We’ve got a new buddy to introduce you to today. It’s called Bowling Stone and they have a neat little site that highlights an awful lot of rising Canadian groups. Even better than that Chris updates every freaking day. I can’t even imagine that.
Propagandhi - Superbowl Patriot XXXVI [0:36m]: Play Now | Play in Popup | Download Bright Eyes - Bowl of Oranges [2:58m]: Play Now | Play in Popup | DownloadI’ve been on the road for the last month, backpacking through central and eastern Europe. Internet access has been spotty and despite my best efforts, I missed my mom’s birthday. I feel like poop. And I’m still employment free, so I don’t know if going home for Christmas is going to happen, but being away from Canada for so long has me longing for my prairie home. Saskatchewan is hard to explain to people here, so when they ask where I’m from, I just say Canada and tell them I live near Toronto, which is true. But there’s a little part of me that thinks “liar!” every time I say that.
When I was young, it was drilled into me that where you are from is everything. My grandpa loved paging through local history books that detailed the families in the area and what they did and how many kids they had, how many acres they farmed, etc. He had an encyclopedic knowledge of those things. Whenever I would tell him about a new friend I made whose parents farmed, he’d look them up in one of his books and then, the next time we spoke, he’d go “Say, that Marcotte girl you roomed with, the one who reads the news on the CBC, is she from Southie? I knew her grandpa.” Of course he did.
Travelling has made me a little resentful of the fact that in a sea of foreigners, I feel the most foreign. I am not from Toronto or Vancouver or Montreal, one of the three Canadian cities foreigners seem to recognize immediately. I’m from the huge, expansive middle part, the one with straight sides that everyone says is flat and boring. Even back in Canada, I get the sense that people brush my home province off as if it didn’t matter or was the worst place to be from, so why advertise that fact? Here, at least it is understandable that nobody has heard of my home town. In Canada, I get a little indignant, because Tommy Douglas, the greatest Canadian, introduced the country to universal health care there.
I have to imagine that Library Voices co-lead singer Carl Johnson would understand. He used to be with National Frost, a band that got its start in Estevan, which is the Ying to Weyburn’s Yang.
Regina, which is close by, also has a rep as a place you don’t want to advertise being from. I cannot tell you how many bands I have seen come through the city only to make that stupid, aging joke about the name (city that rhymes with fun/I won’t make fun of your city’s name because your mayor asked me not to, but I don’t want to sound like a pussy/your city sounds like vagina!), perform a mediocre set and leave. Bah, to them! We will make our own bands! And they will rival any of those that have come before! THEN you’ll see!
I’m not sure if Library Voices exactly rival, say, the New Pornographers, but they’re on their way to that! They are a big, sprawling collective (ten members) and they certainly sing kicky, energetic songs with clever lyrics.
And I love them for it. In particular, Things We Stole From Vonnegut’s Grave is special and interesting and sweetly indifferent, just like Vonnegut himself. I love the chanted chorus: “And so it goes…/ And so it goes…/ Until you’re unstuck in time/ Fate’s worse than death/ Don’t hold your breath/ There’s an asterisk before your name” Plus, they quote my favourite Vonnegut saying: We are who we pretend to be, so we must be careful who we pretend to be.
The song is on their debut EP, Hunting Ghosts & Other Collected Shorts and if it seems like they should hurry up and release a new, full-length album, don’t worry. It’s on its way! I saw them play at Hillside Festival this summer, where they had one of THE best sets of the weekend. Everyone loved them and with good reason. Soaring harmonies, complex songs with a variety of unexpected instruments and chords that sound maddeningly familiar. They’re like faces you can’t quite place. You may think you’ve heard them before, but every listen reveals new surprises and twists. They’re also purveyors of my favourite pop-song accoutrement: hand claps.
Not to put too fine a point on it, but they are a band on the way to big, huge, exciting things. Their songs are hooky, danceable and sing-along-able, filled with riffs on all kinds of ‘tures, including pop culture, literature and adventure. And because they are from Saskatchewan, you can bet they have a mom or a grandpa or an uncle or some other relative who won’t let them get big heads about their future success. That’s just the way it is back home.
