Sound Salvation Army

Would you like to hear what joy sounds like?

If you’ve never heard Jonathan Richman’s music then I feel sorry for you. You’re truly missing out on an important part of life, namely unadulterated enthusiasm, joy, and love of life. Of course, I’m being somewhat selective when I say that. He’s a well-rounded artist, but goddamnit do I ever prefer his buoyant tunes.

For the last several months I’ve listened to little else than a mix tape of songs from throughout Richman’s post-Modern Lovers solo career that focus on the positive: songs of love and joy. From the youthful exuberance of songs like “I Have Come Out To Play” (”Gonna ride my bike past the root beer stand/purple squirt gun in my hand and I’m here to stay/oh mommy, oh mommy, I can’t eat no more/Gonna run outside that open door and I am here to stay”) to the simply-stated messages of love like “Everyday Clothes” (”I loved her, yeah I loved her, cuz that’s the way it goes/and I couldn’t have loved her more in just her plain old everyday clothes”) and “It’s You” (”Well now, you’re looking while I’m watching different girls passing by/Don’t you know that I couldn’t lose this love even if I tried?”) it’s a mix designed to make you smile your balls off.

For goodness’ sake, the guy even wrote the world’s only (good) love song to Wrangler jeans.

I’ll admit my knowledge of Richman’s greater catalogue is limited to much of the singles released during his solo career in the 80’s and the Modern Lovers material. But there’s so much to love it’s kind of hard to see that as a bad thing. His love of dancing, odes to the bank teller he has a crush on or the prospective paramour he meets on the street, his ancestral home land of New England, the wistful memories of summer days lived and lost…his songs are simply-executed stories of life and what it means to live and love. His solo career took a step back from the overt rock of the Modern Lovers; where most rockers seek to turn the amps to 11, he always seemed to pursue the gentlest, quietest, most understated sounds he could get. The songs are still rooted in basic American rock tropes but they’re undeniably his own style.

There is some irony in this entry; I’ve failed to simply state what is so engaging about music that is simply-written but endlessly engaging. Perhaps simpler still:

If you recall about seven or eight months back I was feeling pretty miserable and sorry for myself. Having been on the dumped end of a long-term relationship I was not engaging in very healthy behaviours. But true story: I heard someone play “Everyday Clothes” on a local community radio show one Saturday afternoon and it jarred me back to reality. Sometimes you just need a gentle reminder that there is a sunnier side to life that is worth keeping your head above water for.

I’ve found that to be truer than ever in recent months. I’ve moved on, I rebounded, and now I’ve started dating the prettiest little redhead I’ve ever seen. It’s impossible not to think of her incredible smile, the majesty with which she wears someone else’s cross-country sweatshirt, the sparkle in her constantly-changing green eyes when I hear these songs.

Anyhow, it’s weird to think that Jonathan Richman is almost sixty now. The overwhelming tone of perpetual youth and innocence in his music seems to contradict that fact. I expect his youthful enthusiasm will persist, regardless of his age or the age of his songs. They sound pretty timeless to me, anyway.

 

 Jonathan Richman - It's You [3:28m]: Play Now | Play in Popup | Download

 

 Jonathan Richman - Everyday Clothes [3:04m]: Play Now | Play in Popup | Download

 

 Jonathan Richman - I'm Just Beginning To Live [2:49m]: Play Now | Play in Popup | Download

 

 Jonathan Richman - the New Bank Teller [1:40m]: Play Now | Play in Popup | Download

Buy his albums through Vapour Records. He apparently doesn’t participate in the internet on any level, but hopefully someone tells him a dude in Saskatchewan loves him.

Pat entries acoustic, Jonathan Richman, legends, smiling

This one is kind of tough for me to reconcile, but I’m loving the opportunity.

In my mind Mike Doughty will always be idealized in Soul Coughing’s el Oso phase. Coming off like the mind-freak’d jazzbo he appears to be, hip-hopping his way around the wildest collection of samples, synthesizers, and stand-up bass you’ve ever laid ears on. His free-associated/freak-out inspired lyrical whirlygigs were frequently dizzying and constantly confusing, but there were bizarre hooks a-plenty and enough bass to rattle the windows of my parents Chevy Malibu for an entire summer strong.

His latest album, Sad Man Happy Man is not that. Not even at all. He performs most of this material himself, deftly handling acoustic guitar, programmed beats and percussion, and some keys. His long-time bassist remains intact, further colouring the bare-bones tunes with some bottom-end and the occasional bowed parts to lend some texture to the soundscape.

