Bob Dylan – Shadows in the Night (Columbia Record; 2015)
There simply isn’t anybody like Bob Dylan. The idiosyncratic singer-songwriter’s 36th studio album represents another odd detour, eschewing his greatest skill, his writing, in favour of his most polarizing trait; his signature, nasally wheeze. While that wheeze may now resemble a weary croak, Shadows in the Night is nowhere near as tangled or confused as Dylan’s last left turn, 2009’s Christmas in the Heart. A collection of traditional pop standards, Dylan is stripped of the over-zealous trimmings that have sometimes jeopardized his more recent works; sparse, intimately minimal arrangements provide a hauntingly moody backbone to the singer’s vulnerable vocals. Brittle and raw, Dylan’s voice feels surprisingly relaxed and at home, transforming traditional mid-tempo standards into drifting, melancholic ballads of downtrodden vulnerability. Despite encompassing no original material, Shadows in the Night never feels like a meager tribute album; Dylan turns these classics into an atmospheric noir tableau, infusing each song with experience and effectively making them his own.
Fat Mike – Home Street Home (Fat Wreck Chords; 2015)
As the name implies, Home Street Home: Original Songs from the Shit Musical, is the score from a musical starring street punks. The songs are mainly written by NOFX frontman, Fat Mike, and performed by a slew of punk artists, namely members of The Descendants, Lagwagon and the Dropkick Murphys among others. Musically, the album sounds similar to many NOFX tracks. The vocals are raw, but this fits the themes of the musical. The lyrics are the highlight of the album, as they comically explore drug use, prostitution and BDSM culture. The album’s biggest problem is that without having seen the show, the tracks do not tell a proper story on their own. While the album will probably bring a smile to your face, if you are interested it would probably be best to save the tunes shock value for the actual stage show.
For his third studio album, José González drew inspiration from the world around him: nature, humanism and the solidarity of human existence. Self-produced in his home studio in Gothenburg, a clear focus was put on ensuring that the songs conserved a certain rawness and warmth to preserve the visceral quality of González’s songwriting.
Vestiges & Claws features the Swedish singer-songwriter’s trademark soothing voice and fingerpicked acoustic guitar, but expands his musical palette with additional vocal and guitar overdubs, in addition to percussion. The album also channels new influences ranging from ‘70s Brazilian productions and American folk rock to West African desert blues music.
With its philosophical lyrics, simple yet endearing melodies and undeniable focus and complexity, Vestiges & Claws is a notable evolution of an artist who never fails to charm.
Though I Love You, Honeybear wears its humorous lyrics and playful arrangements like a colourful veneer, it is a highly confessional album, full of self-loathing, narcissism and contradiction. In the press release for the album, singer-songwriter and former Fleet Foxes drummer Josh Tillman explained the concept behind his sophomore release as being “about a guy named Josh Tillman who spends quite a bit of time banging his head against walls, cultivating weak ties with strangers and generally avoiding intimacy at all costs.” With a description which could probably be preceded by #whitepeopleproblems, his self-confessional approach is repeatedly clouded by a holier-than-thou treatment of the subject matter.
It is undeniable that Tillman is a hugely talented (albeit sarcastic) songwriter, but I Love You, Honeybear ultimately reveals itself as totally pretentious, misogynistic and insincere.
Maybe it’s because the whole idea of pop-rock seems like a self-contradictory disaster to me, but Fall Out Boy’s new studio album American Beauty/American Psycho appears to be a last attempt of high school anthem-writers to stay relevant. Mixing teen angst with dance pop, Patrick Stump’s annoyingly eccentric vocals coupled with a rushed lyricism really drives home the feeling that the band has made no progress over the last 10 years. The album offers a weird nostalgia for those who know Fall Out Boy’s older albums and even has the potential to be good, but on the whole, offers nothing new or exciting. As made clear by the lyrics of the album’s first single, “Centuries” (a reimagining of Suzanne Vega’s “Tom’s Diner”), the band is too focused on being remembered to create anything worth listening to.
