Sound Salvation Army

If Regina’s music scene has an abundance of anything, its bands that take themselves seriously. Very seriously. Call Molten Lava the antithesis of that mentality.

The two-piece noise-mongers are not only the “shredliest” band currently operating in Regina, they also have more talent per member than pretty much any band ever. Drummer Tristan Helgason has been gigging around the city for more than a decade, starting out in high school hardcore outfit 400 Strong. He graduated to two high-profile gigs after that, replacing existing drummers in short-lived emo giants Filmmaker and Smallman Records’ Ghosts of Modern Man, the latter of which remains his current day job. He helped change the former from plodding, nearly slow-core sloths into an assured up-tempo rock band with powerfully emotional hooks. He helped reign in some of Ghosts’ more meandering tendencies, their songs becoming focused blasts of ferocity and energy. Unfortunately I don’t really know much about Liam Bryant’s musical resume, but trust me: the dude plays the bass like his father invented it and his birthright was mastering the use of that hallowed invention. Basically, the guy is a juggernaut.

Their sense of humour is clearly on display in their one and apparently only album, Sevens and Nines, and the titles of their songs. Those titles also serve as their manifesto: calling their songs “the Hunt For Shred October,” “Shred n Butter,” “Night of the Living Shred,” and “Liquid Hot Mammal” isn’t just joke-making, its also evidence of just how seriously fast and hard these men like their music.

Like many of the people that have attended their gigs in the last year and a half or so, they’re “shreddleheads” at their core. Over the course of eight songs and less than 25 minutes they craft an extremely complex and heavy sound that, on a technical level, rivals any metal or hardcore group I’ve heard recently. The most obvious touchstone for comparison would probably be the defunct Death From Above 1979, due more to the fact that they too operate with bass and drums only. But this is faster, more complex, and more cerebrally-crafted than anything that band has produced.

While the titles may seem ludicrous on the surface, they actually make some sense when incorporated with the music. Take for example “Night of the Living Shred,” which opens with an appropriately ominous bass squeal, no doubt representing the pained howl of the undead. Helgason’s relentless cymbal figure, so tight and focused it seems almost like a loop, carries over from the previous track and creates a backdrop for the song that is as unyielding as a zombie horde lumbering toward its wounded prey. It carries through the entire length of the song, its persistence communicating that escape is not possible. The remainder of the song is a furious series of Bryant’s short, quick bass runs; their savage tone and his furious fingering are akin to the brutality with which the living dead inevitably devour their prey. That track is followed by “Liquid Hot Mammal,” comprised of a rapid-fire slap bass attack that sounds like a combination of Flea, Daryl Jennifer, and Bootsy Collins. If the Red Hot Chili Peppers had a hardcore edge, they might sound like this.

While some would assume a mostly-instrumental album comprised entirely of two instruments might get a bit repetitive, Molten Lava do an admirable job of keeping you on your toes, throwing left turns into the mix on nearly every track. “Put Your Hand In The Pocket” features almost Dave Grohl-ish vocals, “Shred Life” has moments where Bryant’s bass strumming sounds more like regular guitar power chords more typical of punk rock, and “the D-Meaning” features shout-along vocals and a few decent tempo changes. Guiding the entire process along is Helgason’s stealthy, lithe, occasionally mind-bendingly great drumming.

The cherry on top of this sundae of hot lixxx is the album’s mix itself. Deliciously pushed into the red at every second, the album sounds on the brink of overheating your headphones at any second. The fact that it sounds so overpoweringly loud makes their label’s decision to press 200 copies on 180 gram vinyl all the more adorable.

But the sad news is that the era of Molten Lava is coming to an end with Bryant’s inevitable departure from the city. Followers will be given one last chance to scream the band’s name at the top of their lungs this Saturday night at the Distrikt. They’re meant to be seen live for so many reasons, mostly because they just look so alive when they play. Not only that, but they’re also the only band out there that I’ve ever witnessed performing a Refused cover that can actually do that legendary hardcore band justice. Click here for more information on the show.

