ROWDYMEN
Gas, Liquor & Fireworks
After a lengthy hiatus, the return of guitarist/vocalist Jason Allen signaled the return of Winnipeg roots-rockabilly staple the Rowdymen. Their latest kicks off in classic rockabilly fashion with “Johnny Rumble,” a twangy up-tempo number that gives it a ton of gas, and tells the story of a boy “born with a guitar in his hands.” Other numbers, like “Ode to Possum” and “Road Hard,” display some liquored country-roots sensibilities with a little help from one of the best voices in Winnipeg, Joanne Rodriguez (Angry Dragons, American Flamewhip). Songs like “All Right Baby” add some vintage swing to the mix. The album ends with some fireworks courtesy of a couple great rockabilly numbers written by vocalist/drummer Ken McMahon. Much like in real life, Gas, Liquor & Fireworks amounts to a fun rockin’ time. (Transistor 66, www.myspace.com/therowdymen) Kent Davies
Review: the Mission Light – Hearts for City Limits
THE MISSION LIGHT
Hearts for City Limits
Hearts for City Limits is an accomplished debut from Winnipeg pop/folk act the Mission Light. Travelling is a theme of the record, with song titles like “Through These Streets,” “A Highway Song” and “Homecoming.” These ten tracks come courtesy of a highly talented group of musicians, superbly produced by Gemini Award-winning producer/engineer Norman Dugas (Leaderhouse, Daniel ROA) and mixed and mastered by Kyle Sierens (Sick City, Common Lives). Formerly known as the Guy Abraham band, which was named after its SOCAN Award-winning singer-songwriter, the group has a warm, acoustic flare, combining soft melodies, (partly due to the very talented Saya Gahungu on violin) with large, bold vocals. The record incorporates not only percussion and guitars, but also features pianos and organs, and it showcases both the group’s artistic and musical talents. The Duhks’ Sarah Dugas makes an appearance on “A Highway Song,” along with Dust Rhinos’ Dale Brown, who adds additional violin on “So Much More” and “Breakdown in the Afterglow.” Other Duhks Cristian Dugas and Scott Senior have also recently contributed to some upcoming tracks. With reflective and heartfelt songs that hold a creative edge, these local musicians are well on their way to making a name for themselves. (Independent, www.themissionlight.com) Sabrina Carnevale
Review: Half-Handed Cloud – Cut Me Down and Count My Rings
HALF-HANDED CLOUD
Cut Me Down & Count My Rings
One thing you can say about John Ringhofer (a.k.a. Half-Handed Cloud) is he’s never short on ideas. Falling somewhere in between the sing-songy evangelical pop of Danielson and the lo-fi inventiveness of Guided by Voices’ Robert Pollard, this collection of rarities, singles, and B-sides, is comprised of 46 tracks, taken from the 17 non-album releases Ringhofer produced between ’00 and ’09. From the somewhat cringe-worthy “Shepherd” songs of his I’m So Sheepy EP to the confident B-sides from 2006’s Halos & Lassos, this album gives listeners a sense of Ringhofer’s development as a songwriter. Each song grouping is explained in detail by Ringhofer in the album’s liner notes. Although this album presents a wide breadth of material, a few things remain consistent: the immature wonder of Ringhofer’s overtly Christian lyrics, a lo-fi approach combined with more ambitious arrangements, and a commitment to melody and brevity—apart from a couple tracks, these songs all range between one and two and a half minutes. Cut Me Down & Count My Rings isn’t the easiest album to digest, but for fans of Ringhofer’s prolific output, this retrospective collection is thoughtfully compiled and beautifully presented. (Asthmatic Kitty, www.asthmatickitty.com) Jonathan Dyck
Review: Patrick Keenan – Washed Out Roads
PATRICK KEENAN
Washed Out Roads
Washed Out Roads wasn’t the easiest album to make, according to local singer-songwriter Patrick Keenan. Without getting into too much detail, there were delays, complications, ransoms, and enough frustration and heartbreak to base another album on. However, after a long, frustrating two-year journey, Keenan’s latest album has come to fruition. The bittersweet, toe-tapping rock number “Pill Store” kicks off the album on a high note before settling down with a few measured tunes including “Washed Out Roads,” which features Keenan lamenting being caught in failure of society. Other notable tracks include the great opus “Tobacco,” which sounds reminiscent of Ben Folds, and road-trip song “Roof-Rack Attack.” Keenan’s clever lyrics and catchy melodies are backed by band members Doug Darling and Jeff Tetrault as well an army of guests including local music staple Mike Petkau. Even if this wasn’t the mix Keenan had envisioned, it’s still a pretty great one. (Friendly Fire, www.myspace.com/patrickkeenan) Kent Davies
Review: The Rifles – Great Escape
THE RIFLES
Great Escape
If you have heard any English pop bands in the last five years, then the sound of Brit boys the Rifles will be totally familiar to you. With an uplifting verve and sassy delivery, this talented quartet are eminently listenable but completely and undeniably generic. Guitars chime and gang vocals lift heavenward (“Romeo and Julie”) all over this sweet 11-tracker. From this album alone, it sounds like the Rifles have been tailor-made to be slotted as “opening act” for one of those gigantic outdoor, multi-group concerts in Hyde Park or Wembley Stadium that the Brits are keen on having at the drop of a charity’s hat. The production is bright and clean and the vocals are mixed way up front for those who like to hear whatever the lead singer has to chirp cheekily about. If you’re thinking that this is as common as salt, you’re right. File under: here today, gone tomorrow, but fun to listen to while it’s in the player. (679, www.therifles.net) Jeff Monk
Review: The Expos – Blackwater
THE EXPOS
Blackwater
