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December 3, 2009
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2009-12-03 
Reviews - CD
BLUE SKY ADDICTS
Hide Your Love
(Independent)

B+

BLUE SKY ADDICTS

Despite the title of their long-anticipated debut, it would seem Blue Sky Addicts have no interest in hiding their love. This lush album features sparkling, heart-on-sleeve indie pop anthems that recall those of Montreal popsters Stars. Thing is, the Addicts' ornate, orchestral arrangements are absolutely gorgeous when they work - but they occasionally overwhelm frontman Dan Barkman's understated vocals, making for a frustrating listen. That's a small criticism, however; on the whole, this is a romantic, whimsical debut from a band worth keeping an eye on.
— Jen Zoratti
CROOKED BROTHERS
Deathbed Pillowtalk
(Transistor 66)

A+

CROOKED BROTHERS

Featuring Matt Foster and Darwin Baker of SubCity and solo artist Jesse Matas, roots trio Crooked Brothers has crafted a CD that blends blues, bluegrass and country to absolute perfection. The amount of instruments used - and used well - is astonishing. In addition to guitar, bass and percussion, Crooked Brothers bring banjo, mandolin, dobro, harmonica, classical guitar, baby grand piano, beer bottles and even a prayer bowl into the mix. With all three Brothers taking turns singing lead, each song is distinctive yet still consistent with the collection as a whole.
— Jared Story
ALL OF YOUR FRIENDS
All Of Your Friends Are Dead
(Independent)

B+

ALL OF YOUR FRIENDS

Indie-pop experimentalists All Of Your Friends opened for nearly every big-name indie act that came to town in 2006, and more than a few local fans have a burned copy of its earliest demo (I do!). Now, three years later, All of Your Friends have emerged with a full-length album. The band has a knack for creating delightfully off-kilter pop arrangements with thrift store instruments, and expertly crafted tracks such as No Monument and Napoleon's War reach New Pornographers-level pop brilliance. A few songs could have used an edit (A Note to Those Who Dwell on the Coast, for example) but this album's moments of greatness far outweigh its moments of ADD.
— Jen Zoratti
RICK BURT
Manigotogan River
(Independent)

C+

RICK BURT

Rick Burt's recruited some of the best of Winnipeg's blues/country scene for this 11-track outing, including guitarist Terry Barnett, bassist Alan Popowich, drummer Randy Joyce and harmonica ace K.C. Cramer. The album itself is a mixed stylistic bag, encompassing bluesy country, straight-ahead hat act stuff and a kind of rock-tinged, talking blues that may be Burt's signature style. Best cuts here are Donna Don't Dance, a boogie-woogie rave up in the mold of Stray Cats, and Paint it Blue, a simmering shuffle that namechecks the Windsor Hotel and features Cramer's understated harp.
— John Kendle
GRANT DAVIDSON
Tired Limbs for Ashes
(Dollartone Records)

A

GRANT DAVIDSON

Feeling glum chum? Tired Limbs for Ashes, the debut full-length from folksinger Grant Davidson, is your new soundtrack, a hard-luck roots record that'll have you taking pleasure in feeling sad. His Springsteen-like tone, Western Canadiana lyricism (references to the Yellowhead Highway, the Red River, cowboys and fields abound) and tales of love lost will you have reflecting more than the Hubble Space Telescope. Harmony vocals from Ariane Jean and pedal steel from Bill Western and Benoit Morier, as well as a host of other fine musicians, help Davidson hit the heart harder. Pour yourself a stiff one and find a porch to sit on.
— Jared Story
THE ANGRY DRAGONS
The Angry Dragons
(Transistor 66)

B+

THE ANGRY DRAGONS

When a band includes Joanne Rodriguez you just know it's going to rock. The local rock 'n' roll empress (American Flamewhip, The Vagiants) is joined by guitarist Jen Alexander, bassist Anastasia Chipelski and drummer Bill Northcott on this self-titled debut, a disc that's split into two distinct sounds. Songs from side A, such as Snake Apartment and Hex, roll with reckless. garage-rock abandon, while Girlfriend is basically I Wanna Be Your Boyfriend. Side B is full of fuzzy-wuzzy distortion. Lo-fi lovers will stick around but I bet the sound quality of tunes such as In this Town and Melvin will lose a few folks.
— Jared Story
CATSKILL
Heir to the Throne
(Independent)

