(Orange Music, 2008)

Every now and again I get emails from bands asking me if I’ll accept a copy of their album for review. The first thing I do in such cases is take a trip to their Myspace page for a quick listen, as I don’t want to commit to anything blindly (and I don’t like slagging people too much—I mean, who the hell am I anyway?). Usually, at least in the case of Canadian bands, I take the ol’ “what the hell” approach and opt to give it a go ’round with no promises by way of what I’ll end up writing. Thus far, this has resulted in some great stuff I hadn’t previously come across (Construction and Destruction, for instance) and some that just wasn’t really my thing (The Dress Whites). As for Plajia, I’d have to say that their debut (?), Beautiful Explosion, falls somewhere between the two in terms of my tastes.

The first thing that strikes me about Plajia is their overall polish. I mean, everything from the Montreal band’s website to the album’s production has a certain level of sheen beyond that of most bands I would usually feature (which isn’t necessarily a bad thing). That said, it’d be a bit pretentious of me to let that get in the way of the music in question, as there’s definitely some merit to Beautiful Explosion.

If I had to use one word to describe the album it would have to be pleasant. Of course, since it’s my blog and I can use as many words as I want, allow me to elaborate: Plajia have a good handle on creating lush and full tunes that always have a lot going on, while at the same time throwing down some sweeping melodies (“A Love Song for Everyone” comes to mind), but there’s not often anything that jumps out and grabs me for the long haul. That said, there’s an interesting interplay between ambient colour and epic, sprawling pop throughout the release.

To be perfectly honest, I find the more overtly upbeat moments on this album a bit derivative (ie, “Beautiful Explosion”). That said, there’s nothing here to make me want to turn it off, it just so happens that I’m not particular invested in listening either. As I said before, it’s pleasant—a comment that can just as easily be translated as not exactly gripping, but enjoyable nonetheless.

All told, Plajia seem to be at their best when juggling the colourful layers and interesting accompaniment that make Beautiful Explosion such a lush release.  At least, that’s what has made me keep listening, as it’s obvious that these guys know how to build a solid tune.  Of course, while I prefer the more ambient moments, it wouldn’t surprise me at all to hear a couple of these tracks in some big money commercials.

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Check out a couple tunes from Beautiful Explosion below:

Plajia - Beautiful Explosion

Plajia - A Love Song for Everyone

Hear more at the band’s Myspace page and take a look at the many places where you can grab a copy of the album here.

(Arts & Crafts, April 15, 2008)

This is it folks—Kensington Heights—the release we’ve all been waiting for, or at least the one I’ve been waiting for. What can I say, I’ve been eagerly anticipating the new Constantines album since it was announced. Of course, these days “waiting” is a relative term, as this album in particular has been available online since the new year. That said, there’s nothing like the warm and fuzzies of holding the physical copy in your hands, which is one of the reasons why I’ve held off giving my thoughts on the album until closer to the official date.

Cutting right to the meat of the issue, is it good? Damn straight. Does it stand up to repeated listens? Definitely. If you ask me, this fourth outing is a definite step up from 2005’s Tournament of Hearts and may even reach similar…well…heights, so to speak, as their excellent 2003 release, Shine a Light.

Put it this way, Kensington Heights is a rounded release that knows when to rock—ie, right out of the gate on the unstoppable “Hard Feelings”—but bolsters the high-octane instant gratification with a healthy dose of slow growers—“Time Can Be Overcome,” for instance. Personally, I find the album at its most enjoyable when it manages to combine the two approaches in crescendoing epics like “Trans Canada” (a terrific tune that makes me think of Hulk Hogan every time: “I had that vision, brother. The one about you, brother.” —what’cha gonna do, brother?). Other highlights include the warmth of “Our Age” (which online forums are calling this album’s “Soon Enough”), the driven rhythm of “Brother Run Them Down,” and the subtle and intoxicating power of “New King.”

Baby Eagle fans might feel slighted that Steve Lambke only has one lead-vocal appearance on Kensington Heights (the cacophonous “Shower of Stones”), but I’d wager that Cons supporters would rather hear Bry Webb anyway.

