Tag: Local

The key influence of the mostly-instrumental band is Santo & Johnny’s “Sleepwalk,” which is, duh, a sleepy number. But that song and this album are far from lullabyes—they’re a real gentle form of rock and roll. But other than tracks which sound like the Lonely Vulcans’ patron saints, there’s much more to get excited about on Night Date than that, like T.J. Blair’s soulful wails on “The Lonely Vulcan” and on “Hymn,” or the group’s London Calling-esque rockabilly on “Western.” Guitarist/ band founder Daniel Pangman has said that he’s more inspired by movies than music, and he’s interested in invoking imagery. In my mind, there’s a handful of songs that evoke images of just laying back under an old Wild West sky sitting by a campfire, moving from one town to the next. All in all, it’s an easygoing disc with some bite. (Transistor 66, www.transistor66.com) Taylor Burgess

I’ve been hard on rap music in this magazine before. So before I begin this review, I need to make something clear: I do not hate rap music. I appreciate the skill that goes into rap, and the rhymes that many of these artists can come up with are great. I think that one of the reasons I’m hard on rap is because the experiences that rappers have gone through are so far removed from my own that it is hard to relate to. But enough about myself, it is time for me to look at the newest release from Peg Town Entertainment. This CD functions similarly to a mixtape. It contains fifteen tracks from several different artists on the label, including Tha M.I.C, Zkilla, and Ed E Buk. The beats are well-constructed and don’t feel amateurish at all, and the raps are well done too. There are quite a few talented voices in the Winnipeg hip hop scene that haven’t been discovered yet, and this album highlights some of these voices. I would like to hear some solo albums next time from these artists. Definitely give this album a listen. (Peg Town Entertainment, www.pegtownentertainment.com) Charles Lefebvre

Despite being named as musical ambassadors for both Manitoba Homecoming 2010 and Free the Children’s Adopt a Village Program, Keith Macpherson and Renée Lamoureux have still managed to find to put together this polished album. Detours is the fourth full-length record from these homegrown prairie popsters, and it finds them offering up a brand-new assortment of quality folk-rock.The duo take turns on lead vocals and songwriting duties, resulting in an interesting back-and-forth between the two that saves this collection from too much sameness. It also serves to showcase both Lamoureux and Macpherson’s individual strengths. Lamoureux’s impassioned Amanda Marshall-esque vocals contrast nicely with Macpherson’s introspective, at times almost coy, acoustic guitar-infused melodies. Overall, Detours is radio-friendly Can-pop at its best–clean production, hints of alt-country and folk alongside more straightforward pop/rock tracks, only with a humble, down-to-earth approach that is uniquely Winnipeggian. Keith and Renée may no longer be easily amused, but they know how to make a warm and satisfying record that’s a joy to listen to. (Easily Amused Music, www.keithandrenee.com) Tiff Bartel

Shawn Bergen gets my respect. On the follow up album to 2007’s Come On EP, Bergen wrote every song, played almost every instrument, sang on every track and produced, mixed and recorded the album himself. New is the New Old features ten tracks, all firmly rooted in the alternative rock sound, and all of them ready for airplay on the radio. Despite the DIY spirit that is present on the album, I found that I was unable to really get into New is the New Old. Even though there are a couple of standout tracks on the album, such as “Avatars” and “It’s All True (Except the Facts),” the album just did not excite me at all. It felt too formulaic, like I had heard this all before. As I said earlier, I respect Bergen for his work on the album, and he can write some decent music. His album just is not for me. (Independent, www.myspace.com/idgets) Charles Lefebvre

Actor/artist/drunkard Tom Keenan’s long-awaited solo debut is a dose of stark poetic folk-rock that tells tales of punch-ups at weddings and glue huffing criminal rampages. Similar to a folky version of the Eels, Keenan’s wonderfully dark lyrics complement the seemingly uplifting, light-hearted folk ballads. Standout tracks include: “Please Don’t Think Less of Me,” which deals with an assumed dead body and features agreat-sounding organ section. Also: “I don’t Want to Lie Down,” a song about starting a drunken brawl at a wedding with the father of the bride. Easily best track on the album is the country twang foot-stomper “River St.,” which features a catchy chorus you can’t help but fall in love with. Much like his brother Patrick Keenan, Tom has one heck of back up band including the D-Rangers’ Jaxon Haldane, Twilight Hotel’s Dave Quanbury, the Waking Eyes’ Matt Peters and Jicah’s Jeff Bruce. (Independent, www.myspace.com/tommydouglaskeenan) Kent Davies

The sophomore album from one of Winnipeg’s most fully-realized bands plays through like a Saturday-morning cartoon jamboree, with Mat Klachefsky’s high-pitched singing, fast-paced songs, and sing-alongs around every other corner. Most of Klachefsky’s lyrics either seem like they’re about growing up (“Haircuts for Everybody,” “Summercamp vs. the Fake Moustache Tree”) or they seem like they’re coming from a naively young point of view (“Sunrise on the Muffin District,” “Movie Scores; We Hummed”), even though they’re way too absurd for even a kid to think of. But whether you’ve got an inner-child to appeal to or not, most songs chug along to the shuffle of a keyboard’s preset drum pattern or some oddly propulsive drum beat, making them intrinsically happy. And Klachefsky and co. have come in and made them catchy, one thing that they do quite well. If you’re ever in need of a sugar high, this album would definitely do you just as well. (Majestic Triumph, www.yeahboats.com) Taylor Burgess