beautifully and are reminiscent of the current trends in Swedish music. Although Dear John could be considered experimental, it is still incredibly listenable. The stand out track is “Under the Silent Son,” which drops from an eerie duet into an intense 90s dance beat that’s never sounded so good. http://www.myspace.com/loneydear - Allison Smith
Veteran singer-songwriter, Lorrie Matheson has taken seven-year old, Penn Poutanen under his wing and created this four song EP titled Rebels United. The songs “Autobots” and “The Rebels” have old-school electro boogie beats in the background with this adorable seven-year-old singing over top. The lisp the kid has is to die for. “Sharky” is an adorable minute and a half track with soft rock riffs in the background. There isn’t too much more to write about this album expect one big “aww!” It’s a unique CD but may not be taken too seriously by most but should be respected because this kid has so much passion. Matheson is an extremely talented artist that made this album work. www.myspace.com/lorriematheson - Danielle Cowie
- Joe Veroni
UK punk is alive and well. Think, the new seven-track EP from Lovvers opens up with “Human Hair,” which sounds like a reincarnation of the classic Never Mind the Bollocks Here's The Sex Pistols album. This is textbook punk rock, the band paying homage to punk predeccesors such as the Ramones with most tracks not even reaching the two minute minute mark. Each track is full of gritty, raw, hard-driving energy, leaving you dying for more at their abrupt ending; the album as a whole does not even reach 13 minutes! This is an exciting album that will prove to be an integral part of any punk enthusiast's collection. Buy this! - William Self
This EP starts off on a terrific note. Opening track “Body Buzz” delivers a laid back but upbeat rhythm with a multitude of instruments contributing. The acoustic guitars and piano fills wonderfully compliment the melancholy vocals. It seems that after this track the group decided to take things down a notch. In doing some research it seems that the group is referring to this as experimentation, which is a grand thing, unless the result is for the most part rather dull. While “Body Buzz” introduced new elements throughout, most of the songs in this set are content to slowly base the instrumentation around Tony Cavallario’s vocals. -Daniel Demois
On Frozen & Broken, Lowfish shows why he remains one of the top producers of electronic music on the planet. Lowfish a.k.a. Toronto born Gregory De Rocher has been creating and producing electronic dance music for more than 10 years and he keeps pushing the craft further. The music is precise and no doubt the result of a massive effort, but the album can seem too calculated at times and doesn’t provide a lot of variety. Lowfish’s music is incredibly well-stylized, but not all of his tracks would be able to get a club moving. He relies on strong staccato beats that somehow don’t seem loud enough or fast enough to compete with other artists on today’s electronic scene. This album works but it may work better off of the dance floor, which is a significant downfall for a techno-dance album. myspace.com/lowfishmusic -Allison Smith
If you ever want to know how it feels to walk in a haunted house, listen to this album. Lustmord’s [ O T H E R ] features dark ambient tunes that gives the creeps. The album feels like a soundtrack to a horror film. Although at eight tracks it may seem short, it’s anything but as the tracks fill the entire disc at over 78 minutes. This is definitely an album you can’t intensely listen to, otherwise you’d get bored within seconds of listening to “Testament,” a slow, brooding tune filled with synths. “Er Ub Us” also has that chilling feel with the occasional twang of guitar here and there. This album is definitely not for everyone and takes a lot of patience to sit through and listen to unless you have it on in the background. Don’t listen to this one with the lights off. http://www.myspace.com/lustmord - Jon Brazeau
With soul, sass, and a lot of fancy bling around her neck, Lykke Li’s stage performance is something you’d want to experience everyday, which makes her record Youth Novels essential for Swedish music lovers. It gives you a good feeling from your ears to your feet and it just gets better the more you play it. “I’m Good, I’m Gone” has more handclaps than a church choir, which combined with the sugary pop factor makes it a dance treat. The vocal harmonies Li is known for are best displayed in “Little Bit”, a song that is definitely for people that are down with love. “Breaking It Up” is a catchy, cute, high-energy song, but trust me; you won’t get tired of dancing to this one. It’s a wonderful record for your mind, body and soul. Overall, great debut for Lykke Li and an amazing addition to the Swedish music scene. - Maxwell Mohenu
Yee haw. Dubbed the “Broken Social Scene of roots music,” Winnipeg collective The Magnificent 7s are exactly the type of band who should be writing songs called “Whiskey Song.” Driven by an acoustic guitar, banjos and fiddle, “Whiskey Song” is a splendid roots song that crams as much as it can into a track that’s just over two minutes long. Traditional song “Red Rocking Chair” features lead vocals from Ida Sawabe and is an album highlight. Chris Bodnarchuk returns on lead vocals with “The Wolf,” a much slower, calmer song that lets the listener catch their breath after the flurry of the first three tracks. Sawabe and Bodnarchuk’s vocals mix well together on “Yodel Song,” which also serves as a nice, warm closing track (and yes there is yodeling). They might not have the star power of Yul Brynner, Steve McQueen, Charles Bronson, James Coburn & co. but this group of Magnificent 7s are worth listening to. http://www.myspace.com/themagnificent7s — Jon Brazeau
Ever since retiring the Songs: Ohia moniker roughly around 2003, Ohio-based singer-songwriter Jason Molina has continued his apparent quest to sound as close to Neil Young as possible. His Magnolia Electric Co. band (named after the Songs:Ohia album Magnolia Electric Co., not to be confused with the Jason Molina Pyramid Electric Co. — see where this is going?) has fleshed out the more rock-based aspects of Molina's folk-tinged songwriting, while holding up the sweet tenor so closely hued to Mr. Young’s. Conceived as a tribute to MECo bassist Evan Farrell, who perished in an apartment fire two days before Christmas 2007, Molina once again enlists the inimitable Steve Albini for another crystalline recording. The bolder strokes of the album work strongest, like the E Street Band saxophone solo on opener “O! Grace.” However, despite Molina’s impressive work ethic (supposedly the band's high amount of recording and touring is due to Molina’s urge to pay his musicians fair working wages), this tactic has backfired as of late, with generally lackluster songwriting. The brevity of the album’s 14 tracks (clocking in at a lean 47 minutes) leave listeners yearning for the epic songwriting of past Molina masterpieces like “Blue Factory Flame”; the tracks instead blow by in a pleasant but faceless blur. Josephine will serve as good an entry point to Molina’s work as any, especially those looking for passable roots rock but for the longtime fan, the album will hold little consequence. http://www.myspace.com/magnoliaelectricco — Kevin Harper
