Articles posted under Albums

A human beast with a brain and a mind

Mental Beast - The Eggnog Experience
Last week I attended Mental Beast’s Christmas party (read my review over at Exclaim!), a charity show featuring thirteen Vancouver indie bands. For those unfamiliar with Mental Beast, it’s a twelve-part web series about a failing radio station, featuring guest appearances and soundtrack contributions from a wide array of local bands (many more than performed at the concert). It’s a funny and touching series, and is well worth watching—even for those unfamiliar with the Vancouver music scene.

Mental Beast recently issued The Eggnog Experience, a 29-song Christmas soundtrack featuring many of the songs from the show. It’s a mixture of originals and holiday standards, with each track performed by a different band (which must have been a massive organizational undertaking to say the least).

Interestingly, the highlights of the compilation come from the bands that fared worst at the concert. Nick Krgovich & Rose Melberg’s “Coldest Night of the Year” is a gorgeously twee ballad, the pair’s soft harmonies supported by a click-clacking electro beat and tinkling bells. Equally touching is Brasstronaut’s “Diwali Time,” which isn’t exactly seasonally appropriate (Diwali was in October this year), but the sitar-laced ditty is good enough to make up for that oversight; the song will be especially interesting to those (such as myself) with little knowledge of the holiday, as it explains, “Diwali is a time for love and care / A celebration for the gods who fought for us to be here.”

The collection’s most high-profile contributor is Lightning Dust, as Black Mountain’s Amber Webber and Joshua Wells offer up “Ho Ho Ho,” a hushed mixture of acoustic guitars and buzzy synth ambience. Also notable (at least around these parts) are Apollo Ghosts, who offer up a stomping take on Chuck Berry’s “Run Run Rudolph.”

As you’d expect from a grab-bag compilation such as this, the collection has its share of duds. Comedian Paul Anthony’s take on “Silver Bells” isn’t funny, but its weak vocals and hokey samples mean that it doesn’t work as anything other than a novelty. Elsewhere, Basketball’s Eastern-infused “Zima Dodje (Winter’s Come)” contains an out-of-tune piano that’s downright painful.

Then again, perhaps I’m being too critical; after all, this is a holiday compilation with all proceeds going to the Greater Vancouver Food Bank. It can be downloaded for free from Mental Beast’s website, with the option to make a charitable donation.
 
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A Christmas gift from Said the Whale

Said the Whale
It just wouldn’t be Christmas without a holiday EP from Said the Whale. Each year since forming in 2007, the Vancouver band has released a new installment in its West Coast Christmas series, featuring songs that dwell on the gloom and rain of December in Vancouver. This year is no exception, as the band has issued two new songs that draw on the usual anti-Christmas themes of greed, cold and darkness.

“Wanting Like Veruca” exhibits more of the stylistic breadth that the band showed off on this year’s Islands Disappear, making a foray into dramatic emo pop. A thundering, distorted waltz, it sounds nothing like the band has ever done before. Halfway through, it suddenly changes time signatures, transforming into a moody, syncopated dance groove with harmonized guitar leads. Next, it briefly shifts into a barn-burning country stomp before returning to the original rhythm. The lyrics are similarly difficult to pin down, mixing complaints about the weather (”It’s cold as fuck,” “The chappedest lips”) with comforting nostalgia (”My mother’s meals”). It’s a strange and ambitious song, but it still offers the usual hooks you expect from Said the Whale, especially during the “They want, they want, they want” refrain.

Impressive as it is, the real treat here is “The Weight of the Season,” a Ben Worcester-fronted ballad about the bleak loneliness of December. It’s familiar territory for Worcester (he also penned the single “This Winter I Retire”), and this home recording is haunting in its sparse reverence. Featuring nothing other than layered vocals and chilly guitars, its gentle melody makes the sombre lyrics seem almost hopeful.

mp3: “The Weight of the Season”

Download West Coast Christmas 2009 from the band’s website, complete with digital liner notes and lyrics. Also be sure to check out the 2007 and 2008 installments.
 
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Future obscurities

Animal Collective - Fall Be Kind
Most bands save their best material for full-length albums, meaning that EPs are often cobbled-together collections of songs deemed unfit for LP-inclusion. Not Animal Collective, however. The title track of last year’s Water Curses remains one of the catchiest and most accessible songs the band has ever written, although the fact that it’s not on an LP means that’s it’s doomed to be ignored by most casual fans.

Now, Animal Collective is repeating history on Fall Be Kind, a five-song collection that features “What Would I Want? Sky,” which is easily one of the group’s career highlights. A two-part suite, it opens with three minutes of swirling synths, start-stop beats and wordless vocal chants. Then, halfway through, it changes completely, as a Grateful Dead-sampled vocal hook takes over and the percussion eases into an almost-but-not-quite-danceable groove. The real treat is listening to the way singer Avey Tare interacts with the vocal sample, playing off its melody and even borrowing its lyrics, finishing his verse asking, “What what you want? Sky.”

