This review was written for the Music Emissions website. Check out this review, and the website!
Continuing with my recent Canadian theme, Melville is the Rheostatics’ second full-length album. It placed in the top fifty best Canadian albums of all time — according to Canadian magazine Chart — three times in a row (1996, 2000, and 2005). The Rheostatics are Dave Bidini (Guitar), Tim Vesely (Bass Guitar), Dave Clark (Drums), and Martin Tielli (Guitar).
This album is quite a gem, especially for those with an interest in Canadian alternative rock (like me). Overall, the music is melodic and subdued, showcasing the vocal talents of Bidini, Vesely, and Tielli. This is especially evident in the song Northern Wish, which crests and falls quietly and subtly. I’m also a huge fan of the song Chanson Les Ruelles, which is incredibly Canadian, being written in correct but terribly pronounced French. It proclaims Canada’s distinction from the United States and supports it.
On the downside, this album can be too subdued at times. The first time I listened to it, I was in a very mellow mood, and appreciated the album greatly. The second time I listened through, I was in a less mellow mood, and the album seemed to drag along at a painful pace. Some songs that epitomize this for me are It and Saskatchewan.
Being Canadian, I understand this album at a more instinctual level. I can’t say for sure whether or not it would translate to a different audience. If any Americans want to comment on my review about this album, it would be greatly appreciated. Apart from the pacing, this album has no serious musical issues. The Rheostatics have hit a very Canadian ground here in Melville, and I’m proud to be a part of it. That’s why you should listen to this album.
Wednesday, September 17, 2008
Wednesday, September 10, 2008
Review of Go Figure (Spirit of the West)
This review was written for the Music Emissions website. Check out this review, and check out the site!
Go Figure is the sixth full-length release by Canadian folk/rock band Spirit of the West. It’s a departure from their strong folk-inspired performances, and delves into a harder, rockier sound. Spirit of the West is John Mann (Guitar, Vocals), Geoffrey Kelly (Guitar, Flute, Whistles, Vocals), Hugh McMillan (Guitar, Bass, Keyboards), Vince Ditrich (Drums), Tobin Frank (Occasional Bass/Accordion).
There are a lot of positives to this album for me. The music is very strong, multilayered rock with a punch. The album kicks off with D For Democracy, in which the first line of the chorus is “Scour the House!”, a reference to the Canadian House of Parliament (that’s our Government, for the Americans in the audience). This really sets the tone for the album.
It’s also fun when an album courts controversy. The song Political, an amusing song that asks the question “Why did everything, everything, for you and me have to be so political?”, was re-recorded in rock style for this album, and while touring the album, the band was presented with a petition in my hometown of London Ontario that they play the old version of the song!
That aside, the other strong songs on the album are Goodbye Grace, an oddly sprawling song that endears itself to me in its almost lethargic style, and Far Too Canadian. This song is a scathing indictment of the Canadian state and identity. The chorus goes “I am the face of my country/Expressionless and small/Weak at the knees, shaken badly/Can’t straighten up at all/I watch the spine of my country bend and break/I am in a sorry state”. The double meaning of “state” cements this song in my mind as lyrical brilliance.
A few songs, such as Pulling Lame and Spot the Difference suffer by comparison to these four powerhouses, but they don’t detract too much from the album itself. All in all, it’s a great album, especially if you’re Canadian. Go Figure is the best Spirit of the West album I’ve heard to date, and that’s why you should listen to it.
Go Figure is the sixth full-length release by Canadian folk/rock band Spirit of the West. It’s a departure from their strong folk-inspired performances, and delves into a harder, rockier sound. Spirit of the West is John Mann (Guitar, Vocals), Geoffrey Kelly (Guitar, Flute, Whistles, Vocals), Hugh McMillan (Guitar, Bass, Keyboards), Vince Ditrich (Drums), Tobin Frank (Occasional Bass/Accordion).
There are a lot of positives to this album for me. The music is very strong, multilayered rock with a punch. The album kicks off with D For Democracy, in which the first line of the chorus is “Scour the House!”, a reference to the Canadian House of Parliament (that’s our Government, for the Americans in the audience). This really sets the tone for the album.
