Album Review :: Amos the Kid :: Enough as it was

*Because I care for Amos Nadlersmith, the front man of Amos the Kid, and we’ve fussed around with songs over the years, two of which ended up on this album (I don’t write about those here for obvious reasons), don’t read this as a review proper, but as an appreciation of Amos’s songwriting and an interpretation of his work from my subjective position. *

by Noah Cain

Amos the Kid’s debut album, Enough as it Was, opens with the world on fire. Smoke hangs in the sky like clouds. In the choking heat, The Kid—the moniker I have for the album’s hero—feels drawn away from the city, to return home and reckon with what’s transpired, to square what he was taught about the world with his experiences in the world, to digest it all before riding out into a future all his own. 

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Album Review :: Braids :: Euphoric Recall

by Daniel Kussy

Raphaelle Standell-Preston cries aloud a prolonged “Oh My God” to introduce the space-y free-flowing “Left/Right.” A sudden blink in lyrical flow once “illuminated on the mountain top: Mont Royal” spills like a panic of spacial hyper-awareness as the strings wash over the synth floor, the acknowledgement of footsteps which the song title points to. A track with such spontaneity feeds into a theme within Euphoric Recall; the abandonment of strategy, burning away the structures and embracing the impulses, and welcoming imperfections. A move seemingly necessary to exercise the pandemic demons many artists endured, Euphoric Recall follows 2020’s “Shadow Offering,” one of many albums created with hopes of support in the form of performances and subsequent touring that got washed out in the pandemic noise. In the demand for patience and space, this album is also an urgency for movement, injected from a lingering groove-based pulse from Standell-Prestons’ fluid-motion side project Blue Hawaii.

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Album Review :: Cookie Delicious :: Fox in Golden Armour

Golden fox art with purple paint splatter glow

by Mykhailo Vil’yamson

Anyone who is familiar with the Winnipeg music scene has surely happened upon Joel Klaverkamp’s music over the years. But one could be forgiven for perhaps not knowing his name since his projects since 1989 have been multitudinous. From the teenage hair metal band Breakneck Inferno to the indie-forward cyberpunk project Robojom, to the latest broody dance-rock outfit Cookie Delicious, Klaverkamp is perpetually involved in the process of reinvention. Is he now the armour-clad Reynard first seen on the cover of his 2022 single Forget It? And how long before the next iconoclasm? That remains to be seen. In the meantime, Fox in Golden Armour provides listeners with nearly 36 minutes of what has been self-described as “hypnotic creamsicle,” which aptly describes the swirl of tasty beats, sweet hooks, and biting lyrics.

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Album Review :: Dil Brito :: Fences Glimpses Glances

by Gabriel Fars

In most parts of his music, he doesn’t need lyrics; the melodies say it all. The small comforts of this album make it feel incredibly warm and welcoming. It has almost a nostalgic haze type of vibe to it. I think the best part about it is that this isn’t some pretentious ass shit. It’s complex and beautiful, but it still doesn’t feel as though it’s trying to aim too hard for that target audience of ‘snobby hipsters who listen to folk music and probably think that they’re both better than you AND too smart for you.’ 

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