It would be fair to say that most of us have consumed media in some way or another that was presented in a foreign language simply because the substance of that media was worth paying attention to. The French language is in no means foreign to Canadians yet a vast number of us are guilty of not speaking it. When French band Malajube released the single “Montreal -40°C” a few years ago, they managed to catch the attention of both English and French speaking Canada which has not been accomplished since, dare we say, Mitsou. Labyrinthe is the third full release from Malajube and as with all of their previous recordings, there is not a lick of English to be heard throughout – not that there's anything wrong with that of course! The album opens with “Ursuline,” full of really interesting tempo changes throughout the comopsition as does “333” (or is that trois, trois, trois). The remainder of this release really does make it worth pulling that French School Dictionary off the shelf. C'est très bon!
Instead of singing poignant yet fun-vacuum tunes like “Sleeper 1972” from their first official release, I'm Like a Virgin Losing a Child, Manchester Orchestra instead introduce a completely overhauled operation – a sound almost indistinguishable from their earlier work. Mean Everything to Nothing is so different, in fact, that it reached # 37 on the U.S. Billboard charts, and the single “I’ve Got Friends” has reached a coveted marker of success: being featured on Gossip Girl. Omg. So what happened to Manchester Orchestra that thrust them so aggressively into the mainstream? It probably has something to do with the fact they’ve changed everything. The album exudes a certain confidence: swaggering guitar work and heavily distorted refrains stomp triumphantly twixt precise, almost ceremonial percussion. Tracks like “Shake It Out” are certified anthems, and even leading man Andy Hull’s voice has transformed from his signature delicate whisper to a crazed and often unmeasured rasp. Andy documents his disenchantment with the Church and estrangement from his pastor father throughout the album, both heavy themes throughout I’m Like a Virgin Losing a Child. Wrought with tension and distortion, Mean Everything to Nothing is one of the most surprising albums of the year. http://www.myspace.com/manchesterorchestra - Tommy Morgan
Self-proclaimed “torchbearers of the unusual” Man Man release their much anticipated third full length album in five years on April 8th. Rabbit Habits provides the Man Man-requisite number of curious instruments in bizarre orchestration with circus-like songs that whirl you around and around until you aren’t quite sure what’s happened, or if it’s good. You feel dizzy, kinda funny inside. Lead singer Honus Honus’ voice is still booming in your head, his piano leading your mind on an epic unending waltz and as you’re slowing the spin to a halt you stumble out and stand, stunned, wondering: what now? These guys are famous (or infamous) for their exuberant live performances, in which they tirelessly perform non-stop—taking no breaks at all. Ever. No wonder the album is a dumbfounding experience. They are definitely avant-garde in their strangeness but not inaccessible in an overly pretentious way. They’re spontaneously combustible and love taking us along for the ride. - Aurora Prelevic
Turning the Mind sounds exactly what its title may lead you to believe. Layered in synths and drum beats, along with James Chapman’s whispery vocals, the album feels like a mindfuck. The title track opens the album and starts off soft and slow before building to its climax five minutes later. “I Dream of Crystal” and “Valium in the Sunshine” both live up to their names, continuing the floating-in-space feel of the album (and with the latter, it’s clear Chapman has taken the Spiritualized route by mixing in drug references too). It’s a little out of place to hear the line “get the fuck off my case” during “I Dream of Crystal” and therein lies the main problem with the album: it tries to do one thing but ends up something else. It wants to be aggressive but feels sedated and weakly chugs along. “Let Go of the Fear” and “Love Will Come” are more dance-oriented — the beat plays a more prominent factor in the production — and change up the formula a bit but still maintains the dream-like atmosphere. Unfortunately, they’re not really songs you would dance to unless under the influence of drugs (which might be the point actually). Other songs like “Love Will Come” simply suffer from the lethal combination of being simplistic and repetitive. Overall, Turning the Mind is a difficult album to truly enjoy but it’s also a difficult album to really hate on either. http://www.myspace.com/mapsmusic — Jon Brazeau
Halifax’s own Mardeen have taken the spirit of east coast predecessor Sloan and turned the pop up a notch. Over the span of 12 tracks, the album charms and delights, with catchy lyrics and bouncing beats. “City Lights” is a treat and should be a radio-friendly hit. There are hints of Treble Charger here and there as the youthful vocals provided by the band help give the album an extra hop. With a slower beat, “Kids” shows a sense of maturity despite the name. It’s almost hard to believe this is their debut LP but given the overall feel, it could only come from a band early in their career, before they get burned out by years of touring and grinding it out in the studio. Here’s to hoping Mardeen doesn’t turn out like that and continues to create fun pop rock albums like this one. http://www.myspace.com/mardeen - Jon Brazeau
There isn’t a single weak track on this album, but there a few standouts such as “Lock and Key”, and the rocking “Shiny”, a song that changes from steel drum sounding guitars to a rhythmic stop start riff without sounding strained. The lyrics are also noteworthy, as vocalist Jonathan Visger is capable of heartfelt moments in songs like “In The Mirror” as well as more upbeat and aggressive moments with a sense of pessimistic humour that never sounds disingenuous. Blessed by a short run time and a multitude of great ideas, Olly Oxen Free is a consistently rewarding listen that places Mason Proper head and shoulders above their peers.