F

CATSKILL

Produced by Clinton Sparks (Akon, Ludacris), Catskill's Heir to the Throne is, according the rapper himself, the "greatest hip hop record ever created." Well, it's certainly in the running for cockiest. Catskill goes for confrontation, controversy and comedy, and ends up sounding smug, sexist and downright stupid. Catskill's voice is flat and there's a serious lack of groove going on here. In a city full of hip hop artists who keep it real, this for-the-fame filth is embarrassing, no matter how well it's produced or who's associated with it. If Catskill is the new king of hip hop, let's banish the monarchy right now.
— Jared Story
THE DEAD LETTERS EP
(Independent)

B

THE DEAD LETTERS EP

Jim Demos, Andy Janusz and Jill Winzoski describe their sound as "a spaghetti western gunfight on a Balkan frontier." The expressive viola of Winzoski is what really soars in the three pieces offered up here (adding up to a 20-plus minutes EP). As guitarists Demos and Janusz lay down a Spanish-inflected rhythmic tone, Winzoski's bow (she also plays piano) takes the melodic lead, creating a rich, swirling sonic tapestry that sounds, well, almost exactly as the group describes it.
— John Kendle
HEATHER BISHOP
My Face is a Map of My Time Here
(Mother of Pearl Records)

A

HEATHER BISHOP

Folksinger Heather Bishop was one of Canada's first 'out' performers but what's often forgotten is that she is, first and foremost, a fine singer/songwriter. This disc, which she admits may well be her last, showcases her versatility, her voice and the exceptional abilities of longtime collaborators Don Benedictson (who also produced) and Laurie Mackenzie. From playful folk/rap (Party in the Sun) to spiritual soundscape (Ancient Cry) to a My Way-type affirmation of life (I Remember it Well), Bishop gives her all. The album is subtitled The Art & Music of. and comes with a 12-page booklet showcasing her passion for realistic portraiture.
— John Kendle
CODENAME: THE SHARKS!
Codename: The Sharks!
(Independent)

B

CODENAME: THE SHARKS!

Clocking in at 17 minutes, the debut EP from local drum 'n' bass 'n' keyboard duo Codename: The Sharks! is a brisk but bouncy blend of dance bits and rock 'n' roll beats. Think a less heavy but still fairly rocking Death from Above 1979, combined with a high-pitched vocal style that's similar to Blood Brothers or Billy Talent. Chad Kroeker and Trevor Friesen serve up quite a selection on these six songs; whether it's lighter indie-pop fare such as Set Your Sights or the block-rocking bass displayed on Tell Me, Annie, there's lots to like. All in all, a good introduction that suggests great things to come.
— Jared Story
DOC WALKER
Go
(Open Road)

A

DOC WALKER

With its 2008 album, Beautiful Life, Doc Walker's core duo of singer/guitarists Chris Thorsteinson and Dave Wasyliw welcomed singer/guitarist Murray Pulver into the fold and wound up winning themselves a hatful of awards. Go finds the threesome settled into a songwriting groove. Opening cut Coming Home is already a hit and there's plenty more catchy roots/pop/country material - from the roots rock of Speed of Life to the wide-eyed balladry of If I Fall. The best thing about this album is that, despite the impressive guitar interplay and three-part vocal harmonies, Doc Walker never complicates its essence.
— John Kendle
DR. RAGE & THE UPPER CUTS
Sexus Diablo
(Absurd Machine Records)

