***Attention bands and artists...the Nightwaves website has officially been retired as of October 1, 2015.
We are no longer accepting music for review. Please do not send us your CDs as they will NOT be reviewed.
We will also no longer be reviewing links sent to us for online content. We wish you all the best with your music.
Thanks for your understanding.
Attention all bands and solo artists- we are always looking for new
recordings to review. Feel free to send us your music and we'll be happy to review it. We accept CDs, cassettes, and vinyl.
MP3s and links to online music are also accepted (Bandcamp, etc). Sorry, but we cannot accept DATS or MiniDisc.
Please e-mail me for my mailing address: firstname.lastname@example.org
***PLEASE NOTE: Although I am happy to receive music to review, please be patient.
I cannot review music as quickly as I did 15 years ago. If you send in your music, it may take several months before
I am able to publish a review. If this is okay, feel free to send in your material. Thanks for your understanding.
"DSM Ultra"- Die Schone Maschine
Die Schone Maschine is an artist from Michigan who describes their sound as "analogue synths and 808 and 909 drum machines
and B movie samples". An intriguing mix, to be sure. The music within is cool, sometimes even cold. Sparse,
skeletal, but very well structured. The listener is treated to a brave pallette of electronic sounds. "Analogous
Digitalus" is pure electric bliss. It features a giddy blend of totally electronic textures, with plenty of beeps and
swoops and clicks. Like many of the tracks, it is very futuristic and highly synthetic. There is a very smart
break near the middle of the song. "Spin" is chaotic and kinetic, full of nervous energy. This is less about melody
and more about soundscapes. It is frantic and perfect for our modern society.
Some of the tracks are very moody, eerie and filmic, like "Super Jules". "Ghost Track" reminds me of some of the
stuff I listened to in the late 80s on the Nettwerk label. Same with "Corruption? Solution, Revolution". This
track has a great bassline. Overall I liked hearing the plethora of samples in this project, it really was a throwback
for me to the days of Skinny Puppy and Cabaret Voltaire. I've heard this style many times before, but Die Schone Maschine
does it right.
"Old Postcards"- Gurguburek
Gurguburek is "an extreme and cacophonous duo". Their sound is described as "primordial chaos", with a saxophone
that shows "unusual but highly suggestive sounds". This Italian duo consists of Cristiano Bocci who plays electronics,
guitars and theremin, as well as Tobia Bondesan, who plays tenor saxophone and wood flute. When I listen to tracks like
"Into the Storm", it captivates me. Despite the scratches and being rough-edged, it is intriguing to hear. The
track is slightly eerie, but overall it is a fascinating landscape. Very evocative, it conjures up multiple moods.
One could call this "unstructured", but I sense that the song is much more controlled than one would think. Overall
the album is a very curious blend. The sax, guitars and the bizarre electronic accents shouldn't work, but they do.
This is not so much musical as it is "sound as art". "Dead Frogs In the Road" sounds like an odd kind of jazz.
It floats and conjures up a variety of images in the mind. This is neither a friendly or safe world. "Santa Barbara"
is very disturbing, sounding like a nighttime journey on a desolate California highway. Very David Lynch-ian.
"Ballad for a Ghost Town" sounds like many of the tracks: very dark, haunted and unsettling.
This work is very artistic and bold. It is not for everyone, but those who enjoy nightmarish soundscapes will love
this. A very brave effort.
"Evolution"- Twin Peetz
Low Noise Productions
Here we have yet another strong offering from the Low Noise Productions label. It is a 4 track collection of highly
evocative soundscapes. "The Electronic Cavern" starts very atmospheric, eventually growing into layers and layers of
drones. It features a very controlled mix of spooky electronics. It is undeniably cinematic and suggestive.
"Dreams (Floating Version)" also features a layering of textures. It is quite organic, conjuring up fantastic mental
images while it stirs the psyche. It sounds like the soundtrack of some dire, intriguing alien landscape. It is
so easy to get lost in this. "Evolution" is punctuated by cool vocal samples, while "City Lights (July Night Mix)" is
a bit more rhythmic. It is a great, hypnotic track. It features a perfect mix of soft and slightly serated sounds.
Overall, this effort reminds me of something that the Wreck Age label would have released in the early 2000's.
I am especially reminded of the work of Mikhail Atom, which is indeed a compliment. This is a study in atmospherics
that is highly controlled and intelligent. Yet another excellent release from a very consistent and ardent Canadian
"One World or None"- Simon Heartfield
Low Noise Productions
LNP seems to do a great job putting out these 4 track EPs. I was very enthused to discover this music by a very
talented electronic artist. Songs like "Demon Core" flow with plenty of motion and a pounding beat. It is simple
and repetitive, but never boring. There are excellent production values, and many of the tracks are quite mechanical
and factory-like. This is an excellent soundtrack for a nighttime drive through a major urban cityscape. Things
really bloom in "Demon Core" just before the 5 minute mark. "I Am Broken and Rebuilt" has tons of eerie samples.
It is evocative and chilly, boasting a masterful blending of sounds. "Shadow Factory" has an agressive beat and a mix
of modern and horrific tones. I could best describe this as "techno meets haunted house". I also loved the guitar
work on this track, which was a nice surprise.
"Theme Nine" is more subdued and quiet. It illustrates what I loved about this project...it doesn't overstate.
The whole recording is very good at being controlled and subtle. The best way I could describe this EP would be John
Carpenter meets Kraftwerk on the set of a horror film. Very cool and great fun to listen to.
"Deja Vu"- Giorgio Moroder
If there ever was an artist who rightfully deserved all the accolades that are bestowed upon him, Moroder would
be that man. Considering that he has been around since the late 60s, and has practically pioneered everything from electronic
disco to synthpop to ultra slick movie soundtracks, the man is indeed a revolutionary force with credentials that most folks
couldn't even dream of touching. Here we have his first new album in decades, and due to his recent involvement with
Daft Punk, and a recent rediscovering of his back catalogue, Moroder is once again a very hot ticket.
This album kicks off with "4 U With Love". It is an immediate and winning dancefloor anthem. The only problem
is that it is way too short. I wish there were more thumping instrumentals like this. It is without question classic
Moroder, loaded with hookish melodies and undeniable beats. Longtime fans will devour it with pleasure. The title
track is incredibly catchy, to the brim with hooks, with Moroder's trademark 70s funk/disco sheen. This is not all that
different from the material he did with Donna Summer in the 70s. Tracks like "Wildstar" are extremely fresh and infectious,
while "Right Here, Right Now" is great, disarming dance pop. "74 Is The New 24" is so entirely Giorgio, from the immediate
stocatto bass sequence to the robot vox. Make no mistake, Moroder engineered this style of music decades ago, and to
this day, he still does it the best.