Speaking of back home…
I love the crush and the rush of the big cities I have visited. I love the insular beauty of the secluded villages I have visited. I keep threatening to move to Europe, because what have I got to lose? But it doesn’t matter how far from Saskatchewan I wander or where I end up living. I will always be from the same place and that place will always be home. Thanks for reminding me of that, Library Voices:
You should know by now
Lost girls don’t find
Themselves over seas
You can never go back to young & free
Just tell story through laptop screens
I can tell you that these lyrics from Love In the Age of Absurdity are true. Because I am writing this on a laptop in a hotel room in Istanbul and I am almost ready to go home with no big revelations about myself other than that I will never take coin-op laundry for granted again.
Check out Library Voices when they come to a city near you, Ontario:
Oct. 27th - Hamilton - The Casbah
Oct. 28th - Guelph - The E-Bar
Oct. 29th - Toronto - The El Mocambo
Oct. 30th - Ottawa - Live Lounge
Oct. 31st - Barrie - The Mansion
You can get their album in any fine record store and on zunior and itunes.
Library Voices - Things We Stole From Vonnegut's Grave: Play Now | Play in Popup | Download Library Voices - Love In The Age Of Absurdity: Play Now | Play in Popup | Download
In today’s installment of our feature on vinyl-only releases, we touch once again on a cover song.
Hawks and Doves is the latest project from Gared O’Donnell, a guy who spent a lot of years as the creative force behind Planes Mistake For Stars. That band serves as a master class in all things heavy, running the gamut from soaring post-hardcore to guttural-vocal’d hardcore to near-metal riffing. The decade the band was in existence saw the release of five more-or-less full-length albums and as many singles and EPs. The highlights were many; I personally have purchased three copies of the flawless Knife In The Marathon EP, two of the Fuck With Fire LP, and at least one of all the rest, including the extremely hard to find CD version of the Fucking Fight EP. So yeah, they’re a great band.
But they broke up a few years ago after the varied and heart-stoppingly good Mercy. Sad, but Gared isn’t the kind to sit still. He’s actually been working on his new project for several years, his backing band constantly changing based apparently on whoever is in the room at the time. Essentially a solo project, it consists mostly of him and an acoustic guitar playing what No Idea calls, “blue-eyed soul played through a belt sander.” Trust me, its not as generic or bland as that makes it sound.
The vinyl release in question is the single for the song “Hush Money.” The title-track on the a-side is something of a transitional piece for fans of his previous work, opening with start/stop dynamics and some electric guitar vaguely reminiscent of PMFS’ harder rock. But the tone is far more muted and clean than anything found on those records, the rock guitar serving only to beef up the acoustic leads. The song ebbs and flows in O’Donnell’s characteristic style, building through the song’s final third only to come to an abrupt stop. The vocal is surprisingly clean, with only a few traces of his long-standing harshness bubbling to the surface. During the coda, when O’Donnell pleads “What would you have me do?” his voice melds with the other elements to form a hypnotic tapestry. Its a great introduction.
But the b-side just might make you forget all about what you’ve just heard.
Originally written by Bruce Springsteen for the grossly popular 1984 album Born In The USA, “I’m On Fire” was one of 10 singles released to promote the album. As I’ve previously stated, I fucking hate Springsteen’s cheesy 80’s because of some of the dated instrumentation and production techniques that were in vogue at the time. But that doesn’t mean he wasn’t still writing decent songs.
“I’m On Fire” succeeds in O’Donnell’s hands partly because he stays true to the original. He does exactly what I would have done by keeping the building blocks of the song in place and stripping away the waste, namely the unnecessary synths. He embraces simplicity, letting his acoustic guitar and some choice reverb create an incredibly appropriate atmosphere; that tone and his delivery of the titular lyric sound more like a lonely man in an empty room languishing in his desire than one pleading with a lover to ease his troubles. Some subtle shifts to the song’s structure also help flesh out the arrangement, pushing the climax further towards the end and extending the outro to add some tension.
