Category: Reviews

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AMEN DUNES – Through Donkey Jaw

Arriving to the party a tad late, I’ve since become a member of the church of Amen Dunes. Damon McMahon’s latest seems a little less improv than his debut D.I.A., and a tad more “poppy” and structured. “Baba Yaga” starts off the album with some beautiful meander and almost unintelligible lyrics (English, yeah, but the phrasing is odd). But whenever he sings the refrain, “You know that I, I lie,” each time more soaring than the last, the goosebumps start to pop up. Same with “Swim Up Behind Me,” the lyrics are always in English but are treated as another instrument, twisted and tangled and sounding unconventional. “Good Bad Dreams” sounds like a late ’60s Stones-on-mescaline trip, Satanic Majesties-style and “Not A Slave” sounds a little Eastern, like something you’d hear coming from the closed tent of a night-time bazaar. The whole listen is completely ethereal and a tad spooky, demanding repeated listens to peel back its many layers. Oh yeah, if you buy the CD version of Donkey Jaw, you get two exclusive bonus tracks, “Gem Head,” a shimmering jungle-beat jangly ’60s trip-out and the 10+ minute freakout “Tomorrow Never Knows” that sounds like Nine Inch Nails meets 23 Skidoo. Essential, if ya know what’s good for ya! (Sacred Bones, sacredbonesrecords.com) Patrick Michalishyn
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Alpha Couple – WHNZ:27:NJNYC

After their departure from Winnipeg, Alpha Couple conceived this album on the road. Driving/touring/vacationing/living/playing somewhat directionless, Jax and Wohlgemuth eventually ended up in Toronto, where they have both called home together before—when they created their Alpha Couple concept. Coincidentally, I didn’t listen to this album until I was on a road trip myself, entering the California border around witching hour. Gone are Stalingrad’s pop sensibilities, and (through oddly emphatic associations) it seems like there is no destination to these songs either—samples and vocals drift or wave or fly by, anchored around some loop, acoustic guitar, or piano riff. And in the exchange, AC have honed in on the haunting beauty that has been the driving force behind them all along. Most powerful is the behemoth-length album opener “A Walk Through Central Park” at nearly 15 minutes. Consisting of reverbed vocals, only three acoustic chords (if that), and samples from the radio and answering machines, the song is a testament to their self-prescribed label “tweenoise.” Two songs of reconstructed Stalingrad tracks marks Wohlgemuth and Jax (who, for full disclosure, is a Stylus writer) heading headfirst into noise/ambient territory. All in all, this is an eerier, darker release than their full-length—and up for grabs through the Free Music Archive. Worth the download for anyone wanting to get out of their comfort zone and experience some freshly charted areas of music. (We Have No Zen, wehavenozen.blogspot.com) Taylor Burgess
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TERRA LIGHTFOOT – Terra Lightfoot

A sleeping wolf, a feisty wolf – what album art could better depict the nature of Terra Lightfoot’s eponymous debut? Released this September on Hamilton based indie label Sonic Unyon, Lightfoot proffers an album that creeps from cool mellow alt-country tracks and minimalist folk ballads to brazen country and rock. With an unexpected nimbleness, Lightfoot hooks the listener changing the pace and direction of her songs, most notably on “Lucid Dreams” – a song about revisiting a past relationship through sleep that begins with cello and guitar and culminates in an intensely emotional rock jam. Known for her work in the roots-country group The Dinner Belles, Lightfoot’s subtle math-rock influence is a nice touch, making these songs distinct from most of the other indie-folk femmes bopping around today. Dale Morningstar (Gordon Downie, Godspeed You! Black Emperor) produces the 25 year-old’s lush first album. Sorrowful generally, with a bit of whimsy – this old sleepy wolf, this little playful one – sounds like a cross between The Cowboy Junkies and Julie Doiron (with a pinch of Don Caballero). If you missed Terra at the Lo Pub last week, make sure you don’t repeat the mistake next time she passes through town. (Sonic Unyon, sonicunyon.com) Cole Snyder

