Tag: quick spins

 

Dirty Beaches- Badlands
(Zoo Music; 2011)

Dirty Beaches is Vancouver solo artist Alex Zhang Hungtai, and his debut LP is a tormented reduction of rock ‘n’ roll. Any notion of familiar song structure is abandoned for nearly half the record, manifesting as moody, lo-fi rumblings. Hungtai comes nearly to the point of breaking into tongues on the hypnotic “Sweet 17,” which serves as the album’s most memorable moment. Expect restless love, lust and longing to haunt the record’s 26 minutes, but don’t expect any kind of resolution. These songs are devoid of any pop fingerprints, embodying a disarticulation of familiar sounds. As if the album art didn’t already give it away, this is a dark record – but not one completely without hope. Although Hungtai’s reverb-saturated delivery renders most of his lyrics barely decipherable, the emotional content grants passage into Badlands’ possible intent. Hungtai is basking in some kind of struggle; this record is anything but a cry of submission.

Trial Track: “Sweet 17”

7.8 / 10 – Colin Harris

 

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Banjo or Freakout- Banjo or Freakout

London-based producer Alessio Natalizia has been creating his brand of bedroom-pop since he began playing with a music program on his girlfriend’s laptop in Hackney, London. He has since released a slew of EPs and demos, attracting the attention of noted producer Nicolas Vernhes (Animal Collective, Dirty Projectors, Bjork and Spoon), with whom he collaborated on his first LP, Banjo or Freakout.

Supplying neither banjos nor freak outs, this album is a mix of the dreamy and the dreary. Songs like “105” and “Idiot Rain” boast pop sensibility and richly textured sound, sure to please fans of Atlas Sound or Panda Bear, and show definite potential. Unfortunately, most of the album’s offerings are so frail that they could simply float off, if not weighed down by aimlessly synthesized distortion.

Once Natalizia’s skills are honed and he has reached maturity in the industry, we might hear something more noteworthy from Banjo or Freakout.

Trial Track: “105”

6.0 / 10 – Paul Traunero

 

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Mother Mother- Eureka
(Last Gang; 2011)

If you’re looking for a sweet-and-sour pop-punk indie record, Mother Mother’s second album Eureka may be it. Mother Mother is surely part of this country’s indie’s ‘crème de la crème” while distancing itself from other Canadian bands in the genre. And they’ve proven it once again with their latest concoction, which is edgy as hell.

This record is fresh and upbeat, and their legendary layering of vocals is ever-present. Slow songs like “Simply Simple” are soothed by lingering keyboards, while tracks that are more fast–paced, like “Chasing It Down,” rely more on beats created by clipped vocal melodies and loud drums.

Colourful yet never cheesy, Eureka is well-crafted, clean cut and methodically recorded. At the core of most songs are very melodic beats. Guitars are mostly rhythmic, voices are mastered and layered, and the arrangements are overall harmonious.

Trial track: “Baby Don’t Dance”

8.0 / 10 – Lea Choukroun

 

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The Smiths- Meat Is Murder
(Rough Trade; 1985)

Meat Is Murder is a great introduction to The Smiths. Although their 1986 release The Queen is Dead is recognized as their greatest album, the sound of this 1985 record proved that The Smiths had found their identity. This album takes their well-known characteristics, such as Morrissey’s moody lyrics and Johnny Marr’s spirited guitar riffs, and crafts them into something more defined and creative.

“The Headmaster Ritual” starts off the album with these Smiths staples as typical Marr melodies mingle with thought-provoking words. Serious lyrics are often candy-coated with Marr’s uplifting melodies. Tracks such as “Rusholme Ruffians” and “Nowhere Fast” have a rockabilly flavor. These two songs are toe-tapping tunes, but they will take some time to get used to if one is just getting acquainted with The Smiths.

Finally, “Meat Is Murder” is any vegetarian or vegan’s anthem.  Disturbing slaughterhouse noises fill the intro and outro of the track. This song is the most chilling track The Smiths have ever recorded.

Trial Track: “The Headmaster Ritual”

– Roya Manuel-Nekounei

Avishai Cohen- Seven Seas (Blue Note; 2011)

Israeli jazz guru Avishai Cohen returns with his unique brand of “heavy metal jazz” on Seven Seas, which is a follow-up to 2009’s Aurora. The Cohen, Mark Guiliana and Shai Maestro trio – who play bass, drums and piano respectively – have never before disappointed fans, and the same holds true for the new album. The addition of vocals, an electric guitar, a Turkish oud and a horn section have greatly filled out the band’s sound. The effect is a sound that is rich, nuanced and groove-heavy. Tracks like “Halah” and “Ani Aff” showcase the trio’s virtuosity and ability to create complex polyrhythms, all the while maintaining their penchant for melody and counterpoint. At times, the vocals evoke the sound of an Israeli lounge bar, but the dynamic between the keyboard, drums and bass shines throughout Seven Seas, enough to keep your head bobbing well beyond its 52-minute run time.

