THE BEETS
Spit in the Face of People Who Don’t Want You to Be Cool
My, my. What a fantastic album. Yeah, flipping through CDs you might think it looks absolutely retarded, with its long-ass title and pencil-crayoned wrestling figures of decades past. What could it be? Field recordings of a special-ed music class pressed up for door-to-door fundraising? As cool as that would’ve been, you get something even cooler if you pick this album up. The Beets play pop music. Kinda like the Beatles. Yeah, those Beatles. The songs are catchy as hell and they all sing together. Yeah, they might sound a little drunk, but at least they’re in tune. From the start, the combination of the gang vocals and the simple, repeated melodies catch on and you’ll. And holy reverb—the Beets sound like they were recorded at the bottom of a giant plastic bucket. The Beets are like a mulch of Sic Alps/Galaxie 500/Beach Boys (yum!), some of the better stuff that’s coming out of this nouveau lo-fi movement. (Captured Tracks, www.capturedtracks.com) Patrick Michalishyn
Review: On Fillmore – Extended Vacation
ON FILLMORE
Extended Vacation
Originally hand-picked to back Jim O’Rourke on his 1999 album, Eureka, bassist Darin Gray and percussionist Glenn Kotche first conceptualized On Fillmore while on tour with O’Rourke in 2000. Since then, they’ve released three albums together. Their fourth, Extended Vacation, has taken three years of hard work and bits of time stolen from their other musical endeavors (Kotche is a member of Wilco and both have various solo projects). Extended Vacation’s particular take on sound collage is composed of field recordings, stand up bass, vibraphone, and a diverse collection of percussive sounds. The result is a spacious, at times tedious, collection of enchanting mid-tempo compositions reminiscent of Michael Andrews’ work on the Donnie Darko soundtrack. In other words, the vibraphone dominates things quite a bit. “Complications” and “Off the Path” sound authentically liminal and eerie, while “Day Dreaming So Early” (like the majority of tracks on this album) seems to be overrun by occasionally obnoxious bird sounds. Bird enthusiasts take note, this is your post-rock soundtrack. (Dead Oceans, www.deadoceans.com) Jonathan Dyck
Review: Molina and Johnson
MOLINA AND JOHNSON
Molina and Johnson
Collaborations like this always sound good in theory. Both great artists in their own right—Will Johnson, the largely unsung helmsman of Centro-Matic and South San Gabriel, and Jason Molina, the well-seasoned songwriter behind Songs: Ohia and Magnolia Electric Co.—Molina and Johnson should be an exercise in one-upmanship, a chance to push and be pushed. There are some worthy songs here and it’s hard not be intrigued with such a beautiful album cover. But apart from Johnson’s wistful “All Gone, All Gone” with Sarah Jaffe, the death-rattle duet of “Now, Divide,” and the duo’s most developed effort, “Almost Let You In,” the album is chock full of old fashioned molasses. Especially after the half-way point, it takes real effort to stay interested in the fractured piano/guitar template and the particularly unmemorable solos of “Lenore’s Lullaby” and “Each Star Marks A Day.” If Molina and Johnson took the time to explore some of the differences and dynamics between their respective approaches, this could have been an interesting record. Instead, echoing Johnson’s words, it sounds like these boys are “just passing through.” (Secretly Canadian, www.secretlycanadian.com) Jonathan Dyck
Review: Dave Rawlings Machine – A Friend of a Friend
DAVE RAWLINGS MACHINE
A Friend of a Friend
Who can count Ryan Adams, Gillian Welch and Conor “Bright Eyes” Oberst as their close personal friends? Guitarist/songwriter Dave Rawlings can, and for his latest incarnation as Dave Rawlings Machine, there is more than enough confirmation that Rawlings has adopted a little of each of these artists’ good and bad traits. His unfortunately reed-thin voice will appeal directly to those who love Oberst’s similarly pallid ramblings. Either ol’ Dave seems to long for a simpler time, if his lyrics are to be believed, or he has discerned that today’s roots music consumer wants exactly this kind of lackadaisical, meandering bilge. Dave is a pretty hot guitar picker, but when he misses a few notes pretty obviously here and there, it just adds to the overall rustic feeling. Gillian Welch adds her squeaky little mewl in the right places, making these nine tracks as authentic as the next album of this type which will doubtlessly be released all too soon. (Acony Records, www.aconyrecords.com) Jeff Monk
Review: Beach House – Teen Dream
BEACH HOUSE
Teen Dream
Anyone from the outside looking in is going to say that Beach House’s third album Teen Dream sounds exactly like their first two. Haters gonna hate. The Baltimore duo have limited means for their live show (an organ, one Strat, a drum machine, and Victoria Legrand’s kickass voice) but they do wonders to create heartbreaking maxims that don’t get worn out in the song’s length of three to six minutes. The chorus of “Walk in the Park” wilts quite nicely: “In a matter of time / It will slip from my mind / In and out of my life / You would slip from my mind / In a matter of time.” Beach House are still making swaying songs with revelations about relationships that are as full of hope as they are of concessions. These songs are mature, lacking a naïve charm to be the thoughts of teenagers, but again, haters gonna hate. (Sub Pop, www.beachhousebaltimore.com) Taylor Burgess
Review: Le Loup – Family
LE LOUP
Family
