Story of the Year’s newest release, The Constant, keeps with the same notion the band came up with upon its inception—produce loud, anthemic rock songs that appeal to the almighty, angst-ridden teenager. And with four albums under their belt, it seems to be working for them. This is the band’s second release on indie-major Epitaph (they were formerly tied to major label Maverick) and as the title of the record suggests, they are working with the same big riffs and screamo tendencies that fans have grown to love and expect from the St. Louis natives. If you’ve enjoyed their previous work, you’ll likely put this album on repeat. Unfortunately, the new record hasn’t really progressed from its previous three and the band continues its formulaic song structure: melodramatic lyrics + likeable melodies + aggressive percussion = radio-friendly pop-punk. And for some, that’s enough. But if you’re looking for something new this time around, you’re not likely to find it. On a technical level, the band, comprised of vocalist Dan Marsala, guitarists Ryan Phillips and Philip Sneed, bassist Adam Russell and drummer Josh Wills, excel in every aspect. However, in typical emo-rock fashion, there’s one too many “power ballads” that are contrived and ultimately come off as trite. But with post-hardcore continuing to peak with young kids, Story of the Year are bound to still sell plenty of records. (Epitaph, www.epitaph.com) Sabrina Carnevale
Review: Ben Sollee & Daniel Martin Moore – Dear Companion
Billed as something of a tribute record to the music of their home state Kentucky, Ben Sollee and Daniel Martin Moore’s Dear Companion is a soft acoustic record that flirts well with its Appalachian heritage. Consisting of songs built primarily around Sollee’s cello and Moore’s acoustic guitar, the record is a joy to listen too, despite of its total lack of roughage featuring very little, if any, dissonance or risky harmonic structures. It’s a safe record that includes highlights such as the Sollee composition “My Wealth Comes to Me” and Moore’s “Sweet Marie.” The two know what their strengths are—solid vocal harmonies accompanied by gentle instrumentation—and use them well. Thus, while Dear Companion certainly won’t ever blow your mind, it certainly won’t disappoint either. (Sub Pop, www.subpop.com) Jeff Friesen
Review: The Album Leaf – A Chorus of Storytellers
Melodic post-rock, heavy on the keys, with a strong bassline. If you’ve heard the Album Leaf before, you have in many ways heard this album already, too. That sounds like a complaint, but it’s not. This music is mellow and beautiful—an acquiescent listen if ever there were one. That also sounds like a diss, but I swear, it isn’t! Jimmy LaValle’s voice is plain, and backing vocals added don’t particularly embellish it one way or another, but it doesn’t matter. In the end, voice is just one shade on LaValle’s palette, along with guitars, horns, strings, and electronics. It’s rich, steady, confident—and there are some exquisite moments on this record. The ghostly slide guitar on album-closer “Tied Knots”; the warm percussion, strings and whistling on “Within Dreams.” Recommended for those who like their post-rock gentle, subtle and cozy—like a soft, threadbare-in-places but still-functional quilt. A note for Icelandophiles: LaValle has toured with Sigur Rós and he recorded this album at their studio, Sundlaugin (“The Swimming Pool”). (Sub Pop, www.subpop.com) Jenny Henkelman
Review: Retribution Gospel Choir – 2
For those who enjoyed Low’s brief foray into loud guitars and massive choruses (2005’s The Great Destroyer), frontman Alan Sparhawk’s other band has crafted another grungey opus, which lives up to the standard set by the band’s excellent 2008 debut. Taking their cues from Crazy Horse, RGC have put out another balls-out rock record that’s big on anthemic choruses and memorable melodies. Opener “Hide It Away” sets the mood well, chugging along at 4/4 with ample emotion and a sturdy wall of sound. “Your Bird” follows with a heavy momentum that RGC manage to sustain. It almost goes with out saying: this territory is far from uncharted, but Sparhawk and his band do a fine job of adding their own subtleties to the mix. The eight-minute jam “Electric Guitar” steals a grinding bassline from Soundgarden, while the punchy “Workin’ Hard” sounds exactly like what you’d expect from its title, ploughing the same ground as Springsteen and Pearl Jam. RGC executes its material (particularly the guitar solos!) so well that the lack of diversity isn’t really a problem on 2. When an album is this strong, both in terms of its writing and production, conventions can be a complement. (Sub Pop, www.subpop.com) Jonathan Dyck
