Misc Radio Leakage

The Dont's

Earlier this week, I had the pleasure of seeing Bauhaus perform. All the old Goths were out in full force, with most more portly than back in the early eighties. All the rotund uberfans should add an o and now call themselves Gooths… but I digress.. The odd thing was that, since reuniting in 1998, the band didn’t seem to have any new songs to offer; maybe the Dont’s could help them out by tossing them a few ideas

Misc Radio Leakage is a refreshing breath of air in all this new wave, retro nonsense that seems to be hitting the airwaves lately. Taking more of a page from Mark E. Smith than Simon Le Bon, they pour down smart, angular and snappy songs that have deep roots somewhere between early UK post punk and the more accessible works of Sonic Youth.

The band is all about texture, dynamics and room within the foundation. From the machine like drive of “It All Falls Apart” with its psycho bedroom confession vocals and twisted chunk and bell guitars to the chirp jazz intro of “Sissy Resist” to the Pere Ubu-like “The Kids Are Coming”, the Dont’s have an incredible grasp on the melody of groove.

The shining diamond of this record is “Little Doggie Chew”. A dirty, guitar-driven pulse with upfront vocals and catchy methadone backup punches espousing lyrical desire “just to be like you little doggy chew.” This is grandiose nonsensical confusion reminiscent of James Osterberg back in his heyday.

Best Behavior chops it out with pontificating thrum. The atonal guitar and vintage Stranglers vocal play make this a stand out track as well.

A fine record worthy of many a repeated listening, Misc Radio Leakage is one to check out. This band is intent on taking no prisoners, only converts. I count myself a convert.

- Ron Kirsch

The Dreadful Yawns

The Dreadful Yawns

The new full length from the Dreadful Yawns on Bomp Records is gonna be a hard one for all the 10 cent keyboard monkeys (of which I am one) out there to nail down to some movement or genre. The world is upside down anyway. New Country is now pseudo-hick 80’s metal – Alt Country is now New Country – Punk is now just Pop Nonsense with eyeliner – Pop Nonsense with eyeliner is now Stadium Rock and former Stadium Rockers are at home confused and doing pharmaceuticals while trying to avoid pulling a Brian Jones.

The Dreadful Yawn’s are just making music for themselves and that is refreshing. You can still hear the key influential records that put them on the path – Tonight’s the Night – Sweetheart of the Rodeo – Working Man’s Dead. This band does not care if it gets famous. They will win you over without pandering or tricks. The simple rules of write good songs and play well are understood with this crew. The Dreadful Yawns also had the foresight to bring a killer steel player.

All songs are written and arranged by the Dreadful Yawns, and in the literature I received, they do not disclose who plays what. The cover is a low-key comfort beige affair adorned with gentle pencil drawings of the members. None of the songs are “ rockers” and thankfully there are no patriotic ballads.

The song, “You Sold The Farm” lilts along like a Neil Young 70’s outtake. A gentle piano and steel playing hold up the fragile vocals.

Driving it up a notch with some fancy picking and harmonica is “Get Yourself Back Home”.

“Back In the Ground” is a mid tempo paean to simplicity, with guitars as smooth as whiskey. The weird little chant-mantra-drone of “Get Straight” is a pleasant odd egg.

My favorite track, and the closest thing to a radio single, is, “Better Things To Do”. This deceiving gentle swing contains the fabulous truth bloodied lines “I ain’t better off just friends and I’m tired of trying to pretend.” Man … who hasn’t been there!!

The vintage country romp of “Drinking Song” contains a bizarre reference to T-Rex that earns more cred points.

The band come across understated but the lyrics all have depth and sharp teeth. A less than discerning ear might dismiss this record as too laid back and that will be a shame. The Dreadful Yawns have not made a road trip record; they have made a sit-in-your-easy-chair-and-sip-some-smooth-whiskey record. I will go see them live if I get a chance. It wouldn’t surprise me if they use a smoke machine just to throw us a little further off the tracks of preconception.

- Ron Kirsch

The Bridge

Motion Soundtrack

With our airwaves inundated with over-promoted acts from south of the border, and with my own personal predilection for all things British, I find it is all too easy to ignore our own homegrown talent. Motion Soundtrack, a Vancouver-based band releasing their debut album, will make you proud to wear your Roots Team Canada hoodie. After winning the XFM 104.9 “Last Band Standing” contest in May of 2003, lead guitarist and vocalist Mark Wild, bassist Kevin Cooper, drummer Niko Friesen and guitarist Chad Horton made excellent use of their well-earned professional studio time to produce and record The Bridge.

