Author: Jonathan Cohen

Metronomy – Love Letters (Because/ Elektra; 2014)

Since their 2011 studio release, Metronomy have been consistently writing and touring. In an interview with NME, multi-instrumental frontman and lyricist Joseph Mount said that their fourth and latest album, Love Letters, is probably their best yet. Lyrically, Mount’s prowess is undeniable, but sonically, the album does not necessarily bring anything new to their electronic alt-pop repertoire.The album’s makeup are the Metronomy signatures: drum machines, synth-keyboards, subtle funk-infused bass lines and Mount’s achingly endearing British accent. Love Letters ditches the experimental, sunny vibe found on their aptly named third album The English Riviera, and opt for a more stripped down, minimalist sound that borders on classic 1960s pop. Despite the lack of musical innovation, the album does carry some instant favourites; “I’m Aquarius” and “Reservoir” amongst others showcases the familiar Metronomy lyrical wit and ‘can’t-get-it-out-of-my-head’ melodic catchiness that will resonate with fans of the British alt-pop quartet.

Trial track: “I’m Aquarius”

Rating: 7/10

-Jessica Romera

 

Skrillex – Recess (OWSLA; 2014)

This is by far Skrillex’s best work to date. Sonny Moore, stage name Skrillex, has achieved huge success in the last two years, but this is the first piece of music that truly stands out as a masterpiece in the 26-year-old electronic music producer’s repertoire. There are significantly less collaborations with other artists, which is a shift from his previous productions. Regardless, the album still boasts some impressive cameos like Chance the Rapper and the Ragga Twins. Despite having released a ton of material since he emerged on the electronic scene, Recess is Skrillex’s first full length studio album. The wide variety of electronic genres like deep house and experimental EDM are interwoven to build the album and allow for Recess to sound like an experimental work of art. The tracks are not all pure dubstep dance tracks though; many of them stray from this specific form of EDM. The final few tracks off the album take an unexpected turn, but deliver on every level. Needless to say, this album will be the anthem to our summer parties and road-trips. Ultra original work.

Trial Track: “Fire Away”

Rating:11/10

-Jonathan Cohen

The Olympic Symphonium – Chance To Fate (Forward Music Group; 2014)

After emerging from New Brunswick’s growing music scene almost a decade ago, The Olympic Symphonium have brought their harmonic indie-folk sound across Canada and the Atlantic. For their fourth studio album, the three-piece collective enlisted the help of musician/composer/producer Joshua Van Tassel to create some of their most introspective lyrics and melodies to date. Touching mostly on heavier existential themes involving loss and religion, Chance To Fate is gracefully melancholic. The album opener “Seize The Day” sets up the tone for the rest of the 10 tracks with relaxed, crooning vocals and a soothing guitar chord progression to match. Chance To Fate comes impossibly close to personifying in sound that feeling you get when a long trip comes to a natural, satisfying end, and you’re just about ready for familiar, comforting surroundings that only home can provide.

Trial Track: “No Saving Grace”

Rating: 7.5/10

-Jessica Romera

Real Estate – Atlas (Domino; 2014)

For their third studio album, the New Jersey indie rockers step out from behind the haze of their previous releases and confirm that they are more than just a novelty act. With their two previous albums, Real Estate has proven that simplicity is the key to their popularity. Their dreamy arrangements and pop melodies feel pleasant and  nostalgic, and never required much investment from the listener. With Atlas, we are faced with a maturation. The lyrics speak of time, regret, and alienation and the production is more polished, creating a deeper and more complex listen.

The band may be growing up, but the core of what makes Real Estate feel so genuine remains intact: a bunch of suburban guys who want to have fun and play music. Who can complain with that?

Trial Track: “Talking Backwards”

Rating: 8/10

-Paul Traunero

Pharrell- G I R L (Columbia; 2014)

Pharrell Williams has truly outdone himself in his latest album, G I R L . It’s an adventurous summer-lovin’ album with an interesting set of guest appearances from artists across the music industry’s spectrum. This 10-song mixture has interesting collaborations with Justin Timberlake, Miley Cyrus, Kelly Osbourne, Daft Punk, Alicia Keys, and Timbaland, to name a few. The best way to describe such an album is that it really tries to make you feel happy. It also has an emotional jazzy side to add a final touch. Already, the latest single off the album, “Happy,” has garnished 100 million views on YouTube alone. If you are looking for a summer time set list of tunes to jam to either in the car or in the club, G I R L is definitely an album for you. Finally, someone in the industry is making real music again, and still hitting the mainstream airwaves with a bang.

