Anthem Red
Dancing on the Dishwasher
(The Company with the Golden Arm)

A

Website: www.myspace.com/anthemred

The Barrymores
New Invasion
(C12)

A



Website: www.myspace.com/thebarrymores

To paraphrase NOFX, The Barrymores don’t play ska anymore. What the long-serving band does play is energetic pop rock/punk punctuated in all the appropriate places by horns. It’s a welcome change, and New Invasion is catchy as hell. In fact, when ska hangover Another Night With You drops in the middle of the album it only provides an unwelcome break from an opening quintet of blistering rockers. I fast-forwarded through much of that track to get to Old Dogs, which showcases the emerging talent of singer Jolene Norton, who is rapidly becoming The Real Shit. The frontwoman is in brilliant form throughout this Invasion, wailing with a gritty punk edge that’s perfectly suited to the throbbing bass lines and rapid riffing from Ian Lodewyks and Danny Ransom. Forget ska — this band rocks. — MW

Paul Bergman
Rootbound
(Indie)

B+



Website: paulbergman.ca

Call this one a downtempo Manitoba version of the soundtrack to ‘O Brother, Where Art Thou?’ Recorded in a barn by six guys, Rootbound is a soulful trip through the Prairies, with vocal harmonies that roll through the album as easily as a warm breeze through a screen door. Frontman Paul Bergman possesses a voice that’s gentle, resonant and perfectly suited to these Prairie tales, and the delicate accompaniment gives the sense that you’re sitting around a campfire somewhere out on the back 40. Every so often the down-home lyrics wear just a little thin, but for the most part the illusion is complete — so crack open a bottle of chokecherry wine and sit a spell. Highlights include One Day, It’s a Beautiful Day and In the Going, In the Going, Gone. — MW

Big Trouble in Little China
Diamond Cutter
(No List Records)

B



Website: www.wearebtilc.com

If the Pixies drank way more beer, smoked way more pot, hung out at the Albert and were fronted by Dave Brockie of GWAR, you’d have Big Trouble in Little China. This quintet gets by with a distinct lack of charm, blasting through ragged and heavy stoner rock as guitarists Darcy Bunio and Clint Chiarella kick out the riffs and singer Geoff McKinnon shouts about sex parties and drinking. Diamond Cutter is raw and loose and sweaty, and the guys have the sense to follow the same aggressive formula that’s worked wicked wonders for AC/DC and Motörhead. That means it’s balls to the wall on tracks such as Slave to Your Rock and Roll, but BTILC can also show a dreamier side on Piss Proud and Drunk as Fuck. That’s where the stoner part comes in, and it’s pretty cool. — MW

Bryce Kushnier’s vitaminsforyou
The Legend of Bird’s Hill
(Indie)

A



Website: www.myspace.com/vitaminsforyou

In a word, The Legend of Bird’s Hill is brilliant. Bryce Kushier’s softly layered soundscapes recall the hazy experimental work of now-defunct local band Attack, Sustain, Decay — except Kushnier laces his aural dreams with electronic crackles, digital effects and programmed beats. Being Away Fame (A Song for the Xenophobic) is a prime example. The gentle plunks of a synth introduce the song as a pop ballad, but then Kushnier continually alters the texture of the track with a host of subtle electronic flourishes, intoning ethereal vocals in the background. Contrast that with Six O’Clock Whispers (Version), a more traditional electronic cut characterized by a gently throbbing bass rhythm. 1986, on the other hand, is more disjointed and trippy. In the end, all 73 minutes pull together as a clever and imaginative experience. Have a seat and listen to this one start to finish. — MW

A classically trained pianist, Byblow is a 21-year-old specialist in heart-on-sleeve confessionals. This stuff works best when kept simple, and Byblow and producer Adam Mlodzinski have wisely done just that, showcasing just Nicole and her piano on four of the six tracks here. The best thing about this recording is Nicole’s voice, a sweet, gently expressive alto. Her playing is accomplished without being exceptionally memorable and that’s probably the fault of the one glaring weakness here — a lack of truly great material. While opener Fallling in You and Without a Soul are her two best tunes, neither boasts a winning melody. The EP ends curiously, too, with a rock ’n’ roll cover of Blondie’s Hanging on the Telephone. It proves Byblow can sing the harder stuff, but her future probably lies with writing songs that are better showcases for her bread and butter. — JK