Although it’s the clear standout, it’s hardly Fall Be Kind’s only treat. “On a Highway” is a riveting description of life on tour, its echoing keyboards and dark, bubbling ambience transforming the mundane details of a long drive (motion sickness, needing the bathroom) into a haunting daydream. “Graze” starts off with three minutes of shimmering synth washes, sounding a bit like a futuristic version of the score to a Disney film (with Avey Tare singing over top). In the last two minutes, it suddenly explodes into a goofy flute jig, similar in tone to Spinal Tap’s “Stonehenge.”

Of course, since it’s only EP, Fall Be Kind is unlikely to reach the same audience as Merriweather Post Pavilion reached earlier this year. It’s a shame, since these songs are worthy of the same attention as “My Girls” or “Brother Sport.” Still, knowing Animal Collective, there will be more brilliance right around the corner.

Fall Be Kind is available now as a digital download. It will be released on CD and 12″ vinyl on December 15 via Domino.
 
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The Parkas’ last hurrah

Parkas - You Should Have Killed Us When You Had the Chance
Clearly, the Parkas are followers of Neil Young’s maxim that it’s better to burn out than to fade away. Despite breaking up this fall, the long-running Toronto outfit chose to release one final album, the aptly-titled You Should Have Killed Us When You Had the Chance. Of course, this strategy makes no fiscal sense, since these days it’s next to impossible to make money from record sales; what’s more, without a tour to promote the album, it’s unlikely to reach much of an audience outside of the Parkas’ existing fanbase. Still, there’s something noble about a band releasing one last album in the face of financial loss and inevitable obscurity.

In keeping with its defiant title, You Should Have Killed Us When You Had the Chance delivers muscly rock ‘n’ roll, sounding like the work of a quintessential bar band. This is best captured by the thundering “Isolation Pay,” which sounds a bit like Mick Jagger fronting in the E Street Band. On “Muscle Memory,” a heavy groove provides the backdrop for organ and slide guitars flourishes, evoking any number of bluesy classic rockers.

Despite the band’s gritty sound, there’s also an undercurrent of sadness running through the album, most notably in singer Michael Brown’s slurred drawl—check out his echoed emoting on “The Gang’s All Gone.” This melancholy comes to the surface on the album’s ballads, which are unexpected forays away from the Parkas’ usual hard rock sound. “Bad Comedian” strips away the distortion in favour of a bossa nova-infused groove, its bleak tale of alienation building up to a refrain of “I finally got the joke / Was on me all along.” Even more affecting is “Lie to Me,” an ultra-lo-fi recording consisting of little more than buzzing feedback, a chiming electric guitar and the lyric “And I / Can’t lie / To you anymore” repeated over and over. Halfway through, it stars playing in reverse, before switching back for the final minute. The fact that it sounds nothing like the rest of the album only increases its emotional impact.

mp3: “The Gang’s All Gone”

The album doesn’t contain an obvious single, and it’s unlikely to provide the commercial breakthrough that might encourage the band to reunite. Still, it’s a solid slice of old-fashioned rock ‘n’ roll, and a worthy last hurrah for the Parkas.

You Should Have Killed Us When You Had the Chance is out now via Saved by Radio.
 
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The stillness is a burn

the xx - xx
If you’re looking for arena-sized bombast and cathartic rock ‘n’ roll fireworks, the xx probably isn’t the band for you. The group’s debut album, xx, never rises above a slow simmer, its eleven tracks made up of slow tempos and sparse arrangements. It’s all buildup and no payoff, lacking an obvious hit and scarcely even containing any memorable hooks

What the album does have, however, is atmosphere. The chiming guitars are soaked in cavernous reverb, tracing minor key melodies against a haunting backdrop of keyboard swirls and sparse electro beats. The arrangements rarely feature anything other than what can be easily replicated live, meaning that negative space factors heavily in nearly every song.

With so little to distract the ear, the focus falls upon singers Oliver Sam and Romy Madley Croft, whose erotically-charged boy-girl duets carry the album. Their chemistry is smoldering, and their sultry, R&B-infused crooning means that even the most oblique come-ons sound downright pornographic. Their vocal lines overlap on the breakup lament “Heart Skipped a Beat,” the refrain of “Sometimes I still need you” sounding poignant and sensual in equal measures. The echo-laced “Infinity” is similarly heart-wrenching, Sam’s complaint that “the stillness is a burn” acting as a mission statement for the band’s less-is-more approach.