He appears to be closing a circle of sorts with this release. The overriding acoustic nature of the record falls in line with his first post-Soul Coughing solo album; since that release he’s dabbled in increasingly-complex arrangements and taken aim at writing pop songs with mainstream appeal (”I Hear The Bells” from Haughty Melodic was featured prominently on not only Veronica Mars, but also Grey’s Anatomy). That effort seems to have faded into the background; these performances feel natural and comfortable, like Doughty is either truly following his muse or his muse just happens to be doing something a little more in line with his own history.

There are some shared elements between his former self and his current existence, namely on songs like “(He’s Got The) Whole World (In His Hands)” and “Pleasure On Credit.” Here he speak-sings his lyrics with a very Soul Coughing-esque delivery that’s worlds away from much of his solo output of the last decade or so. The rambling, stream-of-conscious tone of his Soul Coughing material is more prevalent here. The tone and instrumentation of the songs are worlds apart, but when combined with a track like the el Oso sound-alike (or at least as close as you could get on what is essentially an unplugged album) “(You Should Be) Doubly (Gratified)” you get the feeling that Doughty has reconciled his past and future selves and is no longer chasing every new and different tangent he can dream up.

But it isn’t “Rolling,” it isn’t “Super Bon Bon,” it isn’t “Casiotone Nation.” It isn’t my idealized version of Mike Doughty. But as far as his work as a solo performer goes I think it’s going to be hard to beat Sad Man Happy Man. I’d recommend this baby if you want to get a little dizzy for a while.

 

 Mike Doughty - Laura Zauberberg [3:02m]: Play Now | Play in Popup | Download

 

 Mike Doughty - (He's Got The) Whole World (In His Hands) [2:40m]: Play Now | Play in Popup | Download

 

 Mike Doughty - (When I) Box The Days (Up) [2:12m]: Play Now | Play in Popup | Download

Pat entries acoustic, comebacks, freaks, Mike Doughty, white boy funk

Sometimes it just feels like you’re listening to something special.

In the last year or so I’ve written about a number of current/former punk rockers that have made the shift to acoustic singer-songwriters. So many, in fact, that even writing those words kind of makes me want to roll my eyes a little bit. Just sayin’.

But Matt Gaud is something else, people. He’s the genuine article, the real deal, the bee’s knees. If the cat wore them, he would be it’s pajamas.

Gaud is a former member of Means, a Regina-based Christian hardcore/metalcore band (no joke, that’s a thing) that did quite well for themselves, having toured through Canada and the U.S. more times than I have (to be certain). After that band’s dissolution he’s played his rootsier, folksier solo material under a couple of different names, including his own.

I had intended to write about his latest iteration back in February after seeing him open for Library Voices, a show that was recorded for broadcast by our friends at CBC Radio 2 (stream that business at their website; you might as well, you’re paying for it, right?). Seated before a half-full Exchange, Gaud fired up his throaty vocals and got to playing a set of mostly-downtrodden, lovelorn, and longing numbers. His melodies and playing are natural and unforced and he’s an understated performer, his great, bushy beard hiding the face of a poet.

Admittedly, I was at first drawn in more by his insanely-good cover of Hot Water Music’s “Trusty Chords” than the originals, but once I heard the cover my attention was piqued.

Like early Dylan or Iron & Wine or Bon Iver he relies on his acoustic guitar and a harmonica for his live performances, choosing to flush out the recorded tracks subtly with bass drum, bass, some electric guitar, and some phenomenal trumpet work. Seriously people, it isn’t that easy to make trumpets sound this plaintive and downtrodden.

Those horns are one of the focal points on the first track featured here, “Energy.” The trumpet melodies swell in the intro and chorus, setting up Gaud’s pained lyric about a patient potential paramour waiting for a shot at love. The percussion is lower in the mix, but the subtle cymbal work also provides some build and cresendo of it’s own. “Wheels,” the other standout track you’ll find below, makes use of an insistent kick drum that propels the song’s tale of an unexpected wrench being thrown into the minutiae of everyday life. The wailing harmonica recalls Springsteen’s Nebraska, but with the benefit of a proper studio to record it.

This record has emotional heft, but Gaud presents it in a relatable, everyman kind of way. No frills, no unnecessary wording or calculated metaphors. He lays it bare and relies on the quality of his songs and his raw talent to carry the results to the listener’s ear. “Worry” is perhaps the best example of this, hinging on the plainly-stated admission, “I don’t know where we’re going/but I like where we are.” Simple and direct but poignant nonetheless.

I was spurred to actually write this piece after reading an incredibly lauditory review on another website. While it’s likely a little premature to agree with Frank Turner’s assessment of Gaud as “a fucking legend,” if you’re a fan of this style of music then Borrowed Chords, Tired Eyes is a pretty fucking good start.

