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May 21, 2009
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2009-05-21 
Reviews - CD
Amakudari
Hypnostique
(Independent)

C+

Amakudari

If a typical day for you consists of a warm cup of Pu-erh tea followed by a relaxing bit of transcendental meditation and gyrating to the sound of a sitar, Hypnostique is right up your alley. Unfortunately, for those of us with modern-music muddled minds, Amakudari's very Eastern sort of instrumental folk music probably won't resonate. Still, Huw Davies, Jay Taylor and Greg Gardner should be praised for being so adventurous and unconventional. Go to India, find yourself and then listen to this.
— Jared Story
Don Amero
Deepening
(Independent)

B+

Don Amero

Urban NDN magazine described Don Amero as a "Métis Mayer," and I think that's an apt comparison. The 28-year-old singer/songwriter's smooth voice is definitely similar to John Mayer's. Not quite as bluesy as the mega-popular American musician, Amero has more of a country vibe; although I wouldn't go as far as labeling it country music. Sugary sweet with plenty of soul and pristine production, this album will definitely appeal to fans of the soft-rock genre. Amero proves to be a versatile artist, with half of Deepening being heavily studio-produced and the other half suggesting he's capable of a more stripped-down sound.
— Jared Story
Annette
You gotta laugh
(Independent)

B

Annette

Best-known for her work in the '80s and '90s with her brothers and sisters in the French folk/pop act Folle Avoine and then rock/pop project Hart Rouge, Annette Campagne re-emerges here with her debut English solo album. The 10 songs here are vibrant, fluid pop/rock compositions that brim with excellent musicianship (Gilles Fournier plays bass, Daniel Roy's on drums and a host of guitar players, including Murray Pulver and Joey Landreth, chip in with fine contributions). What the tunes sometimes lack is an immediate hook, but repeated listens reveal a Joni Mitchell-esque vocal quality.
— John Kendle
Del Barber
Where the City Ends
(Independent)

A

Del Barber

Del Barber is the writer of my new favourite tune. The Party Song, the final track on Where the City Ends is an upbeat folk number with quirky lyrics such as "Old Karl Marx is in the backyard getting high on the trampoline." Driven by catchy hand claps and big backing vocals, this is some real merrymaking music. Maybe I shouldn't be singling this song out, as the rest of the record doesn't quite have this beer-bash quality, but as far as alt-country records go, this one sounds pretty cheerful. Barber deals in sorrow as much as anyone, but even the sad tunes on Where the City Ends still seem uplifting.
— Jared Story
Blanka
Self-titled
(A1 Records)

A+

Blanka

The last track on Blanka's debut four-song demo is entitled Tell Me Where the Fuck I Put My Shoes. I feel I should help the band hunt down its sneakers, but only after they tell me where the fuck they put my socks. Hot damn, this disc rocks! Fast, furious and frenzied, anybody into aggressive music has to take a taste of this chaos. A real rock 'n' roll racket, Blanka shifts gears more than a rally car racer. Twisting, turning, starting and stopping, Blanka's bedlam is parallel to progressive punk bands such as Dillinger Escape Plan and The Refused.
— Jared Story
Chris Carmichael
Chris Carmichael
(Independent)

A-

Chris Carmichael

For a guitarist who made a name for himself lending out his services as a sideman to many major players in Winnipeg's blues/roots scene, Chris Carmichael sure knows a thing or two about rock 'n' roll. His debut full-length is a muscular rock/alt-country record that only winks at his bluesy past. The meaty guitar riffs and solos are impressive as ever, but it's Carmichael's knack for penning earworm vocal hooks, as evidenced in songs such as Nowhere and Pop Song, that really makes this effort something special. He also played damn-near every instrument on the thing, and the talent on display here is mind boggling.
— Jen Zoratti
Alan Curtis
More Than I Can Be
(Independent)

C

Alan Curtis

Curtis is frontman for Whole Lotta Angus, an AC/DC tribute act, and regularly gigs with Mike & the Eastwood Gang at the Pony Corral. This album is his first solo release - nine songs that represent his '80s rock and pop roots. The rock tunes fare better here, making up for their moon-spoon-June lyrical obviousness with laudable bite and energy. There's no doubt these are heartfelt tunes, but they need better, less plodding arrangements to take them to a competitive level.
— John Kendle
Darkhouse
Darkhouse
(Independent)

