From their home in Peterborough, ON to a recording destination in Paris, the ever-expanding universe of Fire Flower Revue has effectively captured an exciting essence on their newest album. There’s a lot of experimentation in their 13 songs, ranging from bongos to accordion to opera samples to Bollywood. The tinkered with electro-pop bits and bites are present, tying everything together, lest it feel confusing. “The Structure,” “Doo Wap Hearts,” “You Are Only Good at Leaving” ― faster dance songs just waiting to be remixed ― and the romantic “Hedge Rows” are strong, while “Larger Dogs” is slower and pleasing to the ear, but not as pleasing in meaning. And yet, Jarret Prescott, Meg Kendrick and company find their playful side in 54-second breather “Whirley” and the toy piano-based “Gloc.” The album features a wide range of guest vocalists and, at times, feels tired, but is an imaginative, trippy, valid achievement. (Independent)
Here’s another one to add to your chill-out play-list. Californians Cambria Goodwin and Van Pierszalowski emerged as a simple bedroom recording project, and that fact is evident in Threadbare. Mid-tempo, ghostlike vocals adorn an album that represents a time of loss and getting back on one’s feet. It’s one of those records that brings you back down to earth. Songs such as “My Will is Good,” “Oslo Campfire” and “In the Meantime” glow with personal growth, but sadness sets in later. The acoustic guitar is their weapon of choice, but percussion via shakers and bells is also key to the experience. Goodwin’s voice is chilling, and her hums fly through the album, while Pierszalowski effortlessly provides support. Since inception, they’ve added a few more instrumental members. Violins on “Tree Bones” and the humble sound effects on “Threadbare” provide comfort. (TBD)
When Scott Sosebee moved to NYC, he most likely didn’t know that in six years, the move would affect him enough to write an EP subtitled “a comedy in five parts.” The notion of his band has been around for about ten years now, but Sosebee had been busy with countless bands in Georgia, as well as tragic injuries after falling from a trapeze rig. Now, he’s better than ever and has focused on his boy problems for this EP. Sosebee turns problems into play in songs such as “The Perfect Guy,” which jauntily details fictional romps around the city, and the collar tug of “How to be a Stalker.” Sosebee brings a light baritone, one he’s still finding ways to push to its limits. Trumpets, trombones, “sha la las” and a common beat from a list of backup musicians definitely help the EP. Together, they’ve all found a way to laugh at the past and make enjoyable music out of it. (Independent)
Parkas You Should Have Killed Us When You Had the Chance
By Jessica Lewis
The title is ironic, as this gritty Toronto, ON band have released this album eight years posthumously. There’s a healthy dose of blues rock, with warped guitars, banjos and an in-barn soundscape, as front-man Michael Brown powers through with thick vocals. Each moment feels like it holds some sort of secret that the band will get together over beers and laugh about when they’re older. Even with such precision in instrumentation (“Bad Comedian”) and an infectious jump sequence in “Isolation Play,” it’s hard not to notice that things start to get a little repetitive by the end. They still leave on a high note though, like an old warhorse pushing on. (Saved by Radio)
Woodhands has released their video for their second album’s first single, “CP24.” While the album isn’t out yet, this is all we have to enjoy, and I’d say it’s a great amount on its own. It’s hilarious, witty and bouncy. Dan Werb and Paul Banwatt should anchor on CP24, no doubt.
I found myself laughing through the entire thing, but that might just be because I am a journalism student… ah well.
This sophomore release from this Cincinnati, OH-based band is incredibly optimistic and often catchy. The band are made up of two males and one female, with a flare for computer-generated snares and the banjo. When Margaret Darling leads a song, they tend to use beats that sound like they are waiting for a helicopter to lift off, whereas when Mike Ingram leads, things slow down. This album is a proud effort and songs such as opener “Winter 04″ and the calmer “Losing Light” showcase their collective talents, and many interesting instruments, but they would be better served bulking up their folk background and toning down the obvious electronic percussion. Keeping the pace fun and light is effective, but the banjo and drum machine need to work harmoniously. They do so to the brim in “The Push.” But what comes after “The Push” is ultimately a shove. (Eurodorable)
So if you haven’t noticed yet, the new (and 200th) issue of Exclaim! is now out on newsstands across Canada (or will at least be coming to your little remote farm town soon). It’s also the year-end edition, in which each genre tallies up the ranks from its critics. The critics send in their top 10, and the ranking turns into a top 20.
