Sound Salvation Army

Remember, albums can be bought physically from their tumblr and the album is on iTunes too.

Pat entries acoustic, Don Giovanni Records, Laura Stevenson, Laura Stevenson and the Cans, rock

Laura Stevenson sings like she’s exorcising demons.

It’s an inexplicable fact that can’t be ignored: she can have all the backing band she wants, but me? I’m showing up for that voice. That incredible, soaring, searing, voice, that voice that can do anything it’s told.

On their first full-length record Stevenson truly becomes one iwth her backing band The Cans, and long-time listeners and new fans alike reap some incredible benefits from that meeting of the minds. Fans of their previous releases get eased into what is ultimately and undoubtedly one of the top records of 2011. The opening track, “Halloweens Pt. 1 and 2″ came across as painfully lo-fi on the Bomb The Music Industry split 7″ that came out last year. Like all the songs on Sit Resist it has a comparatively glossy studio sheen that is enhanced by an impeccable mix and mastering. Where the lows on the 7″ were so low as to require one to crank the volume only to have the speakers burst when the full band comes in on the back half. The new cut has a bit of a smoother transition, not entirely sacrificing dynamics but making it a lot easier to listen to.

Now, nitpicking aside, let’s talk about the songs.

I wrote rather enthusiastically about “Master of Art” and it’s wily “Be My Baby”-aping opening drum beat a couple months ago, but it’s remarkable how stirring that song remains after a LOT of repeated listens. The best way to describe the multi-tracked vocals on the song’s back end might be to quote the immortal words of Garth Algar: they wail.

The song also represents a few thematic and lyrical examples that carry themselves all the way through the record. One of the last phrases in the song is, “The wait is just a little longer,” a word and concept that comes back in spades on two tracks at the album’s end (companion pieces “The Wait” and “The Weight”). Time appears to be something that weighs heavily on Stevenson, showcased in the next song “Caretaker” as well, in which she implores herself to write down her childhood memories before leaving the home she grew up in behind for good. The future looks bleak in “The Healthy One” as well; while it’s one of the jauntiest numbers (thanks to playful accordion and xylophone) it’s also an incredibly bleak tale of an entire family being decimated by disease, leaving just one little child behind to spend the rest of their life alone.

On the other hand is “Red Clay Roots,” a song that transcends time itself. Stevenson explained in a recent interview with AMP magazine.

I wrote that song after I found my grandma’s unfinished manuscripts. She was writing her memoirs before she died and she told me she was going to name it “Red Clay Roots” when she was finished, but she never did finish it. It’s about her growing up in Greenville, South Carolina. Her mother was a bottle smasher during the temperance movement, and her father and three brothers all drank themselves to death, but she pulled herself out and moved to New York to sing with Benny Goodman. I wrote the song to sort of celebrate her story because she didn’t live long enough to tell it herself.

The song is an eery, tin can-sounding recording that features a dusty distortion on a spare acoustic guitar part and several vocal tracks. The layered singing and humming that make up the bulk of the track create an incredibly subtle but moving effect. The lyrics hew closely to the description you see above, creating a whole package that would be perfectly comfortable on the O Brother, Where Art Thou? soundtrack.

For me the album culminates with the final three songs. “The Wait” is the perfect embodiment of how timely yet out-of-their-time Stevenson and the Cans are. It’s pretty rare that you hear someone who is only 27 sing about their “life’s work” and “waiting for a train to come” and actually BELIEVE it. The band builds to it’s most raucous moment yet, electric guitar, trumpet, and drums all chiming in a melodically cacophonous coda that wanes into “The Weight.” Its finger-picked acoustic guitar and strings provide a temperate, gentle denoument to that moment of passion and fury while the repeated lyrics and withering tone of Stevenson’s voice emphasize the point: the wait is killing her.

Even more disarming is the record closer, “I See Dark,” a track that re-establishes the band’s penchant for experimenting within a familiar sound (something Stevenson did in spades on her first 8-song album, A Record). While it opens with some waltzing accordion, there are a few breaks of discordant distortion that might sound more at home on an Explosions In The Sky record. It works its way out with singing so pained and vulnerable it has to be genuine; Stevenson has revealed in some interviews that when the band raised the idea of changing the song from its recorded form she broke down in tears. She says it’s the most personal song she’s ever written.