Creating a genre titled horrorbilly (a mix between rockabilly, punk, psychobilly, and lifestyle/stage presence), the Matadors are still going strong after rocking crowds for 13 years. Their fifth LP, Sweet Revenge, is a catchy album with all the lyrics written by frontman, Hooch Parkins. His bittersweet lyrics (more bitter then sweet with most songs) and voice are hypnotizing to the ears. The 11th track, “If You’re Gonna Bitch,” is a great song, which features the female voice of Jen “Hellcat” Blackwood, former Creepshow frontwoman. The last track on the album, “I Lied,” is a mellow tune with lyrics like “If you had a dime, you’d be god damn rich beyond your mind, because the truth is, I lied all the time.” So pick up the album; it’s always refreshing to hear stellar Canadian music.
Mix together punk band Brand New with the Beastie Boys and “Weird Al” Yankovic and you have MC Lars. While that might seem like an odd combination, Lars raps about pop culture in a juvenile “humourous” fashion with punk-inspired instruments and samples. The result is hit and miss, often sounding like a poor man’s Weird Al. While the songs may make you laugh at first, some of the tracks might also make you cringe. “Hipster Girl” - with its references to Pitchfork Media, Pavement, Vice Magazine and Donnie Darko - feels like a punch to the stomach rather than side-splitting funny. Other tracks are just odd, such as “35 Laurel Drive,” which is an ode to, “my drummer has the messiest house in New Jersey.” No seriously, that’s the chorus and it repeats often, ad nauseam. “Guitar Hero Hero (Beating Guitar Hero Does Not Make You Slash)” features a guest appearance from guitarist Paul Gilbert of Mr. Big (honestly, has anyone heard of Mr. Big since 1993?) The song itself is slightly amusing if you’ve played video games at all (or even watched television as American Idol and CSI are mentioned too). “O.G. Original Gamer” continues the video game theme, covering the old school NES and Sega Genesis days, but by then, Lars’ shtick feels overused and played out. If you’re easily amused, this album is for you. All others should avoid. Top track: “Guitar Hero Hero (Beating Guitar Hero Does Not Make You Slash)” - Jon Brazeau
The third collaborative effort between Megan Hamilton and Mark Vogelsang combines folk roots with a nautical theme, but don’t worry, it’s not enough to make you sea sick. While listening to “Wherever You Are,” you can almost picture the lighthouse in the background and the widow’s walk as Hamilton sings the song’s title during the song. It is also the “epic” track on the album, clocking in at over six minutes whereas the other 12 tracks hover around the two-to-four minute mark. The song isn’t your typical folk tune either, featuring electric guitars but the song is primarily led by Hamilton’s soft vocals and keys. Hamilton’s vocals are also layered constantly, most notably on “Two” where the chorus-like effect adds an extra punch. All in all, for a not too typical folk album, it might be worth checking out or at least take a listen to first. http://www.myspace.com/meganhamilton -Jon Brazeau
As the sophomoric effort of The Memories Attack, this album is not especially redeeming. If this duo was not a partnership between Chris Thompson of Eric’s Trip and Ron Bates of Orange Glass, it would be written off as a small-town high school band’s debut; trying too hard to emulate the lo-fi/grunge sound of the early ’90s. Roughly half of the album adds to the skepticism of the relevance of modern lo-fi and the other half acts as a single pillar; a good support but unable to hold up a roof. The opening track “Go!!” has an eerily similar guitar rift to The Smashing Pumpkins’ “Bullets With Butterfly Wings” and this shamelessly showcases exactly how much this band refuses to evolve. However, there is one endearing song: “Peaks and Valleys.” The lyric, “let’s close the gap and fall in between,” combined with the rough guitars suggest nostalgia rather than recreate the past. It’s only a matter of time until The Memories Attack realizes that to get anywhere, you have to move forward and perhaps stop taking the band name too seriously. www.myspace.com/thememoriesattack - Melissa Kim
Meshuggah continues to hold down the title of the world most devastating metal band. They have single handedly changed metal forever and raised the technical bar of musicianship to an almost unthinkable level. In their 21st year of existence Meshuggah have delivered Obzen an astonishingly complex album that screams metal perfection. Meshuggah wastes no time getting straight to the point on this album. From the first track it is a straight up metal massacre. You can’t make out a word that vocalist Jens Kidman is saying but that's OK; it adds to the band’s mystique. Track after track the band delivers some of the most complex song arrangements that keep the album fresh and interesting. Their hit single "Bleed" which is in heavy satellite radio rotation is basically a drum clinic put on by drummer Tomas Haake. The blistering speed and patterns of the syncopated guitars and kick drums will leave you in awe of the talent this band possesses. However, the title track "Obzen" won’t be a favorite on the dance floor as the odd time rhythms would surely leave a mosh pit in utter confusion. Put simply, this album is simply amazing. - Andre Skinner
