Posts Tagged ‘Album Review’

Album Review: Little Foot Long Foot – Oh, Hell

June 26th, 2011 | By: Cosette Schulz

Little Foot Long Foot - Oh, Hell

Little Foot Long Foot, damn big sound. They are bluesy, with classic and catchy riffs, eerie organs, and a female vocalist that pierces through it all. In dire musical times such as these, Little Foot Long Foot are sure to be warmly welcomed into ears across the country.

The Toronto trio (previously playing the blues in twos), comprised of dapper bearded drummer Isaac Klein, powerful but not shrill vocalist and guitarist goddess Joan Smith, and recently added organist and vocalist Caitlin Dacey, shows no lack of passion and keep the blues true to its roots. Oh, and they play hard.

Comparisons to the White Stripes seem inevitable here (a role reversal of the red, black, and white “brother and sister” team of Jack and Meg), but Little Foot Long Foot set themselves apart by not adhering to their iconic, minimalistic, and simplistic (but highly effective) drumming and guitar sound.

Joan Smith’s vocals can sometimes reflect the gritty growl of Alison Mosshart or Beth Ditto, with tinges of Joan Baez here and there. Paired up with her distorted guitar, it’s effortless to drink it all in. Klein’s drumming is en par with Smith, and toe-tapping is nearly unavoidable. Dacey’s organs are a welcome addition, as they add that final layer to each track, and round out the already seamless sound.

This is the band’s second full-length album, and with a title like Oh, Hell, you’ve got absolutely nothing to lose and everything to gain. You’ll be taken to hell and back, sell your soul to the devil, but come out seeped in blues goodness.

The single, “Sell Out,” is a perfect introduction to the band. It features an unbelievably catchy riff, Smith’s piercing vocals and tongue-in-cheek lyrics, awesome organs, and deadly drums. The fifth track, “Kickface,” starts off in the deadliest manner with a scrumptious and spooky guitar and organ intro, almost making the listener feel as though they’re in a Vincent Price film. And with lyrics like, “Makes me feel bad, feels good that way,” this track is, well, damn good. The dance-y break near the end is just classic – denying a dance to it is futile.

“She Looks To You,” the eighth track on the album, starts off with quite a unique drum beat (nearly sounds like Klein is playing it in reverse), and then proceeds to literally explode into blues bliss. The amusingly titled “Neko Case Hate Fucks Kurt Cobain” is quite a standout track, starting off with a subtle organ, then leading into Smith’s wail and Klein’s drumstick taps, culminating in an explosion of sound. As Smith fiercely states in this track, “god damn.”

If you ever find yourself hankering a big-sound blues band, give Little Foot Long Foot a listen. Sounds this good are hard to come by, so do yourself a favour and go ahead and fall victim to this hard-hitting trio. Your ears will endure a blues killing, but they will thank you.

Oh, Hell will be released with EMI Music on June 28, 2011.

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Album Review: Eliza Doolittle – Eliza Doolittle

March 1st, 2011 | By: Cosette Schulz

Eliza Doolittle - Eliza Doolittle

“I am Doolittle, but I do a lot.” No exaggerations there. Ms. Eliza Doolittle, another melodic British export, writes her own songs and cheerily sings, whistles and la-la-la’s her way through her 13-track feel-good self-titled debut. The 22-year-old has musical tastes that date back to the golden days of Ella Fitzgerald and Stevie Wonder, and those roots are hard to miss when giving a listen to the record.

One of the singles, “Pack Up,” is a bouncy and undeniably catchy little ditty. It is pure auditory sugar, especially when Doolittle breaks into a “tweet tweet” solo about halfway through, in which one can’t help but surrender and break into a smile. The track has a jazzy, upbeat tempo, and sets an atmosphere of being wholeheartedly carefree (hence the hook, sung by Lloyd Wade, “Pack up your troubles it your old kit bag and bury them beneath the sea”).

“Skinny Genes,” the first single released from the album, is an absolute encapsulation of charm. One can’t help but be reminded of Nancy Sinatra’s “These Boots Are Made for Walkin’” by the plucked bass intro; intentional or not, it proves that Doolittle is inspired by musical gems of the past. It’s also a rather cheeky number, as the juxtaposition of the sweet keyboard melodies and whistles with lyrics like “I really don’t like your skinny jeans, so take them off for me, show me what you’ve got underneath, so we can do this properly” shows.

Fans of Corinne Bailey Rae, Adele, and primarily Lilly Allen will certainly find it hard to resist Doolittle’s record. The similarity to Lilly Allen is rather uncanny, however Doolittle is not nearly as snarky or sarcastic as far as lyrics are concerned. But, as Doolittle sweetly states in “Pack Up,” she “doesn’t care what the people might say, what the people might say about me.”