Born from the ashes of acclaimed noise-rock band Women, Calgary quartet Viet Cong is a veritable post-punk smorgasbord. Their self-titled debut LP essentially serves as a history lesson for the genre, gathering sounds from such disparate eras as the revival/dance-punk explosion of the early 2000s and the cold, clanging chaos of early ‘80s no wave. While it’d be easy to reduce the band’s work to mere pastiche, Viet Cong nonetheless prove themselves more than a one-trick tribute act thanks to the raucous, unbridled energy they bring to every concoction. “Pointless Experience” and “Silhouettes” flawlessly recreate early Interpol, while doubling down on downright incisive guitar tones. The album’s showstopper, “March of Progress,” conjures up a gorgeous cacophony strongly indebted to This Heat, before transitioning into an unexpectedly joyous and blissful finale. Say what you will about Viet Cong’s strict adherence to fidelity; not since Iceage stormed onto the scene has a band so seamlessly and powerfully replicated a bygone era.
This year marks West Midlands grindcore pioneers Napalm Death’s 34th year as an outfit. Despite a revolving door of personnel early on (most notably on their 1987 debut, Scum) and a complete lack of original members, the band has hardly suffered or changed, retaining a fixed lineup and delivering a singular, uncompromising sound since the early ‘90s. Apex Predator – Easy Meat, the band’s 15th studio album, is by all accounts another typical Napalm Death album. All of the pieces are in place: ferocious blast beats, chunky, blistering riffs, violent mid-tempo grooves, Mark “Barney” Greenway’s reliably gruff vocals, and socio-politically charged lyrics. If Napalm Death don’t cover any new ground (would you want them to?), they’ve assembled the cream of the crop for their 15th album. Few bands sound this overpowering a decade into their career, let alone upwards of three decades; the fact that Napalm Death could go toe-to-toe with their peers is a testament to their earned experience and unrivalled maturity in the genre.
Tomorrows Tulips – When (Burger Records, 2014) by Mia Pearson
Tomorrows Tulips – When album cover
These fair-haired California boys have kicked-out more dreamy and listless tunes to spin on repeat. Their new songs still roll slowly as if wonderfully warped, but When doesn’t pull from Velvet Underground’s sound as closely as their previous albums. The bob-cut beach beauties have found their own breezy breath, especially on “Glued to You” where Alex Knost sings softly — almost whispering — while the bass line thumps languidly, until the songs cuts off abruptly. The sweet side of nostalgia oozes from the album, but is captured precisely and undefinably in the guitar riff on “Laying In The Sun.”
Water drops are heard at the beginning of “Favorite episode,” and limping guitar strumming carries the song along until it splats into a brief rock wall of sound. “Down Turned Self Pity” is so raw you can hear the warm fuzz buzz throughout — kind of like the sound of crashing ocean waves. While listening to the album over and over, I think: wouldn’t When sound so good while layin’ in the sun?
Trial Track: “Glued to you” Rating: 10/10
The Barr Brothers- Sleeping Operator (Secret City Records;2014) by Jessica Romera
For their sophomore effort, Montreal folk quartet, The Barr Brothers, composed primarily of the eponymous musicians, Brad and Andrew Barr, released Sleeping Operator in early October. Following up their 2011 Polaris Prize-nominated self-titled debut album, Sleeping Operator veers slightly away from their signature folk sound to include different types of instrumentation, including the popular West African string instrument, the ngoni. Sleeping Operator’s crown jewel and first single, “Half Crazy,” is a carefully orchestrated hazy and smokey blues track, embodying the warmth and maturity of the album. Other songs like “Little Lover” and “Even The Darkness Has Arms,” showcase the group’s innate folk sound with familiar string orchestration, acoustic guitar playing, and ethereal harp plucking. The album is like an oversized knit sweater during the month of October: it’s cozy, comfortable, and exactly what you need.