 

 Northcote - Energy [4:19m]: Play Now | Play in Popup | Download

 

 Northcote - Wheels [3:50m]: Play Now | Play in Popup | Download

It’s worth noting that Northcote is on the bill for the massive, amazing, incomparable indie rock wank-fest that will be Sled Island Music Festival in Calgary the week of Canada Day. I’ll be there, cheering Matt on from the front row. Help him get there:

Physical: Maple Music
Digital: iTunes is a thing

Pat entries acoustic, Canadian content, local music, Northcote, Regina, solo material

So Valentine’s Day 2010 has come and gone, as unceremoniously (for me) as I would’ve expected. Not that I’m bitter or lonely or anything, but it seemed like an appropriate time to talk about love songs. Specifically, anti-love songs. A month has passed since I began penning this piece, but better late than never right? Just like love. Or something.

Specifically I’d like to focus on a band called Andrew Jackson Jihad. The Arizona group is mainly a two-piece combo integrates the best parts of the Mountain Goats and early Against Me!, a boisterous and energetic sound propelled mainly by acoustic guitars and forceful vocals. Their folk-punk sound often shifts from one extreme to the other from song to song, particular on the nearly-flawless LP Can’t Maintain.

Over the course of more than a dozen smaller releases the band has taken a sharp political agenda that compliments their stoically DIY ethic/aesthetic quite well. Can’t Maintain is frequently a dire listen that expands on some of their earlier pessimistic musings about how awful the human race is; the first two songs alone lament the lack of anyone to trust or love in singer/guitarist Sean-Claude Bonnette’s life and how people generally scare the shit out of him and make him doubt himself.

Some of the songs on the record stand out for very different reasons. Depending on your outlook “We Didn’t Come Here To Rock” is likely either hilarious or blatantly offensive. Folk-punk die-hards might decry the overt use of electric guitars (although this is far from the only song on the album to incorporate them), but the lyrics are a far more direct attack. Bonnette sets his sight on the band’s critics in about as crude a manner as one might imagine possible. While you might find yourself cringing at the language used to put naysayers in their place, I have to admit the bluntness is effective. The two minutes of noise that follows the song, however, seems like a bit of a waste. The same goes for the kazoo track; it wasn’t funny when Gob did it almost 15 years ago and it knocks the momentum of the album right off the tracks.

But what really caught my ear on Can’t Maintain is the downright depressing take on love Bonnette and bandmate Ben Gallaty offer up on several tracks. Songs like “Love In The Time Of Human Papillomavirus,” “Love Will Fuck Us Apart,” and “White Face, Black Eyes” all speak of a certain degree of hopelessness about what is supposed to be life’s great pursuit. Whether it’s about the willingness of some to put up with a certain amount of abuse for the sake of what they think is love or how airing emotions can ruin a perfectly good relationship or how all we can really do in life is cling to whatever makes us feel good until that thing dies and we’re left all alone.

Uplifting!

But as downtrodden as those songs may be there’s also a gorgeous subtlety at play; not quite under-played, Bonnette imbues them with a gentle unsteadiness, a very evocative vocal tic that really gets to the heart of the matter (or the lack thereof, I suppose). Softly strummed acoustic guitars match the plaintive singing stride for stride, with sombre strings thrown in when called for. A formula as old as time, but carried off with great aplomb.

There’s more to be found here, of course, as the band tries on some Darnielle-ian allegory (”Truckers Are The Blood”), gut-bucket bass-driven oldster tunes (”Olde(y) Tyme(y)”), and sassy saxaphone jams. It’s a rather varied listen that should boast at least a track or two that appeals to everyone, regardless of how you feel about politics, punk rock, or the politics of punk rock.

 

 Andrew Jackson Jihad - Love Will Fuck Us Apart [1:44m]: Play Now | Play in Popup | Download

 

 Andrew Jackson Jihad - Love In The Time Of Human Papillomavirus [2:04m]: Play Now | Play in Popup | Download

 

 Andrew Jackson Jihad - We Didn't Come Here To Rock [2:23m]: Play Now | Play in Popup | Download

Dig on AJJ albums wherever they’re available to you:
iTunes
Asian Man Records
Their site might give you some leads

Pat entries acoustic, Andrew Jackson Jihad, folk punk, love songs, punk rock, Valentine's Day

Having a problem of motivation lately. I’m sure I’ll get around to finishing the few things I’ve been slowly working on lately, but they’re already overdue and I’m finding myself to be extremely busy of late. But stay tuned. We always bounce back.

