(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.

—

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.

—

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.

—

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!) .

—

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.

—

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.

(Forward Music Group, Jan. 15, 2008)

Some days I really just want to pack up shop and move to the East Coast. Call it the whimsy of being near the ocean or simply the draw of great east coast indie rock coming out of places like Halifax, either way I’m gradually living vicariously through the imaginary version of myself who romantically schleps fish in the Maritimes.

My latest reason to seek a breath of sea-salted air comes by way of Turn Into Vapour, the new release from Halifax’s Sleepless Nights. To put it simply, this album is just straight up, unpretentious indie rock that stands up to countless listens. Of course, I shouldn’t have expected anything less, seeing as the band contains half of endearing Halifax duo, The Superfantastics (whose album, Pop-Up Book, made my list of favourite unsung Canadian albums of 2007). Granted, the songs on display here contain an arguably fuller sound, given that the Sleepless Nights boast at least six members, but there’s definitely a similar gift for crafting catchy tunes to be heard. Overall I’d liken them more to Mardeen, yet another Halifax band who have a penchant for delivering upbeat and highly enjoyable indie-rock tunes (and who were also featured in the aforementioned 2007 list).

That said, all comparisons aside, when it comes to Turn Into Vapour I have to admit that I was sold immediately upon having heard the first two tracks. What can I say, the one-two punch of the bouncy romp “Allyson Got Robbed” and the riff-tastic “Got Caught” (previously featured here) gives you everything you need to know to get on board with this release: the songs are upbeat and well-crafted, the backup vocals are endearing, and the guitar is explosive and melodic (all of which can be heard on “All Andrews Friends”)—that’s a pretty damn good formula for tuneful indie rock success in my book.

There’s also something to be said for a band who knows when not to force a mood, as, clocking in at just over 37 minutes, Turn Into Vapour delivers its medicine and is out the door before leaving any signs of a bad aftertaste. I’ve said it before and I’ll no doubt say it again, but too often does it seem as though a band reaches for the double digit track listing only to sacrifice the overall quality of an album—give me a short, quality release over a few good tracks sandwiched between filler any day!

Of course, don’t let that give the impression that Sleepless Nights can’t rock the odd lengthy number, as album closer, “Breathe Deep Tornado,” is an 8 minute, slow-burning escalator that caps off the short release in epic fashion.

Look out Halifax, I’m packing my bags!

—

Check out a track from Turn Into Vapour below:

Sleepless Nights - Allyson Got Robbed

The band also have a whole whack of dates scheduled for the next few months, including Jan. 27 at Sneaky Dee’s and Jan. 28 at Lee’s Palace, so check out their Myspace page for more info.

(Sul Pont, Jan.15, 2008)

It’s funny, I don’t usually get heavily into albums that are entirely instrumental. Sure, there are exceptions—Do Make Say Think springs to mind—but overall I find it has to be a really special case in order for an album of this nature to actually be engaging enough to function on a level greater than background music. It’s from this cynical and wholly subjective viewpoint that I approached J’envoie—which makes it all the more impressive that I really enjoy this EP.

Although, since I’ve already started candidly stating biases, I might as well also mention that I am really starting to enjoy Sul Pont Records in general. Just about everyone on this small Ottawa/Hull-based label seems to have a great handle on how to craft engaging instrumental music that demands to be in the foreground of your listening experience (see the previously featured Sinequanon track, “Lénine Rock,” for instance). Add to that my irrational disdain for jewel CD cases, which Sul Pont doesn’t use, and a fondness for brightly coloured energetic paintings and you could argue that J’envoie might have actually had it easy when it came to winning me over. Hmm, a bias against similar albums (-1) and a bias in favour of the packaging (+1) must cancel each other out (0), so I suppose we’re back on even footing (or as close as one of my reviews ever gets)…

Ok, useless meta-textual arguments aside, the most important thing is always the music and the shear energy and craftmanship of the songs on this EP hit me instantly. Tracks like schizophrenic standout, “Topographies,” sound fun and rousing without being sloppy and album opener, “Factory of Light (Bombardments),” hits you with a cacophonous smash right of the bat that lets you know this won’t be casual dinner music.

I especially love it when an album cover accurately depicts the music held within the package and this is definitely one of those cases, as the almost jazz-like rhythms and intricately woven piano and guitar melodies evoke the warm swirling colours of the cover perfectly—like a tornado dressed for spring. “Miami Stud” is the perfect example of this, as the intermittent drums whisk you through a windy and playful landscape of staggered piano chords and smatterings of guitar before stutter-stepping right back into the artful mess of that previously mentioned album-opening smash.

Suffice to say that the instrumental J’envoie EP is still more engaging than most of the vocal albums I’ve heard in a little while—this is definitely not background music.