C

Darkhouse

With comic-book style cover art that features a man hugging a corpse in a graveyard, I was really expecting some Misfits-style punk rock. Sound-wise though, Darkhouse is less Danzig and more gangsta rap, but the horror-movie vibe is intact. From the brains of Jason and Michael Paul Andrews, Darkhouse uses spooky sounds, beats and horror-flick sound clips to create an eerie experience. Lyrically, it's depressing. Take Hell Night. Instead of rapping about mind-munching zombies, it's about fighting despair and taking control. I'm confused. Is this about monsters or motivation?
— Jared Story
Da Skelpa Squad
Born to Do It
(Independent)

B

Da Skelpa Squad

Like many Aboriginal rap outfits, this sextet borrows a lot of its 'tude (and production chops) from south of the border. That said, there's insight and sensitivity here. The opening salvo of four cuts declares that these boys are true Gs, in hip hop and on the street, while the middle five joints describe just what kind of playas these boyz are. Then, surprisingly, the album closes on a loverman tip, with a quartet of declarations of devotion to for DSS's women and children. For all the boasting and toasting of tracks such as Born to Do It and What U Want, these guys can also acknowledge the downside to livin' tha life.
— John Kendle
Dust Poets
World at Large
(Productive Apathy)

B+

Dust Poets

This is a folk/rock/blues/country album that offers plenty of depth and insight into the world condition, matters of the heart and the notion of being a travelling troubadour. On his eight songs, singer/guitarist Murray D. Evans takes on such topics as homelessness and disparity of wealth (Big World, Hotel Paradiso), rampant oil consumption (Deceived by Gasoline) and the thrill of spending a day in bed with a lover (Kiss Away the Afternoon). But Dust Poets don't start and end with Evans. Sean McManus tackles Billy Bragg's version of Woody Guthrie's Way Over Yonder in a Minor Key and has also penned a rollicking ode to being a rambling man in Won't Set Down.
— John Kendle
The Dusty Roads Band
Searchin' For A River
(Independent)

B

The Dusty Roads Band

Windsor Hotel regulars know that The Dusty Roads Band sure lays down some good barroom blues. On Searchin' For A River guitarist/vocalist Dustin Harder and company prove capable in the studio, too; their debut album is chock full of bluesy goodness. Howlin' Wind (Telephone Song) kicks this off with a Thorogood vibe, a bad to the bone blues rocker that's sure to get you reelin' and rockin'. But when the band strays from the blues, the results are mixed. The fast country of Top of the World works, but I wish the reggae-tinged Goin' Away would just... well, you know. Still, it's a solid album worth checking out.
— Jared Story
The F-Holes
The F-Holes
(Independent)

A

The F-Holes

The F-Holes, named after those little f-shaped sound holes on many acoustic instruments (what did you think?), blend swing, blues, country, bluegrass and jazz, creating a fiery concoction that will surely knock you on your feet. A dance album much of the time, on songs such as Don't Feel So Bad and Dixie Band, Patrick Alexandre and Co. bring the boogie for some serious jitterbugging, St. Louis shagging and lindy hopping. And if you need to sit down, the sombre country of Bury My Brother and the slow-blues ditty Blue Summer provide. So good and with so much variety, only a complete f-hole wouldn't dig this album.
— Jared Story
Flying Fox and the Hunter Gatherers
Flying Fox and the Hunter Gatherers
(Independent)

A

Flying Fox and the Hunter Gatherers

Flying Fox and the Hunter Gatherers establish themselves as serious ones-to-watch with this winning five-song EP. Comprised of six classically trained musicians (two of whom are also Liptonians), this outfit effortlessly blends jazz, pop, rock and folk to create a bombastic sound that has no shortage of swagger. Vocalist/guitarist Jesse Krause has the pipes of an old-school crooner, and he's backed by a band that has no limits when it comes to energy and diversity. Be sure to check out the sexy, jazzy Nurse (which actually sounds like a lost Hawksley Workman track) and the dreamy, downright adorable Sparrows. More please.
— Jen Zoratti
Grand Analog
Metropolis is Burning
(Urbnet)