 

 Andrew Jackson Jihad - We Didn't Come Here To Rock [1:13m]: Play Now | Play in Popup | Download

 

 the Mountain Goats - Your Belgian Things: Play Now | Play in Popup | Download

 

 Travis - Slide Show [3:19m]: Play Now | Play in Popup | Download

Pat entries acoustic, Andrew Jackson Jihad, malaise, Mountain Goats, punk rock, Travis

This blog is only a few years old, but if there’s one thing we’ve managed to establish it should be this: for a multitude of reasons, perhaps too many to count, we love the Burning Hell.

That’s why I’m frankly more than a little surprised that more hasn’t been made out of Mathais Kom’s latest record, released under the name Spring Breakup. That level of surprise roughly doubles when you factor in that Kim Barlow, folk darling of the frozen Yukon, is the group’s other principle member. Surely a meeting of the minds like this cannot be ignored!

The group quietly released a self-titled album in the latter half of 2009 and the muted sound of that record dropping is probably somewhat befitting of the its content. I have no way of confirming this, but I have always pictured the two of them sitting in someone’s living room with a four-track recorder, facing each other, with nothing but a microphone or two between them while they pluck away at the 10 songs that make up the record. The recording is the very definition of bare bones, most often nothing but banjo, acoustic guitar, and ukulele propping up two unique Canadian singers.

Nearly every song is framed in the context of dying love or its characters working through a break-up. If you’re familiar with Kom and Barlow’s work you won’t be surprised to hear them pepper many of the tracks with subversively cynical, cutesy, or dark turns of phrase. In fact that’s where the majesty of this simple record lies, in their ability to frame a universal experience in a number of different ways. The emotional tenor alternatively carries a humorous tone (”Spring Flings”), some are emotionally fragile and unrequited (”Hummiah”), some are quietly angry and desperate (”Came Up Roses”), and some are confident torch songs (”Young Love,” “Cosmic Sea”).

I can’t speak much to Barlow’s side of the affair as I’m less familiar with her previous work, but I’m thrilled to hear Kom’s performance on this record. Where his rich, deep vocals can often take on a blanket of cynicism, sarcasm, and depression in his work with the Burning Hell his singing here is emotionally genuine, bright, and convincing. While many of these songs grapple with the dissolution of something beautiful his voice conveys the sense that he still believes in love. He and Barlow are terrific counterpoints, her sprightly alto a picture of earnestness that always has a hint of a smile peeking around the corners of her phrasing.

Anyway, it’s a simply joyous record to listen to, whether you’re lovelorn or not. A friend pointed out today on the Twitter machine that Barlow and Kom are heading out for a short, oddly-routed Western tour next week that includes stops in Regina and Saskatoon. I’m really thrilled to see them perform together. The album may be barely more than a half hour, but even that will be worth the price of admission. You should be there too.

 

 Spring Breakup - Spring Flings [3:26m]: Play Now | Play in Popup | Download

 

 Spring Breakup - Young Love [3:09m]: Play Now | Play in Popup | Download

They don’t seem to have a label, but their 2009 full-length is up digitally at Zunior and they’re doing a tiny tour. You can be I’ll be picking up a copy. Also, I don’t normally do this but if you’re the least bit curious check out their myspace page, where you can listen to like half the album for no dollars. It will convince you.

Tour dates are with John Wort Hannam, an old-timey Albertan .

Pat entries acoustic, Canadian content, Kim Barlow, Mathais Kom, quaintness, Spring Breakup

Oh my goodness you guys. I’m am so excited right now. This is the third time I’ve fallen totally in love with Basia Bulat and I’m falling hard this time (wait, it’s the fourth time; I almost forgot the Sam Cooke cover).

Just look at that video. So intimate. Her performance low-key but impassioned before an unyielding, unblinking camera. Her voice elegantly quivering, the melody patient and earnest. The hammered harp is the perfect accompaniment, its percussive tone just unfamiliar enough to the ear to keep it captivated while still carrying a bright but spare melody. This is a torch song for the ages.

That video was recorded roughly two years ago, when Basia Bulat’s new release, Heart Of My Own was likely just a flicker of a future possibility. She was in the midst of touring North America (and eventually much of Europe) playing and promoting her debut, which you might recall was lauded on these pages. All things considered, though, it shouldn’t be surprising that Bulat has had a gem of a song like this in her back pocket for a while. In an interview conducted a few months back with JAM she explains her process a bit: “I like making challenges for myself. It takes a while to know what a song is about because it has a life of its own. It takes a while for their meaning to develop. I need an audience.”