Trial Track: “Half Crazy” Rating: 7/10
Flying Lotus – You’re Dead! (Warp ; 2014) by Paul Traunero
Flying Lotus – You’re dead album cover
Disenchanted with, as he calls it, “Starbucks jazz shit,” Los Angeles-based producer/musician/rapper, Flying Lotus (A.K.A. Steven Ellison), decided that he wanted to create something that pushes jazz music in a modern direction with his fifth studio album.
Paying tribute to the improvisational spirit and ecstatic energy of hard bop jazz, with Ellison’s signature blend of ambient electronica and hip hop hooks, You’re Dead! transports the listener on a twitchy, psychedelic journey, full of surprises and chaos. With so much content crammed into the 19-track, 38 minute running time, the album is an intense experience and best consumed as a whole.
It is clear that You’re Dead! is aware of death’s unavoidable reality, yet stands as a statement of creative rebirth and a testament to Flying Lotus’ innovation and creativity as an artist.
Trial Track: “Never Catch Me (feat. Kendrick Lamar)” Rating: 8.5/10
Caribou – Our Love (City Slang; 2014) by Steven Nadeau
Caribou brought us his new album, Our Love, on Oct. 7, 2014, which seems to be a slightly more mature version of its predecessor, Swim. The album carries its familiar electronic chillwave vibes, and does so in way that makes it more ambient than excitement-driven. Yet, Our Love, seems like a second half to the earlier album. Growing on Swim’s success, Dan Snaith recaptures the familiar whispering echoes and reverberations, graduating from his older, more psychedelic sounding beats. He rakes in new listeners through the synth pop-style repetition, featuring laid back tunes like “Silver,” and showcases a more eccentric side with the use of a flute in “Mars”. Overall, it’s a pretty decent album, although it didn’t really bring anything new or exciting to the table – and perhaps it might be better that way.
Allah-Las – Worship the Sun (Innovative Leisure, 2014) by Mia Pearson
Worship the Sun (Innovative Leisure, 2014)
Worship the Sun? More like worship this album. It seemed like an impossible task for Allah-Las to follow their incredible self-titled debut, but the band’s perfect sound seems to shine eternally. Worship the Sun has a nostalgic sound that burns back to ‘60s grime and glamour. The album elegantly weaves in Miles Michaud’s soft vocal harmonies, backed by waves of twangy guitars slowly reverberating, while the drums whisper warmly throughout.
It’s as if each song was filtered through circa 1960s thick gold jewels, dug-up on the beach and spit-polished by a pool-side model. Their tunes are so sharply unique that you’d think band members leave a trail of glitter and sand wherever they walk. The album begins by blaring “De Vida Voz” which travels fast into a listless chant. Further unravelling, “Had It All” could be a slowed-down Kink’s song, had The Kinks grown-up lounging on SoCal beaches. The album peaks midway with “Follow you Down”– a catchy tune with a cute pop chorus. The sun sets on the song, “Every Girl,” with a few ‘ya ya ya ya’s…
Trial Track: De Vida Voz Rating: 11/10
Sondre Lerche – Please (Mona Records; 2014) by Paul Traunero
Please (Mona Records; 2014)
Please is not your typical break-up record. Conceived during the sudden divorce from his eight-year marriage, the Norwegian singer-songwriter expands on his signature corky indie-pop style, with a sonically-adventurous interpretation of his heartbreak.
Though never a stranger to eccentricities and catchy pop hooks, Lerche’s bold new direction often creates a feeling of distance from the listener. Not only are most of the tracks on his seventh studio album structurally disjointed and riddled with askew breakdowns of yelping guitar and strobing electronics, they also suffer from over-production, which often drown his voice in the chaotic soundscape throughout.
Perhaps, if Lerche had dealt with his heartache and loss, instead of evading his feelings in the studio, Please would have sounded more like a gratifying assertion, rather than a desperate plea.