All told, I’ve had a few months to warm up to this release, but I probably didn’t need more than a few listens. Constantines fans rejoice.

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Check out my favourite track from Kensington Heights below:

The Constantines - Trans Canada

Hear more at the band’s Myspace page and check out The Constantines live at the Phoenix on May 1. You can buy a digital copy of Kensington Heights here.

Hot damn this is a fun record. Seriously, you want a review? There it is in a nutshell.

What can I say, the Hilotrons make the type of upbeat, infectious music that makes wordy bastards like me just want to shut up and enjoy. Their Latest release, Happymatic (out today on Kelp Records) is so full of catchy and uplifting jaunts that I actually started giggling the first time I put it on. In fact, I was going to simply make this one of my weekly song posts, as I can’t get enough of “Lovesuit,” but there were just so many other great tracks that I had to give the album a larger mention.

Wasting no time, Happymatic starts strong right out of the gate with “Lost in Yichang,” a bouncy, clap-along number that assures that you’ll be listening to this album again. Other highlights include the laser-beam reggae of “Dominika” and the forceful confidence of “Emergency Street,” not to mention the amusing backup vocals (I’d love to see the Hilotrons cover Baltimora’s “Tarzan Boy”…I mean it) and mid-song burst of dramatic and deep-voiced spoken word. Of course, for me it all comes back to the quirky charm of “Lovesuit,” complete with the “Old Man River”-esque background humming—seriously, I can’t stress this song enough, even if I have to mention it every paragraph.

It’s funny, initially I couldn’t help but compare the Hilotrons to the catchy hooks of Ottawa’s Clark, only to find that they share two members (albeit, Clark is now defunct, but their sophomore album, The Woods, is still excellent). Also, let it be a compliment to lead-singer Mike Dubue that his confident vocals are reminiscent of Hey Rosetta!’s Tim Baker on endorphin overload. Of course, comparisons really don’t matter when the music is this much fun (and “Lovesuit” is just that).

All told, my biggest complaint with Happymatic is that album closer, “Teen Dreams,” ends a bit abruptly, as I was hoping the album might go out with a bigger bang. That said, it’s all the more reason to restart the whole thing from the beginning (”LOVESUIT”!).

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Here are a couple of tracks from Happymatic:

Hilotrons - Dominika

Hilotrons - Emergency Street

Hear more at the Hilotrons’ Myspace page or grab a digital copy of the album here.

Also, catch the party live, as the Happymatic CD release is at the Horseshoe on April 10 where the Hilotrons will be joined by both The Sunparlour Players and Andy Swan (incidentally, the Hilotrons do an awesome cover of the former’s “If the Creeks Don’t Rise”).

(Independent, 2008)

There’s a lot to like on Homebodies, the debut album from Nova Scotia’s Construction and Destruction. Granted, with 15 tracks resulting in over an hour of music, there is A LOT on this album in general. In fact, my biggest criticism of Homebodies is simply that there’s just too much.

That said, things start out strong—and short—with the melodic and lush “Feet.” This brief introduction to David Trenaman and Colleen Collins is immediate evidence that they know their way around a catchy tune, a trait that is demonstrated quite often over the next 14 tracks as well. In fact, most of the songs on Homebodies are very enjoyable in their own right. I suppose my attention span just can’t cope with an hour and seven minutes straight of much of anything.

Breaking it into three chunks, there are some great tunes towards the beginning of the album, such as early standout “The Unconsolable,” which is delicate, determined and lovely. However, things start to wane slightly around the middle of the record, with certain tracks wandering a bit aimlessly (“The Detective”). The steam definitely picks up again though, as, for my money, the final segment of Homebodies is by far the strongest. There’s just some real power in the colourful grouping of “Batteries”—which has the amicable zest of a hot-air balloon ride—“Thank You”—reminiscent of the wayward grace of Neutral Milk Hotel—and the alternately charming and raucous fun of “The Long Now.” Were these last 4 or 5 tracks an EP I’d be forcing it on everyone I know. As it stands they serve to admirably reinvigorate the album.

Basically, an impressive collection of songs as is, were it paired down to 10 or so of the best tracks Homebodies could have been something really great. That said, Construction and Destruction have definitely proven they’re a band to watch.