As I generally write for the Pop Rocks section, that is where I submitted my list. I was lucky enough to be able to write about my top 2 albums of 2009. They ranked at #3 and #5. It was a pleasure to write about two albums that really made an impact on the insane year I’ve had, nonetheless get the chance to obsessively listen to them again for a week.
So, want to know which albums I’m talking about? Read after the jump to find out! Oh, and stay tuned to find out what my #3-10 are… coming soon.
Hey readers! If you’ve been wondering what’s been going on with me lately, well I’ll tell you. I’m currently working on the Ryerson Review of Journalism full-time in school where I am putting together two feature articles, blog posts and filling my role as the Spring masthead’s Visuals Editor. Besides this, in the past month I’ve helped Homemakers.com move over to their soon-to-be-launched new site, write an article about female music journalists for the Winter issue of McClungs magazine, write an article about Le Cyc for the latest issue of Broken Pencil and another one about something else in the upcoming issue and finally write tons of reviews and do some interviews for Exclaim!.
That sounds like a lot, right? Yeah… but hey, I’ve taken on something new! I now have writing up on Spinner.ca, which is a music website across the world run by AOL.
My first article is a short profile piece on that cute band I keep talking about from Vancouver, Said the Whale. Please do check it out! Here’s a taste for you:
Vancouver pop-rockers Said the Whale might be named after the large mammals that cruise up and down the West Coast but their music has been indelibly shaped by the entire country.
Their recently-released sophomore album, ‘Islands Disappear,’ is a musical reflection on Canada, following a Vancouver-inspired debut marked by intensely moving songs about sailing in ‘Howe Sounds’ and losing a loved one in the same waters in ‘Curse of the Currents.’
“The first was Vancouver because it was where we had been during writing,” singer/guitarist Tyler Bancroft tells Spinner. “This one, we’ve been on the road for two years, six cross-Canada tours, so we’re influenced by lots of Canada now.”
I really do miss updating this blog as often as I did over the summer. It will be back and running in the future … just not for a while, so I at least hope you’re enjoying yourself here on RoundLetters with my clippings!
Though iTunes may categorize this band as “easy listening,” don’t lump them into the same category as Sade or Kenny G just yet. This debut album from duo Xian Hawkins and Jenny Owen Youngs is a beautiful stroll through a balanced mix of female and male vocals, as well as modern instrumentation. But as any stroll does, the album has quick turns, where it takes on a rock overtone to keep things interesting. The duo enlisted the help from Alberta Cross’s Alexander Ericson, the Antlers‘ Michael Lerner and string instrumentalist Eve Boltax. In just eight songs, it’s soothingly poetic yet captures the ears. Often, it’s hard to decipher Young’s lyrics, and they could have done a little less with the computerized sounds, but those problems are washed over in comparison to the warm dual vocals in “Small Hours,” guitar in “Billowing” and the mixtape-worthy ten minutes of “The Comb” and “Photograph.” Everlasting and graceful, this album will soften any hard edges one’s iTunes might have. (Trysquare)
We might as well have the ’90s brought back to us right before the end of the decade, and who better than the ladies in Japan’s 28-year-old, yet newly reformed, Shonen Knife? They’ve got the formula down, from the individual instrumentation (great for Rock Band) to the lyrics, as in “Deer Biscuits,” where new vocalist Naoko sings that they smell like soy bean flour, or “BBQ Party,” which encourages a healthy dose of junk food. You can see the kids bopping around in their Hawaiian T-shirts and razor caps covering up iced tips. However, there’s an undertone of grunge, with Naoko grating her voice in “Pyramid Party,” and her electric guitar. But there’s also the friendly driving force of Ritsuko’s bass and Etsuko’s drumming right from the get-go in first song “Super Group.” Finally, it’s worth mentioning that they have a fun, beach-flavoured cover of a Paul McCartney and the Wings song, “Jet.” (Good Charamel)
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