Tria Track: “Sentimentalist” Rating: 7/10
John Southworth – Niagara – (Tin Angel Records, 2014) by Lan Thockchom
John Southworth definitely has the capacity to surprise us with the wide range of musical styles on his latest album, Niagara. However, despite his efforts and talent for many music genres, the album itself lacks cohesion. It sounds more like a collection of music that aims to put you in a state of relaxation than like a complete work. Some tracks stand out, such as “Fiddler Crossed the Border” or “Folk Art Cathedral.” The album would have benefitted from sounding like those songs, with their folk/blues rock sound and Leonard Cohen-inspired female backing vocals. Southworth is well respected for his his ability to recreate the sounds of some legendary folk artists, but he still needs to work on making an LP sound complete. There were some tracks that sounded really genuine and dynamic, but there were some throw-off tracks such as “Ode to Morning” and the opening track, “Niagara Falls.” Those songs fell short because of their generic structure and uncreative lyrics.
Trial Track: “Fiddler Crossed the Border” 5/10
Paolo Nutini – Caustic Love (Atlantic; 2014) by Paul Traunero
Already one of the fastest-selling albums of 2014 on the UK charts, with 109,000 copies sold in its first week, Caustic Love, is a masterpiece. The 27-year-old, Scottish-Italian singer-songwriter rose to fame alongside Amy Winehouse, yet never achieved her credibility—until now.
With his signature raspy vocals and retro-soul swagger, Nutini exudes confidence and maturity beyond his years with his third album. Though steeped in vintage sound and channelling R&B legends like Curtis Mayfield, James Brown and Bill Withers, this album displays a tasteful level of restraint and contemporary pop sensibility that transcends its retro labeling.
Caustic Love is more than a collection of chart-topping singles: it is a coherent and innovative album for its genre, by an artist who has finally found his identity and the critical success he deserves.
Kaiser Chiefs – Education, Education, Education & War (ATO Records; 2014)
Flipping through the pages of their history books, Kaiser Chiefs attempt to recreate the raw, angry, and slightly anarchistic sound that propelled them to alt Brit rock royalty in 2005, with their latest release. Education, Education, Education & War is their fifth record, and the first since drummer, primary songwriter and founding member, Nick Hodgson, left the group. Despite this reconfiguration, Kaiser Chiefs manages to revive the urgency and grit of their earlier work. Taking a note from fellow Brit rockers, the Chiefs weave in some Pink Floyd-inspired maniacal laughter and dialogue into the background of “Misery Company” and “Cannons,” creating in listeners a simultaneous unease and intrigue. Though the album’s first single “Coming Home” is a straightforward, easy listening indie-rock ditty, the same cannot be said for the rest of the nine tracks that vocalize political frustrations in contemporary Britain, commenting on social and economic disparities. With Education, Education, Education & War, Kaiser Chiefs make a solid effort to reclaim a spot at the head of the alt-rock monarchy.
Trial Track: “Ruffians On Parade”
Rating: 6.5/10
-Jessica Romera
Mac DeMarco – Salad Days (Captured Tracks; 2014)
Once in a while we all need a little break from the loud, fast-paced music scene. If you happen to find yourself in this stage
of your life, or even your semester, then Mac DeMarco’s sophomore record Salad Days is waiting for your ears. With almost purely organic instrumentation like acoustic guitar and old-school type drumming paired with honest lyrics, not a single song feels out of place. The album has a warm, soothing vibe to it, making us nostalgic for summer. Like the popular single “Ode to Viceroy,” a track paying respect to the infamous cigarette company off his debut album 2, Salad Days has a happy, sunny energy to it. DeMarco almost sounds like a new-school Beatle — this album is a serious work of art and definitely worth more than one listen.
Various Artists – Bob Dylan in the ’80s: Volume One (ATO Records; 2014)
In Dylan’s 2004 memoir, Chronicles: Volume One, he reveals his insecurities during the 1980s: “I felt done for, an empty burned-out wreck…in the bottomless pit of cultural oblivion.” These fears manifested themselves in a series of unfocused and commercially-unsuccessful albums.
