Sigur Ros – Valtari
It has been four long years since Icelandic, ambient, post rock, Sigur Rós’s last release. In that time they scared fans with the scraping of a whole album, and even a hiatus. Now they return with what they are describing as being the release they are most proud of, Valtari.
It took me a while to figure out how I felt about Valtari. It doesn’t really have any tracks that feel like “singles” the way that Takk and Með suð í eyrum við spilum endalaust did. However, this album just might be one of their strongest album releases as a whole. It might take a few listens, but it this is a real front to back album experience. After my fourth go at it, I really understood the complexity and beauty in songs like “Varúð”, and came to the conclusion that “Varðeldur” very well might be one of the most beautiful songs I have ever heard. Sigur Rós has always had that cinematic quality that really pairs itself with life and the moments in it. I listened to this album while reading, and the most chaotic storm raged and then dispersed all within the course of the album. The simplest way I can explain the experience without taking up this whole article, was that it was beautiful. Few bands have that ability to effect situations like these guys.
What is for certain is that this is the same Sigur Rós that all fans have come to know and love. The intensity, the lonely piano, the bow guitar, and Jonsi’s haunting falsetto voice; it’s all there. Fans will hear the warm bass come in during Ég anda, and sigh, “I missed you Sigur Rós”. Oh, and the songs are still super hard to pronounce.
Half Moon Run – Dark Eyes
You’d never guess that Dark Eyes, released just a few months ago, was Montreal trio Half Moon Run’s debut album. The band’s intricate and experimental arrangements have already led to comparisons with Radiohead, Fleet Foxes, and Brasstronaut — which, while potentially flattering, don’t quite seem to hit the mark.
Each song on Dark Eyes differs in style from the next, culminating in an overall moody, atmospheric, and vaguely catchy feel that makes the multiple listens fun. And boy, can these guys play. And sing. Devon Portielje’s powerful lead vocals are consistently backed by bandmates Conner Molander and Dylan Phillips, creating harmonies which, layered against inventive guitar lines, keys, and percussion, result in an impressively full sound for a three-piece. Drummer Phillips also plays keyboards (often simultaneously with drums, according to the band label’s website), and Portielje and Molander shuffle between guitars, keys, samplers, and percussion.
The opening track, “Full Circle,” is the catchiest tune on the album. “Need It” is a swingy ballad that might make you feel like you’re at a high school dance in the 90s. My personal favourite is “She Wants to Know,” a haunting track that encompasses the best of band’s abilities. What Half Moon Run lack in numbers, they make up for in musicianship and creativity.
Metric – Synthetica
On first listen, Metric’s latest electro-rock number, “Youth Without Youth,” may not make much sense as a lead single. With it’s heavily processed vocals, repetitive guitar work and absence of any real chorus, it lacks the basic formula that gained Metric unprecedented radio-play and acclaim following the release of 2009’s Fantasies. But these kind of dramatic shifts in sound are what have kept everyone following Metric’s (and lead-singer Emily Haines’) every move since forming over a decade ago.
Japandroids – Celebration Rock
Like everyone else who heard their breakthrough record Post-Nothing, I fell in love with Japandroids on my first listen. These guys make that raw, loud noise that could only come from two guys who are giving it their all. Their efforts reign true again with their newest release, and aptly named, Celebration Rock.
Best Coast – The Only Place
Sophomore record. Sophomore slump. That dreaded chapter in a band’s story that can make or break a career. In numerous interviews outlining the journey to recording new material, Best Coast singer Bethany Cosentino promised the upcoming record would bring her vocals to the forefront and show maturity of the band. Another key detail was the producer of said new album – Jon Brion, who has notably produced music by Fiona Apple and Kayne West, among others.
The Only Place does not fail to deliver those promised vocals – gone is the disaffected lo-fi singing style, buried beneath guitar fuzz and reverb. Instead, Cosentino’s buttery smooth pipes ring out loud and clear – especially on the 60’s style torch song “No One Like You.” There’s no mistake here – the girl can definitely sing. But in the clarity of sound, that certain lazy, effortless charm is missing. However, this change is still evolution and one can’t necessarily fault a band for wanting something new.
Cold Specks – I Predict a Graceful Expulsion
As diverse and interesting a city Toronto is, referencing it in a song can usually come off as laughable (unless, of course, you’re Drake). Let’s face it; even if it is occasionally referred to as “a smaller New York City,” Toronto’s landmarks will never have that same roll-off-the-tongue coolness as the Empire State Building or Central Park in the spring time. But that doesn’t stop 24 year-old “doom soul” chanteuse, Al Spx – who performs as Cold Specks – from littering her debut album, I Predict a Graceful Expulsion, with as many hometown references as her heart desires. And even with her raw and tarnished Southern-folk sound, she’s able to pull it off.
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