Trial Track: “Gust of Wind”
Rating: 8/10
-Jonathan Cohen

 

Trust – Joyland (Arts & Crafts; 2014)

Trust unleashes a more mature and complex sound on his sophomore effort, Joyland. Originally a two-piece effort, Trust is now composed uniquely of Toronto-based artist Robert Alfons. Following up his Juno-nominated debut album TRST, Alfons attempts to find a balance between upbeat, synthy house music and darker techno, and does so with relative ease. Most of Joyland has a lighter, dreamy feel to it: album opener “Slightly Floating” perpetuates a feeling of being caught up in a synth-fuelled dream. The album then moves into murkier soundscapes on tracks like “Are We Arc?” and “Four Gut,” all the while maintaining a retro-inspired dance-ability. Joyland also displays Alfons’ vocals more prominently than on his debut album, exemplified most notably on tracks like “Geryon” that showcase the Toronto musician’s semi-sinister sounding  vocal-work. At times, the album borders on overly eurobeat techno, but tracks like “Barely” remind us that Alfons is able to create an atmosphere that is both intricate and fun.

Trial Track: “Barely”

Rating: 7/10

-Jessica Romera

 

Imogen Heap – Sparks (RCA; 2014)

Back in 2011, eclectic singer-songwriter Imogen Heap asked her fans to help her write her fourth studio album. The album, entitled Sparks, was released on March 3, and is the perfect update to her amazing sound. The album brings the same hauntingly beautiful voice, layering, and harmonies that put her on the map, yet with a more upbeat, different touch. While some of the songs on the album, like “You Know Where To Find Me” are reminiscent of “Say Goodnight And Go,” others, like “Xizi She Knows” are completely different, and bring an exotic new twist to Heap’s music. Heap collaborated with Deadmau5 for her song “Telemiscommunications,”and the unlikely duo’s work is beautiful and catchy. In “Minds Without Fear,” featuring the music-directing duo Vishal-Shekar,Indian music is layered onto Heap’s singing, giving a new spin to her music. “Neglected Space” is spooky and haunting, with Heap narrating to music, almost sounding like she is reading a poem.

Those who fell in love with Heap’s hit songs “Speeding Cars” and “Hide and Seek” will definitely appreciate Sparks.

Trial Track: “You Know Where To Find Me”

Rating: 9/10

-Nathalie Laflamme

William Fitzsimmons – Lions (Nettwerk Records, 2014)

Reflecting his struggles and personal growth since 2011’s Gold in the Shadow, William Fitzsimmons’ fifth studio album, Lions, is a deeply vulnerable and touching effort, with darker thematic elements than his previous releases.

Fitzsimmons’ psychological studies played a huge part in his songwriting. In a recent interview with Daniel Hajek, he admitted that facing depressing thoughts is his only path to a “curative conclusion,” further elaborating that “if you’re willing to acknowledge that really awful deep stuff, that’s how you get to a better place.”

Although his acoustic guitar has been swapped for entirely electronic instrumentation, and his songs boast a therapeutic quality, the results are emotional, yet predictable. We are still faced with 12 unassuming folk ballads.

Lions may not be a career-defining album for Fitzsimmons, but it is beautifully-crafted and melancholic, showcasing the talents of a man who is constantly refining his craft.

Trial Track: “Fortune”

Rating: 6/10

– Paul Traunero

 

Black Atlass – Young Bloods (Fool’s Gold; 2014)

Black Atlass’s new EP Young Bloods is far from a masterpiece. After listening to each song multiple times all that comes to mind is lazy production. Each song tries its best to sound suave and invoke a new age alternative electronic music style, but it is simply too overdone. The addition of analog white noise to reenact an old school record player feels tired and has been done by so many artists already. Arguably, the album lacks originality and does not attempt to think outside of the box. It is an extremely safe EP with respect to originality and creativity. Considering he hails from Montreal, and that the deep house scene is quite large, some might find it nice background music for a house party, but other than that it has very little creative insight. If you are looking for some original work, honestly, look elsewhere.