A

Grand Analog

Much is made of the guestlist on this album, the second from Odario and Ofield Williams' Grand Analog, but the heart and soul of this album is provided by the core of GA - bassist Darcy Ataman, frontman Odario, DJ Ofield, guitarist Damon Mitchell and keyboardist/producer Alister Johnson (aka Catalist). This record takes in all the dub/ska/reggae influences of first album Calligraffiti and expands on them with a touch of rock (Her Daddy [Don't Like Me]), a hint of drum 'n' bass (Stir Crazy) and a dash of electronica (Magnifico). The end result is a soulful, head-bobbing groove of a record.
— John Kendle
High Watt Electrocutions
Desert Opuses
(Introspection Records)

A

High Watt Electrocutions

I want my mummy! Desert Opuses is a Middle Eastern-themed psychedelic mind-melter. Lyrically, this concept might be a bit lost on the listener, as HWE's mastermind Ryan Settee keeps his vocals muddled in the mix, but musically the Sphinx really shows its face. Heavy, lumbering numbers such as Mountains of the Pharoahs and Ode to Snakecharming have a plodding, industrial quality to them, like slaves born to serve to the pharaoh. Lighter fare, such as Light at the Speed of Sound, sounds perfect for a quest via camel. If tomb-raiding alongside Black Sabbath, Hawkwind and Spacemen 3 sounds like fun, this is a must buy.
— Jared Story
Blair Hordeski
Cold Cold Heart
(Independent)

B+

Blair Hordeski

Walking the alt/pop country line, Blair Hordeski's Cold Cold Heart should appeal to a wide range of country music fans. Take the sure-to-be-a-single I Loved You More. Exactly the kind of thing you would hear on pop-country radio but with a more alternative sound similar to, say, Blue Rodeo's Try, it should appeal not just to people who think tractors are sexy. Another stand-out track, Sofia, has an anthemic quality, sounding a little bit like John Mellencamp. Sure, Mellencamp's been called a poor man's Springsteen, not as nitty-gritty as The Boss, but at the end of the day he manages to appeal to a lot of the same people. Just like Hordeski.
— Jared Story
Inward Eye
EP
(j.records)

B

Inward Eye

Remember Inward Eye? The Ericksons haven't gone away, they've just gotten themselves into a music industry/record company/management game which means they have just four released tunes to show for their last four years of work. These songs are fine little Clash/Jam/Who-inspired rave-ups, especially the infectious You Know I Know. But they don't herald the second coming of The Who, or even Green Day, which is what a lot of people initially saw in the band. I love these kids live, and I think it's time for label heads to stop waiting for 'hits.' Just open the gate and let these guys play, write and record. Y'know, like a band.
— John Kendle
Wab Kinew
Live By the Drum
(Indie Ends/Strongfront)

B+

Wab Kinew

These days he's best known as a CBC Radio host/producer, but Wab Kinew's musical roots lie in the underground hip hop of Dead Indians, a streetwise crew who shocked and rocked many in their heyday (check out Stank Bitch on YouTube). "CBC ain't changed me, I changed the CBC," he declares on Breakthrough, the opening rap on this 14-cut album that shows off all facets of his game, from anti-drug role model (Pop A Pill) to streetwise, political activist (Killa Peg) to lone wolf loverman (If This Was Right) and unbowed warrior (Stand N Fight). Musically, too, it's a sprawling, heady mix that takes several listens to sink in.
— John Kendle
Romi Mayes
Achin in Yer Bones
(Independent)

A

Romi Mayes

If her first full-length album, Sweet Somethin' Steady, announced the arrival of a refreshing songwriting talent, this record heralds Romi Mayes' maturation, encapsulating her talent for catching emotion with an honest phrase and subtle vocal intonation. With Texas musician/producer Gurf Morlix at the controls, this a beautifully moody roots/rock album, ranging from the slow, vampy blues of Somethin' Going' On, to the gentle, loping gait of Tire Marks and the roadhouse romp of If the Lord Don't Love You. At times, Mayes' lyrics border on the hearbreakingly confessional. A good thing.
— John Kendle
The Minglers
Ca va bien, today?
(Independent)