The album is not without weak points. Charli XCX's vocals sound like a painfully poor knockoff of Gwen Stefani.
The cover of "Tom's Diner" featuring Britney Spears is kind of lacklustre and pointless. "La Disco" is cool, but the
rhythm and tempo (for some bizarre reason) are painfully offtempo in the beginning.
Reaction to this album has been mixed. Some claim it is dated, out of step, lightweight and thoughtless.
Funny enough, these are the same criticisms that plagued Moroder's work 40 years ago. This is not profound or topical
music, nor should it be expected to be. The disc is kinetic and drips with style and energy. Anyone outside the
dance world probably won't get this (much like the naysayers back in the day who so frequently exclaimed that "disco sucks").
Meanwhile, those in the circle will hit repeat and lose themselves in the grooves. The album features a ton of broad,
crisp electronics. The maestro has made the transition to laptop dance music effortlessly.
This effort is skillfully produced and slick as hell. Would you expect anything else from Moroder? This
is dance music extraordinaire by the genius craftsman who practically invented the whole damn genre. 8.5/10
"Robotika"- Munich Syndrome
Munich Syndrome is the alter ego of David B. Roundsley, and he excels at creating music that is very sci-fi in tone,
futuristic and purely electronic. This is the kind of music that you would expect to hear in a smoke filled nightclub
in the film "Blade Runner". This offering is skillful, sounding like an electronic architect of sound at play in a sandbox
full of the latest gear.
"Robotika (Technology Seduces)" is gleefully mechanical and raw, with industrial sounds straight from the factory floor.
Like much of the disc, it is very clean and well produced. There is a great mix of sounds and high production values.
This reminds me a lot of Kraftwerk, as well as the stuff Karl Bartos later did with Elektric Music (especially on tracks
"The Future" has a great groove, overflowing with tech-cool. The lyrics are good too, addressing the perils of
change. "(I Do) The Robot" features a fat rhythm and gloriously stiff machine beats. Thankfully there are
slower tracks like "Medicated" to break things up a bit. "Nightlife" is a pounding dance gem.
There is a mechanical, robotic shine that glistens on top of every single song. Full of synthetics galore, this
album revels in a very futuristic, science fiction tone. If this isn't your thing, you will probably have heard enough
by the second track. But if you are a diehard futurist who prefers all your music to be space-age and robot themed,
you will gleefully eat this up. 8/10.
"eMErgence"- Neil Campbell
I have had the pleasure of listening to Neil's music in the past. His compositions are always very well crafted
and the musicianship is top-notch. His music weaves and shines, full of feeling and a distinctly human touch.
"eMErgence" is no exception. Things open with "Morphogenetic Fields", which features a freeform, flowing rhythm and
gorgeous backing vocals with a slightly 70s feel. This is music as pure as it gets. The electric guitar work is
"MC2" has a great, stiff rhythm and cool electronic touches. Things shift nicely, with the overall mood in constant
flux. "Private Collection 1" is quiet and thoughtful (and kind of haunting). I love those slightly spooky vocals
by Perri Alleyne-Hughes. "Teilhard de Chardin" sounds like the theme from a seductive, mysterious film that got into
your psyche years ago and never left. "E=" is a fantastically gentle closing track.
I get the impression that this is a very personal work for Campbell, especially when you consider the childhood photos
that adorn the inner sleeve. This is yet another superb offering from a highly gifted musician and composer. 8.5/10.
"Asia Beauty" - Ron Korb
Ron Korb’s latest release, Asia Beauty, shows once
again that he is the master of mood, creating soundscapes that immerse the listener in the ambiance of another culture. It
is simultaneously ancient and modern, and as a listening experience I found it delightful. It is clear that Ron
Korb has a deep love of Asian music and culture, and his ability to convey that love through his music is what makes Asia
Beauty a true pleasure to experience. From the first track to the last, I was mesmerized and taken out
of myself, and sent on a journey of imagination. After his last album Europa, I thought I’d heard
the last word on musical storytelling, but with Asia Beauty he does it again magnificently, and it is a story
that I can experience again and again, ever fresh and inviting.
This is an album by a British act that features great musicianship and a well produced sheen. It is an unusual
blend of heavy hard rock tones with gentle folky guitar playing, along with generous doses of slick electronics. The
opening piece, a short two minute introduction called "Lament", is a spooky and mysterious primer for the rest of the album.
"Frankincensed" is more gritty, a rock song with an electronic polish. It is highly evocative and musically rich.
It has lots of well-crafted textures. You can also hear some dialogue about robots which comes in from way out in left
field. "Majestic" shows an undeniable nod to prog. It has a nice electronic undercurrent. Like many of the
tracks, it is well thought out and never predictable. "Illuminate" features a cool sample, but I wish they had mentioned
the source of the sample in the liner notes. "Switch" ups the tempo very nicely with a cleverly controlled bombast.
"A Very Good Friday" is assured and sunny, with a great mix of sounds. "On" tends to sound quite ethereal with a fairy
tale feel. This effort is a good mix of mellow and hard. It is mature, pensive, professionally executed, and overall a
strong and consistent album.
Here we have the latest synthpop offering from Jonteknik, and it does not disappoint. The album features carefully
constructed layers and is very well textured. It is a smart nod to the forefathers of electropop, but with a decidedly
current flavor. "The Water Cube" has tight, irresistible beats and a modern polish. There are raw, vocoderized
vocals that would make Ralf and Florian blush with envy. This is undeniably cool. "Fernsehturm" sounds a lot like
Elektric Music, right down to the Karl Bartos beats. It has lots of great melodies, and a nice Euro-electro feel.
This is music tailor-made for Berlin night clubs. "Shard" features an incredible bass sound. It conjures up dark,
futuristic imagery, as does most of the album. "Akihabara" slows the tempo down a bit (thankfully). It is computerized
techno-dance at its best. "The Bridge" is probably one of the best tracks. The vocals are soft and understated,
bringing to mind the Pet Shop Boys. Here, like many of the songs, Jonteknik displays a good understanding of electronic
sounds and how to place them together in a pleasing manner. "Biosphere" is also very Bartos, down to the chanted, simple
lyrics and big synth melodies. "RuinLust" is a curious closer with piano and crooning. It seems a little out of
place. After a while some of the tracks start to sound a bit samey, but that is not a big problem. Overall "Structural"
is a great offering in the synthpop genre. It is stylish, creative and very cool.