The mix pushes O’Donnell’s vocal to the forefront despite its feigned fragility, much like the Springsteen original did. But its here that you witness the full range of his vocal capabilities, the raspy hush he delivers most of the song betrayed by his subtle inflections and the ascending notes of the coda. When his voice nearly breaks during the ghostly falsetto that signals the beginning of the song’s outro, the song truly becomes his own. Its a hypnotic and affecting performance.
Of course, because it hews quite closely to the original in many ways there are those that might fail to see some of those subtle differences. But I’ve always maintained that a well-written songs doesn’t necessarily translate into a good cover. As evidence I include as well the absolute horror-show of a cover done by Johnny Cash for the Nebraska tribute that came out in 2000. I know its anathema to speak ill of Johnny Cash in the 00’s but nobody bats a thousand, not even the man in black. Gatsby’s American Dream (a band I love) proved that a well-written song doesn’t translate into an engaging cover when they butchered one of the greatest songs of all time. Just hear how horrible that went.
Way off topic. The point, I suppose, is that this 7″ is remarkable and Gared O’Donnell is an incredibly capable manipulator and creator of (semi-) popular song. I eagerly anticipate a full-length release from Hawks and Doves and its already been too long coming.
Hawks and Doves - I'm On Fire: Play Now | Play in Popup | Download Bruce Springsteen - I'm On Fire [2:42m]: Play Now | Play in Popup | Download Johnny Cash - I'm On Fire [3:02m]: Play Now | Play in Popup | Download Gatsby's American Dream - Don't Think Twice, I'm Alright: Play Now | Play in Popup | Download Planes Mistaken For Stars - Little Death [3:22m]: Play Now | Play in Popup | DownloadCheck out the No Idea Records website and buy the hell out of this record. Do it for love.
Its ironic that someone who so perfectly embodies the dregs of American pop culture is one of Said The Whale’s biggest boosters.
I nearly junked the email from the band’s publicists when it hit my inbox, boldly displaying a laudatory quote from none other than Perez Fucking Hilton in the body of the letter. That’s right, the world’s biggest dinkbag endorsed an earlier single by the band, saying, “If the Killers and Badly Drawn Boy were to have a love child, it’d be Said The Whale.” As though Perez Hilton would know the first thing about love; as far as I can tell hate is his sole reason for existence. Moreover, I don’t really hear the Killers in this at all.
What you will get is a healthy dose of acoustic guitar-driven indie pop with an eye on the ever-expanding horizon that is available to the band’s members, both as Vancouver residents and as a touring band. They write what they know and since the release of their first full-length they’ve gotten to know a lot of Canada.
“Dear Elkhorn” and “Holly, ON” bookend the album, literally, their shared chord progression effectively starting and ending a journey across a large nation (even if they aren’t that far apart, geographically speaking). Manitoba and Ontario lie on the outskirts of the tracklisting, while Alberta, Saskatchewan, the Eastern island provinces, and of course B.C. (in several instances) are all touchstones or inspirations for the songs here.
The record begins memorably. The deliberate opening track is a gradual introduction, the bands complex vocal harmonies taking center stage and providing a transition into the bouncy, almost ebullient “Out On The Shield.” It’s an incredibly catchy number paced by frantic drum runs and sprightly piano. However that exuberance misrepresents the song’s lyrics, which concern discontented residents of a far-off mining town wishing for a less-isolated urban environment. The pace gets reigned in sharply on “B.C. Orienteering,” which sounds like a Roy Orbison song in so many ways its a little scary.
“Camilo (the Magician)” will command much of the attention the band will see this year. Showcased earlier this summer on an EP sharing a similar title, this is some bare-bones power-pop that is practically New Pornographic. While the song is dizzying in its pop prowess, it does showcase what is an occasional weakness for the band: the lyrics. I have no idea what this song is about. Apparently a magician that makes a car move….with his mind, perhaps?