And if music that instantly conjures up the sights and sounds of summer is something that tickles your fancy, then you are bound to fall for Eliza Doolittle.

Find out how you can win a copy of Eliza’s new record HERE.

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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.

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Album Review: Bikini-RIPJDS

December 27th, 2010 | By: Stephanie Taylor

Bikini - RIPJDS

The duo from New York, Bikini, have turned a few heads since the electronic release of their debut EP RIPJDS. Although only comprised of six tracks, Nigel Diamond and Olivier Bonnard composed just enough synth-heavy techno-pop to keep listeners dancing for at least a few minutes. Stemming from a strong musical background and drawing inspiration from his own poetry, Bonnard is responsible for creating the melodies and somewhat eerie vocals that can be found on this album. After being exported to Diamond, the melodies, rhythm lines and vocals were pieced together to create the finished product. Despite the separation in their creative process, Bikini still managed to preserve a clean and constant sound throughout this mixture of obscure club tracks.

Similar to fellow ‘label-mates’ Neon Indian and How to Dress Well, the appeal of Bikini rests in the eccentric techo-inspired rhythms that are perfectly combined with ghostly vocal hooks. You can barely make sense of the lyrics on any of the tracks, yet they add a relaxing element to an otherwise overbearing genre.

Tracks like “American Mourning” and “Palm-aire” exhibit obvious fading techniques used to drop the beat and enhance the vocals. Not only does this add depth to the rhythm but also evokes the feeling of being in a trance-like state. On the other hand, they also seem to have a similar effect in their mainly synth-driven tracks like “Diamond’s Departure” and “A Cheerleader.” These are similarly upbeat but allow you to pay closer attention to the distortions without the distraction of haunting howls.

RIPJDS provides an intriguing approach to techno-fused dance music. For those looking to explore, or even satisfy their current musical palate, this album offers another fresh spin on the typical club anthems you would commonly hear on any given night out. It lacks that overly obnoxious element that pop/electro/techno can sometimes have while remaining upbeat and mysterious. It is likely we’ll be hearing Bikini in mashups and digital samples at house parties and clubs before we know it.

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

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Album Review: Buke and Gass – Riposte

November 29th, 2010 | By: Cosette Schulz

Buke and Gass - Riposte

The ability of a two piece band to create immense sound is not a new concept. Take The White Stripes for example; Meg and Jack are more than capable of effortlessly sounding like a band twice their size. For Buke and Gass, the same effect takes shape. The two-piece duo, Arone Dyer and Aron Sanchez from Brooklyn, NY, easily convince your ear drums that you’re hearing more than a “buke” (an altered six-string baritone ukulele) and “gass” (a unique hybrid of  guitar and bass).

Their sound is incomparable; it is chaotic, melodic, and at times difficult to consume and process. But some takes are undeniably catchy. There is no concrete structure to any of their songs, and that proves to be one of their greatest elements. Buke and Gass can best be described as unpredictable; during a listening, you may think you know where the tune is headed, but midway it takes a turn you would never expect. And it seems to work every time.

Dyer’s vocals are eerie at times, and oddly captivating. There is a pop element to her, with a slight tinge of Gwen-Stefani-No-Doubt-esque and Karen O vocalizations here and there. She can be hypnotic, amusing (background vocals in “Heart” are rather fun), and even screechy. For tracks like “Sleep Gets Your Ghost” and “Revel In Comtempt,” there are vocal patterns throughout that are surprising and, well, downright catchy. Buke and Gass are not all treble-heavy, for tracks like”Immoral But Just Fine, Okay,” Dyer’s vocals are light and airy, floating above the at-times delicate strumming and deep bass/drum hits.

One of the catchiest tracks, “Bundletuck,”  takes you here, there and everywhere. If ever a song were bipolar, this would be it. But it works. Dyer’s vocals mimicking the guitar riffs are seamless, and the subtle jingle bell hits are a nice touch.

This album, Riposte, may make the listener feel way out of their element, but it is a welcoming sensation. Not many artists can pull of this mash-up of sounds (almost like an indecisive mind putting all thoughts together simultaneously), but something about the uneasiness of their sound is quite appealing. Fans of St.Vincent will surely appreciate the complexity of Buke and Gass. For everyone else, Buke and Gass sure are something else.

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

And don’t forget to catch Buke and Gass this Saturday December 4 at Sneaky Dee’s!

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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.

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Album Review: The Stanfields – Vanguard of the Young & Reckless

November 3rd, 2010 | By: Michelle McGlynn

The Stanfields - Vanguard of the Young & Reckless

After garnering a stamp of approval from their hometown by being voted ‘Halifax’s Best Band’ of 2010, The Stanfields, a quintet of five good ol’ boys who epitomize the East Coast, have released their debut album, Vanguard of the Young & Reckless, a concept album that details a working-class hero’s jaunt through the seedy underbelly of Atlantic Canada.