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Check out a couple of tracks from Homebodies below:

Construction and Destruction - The Unconsolable

Construction and Destruction - Thank You

Hear more at Construction and Destruction’s Myspace page.

(Independent, 2008)

Some albums are growers, others hit you instantly, and some just never come around. Granted, I’m oversimplifying things, but that’s basically how it works. That being the case, where does My God, the Shame, the latest album from The Dress Whites fit? Oddly enough I’m finding it to be a bit of each—a sort of sonic chameleon, if you will, as every time I spin the Toronto-by-way-of-Montreal band’s newest release it hits me in a different fashion.

Upon first listen it’s easy to be drawn in by the hooks on My God, the Shame, but then I get a bit put off by the vocal delivery of lead-singer Denis Woods (think a more nasally Joel Plaskett with a slight, but persistent vibrato). That said, the band’s pop sensibilities blend nicely with a light taste of blues-rock (as on “Two Times the Hurt”) and there’s some definite energy to this release.

To pin it down I’d have to say that the good parts of My God, the Shame remind me of a more flamboyant and pop-oriented Parkas (which reminds me that I really ought to listen that Toronto band more often), while some of the more sugar-sweet numbers (“Spongecake” for instance) fall a bit too far on the side of Del Amitri for my tastes (”Roll to Me,” anyone?). This duality is likely best evidenced by “A Great Assault #8,” a song where “Kashmir”-esque riffage abounds, but Woods insists on filling vocal gaps by doing his best Geddy Lee impression, screaming things like “Go!” and “Yeah!” that pull me out of the otherwise admirable groove completely.

All told, it wouldn’t surprise me at all if The Dress Whites find success, as they’ve definitely got some catchy tunes (“Give Up the Ghost”), but they’ve also got a tendency to come off a bit trite at times. Of course, as I mentioned at the outset of this review, My God, the Shame is a tough album to simply dismiss and I don’t doubt that its hooks and hand-claps will garner them an admirable following.

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Check out a track from My God, the Shame below:

The Dress Whites - Give Up the Ghost

To hear more and find out how you can get a copy of My God, the Shame check out the band’s Myspace page.

(Secret City, Feb. 26, 2008)

Warning: prepare for some unabashed gushing.

Do you ever hear an album for the first time and get this tingly feeling—you know, the sort of immediate reaction that necessitates getting on the phone and telling whomever will listen about the fantastic new release you’ve just put on? That hasn’t happened to me for some time, but I couldn’t help becoming a little giddy as I gave Parc Avenue, the debut full-length release from Plants and Animals, an introductory listen.

Maybe it’s that warm and fuzzy sense of solidarity that comes with being on the bandwagon for an anticipated release, as Parc Avenue has been the recipient of a good deal of positive hype lately, but I was sold on this album pretty much instantly (though I could also be rebounding from feeling left out by the whole Panda Bear fascination—it just didn’t resonate with me).

Admittedly, I completely missed With/Avec, the last Plants and Animals EP. In fact, all I’d previously heard from the Montréal outfit was the sprawling and messy “Jacques,” off of their 2005 debut self-titled EP. Unfortunately, while the loose instrumental vibe inherent in that song endeared the band to me, they fell off my radar shortly after. Cut to 2008 and Parc Avenue sees the same cataclysmic exuberance tightened and applied to more focused ends—not to mention brimming with capable and melodic vocals (the more delicate of which sounding not unlike Tyler Messick of the Museum Pieces). The resulting combination is less acoustic Do Make Say Folk and more roots-filled Broken Social Scene meets Traffic (take the excellent “Feedback in the Field” for example).

Of course, by this point I really ought to just throw out the comparisons (there have been far too many already—just like these damn asides) and judge the album on its own merits, as it’s a very rewarding listen. Speaking of which, one quality definitely worth mentioning is Parc Avenue’s diversity. In keeping with the occasional delicacy of their past efforts, the album is rife with serene doses of melody (“Early in the Morning” for instance) while also kicking out some seriously groovy and rollicking jams (“Mercy”)—a trade-off that is well represented on the alternately bombastic and delicate “Keep it Real.”