The Whalers paint a more evocative picture on tracks like “A Black Day In December,” a story about the city of Vancouver failing to be prepared for or deal with an unusually brutal snowstorm. “Out On The Shield” is a simple idea wonderfully developed, encapsulating the intense malaise of the song’s characters. Even “Goodnight Moon” eventually transcends its opening moments, an homage to the famed child’s story. The common thread is the wistful and idolatry Canadian-ness of it all, the observations and memories intertwined around deft vocal melodies and meaty harmonies that give the songs not only staying power but also layers to digest later on.
Regardless of whether or not its the Perez bump at work or the band’s ability to capitalize on a few thousand extra MySpace hits, it appears to be working. In more ways than one, actually: not only is this a catchy and compelling listen, it is apparently tearing up the inter-charts. Islands Disappear hit the top of iTunes’ “alternative” chart and reached #5 on the album chart shortly after its release. As long as they don’t get dismissed for being a part of indie rock’s latest animal obsession they just might make the big time.
Said The Whale - Camilo the Magician [2:53m]: Play Now | Play in Popup | Download Said the Whale - Out On The Shield [2:56m]: Play Now | Play in Popup | DownloadIslands Disappear is available physically here and (shocker!) iTunes has digitalz.
They aren’t hitting Regina this time around, but they are spreading the love:
Oct 24th - St. John’s, NL - The Ship
Oct 28th - Toronto, ON - El Mocambo
Oct. 31st - Thunder Bay, ON - The Apollo
Nov 2nd - Winnipeg, MB - Pyramid
Nov 4th - Saskatoon, SK - Amigos
Nov 5th - Calgary, AB - SAIT Gateway
Nov 6th - Edmonton, AB - Brixx
Nov 7th - Lethbridge, AB - Henotic
Nov 8th - Canmore, AB - Communitea
Nov 9th - Kelowna, BC - Habitat
Is it wrong to inherently question the motivations of a band based solely on the fact that they’re from LA?
I only ask because I’m noticing a common thread emerging from Lemonwilde’s debut EP, Red Room. The band plays a brooding, atmospheric rock and roll that, as many reviewers have already noticed, seems tailor-made for motion pictures. But is it a case of art or artifice? Is it a natural direction or is their writing influenced by the fact that they work in the heart of America’s TV and movie industry? Do they write songs for themselves or for studio music directors?
I feel bad about questioning the motives of the gentlemen in this group, because regardless of motivation they’ve written a surprisingly well-developed, mature, and genuinely interesting little record. Dark and broody seems to be the order of the day around here, and Lemonwilde fit that description. They have a very unique sense of drama about their music that is very admirable. They further develop it by incorporating electronic elements into their tapestry of sound, but not in a way that seems cloying or smacks of effort.
I think “Finding Jesus In Math” is the best example of what these gents are capable of. The song has wonderful tension and build, some dynamic bass work, and keyboard and piano parts that help build up to the burst of guitar fireworks at the climax. Lyrically it isn’t breaking any new ground, but the bleak view of love is definitely in keeping with the general aesthetic of the track.
Its an engaging, albeit short, listen that shares some common threads with mope-rock groups like Elbow and Muse. If that’s your cup of tea you could certainly do far worse than this EP, but I think the true test comes from the LP. If Lemonwilde can maintain their consistency across a full-length album then we might have a real contender on our hands.
As for the question posited at the beginning of this post, listen and decide for yourself.
The band is providing the EP in its entirety for free on their otherwise minimalist website. If you dig it, head to iTunes and pay for it. You can also read some entertainingly hyperbolic reviews on their album page.
Not to worry, true blue rockers — this album isn’t nearly as pastoral as the band’s name might suggest. It does, however, live up to the first part of the made-up compound word that serves as its title: it will haunt you.
The Wheat Pool have released what is sure to be one of the finest albums that will see the light of day this year, possibly the best Canadian release you’ll hear in 2009. It’s a collection of fairly dark songs of separation, desperation, isolation, and loneliness made easier to stomach due to the band’s complete mastery of melody and harmony.