Interestingly, Bob Dylan in the ’80s seems to prove that collaboration may be the key to creating a fresh perspective. Comprised of 17 Dylan cover songs performed by modern indie musicians, including Elvis Perkins, Glen Hansard, Langhorne Slim, Dawn Landes and Bonnie “Prince” Billy, the generally obscure covered material preserves the essence of Dylan’s songwriting, all while infusing the songs with a new sense of harmony and relevance, and staying faithful to the each performer’s style.
For first time listeners of the folk legend, Bob Dylan in the ’80s is a great introduction to this obscure period of Dylan’s career.
Soft Friday lives up to its name; it’s a mellow potpourri of soothing indie-rock waiting to become part of your weekend soundtrack. Composed of Beck Wood and John Ridgard, Coves began creating music back in 2011 in the U.K.. NME attributes their psychedelic roots to bands like The Kills, Nico and The Velvet Underground, quoting their inspirations as a “tantalising combination.”
Soft Friday captures your heart in an existentially weird way. It immerses you into this aural adventure with psychedelic guitar riffs and hypnotizing vocals, blending each other harmoniously. “Wake up,” “Let The Sun Go,” and “Beatings” are just some great examples of that rationale. Remember how Linus from Peanuts always has his security blanket? That may be the same reason why it’s called Soft Friday: this album will soothe your stressed soul anytime, and your ears will be grateful for keeping them company.
Following their 2011 Polaris Prize nominated album, Creep on Creepin’ On, Timber Timbre have released Hot Dreams. Like the name suggests, Hot Dreams dances in the twilight, somewhere between dusk and dawn with an eerily cool and haunting sound signature to the Canadian folk trio.
Like their previous records, Hot Dreams is organic and cinematic. Taylor Kirk’s vocals border on disembodiment, featured against violinist Mika Posen’s string arrangements, and percussionist Simon Trottier’s lap steel drums. The title track is soft, moody and melancholic with traces of lamentation and yearning, elements recurrently felt throughout the group’s fifth album. Hot Dreams also plays with Western themes; “Grand Canyon” and “The Three Sisters” sound like the backdrop to a lone ranger riding through the Mojave desert. Hot Dreams is a blend of resounding rhythms and carefully composed melodies, proving that Timber Timbre are masters at musical storytelling.
Trial Track: “Grand Canyon”
Rating: 9/10
-Jessica Romera
Johnny Cash – Out Among The Stars (Columbia Legacy/Sony; 2014)
The ’80s were a rough time both creatively and personally for Johnny Cash. Not only was he in and out of rehab, his marriage to June Carter was falling apart and he hadn’t had a number one single since “One Piece at a Time” in 1976. His record label decided to enlist the aid of ‘countrypolitan’ producer Billy Sherrill to update his sound. The results caused the album to be shelved until it was unearthed 30 years later. Out Among The Stars is not a bad album per se: Cash’s vocals are at their peak, but the hokey production drains all of the grit and darkness out of his storytelling; qualities that fans have come to expect from “The Man in Black.”
Regardless of its faults, Out Among The Stars is still an interesting piece of lost recording history and attests that even the legendary Johnny Cash struggled to find his creative direction.
Trial Track: “She Used To Love Me A Lot”
Rating: 5.5/10
-Paul Traunero
Shakira- Shakira (RCA; 2014)
Here’s a riddle. What blends the most generic sounds imaginable with one of pop music’s most recognizable and original voices? Shakira’s new album, that’s what. Self-titled record: that’s been done. Random stars du-jour (like Blake Shelton) featured on a totally forgettable track: predictable. Featuring a reggae, country, dance, rock and electro song for broader appeal: seen before. Did we mention the cliché romantic lyrics about love and heartbreak? Yet somehow everything Shakira creates manages to stand apart in the heavy-radio-play, about-to-be-mixed-for-the-club bracket. The originality is mostly due to some all-Spanish songs like “I Can’t Remember To Forget You,” which is included in its full Spanish version as “Nunca Me Acuerdo De Olvidarte.” That nasal thing she does with her voice also reminds you of how sensually powerful she is as a musician. So what Shakira by Shakira can offer is paradox. It sounds like déjà-vu but it’s also fun, bold and unique. Riddled indeed.