These are superbly trained musicians; experimentation with sound is prevalent throughout the album and I couldn’t help but feel that a CD recording cannot do Motion Soundtrack justice; this is a group that needs to be heard live, in a club venue, where their musicianship can be truly appreciated. I can imagine them extending their 3-4 minute CD length tracks to 8 or 9 minutes, dazzling the audience with extensive instrumental interludes. I have yet to see this group live, but I am confident enough in their musical talent to say that when they return to town I will definitely be there.

For an anglophile like me, The Bridge was a pleasant surprise; Motion Soundtrack’s sound, more British than Canadian, can be best described as an Oasis meets Radiohead inspired alt-rock. Mark Wild’s nasal, gravelly voice is predominant on all the tracks, and it is a refreshing sound. Unlike many freshman efforts, The Bridge is a diverse album. The boys show off their predilection for catchy hooks and melodies on up-tempo songs like “Self Made,” while guitar riffs dominate on “I Get Lost.”

The tracks “What Have You Done” and “Lion’s Gate” afford the band an opportunity to show off their musical talents as they contain lengthy instrumental sections. “What Have You Done,” a ballad, is reminiscent of the 60s British invasion sound. “Falling” is almost danceable. The band eschews classification and wavers between rock, pop, and alt-rock.

While the lyrics are not exactly thought provoking or witty—“nobody’s gonna make you, you do it yourself/if you think that you were made to, than what the hell”— I found that I didn’t really mind – musicianship is clearly this band’s strength, songwriting can come later. Their sound is so powerful that it more than compensates for their, at times, banal lyrics, and it has the capacity to evoke the strong emotions that other bands rely on their lyrics to generate.

Managed by Nettwerk, representatives for Canadian superstars Avril Lavigne and Sum 41, we can expect big things from this group in the future. Although they have received steady play on local Canadian radio stations and Much Music, the band will need to covet the ever so influential American college rock stations if they hope to achieve international recognition.

- Stephanie Rebick

Astronauts & Angels

The Blue Alarm

I’m not a big fan of modern bands with the prefix ‘The’ before their title. As trends go it’s one that has been over used too quickly and will die an ungraceful death. How easy it is for bands to get recognition and fame simply by adding that word before their name.

Hopefully one day it will disappear but for now, as seen with The Blue Alarm, it’s here for a little longer. Though unlike many bands with ‘The’ before their title, The Blue Alarm are actually first-class and should have no trouble getting recognition and appraisal with Astronauts and Angels

Fronted by Fraser Mackenzie, The Blue Alarm soon move into a sound on Astronauts and Angels, both with music and vocalization, that makes you reminisce (or cringe) upon the mop-haired, geek-chic Brit-Pop era of the early nineties.

The influence of Brit-Pop is so strong that not to hear similarities with Mackenzie’s vocal talents to that of Tom Yorke’s would raise concerns for one’s hearing. On tracks such as the opener, “Astronauts and Angels”, the melancholy piano intro only emphasises MacKenzie’s bittersweet voice, scarily close at times to impersonation.

“Brambled Stockings” is another example of the Brit-Pop influence inherent on the album and goes as far as retro with its use of guitar and ‘Blur-esque’ keyboard whines.

Brit-pop influences aside, the album really comes into its own with songs that could be considered altogether less commercial (but definitely more powerful). “Gum” provides us with an ethereal sounding acoustic piece, allowing both guitar and voice to take centre stage while The Blue Alarm stay with you after listening via its effective minimalist composition and spoken-word lyrics. Though sadly too short, its lack of duration is not noticeable on an album that only just passes the thirty-minute mark.

While tracks such as the above) leave you with a tranquil satisfaction – “When Mothers Conspire’” deserves a mention too – the catch is that it weakens the other songs, particularly “Usual Way” a piece lacking the style and depth of the other ten.

Either way there is enough variety of sound for anyone to get a hold of Astronauts and Angels and enjoy it thoroughly, this is one ‘The’ band that I hope to hear more of.

- Michael Byrne

Le Pop 3: Les Chansons de la Nouvelle Scène Française

Various Artists

A top-notch compilation of the finest in current French pop.

Bertrand Betsch could be a French cousin of The Postal Service with its sugar-sweet electronic pop sound on "Pas De Bras, Pas De Chocolat"

Stefie Shock's "Un Homme À La Mer" combines what sounds like a Casio-keyboard preset rhythm pattern with old-world European pop melodies for an effect.