Trial Track: “Seven Seas”

8.0 / 10 — Jesse Polowin

 

Scale The Summit- The Collective (Prosthetic Records; 2011)

Texas instrumetalists Scale The Summit have started 2011 in heavy fashion with the release of their third album, The Collective. Their latest work lives up to their 2009 release, Carving Desert Canyons, and then some. With a trademark dual-guitar sound that puts melody ahead of speed, quick odd-time flickers and a mix that gives no one instrument precedent over the other, The Collective has a lot to offer prog-metal fans – even though there is not a single vocal to be heard on the record. With a touch of dissonance, the record sounds like Cynic meets Between the Buried and Me with a bit of Dream Theater added in. Overall, The Collective is a mature, intelligent and complex record that shows a wealth of songwriting ability as well as an appreciation for plain old good music.

Trial Track: “Colossal”

7.0 / 10 — Jesse Polowin

 

Colin Stetson- New History Warfare, Vol. 2: Judges (Constellation; 2011)

Saxophonist Colin Stetson demonstrates an inclination for jazz, noise and the oh-so elusive avant-garde. By virtue of his idiosyncratic tendencies, Stetson has come to work with the likes of Tom Waits, Arcade Fire and David Byrne. Out of this impressive repertoire comes New History Warfare, Vol. 2: Judges – a collection of two-minute tracks that briefly but thoroughly explore what one could imagine may be going on inside of Stetson’s brain.

Almost taking the lead as the longest track on the record, “Lord I Just Can’t Keep From Crying Sometimes” awkwardly stands out as a classically composed love song, while the rest of the record conveys a panic-stricken tale featuring ranging falsettos, cries of feedback, howls of French horn and ever-pulsating clarinet screeches. Guest vocals provided by Laurie Anderson and Shara Worden help Stetson construct the soundtrack for a potentially fascinating psychological thriller.

Trial Track: “Richard II”

7.0 / 10 — Sruti Islam

 

The Red Hot Chili Peppers – Blood Sugar Sex Magik (Warner Bros.; 1991)

With songs like “Under the Bridge,” “Funky Monk” and “Blood Sugar Sex Magik,” the album is heavily influenced by funk music, but it nonetheless possesses a very diverse and well-built track list.

Blood Sugar Sex Magik sold over 17 million copies, making it the band’s second most popular album after Californication. Having put aside many of the heavy metal riffs that were more common in their precedent albums, the band was able to enlarge and diversify its audience. Released in 1991 as their fifth album, it brings together guitarist John Frusciante and Michael “Flea” Balzary’s energetic funk riffs with colourful and suggestive poetry-style lyrics. The album’s immense success forced Frusciante to temporarily quit the band in 1992 in the middle of a promising world tour. The album is considered one of the most influential albums to emerge out of the ‘90s alternative rock scene. It embraces genres and styles that can appeal to most listeners while keeping an original and stimulating sound.

Trial Track: “Give It Away”

— Kim McPherson

Adele – 21
(Columbia; 2011)

With her porcelain-like visage and long lashes, London-bred singer and songwriter Adele Adkins looks flawless on the black and white front cover of her sophomore album, 21. And she sounds flawless in it, too.

The album kicks off with the vicious and gospel bluesy single “Rolling In The Deep.” The second track, “Rumor Has It,” has a relatively simple arrangement compared to the rest of the album. But the arrogant attitude in the lyrics combined with a bluesy and pop-ish melody makes this song gutsy and entertaining. “Set Fire To The Rain” is a piano ballad that is powerful and gorgeous. When Adele hits the high note in the chorus you cannot help but feel the pain she felt when she wrote the lyrics. Each track is different, but they all express feelings of joy, sadness, pain and even revenge.

Trial Track: “Rolling in the Deep”

8.0 / 10 – Brenda Raftlova

 

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Monogrenade- Tentale
(Bonsound; 2011)

Tentale starts off with an introductory track that fits the album well. “Intro,” as its porte-parole, is an overall calm, meticulous and mysterious song due to the synthesized echoes and sounds. The record leads the listener into a hybrid ‘ambience music’ world à la Gotan Project or St. Germain with the blending of electronic elements and more traditional instruments. Most songs on the album have a low-key vibe, and the layering of echo-ey voices have slow and cloudy melodies that blend surprisingly well with the more clean piano or guitar. The record may not be musical genius, but it is refreshing as far as musical innovation is concerned. The breath-like voices singing lyrical French words over folksy guitars or a romantic slow piano, topped with musical effects like clapping, electro sounds and synthesized violins make quite the interesting combination.

Trial Track : “Escapade”

7.0 / 10 – Lea Choukroun

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Dinosaur Bones- My Divider
(Dine Alone Records; 2011)

After becoming favorites in the Canadian indie scene, Dinosaur Bones have finally released their first full-length album. Continuing to walk the fine line between alternative and Coldplay-esque pop, My Divider is a mix of live favourites with a few new tracks. Featuring singer Ben Fox’s soulful crooning over their signature reverb-laden instrumentals, My Divider successfully strays from overproduction by staying true to the group’s live sound. With rousing choruses in songs like “Hunters,” along with delicately built tracks like “Ice Hotels,” this debut is catchy with only a touch of saccharine sentimentality.

