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Album Review: The Honey Pies – Think of England

January 8th, 2011 | By: Guest Contributor

The Honey Pies - Think of England

The nostalgic and upbeat debut album from the Australian independent pre-post-rock band The Honey Pies, entitled Think of England, will be released on January 10. Band members Jon Marco (rhythm guitar), Tony Marshall (lead guitar), Tom McCarthy-Jones (bass guitar), and Marcus Warnecke (drums) intertwined their talent and came together in perfect unison on this debut release. Their harmonic style prevails throughout the entire album, putting a vintage twist on modernity and capturing listeners from the get-go.

The album begins with high energy tracks that grab your attention like “Sex Wax” and “Hair Of The Dog,” but eases-up with the loveable melodies featured on songs such as “Get It Right,” “Don’t Mention the War,” and “Fool In Love.” The Honey Pies’ unique sound, mixed with their ’50′s and ’60′s influences, upbeat delivery, and charming lyrics, makes for catchy collection of songs that are hard to not fall in love with. Their tracks are dynamic and range in style, mixing elements of garage, surf rock and Beatles-esque sounds, resulting in one intense and colourful listening experience. Each band member experiments with various forms of delivery, achieving a delicate balance of opposites in sound by lacing raspy vocals in the foreground with beautiful instrumentals in the background throughout their record.

Think Of England is a great start for The Honey Pies, who may have paved the way for a successful music career with the talent demonstrated on the material of this debut release. This album will leave a unique and likeable impression on fans while creating a positive disruption in our stagnant airwaves.

Tags: Album Review, the honey pies, Think of England
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Alexisonfire @ Sound Academy, December 16, 2010

December 24th, 2010 | By: Guest Contributor

Alexisonfire @ Sound Academy - Photo by Jon Teigesser

Alexisonfire got fans warmed up by opening their set at the Sound Academy on December 16th with the single “Young Cardinals” off last year’s album Old Crows/Young Cardinals, following openers La Dispute, Norma Jean, and Four Year Strong. Judging by the turnout though, it seemed as though the headlining Canadian band had lost some of their devoted fans. This is may be due to their change in sound that became obvious with the release of their 2009 album, which received a mediocre response in comparison to their previously released highly-praised albums. This may be why the band stuck to what they do best by playing crowd favorites like “Accidents,” “Boiled Frogs,” “No Transitory,” and “This Could Be Anywhere in the World,” which got fans singing along with great enthusiasm. “Dog’s Blood” off their Dog’s Blood EP and “Midnight Regulations,” “Old Crows,” “Sons of Privilege,” and “Accept Crime” from Old Crows/ Young Cardinals were also part of the captivating set list.

Alexisonfire had an overall great performance though it was difficult to make out Dallas Green’s vocals over the live, high-energy instrumentals. It’s fair to say that at some points of the act only intense fans would have been able to decipher what was being played because of the band’s unclear delivery. The show was a toned down version of their past performances. Overall, in comparison to their past concerts, Alexisonfire was not up to par and lacked some of the magic that their old shows brought out in everyone. Hopefully their new musical direction strengthens in time, allowing them to withhold their strong, hard-earned reputation.

Check out photos of Alexisonfire by clicking HERE.
Check out photos of Four Year Strong by clicking HERE.
Check out photos of Norma Jean by clicking HERE.
Check out photos of La Dispute by clicking HERE.

Tags: alexisonfire, show review, sound academy
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Album Review: Data Romance – Bones

November 23rd, 2010 | By: Guest Contributor

Data Romance - Bones

Vancouver electronic duo Ajay Bhattacharyya and Amy Kirkpatrick have been garnering much attention in indie electro-pop circles thanks to a recent string of singles and a new EP Bones. Under the moniker Data Romance, they feature three wicked remixes of the self-titled track, and two impressive glimpses that reveal this duo’s awesome potential. On Bones, they fashion the brand of music that Flying Lotus would play at his shows – a sort of loud, rambunctious bass heavy electronica.

Data Romance offer a variety of sounds on this “Tweet to Pay” EP, fusing electronica, house, jungle, dubstep, and hip hop. The sole, non-club-friendly ballad “Warrior” sounds as dreamy and ambient as The xx, Kirkpatrick’s gentle vocals accompanying the lush violin strings, quiet guitar plucks and growing piano keys. The title-track “Bones” encapsulates everything you need to know about Data Romance: the dirty house beats, Kirkpatrick’s possessive vocals, and a climactic surge that is as relentless as it is endearing.