Hopefully the new album will help expand that audience. Having listened to Heart Of My Own dozens of times in the three days since it was released it would seem all of her time on the road has done her a lot of good. The album is more forceful, more propulsive. It just sounds stronger and there’s more in the mix to help reach that goal as well, including electric guitar (although I’m pretty sure that’s just one song). That might not seem too revolutionary, but the whole of Bulat’s debut was crafted with an exceedingly-acoustic aesthetic. To put it in the parlance of that debut, this record is more “I Was A Daughter” and less “Before I Knew,” with faster-paced numbers like “Go On” and “Gold Rush” setting the tempo in the early offing and eschewing the lilting, gentle sounds that marked much of her first record. The latter number serves as the album’s first single and for good reason; the strings that open the track give way to cascading cymbals, galloping toms, and a constantly-building instrumental track that matches Bulat’s strongest vocal performance on record to date. The song apparently triggered the only mosh pit in the history of her career, according to one interview. Several tracks are also punched up with very complementary string and horn sections that sound like they were arranged by Barry Gordy himself. Perhaps it’s a tribute to the AM radio that Bulat has stated was a major influence in her home as a child.

But obviously, based on the above video, she hasn’t left behind her gentler side. “The Shore” is the standout ‘quiet’ song here, but there are other contemplative numbers as well. “Sugar and Spice” is a mournful lament on past mistakes with a lovely string arrangement. “Sparrow” is a spare ukelele piece with a lyric as fragile as the instrumentation. “I’m Forgetting Everyone” is nearly as sparse musically, seemingly focusing on the the lingering effects of a couple of years on the road. These songs succeed because of their simplicity and their reliance on Bulat’s incredibly expressive and emotive voice.

I’ve read a review or two that make loose comparisons to Neko Case, and I suppose fans of one could likely gravitate to the other. Musically the two are not entirely analogous, but as with Case there is an undefinable quality to Bulat’s voice that is completely disarming and impossible to ignore. I wish I could explain it. If I could I’d probably be a lot better at this whole music critiquing thing. All I know is it’s impossible to listen to Heart Of My Own and not be totally enraptured and enamored (for me, anyway, but like I said; I have a huge crush on her).

I mean, just look at that video up there at the start of this post. I think at our very core humans are simple creatures; I could be wrong, but I think we all just want someone to sing us love songs. And that is a goddamn gorgeous love song.

 

 Basia Bulat - Gold Rush [3:33m]: Play Now | Play in Popup | Download

 

 Basia Bulat - the Shore [4:44m]: Play Now | Play in Popup | Download

 

 Basia Bulat - Touch The Hem Of His Garment [1:57m]: Play Now | Play in Popup | Download

You can purchase Heart Of My Own from Secret City Records (in Canada), Rough Trade (UK etc), and iTunes.

I’ve been looking forward to Bulat’s upcoming Saskatoon show since summer, when she was the first main stage performer of the entire Regina Folk Festival. Her presence was simultaneously demure and authoritative, her voice carrying over the fenced-off park and drawing those that had arrived early closer and closer. I can’t wait to experience the intimacy of her performance from a tiny stage instead of a grand one. Canadian tour dates follow!

Feb 02, 2010 - Kingston ON
Wed Feb 03, 2010 - Peterborough ON
Thu Feb 04, 2010 - London ON
Fri Feb 05, 2010 - Orillia ON
Sat Feb 06, 2010 - Guelph ON
Sun Feb 07, 2010 - Hamilton ON
Wed Feb 10, 2010 - Halifax NS
Thu Feb 11, 2010 - Halifax NS
Fri Feb 12, 2010 - Montreal QC
Sat Feb 13, 2010 - Ottawa ON
Thu Feb 25, 2010 - Winnipeg MB
Sat Feb 27, 2010 - Saskatoon SK
Tue Mar 02, 2010 - Calgary AB
Wed Mar 03, 2010 - Edmonton AB
Fri Mar 05, 2010 - Vancouver BC

Pat entries acoustic, Basia Bulat, Canadian content, crushes, folk, love songs

If music is indeed moving back towards shorter formats like vinyl and digital singles I think we’ll be just fine. While there’s something to be said for the mastery and majesty that goes into crafting a real back-to-front piece of art (ie OK Computer, Paul’s Boutique, or my favourite album of 2009, the Wheat Pool’s Hauntario) there is still the possibility of creating something transcendental on a smaller scale. Many notable bands (including Radiohead and hardcore punks Paint It Black) promised to move exclusively to single formats and why not; digital is king now, right? Well, maybe we won’t go that far.

