Sound Salvation Army

Chad Van Gaalen (CvG) is clearly a pretty prolific artist. Many people are familiar with the native Calgarian’s credentials as an animator, graphic artist, producer, and — obviously — a musician that perennially appears on the Polaris Prize list. To those familiar with the records released under his own name this latest release, under the moniker Black Mold, shouldn’t come as too much of a shock.

The Black Mold record, Snow Blindness is Crystal Antz, is born of his obsession with multi-track recording and experiments in layering different sounds; not just instrumental music but an incredibly wide range of sound effects and synthesizer noises. On previous albums released under his own name CvG showed a proclivity for noise (the end of Soft Airplane, for example) and the layering of sounds and different noises here is similar to what he brings into his other albums. With those records CvG blends these types of sounds into the mix with varying degrees of subtlety, but generally they’re used to accentuate the excellent live instrumentation. Its a great effect when they come together well and those records deserve the praise they’ve received.

Snow Blindness runs 19 tracks and nearly 70 minutes in total. On some level it makes sense that CvG would have accumulated this glut of material, considering that a lot of experimentation would be needed to take such a wide range of sounds and combine them so successfully on those three LPs and three EPs. Clearly that is the case here and then some.

It’s been kind of tough to review the record as a whole because the tracks swing across all kinds of different spectrums. Some are short and odd, others are more fleshed-out with a subtle interplay between the elements. On the whole it seems like totally random experimentation, like he has been trying to find the perfect combination of instrument and electronic but winds up losing focus at varying stages.

Snow Blindness begins with “Metal Spider Webs,” which opens with an intriguing string duo that is in short order ruined by electronic beeps and static. This really sets the tone for the album, which features some very nice musical elements (oboe, guitar, strings, etc) that are most often overpowered by layered noise and sound effects. There are some very melodic moments and some that sound like the Super Mario Bros. soundtrack being reproduced by an 808 machine.

There is much to like here, but unfortunately it comes in short bursts and is all too often intertwined with many additional layers of sound that muddle and obscure what was originally intriguing and enjoyable. Nearly every track has something beautiful to offer amongst the complexities, so it’s easy to see how the more subtle elements of his other LPs are developed. While the overall effect is a little overwhelming, there are some great interlude tracks for mix tapes, some tracks you can groove to very nicely, and some that are wholly repulsive. This is very much a grab bag.

To me there are two ways to look at this record. You could view it as a representation of a vital aspect of CvG’s method of producing masterful rock records. I always find it interesting to get a view into how artists do what they do and on that level this could be seen as an important record and, as I said, there are a lot of elements to like. On the other hand if viewed on it’s own it is a somewhat unnecessary album that may not appeal to anyone but the most hardcore of CvGs fans.

Chad VanGaalen quite literally has the most austere website of all time, but you can find his physical albums and projects he’s tangentially connected with via his very own label’s webstore. They also wisely run their own digital store.

Jeremy entries Canadian content, Chad VanGaalen, dubious notions, electronic, Flemish Eye Records, indie rock

It took months of having to listen to it before I came around on Kanye West’s 808’s & Heartbreak. My original review was the result of a first impression that failed to take into account the depth and intricacies of every element, every aspect of the album. Its majestic defiance of decades of expectations for hip-hop artists and the genre itself, its need to stand alone as a thing unto itself, its unbelievable emotional singularity within the greater umbrella of the rap community. Its total lack of rap.

Only a few of those things translate into a remix of the album’s big single, “Love Lockdown,” that dropped into my e-mail inbox this morning.

Remixes are a thing that I don’t generally cotton to (as you can probably guess by my use of such an antiquated phrase). I’m not a huge fan of electro- music and I’m even less of a fan of club music, house music, and “dance” music in general. If I wanted to give myself a headache I’d sit in front of a strobe light and hit myself in the skull with a hammer.

That’s where Young Wiz’s remix gets its first strike in my mind. Eschewing the glacial pace of the original, it ramps the beats-per-minute above 120, wiping out what was a cathartic build-up into the clatter of the chorus and replacing it with a constant backbone of thumping bass synth. Kanye’s already-roboticized vocals are now muddled under even more distortion, with one phrase (”You lose”) repeated ad naseum for more than a third of the track’s running time. There are also seemingly-random glitches and drop-outs slapped into the last sixty seconds which keep the listener on their toes, but its hard to say what other purpose they might serve. The repetition lasts long enough that the track seems to go out in a whimper instead of a bang. The original may have as well, but at least the entire thing hit a crescendo of percussion before fading out on the fuzzy bass-line.

There are some attempts to inject new blood into the track. A smattering of fake hand claps and some synthesized strings curry some good favour and offer a bit of freshness to the proceedings. The beat is subtly shifted up two or three times to keep folks stepping, and I’m pretty sure there are some hand drums sampled in there as well. That’s a nice touch.

This is far from my area of expertise, but I guess in some instances as a reviewer you can’t necessarily justify why you feel one way or another about something. This isn’t something I would go out of my way to listen to on a regular basis, but it isn’t bad. If you’re into dancey numbers or re-interpretations of songs this might be up your alley. At the very least, this will sound dynamite coming out of some the car trunk of a dude with arrested development.

Young Wiz tells me he’s just getting his feet wet; this is actually his first big remix. I’d recommend you go over to his Sound Cloud page and check things out. I’m sure he’d appreciate feedback from as many people as possible, so drop a comment while you’re over there.

Pat entries dance music, electronic, Kanye West, rap, remix, Young Wiz

Hey readers! I’m back from my self-imposed exile.

