Sound Salvation Army

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

Where is Sarah Harmer at, people?

Remember back in 2001 when her second solo album dropped? You couldn’t get away from that shit! She was on MuchMusic! Remember MuchMusic? You Were Here received accolades from critics and the listening public in kind for her relaxed, acoustic-based pop songs. They were like back-porch soul food for any and all musical appetites. She was a confident and assured performer with marvellous finger-picking and a knack for heartbreaking vocal melodies. It went platinum, for goodness’ sake!

She ventured into more diverse territory on her third solo joint, which had some quietly devastating songs as well. Textured with the vaguest of electronic, roots, and rock elements, All Of Our Names was a wonderful sophomore follow-up.

Depending on your perspective, her third album either lost the thread on what gained Harmer public approval in the first place or followed a natural progression into bluegrass territory. Despite the trepidation of some to embrace that bluegrassiness, there were still a few big singles (and the should’ve-been-huge single, “I’m A Mountain,” a version of which is found below). But she’s been rarely glimpsed outside Ontario since 2006, mostly sticking to the occasional fundraiser show. The last word her fans received on any type of recording was over a year ago, when she alluded to laying down some tracks for a future LP.

Now listen: I know you can’t rush the creative process. If you do the results are usually pretty unfortunate. And I wouldn’t bring it up if I hadn’t stumbled across a Bootlog post from 2006 last week that has some absolutely wonderful tracks that were recorded at a show in Toronto she did with the Weakerthans. I think it was broadcast on CBC at some point. Either way, there are some really cool cuts in this post where Harmer and the Weakerthans back each other up and cover each other’s songs. They also perform some covers of songs by the Shins, the Bee Gees, and the Replacements.

So aside from Harmer’s wonderful original tracks she and her band (which included Julie Fader and Danny Michel at the time, apparently) put together a downright majestic reading of one of my top 10 favourite songs of all time, the Weakerthans’ “Left and Leaving.” Its mostly pretty faithful to the original, tossing in a wonderfully-lethargic solo and some slightly-tweaked vocal inflections. But its just another example of how rock-solid a performer Harmer is and her knack for imbuing a song with genuine feeling.

So here’s some stuff to remember Sarah Harmer by while we wait patiently for LP5. It can’t come soon enough.

 

 Sarah Harmer - Left and Leaving (Weakerthans cover) [4:35m]: Play Now | Play in Popup | Download

 

 Sarah Harmer & the Weakerthans - I'm A Mountain [3:28m]: Play Now | Play in Popup | Download

 

 Sarah Harmer - Greeting Card Aisle [4:38m]: Play Now | Play in Popup | Download

Sarah Harmer’s webstore is a pretty good one; buy her albums by visiting it, through her main site. iTunes also has your back in a pinch.

Pat entries acoustic, Canadian content, pop rock, Sarah Harmer, the Weakerthans

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 | Download

Check out the No Idea Records website and buy the hell out of this record. Do it for love.

Pat entries acoustic, Bruce Springsteen, covers, Gatsby's American Dream, hardcore, Hawks and Doves, Johnny Cash, No Idea Records, Planes Mistaken For Stars, rock, vinyl

-photo courtesy of Tyrannous’ flickr

A fresh pair of ears can do wondrous things for a song. Like Whitney Houston did to “I Will Always Love You” or Jimi Hendrix’s take on “All Along The Watchtower” or the Manfred Mann Band’s cut of “Blinded By The Light” (which the Boss calls the definitive version of the song; I couldn’t disagree more) a different perspective or way of thinking can completely transform a song, superseding the original to become the definitive performance of the tune. Today we’re talking about much lower-profile musicians, but the effect remains the same: Laura Stevenson is rocking the shit out of a cover on her latest release.

In a lot of ways Stevenson sticks out like a sore thumb. The folk(ish) artist was/is a keyboardist for Bomb The Music Industry!, one of the noisiest punk bands around today. But while she’s served that role she’s also been performing solo material that is leagues apart from the over-compressed, thousand beats-per-minute, shriek-howls that denote BTMI!’s sound. With her first release, A Record (recorded with her backing band, a loose and free-flowing collective known as the Cans), out on BTMI! frontman Jeff Rosenstock’s donation-based download label Quote Unquote Records, she still sticks out amongst the myriad punk rock bands that make up its roster. Luckily she doesn’t seem to mind.