Taking Back Sunday – Happiness Is (Hopeless Records; 2014)
Taking Back Sunday’s newest release, Happiness Is, is a reunion of sorts. The album marks the first time all five members who played on the group’s first record, Tell All Your Friends, have released an album together in over 12 years. Despite this throwback, the new songs have evolved musically. The album is distinctly less emo and, as a whole, manages to be an alternative rock album in the vein of 30 Seconds to Mars’ more recent releases. The vocal style of Adam Lazzara is much more mature than in previous albums and manages to sound less whiny. Overall, the album is an improvement, but no element of it stands out as particularly excellent. The lyrics are at times cliché and certain tracks, such as “We Were Younger Then,” have rather nonsensical lyrics that at first listen might appear to hold a deeper meaning, but ultimately do not. The musical landscape is at times repetitive but at least the album cover is styled in a visually attractive retro way.
Trial Track: “Stood a Chance”
Rating: 6.5/10
-Justinas Staskevicius
Nick Waterhouse – Holly (Innovative Leisure; 2014)
Following the critical success of his 2012 debut Time’s All Gone, Los Angeles singer-songwriter Nick Waterhouse returns with a polished sophomore album that feels both contemporary yet classic. This loosely conceptual album about a fictional deceased twentysomething Los Angeles scenester, draws inspiration from the films Mulholland Drive and Chinatown and the atmosphere of Raymond Chandler novels. Holly is like a film noir: narrative, brisk, mysterious and fully satisfying.
In spite of its concept, Holly never feels pretentious or inaccessible. With its perfect fusion of garage rock, retro-soul R&B and even some surf-rock moments, the album has a strong pop-sensibility and is incredibly catchy and smooth.
In addition to some carefully injected covers by Ty Segall and Mose Allison, Holly offers a deeper narrative experience for listeners who dare venture into Waterhouse’s world.
Trial Track: “This Is a Game”
Rating: 8.5/10
– Paul Traunero
Foster The People – Supermodel (Columbia;2014)
Foster the People’s new album Supermodel is not like their debut Torches. ‘Kicks’ will not be ‘pumped up’ as instantly as on their first record. The synthesizer beats are not as immediately infectious, the boyish squeal lead vocalist Mark Foster made us love isn’t as prominent. But don’t write off this supermodel as thin or shallow just yet. All 12 songs somehow sound bigger and deeper. High pitched anthems, of which there still are, give way to more grown up verses and acoustic riffs that showcase a range we had not yet seen from the L.A. based band. The lyrics are also more easily understandable and relatable, if you care about that sort of thing. It’s like Foster the People grew up; instead of X-Acto knife-ing straight to our hearts they decided to pound through our chest with a more blunt instrument. It takes more time to get there, but once you’re a couple listens deep, you can’t turn your back on this supermodel.
Trial Track:”The Angelic Welcome Of Mr. Jones”
Rating:7.5
-Romain Dompnier
High Klassified- Palindroma (Fool’s Gold Records; 2014)
High Klassified is an up-and-coming electronic artist from our very own home town. He has been working alongside some rather important producers this year, like Lunice, Kaytranada, and Tommy Kruize. Currently signed to Fool’s Gold Records, a local independent label owned by Montreal musician/producer A-trak, High Klassified released his debut EP on March 4. Palindroma is comprised of four original songs, and has a rather dark feeling to them. They paint abstract undertones with a lot of ambient background noises; it’s definitely an earthy and organic setlist. There are even some anime vocals in the background to give that “Naruto soundscape” final touch. All in all, High Klassified has truly outdone himself as the newest member of the Fool’s Gold family and we should absolutely expect more from this Montreal musician.