 

Trial Track: “Jewels”

Rating: 4/10

-Jonathan Cohen

 

Isaiah Rashad – Cilvia Demo (Top Dawg Entertainment; 2014)  

After blowing up at the 2013 BET Hip-Hop Awards with Kendrick Lamar and other artists from his label, Top Dawg Entertainment, Isaiah Rashad is one of the many artists to watch out for in 2014 with his debut EP, Cilvia Demo. The tracks flow perfectly into each other from one to the next, and Rashad himself rarely missteps on any of his beats or hooks. His introspective story-telling fits perfectly with the beat selection, meshing together tales of drinking, smoking, and of course, women. While Rashad isn’t afraid to go in and glorify these influences, he can acknowledge these as faults as well. The EP’s beats bleed the jazzy and soulful influence of Outkast making for a smooth and cool listen. (Fun fact: Rashad aspired to be a preacher before listening to Outkast’s album ATLiens, which inspired him to be a rapper). While the EP doesn’t feature Lamar, Top Dawg Entertainment’s Schoolboy Q and Jay Rock are among those featured on Cilvia Demo.

Trial track: “Shot You Down” (ft. Jay Rock & ScHoolboy Q)

-Julian McKenzie

Rating: 7.5/10

The Gaslight Anthem- The B-Sides (SideOneDummy; 2014)

The Gaslight Anthem’s newest album, The B-Sides, is, as the title suggests, a compilation of covers, a live recording, outtakes and acoustic versions of previously released material. The acoustic renditions are the meat of the album but are hit or miss. Certain songs, like “The ’59 Sound,” translate beautifully from electric to acoustic, at times sounding better than the original releases. Others however, such as “American Slang” and “Boxer,” do not hold up as well when stripped of their punk influence. The covers on the album are good, but few will consider The Gaslight Anthem’s version of “Tumbling Dice” better than the original released over 40 years ago by The Rolling Stones. Overall, a handful of the songs on the album really shine; for instance some of the acoustic renditions convey the emotional weight of the lyrics better than their amped brethren. Sadly, subpar songs clog up the track list, holding these few gems back.

Trial Track: “The ’59 Sound”

Score: 6.5/10

-Justinas Staskevicius

 

Supreme Cuts- Divine Ecstasy (Dovecote; 2014)

If you love the music of Disclosure and Flume, then you will absolutely fall for Supreme Cuts. Their newest album Divine Ecstasy, is a breath of fresh air in the music world. The Chicago-based duo consists of Mike Perry and Austin Kjeultes who began their music careers together in 2010,according to the website Pretty Much Amazing. Apparently, Supreme Cuts began originally as hip-hop producers and have now emerged on the front stage as electronic artists.
Their new sounds are hard to file in respect to any specific genre. The best way to describe their sound is a psychedelic, tech-house with undertones of an earthy-ambient hip-hop. The album also has a variety of female and male vocalists featured with soundscapes of the synthetic world. The vibe is very laid back but the clarity and the sound designing is impeccable. Overall, the album was also very well mastered.

Favorite Song: “Divine Ecstasy”

Rating: 9/10

-Jonathan Cohen

 

Sleepy Sun – Maui Tears (Dine Alone Records; 2014)

Maui Tears is the fourth studio album from the California-based collective, Sleepy Sun. Often labeled as psychedelic surfer rock, the entire album is drenched with sunny guitar riffs and trippy instrumental distortions. Tracks like “Words”  and “The Lane” are heavily laced with the signature ‘60s California surfer spirit, while others like “Everywhere Waltz” play up the trippy echoes and heavy synth sounds to create six minutes of pure neo-psychedelia. While most of the album features fast-paced instrumentals and chaotically hazy guitar playing, “Slowdown” stays true to its name. On this track, the band turns down the tempo, allowing for frontman Bret Constantino’s distorted vocals to stand out next to the deep feedback loops from the guitar amplification. On the title track, Sleepy Sun dish out smooth jazzy bass lines that continue subtly throughout the rest of the 10 and a half minute instrumental epic, leaving listeners on a next level trip.

