Posts Tagged ‘cd review’

CD Review: Woodpigeon – Spirehouse

May 2nd, 2010 | By: Melina Mehr

Spirehouse

Rising up from Calgary, Woodpigeon is making their way across the nation (and beyond) with nothing less than beautiful and artful melodies. So take a seat, toss in this CD, and enjoy those workless days you’ve been counting down to.

Spirehouse is their new EP featuring five songs, three of which were previously unreleased tracks. It proves to show the band’s strong sense of musical standing – with each three and a half song being firm and exquisite. There are some unique instruments potently poking their heads into these recordings, especially in “Don’t Fret, My Pet,” which happens to be my personal favourite. Also added in this wondrous collection of music is the title track along with its remix done by Shipshapen. To my relief, instead of butchering the song (which I find a lot of recent remixes tend to do), it gives it a nice deep boost; with a sturdy drum beat and more prominent duo singing, it’s not tough enough to kill the mood that the original “Spirehouse” exuberates. It’s definitely the perfect way to begin and wrap up the EP.

Something else that caught my attention was “Toil,” bringing in a soothing chorus of extended ooh’s that just swoop into your ears and welcome serenity. Its sweeping acoustic guitars and the lyric, “light is the task where many share the toil,” originally written by the poet Homer, were among the track’s stand out elements. And I must say that the sound does accord with the lyric’s meaning, in the most harmonic way.

The overall feel reminds me of work done by Margot & the Nuclear So and So’s, Blitzen Trapper, and Seabear. Woodpigeon still manages to distinguish themselves and upon occasions of needing to kick back with a good read and some snacks, a playlist containing all of these bands should be playing in the background on repeat. You can take my word on that!

For more Woodpigeon,
MySpace:
http://www.myspace.com/woodpigeon

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CD Review: Baby Dee – A Book of Songs for Anne Marie

April 13th, 2010 | By: Melina Mehr

A Book of Songs for Anne Marie

You know those fairytale remake films that all begin with the same opening title sequence? It generally includes a grandparent sitting on the granddaughter or grandson’s bed, opening up a thick hard covered book that then swoops us into the actual storyline. Well, Baby Dee’s newest album, A Book of Songs for Anne Marie, does just that.

As a youngster, I was always fascinated with the harp, and how the player can so delicately grace the strings, but produce such powerful tunes. Baby Dee knows how to work this, because it’s no surprise that her talent shines with her instrumentals.

As it goes, “Overture (Intro)” is the first song we are introduced to. It takes us into a mystical and magical mood, as if lost within a vast green forest with only trickles of light sweeping the dirt. This aura is continued throughout the album, which is composed of Dee’s fabulous piano and harp melodies. Her voice doesn’t quite comply with my taste, but there’s an obvious emotion within each range. “Morning Holds Star” has Dee basically weeping in disbelief at some points, in accordance with such lyrics as, “There must be some mistake when robins wake a winter day…there must be some mistake.” Her voice shrivels in anxiety when calling forth for “grateful arms that sing” and the end of all sad songs. “Black But Comely” twists into a more dark setting, bringing images of the overcastting smoke covering the home skies, and “waters dark as wine from boundless reaches.” But don’t worry, in the end, as with fairytales, the darkness is broken through allowing light to illuminate in.

What stood out to me were Baby Dee’s overpowering vocals, which only breeze in and out of songs amidst the airy instruments – never a solid cue and always pouring more and more of her heart out. Despite this album not personally being my jam, there is a potent factual beauty within each song. Graceful and sheer as a whole, you won’t fail in finding multiple stories being not only sung, but played to you. (No surprise when putting the name of the album into consideration!) There’s a renaissance fair feel to it too, as if you’re part of the 17th century carnival community. No wrong in that – in fact, it just helps push the imagery of nature, which is so vividly included.

Go ahead and pick up A Book of Songs for Anne Marie if you want to be taken into the love of love, and the love of life.

For more Baby Dee,
MySpace:
http://www.myspace.com/theonlybabydee

***

Be sure to catch Baby Dee tonight at the Music Gallery! Tickets are $20 at the door.

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CD Review: Wilderness of Manitoba – Hymns of Love & Spirits EP

February 11th, 2010 | By: Guest Contributor

Hymns of Love & Spirits

Hymns of Love & Spirits

In a world where music is dominated by electronic instruments and computer generated instruments, it’s always refreshing to come across a band like The Wilderness of Manitoba (WOM), a band with a sound defined by layering banjos, cellos, vocals, and underlying sixties folk influences. Not many bands can do soft folk well, but, in their first EP since forming in 2008, WOM proves that they are one of the few who can.