Catskill is Ryan Funk, and he wants you to know that he’s an MC, not a rapper. I want you to know he isn’t a bad MC, either. Album opener Kill ’Em ain’t bad, and I Love That, a more melodic song featuring Moka Only, provides a nice change of pace. Whoa, on the other hand, doesn’t have a whole lot of style. Closer Get ’Em might be the best of the bunch in terms of instrumentation, as Catskill experiments a little with beats, effects and samples with good results. Hopefully this newcomer can keep himself from falling into the 40s-bitches-and-blunts trap on a future full-length. — MW

Hardcore music is about raging passion and relentless intensity exploding off the stage and empowering each member of the audience — and Broadcasting… should make you feel absolutely bulletproof. On CBK’s third full-length, Bill Stevenson and Jason Livermore have captured the feeling you get when singer Andrew Neufeld dives into the crowd at a live show, and they’ve showcased that vitality in 11 blistering songs packed with righteous rage, red-lined guitars and relentless rhythms. Neufeld has brilliantly filled the position vacated by Scott Wade last year, and CBK’s signature thrash attack is in full force throughout, particularly on energizing shout-along anthems One Left Satisfied and Come Around. Other standouts include album-opener Defeated and the title track, a powerful number that should soon become a calling card at sweaty gigs populated by wildly pumping fists. CBK is back — with a vengeance. — MW

The latest blast from Winnipeg’s answer to Rancid is a 12-song split with German neo-punks Hiroshima Mon Amour. Like The Crackdown’s 2004 release, Rebel Radio, the yield here is a mere half-dozen tunes, one of which (Nice Boys) is a Rose Tattoo cover. While Johnny Johnny, These Streets and No Surrender, No Regrets are old-school tunes that practically burst with vitality, there’s something of a punk-by-numbers quality to this material. Three years of playing and writing material should have at least yielded some stylistic growth — especially when you consider that The Clash released their debut album, Give ’Em Enough Rope, London Calling and Sandinista! between 1977 and 1980. — JK

Damascus takes much the same approach to metal as Electro Quarterstaff, although Damascus hasn’t banned bass players and singers. That said, you’re still going to get a few eight-minute songs exploring everything from thrash metal to death metal to grindcore and beyond. While some tracks, such as opener Slattery Decapitated, are churning and lay a chaotic beating on the listener, songs such as Queens Death in the Season of Ivory are far more melodic, incorporating the European approach to metal in songs that still grind you to bits with unfettered power. Think of In Flames, but also think of Cradle of Filth. Closer Black Sea of Downward Skies, a 13-minute opus, is bloated in a few places and would probably work better under 10 minutes, but what the hell, eh? Damascus is without doubt better than three-quarters of the major-label metal sitting on my desk right now. — MW

Wishin’ I Was Fishin’ has special meaning for this writer, who’d always rather be stomping through the mud around the Assiniboine than sitting in an office. Singer/songwriter Marcel Desilets nicely captures the lure of the lake, or river, on that track, describing the best parts of dropping a line and letting one’s mind wander off into the clouds. Desilets often immortalizes everyday occurrences in the 10 acoustic folk songs here, and he hits his mark as often as he misses. That said, the jaunty guitar work is pleasing throughout, and Desilets’ can offer a clever turn of phrase from time to time. No doubt Marcel and I will meet on the riverbank this spring. — MW

With a bit of work Devoid could be mentioned in the same breath as Jaw and other noteworthies in the local metal scene. The problem with One Voice is that it’s fairly standard hard rock/metal that lacks the flair or that would set the album apart. Flashes of creativity are evident at times, particularly on standout track Godless, which plays with dynamics and clean/dirty guitars to create some thrash-worthy noise, and Breathe rides a catchy, simple riff into a killer instrumental jam. Singer Chris Wood deserves special mention for his gritty pipes, but musically Devoid needs to avoid relentlessly chugging riffs of the Godsmack variety at all costs. Open the bag of tricks on the follow-up, guys. Shake that shit out all over the place and see what happens. — MW