07. Bon Iver - the Blood Bank EP
If we’re being honest this is really only on here because of the title track. That’s it. The rest of it is pretty much unnecessary. Especially that goddamn vocoder or auto-tune or whatever track. Pitchfork can talk about how it runs so contrary to his established aesthetic and how the coldness of the computery sound mirrors the tenor of same. But it sucks a big fat one and that’s all there is to it. But the title track is unimpeachably brilliant. Read more here.

06. Small Brown Bike - Composite, Vol. 1
In my round-up of the top five albums of the year I included a wonderful album called Chasing Hamburg by Polar Bear Club. I lot of why I liked that album has to do with both my and that band’s affection for Small Brown Bike. They were occasionally written-off as Hot Water Music devotees but as their career progressed they developed a more complex post-rock sound that really was unique. To see them reunited and creating new music after a few years apart is goddamn heart-warming. I love this band.

05. the Lazy MKs - A Field Guide To…
A local addition from a group of guys I hadn’t heard of prior to last summer. Their blend of roots and rock, combined with their instrumental aesthetic, is a very singular thing. It’s a purposeful step well outside of the boundaries Regina’s music scene is used to and that boldness should be rewarded, especially since their audience already has been with the release of this EP. Read more here.

04. the Lawrence Arms - Buttsweat and Tears
As long as these guys release something, I’ll include it on a year-end list. That doesn’t diminish the quality of this product, however. Hell, “The Slowest Drink At The Saddest Bar On The Snowiest Day In The Greatest City” alone could carry this EP onto this list, never mind the presence of four other great songs. Their melancholic sense of self-loathing shouldn’t lend itself to music this catchy, but somehow it does. Read more here.

03. A Wilhelm Scream - self-titled EP
Probably the most talented band in punk today takes their first stab at a short-form release in a very long time and make it work. “Fun Time” might be seen as a mis-step if you’re used to hearing them play the most complicated shit they can think of 24/7, but its straight-forward, no frills, pop rock arrangement is just another example of the level of skill these guys possess; they have so many talents they rarely if ever utilize some of them. Read more here.

02. Laura Stevenson & the Cans/Bomb The Music Industry! split 7″
While there are four very good songs on this 7″ one soars above the others (previously documented here). Laura Stevenson’s cover of BTMI!’s “It Ceases To Be ‘Whining’ If You’re Still ‘Shitting Blood’” (yes, gross) is one of most beautiful songs with multiple f-bombs in it I’ve ever heard. Rest assured, that’s an unnecessary qualifier. She can’t help but create slightly off-kilter yet ceaselessly gorgeous songs and here she proves as capable with interpretation as she does with creation.

01. Jon Snodgrass/Cory Branan split LP
Each of these two country-influenced singer-songwriters could’ve released their individual tracks from this release on their own and garnered a spot on this list, but the fact that they combined forces to put out an album of mind-boggling quality makes them a clear favourite for top spot. Snodgrass continues the dour acoustic arrangements that marked some of the high low points of his first solo LP, Visitor’s Band; the highlight here from him is “Wild One,” a tortured plea for a lost lover to come home. His deft chord changes propel a powerful vocal performance to a conclusion that comes way too soon. As for Branan, I’ve NEVER been as immediately and fully impressed by a musician as I was after my first listen to his tracks on this album. Never. I cannot pick a favourite from his songs here; “the Corner” is a meditation on lost love that falls somewhere in between absolute misery and whistful remembrance, “Walk Around” is a joyful romp that runs awfully close to being too clever by half, and “Yeah, So What?” is a shamelessly flirtatious cover that swaggers through its entire length. I swear I’ve listened to this EP 100 times at least since November. It is absolutely without peer.

 

 Standard Podcast: Play Now | Play in Popup | Download

 

 Small Brown Bike - Hourglass: Play Now | Play in Popup | Download

 

 the Lazy MKs - Burgess Lake [3:25m]: Play Now | Play in Popup | Download

 

 the Lawrence Arms - The Slowest Drink In The Saddest Bar On The Snowiest Day In The Greatest City [3:13m]: Play Now | Play in Popup | Download

 

 A Wilhelm Scream - Australias [2:49m]: Play Now | Play in Popup | Download

 

 Laura Stevenson & the Cans - It Ceases To Be "Whining" If You're Still "Shitting Blood" [2:50m]: Play Now | Play in Popup | Download

 

 Cory Branan - Walk Around [3:10m]: Play Now | Play in Popup | Download

Bon Iver: Physical and iTunes
Small Brown Bike: Physical and iTunes
the Lazy MKs: Physical (although you could probably just go to a record store near you) and iTunes
Lawrence Arms: Physical and iTunes
A Wilhelm Scream: Physical and iTunes
Laura Stevenson/BTMI: Physical and iTunes (Bomb The Music Industry! only)
Jon Snodgrass/Cory Branan: Physical and iTunes (together, Branan solo, Snodgrass solo. Keep in mind, however, that Suburban Home/Vinyl Collective has their own digital download service that is cheaper than iTunes. That can be accessed through the first link.