The first thing that jumps out at me is how much WOM sounds like Bon Iver, Fleet Foxes, and Great Lake Swimmers –especially Bon Iver.  However, compared to Bon Iver, WOM sounds less melancholic and more hippie sounding.  There’s something quintessentially Canadian about their sound and their lyrics speak of the beauty of nature.

Perhaps the most strikingly unique aspect of this EP are its sixties influences.  This is especially apparent in the track, “Evening”, which was originally written by band member Will Whitwham’s mother in 1968.   While staying true to the original version, the band’s version of “Evening”, is by far the best track of the album due to its simplicity and the well-arranged vocal interplays.

All in all, Hymns of Love and Spirits is a great EP that is definitely worth listening to if you like Bon Iver and/or Fleet Foxes or just like soft folk in general.

By Athena Ngai

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CD Review: Leif Vollebekk – Inland

February 11th, 2010 | By: Alie Lavoie

Inland

Inland

When honesty is used in a thoughtful way, it can be a beautiful thing. Leif Vollebekk’s Inland (Nevado Records) is a beautiful a thing. A beautiful, genuine, swooning thing. Violin, piano, guitar, banjo, harmonica and soft brushed percussion form a remarkably lovely body of songs around the spine of Vollebekk’s poetic lyrics. Inland is full of perfect moments where music and words come together seamlessly, as in “Michael Robartes & the Dancer” where Vollebekk’s warm, finger-picked acoustic guitar provides the instrumental support for his equally warm lyric waves: “Blue-eyed sister’s asleep downstairs / In a rocking chair by the old lamp’s glare.”

The overall mood of Inland is one of familiarity: “You Couldn’t Lie to Me in Paris” sounds like an unearthed Bob Dylan b-side; the percussive guitar, strings and piano on “In the Midst of Blue and Green” is something that wouldn’t be out of place on a Nick Drake record.

But at the heart (or spine) of the Vollebekkian sound are his trademark lyrics, his slice-of-life stories set to music. As someone who frequently glosses over lyrics in favour of the general melody, it’s refreshing to continually notice words again, and even better to notice them when not actively trying to. Vollebekk’s lyrics make themselves known by very nature of their honesty and attentive phrasing, and it’s nice to be reminded of the marvellous things language can do for a song.

Inland is a real album. According to Vollebekk himself, the album is meant to be heard on vinyl, an earthier, arguably more “real” music experience. The wavering harmonica solo on “Don’t Go Klaksvik” is real. The emotional range of “Quebec”, from defeat (“When a woman moves on it’s best you just move away / When she fancies your friend, now that’s twice the price to pay”) to audibly strained defiance (“Step on to that bridge / Swear I ain’t coming back”) is real.

In reality, all I’m really trying to say is that Inland is really real and it’s really fantastic because of it… For real.

***

For more Leif Vollebekk
MySpace
Website

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CD Review: Woodpigeon – Die Stadt Muzikanten

February 4th, 2010 | By: Guest Contributor

Die Stadt Muzikanten

Die Stadt Muzikanten

Despite only briefly listening to their past two albums, I can safely say that their third full-length release, Die Stadt Muzikanten, is Woodpigeon’s best album yet. The german title, simply translating to The Town Musicians, is the perfect way to describe this sprawling indie-folk and chamber-pop ensemble. Over fifteen flourishing tracks Mark Hamilton, founder and core member of Woodpigeon, treats us to crackling confessions about love and denial delivered in a warm and pleasantly frayed tone that is reminiscent of folk and indie artists such as Sam Beam (Iron & Wine) and Stuart Murdoch (Belle & Sebastian).

Although many of the lyrics seem to suggest a sombre mood, they are carefully complicated by lush melodies, catchy guitar riffs, and intricately layered sections of piano, violin, banjo, and the occasional trumpet. Tracks like “The Street Noise Gives You Away” and “My Denial in Argyle” on the other hand, reveal a powerful indie rock side to the band and are crammed full of pounding drums and infectious guitar. These rich instrumentals make the album feel a whole lot more crisp and polished than previous releases and Die Stadt Muzikanten generally feels like a giant step forward for the band as a whole.

As engaging as Woodpigeon’s sound can be at times, it’s the harmonies that will simply steal you away. Stand out tracks “Empty-Hall Sing-Along” and the epic seven-minute “Such A Lucky Girl” are perfect examples of this. These massive chamber-choir numbers build from simple, repetitive percussion into rousing sections of piano and violin with hauntingly powerful vocals stirred in. More than anything else, Die Stadt Muzikanten sees Woodpigeon reach their biggest sound yet, and on this record they’ve truly found a sound that they can proudly call their own.