B+

DR. RAGE & THE UPPER CUTS

Dr. Rage & The Uppercuts punches out a solid set of heavy-hitting blues, rock and funk on its sophomore album, Sexus Diablo, proving it's not just the band's name that kicks ass. The rocking riffs found on 700 Reasons and Run pack a wallop, while funkier fare such as '67 Caddy and Monkeybone bang and pound in a more, uh, spicy sense. Speaking of sexy, soul singer Maiko Watson performs backing vocals throughout, adding a seductive shine to the songs. Altogether, Sexus Diablo is a damn good soundtrack for a night of one too many bourbon, scotch and beer - although with sober ears, it does sound a bit samey. Not quite a knock-out, but definitely a winner.
— Jared Story
TODD HUNTER
Star
((Head in the Sand)

A+

TODD HUNTER

What a comeback. After receiving a flu shot in 2006, Todd Hunter became seriously sick with an illness that lasted for over a year. Now healthy, Hunter's back with his first solo album and, arguably, his strongest work. Star is a spacey, soaring set of pop-rock songs, slickly produced by Mike Petkau. On hard-rocker Tried, Hunter expresses frustration over his past frailty. You Are a Star is a danceable indie-pop song, while Trust No One shines with an R.E.M.-like sheen. But my favourite has to be Do That, the perfect choice to close the album. A song of hope and expectation, it proves Hunter never got lost in the darkness.
— Jared Story
ALANA LEVANDOSKI
Lions & Werewolves
(Blue Lily Records)

A

ALANA LEVANDOSKI

Alana Levandoski's Lions & Werewolves was recorded in a rural Manitoba church and finished in a U.K. studio. Produced by Ken Nelson, the man behind the first three Coldplay albums, this is a pristine package of folk songs and roots rockers, delivered with a strong pop sensibility. Levandoski's delicate voice sounds pleasant over slower, more sensitive songs such as As the Crow and Trapeze, but what's really pleasing is how well it works on the more mighty material. Lead track Red Rover is a hard-hitting, fast-paced rocker, and Dangerous One is full of edge and electric guitar, both of which nicely contrast with Levandoski's country croon.
— Jared Story
DOUG EDMOND
Between the Shadows and the Light
(Independent)

C

DOUG EDMOND

Doug Edmond's a self-taught pianist-cum-singer/songwriter whose middle-of-the-road, pop-meets-smooth jazz sound is well-suited to his gigs on the McNally Robinson/Norwood Hotel circuit. On this recording, he's surrounded himself with fine players and a decent producer in former Crash Test Dummy Mitch Dorge. However, there's simply nothing remarkable or particularly memorable about either these songs or Edmond's thin, Van Morrison-esque voice.
— John Kendle
INWARD EYE
Throwing Bricks Instead of Kisses
(RCA/Sony)

B

INWARD EYE

Inward Eye's full-length debut is ultimately unsatisfying. Opening tracks Shame and Blind Paranoia are breathless rockers fuelled by Dave Erickson's quirky, falsetto-meets-shout vocals, Kyle Erickson's searing, churning guitar and Anders Erickson's fluid-yet-frantic drumming - but Heroin Heart, Don't Paint it Blue and Like a Man sound like bland attempts at what was popular on modern rock radio 10 years ago. Holdin' On offers up the album's most soulful vocal performance, while the rhythmic fluidity of album closer Wasteland mimics The Clash's Magnificent Seven. Here's hoping Inward Eye will one day capture the vibrancy of its live show.
— John Kendle
LYRICAL MILITANT
Download this Mixtape
(Independent)

B+

LYRICAL MILITANT

Download this Mixtape? Sure - but I'd gladly buy it. The debut full-length from Lyrical Militant is a satisfying synthesis of socially conscious (Hopes Exodus), sensitive (Been So Long) and shindig-suitable (Peg City, Four-Twenty) hip hop. With a strong lyrical flow and boss beats throughout, Download this Mixtape is always entertaining, but especially so when Lyrical Militant raps in an über-smooth style. On Been So Long, which features soul singer Flo, Militant is crazy cool, his suave tone sounding a bit like Q-Tip in A Tribe Called Quest's classic, Bonita Applebum. Can Lyrical Militant kick it? Why yes, he can.
— Jared Story
ENJOY YOUR PUMAS
Ink: The EP
(Independent)