Yet My Divider does fail in capturing the band’s live energy. The inability to convey the group’s charismatic presence makes many of the tracks seem a little generic. In despite of this, My Divider still remains a solid debut effort from a promising Canadian band.

Trial Track: “Ice Hotels”

6.5 / 10 – Cora Ballou

 

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Everclear- So Much for the Afterglow
(Capitol Records; 1997)

Now having been relegated to the annals of history, for a brief time in the late ‘90s, the members of Everclear were the kings of alternative rock. Hailing from Portland, Ore., the band began by joining the post-grunge movement that followed Kurt Cobain’s death in 1994. Having garnered moderate success with their first two albums, the group hit the big time with their third release So Much for the Afterglow. Featuring a dramatic departure from their signature sound, Afterglow became the blueprint for light and catchy alternative rock. With songs like “Everything to Everyone” and “I Will Buy You A New Life,” Everclear candidly explored drug addiction and poverty by using its own experiences growing up on the West Coast. Even though this album proved to be its biggest hit, Everclear should be remembered as the band who helped usher in the likes of the Offspring and Blink-182 by allowing them to leave their punk roots and embrace the money-making properties of mainstream rock.

Trial Track: “Everything to Everyone”

– Cora Ballou

Mogwai- Hardcore Will Never Die, But You Will (Sub Pop; 2011)

Mogwai’s seventh studio album, Hardcore Will Never Die, But You Will, can stand alone as proof that this Scottish group has staying power. In the 16 years since the band formed, its sound has undergone a steady evolution. Their increased tendency toward producing mostly instrumental, electronic music is exemplified in this dense body of work. Heavily distorted and synthesized vocals are splattered across a few tracks, but are most notable in “Mexican Grand Prix.” Intermittent are even-tempered progressive rock tunes like “George Square Thatcher Death Party” and “San Pedro.” Mogwai made excellent use of layering techniques, which has resulted in songs that begin as soft as down feather and whose climax takes on the aggression of a rabid beast. Tracks like “How To Be a Werewolf,” “Death Rays” and “Letters to the Metro” will roll into your consciousness as would a thunderstorm across a calm, unsuspecting lake.

Trial Track: “Mexican Grand Prix”

8.5 / 10 – Katelyn Spidle

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Deerhoof- Deerhoof vs. Evil (Polyvinyl; 2011)

Deerhoof’s style of music is not for everyone. Sure, half of the lyrics are in Japanese, and the other half are so incoherent that they might as well be. Also, lead singer Satomi Matsuzaki’s high-pitched vocals could easily be mistaken for those of a child. But these eccentricities are what keep listeners coming back, as much as they may scare people off.

Something that Deerhoof has always excelled at is consistently pushing their sound forward, while always sounding unmistakably like themselves. From the space-y experimentation of Friend Opportunity to the career encompassing riffage of Offend Maggie, Deerhoof really hasn’t offered us anything that has failed to keep fans excited and naysayers clasping their ears.

Deerhoof vs. Evil comes at a time in the band’s career where it stands as less of a singular work than an interesting new piece of an already large and impressive art-rock catalogue.

Trial Track: “Behold a Marvel in the Darkness”

8.0 / 10 – Trevor Smith

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Cowboy Junkies- Demons (Latent; 2011)

Cowboy Junkies’ sound is a hybrid of blues, folk and alternative rock that is sprinkled here and there with grungy guitars. In other words, if Bob Dylan and Kurt Cobain had a daughter who possessed a soothing voice, it would sound something like the Cowboy Junkies’ latest album: Demons. Vocalist Margo Timmins tops the complex musical arrangement off with perfectly mastered vocals. These offer an unexpected and almost pop-y feel to both the acoustic folk sounds and the distorted bluesy ones. The only drawback is that Timmins’ voice is almost too perfect, and when it is not spiked up by a bluesy or a distorted lead guitar riff, it can come off as being almost cheesy. Demons is an easy-listening record. The blend of genres and the layering of styles really show that Cowboy Junkies are the grown-ups in the Canadian indie family.

Trial track: “Ladle”

7.5 / 10 – Lea Choukroun

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Daniel Johnston- 1990 (Shimmy Disk; 1990)

Since 1981, Daniel Johnston has produced countless recordings in the form of EPs, singles, compilations and full length albums. 1990 was his 12th LP, released, as the title would suggest, in 1990. His rise to fame was slow-coming and rocky as a result of his lifelong struggle with bipolar disorder. In the 2005 documentary The Devil and Daniel Johnston, the singer claimed that 1990 was originally meant to be entitled 1989. Unfortunately, his frequent in-and-out visits to the psych ward severely delayed the album’s completion. The resulting tracklisting features a compilation of studio sessions, home recordings and live performances. Many titles off of this record bare witness to his deluded thoughts patterns, including “Devil Town,” “Don’t Play Cards With Satan,” and “Spirit World Rising.” Johnston can even be heard choking back tears during a live, a cappella performance of “Careless Soul.” Although his singing and guitar skills are questionable to say the least, Johnston’s childlike honesty and untainted naivete has blessed him with the ability to write lyrics that are simple, yet universally accessible.

Trial Track: “How Soon Is Now?”

– Katelyn Spidle