As I mentioned previously, for me the album hinges on the earth-shattering “Right Arm,” a capital-G Great song that is every bit as beautiful as the story it tells is not. The band sheds its previous alt-country dependency in favour of more dynamic rock elements, transitioning from a lonely acoustic guitar at its opening to a crest of power chords and wailing vocal harmonies. This song gets heavy as fuck, the emotional tenor and lyrical content illustrating a genuinely heartbreaking tale of how drugs can tear two people apart in ugly ways. It might be the result of my own recent failed relationship and my current emotional fragility, but this song is the saddest thing in the world to me right now. I’ve listened to it at least 100 times in the last month. Its uplifting to see a band that doesn’t shy away from honesty and genuine emotion, even when it isn’t pretty and won’t get you spins on the radio.
Another highlight is the patient, sparse “Evangeline,” a tale of death and longing that highlights the Wheat Pool’s knack for simile and evocative storytelling. Robb Angus (I think; two brothers share singing and songwriting duties) outlines a cathartic juxtaposition as he remembers the passion and desire he felt for the title character while watching her life slip away. Angus scores one of the album’s best lines here, likening the sight of her death to snow falling on a tract of evergreen trees. It paints a serene, sophisticated picture that one doesn’t often see in modern music.
There are some more agrarian moments throughout Hauntario’s running time that call back to the more typical alt-country of the groups debut, namely the steel guitar that slides through a majority of the songs. “One of These Nights” could be a classic mope-country “she’s leaving” tune, its refrain (”They don’t know what we’re going through/we got a lot of cryin’ to do”) a sentiment as old as the Tennessee Three. “I’m Not Here” is a straight-up modern farming tale, talking about how difficult life has become for prairie dwellers with the disappearance of hundreds of the band’s namesake’s grain elevators from the countryside, ever-dwindling rail service, and the urban exodus. Their vision of the Canadian prairie is decidedly bleak, with nothing but empty parking lots and buckling church buildings dotting the landscape. “Nervous Bird” and “Italy” fall somewhere between country and emotive indie, the former showcasing the band’s ability to turn anything into a sad song, even what should be an upbeat tale of love (with handclaps even! Handclap songs are always happy songs!). Both boast unimpeachable melodies that will stay with you long after the track ends.
Its always difficult to enunciate exactly what makes a great album truly special. These songs have an irresistible duality, being simultaneously melancholy and almost unbelievably pretty and melodic. The lyrics are some of the most evocative I’ve heard in recent years, each song standing on its own as a complete and engaging narrative. The Angus brothers trade off on lead vocals and harmonies but their collective voice is unified in its intent and its power.
The final track says it all, really. It’s a loping track with gorgeous piano and violin flourishes, possibly the most heartbreaking musical number here. But lyrically it contains the album’s sole hint that things might just be okay, with an Angus pleading, “Promise me we’ll never be too (or more likely “two” as the song’s title suggests) far apart.” On an album this solid it would be almost impossible to go out on a bad note, but that glimmer of optimism definitely makes it the right one to close with. Its like being handed an ice cream cone as soon as you step off an (emotional) roller coaster.
Verbose over-analysis aside, this is just one of those albums that reaffirms why I listen to music. Don’t miss out.
the Wheat Pool - This Is It [4:33m]: Play Now | Play in Popup | Download the Wheat Pool - Right Arm [4:48m]: Play Now | Play in Popup | Download the Wheat Pool - Evangeline [4:28m]: Play Now | Play in Popup | DownloadBuy Hauntario and the debut album Township from Shameless Records website. iTunes is also on that.
Is our dear friend Corb Lund looking to sell out?
The packaging of his latest album, Losin’ Lately Gambler, reeks of a mainstream reach-around. From the Kenny Chesney-looking candid photo on the album’s cover to the insert in the digipack hawking ringtones to the blurred-out curse word on the gatefold of the CD, it seems like Lund is looking to get a little more Wal*Mart in his sales statistics.