Trial Track: “Maui Tears”

Rating: 7.8

-Jessica Romera

Bruce Springsteen – High Hopes (Columbia Records; 2014)

Bruce Springsteen’s 18th studio album, High Hopes, is a blend of the new and old. Adding to the album is Rage Against the Machine’s guitarist Tom Morello, whose talents are criminally underutilized. The Boss’ album is mainly an assortment of covers and rearrangements of his previous work and while a reimagining of original works can be controversial amongst fans, the possible blow to Springsteen’s legacy is avoided by the fact that none of his greatest hits are featured on the new album. All but the most knowledgeable of fans will struggle to identify more than a handful of these back-catalogue diamonds in the rough. Springsteen’s decision to give these works a second chance instead of rehashing hits is a bold yet interesting approach for this type of project. Musically varying from Celtic to disco-inspired rhythms and arranged with masterfully composed lyrics makes this one of the best albums that the Boss has put out in recent memory.

7.5/10

Trial Track: The Ghost of Tom Joad

-Justinas Staskevicius

James Vincent McMorrow – Post Tropical (Vagrant; 2014)

 In the four years since the release of his debut album, Early In The Morning, the Irish singer-songwriter has transformed from a modest Bon Iver imitation into a bold, self-assured artist.

Shedding all but his distinct falsetto, McMorrow found inspiration in hip-hop for his sophomore album. He explains on his website: “I wanted to give this record the feel and movement of the hip-hop records that I love,” admitting that he “re-recorded every single part of the N.E.R.D album, apart from the vocals, just for the joy of it”.

The multilayered sound on Post Tropical reflects his love of R&B and pop, wrapped in a pulsing electronic atmosphere. Lyrically, the album draws on the theme of strength and nature, hinting at his folk beginnings.

Post Tropical is playful and confident, boasting a slick production, strong songwriting and fusion genre, and it’s sure to expand McMorrow’s audience.

Trial Track: “Gold”

Rating: 9/10

– Paul Traunero

The Crystal Method- The Crystal Method (Tiny e ;2014)

The Crystal Method is the new self-titled release from the American electronic duo composed of Scott Kirkland and Ken Jordan. Since their debut in the mid-90s, The Crystal Method have put out a slew of albums, making this eponymous release their fifth to date.

Initially the album was set to be released in 2013, but was pushed back to Jan. 14, because Kirkland needed to undergo brain surgery, according to Rolling Stone. Over a week prior to the official release, the album was set as a free stream on The Hype Machine website, allowing fans to get a full listen.

The album itself is truly a work of art: the complexity involved in electronic music is well mixed with organic instruments to give a unique final touch. What really stands out on The Crystal Method is how they tried to incorporate new-school synthetic sounds with organic instrumentation to give an almost rock-electro effect. It sounds like a futuristic band trying to bring something vintage to the table.

Trial Track: “Emulator”
Rating: 8/10
-Jonathan Cohen

 

Dog Day – Fade Out (Fundog; 2013)

Fade Out is the fourth studio release by Seth Smith and Nancy Urich, better known collectively as Dog Day. The Halifax husband-and-wife duo have combined garage-rock and classic rock, with underlying dream-pop tones to create some of their grittiest material to date.

Classic guitar riffs and drum hits are the backbone to Fade Out’s 13 tracks. But despite the overall energetic rock ‘n’ roll nature of the album, Dog Day manages to fuse their unfiltered underground sound with moments of hazy synth-pop. “Joyride” is casual and upbeat, while tracks like “Interview” have an overarching darkness felt through Urich’s calm but commanding vocals. While Urich’s vocals have a controlled assertiveness, Smith lays out his lyrics with artful ease. The duo’s pipes are blended with the heavy percussion and synth elements and come together to form an album that is both raw and compelling.

Trial Track: “Lurking Fear”

Rating: 6.5/10

-Jessica Romera