—

Check out a track for yourself below:

J’envoie - Miami Stud

Or grab a digital copy of the album here.

(Weewerk, Jan. 15, 2008)

Electric Ukulele, eh? Well, I’ll bite.

That was my attitude going into Happy Birthday, the latest release from The Burning Hell, as all I had heard about this album was that Mathias Kom, the man behind the Peterborough, Ontario outfit, was a “ukulele sensation.” Given this tidbit I pressed play with curious trepidation, expecting a kitschy, one-trick effort that would limp through a full listen and then languish at the bottom of the pile of albums by other novelty acts. Thankfully, I couldn’t have been more wrong.

In fact, I was instantly caught off guard by the album’s quirky charm. Kom’s deadpan baritone draws immediate attention to the black comedy behind his lyrics (“We’ll never get married/ I’m dating your sister/ and everything you believe is a lie”) and the ukulele doesn’t play nearly as much of a pivotal role as I’d expected. Often accompanied by drums, strings or left-field instruments like accordion, melodica and glockenspiel, and featuring complementary backing vocals and duets, I actually forgot the “ukulele sensation” prefix as I listened to Happy Birthday and instead just enjoyed it as a charming folk album.

That said, a few spins later when the veil of novelty lifted, I couldn’t help but hope that somewhere along the line Leonard Cohen was getting a cut from this album, as the similarities become glaringly obvious. Seriously, “Everbody Knows” could fit on Happy Birthday without missing a beat. Not only are Kom’s vocals nearly identical in some cases, but the production on tracks like “I guess I’ll be Seeing You” and “What Do you Get for the Man Who Has Nothing” leaves me wondering if they wouldn’t fit on an unreleased Cohen collection.

Thankfully for the Burning Hell, there’s still enough off the wall charm on Happy Birthday to save it. Songs like “Dinosaurs” and the ridiculous zombie-romp, “Grave Situation Pt.1,” for instance, are undeniably fun and witty, and the album’s closer, the appropriately titled “Goodbye Ukulele,” is an endearing crescendo reminiscent of a child kissing each of his stuffed animals goodnight before going to bed (come on, we all did it…).

Sure, my expectations were low going into this album, but even given the aforementioned criticisms I still came out with a smile on my face and an urge to learn the ukulele.

Quirky and full of melodic wit, Happy Birthday is the most fun that Leonard Cohen ever had (I mean that in a good way).

It’s been brought to my attention that my Cohen comparison might have come across as a little more harsh than I intended (it’s definitely half complimentary). What can I say, I’m new at this and made the mistake of initially using the word “stolen” in the above review. My intention wasn’t to say anything nefarious, as I thought I had made it clear that I was a fan of the album in question, but in any case my wording has since been changed.

—

Check out a track from Happy Birthday below (right-click, “Save Link As” to download):

The Burning Hell - Dinosaurs

Listen to more at the Burning Hell’s Myspace page and buy a digital copy of the album here (Zunior’s in the midst of a half-price sale on Weewerk albums, so right now you can get the whole release for only $4.44)

(Nov. 27 2007, Arts & Crafts)

I like Los Campesinos! What can I say, the Cardiff octet won me over the last time they were in Toronto (read the review here) and I’ve been anticipating their debut full length ever since. While that debut (titled Hold on There, Youngster…) won’t see release until 2008, we’ve got three new tracks in the form of The International Tweexcore Underground single to tide us over.

Conceived as a “concept single,” the title track sees two friends having a battle of musical tastes (“I never cared about Henry Rollins”), while the two covers that follow are meant as testaments to they’re respective preferences. It’s a shtick that would have grown tired very quickly on a long player, but provides an interesting little narrative for the truncated collection on offering.

As for the songs themselves, “The International Tweexcore Underground” is a rollicking number that not only re-affirms what I liked about their previous EP, Sticking Fingers Into Sockets, but also satisfactorily stokes the fire as I wait for their upcoming album. Full of characteristically palpable energy delivered through explosives bursts of percussion and the usually electrified keyboard lines, this is a frantic and invigorating dose of indie spunk.

Basically, anything these guys (and gals) touch radiates a palpable energy, and this single is the sound of cocksure kids taking to the streets at full speed, fireworks in hand.

Admirably, and in keeping with the concept behind the overall single, the covers lend some diversity to the output, as, while the Amelia Fletcher/Calvin Johnson crafted “C is the Heavenly Option” retains the band’s cute charm, Black Flag’s “Police Story” give us a taste of what these kids sound like when they’re angry–it’s amazing how quickly innocent fireworks become grenades.

Alright, enough of this–the damn thing costs $2. Save your coffee money and check it out yourself.

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Check out the video for “The International Tweexcore Underground” here and buy a digital copy of the single here. Also, catch Los Campesinos! at the Mod Club on Dec. 5.