Review: Picastro – Become Secret
Recording yet another consistent and steady release in Become Secret, Picastro continues in the explorations of all things dark, brooding and moody. The album sees the band in their familiar setup with songs based primarily around soft, whispering vocals accompanied by cello, acoustic guitar, drums and the occasional piano. And while frontwoman and principal songwriter Liz Hysen does attempt to add some new things to the record—including more guest appearances (by the likes of Tony Dekker, and John McIntyre) and interesting references to Cormac McCarthy and the Bible—the record comes across as too safe, failing to take the band as a whole into new and interesting directions. Considering Picastro has made a name for themselves by pushing the listener into difficult and unsettling situations, it’s interesting to watch them stay in their comfort zone, producing a record that sounds much like their previous records, such as Red Your Blues and Whore Luck. That said, I would still recommend the record, as it comes from one of Canada’s more underrated acts. Hysen’s songwriting is exceptionally strong, holding in healthy tension moments of love with despair and crushing dread. It’s just that she’s done this before, and I was hoping from something new from a band that has shown time and time again that it is not afraid to take risks. (Monotreme, www.monotremerecords.com) Jeff Friesen
Review: Minto – Lay It on Me
Hero worship is a part of music. Every artist can rattle off a list of names they admire in the music industry, all influential on their music. And sometimes just listening to a band’s music, you can write a pretty accurate list in your head. Vancouver’s Minto is one of these bands. From the first guitar notes on opener “New Bones,” Neil Young (specifically plugged-in Neil Young) jumps out and basically writes the list for you. These guys love Neil, and to be honest, who can blame them? Neil Young can rock a guitar, and these guys are definitely out to rock, and with guitars! This is not to say that all you will hear are Neil Young influences on this album. Strong influences aside, these nice Canadian boys and girls are here to rock your face, or whatever other parts you’re willing to have rocked. They manage to keep the songs tight—at no point did I ever feel bored. They never manage to reach the point of head-banging rocking out like Neil can, but they’ve managed to collect here a set of songs which show definite promise. The band has their heads and hearts in the right place, but the songwriting still feels a touch derivative. Steve Albini engineered this album, and his distinctive engineering (NOT production) is present, and it sounds good. But not an interview with the band has been written that hasn’t been mostly focused on the man, and his name appears more than any other on the album. It’s actually the only reason I grabbed this album in the first place. It’s working, Minto! This is a band loaded with potential, but still has yet to find their sound. To be frank, most of this album just makes me want to go listen to the electric version of “Hey Hey, My My” more than anything, but worth a listen if you dig some solid Youngian rock ’n’ roll. (Minto Music Group, www.mintomusic.com) David Nowacki
Review: Makeout Videotape – Heat Wave/Eating Like a Kid
“Slush Puppy Love,” the first track from Makeout Videotape’s Heat Wave, is nothing short of a smack in the face of youth and enthusiasm when the chords ring in, pushing needles into the red. It’s distorted to shit because it’s recorded poorly on a laptop, but for one guitar, one floor tom and one snare drum, these two releases are quite the beachside party. Mac DeMarco’s voice goes between half-talking-half-singing and falsetto ‘Oohs’ while he’s mostly singing about young love. “You’re what I want/come surround me,” he sings on “Basketball Kids.” On Eating Like a Kid, released not even a year later, DeMarco’s expanding his vocal and song writing ranges—he goes from the surf pop of “Swim Dream” to the ’60s doo-wop of “Deborah” to the sober indie pop of “Because I’m a Boy” on which he sounds almost like one of the dudes from Grizzly Bear. He’s going in so many directions and, hell, even the recordings sound cleaner. Eating Like a Kid is going on my year-end list. That is, unless Makeout Videotape makes another two or three recordings this year. (Unfamiliar, www.areyoufamiliar.com) Taylor Benjamin Burgess