“Bones” transitions smoothly into Alex Greggs’ rendition of the single which finds the DJ elevating the bass and experimenting with some electronic distortion. On the Cannavo & Nesse vs. Jaycobson remix, “Bones” is suited only for a club, and is an additional treat for drug users. The track is equipped with trance-like qualities, habitual climaxes, and vocal-less electronic explorations. The self-remixed “Frozen” displays Ajay Bhattacharyya’s formidable skills as a producer, furnishing “Frozen” with the grimyest display of hip hop beats available.

On Bones, Data Romance deliver, shaping their music with sinister landscapes, radiant electronica and dance-frenzy production. Their debut LP is set to come out early Spring 2011, and it seems likely that Bones will create quite the frenzy before its release.

Tags: Album Review, Bones, Data Romance
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Album Review: Megan Bonnell – Anaheim

October 24th, 2010 | By: Guest Contributor

Megan Bonnell - Anaheim

If ever a sequel was made to the 2009 indie flick (500) Days of Summer, ([500] Days of Autumn perhaps? Ick), Megan Bonnell would most certainly be featured on the soundtrack. The opening track on her self-titled EP, Anaheim, tickles your eardrums with sounds not unlike a lovechild of Regina Spektor and Kate Nash. She perfects the melodic combination of bouncy piano, hand claps, gentle tambourine taps, and subtle yet toe-tapping drum backbeats. The catchy nature of “Anaheim” is en par with the likes of indie songs featured in iPod and Telus commercials, with the ending chorus of “oohs” and “woohs” bound to sneak their way into your mind and pop up whenever mundane tasks cross your path (midterms, anyone?)

Bonnell treads lightly on the border of indie pop and folk. Her melodies are sweet, but teamed with lyrics such as “you’re a moonshiner, in the daylight you’re ragged, by night you’re just scared of the fire,” the Bob Dylan influence easily shines through. Pair Bonnell’s lyrics with folksy chords and you’ve got yourself a song reminiscent of Dylan’s work. In “Moonshiner,” her vocals are strong yet almost eerie and interplay with the subtle strings in the background. This song will surely be greeted by dimmed stage lights and lighters (or do today’s kids prefer cellphones?) gently swung back and forth.

One thing’s for certain about Bonnell, her work seems to capture a dreamlike state. Her piano playing ranges from the aforementioned bounce of “Anaheim” to the darker melody of”Moonshiner.” The EP’s middle track, “The Wind,” is lightly tinged with country-like timing, with the sweet addition of xylophone, proving that Bonnell’s upbringing in rural Ontario has left a mark on her.

Bonnell’s EP is a strong start, as she is able to dip her proverbial feet into different styles (catchy pop tunes, country-tinged, darker ballads). If she keeps writing Dylan-infused lyrics and Spektor-like piano bits, she’s bound to make an impression.

MySpace: http://www.myspace.com/meganbonnell

Tags: Album Review, Anaheim, Megan Bonnel
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Album Review: Anagram – Majewski

October 20th, 2010 | By: Guest Contributor

Anagram - Majewski

In a punk scene that is being dominated by an increasingly prominent lo-fi ethos, it’s an invigorating gesture to put out a record unadulterated with growing fads – a record strictly adhering to the traditional roots of post-punk culture. Majewski, the third effort from Toronto locals Anagram, is a head throbbing experience equipped with soaring bass lines, balls to the wall percussion, and riveting vocals. Anagram is notorious for delivering the most rambunctious, high energy performances this city has to offer, and they happen to be playing a release show this Friday October 22 with Deloro and Bruised Knees at The Shop under Parts & Labour.

Unlike Vancouver’s Japandroids or L.A. renown No Age, Anagram yields to a melodic induced genre; though they implement a hint of low fidelity in certain tracks, like first single “I’ve Been Wrong Before,” they are careful to emphasize vocals before anything. Majewski is that particular brand of gloomy, sinister garage rock that fans of Anagram have fallen in love with. Lead singer Matt Mason’s diversified vocal abilities permit him to yell, scream, sing, and he even comes close to rapping on “How It Seems.” But the decisive dimensions of this ensemble reside in the utter iniquity of Mason’s trembling voice and how neatly it compliments the raging guitar riffs and lethal bass arrangements. Along the prolific noise that is omnipotent in their sound, Anagram skillfully arranges harmonious repertoire here; the soothing “Good Idea At The Time,” the ominous undercurrent of “Just Sayin,” the pulsating madness of “Those Were The Days.”

Majewski is being released exclusively on vinyl on October 19, and will be available for download through their label Dead Astronaut. Like its predecessor, 2005′s After Dark, the LP affirms their position as Toronto’s most bad-ass ensemble. Anagram skillfully perpetuate their post-punk position here, strictly using traditional instruments without even a smidgen of synth, pop, or surf that’s been dominating Toronto’s growing indie scene. True nationalists to the genre, Anagram have released another worthy punk record with Majewski, one that shall inspire mosh pits of all sorts.

