Land Of Talk – Cloak And Cipher
Land of Talk are back with “Cloak And Cipher”. Any holes that were in their previous album, 2008’s “Some Are Lakes”, have been filled thanks to the guidance of Besnard Lakes’ Jace Lasek, who not only co-produces the album, but also lends a hand to the arrangements. His presence certainly shines through too, especially on tracks like “Swift Coin”. That’s not to say front woman Elizabeth Powell has given up the reins. It’s still her punchy punk-influenced guitar and vocals that are in the foreground and the album ultimately belongs to her. Lasek has simply pushed Land of Talk to the next level.
Label: Secret City
S. Carey – All We Grow
Sean Carey may never shake off the fame of being Bon Iver’s drummer, but “All We Grow” is an exceptional start. Also, it’s not often we get a side project a drummer, but when we do, they can be more tantalizing than their guitarist counterparts (see Zach Hill). S. Carey’s solo material has the vibe of a movie score in the same way Explosions In The Sky does. It’s also layered with enough beauty to punch you in the stomach. Predominantly instrumental (though the album’s key track is the lyrically haunting “In The Dirt”), the album may very well slip by many ears. But to those people it catches, it will burrow inside and bring tears to their eyes.
Label: Jagjaguwar
Ra Ra Riot – The Orchard
In retail, there are certain ways to get your product noticed. For books, it’s the Oprah “O”. For albums in Canada, it’s the Arts & Crafts logo. The label that brought us Broken Social Scene, Feist, and Stars amongst others, have a track record that people tend to trust. That is good news for Ra Ra Riot, who are releasing their third album, “The Orchard”. The good news for you is that it is probably their best effort thus far. Their harmonization of indie rock and classic pop (the orchestral kind) is what sets them apart, and Ra Ra Riot have taken one step closer to perfecting their craft. Ra Ra Riot will be performing at The Mod Club Theatre on Monday August 30th. Tickets are free with purchase of the album from Criminal Records (493 Queen Street West, Toronto).
Label: Arts & Crafts
!!! – Strange Weather, Isn’t It?
I think the key to enjoying the new album from !!! (pronounced ‘chk chk chk’) is not taking it too seriously. Grouped into the genre “dance-punk” (though I think “dance-funk” is more suited), it’s a series of well crafted pop songs that just make you want to dance while throwing in your own hand claps. The snappy bass in the song “Steady as the Sidewalk Cracks” makes me want to chase a coked out Ray Liotta in a helicopter. As long as you remember that music is supposed to be fun, you will get along with this record just fine.
Label: Warp
Never has there been a story more fit for a biopic than that of Ray LaMontagne. Born in NewHampshire, his parents split up shortly after his birth. He and his mother moved from town to town,making it difficult for Ray to attend school, and even graduate. When he was old enough, he got a jobin a shoe factory. It was there that he heard “Treetop Flyer” by Stephen Stills, and he decided to have a career in music. And so far, he’s done quite well for himself. He released his debut album, “Trouble” in the fall of 2004, and has been releasing a new album every two years like clockwork. And if you enjoyed his first three, his forth will not disappoint. Label: RCA
Steve Lambke is well known for his contributions to Canadian contemporary rock icons, The Constantines. But like many hard working musicians, Lambke also has a solo career under the name Baby Eagle. Released on You’ve Changed Records, a small label co-owned by Lambke along with Daniel Romano and Ian Kehoe of Attack In Black, Baby Eagle serves as an outlet for ideas that are less hard rock, and more simple, stripped of flare, and definitively lo-fi. And while it lacks the polish of The Constantines, this hodgepodge of ideas wouldn’t work any other way. It’s cluttered, and it’s fantastic. Label: You’ve Changed
Who is Lissie? To some, Lissie is the girl who did that song “All My Life” that was featured on television shows “The O.C.”, “House”, “Veronica Mars”. To others, she’s known for her connection to Band Of Horses – her debut EP was produced by their current bassist, Bill Reynolds. But to many, she is still unknown. So who is she? Well, she’s an American singer songwriter, who fits neatly in the grey area between folk rock and alt country. It’s the kind of album you expect to see on the counter of a Starbucks, not because it’s bad, but because it is a safe choice. A John Mayer fan might be intrigued by it, but then again, so might a fan of Neko Case. Label: Columbia
So who is Sweet Thing? After listening to the record, I’m almost tempted to say “see Lissie”. Sweet Thing is a well packaged and well manicured Toronto based pop-rock band. If one wanted to be superficial, it could be easily dismissed as big shiny fluff. But these boys are talented. Their influences are as plentiful as they are diverse, and all are shown on this album. They’re a band on the verge, and they’re actually good! It’s an album of short, well-executed, pop-rock songs – plain and simple. Label: EMI
There is little doubt that this will be one of the biggest releases of the year, which isn’t bad for a girl who made her North American debut here in Toronto at the Drake Hotel a mere five years ago. Mathangi “Maya” Arulpragasam is releasing her third album, which is literally self-titled. Anticipation for this album has been building for some time, and further escalated when the controversial video for “Born Free” was released in April, and was subsequently yanked from YouTube a few days later. Since her last album, “Kala”, launched her into near superstardom, many have been wondering what can one expect from the new album. My guess would be some arm-crossed hipsters, and continued mainstream success. But it’s best to not over analyze. It’s a fun summer record. Let’s just leave it at that.