 

 Molten Lava - the Hunt For Shred October: Play Now | Play in Popup | Download

 

 Molten Lava - Night Of The Living Shred: Play Now | Play in Popup | Download

Young upstart label Harvest King Records are keeping the vinyl dream alive and you can find Sevens and Nines through their website. They also have numerous violent and energetic punk releases from other local bands.

Pat entries Canadian content, hardcore, Harvest King Records, metal, Molten Lava, punk, Regina Saskatchewan, Sevens and Nines

Friend of the blog Emmet Matheson over at A Bulldozer With A Wrecking Ball Attached has had an indirect influence on the main writers of this project over the years, thanks to his former position as editor and best music reviewer of all time at the University of Regina’s Carillon student newspaper. He has really good taste as well, which helps.

He’s linked here a time or two before, which is pretty cool. Today I’m returning the favour, having been stricken by an urge to write about Regina’s Polymaths. It was Emmet’s enthusiasm for their pop-rock stylings on his blog that first exposed me the group. Shameful, I know, seeing as how I still live here and he’s hundreds of miles away.

His enthusiasm is very justified. Their EP So Long Castle Road is evidence of their commitment to doing things right. They’ve chosen a lean six songs to represent their first few years as a band and there isn’t a single missed note in the whole works. They’ve got a keen ear for relaxed, catchy rock structures and unassuming, unaggressive arrangements peppered with liberal use of piano and lady-vocals.

There also seems to be a tiny streak of self-referentialism in these young Regina pop bands. Polymaths and their close-knit kin in Rah Rah both shamelessly reference not only their city but also their province, which is sure to raise eyebrows in non-domestic listeners. Its a nice contrast from other points in our history when being located in the prairies and gaining national or international notoriety would’ve been thought impossible and bands did all they could to diminish the fact they came from here.

But aside from that more overt notion, the songs on So Long Castle Road also evince a sense of malaise in the changing face of Saskatchewan’s landscape. We’ve seen empirical evidence in recent years of diminishing rural populations, including smaller towns, as farmers and other rural residents trade in agrarian lifestyles for city dwelling. Part of that is due to aging populations in the agricultural sector, but it also represents a shift in the economic focus of the province towards a more diverse and commodities and resources-based economy. Polymaths issue a subtle protest over the changing face of the province lyrically on the EP in two ways: by romanticizing the centuries-old practice of lumber-jacking on the album’s closing track and using industrial and mechanical imagery on other songs to represent the negative aspects of the song’s subjects and their antagonists. It’s an interesting and very regionally-specific piece of songcraft that’s worth applauding.

 

 Polymaths - Strike!: Play Now | Play in Popup | Download

 

 Polymaths - Lumberjack Rock: Play Now | Play in Popup | Download

You can find the Polymaths myspace page here. The EP is available dig-it-ally from Zunior. Young Soul Records’ website is outdated and essentially non-functional, but you can visit it by clicking here.

Pat entries A Bulldozer With A Wrecking Ball Attached, Canadian content, pop rock, Regina Saskatchewan, the Polymaths

About a week ago I was basking in an incredible display of raw talent and the love of music at the Exchange in Regina. I was so impressed with both of the bands on the bill that I’ve been thinking about it for eight straight days now and if anything warrants writing about, I’d say that’s it.

Both peddle an alt-country sound, which seems to be the hip genre these days. Regina’s Lazy MKs take a different tack than a lot of bands, incorporating both double-bass and pedal steel guitar into their regular instrumentation. While that might suggest a deeply traditional, rootsy vibe, the band doesn’t go for the obvious. Their material is instrumental across the board on their new EP, A Field Guide To The Lazy MKs, although their live shows are typically peppered with guest vocalists to ensure they don’t lose the intimacy that comes from having a singer present.