Mixtapes and mashup projects are snapshots of time and place, and the biz has about three absolute requirements — an exhaustive knowledge of recent music and hits (especially if you’re a serial masher), an incorrigible sense of play, and a vast library of bizarre samples and found sounds. As he has in the past, Winnipeg’s Co-Op proves he has all three in spades, blending ’70s kids’ TV songs with tracks from M.I.A., Noriega, White Stripes and much, much more in this brazen collection of smile-bringers. Also in accordance with his previous two releases is the presence of many of the Break Bread Crew, including Pip Skid, Yy, Birdapres and John Smith. Stick this one in the player, play spot-the-sample and then save it as a record of the weird winter of ’06-’07. — JK

On his latest mixtape local mainstay DJ Hectic brings his maddest mixing skills to 25 cuts of skits, raps and effects that serve as a showcase not only for his tracking prowess but also the mic-popping antics of Moonshine Kru’s Big Greezy and Buzzmad. The eloquent, hard-rapping Greezy takes most of the first half-disc, busting it out with club tracks such as the freaky Bounce Wit Me and the rowdy Run Yo Tab (both featuring DJ Combo) and explaining much of the source of his streetwise anger on hardcore songs such as Bout Me. Hectic splices and dices the beats relentlessly, spicing them with spurts of electro-melody, strings samples, and vocal and rhythmic effects that help build the beats without taking over the show. Buzzmad, meanwhile, is aptly named, picking up the cadence and the anxiety factor with the likes of Set It Off and Front Street, making for two impressive joints on a local album that will surprise many. — JK

Self-taught shredder Mark Doerksen blew the roof off this sucker 45 seconds into the second track, The Fuse That Burned too Fast. I listened to his blistering solo incredulously about four times and was more amazed each time. Mark has a gift, plain and simple, and Dream Quest’s Maiden-esque “adventure metal” allows him to put his considerable talents on display for metalheads across the city. Dream Quest’s last album, The Release, was focused purely on epic metal, but the ambitious five-song concept album Centralia offers at least one track (Magnified) that clearly departs into the realm of prog rock. I like these guys best when they’re doing the Dragonforce thing, and I like the vocals best when they’re wailed or presented in three-part harmony over galloping riffage and beats. That said, it’s doubtful that one style will satisfy these guys for long. — MW

Drek Daa is the alter ego of Darek Dawda, a Polish emigré who came to Canada 16 years ago, earned a doctorate at Simon Fraser and has become a fixture in the past four years on Winnipeg’s spoken-word, fine-arts and experimental-music scenes. The founder of the Winnipeg Poetry Slam is also a CBC Radio columnist and he regularly opens his home to an arts salon called Cyrk. This collection is a blend of his interests in music, poetry and spoken-word performance. To try and do justice to each of the 25 songs, stories and poems here would be to do Daa a disservice. Let’s just say that these pieces resound with his fascination with his new North American home (especially his opening tales about living in Northern B.C.), they speak lovingly of family, and they feature insightful reflections on the wonders and the beauties of life (check the lyric sheet for the title track). — JK

‘Bass players and singers? To hell with those useless tits.’ That seems to be the attitude with which Electro Quarterstaff attacks heavy music, forsaking whining singers, and weird, surly bassists to focus on paying homage to the glory of the guitar. Axe aficionados Josh Bedry, Andrew Dickens and Drew Johnston let Dan Ryckman hit skins, but one thinks Dan shouldn’t get too comfortable lest the purification continue... The band’s debut offering, Gretzky is a Mastodon-flavoured run at proggish metal, so we’re getting lengthy, intricate songs that would smell of a jazz jam if not for all the screaming harmonics and grinding rhythms. This is an aggressive and challenging album, but songs such as Charmony are melodic enough to suck the skeptical into an epic prog experience. Gretzky’s simply a great disc, and one which serves notice that Winnipeg’s metal community is thriving. Extra props to artist Blane Throttle for his wicked album art. — MW