It’s been four years since their last release due to the band’s energies being invested in other projects but by the sounds of Metric’s Fantasies, the potential of this album was in the back of their minds the whole time. Lyrically and thematically, all 10 tracks are clearer and more direct than ever before. Their catchy single “Help I’m Alive” is the first track on the album and it acts as clever bait by setting a standard of allure for. Then there’s the waltz-tempo of “Collect Call,” which in its desperate vulnerability has frontwoman Emily Haines begging throughout the chorus, “Keep me closer. I’m a lazy dancer. When you move, I move with you.” All in all, the first seven tracks are very strong, and the last three simply round them out accordingly. Haines does well in doing what she always does: writing music that paradoxically somehow seems tangibly intangible. It also helps the production work is very fresh and highlights the band’s strengths. Proving they are more relevant than ever, Metric’s third full-length effort is undeniably their best work yet. - Melissa Kim
Micheal Franti wants you to know that the rude boys are back in town and they haven’t lost their sense of social consciousness. All Rebel Rockers is Michael Franti & Spearhead’s follow-up to 2006’s Yell Fire! Franti and company headed to Kingston, Jamaica to ignite their latest effort and enlisted some high-profile help while there. The legendary Sly & Robbie produced this record and lent a great dancehall sound that will certainly have listeners grooving late into the night. Also enlisted to help with the dancehall sound is the Princess of Dancehall Soul, Cherine Anderson. Anderson’s sexy voice appears on three tracks, including on album highlight “Soundsystem.” Other songs like “Hey World (Remote Control Version)” and “The Future” let us know just because this album will have you dancing the night away doesn’t mean Franti’s signature politically-charged lyrics aren’t still present and as poignant as ever. While you’re considering Franti’s thoughts on issues both close to home and abroad, you’ll be treated to a variety of sounds that will have you grooving, rocking, and dancing with fists held high. http://www.spearheadvibrations.com/ -Joe Veroni
The Micronite Filters come at you with thoughtful intensity on their latest album Rocket From Infinity. With a mix of styles ranging from Led Zeppelin, Black Sabbath and Jimi Hendrix to Robert Johnson, Bob Dylan and Neil Young, these MF’s know how to rock. The Oshawa, Ontario four piece group’s album is musically diverse with a blend of roots, blues, country, and guitar-driven stoner rock. The lead off track “Into The Night” sets the tone nicely for the rest of the songs to come. “Cloudbustler” has a roots country vibe, “Suicide Magnets” rocks hard, “Whiskey Jarred” grooves slowly for nearing 10 minutes and “Texas Tea” brings out the blues guitar rock. The closing song “Another Thrill” ends the journey nicely and leaves you looking forward to the next trip. This is a band you must see live because if their recorded music is any indication, their live shows must be insane. - Diane Foy
The Midway State’s debut album, Holes is a very deep and soulful record. Unfortunately, you can only be fed the same soup so many times before you get sick of it. “Fire Keeps on Burning” is the only track that has something different to offer. The rest of the album is decent, but very linear. It’s safe to say that Holes is not a total dud if you’re a big fan of the band, but definitely not something that spectacular for non-fans. - Maxwell Mohenu
http://www.myspace.com/mikeevin - Joe Veroni
Tell It To The Volcano is the uninspiring debut from Miniature Tigers. This Phoenix, Ariz. band’s collection of pop ballads are immature and unoriginal. The album may actually be an attempt to recreate what Ben Folds Five did in the 1990s but without Ben Fold’s voice, talent and piano. Each track boasts its own signature cheesy rhyming chorus, e.g. the title track’s lyrics: “Down you go, down the hole, tell it to the volcano.” Although there is potentially something behind these lyrics, and the occasional reference to TV’s Lost, listening enough times to find out will be far too painful. http://www.myspace.com/miniaturetigers - Allison Smith
Miss Autopsy is the brainchild of one Steve Beyerink from Chicago. He’s the one you’ll either cheer or boo for this art rock concoction. Beyerink’s nasally vocals are reminiscent of a pre-fame Isaac Brock (Modest Mouse, not the war hero) mixed with the poetic, straight-forward approach of The Tragically Hip’s Gordon Downie. And that’s a good thing since Isaac Brock doesn’t even sound like Isaac Brock anymore. Opening track “Jonathan” comes across more like a poetry reading with instruments serving as the backdrop than a song but it works. “That Fighting Spirit” steps into gear with a catchy guitar riff; Beyerink sings “I wanna be alone,” which could easily be referring to his own band, which started as a solo project, expanded to a full band and is now a solo project once again. “Caterpillar” and “The Wildlife Refuge” are both over eight minutes long and while the length may scare listeners, those who appreciate Beyerink’s sound will think eight minutes isn’t long enough for either one. “The Wildlife Refuge” borders on Slint territory, with simple vocals and guitar (and spooky atmosphere) instead of post-rock. “El Paso” is the closest to the singer-songwriter genre and Beyerink handles the transition well. Caterpillar certainly isn’t for everyone but those who like it will like it a lot. http://www.myspace.com/missautopsyband
