There is something beautiful about the ambient sound of Denmark act Under Byen’s fourth full length studio release Alt Er Tabt. Their music does not merely reverberate, but instead seeps through the speakers like an eerie fog of sound. Front-woman Henriette Sennenvaldt’s haunting vocals calmly echo against the often relentless beat of bass, drums, panicky pianos and shrill violins to create a contrasting yet somehow balanced marriage of song that is both unsettling and mesmerizing. Like their name and album title, every lyric is in Danish adding to the English listeners experience by accentuating the emotion and unique shadowy aura of their music. That being said, this album is not for everyone or every occasion. It is by no means an easy listen and could certainly make or break a mood depending on the situation. For instance, putting on Alt Er Tabt would not be the best choice to get people dancing at a party or for doing anything that would require a high level of energy. A long, quiet car or bus ride, however, would suit Under Byen’s music nicely, especially on a rainy evening. For just a taste of the album try enchanting track “Kapitel 1.” (Paper Bag Records, www.paperbagrecords.com) Cindy Doyle
Review: Jason Collett – Pony Tricks
Fans of Toronto based singer-songwriter Jason Collett are likely familiar with his earlier 2010 release, Rat a Tat Tat – so, a new record a mere few months later? Sort of. Collett has decided to share yet another facet of his well-known folk sound with the release of Pony Tricks, an acoustic collection of songs from Collett’s back catalogue – in total, nine cuts were rebuilt. And for those fans longing for new material, two previously unreleased songs also make an appearance: “My Daddy Was a Rock ‘n Roller” and “Pulling The Sun Down”. For Collett, the motivation behind this record stems back to his live performances; he wanted fans to have an accurate representation of his solo shows. Pony Tricks also aims to satisfy the demand of those fans wanting to hear a more ‘stripped down’ version of his songs. The 38-minute compilation, recorded at Zeus’ Ill Eagle Studios in Toronto, was originally intended to be an EP and features such songs as “Motor Motel Love Song”, “Bitter Beauty” and “Hangover Days”. Collett has been riding the solo train for several years now, having previously toured alongside versatile indie darlings Broken Social Scene. He’s released a number of solo records, after deciding to take a break from touring with BSS to focus on family and his solo career. BSS’s Kevin Drew has even called him “the Tom Petty of Broken Social Scene,” and for good reason: Collett has managed to hone his ’70s pop/rock and country ballad twang. With Pony Tricks, you’re invited to a Jason Collett concert and don’t even have to leave the comfort of your own home. Surely, fans won’t be disappointed. (Arts & Crafts, www.arts-crafts.ca) Sabrina Carnevale
Review: Kelley Stoltz – To Dreamers
Sub Pop might be my favorite label going today. In the two years that I have been writing for Stylus, an album from the Seattle label has finished high in my top ten albums of the year, with last year’s release from the Fruit Bats (The Ruminant Band) taking the number one spot. The quality of albums released through the label‘s history is very high, and as a result, my expectations get raised every time a new release enters my CD player. Kelley Stoltz, thankfully did not disappoint me. On his eighth album, Stoltz offers the listener more of his 1960’s inspired lo-fi sound. He is still a one man band for the most part, though he has help from others for the background instruments. For the majority of the album, I can picture Stoltz sitting on his living room floor playing the guitar. As mentioned earlier, Stoltz lets his influences shine throughout the album. There is a heavy heaping of Ray Davies, sprinkled in with some David Bowie esque glam, and some Brian Wilson inspired psychedelic music for good measure. A common criticism leveled at Stoltz is that he rarely feels original; he is more content to pay homage to his influences rather than showing what he can do as an artist. But, while I can see this criticism, Stoltz’s enthusiasm for his music is enough to make the familiar feel original. (Sub Pop) Charles Lefebvre
Review: Bad Religion – The Dissent of Man
Conflicted. That is the first word that comes to mind listening this newest Bad Religion record. It’s not a bad album and it’s not necessarily a good record either. The musicianship – topnotch. The hooks – abundant. The harmonies – straight out of Van Halen’s songbook (they’re awesome). Unfortunately, where the record falls apart is both its strength and its weakness. The songs that sound like old school Bad Religion -which could have easily blended into albums like No Control or Suffer – are fantastic. However, they sound exactly like those albums and that smells of formula and stagnation. Now Bad Religion have been around long enough to know that they need to throw some ‘experiments’ into the mix. This is a good thing, however for this record those ‘experiments’ reek of desperation. Pedal steel does not belong on a Bad Religion record. And, after multiple listens, it makes sense that Weezer is now on their label. (Epitaph, www.epitaph.com) c.frsn
Review: Grimes – Halfaxa