Vanguard of the Young & Reckless is a collection of carefully crafted narratives courtesy of singer/lead guitarist Jon Landry’s gravelly, low-down lyrics that read like old cautionary campfire folklore, especially on standout tracks “Dagger Woods” and “Jimmy No More.”

Highlights of the album include Jason Wright’s furious bouzouki playing and “Footsteps in the Stand,” the perfect upbeat ditty for dancing a jig in steel-toed boots. These two elements alone almost make up for the abominable second to last song on the record, the campy “Crocodile Tears” that drowns on for over six minutes in excessive, lovelorn sappiness.

Sounding like a folk explosion cross between a pack of scurvy-infected pirates, Dropkick Murphys or Nickelback’s Chad Kroeger if he had to spend a year fearing for his life in the Canadian Wilderness, Vanguard of the Young & Reckless is the album of choice for a night of beer swilling punctuated by a chorus of bar brawls.

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

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Album Review: Imaginary Cities – Hummingbird

October 25th, 2010 | By: Stephanie Taylor

Imaginary Cities - Hummingbird

Lately, there seems to be an upsurge in the number of bands shying away from the conventional sub-genres long associated with the indie music community and embracing the idea of experimentation with more traditional styles. Following suit by elegantly fusing elements of alternative and pop with powerful motown inspired vocals, Imaginary Cities have managed to create a unique sound worthy of the hype they’ve created. This two-piece band, comprised of members Rusty Matyas and Marti Sarbit, made their first public debut this summer at Toronto’s own NXNE music festival. Now, with the release of their three-track debut EP Hummingbird, set to be released October 26th, it’s fair to say that this album will leave a lasting impression.

Sarbit, who is somewhat of a newcomer to the music scene, elicits the initial appeal of Imaginary Cities. The power of her gritty yet enchanting voice immediately captures your attention on this record. Each of the tracks demonstrate her considerable range while also introducing how truly unique her voice is. Matyas, on the other hand, is a veteran multi-instrumentalist known for his role in the Canadian bands The Waking Eyes and The Weakerthans. His instrumental expertise is clearly exhibited through his ability to create extremely catchy rhythms that effectively compliment Sarbit’s vocals. Tracks like “Hummingbird” and “Marry the Sea,” incorporate percussion and elements of syth that transform the otherwise woeful lyrics into something you can move to. “Ride this Out” initiates a slightly different reaction; the guitar strums, discrete elements of piano, and hand claps seem to accentuate the lyrics and leave you repeating the words of the catchy chorus.

Although very short, Hummingbird serves as an official musical debut for the group until the release of their LP Temporary Resident in early 2011. Anyone who has yet to catch wind of this creative powerhouse will undoubtedly have their interest peaked. While the sounds of soul and blues continue to be increasingly well-received judging by the success of bands like The Black Keys, the sultry R&B inspired sounds of Imaginary Cities are likely to be the next step in musical enlightenment.

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

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Album Review: Cheap Time – Fantastic Explanations (and Similar Situations)

October 24th, 2010 | By: Wini Lo

Cheap Time - Fantastic Explanations (and Similar Situations)

Cheap Time doesn’t sound that much like a modern band.  Right down to the cover of their sophomore album, which features a Beatle-esque figurine and other vintage-looking knickknacks, Fantastic Explanations (and Similar Situations) sounds like a weird, hybrid stepchild of Sgt. Pepper-era Beatles and glam rock T-Rex.

While their previous self-titled album was a brash 70’s-punk homage of wham-bam-thank-you-ma’am 3 minutes and under rockers, Fantastic Explanations sounds more subdued and calculated, but unfortunately, less cohesive and much less interesting.  With the album clocking in just over 30 minutes, why does it feel so tiresome and dragged-out only halfway through?

This album features jangly guitars, piano and a smattering of vocal reverb.  For fans of their debut, the musical stylings of this album could prove to be alienating and confusing.  The punk sound does remain in “Woodland Drive,” an unmistakable tribute (or rip-off?) to the Ramones, which, while catchy, feels jarring and out of place.  Perhaps it was a leftover track from the self-titled recording session?

With the nostalgic sound and instrumentation, it’s almost hard to believe that Cheap Time isn’t some lost and forgotten 60’s/70’s garage punk glam rock band recently unearthed in 2010, but rather a band fronted by a Tennessee native who has been playing in punk rock bands since 2006.  Singer Jeffrey Novak’s whiny, wailing and sometimes-off key vocals are better suited for garage punk than melodic pop songs.  While it’s hard to fault a band for attempting to reinvent themselves and dabble in different genres, here’s hoping Cheap Time’s next album is more cohesive.  Perhaps a return to their garage punk roots is in order.

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

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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

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