On their second album, Newmarket, Ontario’s the Expos move beyond the limiting genre of ska and slide into a comfortable reggae sound with elements of soul and pop. It’s obvious that the band has made an effort to broaden their musical style, and Blackwater shows that the Expos will be around for a long time. Blackwater is more soulful than most ska albums, not concerned with partying as much as the human condition, as heard in “Dying Too Long.” It isn’t littered with the punk rock sound which has become associated with the genre, but instead relies on the harmony and instrumentation of the band. Horns and Hammond organs appear throughout the album, complimented by strong bass playing and Reed Neagle’s laid-back vocals. My pick for best song on the album has to be the closer “Bring It Home,” in which the second half of the six-minute track is an amazing jam session that will leave the listener satisfied. Fans of Subcity should definitely listen to this album. Highly recommended. (Stomp Records, www.stomprecords.com) Charles Lefebvre
Tyondai Braxton – Central Market
When Braxton isn’t completely rewriting the math-rock playbook in Battles, he’s busy composing music for an orchestra and, well, playing with himself. As a solo artist, Braxton creates music using live loops. Handling all the instrumentation and vocal duties, Braxton’s solo work is at once complex, colorful and experimental. Central Market sees Braxton move away from a strictly loop-based, 100 percent Braxton-performed outing, to seven tracks composed for New York City’s Wordless City Orchestra. The combination of Braxton’s electronic tendencies and the acoustic element of the Orchestra makes for a record that is multi-dimensional and varied yet sonically cohesive. The first few tracks are purely cinematic—if the film imagined is a twisted, Technicolor children’s cartoon that takes place on the rings of Saturn. Strings swoop and swirl amidst marching, syncopated percussion, constantly shifting melodic motifs, jagged loops and Braxton’s trademark, pitch-shifted “munchkin” vocals. It sounds bizarre, and it is. Yet despite the seemingly chaotic shards of instrumentation within this album, Central Market is an impossibly interesting, engaging and enjoyable listen. (Warp Records, www.warp.net) Curran Faris
Bloodshot Bill – Git High Tonite!
Combining country twang, garage fuzz, and rockabilly squeak, Bloodshot Bill manages to make vintage sound new in Git High Tonite! Montreal’s answer to Hasil Adkins, the one-man band sensation returns with 12 greasy, rockin’ numbers guaranteed to get you moving. Combining crazy barely audible Trashmen-esque voicework, jingly-jangly guitars, and raw classic rockabilly instrumentation, Bloodshot has perfected a sound very few can match. Standout tracks include “Leave Me Alone,” “Outta the Rain” and a great Steve Alaimo cover “She’s My Baby.” The album closes out with a devastating rockabilly ballad “Oh Honey Doll Baby Doll” and a fantastic acoustic bonus track. (Transistor 66, www.bloodshotbill.com) Kent Davies
Black Heart Procession – Six
While I don’t believe any of their subsequent albums have rivaled their 2002 album Amore del Tropico (Tropics of Love), the Black Heart Procession have nonetheless made a valiant effort to reach for those heights. Returning to the counting scheme of their first three records, the San Diego band also retains the foreboding tone they’ve honed through all their prior recordings—atmospheric strings, ominous, impassioned vocals and rumbling bass, all supporting vocalist Paulo Zappoli’s dark tales. Love, death and the intersection between the two have long been lyrical tropes for the Black Heart Procession, and Six finds them digging fresh holes in the same graveyard. “When You Finish Me” speaks of being buried by a lover and “Wasteland” finds the protagonist hearing “ghosts calling me back to the grave.” Things don’t end in the ground though, as characters pursue their lovers through “Heaven and Hell” and burn in flames (“All My Steps”). Clearly this isn’t a voyage for the faint of heart and neither is an album by the Black Heart Procession—though you’d expect nothing less considering their moniker and their catalogue. This is a bleak and troubled listen, but there’s a dark beauty buried in its heart. (Temporary Residence, www.temporaryresidence.com) Michael Elves
Brendan Benson – My Old, Familiar Friend
My Old, Familiar Friend marks something of a liberation for Brendan Benson. Finally stepping out of the enormous shadow of Jack White, Benson has returned to his solo career, and it’s a return that is most certainly overdue. It’s a shame that it’s taken him four records to finally get any attention, and even more shameful that his rescue from obscurity is largely due to his stint with the forgettable Raconteurs. But considering just how excellent My Old, Familiar Friend is, these facts are easy to ignore. Benson’s talent for creating punchy, infectious pop music has always been obvious, but this album in particular takes it one step further. At once, the record demonstrates raw energy and unabashed joy, and enmeshes every track with a certain heartfelt quality. “I fell in love with you /and out of love with you /and back in love with you /all in the same day,” repeats Benson on album opener “A Whole Lot Better,” a handclap- and hook-driven number that sets up the honest desperation and earworm traits found throughout the rest of the album. “Garbage Day” sounds as if it had been pulled out of any 1970s discotheque, laced with energetic strings and pulsing analog synths, and “Feeling Like Taking You Home” is a cut of new wave-inspired bliss. Benson doesn’t shy away from incorporating a wide variety of musical genres into his sound, which he manages to pull off with a level of style and finesse that makes it seem effortless. It’s never over-the-top, and when it works it works well, casting the record to sound exactly like the ambitions of a talented artist being realized, and makes My Old, Familiar Friend every bit the success that Benson deserves. (ATO Records, www.atorecords.com) Kevan Hannah