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Dave Alvin – Eleven Eleven

Roots-rock artist Dave Alvin releases a grooving blues number for us with Eleven Eleven. Tapping into that rural-blues sound makes it a perfect listener for the backyard or in the truck blowing down our prairie roads. Alvin, a California native, has a long career of blues and roots music, all of which culminates in this release. For a roots-rock album, it does come off slightly polished on the production side, but this is made up for in the musicianship. Gritty guitar licks laced throughout and some deep soulful vocals get you moving. Timing is perfect as Alvin brings you down to the mellow side midway through, while keeping in touch with that rural vibe, and finishes off the album with “Two Lucky Bums” – a duet with Chris Gaffney – that livens your mood just in time to send you packing. Inside and out, it’s a respectable release. Dave Alvin looks exactly how he sounds and that’s how it should be. Good honest blues, and there’s no lack of it here. (Yep Rock, yeproc.com/)Dallas Kitchen for Stylus Magazine
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Camp Radio – Campista Socialista

Once a while there comes a band that never puts enough songs on an album, and takes too long in between them. Camp Radio is one of these bands. Their debut came out back in ’08, ten tight, power pop, sing-alongable songs that hooked in and sounded better louder. Three years – THREE YEARS! – later, one song per year, Camp Radio have finally come around with a killer album #2. “The Girl Who Stole My Motorbike” sets the table with what you can expect over the course of half an hour: big guitars, vocal harmonies, nice ’n’ thick bass riffs, hooks hooks hooks, and Scott Terry’s big, beardy drum-fills. “I Have Designs” kicks into a steady chug, an “early ’90s” punk-rock anthem that would stand out on a Lookout! comp. It’s not all go-go-go, as proven with “I’ve Got You Up My Sleeves,” which takes it into sweetheart territory. Don’t take that as weakling rock; these guys can steep it in sweet without the eyerolling-sickeningness of a pop-ballad. That’s skill. “Slack,” “Cosmic Fair,” “Reinventing The Laugh Track”… really, there’s not a lame song in the pack. The album wraps up with the flexi-disc single “Turn Up The Radio,” marrying the geek-in-the-corner crushiness of a Weezer song with the loud-quiet-loud dynamic of the Pixies in what happens to be one of the best album-closers in recent memory.
Why Camp Radio aren’t spoken in the same breath as Sloan when it comes to great Canadian rock bands, I don’t know. What I do know is that I’m gonna try and change it. Hopefully I don’t have to wait another three years for more proof. Or maybe I’m just greedy. (Kelp, kelprecords.com)
Patrick Michalishyn for Stylus Magazine
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Bog River – Hands in the Ground

It’s probably your best bet to take your hands out of the ground and get them on this album. Hands in the Ground is the first full-length release from local trio Bog River. Comprised of Carly Dow, Ben Hadaller and Dave Barchyn, the band released Lost in the Woods in 2010, a rough yet valiant five part EP recorded at Hadaller’s cabin in one day. The EP was a glimpse into the promise possesses – a passion that drives the three of them to work intensely together on a fokly sound that is not only unique but tight and arousing. This time around, the band is doing it right, having recorded this album over the course of a couple weekends while still choosing to record back at the cabin. They dabble in a wide variety of genres and instruments, from pure folk, to Dixieland and gospel on this album. James McKee of the F-Holes makes a trumpet and trombone contribution on tracks four and five, with Alex Campbell is at the piano on track five. Vocalist Carly Dow’s vocals on the album are raw, while Dave and Ben offer silkier alternatives. Hands in the Ground is muddy and simple contemporary folk, and delves into deep themes of family, love and roots. If you’re not already familiar with the band, stop by the WECC on October 13 to celebrate their album release party. (Independent, myspace.com/bogriver) Victoria King for Stylus Magazine