A young veteran of the rock ’n’ roll wars, singer/guitarist Fairchild has long been this city’s leading proponent of ’70s-styled glam rock, taking his musical cues from the likes of Sweet, Kiss, and the Ramones. If anything, his problem has been finding like-minded types to join the gang, so he’s taken the logical step and made a solo record. There are no surprises here, as Kelly and a studio band churn their way through 10 melodic blasts of amphetamine-fuelled hard rock that draw on classic themes, from bratty sounding love songs to odes to timeless heroes — such as Pam Anderson and the amazing rock acts that emerged in 1969. Fairchild’s studio band is a classy bunch — featuring bassist Art Pearson, backing vocalist George Belanger, keyboardist Bob Filep and drummers Brent Fitz, Mark Sawatzky and Brian Aitken — and the album rocks just the way it’s meant to. — JK

Whoa — two discs, 26 songs and 132 minutes. The Prime Ordeal is a truly ambitious project from lyrical poet Jackson Gabriel, who drops his stream-of-consciousness lyrics about metaphysical questions over minimalist beats and melodies. One might be inclined to immediately criticize this double album as far too bulky and unwieldy to have an impact, but The Count of Monte Cristo was pretty long, too. That said, Gabriel’s delivery and a lack of any real musical dynamics make this project into one endless monologue that sometimes obscures clever urban poetry. Gabriel has the sense to break things up here and there with violin or electric guitar solos, and upping the musical ante might be something to explore on a follow-up. It’s great to see such ambition take flight, but a little editing — perhaps by someone like Fresh I.E. — might produce something that would really kick. — MW

Recorded in L.A., Janine Gobeil is a six-song EP that provides a nice introduction to the singer/songwriter and pianist. Gobeil’s strength is undoubtedly her voice, which is rich, full and warm, but she also shows a willingness to take a few chances with her melodic pop songs. That’s refreshing, and it sets her work apart from the cookie-cutter ballads that fill the airwaves. Even when Gobeil sticks to straight-ahead piano ballads, as on Regrets and Troll, her tremendous voice carries the day. And yes, Doc Walker guitarist Murray Pulver somehow found time to work on this album, too. That dude gets around. — MW

Grunge lives on for HCE, but these guys have warped Kurt’s canon into something wilder, adding artistic flourishes and bending genres to set the music apart from the work of 1,000 shitty bands. The 10 songs here are characterized by an underlying sense of bass-heavy melody, which can easily be discarded when Matt Laberge, Matt (Sours) Powers and Roger Arsenault feel the need to let it ride with some screaming. Songs such as Paradise come close to clawing their way into the metalcore genre, giving the proceedings a decidedly heavy flavour, while Blue Chair has a quirky side that sets it apart. If you’ve read Don Beat’s column you know that these guys are insane and that the lyrics come from Laberge’s leg. That madness is in full bloom on Chrysanthemum, which works pretty well. Call me crazy, but I’m looking forward to seeing these guys play this stuff live. — MW

Jacob and Lily are drummer/percussionist Caleb Friesen and pianist/guitarist/vocalist Karla Adolphe, an earthy folk/roots/pop duo whose collective sound is far greater than the sum of its parts. Much of this sense of richness is due to Friesen’s expressive use of any number of percussive elements, as well as the addition of bass, cello, Wurlitzer and organ. But, truly, the real stars of this album are Adolphe’s incredible voice — an instrument unto itself — and the duo’s intuitive arrangements, which heighten the sense of devotional resolve and emotional purity in Adolphe’s non-specific lyrics of love, longing and hope. In the hands of other producers this material might become overly melodramatic, but Friesen, Adolphe and production collaborator Jordan Jackiew have realized that less is more, and the result is a sense of musical communion that may well be overpowering when heard live. — JK

Taken from the apartment building on River Avenue, Biltmore is the nom-de-stage of Winnipeg entrepreneur/musician Scott Griffith, who wrote and performed almost everything on on these 10 songs, save for guitars by Mathieu Roy. As with many one-man projects, the performances here are a bit iffy, but Biltmore’s ear for melody is decent and the album is a showcase for the frameworks of several good songs — particularly Pigeon Holes, St. Mark’s Square, Sail Away and Nicky. What unites these tunes is that they step beyond familiar themes and engage scenarios that are dear to the writer — which is where the best songs always come from. — JK