The tale of “Dark Night Of The Soul” is not your average one. While the album was originally released in May 2009, it was only available by mail-order, and all you received in the mail was a blank CD-R with the phrase “For legal reasons, enclosed CD-R contains no music. Use it as you will.” All you had to do was find the leaked album on the internet. Why the charade? Due to a legal dispute with EMI, Danger Mouse (aka Brian Burton) was not allowed to release the album. Now in 2010, the dispute has been resolved, and the album is at least receiving a proper release. The album features The Flaming Lips, Iggy Pop, James Mercer, Black Francis, and David Lynch, amongst others, and comes across as rare gem – a mass collaboration that works.
It’s hard to believe that R.E.M.’s third album , “Fables Of The Reconstruction”, turned 25 years old this year. The album was first released on June 10th, 1985, and was a departure from their previous two albums, “Murmer” and “Reckoning”, as was regarded as a concept album and received mixed reviews. While they had not yet achieved a high level of commercial success, they were no strangers to the public either, having appeared frequently in Rolling Stone (Murmer was named ‘Album of the Year’), and an appearance on David Letterman. The album contained primarily somber lyrics, which reportedly came from the recording process itself, and it was even rumoured that the album nearly broke up the band. But 25 years later, R.E.M. continues to persevere through good times and bad. And in the end, “Fables Of The Reconstruction” was both.
Before even listening to the album, you can tell it’s going to be different. For one, they are no longer on heavy-hitter Arts & Crafts, opting instead to release the album under their own imprint, Soft Revolution Records. Secondly, the cover art (can you see all five ghosts?), along with song titles including “Dead Hearts”, “I Died So I Could Haunt You”, and “The Dead Beg For More”, set a less than jovial mood before pressing play. The album itself is rather somber – at least lyrically, compared to their previous works – whether that’s a bad thing is up to you. But for a pop band like Stars, no amount of downer can keep them from producing infectiously danceable synth pop that will leave you smiling, regardless of the whole “death” thing.
Sarah Harmer is back! After releasing her folksy “I’m A Mountain” almost five years ago (an album dedicated to the preservation of the Niagara escarpment), Harmer has made a return to pop/rock with “Oh Little Fire”. Known as simple, sweet, and lyrically endearing, Harmer has made a place for herself as a member of Canada’s musical elite. Over the years, she has made appearances on the albums of many heavyweights, including Blue Rodeo, the Rheostatics, Bruce Cockburn, Great Big Sea, and The Weakerthans, amongst others. “Oh Little Fire” features some familiar faces, including the omnipresent Julie Fader, and a guest appearance with Neko Case.
The Foals made one hell of a bold statement when they turned down Dave Sitek’s (TV On The Radio) mix of their debut album, “Antidotes” in 2007, claiming “it sounded like it was recorded in the Grand Canyon”. For one, Dave Sitek is a powerful and influential dude, who has bestowed his production skills to the likes of Yeah Yeah Yeahs and Liars. But that statement really optimizes this band. They do their own thing, and they do it their own way. “Their own way” is a melting pot of indie rock, prog, and dance. It’s indie rock, but with spacey overtones and a snappy bass line. It’s a lot like many other things you’ve heard before, but still refreshing and new. And it might have enough hooks to earn its way to the top of your listening pile.