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Burnt Witch Survivors Group – Support EP

rock and roll. this is dirty, distorted and extremely unslick. i can hear traces of the cows, jon spencer and a little hot snakes. uncomplicated and joyously so. this is rock and roll in its truest form. nice to see it coming from a local act. do yourself a favour track this record down and crank it out of your car stereo driving through the suburbs. then go see them, raise a bottle of standard and bask in the sounds. “party with ghosts” and “come out! get in!” are standouts. (Independent, myspace.com/bwsgmusic) c.frsn for Stylus Magazine
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This Hisses – Surf Noir

The local trio released their debut album this summer and even with the massive amount of hype surrounding the band and this release, This Hisses deliver! Everyone has probably seen this band perform live at one point or another and therefore is surely aware of the incredible energy this act brings to the stage. Amazingly on the record this energy transitions quite well. “Lycanthrope” starts of the album nicely with a haunting howl and shredding guitar followed by the equally exciting “Bad Vacation” – the latter song by the way, has a pretty awesome back-story behind it evolving a sketchy motel in Regina. The listener is brought right back down to ground state with a couple of nicely slowed down tracks, especially the stellar “Keep What’s Good In Your Heart” which smooth things over before the listener is shot right back into a circle pit of intensity with the upbeat and catchy “Swagger” and “Silver Dagger.” My only problem with Surf Noir is that I feel like the bass is drowned out by the guitar a lot of the time, I personally love the fat bass lines captured in the live show but it seems at times on the album the guitar steals the show, not that that’s a bad thing but as a bass player I am totally biased in that respect. Oh yeah and one more fucking problem… it’s over to soon, eight beefy songs is nothing to complain about but I for one am going to need more in the near future. (Transistor 66, www.transistor66.com) Scott Wolfe for Stylus Magazine
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Tim Hoover – More Napkins

Known as the beloved DJ Co-op, Tim Hoover is making a new reputation for himself, if that’s possible. This tape/digi-download heads into trip-hop and post rock territory over a span of 60 minutes, which is like a total 180 considering his use of party hip-hop and indie samples for his Co-operation mashup albums. So, rather than matching Fugazi to M.I.A. (which was four whole years before Wugazi, mind you), Hoover’s flexing his melodic muscles, which are in full force, in alternation with his beat programming, which here lies somewhere between glitch and hip hop. I was actually taken aback at how much of this music is original, and the samples, used sparingly, usually add such depth to the mix. The melodies, reminiscent of Godspeed (his comparison, though an apt one) sing colourfully and even more brilliantly once they’re up against electronic beats and hip-hop samples. I have to agree that this is headphone music—but once you’re in that world with your ’buds in, every little twitch and glitch stands out, and you’re in quite for the meditative ride. (Woven//Dub Ditch Picnic, wovenrecords.ca//dubditchpicnicrecords.blogspot.com) Taylor Burgess
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White Dog Family Band – Escape the Mystery II

After semi-voluntarily taking myself through the horrifying experience of Resistance, White Dog’s last tape, this is assuredly a cheerier time, with Chris Jaax recruiting his wife and son to comprise the White Dog Family Band. The synths drone and are arguably sci-fi. The ricochets of voices get wrapped up in the lurching machine of the drone. The tape moves from one atmosphere quickly to the next—though this is all in the same galaxy—with our space pilot Magnus Jaax yelling unintelligible orders and singing what would sound like madness, if it were coming from anyone but a seven-year-old or Damo Suzuki. There’s plenty of slug and chug that battles for the rest of side A—an immense trip. Side B is filled with a number of the same samples and sounds, but rearranged—like watching this space trip over again, but from a different porthole, with the wisdom of Lee Perry chiming in. This is definitely one of Prairie Fire Tapes’ most accessible releases, if you’re ever looking to escape the all-too-usual realms of music. (Prairie Fire Tapes, prairiefiretapes.com) Taylor Burgess