Robert T- "Tower EP"
The "Tower EP" is an example of pure electronic music delivered from east coast electronic act Robert T. Like much
of his music, it is very moody, atmospheric and a pleasure to listen to. Things often tend to lean on a very cinematic
and dark side. "A1.1" is a prime example of this moody approach. It is very spatial and ethereal. It takes
its time to unfold. It does not start out very musical, beginning as just an exploration of sound. If Ralf and
Florian did the "Tone Float" album today with digital technology, it would probably sound like this. The track is bubbling
and delicate, very concerned with feeling. "A1.2" has broad, juicy bass sweeps. There is tons of reverb and a
crisp hi-hat. This is great- it reminds me of Snake Plissken running through the gritty decay in "Escape From New York".
It is repetitive on one hand, but with enough surprises to keep things interesting. "A1.3" has a hypnotic and minimal
rhythm. There is a fantastic bass sequence that unravels like smoke from a villain's cigarette. This entire EP
is imaginitive, unique and fun to listen to.
Zwerg- "Dual Citizen"
I was introduced to Zwerg's music years ago, and I have always found his efforts consistently strong and delightfully
offbeat. After listening to his latest offering "Dual Citizen", my appreciation of his creativity is even greater.
The album opens with "Drive Away Your Pain", which is as assured, energetic and fresh as a pop song can be. Zwerg (aka
Eldon Thiele) sings with a clear, tuneful delivery. There is certainly no lack of feeling. This is an infectious
blend of danceclub beats and piano. This song clearly illustrates Zwerg's undeniable knack for popcraft. "Then
There Was You" features excellent harmonies. There is a lively dance beat that runs throughout. "For the Woman
We Love" slows the tempo down. It is a nice, heartfelt ballad. "High In Heaven" is quirky and delightfully twisted,
while "Happy Being Crazy" is catchy, a song that celebrates uniqueness and marching to your own drum.
"Dual Citizen" shines with a clever production. The album peels away like a smile-infused road trip. It begs
for repeated listens. Zwerg has always been known for intriguing visuals. Here, however, it is clear that he can
add an able pen and a strong command of melody to his credentials. This release never cruises on auto-pilot. It
is engaged, thoughtful and well crafted.
Zwerg- "Whims and Words"
New Brunswick act Zwerg is a true wordsmith. Eldon plays with words the way a boy plays with building blocks.
His music is incredibly creative and above the rest of the pack. This CD opens with "A Moose Jare", which is an energetic
and sincere opener. On this outing Zwerg pens many of the songs himself, however there are also many great covers of
songs by acts like Zachary Richard and In Flight Safety. Exquisite cellos can be heard on songs like "I Lost A Loved
One Too" (which in itself is an incredibly sensitive track loaded with sincerity). "The Land Of New Brunswick" is a
great track, a singalong anthem that reminded me why I love my home province so much. The album ends with "The Dungarvon
Whooper", a piece written by Michael Hooper which Zwerg uses as a spoken word ending to the CD. This is typical Zwerg...so
off-the-wall, but also brilliant, left-of-centre story telling that only underlines how original this young man is.
This is one of the most "maritime" themed albums I have ever heard. Titles like "Sunny Brae Babe" (I spent the
first few years of my life in Sunny Brae, a neighbourhood of Moncton, NB) and "The Land of New Brunswick" made me feel right
at home. Deft originals like "New Brunswick" are like a refreshing blast of air off the Bay of Fundy. These are not
the oft-played campfire tunes that we are all too familiar with. This is a young, wide-awake rendition of east coast
life. Sensitive, intelligent and brilliantly artful.
Neil Campbell- "Tabula Rasa Suite"
Neil is a very talented British musician whose musical output is always of the highest quality. "Tabula Rasa Suite"
is an introspective blending of Neil's extraordinary guitar playing and ambient sound recordings that were done in Sefton
Park, an area close to where Neil actually lives. The result is stirring and evocative. "I" is very gentle, unfolding
carefully with feeling. One can often hear a classical flavor informing the tracks, and at times there is even a Latin
infusion. This is music tailor-made for evenings of quiet reflection. The album has a nice progression, and the
listener can detect cycles and various moods as the songs progress. We hear rain, then the sound of birds, then playing
children (on track IX). "VIII" benefits from the addition of moving vocal stylings by Perri Alleyne-Hughes. Plus,
the album concludes with Neil's exquisite interpretation of Satie's masterwork "Trois Gymnopedies".
This music brings to mind the best work of Vangelis. It is passionate and masterfully executed. In an era
of plastic pop stars and disposable Bandcamp heroes, Mr. Campbell is the definition of a true musician. An excellent
"Mystery Walk"- 30th Anniversary Edition- Martha and the Muffins
"Mystery Walk" was always my favorite Martha and the Muffins album. And for good reason. Their earlier material
wore a very artsy flare on its shoulder, complete with angular and cryptic odes to oddity that were born from art school
jams. But with "Mystery Walk", the band stepped right into the domain of pure pop stars. Sure, they had a previous
world wide smash with "Echo Beach", but this album only further solidified their pop smarts and enabled them to storm to the
top of the charts around the globe. "Black Stations White Stations" was a huge hit that garnered them even more attention
far outside their native Canada. And the hits kept rolling out with "Cooling the Medium". Producer Daniel Lanois,
who was not quite yet famous, did a great job putting his fingerprints all over the streamlined ethnic jams that are
just waiting to make people dance. For a bunch of white Canadians, this album is so, so funky!
This album never received a proper release on CD, until now. There was a version released in the late 80s, which
went on to become quickly out of print and sell on ebay for vastly inflated prices. But now the disc has finally received
the re-release it deserves. Included is the whole album, beautifully remastered and sounding cleaner than ever.
I swear "Alibi Room" will get stuck in your head after just one listen! There are also some bonus tracks at the end,
including an instrumental and various dance club remixes from that time. I also must give praise to the liner notes,
which are informative, intelligent and well assembled. Within we are treated to anecdotes and recollections from Martha
and Mark, as they look back on the crazy, heady days of being superstars. It was fascinating to read how the song "Black
Stations White Stations" was banned on various stations in the States, as its themes of interracial relations were deemed
simply too risque. This is a wonderful release of an iconic album by an important Canadian band. 9.5/10.