Mock Orange is one of those bands whose musical resume couldn’t look any better. Captain Love is a record that was definitely worth waiting for. Teaming up with Jeremy Ferguson takes the band away from your more typical indie rock and gives their sound a shot of that brash Nashville pop rock that has made bands like Be Your Own Pet a force to be reckoned with. “Song in D” is folk rock with an edge; everything is taken up a few notches, which makes the song a solid listen. “World of Machines” has a New Pornographers type swing to it, but in a good way. Overall, the record is consistently good and it’s refreshing to hear a band that won’t bore you to death. - Maxwell Mohenu
From Mount Eerie comes Wind’s Poem, the third album from Anacortes, Wash.’s Phil Elverum that boasts the beauty and tranquility of a dream world, as well as the instability and depth of nature. The record’s influence claims to draw its inspiration from outdoor elements after Elverum spent almost two years in a house at the edge of the woods attempting to capture the essence of wind and night. Though most of Wind’s Poem — specifically the 11-minute long “Through the Trees” — capture the mysticism of nature’s secrets, tracks like “Wind’s Dark Poem” and “Mouth of Sky” seem to mimic the spontaneity of a thunderstorm with its startling presence and abrupt instrumentals. Though undoubtedly a beautifully recorded and sincere effort, it can be difficult to differentiate between the artist’s idea of serenity and most audience’s background noise. As long as listeners are ready to spend time sifting through the unique and meticulous details put forth by Mount Eerie, they will not be disappointed; however Wind’s Poem is not for fans of the generically or unoriginally composed. http://www.myspace.com/mounteerieorthemicrophones — Anne T. Donahue
MSTRKRFT quickly emerged as Toronto’s premier electro house duo in 2006 with The Looks but Jesse F. Keeler and Al-P have changed up the formula on their sophomore release. The Looks was more house than electro but Fist of God is a complete switch. The album cover is a good indication of what to expect, featuring heavier beats and aggressive synths, packing a mean punch. Vocoders have been dropped in favour of guest vocals from artists like John Legend and Ghostface Killah. E-40’s appearance on “Click Click” is alright but Ghostface Killah sounds completely uninspired and phones it in on “Word Up.” The emphasis on guest vocals may alienate fans of The Looks but “Vuvuvu” and “1000 Cigarettes” are more traditional MSTRKRFT songs, sans guest vocals, and focus more on delivering the instrumental goods. “Bounce,” released as a single almost a full year prior, has already been remixed and improved by A-Trak and Mansion but the original still holds up with its crunching synth sound. Overall, Fist of God isn’t a clear hit or miss but still offers up a few dance-worthy tunes. http://www.myspace.com/mstrkrft - Jon Brazeau
Mt. St. Helens Vietnam Band’s self titled release is an up-to-the-minute example of indie pop today. Drawing from so many influences, it almost feels like you’ve heard the album before the first listen but this is not a bad thing. The familiarly pleasing sound of the Seattle quintet calls to mind the most recent releases by hit acts Fleet Foxes, Yeasayer and Wolf Parade. The drums and electric guitar are hard-hitting enough to make you bob your head while the vocals of lead singer/guitarist Benjamin Verdoes hold the record together seamlessly. Mt. St. Helens Vietnam Band gained Internet notoriety following blog postings of band photos sans any online access to their music. This PR act was enough to get people talking (or bloggers blogging) and guarantee a successful release of this solid LP. http://www.myspace.com/mtsthelensvietnamband - Allison Smith
After a nine year hiatus from their last release, the Music Tapes are back with Music Tapes for Clouds and Tornadoes. Certainly not music for all ears to hear, the album is unique and creative to the bone. Listeners will either enjoy the originality of this album with it's raw and imaginative sound filled with vintage folk instruments or they will quite possibly reject it altogether. “Freeing Song for Reindeer” is simple and elegant featuring only a banjo and the vocals of the band's founder and frontman Julian Koster. “In Majesty,” an incredibly lovely melody is produced from antique instruments such as the musical (singing) saw and the banjo. Truly, it is a love it or leave it piece that must be heard. http://www.mergerecords.com/artists/music William Self
N.A.S.A.’s (short for North America/South America) debut album features over 40 collaborations with the likes of Tom Waits, Karen O, M.I.A., Kanye West, and Chuck D, just to name a few. The DJ duo behind this project, Sam Spiegel (Squeak E. Clean) and Ze Gonzales (DJ Zegon), were very ambitious in putting this together, devoting the past six years to these 17 tracks. However, bringing together different artists for a hip-hop and Brazilian funk inspired album is a little like communism: much better on paper than in practice. There are a few tracks that did work out; as are the odds when you have almost 20 songs in one go. “Gifted,” which features Kanye West, Santigold, and Lykki Li is a little more pop-inspired than the other songs (in a good way), and M.I.A. does justice to the catchiness of “Whatchadoin?” featuring Santigold, Spank Rock, and Nick Zinner. “Spacious Thoughts” with Tom Waits and Kool Keith is only worth its appeal in its novelty because the contrast is a little too harsh to make the song enjoyable; as in they sound like they are continuously crawling over each other. The remaining songs are easily forgettable and at times a little obnoxious, especially since it is hard to detect that some of the artists are actually involved in the song in any way. And the DJ beats? A little on the amateur side, but perhaps that’s a little beside the point. - Melissa Kim