Stevenson’s sound can be all over the map. A Record sees her transitioning from hushed acoustic/banjo’d balladeering to 20 second interstitial tracks to crunchy electric guitarded rock songs. She frequently writes about herself, her insecurities, the impact a personality or attitude can have on a relationship. On the surface that may sound like fairly typical singer-songwriter fare.

But Stevenson’s songs propel her above that. The loose feel of her recordings and the simplicity and passion that drive them are given a strong boost by her sprightly vocals. That’s likely the thing that will catch your attention, especially on the standout track from her latest release, a split 7″ recorded by and with her bandmates in Bomb The Music Industry.

As lovely as the Stevenson original (”Halloween One & Two”) is in the lead slot, the BTMI! cover is astounding. A song titled “It Ceases To Be ‘Whining’ If You’re Still ‘Shitting Blood’” might seem difficult to class up, but Stevenson and her Cans (that sounds kind of wrong) strip away the layers of noise and grit to completely transform it. The original is a coarse song (boasting the most “eff words” per-second I’ve heard in a long, long time) that is lyrically rife with the tension and pressure that seeps into every crevice of a band’s being when they’re on the verge of hitting the big time, of the crushing expectations a songwriter feels when they expect every song to be the one that will put them over the top.

In Stevenson’s hands the track is given a crushing fragility, her lilting soprano clearly enunciating every line as though the fate of her career hangs on every syllable. Her voice enhances the message, reading like a self-affirmation, a promise to herself to continue writing songs that she feels have merit regardless of the opinion of others. A gradual build leads to an emphatic climax in the last chorus, exploding from the speakers as a joyous, ebullient revelation. It leaves me exhausted and ends far too abruptly.

I love Stevenson’s work and knowing her interpretive abilities are at least on par with her writing skills is a nice surprise. Hopefully it leads to some BTMI! fans checking out A Record. Her songs may not be breaking barriers, but I feel like they are slowly but surely chipping away at them. With loveliness.

 

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

 

 Laura Stevenson - the Pretty One [3:15m]: Play Now | Play in Popup | Download

Dig on Laura Stevenson at Quote Unquote Records, where you can download her songs on a honour-based donation-payment system. The BTMI! split, which I love ever so dearly, is out now on Kiss of Death Records.

Pat entries acoustic, folk, Laura Stevenson & the Cans, punk rock, Quote Unquote Records

It’s a cliche to say you should write about what you know, but that age-old maxim is very much true. It also has me simultaneously titillated and terrified as I post this item.

If you aren’t from Regina and don’t know the genealogy Jesse Matheson is the brother of Emmet Matheson, one of my favourite writers, critics, and underpants-puller-offers ever (here’s a link to his credentials; he’s bona fide). Both men have a knack for ingenious allegory, wordplay, and tweaked absurdity. Jesse plays guitars and sings songs while Emmet lives for the printed word (and the occasional subversion of such).

I met Emmet when I was working and volunteering at the University of Regina Carillon, where he spent time as Editor-in-Chief and even more time as the man behind some of the most entertaining and intelligent CD reviews the publication has ever seen. Even then his knowledge of music seemed encyclopaediac and his analysis was practically Ebertian. It was his thoroughly entertaining encapsulations that inspired me to first review music, then to do it better. He’s the reason I once reviewed a particularly awful techno CD by listing nothing but sci-fi sounding onomatopoeia.

So my appreciation for his work after even the briefest of exposure to it resulted in a bit of anxiety when he personally asked me to review his brother’s album for its recent re-release. Of course any pressure I feel about it is completely self-imposed, but its there. And it has only compounded since I first spun the record.

I’m nervous about this review because someone whose work I genuinely appreciate will be watching closely. I’m nervous about this review because there could be a perceived conflict of interest if I write something glowing about it. I’m nervous about this review because I love this record, but I don’t want to write something too hyperbolic about it; I think people tend to back away from something if a reviewer is too enthusiastic.