Pat entries A Wilhelm Scream, acoustic, best ofs, Bomb The Music Industry!, Bon Iver, Canadian content, Cory Branan, indie rock, Jon Snodgrass, Laura Stevenson and the Cans, punk rock, Small Brown Bike, the Lawrence Arms, the Lazy MKs, year in review

It was a long, long year of self-reflection. This portion of the best-of rundown has changed a lot even right up to the last minute. I had to re-jig a lot of stuff in the bottom top 10 to get the line-up just right. You’ll see a few rockers in this section that have been consistent for years and years and a couple that have gone in the literal opposite direction in 2009. But all remain very, very tasty.

Here we go, jerks!

15. O Pioneers!!! - Neon Creeps
If you haven’t figured it out by now I love this band. Neon Creeps finds Eric simultaneously getting more desperate and harrowed lyrically while taking a bit of the edge of what is normally his extremely acerbic guitar tone. His playing sounds more precise, less hack-and-slash, and while it shouldn’t make that big a difference the addition of bass to the mix really helps flesh out the arrangements and support Eric in the quieter bits. Lyrically it might be kind of a bummer, but these songs are real; the desperation and depression is genuine. This is the sound of a man working through everyday frustrations with dramatic results. Read more here.

14. the Bronx - Mariachi el Bronx
As I previously stated, I’m not the least bit qualified to critique mariachi music. I have zero qualifications. But to paraphrase some old dude, I may not know mariachi but I know what I like and I like this album. It has a relaxed rhythm, shamelessly full arrangements, some great singing, and huge hooks. That Prince cover was a perfect teaser and the album delivered on all of its promise and then some.

13. Chad Price - Smile Sweet Face
This is the opposite of ground-breaking but Smile Sweet Face is both impossibly heartbreaking and improbably beautiful. There’s nothing revolutionary about a sad white dude and his acoustic guitar but the simple fact that Price’s world-weary voice can carry such incredible melodies and devastating sentiments is worth celebrating. “This War” perfectly captures the crushing weight of infidelity and “Peachy Tuscadero” sounds like the opposite of what it is: a mash note to a misfit puppy. This album has everything.

12. Propagandhi - Supporting Cast(e)
Fat Wreck Chords who? The long-running Winnipeg anarcho-punks say goodbye to their long-time associations and deliver what is unequivocally their best album ever, How To Clean Everything be damned. A second guitarist has them sounding huge (the compression helps the loudness as well, of course) and they’re still highly aggressive, but Cast(e) is also their most melodically rich and complex work yet. Aside from the horrifying death knell that starts “Human(e) Meat (the Flensing of Sandor Katz)” they don’t strike a single wrong note.

11. the Thermals - Now We Can See
Hutch Harris and Kathy Foster still writes songs that consist of little more than four chords and a heartbeat, but they’re sounding more at home than ever on Now We Can See. Down-playing the aggression that marked The Body, The Blood, The Machine, these songs are 100% anthemic and still rather thought-provoking. I maintain my assertion that “When I Died” is the best pop song you didn’t hear on the radio in 2009. Read more here.

 

 O Pioneers!!! - Stressing The Fuck Out [2:36m]: Play Now | Play in Popup | Download

 

 Mariachi el Bronx - Quinceniera [3:27m]: Play Now | Play in Popup | Download

 

 Chad Price - With Bleeding Wrists: Play Now | Play in Popup | Download

 

 Propagandhi - Dear Coach's Corner [4:29m]: Play Now | Play in Popup | Download

 

 the Thermals - I Let It Go [3:36m]: Play Now | Play in Popup | Download

O Pioneers!!!: All music physical, some files digital.
Mariachi el Bronx: Get the album (and/or Mariachi el Bronx’s exclusive cologne) from their webstore. Here’s the iTunes.
Chad Price: Smile Sweet Face and a bevy of other Price-related albums can be foundin the Suburban Home/Vinyl Collective webstore. The album is on iTunes, but you’re better off getting it from Suburban Home/Vinyl Collective’s own digital store. It’s cheaper.
Propagandhi: CD/LP/download is available through the G7 Welcoming Committee site, which I didn’t even realize still existd. Surprisingly, they’re also on iTunes. A lot.
the Thermals: Physical purchases can be made through Kill Rock Stars’ website. Old releases are on Sub Pop. iTunes is a thing too.