One thing that hasn’t changed is Case’s tradition of recording brilliant covers, something that is as much an honour for those covered by Case as it is an honour for her to reinterpret the tunes of her heroes. This time Nilsson’s funny and heartbreaking “Don’t Forget Me” is given the royal treatment with a half-dozen pianos that pull at your heart strings, and Sparks’ “Never Turn Your Back on Mother Earth” fits right in with the album’s major themes. http://www.nekocase.com/
With MGMT opting to renounce its signature propagation of overhyped psychedelic nostalgia, Neon Indian is grappling to carry that coveted torch and do it one better. The debut release from Alan Palomo (VEGA, Ghosthunter), Psychic Charms synergizes sounds of video game synthetics, warm weather, hippy aesthetics, and lo-fi innovation for its 12 tracks of upbeat mixes. All of the songs run together in the best way possible. But if you’re not convinced, the song “Deadbeat Summer” is a good representation of the rest of the album, and if you don’t like that song, the album won’t cut it for you at all. But it’s hard to say no to a good dose of well-crafted indie pop music with a lo-fi twist. And Palomo knows his pop; his dad was a Mexican pop star way back when. Who knows, Neon Indian could just distract the masses from waiting around for MGMT’s ever elusive follow-up. Either way, Neon Indian’s summer jams should at least keep your temperament warm this fall, if not your temperature. http://www.myspace.com/neonindian — Melissa Kim
Can you hear the glowsticks? No? Then you’re not on enough E, or X, or lovedrug or whatever the hell kids are calling it these days. The New Deal have released yet another live album that you can disgrace your ears with. Their latest indulgence is ingeniously entitled Live: Toronto 7.16.09 and consists of six sprawling techno epics clocking in at over 66 minutes. It’s the Toronto band’s 10th album — which seems a little excessive, no? Why would a band (not named Daft Punk) write 10 electronic records? Seriously, why? If anyone has an answer to that please let me know. The New Deal may have been around for well over a decade and performed hundreds of shows all over the world but that doesn’t change the fact that they’re an electronic jam band best suited for young girls looking to get roofied. Live: Toronto 7.16.09 was, in case anybody cares, recorded in Toronto’s Mod Club. And thank sweet Jesus I missed it. Allegedly, this album is a portrait of the band’s current development as musicians — but near as I can tell it’s nothing more than a portrait of three aging techno-heads who just insist on a synthesized sound. Okay, now I’ll be nice for a second just in case there’s someone out there who actually reads The Spill for our incredible insight into techno . . . actually, fuck that — we don’t want your readership. http://www.myspace.com/tndmusic —Joe Veroni
The New Enemy is relatively new to Toronto’s punk scene but they’ve made themselves known by playing lots of shows around town and getting some Canada/U.S. tours under their belts. Throw a pair of EPs and a crap-load of talent into the mix and you’ve got the making for a band on the move. But be forewarned, this is some seriously raw punk rock that won’t be found in the malls. The New Enemy is the real deal — fast, furious, furious, and aggressive. The Outsourced EP is straight ahead thrashing that makes Rancid sound like dinner music. The EP features five originals, including the blazing “3 Sheets” and the anthem-esque “Black & Blue (Collars).” As a little bonus, there’s also a cover of Kid Dynamite’s “Decontrol.” But the real story of the band’s CD debut is Clint McLean’s voice. With vocal chords stripped bare, McLean spits blood with every word. Don’t get too close to your stereo or you’re liable to get some on yourself. This is raw and passionate; it’s hard-hitting punk, and it’s for fans of the genre or for anybody who just wants to scream. http://www.myspace.com/thenewenemy
The New Enemy’s second EP picks up right where their first release, Outsourced EP, left off. This is six tracks of aggressive and in-your-face punk rock that hits hard and often. Not surprisingly, The New Enemy sticks with their socially conscious sound. The opening lyrics, “Desperate measures for hopeless times/Society’s soldiers committing crimes,” set up the tone for the entire EP. The message found in the lyrics holds true musically as well, right from the explosive drumming of “Tim Horton Hears a Who” to the raging guitar work of “Shelf Life.” “Pony Collector” explores the softer side of The New Enemy but fret not, that exploration lasts mere seconds before kicking into the band’s now patented skull-crushing style. The best part of The New Enemy’s second EP is that they’re never afraid to let loose; the spirit of the tunes are chaotic and wild. Luke Muldoon’s angry guitar work begs to have your stereo up loud enough to make your ears bleed, while Clint McLean’s savage vocals drag a cheese grater across your face (this is the same dude who, as rumour has it, prepares for a show by chewing glass and eating sand paper). Needless to say, Outsourced EP is not for the faint of heart or any little mall punks looking for whiny tunes about heart break. Crank this one up to eleven and while you’re at it, keep your eyes peeled for The New Enemy as they tour frequently. htttp://www.myspace.com/thenewenemy — Joe Veroni
