Oh, Oh Sees, how I love you. The first of two announced Oh Sees albums for 2011, Castlemania is the mellow summer record (sounding more like Dog Poison than Help!, if that gives you any idea). For the most part, it’s just Dwyer on everything with a guest here and there, making sunny budget-pop. The “throw every instrument into the backyard and hit ‘record’” feeling is strong, and while every song sounds upbeat, Dwyer throws in some darker, death-dealing lyrics. You know what you’re getting. They round out the end of the album with three covers: “I Won’t Hurt You” by West Coast Pop Experimental Band is spare and kind of spooky during the verses. It sounds like it was recorded on a steam-powered train. Their cover of Californian folk singer Norma Tanega’s “What Are We Craving?” manages to get the feeling of the ’60s grass-stained feet and flowers-in-their-hair down well. Their cover of Big Wheel’s “If I Stay Too Long” is sloppy, shimmering and pretty, and your ears will perk up in recognition when you hear it. If you’re into Thee Oh Sees’ thrashy-spastic brand of rock, there should be enough here to tide you over to the fall (you’ve been warned). For the Dwyer-faithful, you’ll gobble this right up. (In The Red, www.intheredrecords.com) Patrick Michalishyn
Booker T. Jones – The Road From Memphis
It’s safe to say everyone loves legendary organist Booker T. His records with the M.G.’s have always been catchy, fun, groovy funk. If there is any criticism about his records (not his live performances) it’s often because his early sound is too clean and too safe. I guess we had to wait until Booker T. got old. Coming off the heels of 2009’s Potato Hole, The Road from Memphis is Booker T. Jones at his finest, rawest and most badass. I guess it helps to have the Roots as your back-up band. His latest solo effort is incredible with the only exception of a forgettable cover of Gnarls Barkley’s “Crazy” which has Booker T. adding a little flavor from the original. His version of Lauryn Hill’s “Everything is Everything,” on the other hand, is off the chain, featuring Jones playfully hammering at the organ with unbelievable precision towards a climaxing conclusion. Producer Gabe Roth (Sharon Jones, Amy Winehouse) manages to make most cuts sound timeless, vintage and yet ultramodern at the same time. Songs like the super-sonic “Hive” perfectly exemplifies this quality while “Down in Memphis” shows off Jones’ time-honored soulful voice. While the album features powerhouse collaborators the likes of Jim James (My Morning Jacket), soul-singing phenomenon Sharon Jones and even Lou Reed, it’s Jones’ quick hands that’s centre stage here. It’s safe to say that Booker T. has aged like wine and his albums will most definitely continue to impress. (Anti, www.bookert.com) Kent Davies
Secret Girls – In Hiding
Cole Peters, co-founder of Prairie Fire Tapes, has created a real minimal affair with this cassette. Really minimal—the intro to “Ivory, Ether and Blood” is reminiscent of György Ligeti’s eerily terse two-note piece in Eyes Wide Shut, and the rest of this song is a primordial cesspool of ambiguous morality. Such a minimal affair—she touches his wrist when he reaches for his drink, and they both come and die a little inside, never telling anyone—that minimal. Peters, who’s normally doing his HNW (harsh noise wall) thing as Gomeisa, takes his guitar drone project Secret Girls away from the apocalyptic, and more toward the mystical—extraterrestrial overlords keep watch, waiting for the signals to impart infinite knowledge. There’s much tension and peace beneath the surface of In Hiding, and it is up to your conflicting levels of psyche to unearth it all. (Prairie Fire Tapes, prairiefiretapes.com) Taylor Burgess
Burning Hell – Flux Capacitor
From the very personal introduction song, Flux Capacitor is a journey through frontman Mathias Kom’s life, realized via ukulele. Kom has been known for his infectious tongue-in-cheek songwriting, which often sarcastically lambastes historical moments like the Bretton Woods and Berlin conferences. This time around Kom takes on his own history with autobiographical tunes like “Report Card” and “Let Things Slip Away,” which highlight lessons learned throughout his life. The hilarious opus “Nostalgia” is laced with Weakerthans-style whimsy and B.A. Johnston-style ’80s pop culture references, while “Pirates” is a ridiculous satire on living with the Rob Ford-lovin’ immigrant-hating fear-mongers of the Toronto suburbs. On a sadder note “Kings of the Animal Kingdom” deals with having to put your dog down while struggling as a vegetarian orphan. Damn, it’s sad. Unlike the Burning Hell’s previous efforts, Flux Capacitor doesn’t take shots at our collective history but Kom’s own history, which resonates even deeper with everyone who hears it. By far this is Kom’s cleverest, most emotionally moving songwriting since his debut with Tick Tock. (weewerk, www.wearetheburninghell.com) Kent Davies
Sonny and the Sunsets – Hit After Hit
Going to the beach? Bring this CD with you. Going to the park? Bring this CD with you. Chilling in a sun-scorched back alley with your friends? Play this album! Sonny and the Sunsets deliver a great summer feel good, rock ’n’ roll album with Hit After Hit. This one is destined to get you dancing to rad ’60s rock n roll vibes and jams. If you are not up on your feet or at least swaying to the groove then your name is probably Professor Charles Francis Xavier. (The professor has no time for dancing.) Seriously though, I can’t sing enough praises here. Every last track has got it going on and the last song “Pretend You Love Me” makes clear the influences for this album. This song is a great ’60s pop rock throwback, a heart ache ballad. Check this one out, you won’t regret it! (Fat Possum, www.fatpossum.com) Kyra Leib
FOUND: WTF award of the day goes to…
The Naughty Sailboat, local production company for their partially stop-motion animated allegory about the workin’ stiff, man.