Pat entries acoustic, best ofs, Canadian content, Chad Price, mariachi, Mariachi el Bronx, O Pioneers!!!, pop punk, pop rock, Propagandhi, punk rock, roots, the Thermals, year in review

Ooooh, boy. Year-end list. Best albums of 2009. Here we go.

I’m going to start with the ones that didn’t quite make it, the albums that were excellent but not the very top of the heap. Some Canadian groups shone brightly, groups like The Rest, Bruce Peninsula, and Passenger Action are getting off to amazing starts. Bob Mould continued to excel in his new solo career, his prolificness exceeded only by the quality of the songs. Austin Lucas continued to shine with the help of his friends and family and Tegan and Sara’s familial connection continued to result in great pop songs. Attack In Black, Vivian Girls, Manchester Orchestra, Two Hours Traffic, and Dead To Me put out great second albums. Thursday, Lucero (and Ben Nichols), Pete Yorn (with Scarlett Johansson), and William Elliott Whitmore all wrote compelling new chapters in their songbooks.

But I’m going with a top 20 this year for the absolute cream of the crop. Let’s begin.

20. Converge - Axe to Fall
This album is so good it makes me wish I listened to heavy music more often. It’s not their albums specifically, I just only listen to a few heavy bands with any regularity. I’ve always liked Converge but I tend to listen to them much less than most other heavy bands. Which is odd, because their work has been transcendental; they’ve changed hardcore at its very roots and literally everything they’ve done is as the very least highly interesting. This album is very, very good. It would be ranked higher if I felt compelled to listen to it more but for some inexplicable reason I just don’t. Even though it’s amazing.

19. the Danks - Are You Afraid Of The Danks?
Spiritual cousins to fellow PEI rockers Two Hours Traffic, the Danks have a slightly more energetic, driving sound that embraces the hooks-only aesthetic of bands like the Ramones. Throw together some Super Friendz, Thrush Hermit, Stone Roses, and Buzzcocks and you’ll be tapping your foot until you start to lose feeling (or until the half hour is up). Read more here and celebrate the East Coast resurgence.

18. We Were Promised Jetpacks - These Four Walls
Perhaps their eyes are bigger than their stomachs, but We Were Promised Jetpacks have come forth with a stirring debut packed tight with tension and youthful energy. Compressed to within an inch of their lives, each song is big, loud, and brash and full of life. Not every moment is flawless, not every note resonates, but everything comes together in an inspiring package. Commenters liken it to a Scottish version of Bloc Party covering Thursday’s Full Collapse. Read more here and decide for yourself.

17. Bomb The Music Industry! - Scrambles
It took me forever to “get” Bomb The Music Industry! Or at least what seemed like forever, seeing as Jeff Rosenstock puts out an album or two every single year. While his arrangements continue to have a considerably chaotic tapestry this is lyrically his most mature offering to date. Yes, he’s aping Springsteen more than Black Flag but he’s also making it work. He still talks about “the scene” to an ob-scene degree (which is a little Inside Baseball for me sometimes) but no one speaks for the slowly-maturing punk rockers of this generation quite like he does.

16. Andy Shauf - Darker Days
This is easily one of the best albums released by a Regina artist in a long while. Shauf’s style is understated and gentle, his tender singing voice a perfect compliment to his acoustic guitar and banjo arrangements. Some are hushed and atmospheric, some are peppered with sprightly electric guitar runs, and all are imbued with the quiet intensity and intimacy of bedroom recordings. Even better for Shauf and the world at large, the album has been released on a wide scale by P Is For Panda, an imprint of the wonderful Hopeless Records. And he has a new EP out! Huzzah!

 

 Converge - Dark Horse [2:55m]: Play Now | Play in Popup | Download

 

 the Danks - 374 [2:46m]: Play Now | Play in Popup | Download

 

 We Were Promised Jetpacks - It's Thunder and It's Lightening [4:49m]: Play Now | Play in Popup | Download

 

 Bomb The Music Industry! - Fresh Attitude, Young Body [3:38m]: Play Now | Play in Popup | Download

 

 Andy Shauf - the Darker Night [3:58m]: Play Now | Play in Popup | Download

Andy Shauf: Website and iTunes
Bomb The Music Industry!: Donation-based label, vinyl purchasing, iTunes
We Were Promised Jetpacks: Fat Cat Records store, iTunes
the Danks: MapleMusic, iTunes
Converge: Buy music, iTunes

Pat entries acoustic, Andy Shauf, best ofs, Bomb The Music Industry!, Canadian content, Converge, pop rock, post-punk, punk rock, rock, the Danks, We Were Promised Jetpacks, year in review