"Popular Problems"- Leonard Cohen
I have been a devoted Leonard Cohen fan for more than half of my life. Every time a new album is released by this
sage, I am truly excited to give it a listen. I have such respect for the man, especially considering that he remains
so vital and prolific well into his 80s. "Popular Problems" continues with themes that have been oft explored on previous
Cohen offerings, however there is a definite streak of playfulness and creativity on this album that sets it apart from his
prior work. This just may be his best album since "I'm Your Man".
Things start off with the sultry and sensual song "Slow". Cohen admits that his preference to take things slow
has nothing to do with his age. He always liked it that way, apparently. The song is bluesy with a nice swing.
Throughout much of the album, his trademark uber-low voice is in fine form, and much of the time his styling brings to mind
Tom Waites. His voice has never sounded so rocky or tortured, which will both thrill his ardent fans and alienate his
detractors. A genuine sign of greatness, to be sure. "Did I Ever Love You" probably features one of the sweetest
choruses to ever appear in a Cohen song. "My Oh My" is another great selection with superb horn riffs and exquisite
female backing harmonies. As is often the case, Cohen is still a rather serious and tortured fellow, but he seems to
be coming to terms with his state and going along with his condemnation rather than disputing it. The result is a terrific
album that is one of his best in years. 9/10.
"Electrogenesis: 1978-1980"- Vice Versa- vinylondemand.com
Vice Versa were a band that emerged out of the fertile scene in Sheffield, England in the late 70s. Along with
their contemporaries Cabaret Voltaire and the early Human League, they were instrumental in founding what would later be referred
to as "the Sheffield sound" which often sounded very dark, very minimal and very electronic. Later developments in the
fields of industrial, techno and commercial dance music would owe an incredible amount of influence to what these brave young
Yorkshire lads accomplished.
Vice Versa released a handful of 7 inch records, got some attention from John Peel and the NME, and did an exceptional
job creating lo-fi underground electronic music. Their music was brash and caustic, with strong political overtones
and heavy social commentary. The 7 inch recordings would eventually become much sought after on the second hand market
(and often very difficult to track down), and Vice Versa eventually morphed into ABC, who would go on to become purveyors
of perfect pop that dominated charts around the world.
I have to say that this box set is without question the most impressive box set I have ever come across. Limited
to a very small run of 600 copies, the set includes every Vice Versa recording ever made between 1978 and 1980, some of them
never being previously released in any format. There are four discs in all, and the box set is only available as a "vinyl-only"
release. We are treated to all the songs from all the various 7 inch releases, plus a clean vinyl pressing of the ever
elusive "8 Aspects Of" cassette that even the most hardcore fans had difficulty locating. This was a home made cassette
release that the band made and distributed themselves. There are also tons of demos, and a great album featuring live
recordings. Of course, the quality of some of the live recordings is patchy at best, but this is to be expected when
you consider the low quality of handheld tape recorders at that time.
There is also a bonus 7 inch featuring songs the band did with Adi Newton of Clock DVA, a metallic button, beautiful
inner sleeve and outer sleeve artwork, a gorgeous 40 page book detailing the atmosphere of the Sheffield music scene at that
time, as well as a "Build your own" synth kit that you can put together with glue and scissors!
An absolute must-have for anyone who is into minimal/dark electronics, late 70s and early 80s new wave, pioneering synthesizer
music or great, inventive music in general. 10/10
"That Lucky Old Sun"- Brian Wilson
This recording from Mr. Wilson is traditional and classically American. It is a wonderful new interpretation of
Mark Twain's original vision. As one would expect from Wilson, there are many excellent vocal harmonies placed against
a backdrop of good old rock and roll. This is clearly his love letter to California. And this is the classic sound
that has made Wilson such a rock icon. There are some spoken passages interspersed amongst the songs, which give the
CD a very 60's kind of beatnik nod. They break things up nicely. "Morning Beat" sounds a lot like a good ol' Beach
Boys tune. Having said that, one could blame Wilson for not evolving much in terms of his personal sound.
But since he's so good at that sound, this can be forgiven. Wilson's voice is a bit rough with age, but it still sounds
right. His odes to the California mystique still resonate. "Good Kind of Love" is somewhat saccharine and twee,
and "Forever She'll Be My Surfer Girl" is a definite throwback. "Live Let Live" is pleasant and melodic, while "Mexican
Girl" is a delight. "Can't Wait Too Long" sounds like an outtake from the infamous "Surf's Up" album. To be frank,
there's nothing terribly new or innovative about this offering. Yet what ultimately makes this work is that Wilson's
sound is so distinct, and entirely his own. Nobody will ever craft odes to the California sun quite like Mr. Wilson.
And "That Lucky Old Sun" is another chapter in his fine musical legacy.
"52 Weeks"- Christian LeBlanc
I have known Christian for a number of years, and his musical talents have always impressed me. Together with his
wife Jill, they formed the ultra-cool synthpop duo Kitty Smack, whose songs always proved to be enjoyable and catchy.
With the "52 Weeks" project, Christian took on the mammoth task of creating an original track every week for the entire year
of 2009. Most of the compositions are roughly a minute long, and represent musical snapshots that could easily be expanded
into full length songs. The tracks span a variety of moods and tempos, and truly display his knack for musical versatility.
Personal favorite cuts of mine include tracks 3, 4, 8, 10, 15, 20, 26, 29, 37 and 50. It should also be mentioned that
the packaging for this project is exquisite (in part thanks to the artwork of Lisa Freeze). I was also honoured to be
a part of this CD myself, when Christian asked me to provide vocals for track 31. It takes determination and dedication
to pull off a project like this, and I also commend Christian for donating proceeds to the Saint John Animal Rescue League.
This is an impressive work.
"Something For Everybody"- Devo
Thank goodness for Devo. Never have we needed them more. In a landscape of one-week wonders and forgettable
American Idols, these guys are as clever as ever. Their sound is still catchy, bold and fun. Things kick off with
the excellent opener "Fresh", which lives up to its title. These guys obviously still do not take themselves too seriously.
They still purvey great New Wave: dancey, short and sweet, and tongue planted very firmly in cheek. "What We Do"
is sublime pop/dance, guaranteed to get people moving. The lyrics are courageously childish, begging the listener to
chant along. As always, the synths and electronics are big and infectious. "Please Baby Please" is a be-bop delight
(I love the line "I got my GPS working!"). "Step Up" is very reminiscent of their classic 80s output, and "Cameo" is
delightful. You can always count on Devo to never throw in a cheesy ballad. The tempos are kept punchy, the vocals
are saucey and brazen. There is no overt reference to politics, the poor economy or anything the least bit serious.