J Mascis – Several Shades of Why
J Mascis was long known for being one of the loudest dudes in indie rock, or ‘Alternative’, as it was called at the time. His signature Fender Jazzmaster caused many an eardrum to bust in his seminal band, Dinosaur Jr., but in the good way. So, knowing nothing of his solo works, I had the volume knob turned way, way down. I was waiting for the record to start, thinking there was some long, teasing intro before my ears were guitarsmashed into my head, but after tentatively turning up the volume to a reasonable level, I realized that J had gone quiet. This is as delicate and restrained a record as they come. Gently plucked acoustic guitar, lilting string arrangements, and even the electric guitar’s appearance quiet(ish). It reminds very much of fellow ’90s ear-basher Thurston Moore’s recent Trees at the Academy, the difference being that Moore’s roots are in noisy experimentalism (which he can’t shake), whereas Mascis’ lie in good old fashioned rock ’n’ roll in the vein of Neil Young. He is very much doing a reverse Neil Young here, switching gain-heavy distortion for intimate, acoustic-driven introspective pieces, which are okay but show more promise than anything else. A pleasant listen for Dinosaur Jr. fans who hold some sentimentality in J’s moany voice, or fans of nice stuff. It’s really nice. (Sub Pop, www.subpop.com) David Nowacki
Steve Basham – Thick Cuts
Basham’s latest is dripping with Mortfell Oktorium’s goofy-yet-relatable character of humour and DIY production, in the form of some seriously up-tempo numbers. Seriously, no one can deliver a punch line like that of “Bad Mood:” A mermaid pops out of the river and makes a come-hither motion. “I wasn’t really in the mood / But I didn’t want to be rude! / She was quite the dish / And I wanna return that fish!” This is his third solo album as a follow up to Thick and Thicker, and he recently, to really prove that he’s serious, started playing with The Upsides and they’ve donned themselves The Girth. Unfortunately, length is seriously lacking here (none of these tracks break the 2-minute mark) but that’s not a problem as they certainly are thick with lightning-quick quips and proto-punk energy. “Seriously Not Serious” is the album’s “Marquee Moon” as the most serious number (or is it?!) with Basham analyzing his own talents and it ends with a palatable guitar duet in under a minute and forty seconds. (Independent, www. soundcloud.com/stevebasham) Taylor Burgess
Tearist – Living: 2009 – Present
I took my friend Kram Ran to see Tearist play live in New York while we were visiting—a performance which has become to the two of us a base to which all other events and experiences are now compared “This isn’t as good as seeing Tearist live.” “This show would be better if Tearist was playing.” “I wish Tearist was here” (in line at the grocery store).
If you don’t know who Tearist are, it might be because you’re not following the internet’s international underground dark music scene, or you never got into Former Ghosts. All you need to know is that Tearist is Yasmine Kittles and William Strangeland of L.A., they’re influenced by Artaud’s Theatre of Cruelty (and somehow get it right), and no one knows when they’ll make it up to Canada. Living: 2009 – Present is their first official live release.
When you put this record on, Kittles isn’t going to be inches from your face, all limbs and teeth, menacing a metal pipe one second and then beating herself against a wall on the other side of the room while cameras flash the next. You can, however, put this on and hear her yelping and swaggering in your living room over Strangeland’s Suicide beats and gut-aggressive synth lines.
Kittles can belt it out so hard and so good it paralyzes you and still flail wilder than Freddy Ruppert did in This Song is a Mess but So am I, but my main attraction to Tearist goes beyond their next level live show. I’m obsessed by their relentless integrity and commitment to making good art. Get Living if you want to hear a talented, real band get down (or if you collect hand letter-pressed LP jackets). Otherwise, just download some syrupy Austra mp3s and go to the beach. (Thin Wrist Recordings, www.thinwrist.com) Kristel Jax
Mogwai – Hardcore Will Never Die, But You Will
Hardcore Will Never Die, But You Will is the seventh studio release by Scottish post-rock/shoegaze group Mogwai. These guys have been together for over 20 years now, and it shows. The new album is pulled together and packed with a ton of energy and tenacity. You’ll get no comparisons from me of Hardcore to previous Mogwai albums. For that I apologize, both to you (the reader) and myself. I can’t believe I’ve missed out on these guys for the large majority of my young adult life. Hardcore Will Never Die, But You Will is a hefty title to put out there, encompassing a dark humor to an odd, uncomfortable irony. In my mind, this album is that story exactly. Synths and distortions simmer with guitars and drums to provide a fast-paced landscape whose music will survive, while its inhabitants pass through unnoticed. City lights glow and cars speed through tunnels while swells and riffs take their hold on a thriving (albeit, doomed) existence. “White Noise” is a great opener and by far a favorite, along with “Letters to the Metro” and “George Square Thatcher Death Party.” (Sub Pop Records, www.subpoprecords.com) Victoria King