The mood lifts slightly on the single “Basic Space,” but even this song would be a ballad by most bands’ standards, its verses containing little accompaniment other than a strangely clicking beat. It’s this restraint that makes the xx so refreshing, and the band’s “next big thing” status such a welcome surprise.

The group shot a fittingly minimalist video for “Basic Space,” featuring lots of back-lit closeups and woozy lens effects. Check it out below.



xx is out now via Young Turks.
 
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Hannah Georgas looks to fulfill her potential

Hannah Georgas & Mark Watrous - The Quarter EP
Whenever I’ve talked about Hannah Georgas, it’s always been in terms of her enormous potential. This isn’t to devalue what’s she’s already done, as The Beat Stuff is an excellent debut, containing two bona fide show stoppers (”The National” and “All I Need”). But while the EP rarely strayed from pleasant folk pop, her explosive live show showed that there was much more to her than just another songstress in the vein of Sarah Harmer or Kathleen Edwards.

Georgas recently issued The Quarter EP, a split 7″ with New York-based rocker Mark Watrous, previewing two songs from her upcoming full-legnth, This Is Good. Both tunes break the mold of her previous recordings, suggesting that her potential may soon be coming to fruition.

The spiky “Chit Chat” bears the stamp of Mother Mother’s Ryan Guldemond, who co-produced the album with Howard Redekopp. Setting fiery post-punk rock outs against a shimmering bed of strings, Georgas verbally eviscerates an ex-boyfriend, her singing alternating between a whisper and a manic yell. “Deep End” is breezy, banjo-driven pop with a group-sung chorus that’s bound to get stuck in your head after only one listen; with lyrics that describe a conversation across a fuzzy pay phone line, it evokes the intimacy of her EP with grander production and catchier melodies. Both tunes bode well for This Is Good, which is due out sometime early next year.

The Mark Watrous side of the EP isn’t quite as compelling as Georgas’s, lacking the same memorable hooks and unique vocals. Still, “Pull Your Train” is a pleasingly atmospheric take on backwoods blues rock, while “The Cellophane Ceiling” is a strange fusion of distortion-soaked punk and jittery prog.

The Quarter EP is out now via Hidden Pony.
 
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Talking like teens

Tegan and Sara - Sainthood
“On Directing,” the fourth track on Tegan and Sara’s Sainthood, features a refrain of “I know it turns you off when I / I get talking like a teen.” The song appears to be addressed to a lover, although it’s tempting to read the read as a response to critics; after all, the Quin sisters have built their entire career off raw, emotional songs that sound like they were torn out of a teenager’s tear-stained journal. And although they will be turning 30 next year, they still sing in strained voices that sound distinctly youthful.

Sainthood is the their sixth album, and it hits all the usual nerves—depression, insecurity and heartbreak. The punkish “Nightshore” centres around a chorus of “My misery’s so addictive,” while the divorce-lament “Night Watch” declares, “I deserve this anguish on my house.”

It’s heavy stuff, but the slick production of Chris Walla and Howard Redekopp means that it never comes off as too much of a bummer. It’s easy to get distracted by the hummable melodies and glossy guitar/keyboard interplay with even noticing how bleak most of the lyrics are. “The Cure” is the catchiest of the bunch, a breezy new wave rocker anchored by jangling arpeggios and a steadily driving rhythm section. Opener “Arrow” is similarly memorable, with robotic blasts of guitar and drums that sound like they were cribbed from Mother Mother’s bag of tricks.

The album’s final track, “Someday,” is perhaps the best song Tegan and Sara have ever written (yes, including “Walking with a Ghost”), striking a perfect balance between poignancy and pop bliss. Over a spiky groove with an organ melody clearly inspired by Wolf Parade, Tegan dismisses her body of work, singing, “Might write something I might wanna say to you someday / Might do something I’ll be proud of someday.” Although it lacks the melodrama of the sisters’ usual work, it’s even more powerful to hear them criticize the same art that made them famous. It shows that, even after six albums and widespread commercial success, Tegan and Sara still have the fire to keep progressing and refining their craft.

Sainthood is out now via Vapor.
 
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Washed Out provides summer nostalgia

Washed Out - Life of Leisure
It’s difficult to imagine a more appropriately-named artist than Washed Out. The bedroom recording project of Ernest Greene, the Georgia native’s music is woozy and deeply nostalgic, sounding something like the sonic equivalent to a Polarioid picture.

His debut EP, Life of Leisure, is built around trance-like electro beats and warm washes of dreamy synthesizer. The lyrics are almost indiscernible, densely layered and swathed in a warm blanket of reverb. The cinematic swoon of “Feel It All Around” seems like it’s unfolding in slow motion, as tinny drums clatter against purring keyboards and twanging surf guitar (which I’m pretty sure is actually keyboard) for three moments of pure, soothing bliss.