With her sophisticated, sexy, very feminine lounge sound, Camille would be an instant hit with fans of Feist, the Canadian ex-pat with whom she shares vocal similarities – not to mention the elegant production which is something Feist producer Gonalez would no doubt gives a two-thumbs way up to. The super minimal production help makes "Baby Carni Bird" so very interesting; a gentle synth drone and electric pianos, gorgeous female vocals.... the track is gently driven with a sultry shaker part. But the bulk of the sound comes from a super-funky bass part.

Mathie Boogaerts sounds to this writer an awful lot like Tom Zé – crazy off-kilter percussion, gentle classical guitars, a whispery voice and pretty female back up vocals chiming in unexpectedly. Magical. Why aren't there any Americans producing pop music this sophisticated and avant-garde?

An unforgettable, violin-like synth riff and gentle disco feel drive "J'ai Changé", a moody masterpiece by Albin De La Simone. Featuring very nice classical guitar work and a million-dollar voice, makes the listener wonder if every song on this album will be better than the one before – and considering how well it started....

Toma's "Tabatha" has an avant-R'n'B feel that recalls Kelis' "Milkshake" a little bit. Synths blip and blurt out a hip-hop beat, with some Arabic drums and a disco guitar riff. Heavy breathing! The French spare no expense in crafting the perfect pop song.

The deep, sexy female voice on Jerome Minière's "Un Magasin Qui N'existe Pas" is not unlike that of Delaney, another excellent French chanteuse whose CD rolled through the Left Hip offices recently. A very moody track, minimally produced with nice toms beating gently.

Therry Stremler's "Pas Ce Coir" sounds very different from the rest of "Le Pop 3", it has what sounds to these ears like a very American sound. A straight beat, with a catchy acoustic guitar part and a sweet melody gives way to a soaring, incredibly catchy chorus.

For fans of sophisticated, avant-pop, look no further. The French clearly have the game won, and Le Pop 3 is an excellent sampling of what that country has to offer these days. Beautiful! Highly recommended!

- Gordon B. Isnor

Calling Up My Bad Side

Weather

The Weather’s debut album, Calling up My Bad Side, should be accompanied by a warning: do not listen if you are prone to episodes of depression. Granted I first heard the album on a rainy Sunday afternoon, but after listening I felt like curling up into a ball and pulling the covers over my head. These guys are really trying to capture the post-grunge, melancholy, angst ridden Seattle scene.

The music does seem to portray the mood of a rainy day. Perhaps their name, The Weather, is homage to the dreary, suicide inspiring bleakness of the Pacific North West. So I beg you, please heed my advice and refrain from listening to this album when you’re in a bad mood (unless you enjoy wallowing).

The story behind the creation of Calling up My Bad Side is interesting. Originally based in Salt Lake City, Weather front man Sean Campbell decided to pack up and head to the Pacific Northwest to cut the album with only original drummer Kerry Cockayne in tow (good call, I’ve heard that Utah can be a little, uh, stifling). While experimenting with their sound at Tacoma’s Spector Studios, Campbell and Cockayne picked up guitarists Tyler Pratt and Joseph Yahann and a bassist in Zach Varnell. Yet here’s where things get interesting: Campbell and Cockayne had already amassed 40 songs of original material that they were practicing with their new band mates until, get this, they heard the Cure for the first time (?????) and, so influenced, decided to scrap their entire repertoire and begin from scratch.

So I’m going to ignore the hearing the Cure for the first time in 2004 issue, otherwise I’ll never get to a review of the album. The cover art of the CD is a good indication of the group’s sound: flowing, pretty, languid and soft. The addition of the piano on every track adds an element of class and beauty.

Although the group describes their sound as “pop-inflected, post-Radiohead inspired rock,” while citing the Cure as their principal influence, I had difficulty hearing anything Cure-like in their music. I found Calling up my Bad Side more similar to a Coldplay or Travis album, and Weather’s ballads brought me back to the good old days of Def Leppard and Poison.

The tracks all represent one coherent sound, which is the safest bet for a debut, and each song bleeds into the next. The titles of the songs, “Lie to Me,” “The Bitter End,” “Torn Man Down,” indicate the tone of the album; these are not happy songs. Extremely melancholy, the lyrics are about loss, loneliness and betrayal and the music never sounds happy.