It’s hard to believe that this is Florida pop punk band New Found Glory’s seventh album. But as the title suggests, they’ll give it their best shot to keep releasing CDs. Although they dislike being compared to bands like Sum 41 and Good Charlotte, it’s hard not to when lead singer Jordan Pundik’s vocals continue to come across as angsty and whiny and the band’s heavy chord driven music is reminiscent of their counterparts. With Blink 182’s Mark Hoppus producing the album, the band was in good hands and for a pop punk album, it’s not that bad. Having said that, it’s probably best to be avoided by anyone who doesn’t frequent West 49 on their trips to the mall or anyone over the age of 18. http://www.myspace.com/newfoundglory - Jon Brazeau
The Urban Dictionary defines Nick Cave as an Australian musician, actor and author with “unmistakable talent.” Indeed, Cave continues to pump out critically-acclaimed album after album and middle age hasn’t slowed him down. Since 1995, Warren Ellis has been Cave’s “partner in crime”: performing with Cave’s main band, The Bad Seeds, joining Cave’s side-project, Grinderman, and recently, composing film soundtracks together. White Lunar is a collection of those film scores, notably music from The Proposition and The Assassination of Jesse James by the Coward Robert Ford. The two-disc album also features tracks from the upcoming film The Road, allowing listeners to catch an early sneak peak. Listening to the atmospheric, spooky album, you can almost picture yourself watching the films play out in your head. From the haunting keys of “Song for Jesse” and “What Must Be Done,” to the chilling “The Proposition 1” and “Window,” Cave and Ellis’ minimalist approach feels like Ennio Morricone at times and Angelo Badalamenti circa Twin Peaks at others. And then there’s “The Rider 2,” which spirals into madness and features Cave’s whispering vocals, and “Sorya Market,” who’s 19-plus time length is misleading as there is a significant gap between the sombre first half and the noisy, vintage Cave ending. Ellis’ violin contributions give it that worn-out, western feel, which works wonders when the subject matter is either the wild west (Jesse James era) or a bleak, post-apocalyptic world (The Road ). While the songs are short and repetitive at times, they really shouldn’t be faulted too much, given the origin of the pieces. They establish the mood perfectly and hold up quite well on their own too. http://www.myspace.com/nickcaveandthebadseeds — Jon Brazeau
This self released five-track EP of fuzzy grunge will probably excite those who prefer their rock music to be more traditional and uncomplicated than contemporary sounding, and this three-piece girl-boy-girl band play the kind of music that keeps the conventions of the doddering cock-rock form unchallenged. Big distorted riffs, bass breaks, drum fills and the odd, “Hey” shouted at the opportune moment does nothing to advance the hoary old hybrid of goth, glam and grunge, but hey, not everyone wants progress. At least Nightflowers are capable of turning on the switches and pressing the buttons in those that like all the lights turned on in their head in a direct verse-chorus-guitar-solo-cheeky-lyric, kind of way. Easy targets are harangued and sermonised, such as the duplicitous arrogant male in “Man of the People” or the haunted self-doubt of a cheerleader in “Pep Rally” but like the straightforward nature of the songs, nothing is communicated other than a straightforward proclamation. Still, who said rock music shouldn’t be simple and unsophisticated? http://www.myspace.com/nightflowersmusic - Christian Martius
Nine Inch Nails leader Trent Reznor’s significant man-muscles are being put to good use as fans get to enjoy his latest album The Slip. Not only is the classic Nine Inch Nails sound as intact and impressive as ever, but like Radiohead they have given the album to fans online for free. Nine Inch Nails is famous for their hard electronic sound as much as they are for cool, smooth piano in their instrumentation. The Slip is no different. Parts of the album are either too loud, or not loud enough and will make you turn your volume up and down to adjust. Trent also preserves his ability to creep you out, as on “Corona Radiata”, where the distinct sound of babies crying, and perhaps even cats screeching, is heard. These sounds remind the listener that Nine Inch Nails is probably not the best music to fall asleep to. Trent Reznor is much like a fine novelist, keeping a distinct style and using it to write new stories. Even though some of the music on The Slip has familiar elements it still sounds fresh and always excellent. - Ana Cristina da Silva
Harkening back to the shoegazing days, Nouns by No Age is a riot of catchy, noisy lo-fi rock.“Miner” is a great example of this, with Dean Spunt’s vocals perfectly blending in with guitarist Randy Randall’s wall of electric buzz. While the opening track’s noise might be overwhelming for some, it’s worth sticking around and listening to the rest of the album as the band’s symbiotic combination of noise and pop melodies provide an interesting battle between the two. The album mellows a bit on “Things I Did When I Was Dead,” where Spunt’s bleak, monotone vocals control the pace of the sombre song. “Cappo” and “Sleeper Hold” up the tempo as both sound like dirty punk singles that equally rock hard. They also standout lyrically with sing-along choruses. Not to be outdone, the fuzzy guitar-only outro on “Ripped Knees” sounds as depressing as any sad love song. No Age create an enjoyable mix of noise and pop tunes and Nouns is a surprisingly infectious release. http://www.myspace.com/nonoage -Jon Brazeau