A four-song EP, Angora finds singer/songwriter Mischa Kaye setting her sweet pipes free over melodic ballads. All the Way the Other Way is a rolling, straight-ahead piano piece, but Go On sees the singer easily putting a soft footprint into the moss of Enya’s mystic forest. The title track, however, has an electronic flavour and is an experiment Kaye would do well the repeat. The young singer’s voice certainly has a delicate quality, but it lacks the upper-register power that would allow her to soar above the treetops. A follow-up full-length is apparently in the works, and when it hits shelves we’ll see if Kaye has developed her talents further. — MW

Liessens has been principal percussionist with the Winnipeg Symphony Orchestra since 1981 and also plays with the Manitoba Chamber Orchestra, MusicBarock Ensemble and a host of other, smaller outfits. On this album, his third, he’s created a quartet with saxophonist/flutist Janice Finlay, bassist Annis Kozub and pianist Rick Boughton to play compositions inspired by his days as a student in the jazz program at Montreal’s McGill University. Largely exercises in style, from blues and Latin to modal and jazz waltz, these songs are marked by excellent performances, especially by Finlay and Boughton on The Old Bridge and Half Full. Blues fans will enjoy Riff-dicule and Gracy, the waltz of Pastor Gord and the South American/Caribbean feel of Se-Bo-Co-Sa add some spice, and Maiste, a study in rhythm, is named for McGill prof Armas Maiste. Enthusiasts of analog recording may also want to check this out, as, like many classical recordings, the recording, mixing and mastering process, handled by Norm Dugas, was ADD. — JK

Manitoba Hal Brolund is a bluesman of the traditional variety, travelling the country’s roads with little more than a suitcase and a guitar, and Come the Ruination captures Hal’s spirit as he fingerpicks his way through the 10 acoustic blues tracks here. Highlights include the jaunty Keep on Singing and Whiskey Blues, which features Brolund serving up some searing slide work. On this DIY project Hal does a nice job balancing his vocals with his playing, allowing the delicate notes to carry the proceedings with a simple elegance acquired on a host of stages. Brolund doesn’t break the mould here, but he doesn’t break any strings, either. — MW

By now everyone should know that white boys from the Prairies can indeed bring tha funk. If you’re not up on this musical revelation, you should get a quick load of Second Ring, the new full-length effort from Winnipeg’s dance-floor favourites. This band is unique in its presentation of classic funk sounds — fat bass, groovin’ horns, spacey keys and bright, rhythmic guitar — with post-funk updates such as Grant Paley’s compelling turntablisms (check out Waking World). The Mayes boys also showcase both improved slickness and a grander collaborative vision on this 10-song collection. The smoothness comes from years of constant gigging, and the sound benefits from the inclusion of vocalists Ariane Jean (Madrigaïa) and Sherry St. Germain. Jean brings a low-key smooth jazz vibe while St. Germain heats things up admirably, especially on Full Moon. — JK

Thankfully increasing success hasn’t affected Nathan’s lyrical and musical sensibilities. In the 13 full songs on Key Principles (Sophie’s Waltz is a 103-second oompah interlude), both Keri Latimer and Shelley Marshall remain true to the notion that the greatest of joys and deepest of sadnesses can be found in the smallest details of everyday thought and activity. Thus this album takes us on a journey through teenage drinking parties (John Paul’s Deliveries), pride of purpose (Scarecrow), fear of communication (Secrets) and casual chats with fast-food clerks in Nebraska (Terrible Way to See Omaha). Producer Howard Redekopp (New Pornographers, Tegan and Sara) brings several indie pop refinements to this party, but he doesn’t overpower the songs or the band. And don’t underestimate the rhythmic work of bassist Devin Latimer and drummer Damon Mitchell, who deftly create the latticework upon which Keri and Shelley can hang their delicately nurtured blend of old-tymey/Western Swing vibe, alternapop sensibilities and otherworldly vocal interaction. On Key Principles, all Nathan’s components are in full bloom. — JK