The songs themselves are rooted deeply in rock and roll, offering two- and three-minute tunes that bounce and swell with noise, each element cascading over the other. It’s a rough-hewn style that recalls the tumbling fields of the prairies, constantly on the verge of a strong gust of wind and sound that pushes the song in a new direction. There’s also a sense of playfulness to the writing, and especially the live performance, that demonstrates the familiarity among the players. There’s a charm in it, especially from a group of men who list “moose jerky” as an influence in their bio.

It’s also kind of a treat to hear a group emphasize the bass in their writing; when an often-overpowering instrument like pedal steel is included on every track it can be a balancing act to make certain that’s not ALL the listener hears. Switching effortlessly between electric and stand-up bass, Chris Prpich seems to edge in and out of the role of bandleader with ease, naturally leading their stomping, energetic playing in a democratic way.

Incidentally, the group has also come up with one of the most gorgeous CD packages I’ve seen in years. It’s an absolute treat to hold, see, and hear.

But the real treat of the evening was Saskatoon’s Deep Dark Woods. They fall somewhere in between country and rock and roll as well, but usually hew closer to the former. Their sound is punctuated by singer/guitarist Ryan Boldt’s understated baritone, a voice that is equal parts Hayden and George Jones. A couple of years ago they released the widely-acclaimed Hang Me Oh Hang Me on Vancouver-based Black Hen Records, home to SSA favourites Old Man Luedecke and Steve Dawson. That record won “Best Roots Album” at the Western Canadian Music Awards.

Last month they put out Winter Hours, which raises the bar to heights one might not think possible for a lowly Saskatchewan group. Embracing the dark side of singer Ryan Boldt’s songwriting, these tracks lament impending floods, destitution, suicide, and murder. The lethargic, haunting melodies of “the Winter Hours” and “Farewell” will crawl into your head and plant roots, the vocal harmonies echoing the mournful violins and guitars; I haven’t been able to get them out of there since the show. Boldt’s characters embrace the lack of sunlight, money, and love with whiskey and gin; these are tales of outlaws that have lost all hope, women with their backs against a wall, men who have lived right up to the edge of their means and are staring over a precipice.

I don’t think its a stretch in the slightest to say the Deep Dark Woods are easily the finest band operating in our entire damn province. A case could be made that few bands from our slow, cold prairie towns have ever been able to boast songwriting this fine. You owe it to yourself to check them out.

 

 the Lazy MKs - Young Sad [3:11m]: Play Now | Play in Popup | Download

 

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

 

 Deep Dark Woods - All The Money I Had Is Gone [4:09m]: Play Now | Play in Popup | Download

 

 Deep Dark Woods - Farewell [3:43m]: Play Now | Play in Popup | Download

 

 Deep Dark Woods - Winter Hours [3:08m]: Play Now | Play in Popup | Download

Deep Dark Woods records are available through Black Hen and Zunior. For the Lazy MKs contact them through their Myspace, since their record label doesn’t really seem interested in acting like a real record label.

Pat entries Black Hen Records, Canadian content, country, Deep Dark Woods, Lazy MKs, Regina Saskatchewan, rock, roots, Saskatoon, Young Soul Records

Recently I wrote a piece on a great local band. Last week I got my face blown off by another local band that was lying dormant, waiting for an opportunity to strike and stir up an entire city’s music fans into a frenzy.

Ghosts of Modern Man have long been a Regina institution, albeit one that suffers through long periods of quietude. In roughly 15 years of activity, the group has put out two 10-song albums. Twenty songs, the result of 15 years of work, an entire recorded output of songs equal to a number Frank Sinatra and Elvis probably recorded in a single day at their “peak.” Granted, I think people are willing to let a band get away with weeks and months of inactivity when their songs are so thoroughly engaging.

I haven’t seen them in at least six months, and it appears they’ve used that time to write most of, if not a whole, new album. Last Friday night they came out white-hot, playing at least five or six new songs in a row, each one faster and more awe-inspiring than that which came before. Their being brought to life is a testament to the intensity of their live machine.