It’s also fun when an album courts controversy. The song Political, an amusing song that asks the question “Why did everything, everything, for you and me have to be so political?”, was re-recorded in rock style for this album, and while touring the album, the band was presented with a petition in my hometown of London Ontario that they play the old version of the song!
That aside, the other strong songs on the album are Goodbye Grace, an oddly sprawling song that endears itself to me in its almost lethargic style, and Far Too Canadian. This song is a scathing indictment of the Canadian state and identity. The chorus goes “I am the face of my country/Expressionless and small/Weak at the knees, shaken badly/Can’t straighten up at all/I watch the spine of my country bend and break/I am in a sorry state”. The double meaning of “state” cements this song in my mind as lyrical brilliance.
A few songs, such as Pulling Lame and Spot the Difference suffer by comparison to these four powerhouses, but they don’t detract too much from the album itself. All in all, it’s a great album, especially if you’re Canadian. Go Figure is the best Spirit of the West album I’ve heard to date, and that’s why you should listen to it.
Monday, September 8, 2008
Review of I'm A Mountain (Sarah Harmer)
This review was written for the website Music Emissions. Check out this review, and check out the site!
Sarah Harmer’s fourth album, I’m A Mountain, is quite a departure from her previous works. With her on this acoustic folk and bluegrass album are Chris Bartos (Fiddle), Willie P. Bennett (Harmonica), Luther Wright (Banjo, Harmonica, Harmony Vocals), Dan Curtis (Guitar), John Dinsmore (Bass), Jason Euringer (Harmony Vocals, Stand-Up Bass), Spencer Evans (Clarinet, Piano, Accordion), Dean Stone (Percussion), and Clem Harmer (Harmony Vocals). Yes, Clem is in fact Sarah’s father.
As I mentioned in the previous album, the acoustic folk/bluegrass direction of this album is different from the Sarah Harmer we’ve heard in the past. I think, however that it suits her quite wonderfully, especially her cover of the Dolly Parton song Will He Be Waiting For Me?. The song describes the worries of a woman distant from her love, saying “Will he be waiting for me? He will be, won’t he?”, her quiet quickness giving an almost frantic air to the questions.
Other songs of note on the album include I Am Aglow, another wonderful image describing an intense love. I’m also quite partial to Salamandre, sung entirely in French. The lyrics were written by Kate Fenner, but true to form, this is also a love song. Perhaps love and bluegrass go together well, or maybe it’s just love and Sarah Harmer.
A couple songs, like The Ring, and Oleander, lack the same punch as the others. The energy seems to be missing from them, and they detract from the overall enjoyment of the album, but they don’t detract from it much.
Overall, Sarah Harmer’s I’m A Mountain is a rock-solid album, sure to be enjoyed if you like folk or bluegrass music. Even if you don’t, it’s a beautifully put together set of songs, and that’s why you should listen to it.
Sarah Harmer’s fourth album, I’m A Mountain, is quite a departure from her previous works. With her on this acoustic folk and bluegrass album are Chris Bartos (Fiddle), Willie P. Bennett (Harmonica), Luther Wright (Banjo, Harmonica, Harmony Vocals), Dan Curtis (Guitar), John Dinsmore (Bass), Jason Euringer (Harmony Vocals, Stand-Up Bass), Spencer Evans (Clarinet, Piano, Accordion), Dean Stone (Percussion), and Clem Harmer (Harmony Vocals). Yes, Clem is in fact Sarah’s father.
As I mentioned in the previous album, the acoustic folk/bluegrass direction of this album is different from the Sarah Harmer we’ve heard in the past. I think, however that it suits her quite wonderfully, especially her cover of the Dolly Parton song Will He Be Waiting For Me?. The song describes the worries of a woman distant from her love, saying “Will he be waiting for me? He will be, won’t he?”, her quiet quickness giving an almost frantic air to the questions.
Other songs of note on the album include I Am Aglow, another wonderful image describing an intense love. I’m also quite partial to Salamandre, sung entirely in French. The lyrics were written by Kate Fenner, but true to form, this is also a love song. Perhaps love and bluegrass go together well, or maybe it’s just love and Sarah Harmer.
A couple songs, like The Ring, and Oleander, lack the same punch as the others. The energy seems to be missing from them, and they detract from the overall enjoyment of the album, but they don’t detract from it much.