***

For more Woodpigeon,
MySpace:
http://www.myspace.com/woodpigeon

Catch them live next week with Betty Burke at the Drake Hotel on Thursday, February 11th. The band will also be playing a free in-store at Soundscapes on February 14th at 5PM.

Review By Roman Melnik

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CD Review: Modernboys Moderngirls – I Might As Well Break It

February 4th, 2010 | By: Christine Morasse

Modernboys Moderngirls - I Might As Well Break It

The latest release from Toronto’s Modernboys Moderngirls features simple riffs and repetitive lyrics, the perfect combination to make a song stick in your head for days. I didn’t think much of the first two songs; too annoyingly ‘’boy trying to get the girl’’ for me. But once you get what the album is all about (making you dance and stop thinking), you start clapping your hands and busting some questionable dance moves. Happily Unsteady stands out as the most refined song of the bunch. Modernboys Moderngirls’ music is not unlike Britain’s generic pop-rock bands (Arctic Monkeys and the likes) but the trio does it with a touch of Talking Heads, a little vavavoom. Although it’s nearly impossible to even come close to Talking Heads genius, I Might As Well Break It is a fun album that will certainly suit your afternoon cleaning chores and pre-party drinking.

Modernboys Moderngirls are geniuses when it comes to live shows and while the album isn’t quite as polished as their dance moves, they deserve serious attention. Catch them live tomorrow in Peterborough or on Saturday in Ottawa. Details on their myspace page.

For more Modernboys Moderngirls visit their Myspace.

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CD Review: Los Campesinos! – Romance Is Boring

February 2nd, 2010 | By: Guest Contributor

Romance Is Boring

Romance Is Boring

A little less than a year ago, I had just started blowing all of my money going downtown to see shows, and spending whatever was left of that money at merch stands. At the time I only vaguely knew who Los Campesinos! were but I had heard (or read somewhere) that they were amazing live, and any band whose members all changed their last names to Campesinos! (with the exclamation mark included) were cool in my books.

So I went down to the Opera House to see them, witnessed the most energetic and unpredictable show I have seen to date, and then arrived home to instantly make it my night’s mission to scour the internet for every bit of information on this seven-piece from Cardiff, Wales.

A year later and with the release of their third full-length release, Romance is Boring, Los Campesinos! expands on their simply explosive indie style. At their core they are a power-pop band, and although they never stray too far from the genre, they always manage to keep things fresh. In fact, many of the great moments from the album come in their ability to blend drastic changes in mood and tempo that practically force you to pay attention. Unfortunately, this same unpredictably lends the album to feel a bit reckless and all over the place at times.

Gareth, the lead vocalist on most tracks, does a fantastic job in refining his lyrical style of cynicism and adolescent angst, with a touch of dark humour. The addition of guest trumpets and saxophones, working with the violin sections of previous releases, gifts the album with the ability to build gentle string melodies into thumping jazz-rock riffs. Tracks like “In Medias Res” and “I Warned You Do Not Make An Enemy Of Me” are perfect examples of the clamouring and sheer craziness that they’ve come to be known for, and the last five tracks in particular are simply thrilling.

Overall, Romance Is Boring is an album packed to the brim with ideas. It’s aggressive, catchy, sarcastic and classy all at once. And although it jumps around a bit, it somehow all fits to make for a great listen. Do yourself a favour and go see them live on April 20th at the Phoenix Concert Theatre.

***

For more Los Campesinos!
MySpace:
http://www.myspace.com/loscampesinos

Review By Roman Melnik

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CD Review: Martha and the Muffins – Delicate

January 26th, 2010 | By: Christine Morasse

Martha and the Muffins, circa 1980

Martha and the Muffins, circa 1980

Martha and the Muffins are the Canadian Blondie, the overlooked 80’s pop geniuses, your new best friends. I first heard of them a few years back while living in a ridiculously expensive and cold apartment in the Rosemont ghetto. My roommate was a big 70-80’s indie post punk/alternative music fan and we’d spend some time in the living room eating ramen noodles and talking about all the music that was made way before we were even conceived and complaining about how shitty pop music was nowadays. That’s when Martha & the Muffins (also known as M + M, MatM) came along. They were the answer to this ache I had, the ache to find the perfect iconic Canadian indie pop band. Long story short, they released an incredible album called Metro Music back in 1980 and its first single, “Echo Beach”, made it to the top of charts in Canada, Australia and the UK. Core members Martha Johnson and Mark Gane remained while various band members gravitated around the eternal M + M ship. Rumours of a new album, now known as Delicate, had been circulating for several years before they officially announced its eminent release back in the summer of 2008. It’s the very first new material put out by the band since 1992’s Modern Lullaby. The forthcoming release of Delicate is the moment of truth; it’s time to see if the music matured wisely or if the sugary keyboards turned sour.