This is pure entertainment from the oh so intelligent spuds. Long live Devo!
"Girls Would Kill EP"- Girls Would Kill
Girls Would Kill are an awesome band from Saint John. What immediately struck me about them was their immaculate
sense of popcraft. They make fun, flippant, delectable pop candy. Songs like "Heartbeat" are excellent electro-pop
that bring to mind the best efforts of Prince, The Tom Tom Club and even flashes of Parliament. Mary's vocals are outstanding,
and Adam and Joe do an amazing job with the music. The beats are extremely tight, and the bass work is fluid and funky.
"Beat You To Diamonds" sounds like classic New Wave. Like many of the songs, it is infectious and smooth. There
is always a very strong notion of melody. After hearing many local bands over the years (and more specifically, many mediocre
local band recordings), it's clear that these guys definitely understand good song structure. There is a crunchy guitar
on "Roxycontin", and like most of the tracks this features excellent production. These guys do a fantastic job of distilling
influences from the past and filtering them through their own strong pop aesthetic. "Wash It Out" is catchy and moody,
while "Sitting In The Dark" has almighty beats, great bass and lots of energy. This is an admirable debut from a band
with tons of promise.
"Recoder"- Reversing Falls
Reversing Falls is a very cool band based in Montreal, who have members originally from the Saint John area. "Recoder"
is a 4 song EP that is full of powerful guitars and lots of indie moxie. "Party Martyr" sets the tone brilliantly- it
features monumental guitars, vocals squarely placed in the background of the mix, and taut drum machine beats. "Still
Kicking" is bright and vigorous (and hummable). "Roll With Me" is loaded with infectious hooks, and "Good Idea" features
tight playing and generous reverb. The songs are short (the entire disc is only 7.5 minutes long), vivid, and waste
no time getting to the point. I had the priviledge of doing a show with these guys, and they are great. Check
them out if they come to your city. Impressive work!
"Waiting To Start"- Saint Mad
Overall this American band creates pleasant pop, heavy on brass. Their songs tend to be cheery, positive and bright.
"Can't Let Go" is friendly, with good vocal harmonies. Like most of the songs, it is very unique and shows a high level
of musicianship. The band is highly likeable and smart. On the cover of the CD, on a sign behind the band, it
states the phrase "Never too late to chase your dreams". Right on! "I See Myself In You" reminds me of Brian Wilson-
it is very down-to-earth and amicable. The horns do sometimes bring to mind the classic days of Chicago, and there is
indeed a nod to classic rock on many of the tracks (they even do a fine cover of The Beatles' "Across The Universe" and the
old favorite "Over The Rainbow"). This music is easy listening at its finest. It is relaxed, informal and sweet.
There is no posturing or pretending on this CD- the songs are real, sincere and human. This is pure music with heart.
"Krautrock"- The Trick
The Trick always does a masterful job of creating good electro-rock. His songs are always well crafted and apt.
I've done many shows with Patrick, and he never fails to deliver. His sense of popcraft is undeniably high, and his
abilities as a multi-instrumentalist are awesome. He consistently does an able job combining gritty rock guitars with
clean synthetics. It should also be mentioned that his talent with production is sharp. "Four" is an excellent
song, complete with superb electronics and a full, resonant sound. Patrick also displays an able pen, crafting some
top-notch lyrics. On "Digital Lullaby", there is a fully developed arrangement of frequencies, from the lowest bass
to the highest synth twitters. It sounds great. "Lucky Dragon" includes a cool 80s influence, with a nice modern
rock accompaniment. The beat for "Psycho" practically knocks you over, and "Out For Blood" is an exceptional pop number.
The Trick is a gifted synth-rock auteur. This is a marvellous CD.
"Fernhill"- Adam Mowery
Ah, where would the Saint John music scene be without Adam? Mr. Mowery is a skilled musician, vocalist, songwriter
and showman. His music is peerless and engaging. "Fernhill" is a 5 song CD which showcases his immense talent.
It opens with "To Those With Flames Extinguished", a moody track with somber lyrics and vocals. "Calm Down Miss Cherry
Hand" features high vocals and a distinct nod to the fertile musical grounds of the 60s. Adam declares on the back sleeve
that the tracks were recorded on a 4 track, and I love this. It has that authentic home demo quality that sounds unfurnished
and real. "Hey, Did You Hear Something" is quiet and haunting, overflowing with sincerity. The title track "Fernhill"
(named after a cemetery in Saint John) is experimental and slightly psychedelic. It is a great mix of unpredictable
sounds and backwards flourishes. Things close with "On A Windy Night In The Courtyard", a pleasing and subdued track
with a gentle guitar riff. Adam's talent and musical passion are enormous.
"Reimagines Gershwin"- Brian Wilson
I had always read about the huge influence that Gershwin had on Brian Wilson. Wilson has often told about the first
time he heard "Rhapsody In Blue", and how it shaped his lifelong musical experience. Without question, this album is
beautiful, warm, and a pure celebration of music. Wilson's sharp pop sensibilities mesh amazingly well with Gershwin's
melodies. The vocal harmonies are divine, and the orchestration is sublime. This is such a pretty, emotional offering.
It is romantic to the highest degree. Wilson's voice rings with purity on "Summertime". The strings blush with
feeling and give the songs a gentle grace. "I Got Plenty O' Nuttin'" is wonderfully playful and flippant. When
hearing the blend of instrumentation complete with fat harmonicas, a hint of "Pet Sounds" can definitely be sensed.
"It Ain't Necessarily So" saunters along at its own leisurely pace, and "They Can't Take That Away From Me" is only a few
steps away from sounding like a classic Beach Boys track, clearly illustrating the connection between these two master songwriters.
This is Wilson's best work in years.
"Shiny Venus"- The Infant Cycle
Here we have a very compelling 3 song mini-disc from The Infant Cycle. As always, the listener is presented with
an inimitable blend of sounds. The first version of the song ("Over S.St") is very rhythmic and spooky. It is
the soundtrack of a dark pet shop window at 4 in the morning. Such is always the work of the Infant Cycle: very evocative
and suggestive, with a pronounced visual quality. "Detail 1" is very short and minimal, while "Detail 2" is fuller sounding
and ominous. The Infant Cycle proves once again that audio chemistry can indeed be very powerful. This is a brilliant
manipulation of sound.
"Ancient Elements"- Rushingwind and Mucklow
This album begins with a combination of moody native sounds that sets a very intense tone, then in comes a beautiful
piano melody, followed by the sweet sounds of a high spirit flute. The music is very pleasant and soothing, and extremely
musically pure. It also features great, heartfelt guitar work and overall has a very warm and peaceful quality.