A+

ENJOY YOUR PUMAS

Ink: The EP is a re-release of Enjoy Your Pumas' 2007 debut and it's good - really good, actually. The five-piece indie rock band cleverly splits this release into two parts, 'Awake' and 'Sleeping.' The Awake songs, Less Enthused, SFRS (Paris) and Ink, are lively bits of progressive rock, with singer Rosie Blais sounding a bit like Metric's Emily Haines. Between Shores is a short, atmospheric number that sees the Pumas straddling cognizance and coma. The Sleeping songs, Sister Rose and Sleeping Awake, are mostly piano-driven lullabies that serve as a soothing soundtrack to your dreams. Overall, a dynamic and diverse recording.
— Jared Story
JARHEAD
Image of Insanity
(Independent)

A

JARHEAD

On Image of Insanity, Jarhead takes crossover, a hybrid of hardcore and thrash, and combines it with the melodic metal style of, say, Maiden or Priest. A creative compound indeed, but what about the result? Two horns up! First off, the guitars, courtesy of J.P. Malo and Justin Gaudry, are first-rate. The riffs rip with punk rock fury and the leads are top-notch. But what really throws my goat is vocalist Alex Simard. His aggressive yet clean delivery is as intense as any , and it means you can actually decipher his politically charged lyrics. Unfortunately, Simard has left for the Land of Oz, so hopefully his replacement rocks.
— Jared Story
JASON MAAS & THE LOWER COMPANIONS
Clean
(Independent)

C+

JASON MAAS & THE LOWER COMPANIONS

To be honest, Clean, the debut from Jason Maas & the Lower Companions, is a bit of a hit-and-miss effort. Let's start with the hits. Maas' whiskey-burnished vocals lend grit to this otherwise rosy-cheeked collection of spiritual folk tracks, the additional vocal contributions from Wailin' Jenny Nicky Mehta are note-perfect, and songs such as the rootsy Bonafide War and the charming AM radio-inspired The Last Day of High School, hint at greatness. The misses lie largely in the songwriting; the reliance on rhyming couplets is particularly distracting. It's just a shame that inspired musicianship was paired with such uninspired lyrics.
— Jen Zoratti
MATT EPP
Safe or Free
(Independent)

A-

MATT EPP

On his latest album, Safe or Free, singer/songwriter Matt Epp offers up stripped-down love songs (This Old House), rollicking ramblin'-man ballads (Working Holiday) and ink-black alt-folk tales (They Won't Find the Bodies), all of which gorgeously showcase his warm, well-worn set of pipes and sincere, sentimental lyrics. An impressive roster of musical guests - Brandy Zdan, Amelia Curran, Christian Dugas, John Paul Peters, Gilles Fournier and Jesse DeNatale, among others - appear on the record, helping to flesh out the songs. It's clear that a lot of love went into this understated, intimate album.
— Jen Zoratti
JAYLENE JOHNSON
Happiness
(Independent)

B

JAYLENE JOHNSON

You can't help but smile while listening to Jaylene Johnson's Happiness - a bubbly batch of pop songs with plenty of adorable factor, thanks to Johnson's sugar-sweet vocals. That said, this isn't all sunshine and rainbows; songs such as Superhero and No Matter How Hard We Try flirt with darker themes. Much of this record was the product of collaboration; Johnson worked with a team of songwriters and two producers (Phil Deschambault and Brandon Friesen) - and yet the result is surprisingly cohesive. Still, it would have been interesting to hear what Jaylene came up with on her own; she's more than capable of penning a pretty, personal pop tune.
— Jen Zoratti
JASON MALLOY
Dilation
(Akashic Records)

D

JASON MALLOY

Malloy is a local singer/songwriter and studio engineer who, based on this album, has yet to develop a sound, feel and voice all his own. The best that can be said for these nine songs is that they occasionally recall Joy Division - which may lead some people to seek out the real thing.
— John Kendle
THE MISSION LIGHT
Hearts for City Limits
(Independent)