“All This Time” is probably the catchiest song on the album. The melody is strong and Campbell’s voice sounds best on this track – it’s a little too Matchbox 20ish for my taste, but not a bad tune. I could see it getting a lot of play on CFOX 99.3. “Texas” and “I-80” are the slowest ballads on the album, and they really push the sentimentality. “Short and Sweet” is by far my favorite track. More up-tempo and a little jazzier, it is the most interesting of all the tracks. Campbell’s voice sounds a little like Dave Matthews in one of his bluesy moments.

For someone who grew up during the height of the Seattle grunge scene and who can remember exactly where she was and what she was wearing when she learned of Kurt Cobain’s untimely death, I’m a little skeptical of this new breed of Seattle rockers; The Weather definitely has the angst down, but their music is a little too unoriginal to hold my attention. It’s definitely not a bad album, but I was just slightly disappointed by the group billed at the next big thing to come out of Seattle.

- Stephanie Rebick

Follow Me Blind

Baleen

On Baleen’s website, a press release on their News Bulletin reads, “We were chosen as one of the most buzz worthy acts in the Southeast”

Now, either I am totally out of the loop with regards to “what’s hot and what’s not” (which is a valid possibility) or someone, somewhere, has over exaggerated.

Having tried several times from many different angles, the conclusion always stands that Baleen, while providing some nice songs occasionally, have produced a mediocre if not confused album with Follow Me Blind

Baleen claim influence and inspiration from the likes of Tom Waits, Brian Eno and Tricky; an interesting mix that would constitute some pretty juicy material. Sadly the opening track smashes any of those aspirations. “Solidify” will flop out your sound system like nothing more than a run of the mill R’n’B/ soft rock hybrid, followed by “Magnifico The Mule” a jazzy indie piece that fails to make an impression after such a stinging beginning.

Those who don’t turn off the album from its first utterance will be mildly pleased with “List”, where Baleen decide to use their guitars effectively with a morose riff that crescendo’s nicely into an energetic note. Following ‘List’ comes “Sold”, a serene track with a subtle breakbeat rhythm, layered with smooth vocals that make for a mellowed moment on the album.

Alas, this sudden surge of inspiration vanishes as quickly as it arrives and is easily forgotten when we are hurled back into annoyance with “Unmedicated”, yet another commercial-minded assembly. By “6.30 am” (a song title, not the actual time this reviewer was listening) you’ll barely notice it’s quickened pace and turned up guitars. Which is probably for the best, as before the song even takes off, “6.30am” is shattered by the hackneyed R’n’B sound yet again. A sound that, without doubt, weakens the entire album.

Baleen’s main problem seems to be misunderstanding. Like many new bands, their influences arise from all styles of music, yet this album would suggest that Baleen has a while to go before successfully marrying any of their influences together. Instead, one genre follows the other as the album progresses, making it impossible to get into Follow Me Blind from any direction (The positions of some tracks having the aural equivalent of finding a knife in a sock drawer).

With names like Waits, Eno and Tricky as inspirations it’s hard to find any comparison or soundscape similar to these greats names. Instead, list some ineffectual ‘Poptastic’ groups and combine with any R’n’B act and you’re closer to the reality of the sound Baleen has produced.

- Michael Byrne

The Ghost Year

prkr

I’ve sat down to write this review a few times already and encountered nothing but difficulty. I’ll start to write a few sentences and then soon find myself struggling to find the appropriate words. I feel discouraged because whatever I write somehow fails to capture how exceptionally amazing this album really is. For something as innovative, experimental and beautiful as Prkr’s sophomore album, The Ghost Year, the conventional language of a review seems entirely inadequate. But I’ll do my best.

Prkr (pronounced Parker) is the solo project of Parker Hill, front man of the Seattle-based industrial rock group Sun Vow. Part folk, part electronica, Prkr is like nothing you’ve heard before. In the age of the single, this is one album that begs to be listened to in order. Although the songs are impressive on their own, the album is best appreciated as a whole; it has an almost literary quality, as if Hill desired that his album be “read.”

The Ghost Year has a coherent and consistent mood. As Hill juxtaposes more traditional folk material with short, entirely electronic pieces, the tracks are far from identical; even songs that begin with standard folk instrumentation and vocals often conclude with a mixture of acoustic guitar, electronica and sampling. What results is pure genius, truly a work of art. This is some of the most innovative, interesting music I have heard in a really long time.

The title track perfectly encapsulates the entire album. Over six minutes in length, it begins with almost poppy vocals and acoustic instrumentation. Midway through, electronic components are introduced, culminating with Hill’s chanting voice cut over samples of birds chirping and human voices. It is a mesmerizing track. While listening, I was so engrossed that I failed to notice the phone ringing loudly only a few inches away from me.