Catch Anagram at The Shop under Parts and Labour on October 22!

MySpace: http://www.myspace.com/anagram

Tags: Album Review, Anagram, Majewski
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Album Review: Big Boi – Sir Lucious Left Foot: The Son Of Chico Dusty

July 22nd, 2010 | By: Guest Contributor

Sir Lucious Left Foot

“Been under construction for three years but its about time I double Dutch my way in.” That’s Andre Patton, better known to his fans as Big Boi – and best known for being one half of iconic American hip-hop duo OutKast – sounding off on “Follow Us” about Sir Lucious Left Foot, the first full-length album from either Patton or fellow Georgian MC Andre “Andre 3000″ Benjamin in over four years. After record label disputes stalled its release, some joked that the album might become hip-hop’s Chinese Democracy, and others feared that Sir Lucious Left Foot might never see the light of day. Fast forward to 2010, and after leaking numerous tracks (and a few stellar non-album cuts), we finally have a brand new Big Boi album just in time for summer.

So was the wait worth it? In a word, absolutely. Sir Lucious Left Foot: The Son Of Chico Dusty is incredibly diverse musically, with songs incorporating elements of everything from synth funk to bass-heavy rock to electro, all narrated with Patton’s trademark lightning-quick delivery. Above all, the album is giddy good fun. “Fo Yo Sorrows”, which features guest vocals from funk legend George Clinton and a verse from rapper Too Short, is a ridiculously catchy ode to recreational marijuana use that’ll have weed smokers everywhere nodding their heads in solidarity. If Andre 3000 was the Romeo of OutKast, a gentleman who’d take a lady out for a nice seafood dinner and then call her back afterwards, than Big Boi was the street-savvy skirt-chaser, which he makes a point of reiterating on the deliciously depraved album standout “Tangerine” (sample lyric: “When she’s liquored up, I’m leavin’ my fingerprints on her butt”). Meanwhile “Follow Us”, which features a chorus from emo dudes and Purple Ribbon Label-signees , comes across as the radio-friendly pop crossover that B.o.B. was going for (and failed) with the Hayley Williams-assisted “Airplanes”.

Despite having a who’s who list of guest vocalists, including Gucci Mane, Yelawolf, T.I., and Janelle Monae, the whole thing remains Patton’s show, and the veteran rapper shows it’s entirely possible for an old dog to learn new tricks. We might not be getting a new OutKast album anytime soon, but Big Boi proves that he can fly solo just as successfully. If you’re looking for a rap album to serve as the soundtrack of your late-summer days, you could do far worse than by picking Sir Lucious Left Foot.

For More,
MySpace: http://www.myspace.com/bigboi

Tags: Album Review, atlanta, big boi, hip-hop, outkast
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We Are Scientists @ The Horseshoe Tavern, July 19, 2010

July 21st, 2010 | By: Guest Contributor

Photo by: Jeff Jewiss

It became hard to tell if We Are Scientists were musicians or just musically-talented comedians during their performance at the Horseshoe on Monday night. With the best stage banter I’ve seen in a while, guitarist Keith Murray and bassist, Chris Cain tossed their humour back and forth between songs entertaining the already lively venue. Rocking out to tracks from their newest release, Barbara, the crowd was ecstatic to have them finally back on Toronto soil.

Their last Canadian appearance having been with Kings of Leon, the New York based three-piece flaunted undeniable chemistry and stage presence that brought the show up to a whole new level. Murray made the guitar look effortless by playing chords behind his head and against the corner of the wall admist his almost Bieber-like hair flips, while a retro 70’s mustached Andy Burrows brought the beats home on the drums and Cain reigned in the tracks with his exemplary live vocals and bass.

To the delight of fans, the band revealed the secret of cleverly titling their latest release Barbara; for the mere fact that it includes the word ‘bar’ twice. As well as playing several songs from the aforementioned, they also enticed the crowd with tracks from their previous release, With Love and Squalor, including “Inaction”, “This Scene is Dead” and “The Great Escape”.

For the final song of the set, opening acts Lightspeed Champion and Rewards came on stage to play the tambourine and guitar while Murray jumped down into the crowd and allowed audience members to hoist themselves on stage until it became packed with sweaty, dancing fans. The set ended on this explosive note but continuing with their high energy, the band quickly came back to honour their appreciative fans with a closing one song encore.

For More,
MySpace: http://www.myspace.com/wearescientists