Overall, Sarah Harmer’s I’m A Mountain is a rock-solid album, sure to be enjoyed if you like folk or bluegrass music. Even if you don’t, it’s a beautifully put together set of songs, and that’s why you should listen to it.
Review of The Clash [UK] (The Clash)
The first album-length release by The Clash, this eponymous album was produced twice, once in 1977 in the United Kingdom, and once in 1979 in the United States. The 1979 version includes songs not on the original album as well as having some of the songs cut due to not being "radio friendly". The Clash are Joe Strummer (Guitar, Vocals), Mick Jones (Guitar, Vocals), Paul Simonon (Bass), and Terry Chimes (Drums).
The Clash deliver more than two-chord punk on this album, though there is a fair share of that if you're interested. Songs like White Riot and Janie Jones blast through you, with a certain power and fury that takes some getting used to. The song London's Burning, with the lyrics "Black or white turn it on, face the new religion/Everybody's sitting 'round watching television!", and "London's burning with boredom now" show the aggressive style of music, which for the era and genre are entirely appropriate.
There's more, however, to the album than raw power and furious lyrics. Songs like What's My Name and Police and Thieves show a somewhat more refined musical ability than other songs on the record might suggest. This refined sound adds to the punk sound without removing its power, which is quite an accomplishment in its own right. Police and Thieves, written by singer Junior Murvin, is performed in punk/reggae style, which is a nice counterpoint to the rest of the album with a laid-back attitude about it.
As with any album, and especially with a first album, not everything worked out as intended. Some songs like Remote Control, I'm So Bored With The U.S.A., and Deny have energy and passion, but seem to be lacking something that takes it above the status of melodic noise.
There's something about the raw energy of punk that gets me every time, and The Clash is no different. The edge of experimentation and newness apparent on this first album definitely adds to the experience. I'm personally a big fan of this album, and the critics of the day certainly agreed that this album is a bedrock on which to build a punk collection.
Note: I had originally written this review for Music Emissions, but I didn't check carefully to enough to see if one had been written. Thus it will be posted here, but not there.
The Clash deliver more than two-chord punk on this album, though there is a fair share of that if you're interested. Songs like White Riot and Janie Jones blast through you, with a certain power and fury that takes some getting used to. The song London's Burning, with the lyrics "Black or white turn it on, face the new religion/Everybody's sitting 'round watching television!", and "London's burning with boredom now" show the aggressive style of music, which for the era and genre are entirely appropriate.
There's more, however, to the album than raw power and furious lyrics. Songs like What's My Name and Police and Thieves show a somewhat more refined musical ability than other songs on the record might suggest. This refined sound adds to the punk sound without removing its power, which is quite an accomplishment in its own right. Police and Thieves, written by singer Junior Murvin, is performed in punk/reggae style, which is a nice counterpoint to the rest of the album with a laid-back attitude about it.
As with any album, and especially with a first album, not everything worked out as intended. Some songs like Remote Control, I'm So Bored With The U.S.A., and Deny have energy and passion, but seem to be lacking something that takes it above the status of melodic noise.
There's something about the raw energy of punk that gets me every time, and The Clash is no different. The edge of experimentation and newness apparent on this first album definitely adds to the experience. I'm personally a big fan of this album, and the critics of the day certainly agreed that this album is a bedrock on which to build a punk collection.
Note: I had originally written this review for Music Emissions, but I didn't check carefully to enough to see if one had been written. Thus it will be posted here, but not there.
Sunday, June 15, 2008
Review of Old World Underground, Where Are You Now? (Metric)
Originally written for the music review contest at Music Emissions. Check out the site!
"Old world underground, where are you now?" are the first words Emily Haines belts out on this record, and the energy hardly drops for forty minutes. Backed by her synthesizer and James Shaw (Guitar, Vocals), Josh Winstead (Bass), and Joules Scott-Key (Drums), the first release from Canadian indie band Metric is solid all the way through.
There's so much to be said for this album. If you'd have asked me hours ago, I'd have told you that the synth-supported indie wasn't really my thing. The synthesizer is used very judiciously, almost cleverly. It's almost always there, but it adds to the sound, rather than trying to be the sound. The musicians are quite proficient, and beyond that, they know how to play as a group, which is rare for a first release. I'm personally extremely enamoured with the skills of Joules Scott-Key. Drumming is often the difference between mediocre and good music, and the simple yet appropriate drums on this album do not disappoint me. Call me converted, I guess.