There are also some cool synth sounds in the background and the recording quality is very clean. Songs like "Unbroken
Spirit" are mysterious and evocative. This is excellent music for meditation or journeys into the soul. A few
of the songs start to sound the same after a while, but this is a small complaint. This is an excellent CD.
"The Sand Rays"- the Infant Cycle
This is audio chemistry at its best. It boasts an excellent mix of frequencies and forms a perfect sound collage.
Track one pulses by like a swarm of locusts. The whole work is an intriguing mix of sounds, and a masterful blend of
foreground and background tones. Jim succeeds in creating a new audio landscape that completely engulfs the listener.
It is clever and artistic. "Guitar, Shortwave, Poly-800, Bass" is scratchy and jagged, sounding like mechanical aerosol.
"Pond Life" is more subdued and minimal. The album is organic, with a life of its own. And it must be mentioned
that the CD packaging is very well designed. This is a highly unique work, and possibly one of the best found sound
works I have heard in a while.
"Smoke and Tangerines"- Travis Rocco
The first thing that strikes the listener when hearing this album is how commercial and radio-friendly it is. It
is very reminiscent of all the great classic rock bands of yore: The Eagles, Tom Petty, Bob Segar, and Bon Jovi.
It features great, clear vocals and a winning commercial sheen. This is primarily soft rock, ready and primed for FM
dominance. "Fantasy" is a neat, well packaged hit waiting to happen that features accessible lyrics, chiming guitars,
familiar chords and a very disarming quality. Rocco performs American pop at its purest and best crafted. This
guy has all the ingredients necessary for pop stardom: a good look, pedestrian songs, and a good ear for the all mighty
hook. "Night Last Forever" is another good pop track, and "We Belong" is probably the rockiest cut on the album.
It's only a matter of time before this guy makes it big.
"My Love To You"- Mark Pinkus
Mark is a very gifted musician from Montreal, and this disc features original compositions composed and performed by
Pinkus himself. There is a high level of musicianship featured in these tracks. The piano seems to be an extension
of Mark's soul, and the melodies roll along effortlessly. There is also a wide gamut of emotions expressed within.
It is at times joyous, hopeful, hesitant, mysterious and grand. Pinkus uses the piano to express an amazing canvas of
moods and feelings. This is a perfect soundtrack to an evening of contemplation and reflection. Mark's talent
is impressive. "My Love to You" is a wonderful achievement.
"Bedroom Demos Volume 4 and 5"- Terminal Influence
Chad is nothing if not prolific. I have become quite a fan of his "Bedroom Demos" series, where he seems to
crank out a new disc every few months. As always, the music is real, honest and goes immediately to the point.
"Hatesick" is a great song, which declares Chad's hatred of lies. It's just his voice and his guitar, as it is on many
of the songs. He does not bother with a flashy production. Instead things are kept real and immediate. Chad
is not afraid to let his anger come out, and he proves to be a master of minor keys and dark guitar chords. "Throw This
Away" is excellent, and "Going Back" is universal, proclaiming the importance of home. "Volume 5" shows a sense of humour,
with songs like "Whores In Jogging Pants", "Real Vampires Are Not Pretty" and "My Girl Is New Wave". In the song "Meloncollic
Son", Chad states "I'm so tired of writing my suicide letter". This is indeed the work of a tortured soul with the voice
of a poet.
"Sleep Murder"- Ashbed
From New Waterford, Nova Scotia comes the latest from electro-noise wizard Ashbed. It has been my pleasure to hear
David's work over the years, and it is exciting to see that this is probably his best work yet. It features drones,
electronic moans and mechanical beats that form a fascinating patchwork of sound. "Chemical Castration" is a great track,
full of caustic friction and cool beats. "Disclosure" has wicked synth sweeps and a beat that puts Trent Reznor to shame.
Like many of the songs, it has a very intense atmosphere. There are some great, mangled samples in "Somunation".
"Don't Answer The Phone" is another memorable track...it is very paranoid and spacey. Ashbed excels at creating dark,
futuristic worlds through sound. The songs are minor, sometimes strange, yet overall very well done. I highly
recommend Ashbed's music to anyone into dark electronics.
The following review was written by David Tatlock:
- “My Father Will Guide Me Up A Rope To The Sky” (Young God Records)
has been thirteen long years since we've heard from this seminal and legendary band, but the Swans are back in a big way. Still challenging and trailblazing as ever, their latest album “My Father Will Guide Me Up A Rope To The Sky” is a continuation of their core sound, but it also a new direction for the band. Opener
Thoughts” sets the tone, opening with quiet bells until the band comes pounding in on one chord for about 3 minutes, until it becomes slightly gentler, and Gira's voice makes it's appearance. The song ends in a similar fashion to the opening song, all crashing and bashing which reminds you : “Yes You Are Listening
To The Swans”. Next track “Reeling The Liars In” reminds me of Gira's Angels Of Light work – a gentle, western-flavored acoustic piece – one of my favorite
tracks on the album. Next up is “Jim” which is a folk
rock tour de force dedicated to Jim Thirwell. Easily the best
song on the album with great “na na na” background
chants from Gira. The next track, (“My Birth“) is somewhat of a dissapointment.Yes, it's loud and fairly abrasive, it just suffers fron a weak vocal, and it is not a very dynamic or memorable song. Next up is the awesomely
titled “You Fucking People Make Me Sick”. It features guest vocals from Devandra Banhart and Gira's 3 year old daughter. It starts of with a sing-songy, almost childlike vibe, the abruptly explodes with frightening piano rolls and slide trumpet. A very effective, if unsettling song. “Inside Madeline” is a
decent quieter number, but doesn't really hold up to the folkier
moments earlier on. Next track “Eden Prison” is a
great, loud, punishing number with a great vocal performance by
Gira. The album closer, “Little Mouth” goes back to Angels Of Light territory, ending the album on a more serene note, the acapella vocals at the end
are a fitting conclusion to a very good album. Again, SWANS ARE
"Romper Room"- The Birthday Cakes
Well, these guys certainly have no lack of confidence. That becomes clear when you read the statement in the liner
notes: "The Birthday Cakes are the greatest band in the world". The disc opens with the bright (and short) instrumental
"Buried Treasure". These guys are definitely unique, although their sound does bring to mind such acts as Weezer and
Vampire Weekend. Imagine a fair dose of early 70s psychedelia mixed with some prog. Ambitious, to be sure.