C-

The Minglers

Comment ca va Knick Knackerson? I'm asking because on Ca va bien, today? you sound a bit worse for wear. Don't get me wrong - there's a certain charm to your shrill country croon, kind of a Neil Young-meets-Sidney Castel vibe, but seeing that it's rarely in tune, it really starts to take a toll on the listener. And I appreciate the use of unconventional instruments such as the kazoo and xylophone, but many a missed note and really, really bad production spoils the mix. It all sounds like a cassette that saw too much sun. Now, I know the best music is usually a bit askew, but these compositions are completely cockeyed.
— Jared Story
Mr. Pine
Rewilding
(Whisky Lad Recordings)

B+

Mr. Pine

Mr. Pine, the dreamy, romantic folk-rock brainchild of Matthew McLennan (The Consumer Goods, Cone Five) and Kevin Scott, takes a page out of The Decemberists' playbook on Rewilding. Like the Portland bards of indie rock, the Winnipeg sextet uses lush, orchestral arrangements to spin lilting, pastoral fairy tales and dark progressive-folk ballads that sound as though they're from another era. Unlike efforts by The Decemberists, Rewilding isn't what you'd call a grandiose, pretentious album. Mr. Pine has created a collection of literary tunes that are theatrical without being over the top. A beautifully written record.
— Jen Zoratti
Eric Nicholas
Words & Sounds
(Independent)

B+

Eric Nicholas

According to his biography, Eric Nicholas (formerly the singer for local funk-rock band Flavour) penned Words & Sounds while living in Tokyo. Residing in electronics-obsessed Japan seems to have influenced Nicholas: Words & Sounds is an easy-going electro-pop record released just in time for summer. Light and airy, tunes such as Make the Most and One Thing Leads to Another will sound great at your next patio party. Nicholas's emo-pop voice sounds a lot like Dallas Green - just replace the acoustic guitar with a synthesizer. If you think that sounds cool, you should check this out.
— Jared Story
Paper Moon
Only During Thunderstorms
(Endearing/Fontana)

A

Paper Moon

Allison Shevernoha's winsome voice and pure pop sensibilities have been winning over discerning hearts and minds since she was in a band called B'ehl. Paper Moon's been her vehicle for nearly a decade and the band's third album is proof that Shevernoha, husband Chris Hiebert and their bandmates have only gotten better. The group explores its inner indie popster on Only During Thunderstorms and the cheesy keyboards, joyous handclaps and thundering, staccato crescendoes all seem perfectly suited to Allison's voice and lyrics. The song with the most fun-per-second is People Were Talking But Now They Are Forgetting.
— John Kendle
The Perms
Keeps You Up When You're Down
(Hugtight Records)

B+

The Perms

On their fourth full-length album, Keeps you Up When You're Down, The Perms don't stray too far from the melodic power-pop blueprint they've used for their last three records - but hey, it's a formula that works. This is a fizzy, pop-rocks-and-Coke kind of record, chock full of well-crafted hooks and singalong choruses. Although some tracks - namely opener Give Me All Your Lovin' - verge on cheese-rock, the disc has more than a few magic moments that recall the pure-pop genius of Sloan. This is a party record - and it doesn't try to be anything more. A fun, catchy outing from a fun, catchy band.
— Jen Zoratti
Fred Redekop & Jay Taylor
Just Pretend You Don't See Them
(Independent)

B+

Fred Redekop & Jay Taylor

A bass-and-mandolin album isn't exactly the sexiest-sounding notion in the music world. But you've gotta think that if people are going to go to the trouble of making such a record, they're going to be pretty good. Which is precisely the case with Fred Redekop (the mandolinist) and Jay Taylor (who plays fretless, acoustic and six-string basses). With the help of percussionist Greg Gardner, Taylor and Redekop explore almost all the forms that mando and bass can take, with the exception of the traditional and mundane - there's no airy-fairy folkie strumming or rigid bluegrass picking here. This is a jaunty, esoteric spree of an album that will delight those who give it the time.
— John Kendle
Reefill
Reefill
(Independent)