But this album is deserving of every sliver of praise it will receive, and those will be multitudinous. Jessie Matheson writes and performs songs with a relaxed confidence that belies a wellspring of talent. His album is called Pleasure Pounds, a reference to, “those parts of a woman’s body that are, well, womanly.” The cover is adorned with a symmetric set of serpentine jaws surrounding a slice of cake. The image, combined with the title, says a surprising amount about the lyrical content contained within.

Matheson isn’t interested in writing protest songs or politically-charged anthems railing against the system; his concerns are far more immediate. Take, for example, the first four songs. “Make Out,” “Moan,” “New Booty,” and the marvellous “She Does It In Graveyards” all discuss exactly what you think they do. The upbeat lead-off track is a paean to lip-mashing, just one of the intimate activities that apparently consumes Matheson’s brain on a non-stop basis. “Moan” takes things into the bedroom, as he lustily intones his desire to drive his paramour wild. “New Booty” celebrates the impact home-cooking has on a lady’s backside. “She Does It In Graveyards” is pretty self-explanatory.

In the hands of lesser songwriters this could come off as painfully sophomoric, but Matheson is just writing what he knows. He’s up-front about his desires and not the least bit lecherous; instead he comes across as that goofy friend who knows a sense of humour is what really wins over the ladies. Witness “Nothing At All,” a highlight of the album’s back end in which he imagines some increasingly entertaining and absurd situations wherein his lady has no clothes on. Simple concept, cleverly written, playfully performed. Its extremely endearing.

Matheson’s cause is helped by his refusal to over-complicate the music and his willingness to let his influences show. On nearly every track he subtly strums an acoustic guitar and sings like the horny ghost of Jonathan Richman (yes, I know he isn’t dead). That is probably the most obvious comparison to this material, as Matheson wears his Richman influences on the sleeve of his Velvet Underground t-shirt. Unpretentious arrangements see handclaps, some smooth bass, spare synths, reverb-laden electric guitar, some wonderful female harmonies, even lap percussion and a slapdash choir (presumably naked, if one suspends disbelief while listening to the marvelous “Orgy In Portland”) thrown into the mix. Given that his other love is food, I’m not surprised to see that he knows full well the hazards of having too many cooks in his kitchen. The songs succeed because of his charisma.

Of course not ever song centers around lyrics like, “Let’s make my loveseat into a love seat.” Matheson quite admirably addresses the dire situation Regina’s downtown has been facing for the last number of years in “I Walk Downtown,” lamenting the too-often deserted streets in what should be a bustling sector. The album also closes with one of the most beautiful and sincere love songs I’ve ever heard, the touching and intimate “We Don’t Have To Go Home.” On an album full of uncomplicated songs, this is the purest one: nothing more than two people sitting in a room and singing into an open microphone while the tape rolls. Allison Russel (of Po’ Girl) provides the other half of this duet, both singing gently but purposefully, enunciating loving intent along with every syllable. You can hear them smiling the whole way through and it is downright infectious.

That sentiment carries through every song on Pleasure Pounds. This is happy music, but not overly sentimental or vapid. Its funny, but not jokey or parodic. Its sexual, but coyly so, not in a modern R n’ B or dirrrty pop way. Matheson’s songs acknowledge the base desires we all share and celebrates them with understated hooks and a refreshing ability to avoid taking himself too seriously. This is an album that should be celebrated in kind.

 

 Jesse Matheson - She Does It In Graveyards [2:03m]: Play Now | Play in Popup | Download

 

 Jesse Matheson - Nothing At All [3:59m]: Play Now | Play in Popup | Download

 

 Jesse Matheson - We Don't Have To Go Home [2:56m]: Play Now | Play in Popup | Download

Pleasure Pounds is easily found via the internets at the Copperspine Records site. Also, on iTunes, should that be your game. Good old physical copies still exist; they’re at CDBaby as well. Jesse’s myspace is located here for those that would seek it.

Pat entries acoustic, Copperspine Records, Emmet Matheson, Jesse Matheson, Regina, writing