Oh, but ol’ Corb is too gin-yoo-wine for that, isn’t he? The Hurtin’ Albertan, the even-keeled prairie redneck with a winning sense of humour, he’s still as subversive and dark as he was when he fronted the (legendary) Smalls. Look no further for evidence than lead track, “Horse Doctor, Come Quick,” a track about some poor country folk getting hooked on animal tranquilizers. Yeah, put that on CMT and see how the baby boomers react, marketing department at Lund’s new label.
See, I’m assuming that’s the genesis for the shift in presentation: Lund is now a member of the influential U.S. roots label New West Records, a means to increase his profile south of the border. Understandable, I suppose, even if the physical product that comes out is much more commercially packaged. Ironically, however, Lund has written his most overtly Canadian set of songs yet, his new bosses giving him a blank slate upon which to write.
So its basically more of what those that know and love Corb Lund would be expecting: more country than alt-country, more twang than clang, and clever without being too clever by half. An album with Lund’s tweaked, modern take on country coupled with a half-dozen songs referencing places that most Americans likely don’t even know exist. Enjoy, plainsmen of the United States.
There are a few more tracks on here that lean more towards modern country instrumentation (ie. electric guitars) than rootsy acoustic guitar strumming, but that fits Lund’s M.O. He’s an easy-going country rocker and age is only turning him easier. These songs are overwhelmingly sunny, even the odd track about dark addictions coursing through with a subtle vein of optimism. A majority of the songs are odes to the Canadian prairie and the lifestyle tied to it: rodeo dreams and cold Pilsner wishes. Poker stories, warm chinook winds, tales of the good life in Saskatchewan, saying hello to prairie ex-pats in fancier Canadian cities…it’s aimed squarely at his comrades, compatriots, and countrymen.
There is a distinct lack of the dark, dark edge that has run through some of his previous solo work, most notably his last release, Horse Soldier! Horse Soldier!. Gone are the impossibly bleak wartime scenarios of “I Wanna Be In The Calvary: Reprise” and “A Leader On Losing Control” and the tweaked-out PTSD veteran in “Student Visas.” Those were powerfully effective, albeit impossibly dour, story songs. Things are significantly lighter this time around.
But I don’t think you can blame Corb for making some of these tunes a little more accessible to “mainstream” baby boomer types. A lot of the success he’s enjoyed since returning to his roots has come from some of his “cuter” tracks getting minor play on country radio and CMT. It seems like this album strikes a very purposeful balance between his iconoclastic nature and his potential mainstream appeal. Why fight it if you’re able to do what you do on a higher level?
In all sincerity, here’s hoping the marketing campaign pans out; I’d really like to see Corb do well. Any Albertan that loves Saskatchewan is a friend of mine.
Corb Lund - Talkin' Veterinarian Blues [3:40m]: Play Now | Play in Popup | Download Corb Lund - Devil's Best Dress [2:32m]: Play Now | Play in Popup | DownloadGet six big releases, including Losin’ Lately Gambler, from Lund’s on-line store. Do it now, please. iTunes has his solo material and his “Corb Lund Band” releases available as well.
Strike Anywhere is a smart group of people. Smart people who realize that a revolution can’t be fueled solely by the radical few that rail most vocally against oppression. Revolution is only successful when the masses become involved and help pour gasoline on the flames.
That must be why this record is so goddamn catchy. The Richmond, Virginia punks have been doing this for a long time and I think they realize that you can’t appeal to the masses with a barrage of atonal screaming and relentless riffing. They’re not afraid to throw a boatload of hooks at a listener in the hopes that they’ll dig for the deeper meaning.
The full-length Iron Front obviously doesn’t differ very much from the teaser EP I posted about a few weeks ago (especially considering two of the tracks appear on both releases). Contrary to their claims of making a harder and faster album this time around, my previous assessment of the EP holds true here: they’re not telling the whole truth.
Sure, it starts out with “Invisible Colony,” undoubtedly their hardest and fastest track yet. But the precedent the song sets is multi-faceted — while its quick as a bullet it also crams in a half-dozen rock-solid hooks and some of Thomas Barnett’s most infectious vocal melodies yet. Be forewarned: these tricks are going to be repeated a dozen more times in the next half hour.