C-

Reefill

Reefill's 10-track debut album rolls with a cannabis concept, but unfortunately this isn't Acapulco Gold. First off, herbified hip hop is no new idea - just ask Dr. Dre or Cypress Hill. Speaking of Cypress, Reefill's 4 Tha Blunt'd 1'z actually bluntly (bear with me) steals straight from the lit Latinos' I Wanna Get High. Reefill doesn't get points for originality, but the real problem here is his rhymes don't resonate. While the man possesses Buck 65-like pipes, his flow is just a little too green and needs chronic attention. Combined with bunk beats, this album comes across as half-baked.
— Jared Story
Adrien Sala
Diamond in the Mind
(Dollartone Records)

A

Adrien Sala

"That's the kind of song that I like - the kind that breaks your heart." So sings Steve Earle on The Kind. Given that information, I suppose the hardcore troubadour would be absolutely smitten with Diamond in the Mind, because that's exactly the kind of song Adrien Sala writes. With his crackling country croon and many a melancholy melody, Sala provides the perfect soundtrack to lowdown, lonely days. Not just another solo singer/songwriter spreading sorrow, Sala gets a little help from his friends. The instrumentation on Diamond in the Mind is depressingly delightful, particularly the trumpet on Coloured Lights.
— Jared Story
vitaminsforyou
he closed his eyes so he could dance with you
(Raw Youth Records)

A

vitaminsforyou

OK, vitaminsforyou (aka Bryce Kushnier) is no longer a "local" hero per se, but we thought the Toronto-based Winnipeg expat deserved some ink here. On this, his third full-length album, the laptop whiz trades the ambient electronic noodling of his past efforts for angular synths and brawny beats. Still, Kushnier's textured electropop soundscapes are as atmospheric as ever - especially on the austere lead-off track One Nite Stand, which boasts the chilly refrain, "Lying under covers doesn't make us lovers." The dance floor-driven numbers work equally well - B4U, a clubby jam that pokes fun at hipster culture, is a particular standout.
— Jen Zoratti
Matt Ward
Thrift Shopping
(Independent)

B

Matt Ward

Thrift Shopping is the pretty, polished debut from singer/songwriter Matt Ward (not to be confused with the M.?Ward that gigs with actress Zooey Deschanel as She & Him) - and it's a solid effort. The most striking thing about this album is how effortless it sounds, as though it was recorded live-off-the-floor at a house party. Ward has a charmingly youthful set of pipes which make his starry-eyed lyrics all the more endearing. There's lots of promise here - and so long as Ward is willing to work outside his jangly, folk-pop comfort zone, he'll have no trouble standing out in Canada's oversaturated singer/songwriter scene.
— Jen Zoratti
The Western States
Bye and Bye
(Dollartone Records)

A-

The Western States

The Western States' sophomore effort Bye and Bye was recorded in Austin, Texas - and it shows. Laid down live on two-inch tape without any digital effects, this is a gritty collection of down-home country tunes, punctuated with honky-tonk pianos and rousing guitars (supplied by Chris Carmichael). From the rollicking Backsliders Wine Pt. 2 to the quietly reflective Time to Lose, Bye and Bye is an accomplished record with incredible range. Special props go to singer/songwriter Sean Buchanan, who just keeps getting better at his craft.
— Jen Zoratti
Various Artists
Record of the Week Club
(Head in the Sand Productions)

A

Various Artists

For 16 weeks last year, Winnipeg musician/producer Mike Petkau brought together local musicians from disparate backgrounds and challenged them to write and record a song in one night, which was then made avaliable for download the next day. This is the CD version of that material, and with 48 players involved in the project, it's impossible to mention every tune here. Suffice it to say that my faves involve John K. Samson (Keewatin Arctic), DJ Co-op (Wails On), Dave Quanbury (Step Outside) and Keri Latimer (Falling).
— John Kendle
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