The songs on Sit Resist aren’t upbeat summer jams. Stevenson writes from an extremely personal place and more often than not the subject matter, if not the backing music, is undeniably bleak. But for my money you won’t hear another record like this all year. It’s modern but respective of musical history, it’s powerful without resorting to power chords and screaming, it’s personal without being overly confessional. There isn’t a bad song on here and there isn’t a song you won’t find engaging on some level. As I said before, Stevenson is singing like she’s exorcising demons. I wouldn’t wish ill on anyone else but if that’s what it takes for her to keep writing songs like this then I hope she never finds salvation.

 

 Laura Stevenson & the Cans - The Healthy One: Play Now | Play in Popup | Download

 

 Laura Stevenson & the Cans - The Wait: Play Now | Play in Popup | Download

If you’re quick you can download Sit Resist for free from the LS&TC tumblr. Albums can be bought physically from that site and the album is on iTunes too.

Pat entries accordian, Don Giovanni Records, folk, indie rock, Laura Stevenson, Laura Stevenson & the Cans, Laura Stevenson and the Cans, rock, vocalists

Pretty tough to really put into words how excited I am about this one, you guys. Laura Stevenson and the Cans are releasing a new album!

I’ve done you a disservice by not talking more about Stevenson’s debut EP. It sort of fell into the cracks after it was released in 2008, in the sense that I hadn’t heard it until early 2009 after I’d already put together my annual best-of junk. I kind of worry all of her and the Can’s future work will be overshadowed by that eight song collection, in fact.

Released under Stevenson’s name by Quote Unquote records, the donation-based download-only label run by her Bomb The Music Industry! bandmate Jeff Rosenstock, A Record is a shiver-inducingly beautiful collection of songs loosely wrapped around an incredibly unique and uniquely-powerful voice. The first sound you hear is Stevenson’s multi-tracked cooing on opener, “Baby Bones.” It’s a structure that flows through about half the songs here: her guitar and banjo are relegated to quiet accompaniment while her angelic vocals soar through every possible note in whatever key she’s singing in. Then there is “Landslide Song/The Dig,” a track with punk rock guitars and drums melding with a bright horn section. “Source and the Sound” could be a Mazzy Star track, synthesizer notes pushed to the front of the mix while distorted vocals are pushed lower. Drums and distorted guitar power chords cut in halfway through, adding to the syrupy feel of the song. With a group of contributing musicians, several of whom would go on to form her backing band The Cans, the short (23 minutes!) album cuts a wide swath through numerous sounds, textures, and genres. It feels like a full listen.

For me, the highlight comes with “A Shine To It.” Another song comprised entirely of finger-picked guitars and a mournful vocal performance, it’s a captivating contradiction. While the tenor of the song is decidedly maudlin, Stevenson’s lyrics are a testament to the power of love, or more accurately the power love can have over us. She talks about resorting to selling her own blood to buy baubles and trinkets she thinks might please her lover, who remains distant regardless. It’s a haunting, even heartbreaking song that shows the full power and majesty of her singing, let alone her guitar playing.

The same goes for her cover of BTMI!’s “It Ceases To Be ‘Whining’ If You’re Still ‘Shitting Blood’” — possibly one of the finest covers I’ve ever heard.

Which brings us to this week and the debut of the first track from Stevenson and The Can’s forthcoming album, Sit Resist, out April 26th. “Master of Art” follows the progression the band set out on with its Holy Ghost 7″, a more expansive, full-band sound that trends closer to rock than the intimate acoustics of A Record. It opens with a wink to Phil Spector’s 60’s girl groups with its kick drums and tambourines, bringing in some gentle shaker, electric guitar, and bass leading into a chorus that flexes just a bit more muscle. Stevenson’s voice hasn’t lost an ounce of its power, exploding into some impressive runs in the choruses and the lyrics pick up where the intimacy of her previous songs left off, though it isn’t without it’s own sense of melancholy.

I’ve been saying since I found out last year that this record would be coming out that it will be the best album of 2011. “Master of Art” only makes me believe that even more. Rcrd Lbl has the exclusive, get it from there below.

Stay tuned to the group’s web store for pre-order information or to get other tunes. Don Giovanni Records will be releasing it.

 

 Laura Stevenson - A Shine To It [2:56m]: Play Now | Play in Popup | Download

Pat entries acoustic, Don Giovanni Records, indie rock, Laura Stevenson, Laura Stevenson and the Cans, rock

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