Review: Sarah MacDougall – Across the Atlantic
Canadian musical talent has always been varied, but it is rare that you come across an artist who is as unique as Sarah MacDougall. This Swedish/Canadian artist has a sound that is all her own, and has a spectrum of depth that differentiates her from your average small-name artist. This happens to be her second time taking a swing at making an album and the product, I must say, is very impressive. Her beautiful songbird vocals, mixed in with some compelling instrumentation, make a truly excellent CD. The tracks range from deep and moving ballads that evoke images of the great Atlantic Ocean and coast towns, to odd and off-beat songs that are reminiscent of the great Tom Waits. The title track “Across the Atlantic” is a stirring song about returning home after being away for so long and being reunited with friends and family while “Hundred Dollar Bills” is a very different tune with quirky, interesting lyrics and gratuitous use of the tuba. Sarah MacDougall is a brilliant artist and anyone who holds any love for indie Canadian artists in their hearts should seriously consider picking this one up—it has my highest recommendation. Miss MacDougall should be very pleased with what she has created here, because I truly enjoyed it immensely. (Copperspine Records, www.copperspinerecords.com) Holden Bunko
Review: Lightspeed Champion – Life is Sweet! Nice to Meet You
With his second album, New York-residing Brit Devonté Hynes (a.k.a. Lightspeed Champion) has shed the folk-infused acoustic guitar of his debut, Falling Off the Lavender Bridge, for classical pianos, electric guitar, ’70s synth and musical theatre. Straying from what would have been the safest road, Hynes refrained from releasing another “Tell Me What It’s Worth” or “Midnight Surprise” and attempted to create something exceptional. The result isn’t perfect but it’s different without losing the pop sensibilities that will, hopefully, make Lightspeed Champion stand out from every other band that received some sort of attention in 2009 from North America’s ostentatious yet high-consuming indie crowd. There is a looming aura of pretension when relatively underachieving pop musicians include “intermissions” on their album, but there is no denying that the short piano breaks progress the music inconspicuously. Maybe it was the influence of producer Ben Allen (Animal Collective, Gnarls Barkley) or maybe Hynes is finding his place within the music world. Either way, Lightspeed Champion’s sophomore release offers a pleasant surprise to wary listeners. (Domino, www.dominorecords.us) Cindy Doyle
Review: Kate Rogers Band – Beauregard
Have you been looking for a lazy day album? You know, the kind you play on a rainy (or snowy) day, when you just feel like relaxing and letting the world slip by? Then, oh boy, do I have the album for you. Ontario-born Kate Rogers is on her A-game here in her third album titled Beauregard. One part Feist, one part off-beat folk, this indie-pop songstress recently broke off from her UK label Grand Central Records to set off on her own. This seems to have worked to her advantage, since this is the best album she has recorded to date. Every track is rocked by her powerhouse vocals, while the melodies bounce back and forth between the realms of light jazz and bluesy folk. This is also the first time she has recorded an album under the name Kate Rogers Band, and her band makes all the difference. Her guitarists, Matt Bannister and David Dunlap, manage to accompany her voice almost perfectly for a very soothing effect. Plus, no two tracks sound alike. From the odd organ riffs of “Silent Movie” to the beautiful keyboards on “WowBox.” I’d recommend this CD to anyone who has a lasting love of the likes of Feist, or anyone who just needs a little time to chill out after exams. Either way, I’m extremely happy to see Miss Rogers returning to Canada to give us a wonderful album, and the chance to further enjoy her talents. (Independent, www.katerogers.net) Holden Bunko