By Sabrina Carnevale
Veteran punk/emo outfit Moneen have been entertaining audiences since the band’s inception in Brampton, Ont. in 1999 and their most recent release, The World I Want to Leave Behind, is their fourth full-length studio album. Released through their new label, Dine Alone Records, this is their first venture with drummer and good friend Steve Nunnaro, who replaced former drummer Peter Krpan in the spring of 2008. The remaining members, singer/guitarist Kenny Bridges, guitarist/singer Chris “The Hippy” Hughes and bassist/singer Erik Hughes, cite Nunnaro as a significant contributor when it came to putting the 12 tracks together. In addition, this time around, they changed up some of their songwriting techniques by taking on a more simplistic approach, while continuing to thrive with their trademark melodies. Moneen recorded the follow-up to 2006’s The Red Tree at Toronto’s Rattlebox Studio and enlisted the help of producers Brian Moncarz and David Bottrill (Tool, Muse). Their most recent cross-Canada tour had them travelling with friends Sights & Sounds. Stylus had a chance to chat with Bridges in the downstairs of the newly renovated West End Cultural Centre when they played a show in Winnipeg on November 30, 2009.
Montreal’s Michael Silver isn’t quite as prolific as when he first thrust himself into the blogosphere. He’s still doing remixes for the ultra-chic-hip yet sensible crowd of artists (HEALTH, Sally Shapiro, Datarock), but all in all, he has chilled out, and thus, his music seems to have chilled out with him. Continent doesn’t contain any jaw-dropping or genre-shattering tracks, but it makes for a smooth yet varied listen, every song belonging to some different subgenre under the now-loose umbrella of house music. “Big Love” comes as a bit of disco, with smiling house pianos and hushed vocals. “Letters Home” sounds like the Tough Alliance or Air France’s upbeat tracks, but with a much slower build and less dramatics. The soul guitar intro of “Invitation to Love” is enough to make anyone stop and shimmy their shoulders, slowly but surely. But this is nitpicking; all in all, it’s a peaceful electronic record, recommended if you want an entry point into the current state of blogosphere music, or if you need to keep your addiction fed. (Paper Bag, 
Jets Overhead are a band that would have fit in perfectly in the mid-1990s. Their sound, very much influenced by the Verve and Radiohead circa The Bends, was seemingly tailor-made to be included in film and television from around that time. That is not to say that they are a bad band; not by a long shot. Their sophomore album continues in the same direction—guitar-driven alternative rock that has an ethereal, dreamlike quality to it. Each track on the album has something that makes it stand out from the rest of the album. There is not one song on this album that could be classed as filler. Adam Kittredge’s vocals give the album a melancholy vibe. Jets Overhead are able to pay respect to their influences from past decades, while still making an original album that is relevant and enjoyable to today’s crop of listeners. Key tracks include “Heading for Nowhere,” “I Should Be Born” and “It’s a Funny Thing.” (Vapor Records, 
If I were to make a list of my favorite CDs from this last year, this one would definitely top the list. Hailing from Glasgow, Scotland, We Were Promised Jetpacks brings a fresh new sound to the encompassing genre of indie rock with their first studio album, These Four Walls. Putting this CD into your sound system of choice will introduce you to the stunning vocals of the band’s lead singer and guitarist, Adam Thomson. The level of emotion that comes out of his voice, accompanied by his very nonintrusive Scottish accent, allows him to create a variety of atmospheres, varying from very high energy, to sweet, soft, and mellow. The album itself is extremely well compiled, showcasing the band’s artistic range through the variety of tracks. From the first song, “It’s Thunder and It’s Lightning,” with it’s somber melody and compelling lyrics, to the more odd and upbeat, “An Almighty Thud,” the listener is exposed to the musical talent and genius of the band. I would highly recommend this album to anyone looking for a new and interesting sound, or maybe just a change of pace, and I hope to hear a lot more from these guys in the future. (Fat Cat, 
Tom Waits’ roaring voice leads the way on these 17 tracks from his 2008 Glitter and Doom tour. The live performances are a series of fresh renditions of Waits’ new material as well as classics like “Singapore” and “Get Behind the Mule,” which sound rawer and rockier than ever. The opener “Lucinda/Ain’t Goin’ Down” and the bluesy bad-ass interpretation of “Goin’ Out West” are at top form, eclipsing their previous versions; while “Fannin Street” and “Lucky Day” are stunning and sentimental but never sappy. Although songs like “Dirt in the Ground” and “The Party You Throw Away” are less then captivating, the majority of the album is a testament to why Waits is one of the most sought after live shows in North America. Along with the music, a second disc features another side of Waits. As a master storyteller, Waits spins a yarn about purchasing Henry Ford’s last breath on eBay among other things. His strange and comedic Tom Tales are almost as endearing as his music and really complements the cabaret-like atmosphere that surrounds him. Glitter and Doom Live is just another reminder of the ferocity, wit and sheer spellbinding power of Tom Waits. (Anti-, 