But sometimes the proceedings are far too cluttered and misdirected. There are many sloppy tempos, and things get far
too frantic at times. This band does show promise, but at this point they desperately need focus. Songs like "Junior
Scissor" simply cannot make up its mind. It is calm, then chaotic, then calm again. The screamo vocals are perhaps
an attempt to be "real", but they just end up being annoying. The band's attempts to be weird and askew just end up
sounding unpleasant. These guys really need to pick one road and stay on it.
"Browen"- Bjorn Svin
I was very pleased to discover the work of this Scandinavian artist. It is skeletal, composed of electronic beeps
and blips, and a clever experimentation of electronic sounds. It is mechanical, but it also manages to be organic.
It can best be described as engaging audio landscapes that are very multi-textured. The work is amusical, yet still
highly listenable. "Browen" also boasts a very clear production. It conjures up images of Nordic snow fields,
and is reminiscent of Boards of Canada and Aphex Twin. Many tracks are sunny and positive, with "bowbrow" being a good
example. "owW" is minimal, sounding like an automated factory at 3 in the morning. Overall, this work features
lots of found sound and a captivating audio chemistry. An excellent work by a true artist.
"History of Modern"- OMD
The latest offering by Liverpool's synthpop gods certainly gets off to a good start. "New Babies: New Toys" is
a bright, lively and catchy opener. It sounds bold, fresh and very modern. It also features a certain grit (do
I hear an actual electric guitar?). But very quickly, this album becomes very derivative and is evidently reaping a
lot of the same old pastures. "If You Want It" is a good pop song, but it sounds an awful lot like an outtake from "Liberator"
or "Universal". More of the same old sound: angelic chords, bleepy melodies and stomping 4/4 beats.
Even the album artwork is painfully trite. It looks far too similar to the cover of their debut from way back in
1980. It's great to have Andy, Paul, Martin and Malcolm back, but a simple rehashing of past efforts will either disappoint
(or delight) many lifelong fans. Nothing has changed. The band is still nodding endlessly to the same oft-mentioned
inspirations: Kraftwerk, Roxy Music and Bowie. Despite moments of true gold ("Sometimes" features great vocals
by Jennifer John), many of the songs are downright weak. "RFWK" is a good musical tribute to Kraftwerk, but it is lyrically
awkward and bizarre: "I loved you like a son"? Sure, Kraftwerk are amazing Andy, but come on, they are, in the
end, just a band.
This band seriously has to stop looking back. "Sister Marie Says" is catchy but it is also a complete ripoff of
"Enola Gay". There are too many samples on this offering....what happened to the innovators that this band used to be?
"Pulse" is a chant, sounding a lot like the Tom Tom Club circa 1984. "Bondage of Fate" has the same 3/4 beat as "Joan
of Arc (Maid of Orleans)". And the album ends with the godawful mess "Save Me", a sloppy and festering catastrophe that
throws together samples of Aretha Franklin, and, get this....samples of their own material! Even worse, they
decided to recycle elements from one of their classic songs "Messages". When sampling, a band always runs the risk of
being perceived as devoid of any new ideas. Here, the band goes even further by sampling themselves (even worse, a track
from "the good ol' days"). This album is painfully stuck in throwback mode.
"Drum Dynasty"- Drum Dynasty
Here we have a great two disc collection of world music. As their name would suggest, Drum Dynasty are an act that
feature impeccable rhythm and top-notch drumming. The first disc is called "Mystic Sunrise", and it conjures up images
of the Middle East. It sounds very atmospheric and pure. There is a cinematic undertone that is engaging, and
the musicianship is amazing. This is obviously the work of seasoned musicians. The opening track overflows with
feeling and life. It sounds incredible. "Al Jabr" displays masterful drumming that is beyond compare. Here,
elements of ethnic music and jazz combine in a terrific fashion. The mix of sounds is captivating, and the production
is outstanding. "Kazi" is yet another brilliant fusion of sound. It is incrediby focused and fully developed musically.
"Dark Continent" is more concerned with greener pastures. It is a sonic representation of rainforests and jungles.
The music here is also very well done and exquisitely executed. Often, the tracks sound big, sprawling and mysterious. The
groove is very seductive. "Hemiola" is frantic and spastic. "Warfare" is nightmarish, with an eerie melange
of tortured voices. These guys should be doing soundtrack work. An excellent achievement that is highly recommended.
"Moorpark Oasis"- David Silva
This is an excellent CD full of bright, disarming songs. Tracks like "Guitars and Shady Ladies" are completely
honest and charming. These are ultimately songs from a truthful man who brings his life to us through his guitar.
It is very smart and entertaining. Musically, the songs are very well constructed and tuneful. "Garlic" illustrates
quirky characters he has met along the road of life. All the songs are permeated with an Americana/country/folk meandering.
"Coffee Song" and "Hal's Train Song" are melancholy and minor, and bring in an accordian. Here his work is undeniably
Springsteen-esque, painting vivid images of lonely nights and empty train stations. Silva's vocals are clear and emotional,
and at times gleefully optimistic. His experience speaks volumes, and this recording carries much more weight than most
of today's typical fare. A poignant, honest and completely enjoyable CD.
"The Paw Breaker Sampler"- Fleet Street Singers
This 3 song EP proves once again that Devin is certainly a creative chap, who loves to dabble in a variety of bands and
side projects. He has no lack of ideas. The music is straight-up, edgy rock. Devin's guitar (and songwriting)
is strong and Jason Finnigan does an excellent job on drums. "Paw Breaker" recalls 70s classic rock (and a fair bit
of the 90s thrown in). We are treated to another version of the great song "Black Widow". This one is turbo charged,
with the energy level cranked. Things finish with a cover of The Stooges' "I Wanna Be Your Dog". This is a great
little sampler from the Moncton scene.
This album is a collection of beautiful, warm songs with excellent vocals. It boasts high production values, and
a definite Celtic influence. This is very suited for fans of Enya and other acts of that ilk. The songs are a
gorgeous blend of traditional instrumentation and slick, modern recording technology. Many of the songs are pure and
relaxing, taking the listener to a bygone era.
Sora is a Canadian artist with a truly poetic soul, as evidenced in the liner notes: "The music itself washes through
me, as wind passes through the trees, but in doing so is imprinted by my spirit as it exits through my voice". "Winter"
hints at Tori Amos, and songs like "Drift" are heartfelt and atmospheric, loaded with gorgeous strings and an olde worlde
charm. "Twilight" is also beautifully gentle. This album is, without question, a remarkable, well-crafted achievement.