In the end i (heart) music said it best by articulating that Plants and Animals have found an admirable way to combine “unabashed ambition with unashamed accessibility.” I also wholeheartedly agree that Parc Avenue is undoubtedly Polaris bound. Of course, more importantly, it brought back those musical butterflies that I forgot were possible.

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Check out a track from Parc Avenue below:

Plants and Animals - Feedback in the Field

Head over to Plants and Animals’ Myspace Page to hear more or grab a digital copy of the album here. Also, don’t miss your chance to see the band as part of the very enticing Chart CMW showcase at The Horseshoe on Mar. 6.

(Independent, Feb. 26, 2008)

What can I say about the latest release from The Superfantastics that hasn’t already been said by stalwarts like Hero Hill and i (heart) music? To be honest, not much. Thankfully for the band, that’s a good thing, as it seems everyone is enjoying Choose Your Destination. Of course, that really isn’t a difficult task, given that this is a great little EP that will only serve to further endear this Halifax duo into your music-lovin’ hearts.

A nice bit of organic growth, Choose Your Destination is a subtle step forward that keeps the band on the tuneful course set by their 2007 debut, Pop-up Book (previously mentioned as one of my favourite unsung albums of 2007), and firmly roots The Superfantastics in endearing and melodic indie-pop. These guys just have an uncanny gift for hooks. In fact, I’ll be damned if stellar lead track, “Turn on Me,” isn’t the most infectious 3 minutes I’ve heard in a while. Of course, this EP wouldn’t be receiving all the high praise if the subsequent 4 songs didn’t follow suit. Suffice to say that things don’t let up until the raucous and spirited conclusion to “Astronaut”.

Add to that the fact that the 7″ comes with 3-d glasses (which I’m told they’ll also be mailing out to those who purchase the digital version available through Zunior on Feb. 26) and you’ve got an endearing and spirited release that I dare you not to like.

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Check out a few tracks from Choose Your Destination below:

The Superfantastics - Turn On Me

The Superfantastics - Rites of Spring

Hear more at The Superfantastic’s Myspace Page and check them out as part of Canadian Music Week at the Cameron House on Mar. 6.

(Independent, Dec. 2007)

I was going to write about this album last night, but I ended up being a offered a free ticket to see the Raptors (they destroyed Vince Carter and the Nets, by the way). That said, last week I promised to delve further into Olivier Jarda’s debut solo album, Diagrams (when I featured the lead-off track, “Victorian Faces” as my song of the week), so here I am—better late than never.

Thankfully for me Diagrams is an album that I’ve pretty much been listening to non-stop—something to which my Last.FM widgets and profile will attest—and, given its overall quality, I doubt that’s a trend that will cease anytime soon.

Coming out of nowhere for me personally, as I’m not familiar with Jarda’s previous band, The Turnstiles (which has gone into hibernation according to his Myspace), Diagrams immediately struck me as a confident and well-crafted release. Of course, that’s not to say that he comes across as infallible in his lyrics, as these tracks each display a palpable sense of vulnerability that is easy to relate to. Take “Don’t Wake the Baby” for example, as Jarda asserts the sympathetic prediction:

“We’ll break each other’s hearts and nurse each other’s wounds and make each other cry and wipe each other’s tears until we die.”

In fact, while demanding attention by being front and centre in the mix, Jarda’s very vocal presence is rife with introspective vulnerability. If I had to pin it down I’d liken the sound to that of The Shins, or Destroyer, though there’s also a youthful exuberance and longing at play here, as on “Bomb Shelter” (“You shake her knees anytime you please.”) or the rollicking “Tropical Medicine.”

Of course, at the end of the day there’s no reason to over-analyze the excellent tracks on this album, as lyrically fertile as they may be, as you really just ought to sit back and enjoy it. In fact, the ever-present engaging melodies of tracks like “Indigen” or “The Disappearance of the Great Adekunle” make this a very rewarding task.

Don’t sweat it, you’ve got plenty of time to delve deeper, as Diagrams not only stands up to repeated listens, it demands them.

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Check out the previously featured standout track, “Victorian Faces,” and delve a little deeper into Diagrams below:

Olivier Jarda - Don’t Wake the Baby

Check out Olivier Jarda’s Myspace for more info or grab a digital copy of Diagrams here.

