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
Review: Jets Overhead – No Nations
JETS OVERHEAD
No Nations
Jets Overhead are a band that would have fit in perfectly in the mid-1990s. Their sound, very much influenced by the Verve and Radiohead circa The Bends, was seemingly tailor-made to be included in film and television from around that time. That is not to say that they are a bad band; not by a long shot. Their sophomore album continues in the same direction—guitar-driven alternative rock that has an ethereal, dreamlike quality to it. Each track on the album has something that makes it stand out from the rest of the album. There is not one song on this album that could be classed as filler. Adam Kittredge’s vocals give the album a melancholy vibe. Jets Overhead are able to pay respect to their influences from past decades, while still making an original album that is relevant and enjoyable to today’s crop of listeners. Key tracks include “Heading for Nowhere,” “I Should Be Born” and “It’s a Funny Thing.” (Vapor Records, www.vaporrecords.com) Charles Lefebvre
Review: We Were Promised Jetpacks – These Four Walls
WE WERE PROMISED JETPACKS
These Four Walls
If I were to make a list of my favorite CDs from this last year, this one would definitely top the list. Hailing from Glasgow, Scotland, We Were Promised Jetpacks brings a fresh new sound to the encompassing genre of indie rock with their first studio album, These Four Walls. Putting this CD into your sound system of choice will introduce you to the stunning vocals of the band’s lead singer and guitarist, Adam Thomson. The level of emotion that comes out of his voice, accompanied by his very nonintrusive Scottish accent, allows him to create a variety of atmospheres, varying from very high energy, to sweet, soft, and mellow. The album itself is extremely well compiled, showcasing the band’s artistic range through the variety of tracks. From the first song, “It’s Thunder and It’s Lightning,” with it’s somber melody and compelling lyrics, to the more odd and upbeat, “An Almighty Thud,” the listener is exposed to the musical talent and genius of the band. I would highly recommend this album to anyone looking for a new and interesting sound, or maybe just a change of pace, and I hope to hear a lot more from these guys in the future. (Fat Cat, www.fat-cat.co.uk) Holden Bunko
Review: Tom Waits – Glitter and Doom Live
TOM WAITS
Glitter and Doom Live
Tom Waits’ roaring voice leads the way on these 17 tracks from his 2008 Glitter and Doom tour. The live performances are a series of fresh renditions of Waits’ new material as well as classics like “Singapore” and “Get Behind the Mule,” which sound rawer and rockier than ever. The opener “Lucinda/Ain’t Goin’ Down” and the bluesy bad-ass interpretation of “Goin’ Out West” are at top form, eclipsing their previous versions; while “Fannin Street” and “Lucky Day” are stunning and sentimental but never sappy. Although songs like “Dirt in the Ground” and “The Party You Throw Away” are less then captivating, the majority of the album is a testament to why Waits is one of the most sought after live shows in North America. Along with the music, a second disc features another side of Waits. As a master storyteller, Waits spins a yarn about purchasing Henry Ford’s last breath on eBay among other things. His strange and comedic Tom Tales are almost as endearing as his music and really complements the cabaret-like atmosphere that surrounds him. Glitter and Doom Live is just another reminder of the ferocity, wit and sheer spellbinding power of Tom Waits. (Anti-, www.tomwaits.com) Kent Davies