Personally, I prefer the more energetic songs, like I.O.U., Succexy, and Dead Disco. Some of the more mellow songs, like Hustle Rose, drag just a little, which is something that I hope the band has dealt with in its next release. You can be sure I'll be checking that out! I'm quite impressed with vocalist Emily Haines, I should add. Her style is edgy without being obnoxious, and it really adds to the music. Having listened to her other sometimes-act Broken Social Scene, I can tell you without hesitation that she ought to focus on Metric and forget the broken Broken Social Scene.
This is quite possibly the most gushing review I've ever written. The album is by no means perfect, but the little nagging things that bother me are hard to pinpoint and name, so I'll leave them as an open-ended statement. All told, this album has been my most pleasant surprise lately. Support Canadian music, and encourage bands like this to keep making music. Brilliant album, so listen to it already!
"Old world underground, where are you now?" are the first words Emily Haines belts out on this record, and the energy hardly drops for forty minutes. Backed by her synthesizer and James Shaw (Guitar, Vocals), Josh Winstead (Bass), and Joules Scott-Key (Drums), the first release from Canadian indie band Metric is solid all the way through.
There's so much to be said for this album. If you'd have asked me hours ago, I'd have told you that the synth-supported indie wasn't really my thing. The synthesizer is used very judiciously, almost cleverly. It's almost always there, but it adds to the sound, rather than trying to be the sound. The musicians are quite proficient, and beyond that, they know how to play as a group, which is rare for a first release. I'm personally extremely enamoured with the skills of Joules Scott-Key. Drumming is often the difference between mediocre and good music, and the simple yet appropriate drums on this album do not disappoint me. Call me converted, I guess.
Personally, I prefer the more energetic songs, like I.O.U., Succexy, and Dead Disco. Some of the more mellow songs, like Hustle Rose, drag just a little, which is something that I hope the band has dealt with in its next release. You can be sure I'll be checking that out! I'm quite impressed with vocalist Emily Haines, I should add. Her style is edgy without being obnoxious, and it really adds to the music. Having listened to her other sometimes-act Broken Social Scene, I can tell you without hesitation that she ought to focus on Metric and forget the broken Broken Social Scene.
This is quite possibly the most gushing review I've ever written. The album is by no means perfect, but the little nagging things that bother me are hard to pinpoint and name, so I'll leave them as an open-ended statement. All told, this album has been my most pleasant surprise lately. Support Canadian music, and encourage bands like this to keep making music. Brilliant album, so listen to it already!
Tuesday, June 10, 2008
Review of Phantom Power (The Tragically Hip)
This review was written for the Music Emissions website. Check out this review, and check out the website!
Phantom Power is the seventh full-length release by Canadian alternative rock band the Tragically Hip. The band consists of Gordon Downie (Vocals), Rob Baker (Guitar), Paul Langlois (Guitar), Gord Sinclair (Bass), and Johnny Fay (Drums). "Phantom Power" refers to a manner of powering microphones and other digital equipment with direct current power.
There's a whole lot to be said for this album. On it are some of my favourite Tragically Hip songs, including Poets and Fireworks. These upbeat songs feature some wonderful guitar work; I'm particularly enamoured with the way the acoustic guitar and electric guitar sound together. Fireworks is just a great, catchy tune with some memorable lyrics: "You said you didn't give a crap* about hockey/And I'd never seen someone say that before/You held my hand and we walked home the long way/You were loosening my grip on Bobby Orr." Some of the slower songs are excellent as well, like Bobcaygeon, winner of a Juno award (Canadian Music, for those in the south) for best single the year it was released.
There's not much I can say to the negative on this album. A couple of the songs, like Vapour Trails and Membership drag a little, but every album has its black sheep. This album is almost as good as Fully Completely, which is high praise from me.
I'm a huge fan of this album. With the tempo up or down, the Tragically Hip have hit a winner with Phantom Power. Gordon Downie's voice is a treat to listen to, the guitars work brilliantly in tandem, and the album simply rocks. So go listen to it already.
*Yes, I know that's not the word he uses here, but kids might read this.