“I’m Your Opposite Number” slows the pace down immediately after, comprising one of the group’s poppiest numbers since Exit English. Through the length of the album they vacillate back and forth between tunes that incorporate hardcore elements and those that utilize more thoughtful, sensitive, and melodic properties.
But there’s a fine line between a genuine rallying cry and and a platitude. I’m sure there will be zealots within the hardcore scene that will decry Barnett’s lamentations of U.S. xenophobia and border policy (”We are the ghosts of the fear of human rights/just beyond your security lights,” “This world is bigger than this/bigger than lies from our governments”) as little more than sloganeering. Who will dismiss “Hand of Glory” because of its soaring vocal melody, completely missing the indictment of first-world government’s economic priorities contained in the lyrics. Those who would argue that “Failed State”’s bleak view of societal evolution is misguided.
But try listening to the relentless pace and fury of “Spectacular,” the ceaseless insistence of “Omega Footprint,” the inherent wrongness of racial politics in “Summerpunks,” the powerful regret of lives lost due to failing war policies of “Western Scale.” Listen and then try not to feel spurred to action. Try not to feel your Western guilt. Try not to feel guilty for getting such a charge out of the music in spite of the bleak lyrical portrait.
If all that fails, cue it up to the final track. Listen as Barnett laments the history of colonialism and imperialism and the devastating impact its had on what were once sovereign nations. The dictatorships that enlist child soldiers to fight their wars. The empty promises made by the First World to make things better that never come to fruition. The reliance on near-slave labour to create prosperity in the mining sector of African nations.
That gets pretty heavy. But that’s just how Strike Anywhere rolls. Regardless of whether or not it spurs you to any kind of political action, there’s no denying that the songs on Iron Front are the most infectious this group has ever penned. Or, for that matter, some of the most infectious released anywhere by anyone in all of 2009.
Like I said, Strike Anywhere are smart folks. They likely know that some angry punk rock isn’t going to change the world. As a purely ideological exercise it obviously comes off a little one-sided; its the aural equivalent of watching a Michael Moore movie. Odds are good if you’re listening for the message its only going to reinforce your belief system. Perhaps that makes the band’s continued efforts to reach out to a wider audience all the more admirable. Either way its very inspiring to see young men that believe so strongly in their convictions.
Strike Anywhere - the Crossing: Play Now | Play in Popup | Download Strike Anywhere - Postcards From Home: Play Now | Play in Popup | DownloadIron Front will kick your ass. Get it now from Buy the EP in vinyl or digital format from Bridge 9’s site. I’m sure they’d love it if you gave iTunes your money, but maybe try something more ideologically suitable like Download Punk.
Today we’re talking about two records. Two records that are joined at the hip, both philosophically and by personnel. Two records that share a love of major chords, handclaps, and classic pop sensibility. Two records that should offer yet another bump in profile for Prince Edward Island’s burgeoning rock scene.
Two Hours Traffic broke out thanks to an upbeat radio rock single a couple years ago and rode the album it was taken from to a Polaris Prize nomination (recently losing out to blog favourites Fucked Up). “Stuck For The Summer” was a cherry piece of guitar pop with an undercurrent of melancholy that was so good it (and two other gems) were taken from a preceding EP and re-recorded for the album Little Jabs. A few years later, the boys are back with another full-length, produced once again by Island chum Joel Plaskett.
The band is continuing to develop its own rock and roll take on radio pop of an era long since past. Most of the songs here coast along on a mid-temp groove, propulsive bass providing a solid backbone to the relaxed feel of tunes like “Weightless One,” “Drop Alcohol,” “Painted Halo,” and others. Not to say its a “softer” album, but the record as a whole is a more down-tempo affair, relying less on upbeat, peppy arrangements and focusing more on tense, airy grooves and an expanded lyrical focus. There are more sing-song tracks, greater use of acoustic guitar and sunny vocal harmonies.