Sorry about that. I had, uh… let’s say Ebola. But I’m better now! I’m good enough that two weeks ago, I attended a massive concert here in Guelph. In the summer, hippies, neo-hippies, hipsters and other hip-related people gather at Guelph Lake for the annual Hillside Festival. This is all well and good, except it takes place in the summer and how you gonna play February? It’s the month everyone looks forward to cuz it’s not January, it’s generally short, and it contains one chocolate related holiday, one groundhog related holiday (You don’t take groundhog’s day off? Why ever not!?) and now, Hillside Inside. It’s like Hillside except, you know, inside. They rented out the hockey arena, brought in some dumplings and $2 reusable beer mugs and volunteers to wash dishes (no paper plates for hillside hippies) and invited a totally awesome buncha bands.

The “big name” guests included The Weakerthans, Cuff the Duke, Tokyo Police Club, Shout Out Out Out Out, Attack In Black, Wintersleep and Xavier Rudd. I happen to appreciate everybody on the above list, especially Shout Out Out Out Out, who put on one of the best shows I’ve ever seen them do, considering they hopped a plane from Edmonton at 6 a.m. and were pounding out the awesome of Dude You Feel Electrical and Nobody Calls Me Unless They Want Something on their famous two drum kits by mid-afternoon.

The other bands were also at the top of their game, even if it felt like The Weakerthans suffered a little for opening the show. The harmonies seemed a little off, but otherwise, they impressed enough that I bought a faux curling sweater with the band’s curling broom logo on it. What can I say? I’m weak. I’m weakerthan. Cuff the Duke’s set made me wonder why they are not incredibly famous. Their latest album, Sidelines of the City, is available on vinyl, which means you should get it, ’cause it comes with a CD, too. Big art, big music, awesome tunes in various formats. What more could you want? If I Live or If I Die is the wintertime jam of ‘08. And Wintersleep. This band has played Guelph many times in the last year or so. Every time I see a poster or a flyer, I think “I should go see them.” And then I remember that I work nights and have no social life to speak of. I was getting tired by the time they took the stage. I was prepared to go into whining mode. And then, they launched into Weighty Ghost and all my troubles were forgotten. It’s such a great song, I’m glad it’s getting radio play. It deserves it. They deserve it. All these bands deserve your attention, so seek them out.

Ultimately, I was hoping Hillside would introduce me to some new artists, which is why I am so glad I caught Kitchener-Waterloo based group, Bocce. Infectious beats? Don’t even get me started! The vibe at Hillside has a reputation for being relaxed and enthusiastic, but I love it when lesser-known bands have the confidence, stage prescence and sense of humour enough to play to a hockey arena full of potential fans like we already know them. They came down from the stage to dance, invited a trumpet player up for a solo and wielded hockey sticks as though they were swords. They were the kings of the Island Stage. They had us singing along to Disco Juan, and when you hear it, you’ll want to sing along, too. Bocce has a lot of keyboards and a lot of keyboard players. And they headbang. While playing the keyboards. And I think that’s fucking awesome. Check ‘em out on myspace and dadmobile records. I guarantee they’re worth your time.

Before I go, I wanted to post my Valentine’s Day present to you all. Are you ready? Okay. Here you go:

This is how it is, America: All the Republicans can think of to diss Obama about is that he’s only got three years senate experience. Can you believe that? He’s totally going to be the next president. By extension, that means he’s going to be a PILF. Come on. Admit it. You’d tap that presidential ass. As for his three years experience, I don’t know about the White House, but it certainly qualifies him to get into my pants. Alright. I think I’m done making sex jokes about Obama, so feel free to send this out as your Valentine’s card. If you don’t do it for the nookie, do it for the LULZ.

As far as Valentine’s Day music goes, I wanted to give you some Al Green, but Wordpress thinks the five minute song I picked was too long. So you don’t get Love and Happiness from the good reverend, you get Marvin Gaye’s bouncy love song, Too Busy Thinking About My Baby. It puts me in a happy mood. Much like cheap chocolate on sale February 15 and the realization I’m still single and don’t have to buy anything for anybody except me. The Canadian single girl’s dream lives on.

 

 Cuff the Duke - If I Live or If I Die: Play Now | Play in Popup | Download

 

 Wintersleep - Weighty Ghost: Play Now | Play in Popup | Download

 

 Bocce - Disco Juan: Play Now | Play in Popup | Download

 

 Marvin Gaye - Too Busy Thinking About My Baby: Play Now | Play in Popup | Download

Tanis entries Barack Obama, beer, Bocce, Canadian content, electronic, festivals, indie rock, live music, Marvin Gaye, politics, Valentine's Day, Wintersleep

I can remember when the Postal Service was actually one of Jeremy’s finds, back in 2001 or 2002. Before Garden State, before the commercial licensing, before Death Cab For Cutie played Saturday Night Live. Before Iron & Wine’s version of “Such Great Heights” appeared in an M&M’s commercial.But even over-exposed acts can surprise you.

Their single/EP for “We Will Become Silhouettes” was rounded out by filler remixes, but the lone original, unreleased track is three minutes of sheer bliss. The irreplaceably gorgeous Ben Gibbard vocal melody takes centre stage in the chorus, while Jimmy Tamborello’s now-familiar (and almost cutesy) programming gives the song an odd propulsion through what sounds like synthesized hand-claps and a churning, muddy, roiling bass that washes through the background. The story is a typical Hollywood “meet cute” scenario, but Gibbard sells it (a very nice, flawless female backing vocal helps).

I’ve probably listened to this song at least a hundred times and it’s still my favourite Postal Service track ever. Simple, direct, and beautiful.

The Postal Service is supposed to put a new record out some day, but until then:
iTunes: digital files for a digital band
Sub Pop web-store: t-shirts, posters, and — oh yeah — music

Pat entries Ben Gibbard, electronic, pop, Postal Service