A more traditional folk song, “Blue Horizons” gave me chills the first time I heard it. It is such a powerful, beautiful song that I listened to it again and again. The opening sounds almost reminiscent of early Neil Young.

“Out My Window” is beautiful and imaginative. Hill’s deep, pleasant vocals are layered on top of electronic music and sampled material. With a flair for the dramatic, most of the songs end with a bang.

The instrumental tracks are equally as captivating as those with vocals. I particularly like “Decaying,” and “If You Go Down to the Water.” The sounds are intense and hypnotic.

It pains me that although this is one of the most fascinating albums I have heard in ages, very few people will even know of its existence. I sincerely hope that Prkr gets picked up by a bigger label with a larger distribution so more people can enjoy this album as I have.

I know that this review did not do justice to The Ghost Year. All I can say is get your hands on a copy and see for yourself.

- Stephanie Rebick

Warp Preparation

Corespondents

When I first listened to Warp Preparation, the constant use of acoustic guitars and subtle interjections of synth or drums made the songs seem quite the same. Although, after listening to the album many times after that, I started to pick up more on the little interjections of notes, sounds, and progressions and couldn’t help but think what a lovely album this is. The cover art isn’t half bad either with its tiny flying buffalo.

The album starts off with strong acoustic guitar notes that give a feeling of lament, which then changes into a sound of distracted happiness, two different melodies that combine and create a feeling of anticipation. The melodies of the record sort of remind me of M. Ward’s, “End of Amnesia.” The songs have slight buildups that make me want and expect a huge orchestrated bridge or ending, but instead there are dwindling melodies or a continuation of the buildup until the song is over. There are very little vocals on this record, a ghostly voice echoing on, “Victorious Secret” and ending with someone saying, “Sorry I fucked up on that one.” To which the other replied in a sort of indifferent voice, “Aoookay.” Sounded pretty good to me too dude. Vocals would be unnecessary with the already strong, singing melodies, and besides, I think it’d be kind of hard to sing along with. Or maybe incredibly fun, but then again I can’t really sing.

Songs I really enjoyed on the album would be “C-thru pinko” which has many mood changes that takes the song into completely different directions, making it seem like you’ve already listened to 3 songs. “C-thru pinko” also gives you a good feel for what the whole record is like, which is that it’s really good! Or you know, really melodic and all that stuff I just described in the previous paragraph.

Another highlight is, “Albatross” and is most likely The Correspondent’s single and popular song. “Albatross” is actually going to be featured in the movie, “We go way back” (http://thefilmcompany.org/WGWB.html). So make sure to check that out.

There were moments where songs would go into staccato mode such as “The Sadist” and “Sea dog, sea robber, sea rover, sea wolf” and it felt like you were in some bar in Mexico or Spain (I’m not sure which or what) and an exotic couple would be dancing the tango or some other kind of complicated rhythmic dance.

If you aren’t absolutely enthralled by this album on the first listen, give it a few more tries and you’ll be shouting out words such as, “Wonderful!” But if you aren’t the shouting type, you will enjoy it and maybe, just maybe think, “Wonderful!”

Essential listening for fans of Jim O’Rourke’s more acoustic moments.

- Ellen Lee

Shyko

Shyko

The self-titled album from Shyko makes me want to grab a forty-ounce can of malt liquor, my skateboard, then go down to the parkade and rip off some hood ornaments. Really, it’s that good.

Shyko, the project of Chris Szajko (pronounced Shy-ko) is ten tracks of heavy guitar work and vocals that put one in mind of early Stone Temple Pilots or Sammy Hagar-era Van Halen. This dude can play guitar like mother-effing riot.

Track One, “Behind You” has already hit number one in some radio markets and after listening to this track a few times through I can see why. The track starts hard and stays so through the whole three and half minutes.

Sadly, few of the other tracks on the ten-track album manage to capture the raw intensity of “Behind You.” That’s not to say they’re bad – Shyko’s guitar skills never flag, but it’s more a case of too much of a good thing. The remaining tracks just seem to be more of the same stuff, though arranged differently with the obligatory metal power-ballad, “Waiting for You” that almost manages to channel Axl Rose and company circa the late eighties.

Of course, the final track on this album, a cover of Ted Nugent’s “Free for All” is a great romp through some fertile nostalgic fields in the minds of those older than 35.

If you’re into guitar rock, then this album is worth buying if only for the first song.

- Ben Jones