Debra Lyn Neufeld is back, and she’s still wearing her little black dress and dropping Chicago-style blues tracks with a nudge and a wink to the boys. Neufeld’s second full-length, Bootleg finds the singer/guitarist surrounding herself with a host of noted scenesters, including Joanna Miller, Chris Carmichael, Ken (Spider) Sinnaeve, and Jason Nowicki, and the resulting tracks make for a fun romp. Neufeld has a sexy voice that’s perfectly suited to songs such as Sweet Pie Fruit (Deep Dish), which is about as dirty as a Penthouse letter if you read between the lines. There are a couple of stumbles here — Sweet Della Jones, penned by local legend Big Dave McLean, just doesn’t suit Neufeld’s voice, for example — but when Neufeld is flirting with the microphone everything is just right on. — MW

Cam Penner’s latest finds the alt-country troubadour delivering 11 gently rockin’ tunes lightly coated with the dust of a thousand back roads. Yes, Penner is one of those listless fellows who drifts about the world with a guitar and a passion for music, and his experiences on the road give these songs a legitimate feel that characterizes the best country/roots music. Felt Like a Sunday Night is a bit of a DIY project, so a few early songs leave the frontman a little low in the mix, but everything is in fine shape on cuts such as Eight Days, October and Lonesome as Me. Penner will need to work to separate himself from other alt-country singer/songwriters, but his mournful touch on the slow songs is a great start. — MW

Postel is an artist just bubbling under the surface of this city’s singer/songwriter scene. Armed with a righteous acoustic guitar, a vocal range that takes her from Aguilera heights to throaty near-growls on a torrent of image-laden, emotional words, she’s on the right track with songs such as the title cut and Don’t Go There. Both tunes showcase a dynamism and a passion that will take her far once she learns she doesn’t have to do everything all at once. At this point, with her material still developing, Serena may be told that she can go the Ani DiFranco route, full of vigour and aggressive emotion, or she can rein things in and explore the less-is-more, melody-first approach. I’d advise her to try to incorporate both. — JK

These days a whole generation of Winnipeg musicians thinks of Chris Burke-Gaffney as the man behind CBG Artist Management. But few of the 20-somethings Burke-Gaffney knows will realize he is the only Winnipeg musician of his generation to have had recording deals with three different bands — The Pumps in the late ’70s, Orphan in the early to mid-’80s and Dead Beat Honeymooners in the early ’90s. Listening again to some of the best cuts from this collection it’s not hard to see why. Singer/bassist Burke-Gaffney, drummer Terry Norman-Taylor, keyboardist Brent Diamond and guitarist Lou Petrovich (who left and was replaced by Steve McGovern after the name-change to Orphan) were a solid and edgy mainstream rock unit whose prowess even earned the begrudging respect of Winnipeg’s nascent indie scene of the day. Many, many local fans will be pleased to hear these tunes are finally available on CD. —JK

Hip hop vets Shadez have got the flow dialed in on Every Dollar Counts, their latest slick release on Slo Coach/Urbnet. Flip to Track 3, Let ’Em Know, sit back and let Mr. Bowen, Biggs and Bad Mannaz teach you a thing or two about downtempo rapping that’s still got some grip. Then head to Got Money and hold on tight as the trio kicks it hard. Where Shadez stumbles slightly is on Nothing Into Something, which features a solid chunk of singing. I’d prefer it if the guys stick to kickin’ out the rhymes, leaving the smoother vocals to guests such as Tynisha and Rob James of Canadian Idol fame. James add some sexy soul to It’s Alright, which also features this lyrical gem: “Just to help me pass you would help with math/Cuz you knew that my pops would break his foot in my ass.” That just works for me for some reason. — MW

The blues isn’t exactly a genre known for innovation, so a little variety can go a long way in helping a band separate itself from the host of groups kicking out tales of woe in eight- or 12-bar patterns. If Slidin’ Clyde and co. could add just a little more flair to these 14 tracks we’d have a force to be reckoned with, but as it stands these talented players don’t offer much more than standard blues numbers delivered with skill. Roulette’s lyrics are coloured by the aboriginal experience but occasionally sound a bit repetitive. On the positive side, Mel Reimer’s harmonica work is tremendous, and it’s nice to see it featured front and centre on songs traditionally ruled by the guitar.
— MW