C

THE MISSION LIGHT

Hearts for City Limits, the debut from alt-rock act The Mission Light, features epic soundscapes, excellent musicianship and powerhouse vocals courtesy of frontman Guy Abraham - but while it's an unquestionably sophisticated album, it's also one of those boringly perfect rock records that's been tailor-made for radio play. Tunes such as A Highway Song and album standout Breakdown in the Afterglow possess plenty of heart, but most of the other tracks here have been polished to an overproduced sheen. It's a bit too samey - and more than a bit too safe.
— Jen Zoratti
SCOTT PLACE
Got Something to Say
(Independent)

C+

SCOTT PLACE

Got Something to Say has been a long time coming for Scott Place. The 40-year-old singer/songwriter has been playing since the age of 12 but life delayed what he had to say. Better late than never. Place's debut is a well-crafted, acoustically driven, alt-rock album. The tuneful tones found on If I Had a Time Machine and 100 Years should please fans of easy-listening pop-rock, while the title track and You're All That I Dream kick it up a notch. All in all, I doubt what Place has to say will blow anyone away, but supporters of soft rock should take satisfaction in these songs.
— Jared Story
THE SHOUTING GROUND
The Shouting Ground
(Independent)

B+

THE SHOUTING GROUND

One Groovy Baby - the lead track from The Shouting Ground's self-titled EP - pretty much sums it all up. The soulful sextet has got its groove on, whether it's funk, retro-rock or R&B. Run T'ward is a roots-rocking revival of the CCR sound and Get it Together rolls with a bluesy swagger that recalls The Black Crowes. Hey Busrider! falls into the R&B category, a public-transit song with some killer vocal accompaniment. You might just get lost in the groove and miss your stop. Don't worry, just pull the bell cord and get the funk out with Love is the Reason. This is a great little listen for when you've got that groovy feeling.
— Jared Story
NDU
The Rebel Zone
(Raw Livin Records)

C+

NDU

According to Ndubuisi (Ndu) Okwumabua, the 'Rebel' in the title of the hip hop artist's sophomore album stands for Remove Every Boundary Exceed Limitations. With that in mind, I was expecting The Rebel Zone to hit hard. That was an incorrect assumption, however, as Ndu raps with a laid-back style over pretty beats. The record is produced well, features fine guest performances from the likes of Kiesha Booker, Flo and The Lytics' Munga, and is pretty damn catchy, but when a song such as Rebel Rock fails to really rock, it's a bit disappointing. Not to say you have to bring the noise to be a rebel, but hey, it wouldn't hurt.
— Jared Story
QUINZY
Self-Defense
(Independent)

A+

QUINZY

The trifecta is complete! Self-Defense is the third and final instalment in a series of stellar EPs from pop/rock purveyors Quinzy - and it's easily the best. Like its predecessors, Self-Defense boasts breathtaking melodies, meaty hooks and soaring, singalong choruses, but this collection of songs is the band's tightest and most realized yet. The arrangements are denser (see: the swaggering piano-driven romp I Dream in Exponents), the harmonies are more challenging (album closer Ode to Norman Borlaug is downright cinematic), and the hooks are, well, hookier. On the whole, Self-Defense is one hell of a dynamic and charismatic album.
— Jen Zoratti
SHRIMP
Smell My Finger
(Independent)

B

SHRIMP

Recorded live at the Times Change(d), Smell My Finger serves as Shrimp's stinky swan song - the 'farewell' album by four girls who never learned to play their instruments. Musicianship be damned - this is good-times drunk rock. Big Bush, Lazy Vegan and Lesbian Army had me busting a gut and the banter between songs is hilarious too. As silly as they are, the songs are downright infectious (especially Vaginal Itch, eww), and will have you rocking out, putting out and passing out in no time. Speaking of time, with 17 songs in 40 minutes, it's all very fast, so before you can say, 'Hey, this sucks,' it's over.
— Jared Story
ON THE FLY
On the Fly
(Independent)