Jonah Kreiser is a vision, a wonder, the way he plays guitar. The precision is unmatched in this city, likely others. The stoicism is measurable, palpable in his eyes every moment he’s on the stage. The rhythm section of Tristan Helgason and Jamie Deal are a rhythm section like few others, a crushing and ferocious two-headed, four-armed animal that cannot contain the violence it feels in it’s medulla oblongata. It finds itself leaping to its feet uncontrollably, staring down its audience and forcing them to clap along to the beat. It squeezes every possible beat out of a moment, its drumsticks are a blur. It drives one to slap at the air with its hands in a futile attempt to keep up. Stacy Hahn is a steady, studied counterpoint hitting his notes and harmonies with a detached concentration that erupts into smiles and banter with the hometown crowd between songs.

Little did I realize it would become my weekend of GOMM.

Our community station, CJTR (home of the weekly radio show that shares a name and host of this site), held it’s annual Music Garage Sale the next morning. It’s a major fundraiser; we take donations of CDs, LPs, equipment, instruments, whatever and then sell it to people. Sorting through bin after bin of CDs I managed to find a copy of GOMM’s first album, released back when they were still called Pillar and before the threat of legal action forced an already-coming name change. The only really striking contrast is the fact that Kreiser sure used to sing a lot more. Much less gruff tone. But the elements are all there in their most basic form. Listening to them brought back a flood of memories, seeing those songs who knows how many times at the Exchange, downloading “Petting Zoo” from mp3.com when it was a new service, being overwhelmed every damn time I saw them play “Lethargy Is Killing Me.”

It was such a good weekend.

 

 Ghosts of Modern Man - Blood Parade [3:58m]: Play Now | Play in Popup | Download

 

 Ghosts of Modern Man - Mauvaise Foi [4:33m]: Play Now | Play in Popup | Download

 

 Pillar - Lethargy Is Killing Me [5:23m]: Play Now | Play in Popup | Download

Like all good Saskatchewan bands GOMM left the province to find a label:
Smallman Records: Handled by mymerchtable.com, the latest CD is available
iTunes: For digital nerds

Pat entries Canadian content, CJTR, Ghosts of Modern Man, local music, new music, Regina Saskatchewan

Every once in a while a city or town gets spoiled by one of it’s own: a local act that strikes a unique chord and really shows you something, shows you that they might have what it takes to make it to the big time.

But how easily can our judgement be clouded? Every town has bands, and one band in every town has to be the best band in that town. Maybe you’ve got two or three bands that show real promise, get signed to medium- to larger-sized labels, do some touring and start to make a dent in the collective unconscious…does that make you think they’re better than they are? Is that possible?

The first quarter of 2008 there’s been one band playing a majority of local shows here, higher-profile ones at least, opening for touring acts. Geronimo probably still gets tagged with the “ex-Despistado” label (we really haven’t had that many bands make a big national or international splash before), but they’ve also achieved a fuller, more-complex and more-realized sound that relies on the intricacies and interplay between its members rather than pinning it’s hopes on a cleverly-structured song or a well-turned hook.

I really like seeing them play, and I especially love the long-form instrumental they frequently open their headlining sets with. It just goes and goes and is lovely in so many ways. But is it all enough to play on a world stage? I can’t say.

I guess when it comes to local acts you just have to either love them or tolerate them and let the rest of the world decide.

 

 Geronimo - Hope & Fear [3:05m]: Play Now | Play in Popup | Download

 

 Geronimo - Interlude [3:40m]: Play Now | Play in Popup | Download

CDBaby: Seems like if you aren’t in Regina you’d best hit up CD Baby, baby.
Web site: Geronimo’s official web presence, I suppose; NOT frequently updated.

Pat entries Canadian content, Despistado, Geronimo, indie rock, local music, post-punk, Regina Saskatchewan