The second album by Washington, D.C. septet Le Loup is a far more organic, natural sounding record, than 2007’s synth-heavy album. Family is arguably just as hypnotic and vast as its predecessor, but fills its space with grandiose arrangements and psychedelic pop rather than electronic punctuation. It’s a sound that can be easily likened to Animal Collective, Fleet Foxes, and Sufjan Stevens all at once. Yet the band manages to blend these influences into a cohesive whole so effortlessly that they end up carving out a niche that is distinctly their own. The Animal Collective influence will be most apparent to listeners, as many of the tracks hold the same temperamental weirdness that Avey Tare and co. made famous. “Beach Town,” one of the strongest numbers on Family, starts with an infectious bass grove, quickly overlaying a clattering of percussion in a droning haze. By the time the guitars are introduced, more than halfway through the track, the band has already hit a soaring stride. It’s in these moments that Le Loup shows immense strength as a songwriting collective, and they do so again and again throughout the album’s run. The carefully crafted, diverse, and interlocking sounds painted by the numerous band members come together naturally, much like a family ought to. (Hardly Art, www.hardlyart.com) Kevan Hannah
Review: The Slew – 100%
THE SLEW
100%
Two turntablists—Kid Koala and Dynomite D—started working together on a to create a soundtrack to a documentary that has since been scrapped. Onstage, they’re joined by Wolfmother’s rhythm section. The oddity of the premise is enough to be a college DJ/record store employee’s wet dream. Weirder still, it delivers. Kid Koala and Dynomite D have chopped up their found hard rock licks so tediously on 100% that it’s a genuinely consumable post-modern experience. Dynomite D has collaborated with the Beastie Boys, and it seems like the Slew has channeled the boys’ first record, along with many other hip-hop and rock combinations like Public Enemy with Anthrax, or Run-DMC with Aerosmith. (This is not rap-rock. I repeat, this is not a call to arms for rap-rock. Let’s never bring up that genre again.) The record is as tight as a band itself, and though the drums and hard-hitting guitars play on the same beat, Koala and D scratch them away and back, right in step. Tracks like “Shackled Soul” and “It’s All Over” would unite a skater/hip-hop/stoner house party quickly enough. (Puget Sound, www.theslew.net) Taylor Burgess
Moneen – Ten Years, No Fear
By Sabrina Carnevale
Veteran punk/emo outfit Moneen have been entertaining audiences since the band’s inception in Brampton, Ont. in 1999 and their most recent release, The World I Want to Leave Behind, is their fourth full-length studio album. Released through their new label, Dine Alone Records, this is their first venture with drummer and good friend Steve Nunnaro, who replaced former drummer Peter Krpan in the spring of 2008. The remaining members, singer/guitarist Kenny Bridges, guitarist/singer Chris “The Hippy” Hughes and bassist/singer Erik Hughes, cite Nunnaro as a significant contributor when it came to putting the 12 tracks together. In addition, this time around, they changed up some of their songwriting techniques by taking on a more simplistic approach, while continuing to thrive with their trademark melodies. Moneen recorded the follow-up to 2006’s The Red Tree at Toronto’s Rattlebox Studio and enlisted the help of producers Brian Moncarz and David Bottrill (Tool, Muse). Their most recent cross-Canada tour had them travelling with friends Sights & Sounds. Stylus had a chance to chat with Bridges in the downstairs of the newly renovated West End Cultural Centre when they played a show in Winnipeg on November 30, 2009.
An Horse – Grey Area
By Jenny Henkelman
It’s a long way around the world. When indie pop outfit An Horse pulled into Winnipeg in September, 2009, Kate Cooper and Damon Cox were more than a little run-down-looking, a little weary—offstage. Onstage, of course, the guitar-drums duo were impeccable and compelling, both in the UW quad and, I’m told, at the Lo Pub the same evening. Touring solidly this past year in support of their critically acclaimed debut full-length, Rearrange Beds, the pair are about to take a hiatus to write a new record. “We’ve nearly finished the cycle of the record we’re on,” said lead vocalist and guitarist Cooper. Continue reading “An Horse – Grey Area”
Review: CFCF – Continent
CFCF
Continent
Montreal’s Michael Silver isn’t quite as prolific as when he first thrust himself into the blogosphere. He’s still doing remixes for the ultra-chic-hip yet sensible crowd of artists (HEALTH, Sally Shapiro, Datarock), but all in all, he has chilled out, and thus, his music seems to have chilled out with him. Continent doesn’t contain any jaw-dropping or genre-shattering tracks, but it makes for a smooth yet varied listen, every song belonging to some different subgenre under the now-loose umbrella of house music. “Big Love” comes as a bit of disco, with smiling house pianos and hushed vocals. “Letters Home” sounds like the Tough Alliance or Air France’s upbeat tracks, but with a much slower build and less dramatics. The soul guitar intro of “Invitation to Love” is enough to make anyone stop and shimmy their shoulders, slowly but surely. But this is nitpicking; all in all, it’s a peaceful electronic record, recommended if you want an entry point into the current state of blogosphere music, or if you need to keep your addiction fed. (Paper Bag, www.paperbagrecords.com) Taylor Burgess