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
Review: Tommy T – Presents the Prester John Sessions
TOMMY T
Presents the Prester John Sessions
Reggae and world music fanatics take note—Thoma
s T. Gobena’s new album with the Abyssinian Roots Collective could be one of the best world music albums of the last decade. Gobena is the bass player for current ethnic music dominators Gogol Bordello, and rather than attempt to out-maneuver his lively compadres, he has collected a potent band that delivers stunning, diverse and captivating tracks that effectively defy categorization. Dollops of afrobeat slither up against deep dub and jazzy asides, signs that these players left flimsy chops behind long ago and now exist to play in the realm of the truly masterful and soulful. It’s just that good. With this album, Gobena has become a player/composer to watch. And that is just what you should start doing. (Easy Star, www.tommytmusic.com) Jeff Monk
Label Profile – Midori Records
In the documentary People Who Do Noise, one noise musician says that the genre has “stripped all of the musicality from music.” But does that make it any less of an experience to catch one of Winnipeg label Midori Records’ acts live when the rare opportunity arises? Hell, no. The experience is all they’re concerned about. Sigmund just played an improv set at Element Sircus, horrifically backing for a self-mutilator. In the summer, Krakk sometimes lays all their electronic gear on the street and blasts the ears and minds of passers-by in guerrilla shows. And a couple years ago, label owner Fletcher Pratt played at Send + Receive festival, to recreate sounds from his Mind Gunk series. Stylus recently met with Pratt, who is also a member of Krakk and Sigmund, to ask a couple of label-related questions.
Stylus: How did Midori Records start?
Fletcher Pratt: In 2003, I was jamming with a couple of guys in a band called Roof Bunny, and I just recorded and mixed it. Eric Gallipo, he was one of the guys in the trio, he was a music school grad, and he got into noise music—and Roof Bunny was a trio, and the other guy graduated from music school too, and I thought that it was ironic. We jammed different noise, like a lot of rhythmic noise, and a lot of drone. But I had these recordings, and I didn’t know what to do with them.
Stylus: How many releases does Midori Records have?
FP: Fifty-five, although the label only started in ’04. But that has to do with quality control, even if it’s just 20 copies that I’m releasing. It’s a cross between half of my own projects, when I can be critical as I want, and when people send songs into me. Most of the time it’s really good, but sometimes I have to say, “You need to redo this track, or that track.”
Stylus: What’s the furthest you’ve been sent songs from?
FP: I received some from Vluba, they’re an Argentina duo, and I did 15 copies of their record.
Stylus: And how does everyone find each other?
FP: Well I guess the short answer for that is the Internet. A good way to get a dose of a label is to do mail trades, contact a label and send five releases to each other.
Stylus: What’s the Winnipeg noise scene like?
FP: It has blossomed a little bit, but it’s only something like five guys, and there isn’t much of one, they do it in their basement. But it’s a good time. [On Midori] there’s Sigmund, Krakk, and my Fletcher Pratt Mind Gunk series. And Auntie Dada—but I heard there was some drama there. And lately there’s been a couple other guys who have been starting up their own label—White Dog, that’s Chris Jacques, and Cole Peters who plays under Gomeisa. They’ve just started putting tapes out. [Their label is called Prairie Fire Tapes –Ed.] So it seems to come in waves of inspiration.
Stylus: How often do you play live?
FP: Only once every couple of months. We do those guerrilla shows a couple times a year, and those are really haphazard, but people always show up. They seem to bring people out of the woodwork a little.
Visit Midori online at www.myspace.com/midorirec
Live Bait: Monotonix
with War Elephant, January 19th 2009 @ the Pyramid Cabaret
By Holly Beddome
On January 19, 2010, a group from Tel Aviv named Monotonix walked into the Pyramid Cabaret and left an amazed audience behind. Bandmates Ami Shalev, Yonatan Gat and Haggai Fershtman rocked out in short shorts with wild hair flying as they played a raw set of rock and roll anthems reminiscent of decades past. The trio turned the Pyramid into a playground as they continually moved their set, with energetic audience members cheering for them on all sides.
Although missing their guitarist that evening, opening act War Elephant still rocked the stage. The Winnipeg duo kicked the evening off with a perfect contrast to Monotix’s wild energy, with a laid-back set with thudding beats and slow, distorted bass hooks. While War Elephant are not a band to dance to, they nonetheless rocked out and played a solid, grunge-tinged show that resembled a less-vocalized mix between Black Sabbath and Soundgarden.
Following War Elephant’s performance, Ami Shalev of Monotonix walked up to the bar and grabbed several bottles of water while drummer Haggai Fershtman and guitarist Yonatan Gat warmed up. Cheers and whistles rang out from the audience as Shalev grabbed the microphone. The real show began as the band ripped into their first song; riffs were shredded, beats pounded and Shalev yelled like a man possessed with the spirit of Johnny Rotten.
The band fed off the energy of the crowd and clearly enjoyed shaking things up. A garbage can was dumped over Fershtman’s head, drumsticks were given to audience members, and Shalev hung from the rafters like a monkey mid-song. Water and beer rained down as the Israeli rockers emptied the contents of several bottles over the crowd. Despite the chaotic energy of the evening, the vibe was friendly as people simply forgot their troubles and absorbed the show. Monotonix truly put on a performance to be experienced, not just observed.
Next time these crazy rockers roll into the ’Peg, do yourself a favour and pick up a ticket. Seeing this band live is an experience that you will never forget!