Taking a more serious approach this time around, there are songs about the dangers of alcohol dependence, one-sided relationships, and the camaraderie of misguided youths. Possibly their most engaging and atypical song yet, “Sing A Little Hymn” is an honest number about singer Liam Corcoran’s modicum of faith. He talks about a simple method he uses to lift his spirits without being overly spiritual. He’s far from evangelical, professing his adoration for both Darwin and the triceratops. But the gentle, piano-led track is quietly respectful of all levels of worship, emphasizing that Corcoran is mainly concerned about the wonder of love and its profundity.
Lead single “Territory” is one of few uptempo songs, recalling the rush of “Stuck For The Summer.” But by expanding on their sound and grabbing for the next rung Two Hours Traffic is taking another step towards longevity, even if youthful enthusiasm takes a hit.
The Danks flip the script, providing an eerily similar sound to Two Hours Traffic’s more upbeat moments, but with a quicker, more aggressive pace and tone. The guitar and bass comes courtesy of Two Hours Traffic personnel, but the vocal melodies and general tone of the songs definitely have a few things in common as well.
The general pop sensibility has close ties to both bands. Bouncy, simple bass lines, jangly guitar parts, and quietly emotive singers are common traits. Highlights on Are You Afraid Of The Danks? like “No Radio” and “Shifty” are the archetypes: jagged, raw-sounding guitar grabs your attention right out of the gate, falling off slightly as the vocals come in before reasserting itself in the chorus. Its a basic song structure as old as time itself, but the Danks’ unaggressive, unpretentious attitude puts the focus solely on the hooks and the strength of their arrangements. The bouncy “Die Young” sounds like a classic THT cut, its slinky bassline and tweaked guitar solo providing a danceable moment. The synth that opens “What’s The Rush?” could be ripped from a Cars album.
Frankly there isn’t a single dud in the bunch here, each song catchier than the one before it. This is driving music so good it will have you looking for an excuse to hit the road, even if only for a track or two. It cries out for motion, the blinking of the highway’s white line the perfect accompaniment.
I can only imagine that when these two groups hit the same stage back to back it rips open a hole in the time/rock continuum, plunging the audience into dizzying fits of ecstasy one has to see to believe. Dig it tonight in Regina at the Exchange and later elsewhere. You’ll regret it if you don’t. Maybe not today, maybe not tomorrow, but definitely when it comes time for next year’s Polaris nominations.
Two Hours Traffic - Territory [2:56m]: Play Now | Play in Popup | Download Two Hours Traffic - Just Listen [3:12m]: Play Now | Play in Popup | Download the Danks - No Radio [2:37m]: Play Now | Play in Popup | Download the Danks - 374 [2:46m]: Play Now | Play in Popup | DownloadTwo Hours Traffic merch is at Maple Music, as is the Danks. Convergence, meet synergy! Tour dates below!
October 8, 2009 - Sault Ste Marie, ON @ Lop Lops
October 9, 2009 - Sudbury, ON @ The Townehouse
October 10, 2009 - Brantford, ON @ The Ford Plant
October 13, 2009 - London, ON @ Call The Office
October 14, 2009 - Hamilton, ON @ Casbah
October 15, 2009 - Guelph, ON @ E-Bar
October 16, 2009 - Toronto, ON @ Lee’s Palace
October 17, 2009 - Ottawa, ON @ Zaphod Beeblebrox
October 23, 2009 - Halifax, NS @ Coconut Grove (Halifax Pop Explosion)
October 24, 2009 - Charlottetown, PE @ Hunters Alehouse
Hey you — if you’re feeling a little flat today, go see the classy and talented gentlemen in the Perms for a pick-me-up. They’re playing in Regina tonight at McNally’s. Don’t forget to check them out if you’re in the mood to have your face politely rocked by tasty power pop.
They’ve got a few more dates booked on this tour as well, Albertans. You’re on notice!
Fri 10/02/09 - Calgary, AB (Liberty Lounge)
Fri 10/02/09 - Calgary, AB (That Empty Space)
Sat 10/03/09 - Medicine Hat, AB (The Ottoman)