C

ON THE FLY

On its debut demo, On the Fly delivers chunky, fairly groovy and well-executed hard rock. The rhythm section sounds tight, there's plenty of fiery guitar work from axemen Jamie Denorer and Beau Balharry and vocalist Brandon Rerie possesses a strong set of pipes. Still, these four songs feel like rock-by-numbers. There are pleasing parts here and there (such as the chorus to Steel, which sounds like something off of Skid Row's Subhuman Race), and the riffs are almost heavy enough to fit in on a latter-day C.O.C. record, but when it comes down to it, this Godsmack/Three Days Grace sounding stuff is just not that interesting.
— Jared Story
RUDE DALE
Suitcase
(Independent)

C+

RUDE DALE

Genre: alternative acoustic rock. When I read that on Rude Dale's Facebook page, I immediately figured I was in for some boredom. Thankfully, Suitcase isn't that dull at all. There's lots of soul in frontman Dale Howard's voice; whether on ballads or more upbeat tunes, you can hear his heart, and that can't be said about most post-grunge vocalists. It's not exactly acoustic, either. Electing for atmosphere over intense riffery, guitarist Will Grierson's understated style keeps things interesting, while still maintaining the unplugged vibe. If you're into moderate rock, Suitcase is worth a listen.
— Jared Story
SIGHTS & SOUNDS
Monolith
(Smallman Records)

A-

SIGHTS & SOUNDS

It may have began life as a side project for most of its members - including Comeback Kid screamer Andrew Neufeld - but Sights & Sounds has moved into the spotlight with Monolith, its freight train of a full-length debut. Every song in this epic, fearlessly adventurous collection, from the dramatic Neighbours to the atmospheric The Cutters to the primal Shudder, St. Kilda, plays off the unexpected, whether it's churning wall-of-sound guitars paired with delicate Eastern melodies or Neufeld's impressive vocal range (this guy can sing). The end result is an absolutely arresting, punch-to-the-gut collection.
— Jen Zoratti
THE OTHER BROTHERS
Points of View
(Independent)

B+

THE OTHER BROTHERS

The Other Brothers is the musical partnership of Chris Neufeld and Donovan Giesbrecht and, while they're not actually brothers, they play like they could be. Points of View is a stripped-down collection of textured folk ballads that boast vivid narratives and near-perfect harmonies - all created with just a pair of voices and guitars (and the occasional banjo). Producer Mike Petkau expertly captures the nuances of the 10 songs here and the result is, without question, striking. A bit more variety would have been appreciated (it all gets a bit sleepy half-way through) but, overall, this is an accomplished effort.
— Jen Zoratti
THE SAVANTS
Absolver
(Transistor 66)

B

THE SAVANTS

The Savants follow in The Ramones' footsteps, both in moniker and melody. Absolver is no-frills punk rawk, the kind some slag as simplistic and everybody else just likes. Seriously, if blitzkrieg boppin' tunes such as Mount Royal Hotel and Black Cadillacs and Death Make Up, don't make you slam dance, stage-dive or, at the very least, smile, you might want to check your pulse. Plus, it's all served up lo-fi and greasier than a bucket of chicken. There are a couple buzz-killing, bullshitty ballads that might give you the chicken runs, but the rest is absolutely anthemic, so The Savants are absolved of all bowel-disrupting blame.
— Jared Story
SONS OF YORK
Black and White Summer
(Independent)

A-

SONS OF YORK

The debut album by power pop trio Sons of York is a raucous collection of songs about first loves and fist fights, sprinkled with gang vocals, handclaps and catchy choruses. (It's clear that the brothers Kennerd - Luke, Jake and Cody - like The Beach Boys and The Strokes.) Boisterous numbers such as the title track and I Ain't Been The Same Since They Cut My Brother Down crackle with youthful rock 'n' roll energy, while Twice the Fool hints at a more mature sound. Sure, the lyrics stay squeaky clean (see: Running Home to River Heights), but the wide-eyed innocence works here - at its core, this is a record about growing up.
— Jen Zoratti
SUBCITY
Where's the Noise?
(Transistor 66/ Outside Music)