Rather than the ’80s-influenced laser-beam synths that have become so prevalent over the past few years, Washed Out sounds closer to ’90s electronica—which makes sense considering that Greene is 26, and would have been in high school when bands like Boards of Canada and Air first gained recognition. Closing track “You’ll See It” especially recalls this era, with a propulsive techno beat that could have easily been turned into a dancefloor anthem; Greene, however, overlays it with daydream vocals and woozy keyboards, meaning that it’s more likely to put you to sleep.

It’s pure summer music, and is bound to evoke memories of sitting on the beach on a hot July day. Even though we’re almost in December, the effect is the same, and Life of Leisure makes for the perfect seasonal escape.

It’s out now via Mexican Summer.
 
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10.5 on a scale of 10.5

The Magician - Who Will Cut Your Grass When I'm Gone?
Nathan Moes, a.k.a. the Magician, runs the risk of coming off as a little gimmicky. He has performed magic tricks on stage, and his debut EP is littered with allusions to other artists, from the Unicorns-referencing title (Who Will Cut Your Grass when I’m Gone?) to the wonky “Smoke on the Water” riffing at the end of “Introducing.” But all the gimmicks in the world can’t distract from the fact that the EP’s seven songs are packed with indelible pop hooks and witty, captivating lyrics,

“NJ V. NJM” features a fuzzy bassline working around an ominous minor key progression, its blippy keyboards shedding light on the titular Unicorns reference (it sounds distinctly similar to “Tuff Ghost”). The lyrics draw from T.I.’s “What You Know,” and its hilarious appropriation of hip-hop slang (”With my kicks, with my slacks, with my cardigan / Yeah, I’m a 10.5 on a scale of 10.5″) comes off about as cool as Weird Al’s “White & Nerdy.” The best part about Moes’s humour is that it’s unclear to what extent he’s in on the joke; no matter how silly the lyrics get, his delivery remains resolutely deadpan. But surely he must be kidding…right?

mp3: “NJ V. NJM”

Like his beloved Unicorns, the Magician has a knack for tossing off a moment of pop perfection without seeming to realize it. “Indicator Stop Bath” begins as a focused, upbeat pop song, but after barely a minute it falls apart, the drums taper off, and the piano is left to noodle around on a chord progression for nearly two minutes of daydream sublimity. “Ant/Whale/You & Me” contains a joyously catchy bridge, with triumphant piano flourishes and a poignant, rising melody. Placed after the first verse, you wait for the rest of the song hoping it will return; it never does, meaning you’ll have no choice but to listen to the song again.

While you’re at it, better re-listen to the entire EP.

The Magician has recently recruited a backing band, the Gates and Love, and the outfit is planning on entering the studio soon to record a full-length. In the meantime, check out three of the songs from Who Will Cut Your Grass When I’m Gone? here.
 
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Vivian Girls repeat history

Vivian Girls - Everything Goes Wrong
At 36 minutes, Everything Goes Wrong is over 50% longer than Vivian Girls‘ self-titled debut from last year. Given that this is a standard-length LP, it would be fair to expect the Brooklyn trio to branch out a little and show that there’s more to them than just another fuzz pop band with hummable melodies and scuzzy production.

Everything Goes Wrong, however, makes no attempt to distinguish itself from the pack, and its 13 songs offer almost nothing in the way of variation. For some listeners, this will come as a disappointment, but that’s probably unfair. After all, this is more of the same quality material that earned the band so much recognition in the first place. “Can’t Get Over You” is a dreamy, distorted doo-wop throwback, while lead single “When I’m Gone” buries its sugary harmonies in atmospheric reverb.

mp3: “When I’m Gone”

The most immediately obvious thing that distinguishes the album from its predecessor is its track lengths; unlike the band’s previous bite-sized offerings, Everything Goes Wrong contains two tracks that clock in at over four minutes. Still, none of the tracks drag, so it doesn’t make much of an impact on the album’s overall effect. Rather, the most significant difference here is that the songs sound more like straight-forward punk, with barreling tempos and thundering drums. The lyrics are fittingly venomous, with “Walking Alone at Night” sneering ,”What do I care? / You were just a waste of my time.” Only closing track “Before I Start to Cry” eases back on the full-throttle assault, its slow-burning tempo setting the tone for its heartbroken tale of lost love.

It’s unlikely to win any new fans, but it isn’t trying to. Although it won’t convince any skeptics, Everything Goes Wrong offers more of what made Vivian Girls one of last year’s breakthrough albums.

It’s out now via In the Red.
 
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