Some savvy bloggers are already declaring Halfaxa “album of the year.” Granted the leaps 2010 has taken in music, for 22-year-old Claire Boucher to emerge so close to the front of the pack suggests how astonishing her sound is. The often haunting, always experimental lo-fi-psych meets R&B-filtered through-one-hundred-graveyards Halfaxa is Grime’s second release, following January’s underground darling Geidi Primes (which, had Halfaxa not lapped it, would likely have had its own share of top spots on year-end lists). As organic and digital samples loop and twist from pure pop to supernatural, you can almost see Boucher’s hands rising to count the steps as her voice rises and sinks, hitting notes she’s trained herself to find and following melodies of only sometimes discernible lyrics. Boucher’s voice has matured, and to listen to Halfaxa is to listen to an artist who has completely submerged herself in a journey half drug-hazed Disney plot, half scenic climb through ancient Chinese mountains. Grimes is about sound and seamless blending of influence, and Halfaxa offers some new twist on every listen. While “Devon” stands as example of Boucher’s solid pop writing and vocal majesty, “Hallways” is a twisted, haunted house remix of every ’90s R&B song ever drilled through HOT103… and it feels so good. (Arbutus Records, www.arbutusrecords.com) Kristel Jax
Review: Scythia – …of War
Scythia are one of the few folk metal bands whose music can’t be pictured being performed by anyone other than Nordic warriors. It’s not just that the lyrics that have epic fantasy themes about traveling through dangerous valleys and getting into sword fights, but the music itself. Violins and flutes set the scene for ancient villages with blacksmiths and horse-drawn carts full of hay. Heavy guitar riffs and galloping drums prepare you for an epic battle in a blood-soaked field of the dead. The singing is beautiful, and at times a triumphant bellow of victory. Such a lovely blend of heavy and melodic should draw fans of both metal and folk music. (Independent, www.myspace.com/ScythiaFolkMetal) Paul Nordin
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via Clint Enns via Kier-La Janisse:
Review: These United States – What Lasts
These United States are a band that has held my attention since their debut in 2008. In the two years that they have been together, they have released four albums on a consistent basis, and their style has evolved from Blitzen Trapper inspired pop folk, to the alternative country sound that has been their fixture since 2009’s Everything Touches Everything. Their fourth album retains the sound of their previous album, but lyrically, deals with heavier themes of loss, depression, and death. What Lasts is, so far, their darkest album to date, inspired by the near drowning of lead singer Jesse Elliott. Water, death, and drowning are mentioned or alluded to throughout the album, and it does have a haunting effect. Elliott’s lyrics are his most confessional. Album opener “Nobody Can Tell” feels like Elliott is telling the listener what happened that day on Lake Michigan, his strained voice detailing how he fought to survive. Though there is a strong sense of melancholy on the album, Elliott and the band still know enough to add some upbeat numbers such as the bouncy, sixties-pop inspired “Life & Death, She & I,” to give the listener a rest from the serious themes. And the album closer “Water & Wheat,” hints at optimism. They entered the darkness, but are moving away from it, and the wind is at their back. (United Interests, www.unitedinterests.com) Charles Lefebvre
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Review: John K. Samson – Provincial Route 222 EP
John K. Samson is the Ang Lee of the Winnipeg music scene, and yes, I mean that as a compliment. Just as Lee can make movies that don’t seem plausible on paper but actually end up amazing, when Samson gets an idea, or if you can describe your idea to him, he can write a song about seemingly anything and make it work. A straight-up rock song about a curling bonspiel. A semi-ironic tune about hatred for one’s city. A song from the perspective of his cat. All sound ridiculous, but they have worked, and are amazing. You can’t bet against him. It’s like trying to fight gravity. This album is his second in a series of 7” releases about Manitoba roads, with this one focusing in particular on stories located on the route between Gimli and Riverton. “The Last And” is a touching folk song about the end of an affair between a school principal and a teacher, that Samson himself has said could very easily be about Principal Skinner and Edna Krabappel’s relationship on The Simpsons, which will make me think differently about their characters now when I watch the show. “Petition” is, well, an online petition set to his guitar to induct Reggie Leach, a former NHL player from Riverton, into the Hockey Hall of Fame. Finally, “Stop Error” is about a young man who spends all of his time on the computer, trying to find the meaning of life after it crashes, and is set to a chorale by Bach. Three songs that feel different and distinct when listening to them, but containing the Canadian small town theme that unites them, Provincial Road 222 is another successful release from one of Canada’s most consistently talented songwriters. (Anti-, www.anti.com) Charles Lefebvre