Phantom Power is the seventh full-length release by Canadian alternative rock band the Tragically Hip. The band consists of Gordon Downie (Vocals), Rob Baker (Guitar), Paul Langlois (Guitar), Gord Sinclair (Bass), and Johnny Fay (Drums). "Phantom Power" refers to a manner of powering microphones and other digital equipment with direct current power.
There's a whole lot to be said for this album. On it are some of my favourite Tragically Hip songs, including Poets and Fireworks. These upbeat songs feature some wonderful guitar work; I'm particularly enamoured with the way the acoustic guitar and electric guitar sound together. Fireworks is just a great, catchy tune with some memorable lyrics: "You said you didn't give a crap* about hockey/And I'd never seen someone say that before/You held my hand and we walked home the long way/You were loosening my grip on Bobby Orr." Some of the slower songs are excellent as well, like Bobcaygeon, winner of a Juno award (Canadian Music, for those in the south) for best single the year it was released.
There's not much I can say to the negative on this album. A couple of the songs, like Vapour Trails and Membership drag a little, but every album has its black sheep. This album is almost as good as Fully Completely, which is high praise from me.
I'm a huge fan of this album. With the tempo up or down, the Tragically Hip have hit a winner with Phantom Power. Gordon Downie's voice is a treat to listen to, the guitars work brilliantly in tandem, and the album simply rocks. So go listen to it already.
*Yes, I know that's not the word he uses here, but kids might read this.
Review of Sessions EP (The Two Koreas)
This review was written for the Music Emissions website. Check out the review, and check out the site!
The Two Koreas, Canadian indie rock band, are back with their newest EP, Sessions. This is a long EP, almost forty minutes, with seven tracks. The Two Koreas are Stuart Berman (Vocals), Kieran Grant (Guitar), Ian Worang (Bass), Jason Anderson (Keyboards), and David Gee (Drums). On their myspace page, the band likens the EP's release to that of a "blog-post update", reminding us that they are still kicking and still working after a long wait.
There are a couple really catchy songs on this little recording. One of my favourites is Withering Heights, the first track on the album. It's straight through with jangly guitars and a thrumming rhythm, and is definitely the highlight of the album for me. Boy Teen Oslo has some great guitar work, and the bass line is simple and effective throughout. I also quite like Cloth Coat Revolution for the discordant guitar noise and the drum work that keeps it all together.
While the album has some wonderful points, the negatives are also there. Personally, I'm not wild about Berman's vocals, but I understand there's a great deal of subjectivity in that statement. The EP is, as I mentioned, quite long, and sometimes the pace drags through some of the comparatively slower-paced songs such as Steely Can and Hotel Christiana.
All told, this album is pretty good. There's a lot about it that I like, and only a couple things that I don't. With the Sessions EP, the Two Koreas have hit most of the right bases. You should listen to it, it's the work of a band that's still moving forwards, and that's a fairly refreshing.
The Two Koreas, Canadian indie rock band, are back with their newest EP, Sessions. This is a long EP, almost forty minutes, with seven tracks. The Two Koreas are Stuart Berman (Vocals), Kieran Grant (Guitar), Ian Worang (Bass), Jason Anderson (Keyboards), and David Gee (Drums). On their myspace page, the band likens the EP's release to that of a "blog-post update", reminding us that they are still kicking and still working after a long wait.
There are a couple really catchy songs on this little recording. One of my favourites is Withering Heights, the first track on the album. It's straight through with jangly guitars and a thrumming rhythm, and is definitely the highlight of the album for me. Boy Teen Oslo has some great guitar work, and the bass line is simple and effective throughout. I also quite like Cloth Coat Revolution for the discordant guitar noise and the drum work that keeps it all together.
While the album has some wonderful points, the negatives are also there. Personally, I'm not wild about Berman's vocals, but I understand there's a great deal of subjectivity in that statement. The EP is, as I mentioned, quite long, and sometimes the pace drags through some of the comparatively slower-paced songs such as Steely Can and Hotel Christiana.
All told, this album is pretty good. There's a lot about it that I like, and only a couple things that I don't. With the Sessions EP, the Two Koreas have hit most of the right bases. You should listen to it, it's the work of a band that's still moving forwards, and that's a fairly refreshing.
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