(Forward Music Group, Jan. 2007)

Released just over a year ago, The Olympic Symphonium’s debut, called Chapter 1, is likely nothing new to those on the East Coast, but it’s just made its way to my headphones, so that makes it fair game for me—and I can’t get enough of it.

Basically, the three-piece, hailing from Fredericton, New Brunswick (a city that I have a soft spot for since the odd childhood RV trip), have crafted a layered and inviting listen that is the sonic equivalent of wrapping yourself in a warm blanket. Throughout the release acoustic guitars intermingle and calm vocals harmonize, culminating in subtle, but addictive melodies complemented by the odd inclusion of electronic elements. Often evoking a complimentary likeness to Hayden (most prominent on the excellent “Till the Fall” ) and even Iron & Wine (as on album-opener/potential standout, “Hail Me King”) the album is a spot on dose of indie folk that laughs in the face of anxiety and stress.

I think one of the things that strikes me more and more with each listen to Chapter 1 is the overall quality level, as there really isn’t a sloucher to be heard. It’s the sort of album that makes choosing a standout hard (though I’m starting to learn towards the harmonized groove that is “Illuminate”), but that really isn’t a bad thing at all. Of course, at only 9 tracks that might come across as less of a feat, but, just like I said in last week’s Sleepless Nights review, I’ll take a short album that keeps me coming back for more over a long winded filler-fest any day of the week (hmm, both albums are from the same label…maybe they’re on to something).

All told, The Olympic Symphonium’s debut is a serene and artfully crafted outing that ought to keep you warm throughout the winter (Toronto just got dumped on today, so you better believe I’ve got the album cranked right up!) .

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Check out a few tracks from Chapter 1 below (right-click, “Save Link As” to download):

The Olympic Symphonium - Hail Me King

The Olympic Symphonium - Till the Fall

You can hear more at the band’s Myspace page, or pick up a digital copy of the album here.

(Delorean Recordings, Dec. 15, 2007)

Strange as it sounds, Shotgun Jimmie was the student council president of my high school when I was in the 10th grade. Needless to say, that fact definitely adds an extra layer of context to my take on his latest solo release, The Onlys.

Back at our old alma mater I knew Shotgun Jimmie simply as Jim Kilpatrick, but I honestly don’t remember much about him other than the fact that he was the strange older kid who organized some even stranger events in the cafeteria. Fast forward a decade or so and I’m happy to say that the shaggy figurehead of my sophomore year has found a home for his creative meanderings by way of endearing and tuneful indie rock.

Largely unfamiliar with the work of Kilpatrick’s previous pairing, the critically lauded Shotgun and Jaybird, I was immediately drawn to the palpable sense of fun present on The Onlys. Opening strong with the slow romp of “Duet,” the bar is set pretty high right off the bat, as a knack for witty lyrics ( “It’s just as simple as bathroom towels for his and hers. It’s just consonants and vowels that make up all the words” ) is equaled by a penchant for an endearing lo-fi aesthetic.

To put it simply, Shotgun Jimmie is the Chad VanGaalen for people who like more marshmallows in their breakfast cereal—I mean that in the most complementary way possible, as instead of the latter’s tendency towards the supernatural or creepy, we get Kilpatrick’s talent for crafting amicable—yet still rockin’—tunes that rejoice in a down to earth innocence (take “Warbler Song” or “Summersound” for example). Throw in some breakout gems like the ridiculously addictive “Bedhead” (previously featured here) and “Onomatopoeia”—the monumental chorus to which will reverberate inside your skull for days—and there really isn’t a reason not to recommend The Onlys.

Of course, I personally get to rejoice in the perverse pleasure of hearing my former high school president advise:

“I’ve been thinking about taking off the afternoon and maybe never work again, blaming the changing seasons. There’s nothing wrong with skipping school if you know you’re doing it for the right reasons.”

Go figure.

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Check out a track from the album below:

Shotgun Jimmie - Onomatopoeia

You can hear more at Shotgun Jimmie’s Myspace page, or pick up a digital copy of the album here.