In the eyes of many, Eminem has dropped off the radar. He hasn’t released a good album in quite a while, and his generation of rap died out years ago, being replaced by Lil’ Wayne, T-Pain and the vocorder. His antics seem tired, less edgy, and irrelevant. His humorous video stabs at pop culture celebrities are no match for M.I.A.’s extermination of redheads. And yet, he still packs an influential punch. He still sells albums, albeit not as many as he did in the past. But then again, who does? And when Interscope in the U.S. decided to release his album a day earlier – on Monday – almost every other distributor in North America followed suit. In short, you can buy the hip new Stars album a day early because of Eminem. And how many artists of today can do that?
So often, Canadian bands get their first push from abroad. Such was the case with Born Ruffians, the Midland natives, who received a great deal of exposure with the help of UK label, Warp Records. They released an EP in 2006 which was a near instant success, and followed that up with “Red Yellow & Blue” in 2008. Their latest release, “Say It”, is a giant ball of energy that is doled out in a way that is focused and mellow – like what Vampire Weekend would be like if they took a chill pill. The album is riddled with little hooks that drag you in, and force your digits to dance.
A few years ago, while the world was experiencing Fleet Foxes fever, a little video sprouted up on YouTube by Swedish duo First Aid Kit. It was an instant sensation, not because of the gimmick, but because it was amazingly good. Klara & Johanna Söderberg honed in what made Fleet Foxes so popular – simplicity and warm harmony. Now in 2010, they are releasing their own album, bringing that same simplicity and warmth, but adding in their own quirks and jubilance. “The Big Black & The Blue” is a fantastic debut, and one that will linger on your stereo for a long time. (First Aid Kit will perform live at Criminal Records on Saturday, June 12th at 4pm)
Canada has a lot of artistic exports that make most of us cringe. Despite the vast wealth of talent this nation has, the Biebers and Nickelbacks always seem to punch though and steal the spotlight. So when a band comes along that has so much talent and potential to be Canada’s ambassador to the world, one can’t help but get excited. One of these bands is the Acorn. Their debut, “The Pink Ghosts”, a beautiful offering, served almost as a teaser for what would follow. After a few EPs, contributions to both “Friends In Bellwoods” compilations, and their fantastic “Glory Hope Mountain” in 2007, Rolf Klausener and company have returned with “No Ghost”, an album that grows on the musical styling of its predecessor, and adds a few new layers for extra flavor.
You can always count on The Melvins. Fronted by legendary Buzz “King Buzzo” Osbourne, they have been steadily releasing heavy grunge albums long before people knew what grunge was, and long after most people moved on to alternative. About ten years ago, they signed to Mike Patton’s “Ipecac Records”, where they have called home ever since, releasing an onslaught of albums under the label’s free-range philosophy. And after twenty odd albums, it’s probably safe to say you’re either along for the ride, or you’re not. Sometimes, it’s nice to get away from something that is “Pitchfork approved”, know what I mean?
For a band that has experienced almost a complete changeover in their lineup, you wouldn’t really know it from listening to each album. The individual styles may have changed, but their sound as a whole remains what was when the band formed in 2005 – pure, blissful folk rock. Perhaps their most distinguishable characteristic is Ben Bridwell’s vocals, which are sometimes forced and urgent, other times subdued and calm, but always beautiful. For their third album, “Infinite Arms”, the band has parted ways with Subpop, and have teamed up with Fat Possum/Columbia. Label: Fat Possum/Columbia
In his youth, The Black Keys front man Dan Auerbach was surrounded by music, though most predominately by blues. This passion led to his eventual departure from post secondary academics to pursue a career in music. In 2001, he formed The Black Keys with drummer/producer Patrick Carney, and released a slew of albums in the following years. In 2008, their sound took a left turn when Danger Mouse took the role of producer. Their bluesy sound took on a new soul. With their sixth album, “Brothers”, they have taken a few steps back towards their roots, but still put forward some of what Danger Mouse taught them. Label: Nonesuch
There is something intimidating about writing about a band as epic as The Sadies. It could be that I fear lumping them into the alt-country category will have me burned at the stake by their diehard fans. Or it could be that they are so local (their annual New Years gig at the Horseshoe is a block away from Criminal) that I feel the need to give them the necessary props. Or it simply could be that they are just that good – because they are THAT good. After over a decade of live shows and eight odd studio albums, they only get better and better. There is a reason why they are Neko Case’s go-to back up band. And “Dark Circles” is proof. Label: Outside