The album’s first track, “Drive”, brings back the good old “Echo Beach” breeze, trumpets resonating in the background mixed with Johnson’s particular voice and layers of guitar. The sound is familiar and in a way it’s reassuring, to know that after all these years they’ve still got it, that they’re still there.  Martha and the Muffins welcome you back with their arms wide open, like your parents on Christmas break minus the homemade food and with more spunk. “Mess”, Delicate’s first single, has been floating around Youtube since last December. Voices echo, feathered hair resurfaces, I’m in sudden need for shoulder pads on that dress please. “All I Know” and “Blue Bed” feature a more modern sound, bringing a novelty to the ears of new Martha listeners. It’s those tracks that will win over a whole new audience. The noteworthy “Even in the Rain” serves as the album’s acoustic guitar-ridden ballad. They stripped down the echoes and the keyboards and left the song brilliantly simple. If someone gave me Delicate and asked me to guess when it was recorded, I would’ve said sometimes in the glorious 80’s. It doesn’t have to be a bad thing, M&M’s latest release is extremely joyous and enjoyable, but I would suggest that if you want to know what they’re all about, you first get your hands on Metro Music or, even better, Far Away in Time (a compilation put out in the early 2000’s). On its own, Delicate will please old fans and satisfy young ears. Martha and the Muffins are like a great wine or a fine cheese, they only get better with age.

For more Martha and the Muffins, visit their official website.

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Review: The Wooden Sky – If I Don’t Come Home You’ll Know I’m Gone

January 18th, 2010 | By: Christine Morasse

Grab your whiskey bottles; it’s time to talk about The Wooden Sky. The band’s second LP, If I Don’t Come Home You’ll Know I’m Gone, picks up where When Lost At Sea left us, bringing back the folky guitars and frontman Gavin Gardiner’s gorgeous, intense voice.

On this album, Gardiner croons about feelings, breaks our hearts, picks up the pieces and converses with the late King Henry. The album is more complete than their first effort and uses voice harmonies judiciously, highlighting crucial parts of songs and sending shivers down our spines. Former Mother Mother member Debra Jean Creelman landed her flawless voice to what is probably the most heart wrenching and prettiest song of winter 2009, “Oslo”. “(Bit Part)” and”The Late King Henry” are more upbeat and cheerful hence balancing the rest of the album nicely. And because sometimes it can’t be all about mushiness and feelings, the band treats us with an epic, spectacular bridge on “My Old Ghosts”.

If I Don’t Come Home is the perfect album for winter cuddling, soup eating and most importantly for heart-to-heart talks around a camp fire (or your TV if you live in a crowded second floor apartment with no backyard in the city).

Make sure to catch them live in Kingston on the 22nd and in Montréal on the 23rd (with Great Bloomers). They are also playing a show for lucky Bishop University students on February 2nd. They have a bunch of other tour dates which you can check out at their MySpace.

Several songs from the album are available for your gentle ears on their MySpace. Grab some mint tea and do your ears some good; go listen!

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Review: Owen Pallett – Heartland

January 14th, 2010 | By: Melody Lau

Heartland

Heartland

There’s always a sense of anxiety listening to a new release from an artist you admire. Part excitement, part fear, but all ears was how I went into Final Fantasy’s (who recently changed back to just Owen Pallett’s) album Heartland. But any concerns I had immediately melted away as soon as opener “Midnight Directives” began.

Heartland is a concept album about a farmer named Lewis and the world of Spectrum he lives in. For an album with such a particular narrative carved out, each song transitions to the next flawlessly just like a plotline of a movie.

Pallett’s brilliant sense of instrumentation and shines through on Heartland more than any of his previous releases, from the thumping march of “Lewis Takes Action” to the more somber mood of “E Is For Estranged”. Stand out track “Lewis Takes Off His Shirt” exhibits Pallett’s ability to perfectly layer full orchestral grandeur with woodwind instruments to come out with a modern classic.

From beginning to end, Heartland is a meticulously put-together piece of art, one of Owen Pallett’s finest to date. I know it’s only half a month into the new year but I’m going to just come out and say that Heartland is hands-down, one of the best albums of 2010.

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

Interview With AUX.TV: http://www.aux.tv/newmusic/interviews/interview-owen-palletts-heartland/

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