s T. Gobena’s new album with the Abyssinian Roots Collective could be one of the best world music albums of the last decade. Gobena is the bass player for current ethnic music dominators Gogol Bordello, and rather than attempt to out-maneuver his lively compadres, he has collected a potent band that delivers stunning, diverse and captivating tracks that effectively defy categorization. Dollops of afrobeat slither up against deep dub and jazzy asides, signs that these players left flimsy chops behind long ago and now exist to play in the realm of the truly masterful and soulful. It’s just that good. With this album, Gobena has become a player/composer to watch. And that is just what you should start doing. (Easy Star, 
The opening track of this Toronto band’s album is a six-minute instrumental called “Juvenile Haul,” an alt-country-esque jam that is reminiscent of Wilco. I got excited, because this track was showcasing the ability of this band as musicians. I was anxiously waiting for vocals to kick in, but after track two was finished, I was wishing that the record was entirely instrumental. Zachary Bennett’s vocals are the worst sounds committed to tape that I have heard (though that is barely scratching the surface compared to what Kent Davies has listened to). He sings in a high-pitched nasal whine, that sounds like he is singing the entire album with a clothespin on his nose. This voice is so grating, that despite the great musicianship of the album, I can’t really enjoy it at all. I’m against the idea of Auto-Tune, but this is one album that I wish was run through the program before it was unleashed on the public. (Sparks Music, 
New Zealand’s the Black Seeds have finally released an album on this continent and Solid Ground will fully please reggae music fans both old and new. This eight-member-strong contingent blows away the competition with their blasting horn charts, sweet vocals and deep roots vibe that are all heightened by air-tight production. This record is one wild ride that begs to be played loud enough to dislodge the dust in the cracks of your hardwood floor. Reminiscent of top ranking old-school U.K. combos like Matumbi, UB40 and Steel Pulse, this Kiwi band sweetens its vibe with a vividness that will compel fanatics to immediately hit the dance floor and cut loose. While it’s hard to pick favorites, tracks like “Love is a Radiation,” “One Step at a Time” and “Strugglers” are at the top of this listener’s personal hit parade currently. Oh-so-sweet and dandy, indeed. (Easy Star, 
Somehow it seems unfair and hardly proper that Toronto’s Ron Hawkins remains a rather obscure character in Canadian music. Any self-realized radio DJ with a decent library of tunes and a need to fill a Canadian content quota should be a little familiar with his “other” band, the Lowest of the Low, or his fine Ron Hawkins and the Rusty Nails albums. His latest solo ten-tracker tips the goodness scales well in his favour again—Ron Hawkins can’t and shouldn’t be denied. Again, his striking, observational lyrics are in full flow here. Sad sacks and street corner poets, emotional has-beens and people scraping through life’s dirt are all here and oh, so achingly familiar. Hawkins’ hewn vocals add an earthy dimension to whatever he sings and his emotional delivery will keep you coming back for another listen to hear if the song has turned out any happier since the last time you tuned in. A must for fans and a positively enticing listen for anyone looking for honesty, integrity and grit in their musical diet. (Independent, 
In the two years I’ve been listening to Thee Oh Sees, I’ve gone back and bought up everything Dwyer’s done in this incarnation—over 15 objects (from two-song 7” records to LP and CD sets with 20-plus tracks). One thing they can’t be accused of is settling on a sound. Gone on this album are the fuzzed-off freakouts parts from Help, continuing on with a mellower, more Monkee-ish direction the band has hinted at on the dozen or so 7” releases since and given us a ten-song mini album of distorted, funky beach-pop. But it’s still definitely Thee Oh Sees. “Sugar Boat” is the nicest, most Beatlesy pop song they’ve done, and “I Can’t Pay You to Disappear” has that crazy echoed-distorto guitar thing that’s Dwyer’s sonic autograph (you’ll know what I mean when you hear it). The double-falsettos in “The Sun Goes All Around” are pretty, but they can’t help but make me laugh (check out The Hounds of Foggy Notion CD/DVD and you’ll find the humour). This album didn’t rock me like the last two did, and that’s OK; The Master’s Bedroom Is Worth Spending a Night In was a speed-fueled change from anything before, and Help pulled back a bit into the ’60s. Still, the band can do whatever they want and it always turns out fantastic. Pity it all clocks in at less than 25 minutes. People bitch and joke about quality, about how J.D. releases every song he records. To anyone who wants the band to keep putting out Master’s Bedroom, it’s happened already. Let go, move on. And who gives a shit what them kids say anyway? Thee Oh Sees are the best band alive. If they keep pressin’, I’ll keep buyin’! (Captured Tracks,