The great thing about Wintersleep is that they do not stop evolving. This could be due to the polygamist nature of the band, with most members having a decent stack of side projects on the side. It’s with this evolution that each album has taken on a persona of its own. Their first album was very introverted and brooding. Since then, they’ve been gradually unraveling into a well polished and well rounded band. Their latest album, “New Inheritors”, is joyous and peppy, but maintains a layer of melancholy, a style Interpol has had much success with. And it is their ability to explore and evolve that will keep Wintersleep on the path towards greatness. Label: Labwork
Prepare to get funky! Jamie Lidell is back, and this time, he’s brought some of his friends. Feist, Gonzales, Beck, members of Zeus and Grizzly Bear come along for the ride to once again help Lidell release his inner Stevie Wonder. Over the years, the U.K. native has been shedding all traces of mediocrity, and has been taking steps towards the deliciously absurd. Production from Beck and Grizzly Bear’s Chris Taylor help Lidell take more adventurous and advantageous steps. The result is an album that sticks in your head, and serves as a worthy candidate for this year’s “summer record”. Label: Warp
Critics love The National. In the past ten years, they have released five albums; each one receiving critical acclaim from hipster blogs and mainstream periodicals alike. A little bit slower to the take are the fans, who’s numbers have been increasing with each album. On “High Violet”, their overall sound does not stray from the path, still delivering baritone vocals backed by Springsteen-influenced rock. But like “Boxer” before it, their songwriting is gradually being tweaked and perfected. And with any luck, the fans will appreciate it as much as the critics do. Label: 4AD
When I picture guys who make electronic music, they are not the members of Holy Fuck. Holy Fuck are scruffy, occasionally wear plaid, and are salt of the earth friendly. Their look is more alt-country than Tiesto. But that’s what makes Holy Fuck so darn intriguing – they do not fit any mould. Musically, their background and influence ranges far beyond the electronic music genre. On “Latin”, their third full length album, they once again go on an epic genre-bending tangent, and do so with skill and finesse. Label: XL
When your music is referred to as “freak folk”, you pretty much have free range to do whatever the hell you want. And that’s exactly what Bianca and Sierra Casady do. Known for their bizarre style in both music and fashion, this sister duo started making music together in a bathroom, using a variety of instruments and other assorted peripherals. For their fourth album, “Grey Oceans”, they have added some fresh flavors, including an assortment of eastern sounds. And while it still has a lot of quirks, it’s their most chill release to date. Label: Subpop
Jack White is one busy dude. Best known for his band The White Stripes, White also performs with others bands, produces albums, and runs his own grassroots label. White formed Dead Weather after a successful jam session with Allison Mosshart of The Kills, Jack Lawrence of the Raconteurs, and Dean Fertita of Queens of the Stoneage at his studio in January 2009. In keeping with White’s belief of quickly releasing albums rather than wait, Dead Weather released their first album only months after that first session. And less than a year later, they’re back with their second album, and are ready to show off their new material with a North American tour. Label: Third Man
To say this record is a big deal would be an understatement. Despite wetting our appetites with side projects and solo records in the form of “Broken Social Scene Present”, this is the first actual bona fide album from this collective in five years! And in true form, the expansive album boasts 31 players in the linear notes, including the usual crew, along with a few fresh faces. To help launch the new album, Broken Social Scene are treating their hometown to a series of shows at local record stores on Sunday May 9th, including Criminal Records, Rotate This, Soundscapes, and Sonic Boom.
If you look up the word “troubadour” in a thesaurus, you’d find nearly every synonym rings true for Toronto’s own Justin Rutledge, who is releasing his fourth album on shit-condemning Six Shooter Records. This hometown hero was named Toronto’s singer-songwriter of the year in 2006 with is not too alt-country sound and lyrics often lumped in with the likes of Ryan Adams, Leonard Cohen, and Hank Williams. And while he’s played with some of the greats, perhaps most notably Dolly Parton, it’s on his own in the local tavern where he truly shines.
For 600 people, this album is already yesterday’s news. On Record Store Day last month, the band released 600 copies of the album on vinyl in a limited screen printed package. While this exclusive package is now bouncing around on eBay for ungodly sums, the rest of us can snatch up the regular edition which contains the exact same music for considerably less hassle. “Heaven Is Whenever” is the fifth album from the Brooklyn based band, and will no doubt please their already army-like fan base. When the band formed in 2003, their goal was to emulate the atmosphere in The Band’s “Last Waltz”. Whether they succeeded in this particular goal is debatable, but their success as a band is undeniable.