Since forming in 2004, Toronto’s Ohbijou has attracted a steadily rising buzz about their wistfully romantic, string-laden indie pop, resulting in a promising LP and a split with Ottawa’s like-minded The Acorn. Beacons begins engagingly enough with “Intro to Season” formally familiarizing the listener with the band’s trademark ascending melodies, building towards misty-eyed climaxes. Unfortunately, the rest of the album follows the exact same formula, with the vast majority of songs using distressingly similar melodies and arrangements; Casey Mecija’s limited vocal range does little to dissuade this feeling as well. Only with “We Lovers” and the following, concluding two tracks — “Memoriam” and “Jailbird Blues” — does the sentimentality start to sink in, with the strings of violinist sister Jenny Mecija and cellist Anissa Hart finally starting to lift beyond a basic repetition of a song’s main melody. Ohbijou’s sound still promises potential of genuinely heart-tugging weepers but they will have to strive for greater variety and intensity on future releases to sustain audiences. The band’s upcoming set at Lee’s Palace on Aug. 20 for the release of the Friends in Bellwoods II compilation will likely provide a more satisfying starting place, with the power of live atmosphere behind them. http://www.myspace.com/ohbijou — Kevin Harper
Do not read the sticker on this CD unless you love disappointments and pretensions sans irony. It reads: “The first piece of Oneida’s much-anticipated ‘Thank Your Parents’ triptych of releases, which will lay bare the band’s colossal vision of a new age in music.” Alas, if only the music was as ambitious as the promo. It’s okay to take a long time to get to the point as long as you eventually get to one, but there is no payoff on this ninth full-length release from Brooklyn quartet Oneida. This part of the “triptych” consists of one 39 minute+ piece split into parts named with the same imaginative flair brought to the creation of the work itself: “Preteen Weaponry, Part 1;” “Preteen Weaponry, Part 2;” and the equally illuminating “Preteen Weaponry, Part 3.” The songs could probably be abridged to around seven minutes total without any real injury being committed to their integrity. Buried beneath a monotonous drone and waves of static louder than any instrument are murkily distinguishable kernels of melody, but too few and too far between for this to be anything other than background music. - Gord Reilly
Our Last Night's latest release The Ghost Among Us is an amazing album and is what you’ve come to expect from a major label like Epitaph. This disc is well rounded with amazing heavy hitting screamo/skate metal that would get any crowd rocking hard. Tracks like "Symptoms Of A Failing System", "Recovery" and "This Is Your Life Saver" really kick your ass hard and showcase the band's tightness and impeccable song writing ability. This CD has tones of angst and power and is a great listen, especially for that early morning coffee drive to work when you're you trying to wake up. If you are into band like Gallows and Protest the Hero, you'll love these guys. - Andre Skinner
On his latest album, Heartland, Owen Pallett (formerly known as Final Fantasy) leaves behind the chamber pop feel present on his previous album, He Poos Clouds. Instead, Pallett introduces a brighter, more delicate style. His new tone, along with the addition of new elements to the music, make for a more approachable album that still manages to retain the distinct sound present on He Poos Clouds. Tracks like “Lewis Takes Action,” “Flare Gun,” and “Lewis Takes Off His Shirt” are examples of the new direction Pallett takes. Instruments that provide a deeper, more ominous vibe are not as prominent as they were on his previous album. On the contrary, the flute and viola are the focus of this album’s instrumentation and create an upbeat tone with bright flourishes and soaring melodies. Pallett also enlisted the services of long-time collaborator Jeremy Gara (Arcade Fire) to integrate more percussion into the songs, thus providing a variety of new sounds that Pallett’s previous album lacked. The versatility of Gara’s percussion is an important contribution to Heartland and helps break down the barrier between Pallett’s distinctively unique sound and basic pop rock in the song “Tryst with Mephistopheles.” All in all, Heartland shows that Owen Pallett has grown as an artist, and created an upbeat, approachable sophomore album. http://www.myspace.com/owenpallettmusic — Joseph Fava
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West Ryder Pauper Lunatic Asylum
Primary Colours
Alphabutt 
Sea of Stars 
Everything is Real 
Varshons
Infinite Light
Dear John 
Dimensions 
Think
Frozen & Broken 
Youth Novels
Dirty Roads 
Josephine
Labyrinthe
Mean Everything to Nothing 
Turning the Mind 
Sweet Revenge
This Gigantic Robot Kills 
See Your Midnight Breath in the Shipyard 
The Memories Attack 2
Fantasies
Good Watermelon
Tell It To The Volcano 
Wind’s Poem 
Fist of God 
Mt. St. Helens Vietnam Band
The Spirit of Apollo
Middle Cyclone
Psychic Charms
Live: Toronto 7.16.2009
Outsourced EP
Shakedown EP 
White Lunar 
Night Flowers EP
Beacons 
Heartland