B+

SUBCITY

SubCity has dropped the 'Dwellers' from its name, tightened up its sound and made its defining album. Blaring horns, throbbing bass, slashing guitars, swirling keys and throaty vocals (mostly courtesy of Ian Lodewyks) create a joyful, reggae-rooted, ska-inflected, soul-polished and punk-infused brew that moves the band firmly into the world of fully realized, Clash-inspired rock 'n' roll. Producer Jon Paul Peters takes the-less-is-more approach and lets this outfit do its job more-or-less live off the floor. The answer to the titular question is thus quite simple - the noise is here, and it's a joyful sound.
— John Kendle
THE WAILIN' JENNYS
Live at the Mauch Chunk Opera House
(Outside Music)

A

THE WAILIN' JENNYS

Nicky Mehta, Ruth Moody and Heather Masse released a live album this past summer to keep their name in the public eye during Mehta's pregnancy (she gave birth to twins in July) and to give fans a chance to hear new girl Masse on record for the first time. These 18 songs represent the group well - no overdubs or fancy production, just three voices, acoustic instruments and the stellar playing of touring violinist Jeremy Penner. As on their studio recordings, the Jennys' delicate harmonies and the fine melodies are what carry this recording - and Masse, whose song Driving fits seamlessly into the set, proves to be a perfect fit.
— John Kendle
MAIKO WATSON
Sweet Vibration
(Independent)

A

MAIKO WATSON

Who says you can't do R&B and soul in Winnipeg? Recorded and produced here by several of the Moses Mayes crew (Mark Penner, Julian Bradford, Ben Reimer and Nathan Reimer), Sweet Vibration is a profound showcase of Maiko Watson's singing and writing skills. Unlike most contemporary 'urban' albums, which feature walls of sound produced by committees, this is a living, breathing document of rootsy, classic soul performances, pure and simple. Maiko wrote nine of these 10 songs on her own (the 10th is a co-write with her former husband, Remy Shand) and, to paraphrase her own song, everything should be lookin' up for her with this release.
— John Kendle
WANDA WILSON
Under Donald
(Independent)

C

WANDA WILSON

Under the bridge. That's where Wanda Wilson's Under Donald, the singer/songwriter six-track debut release, began. Using battery-operated gear, Wilson recorded these tunes live on location under the aforementioned Donald Street Bridge and at other Winnipeg spots. This DIY recording is a rough-around-the-edges bit of alternative folk and folk-punk, driven by acoustic guitar and drums (provided by Scott Young) - but its flaws give it an endearing busker kind of quality; seriously, you'll be looking for a guitar case to drop some change in. That said, these songs lose a lot of charm coming from an MP3 player or stereo system.
— Jared Story
BEN WYTINCK
Ben Wytinck
(Independent)

B+

BEN WYTINCK

Ben Wytinck's self-titled debut is an amiable album of alt-country and blues. The disc is likable even before you listen to it (it's packaged in a DIY kit that contains assembly instructions, rules and tips on an amusing DVD), and the songs share that same sense of humour. Tunes such as the fishing tale Never to Return Again, the bluesy Cheesy Lines & Dirty Jokes and A Woman Couldn't Hurt (about how a girl is way better than a blanket) have a playful quality to them; even the grim songs seem good-natured. Wytinck uses a storytelling style and, whether he's dealing in truth or fiction, comedy or tragedy, it works.
— Jared Story
XPLICIT
All Paths Lead Here
(Independent)

B+

XPLICIT

The title of Xplicit's debut full-length immediately made me think of that New Age mantra "all paths lead to God," which kind of makes sense: all paths do lead to God - Lamb of God, that is. Dan Legrand's demonic growl sounds much like LOG mainman Randy Blythe's, but the similarity is also evident in Xplicit's powerful groove and all-around song structure. That being said, Xplicit's LOG likeness doesn't seem deliberate, and there's lots to thrash to here, especially dynamic album closer Free... At What Cost. Now go bang your head.
— Jared Story
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