Is it a coincidence that Canada’s two largest super-groups are releasing an album on the exact same day? “Together”, their fifth album, once again reunites Dan Bejar, Neko Case, A.C. Newman and company, along with some very special guests, including St. Vincent, Beirut’s Zach Condon, Okkervil River’s Will Sheff, and the Dap Kings horn section. The album provides us with a new batch of catchy campy tunes that will be sure to put smiles on faces, and once again reign supreme in Canadian hearts. And from the New Pornographers, who could ask for more?
With some bands, you know what you’re getting before you press play. Sometimes, that’s bad. In the case of Pack A.D., it’s very good. Becky Black and Maya Miller are back with their third album, “We Kill Computers”, and they are doing what they do best – rocking hard. Their sound is easily compared to other guitar ‘n drum duos, like The Black Keys and The White Stripes, which is certainly good company to be in. But there is something a little more pure and genuine about Pack A.D. Perhaps it’s my inherent love for my fellow Canadians. Or perhaps I like to root for the underdog. Either way, I’d rather see Pack A.D. in a dive bar than the Stripes in an arena any day of the week. Know what I mean?
Perhaps you know Apples In Stereo as Robert Schneider (the band’s front man) who wrote the ode to Stephen Colbert several years ago. Perhaps you know them for Schneider’s work with Neutral Milk Hotel on their iconic “In The Aeroplane Over The Sea”, not to mention being a member of Elephant 6. Or perhaps you’ve never heard of them. If that’s the case, you might want to look them up. Think of bands like Yeasayer, but simplify them and wipe away the pretention. To get a good idea of what these guys are like, check out their video featuring Elijah Wood.
Obviously, “69 Love Songs” is not a new release. In fact, it’s over a decade old. But the album made a resurgence in April in the form of a ten-inch vinyl box set. When the album first came out in 1999, it was lauded as being one of the best contributions to the decade, and revered as a fine send-off to the 90’s. Perhaps what made it so grandiose was its genesis. In an interview with the San Francisco Bay Guardian, front man Stephin Merritt said, “I decided I’d write one hundred love songs as a way of introducing myself to the world. Then I realized how long that would be. So I settled on sixty-nine. I’d have a theatrical revue with four drag queens. And whoever the audience liked best at the end of the night would get paid.” So really, what’s not to love about that?
When Plants And Animals first released “Parc Avenue” in 2008, they were bold, fresh, and loaded with energy. A little over two years later, they’ve released “La La Land”, and not much has changed. They still sound like a bunch of young guys with loads of talent having lots of fun. However, this doesn’t place “La La Land” in the “more of the same” category. Their new album contains far more dynamics than its predecessor, including a few slower tempo tunes, and at times harnessing some inner Bowie. Their diversification certainly pays off – “La La Land” is superb. Label: Secret City
To know Caribou is to love Caribou. Caribou is Dan Snaith, one of Canada’s greatest musical mad scientists, who for years performed under the name Manitoba until a somewhat goofy legal threat forced the name change. Possibly one of his most unique talents is creating a fine meshing of electronic and acoustic sounds to create music with a very organic and earthy vibe. In 2008, Caribou won the Polaris prize for “Andorra”, an album more accessible than his previous works, but still possessing that electronic/acoustic marriage. With his new album, “Swim”, Caribou has created an upbeat dance-pop record with flare. And while it may alienate some fans of “Andorra”, this could be the album that makes him a worldwide sensation. Label: Merge
If you google the phrase “Feast of the hunters’ moon” like I did, you will learn that the “feast” is a re-creation of the annual fall gathering of the French and Native Americans which took place in America’s mid-west at a fur-trading outpost in the mid-1700s. Participants dress in the authentic garb, and set up period appropriate huts. And apparently, Black Prairie (a Decemberists side project featuring Chris Funk, Nate Query and Jenny Conlee-Drizos, as well as Annalisa Tornfelt and Jon Neufeld) either felt like the week long festivity required a soundtrack, or were inspired by it. Either way, you get an album of eerie southern swamp tunes not of this era, with jazz and blues overtones. Luckily, it’s fife free. Label: Sugar Hill