"I Am Happy Being Nothing"- Mopey Mumble Mouse
This is the brainchild of Curtis Kilfoy, a super creative young man from St. John's, Newfoundland. Featured within
are punk odes to shopping malls, flourescent lights and modern suburban trash. This is real, edgy, and abounds with
high-pitched intense vocals. There are lots of hooks and tons of energy. At times this sounds undeniably old school,
like 1977 punk (especially on tracks like "Eunuch Boy"). There is also an abundance of good musicianship. "Fight
For Your Right (To Not Give A Shit)" is brilliant and says so much about modern boredom. "Compassion Comes From The
Barrel Of A Gun" features an electronic beat and Mopey's plaintive, troubadour-esque vocals.
This is so well done and intelligent, and the lyrics are extremely unique (for example, in "Dead Mall": "You smell like
the inside of mom's purse/like candy, breath mints, cheap makeup and musty money". Mopey is a real fucking artist with
lots to say, and more importantly, who knows how to say it.
"A Haunting Presence"- Transcend With Time
Transcend With Time is the alter-ego of Mark Mendieta, a Texan musician who excels at creating resonant, haunting instrumental
music. The title track is a stirring mix of strings, piano and provocative synth sounds. This is very cinematic,
conjuring up images through sound. "Hourglass Falls" is another excellent example of this cinematic approach-
I could easily imagine this playing during the opening credits of a film.
Mark is obviously a gifted sound chemist; he mixes sounds in a very pleasing yet unpredictable manner. The CD also
boasts a high level of musicianship. "A Silent Lullaby" reminds me of Angelo Badalamenti (which is a good thing!), while
"Beneath" is wonderfully dark and mysterious. I predict this guy will be working on movie soundtracks someday!
"14th Intellect"- Neo Cortex
Here we have another example of Neo Cortex's slick, unique brand of synthpop. "Studio Warrior Recorder" is a great
opener- Steve's vocals sound great, and the music is crisp and catchy. There are also lots of neat production touches.
It actually reminded me somewhat of "90125" era Yes. This album shows great growth- the beats are slowed down a little,
and the lyrics are more introspective (as evidenced on "Living, Laughing, Loving"). Overall, this album is fun, funky,
well crafted pop music. The pop mood is interspersed with cool moments of experimentalism ("Speaking Of The Experimental").
Steve, as usual, displays his knack for wordplay, and Chris' musical chops are as great as usual. "ZZZZ" features
some juicy electronics. It reminds me of Peter Gabriel. "Quick, Brief, Neuron Release" is rockier and reminiscent
of Van Halen. This album is an outstanding effort from a very talented duo. Their best work yet.
"Arise of a Bleeding Rose"- Gregorio Bardini and Gerstein
This work is comprised of doomy, moody sound paintings. It is a genius mix of electronics, flute, ocarina and mysterious
lyrics. The electronics are very fresh and sharply produced, and they mix very well with the wind instruments and the
strange samples. The tracks are very provocative and intriguing. The album pulls us into a dark, somewhat frightening
soundscape that is fascinating. "In Gedanken" is excellent- a great blend of dark electronics with flute. This
combination works very well!
Gregorio's vocals sound great and they blend perfectly with Maurizio's electronics. "Il Male" is very unsettling
and eerie. "Trost Und Freude" is another excellent track, which is a prime example of minimal electronic music.
This is a very brave, intelligent release. Highly recommended.
"Canadian-United States Trade Agreement"-
Psionic Flesh frank
This is a collaboration between Francois Marceau (of Montreal, Quebec) and Jason Rodgers (Albany,
NY). I was quite excited to discover that these gentlemen had collaborated, as I was quite a fan of their individual
previous works. This album is a collection of brazen and brash noise. Sound is manipulated very cleverly, and
the sonic brew is very captivating. "Truth Noise Redux" is a good example. It is full of sound snippets, distortion
and mechanical explosions. "Dismembered Pop Stars Redux" begins with a curious snippet from what sounds like a 1950's
educational film, then quickly gives way to a wall of grinding, pulsating noise.
Overall, this effort is undeniably amusical, but it is also very smart and artistically valid.
I would quickly recommend this to any followers of the noise genre. "Burn Terror Redux" is a particularly strange, interesting
track. Like many of the recordings, it is bizarre, suggestive and evocative.
"The Antagonist"- Ashbed
I have been in touch with David Tatlock for years now, and his musical efforts never cease to impress
me. We kind of lost touch with one another for a few years, but I'm glad to see he is still producing some fine electronic
music. "The Antagonist" features David's classic sound, only now it seems a lot more polished and slick. Things
kick off with "Knifelicker", a strange and engaging track that is nicely minimal. "Reduced to Ash" features a frantic
beat and ultra-cool bass sounds. It almost sounds like David is telling a story with each of these electronic odes.
"Stairwell" has a horror movie undertone to it. I can hear hints of Skinny Puppy. It's
refreshing too when you realize that Ashbed isn't just cruising along on auto-pilot. There are many twists and turns
to keep things interesting. "Dither" is a good example of this with its chime sounds that come out of nowhere.
This is a strong effort by a clever electronic musician.
"Enter The Dying Room"- The Dying Room
Chad is a multi-talented, creative guy who seems to have music oozing from every pore. The
Dying Room seems to be his more metal-based side, and he cranks out powerful guitar based tracks effortlessly. "Anarchitect"
is anthemic and reminds the listener of good, no-nonsense old school heavy metal. Chad does everything himself, and
it sounds awesome. His voice is that of the eternal rocker- forever tortured and taunted by his personal demons.
This is real rock and roll; rebellious and anti-social.
I also love the lo-fi, basement quality of this album. It is raw, real and true. There
is no pretty ornamentation here- it is exposed, vulnerable songs by a true artist. "How Quickly We Decompose" slows
things down a bit. It is a gloomy, mope-rock ending to a great album. Chad is the quintessential artist, forever
needing to express himself.
"Live!"- Document No. 5
This CD opens with a great cover of "Don't You Want Me", the classic by the Human League. Keltie
does a great job capturing this excellent band live. Some live recordings just don't "cut it", but this one sounds great.
It is very clean and clear, and the band sounds superb. The music can best be described as rock with a dash of pop and
a distinct leaning towards punk. "The Duke" sounds great live. It struts along with a confident swagger.
Indeed, it sounds like Devin, Tanya and Chad play very tightly together. These are obviously not amateurs.
They also do a cool cover of Joy Division's "Atmosphere", and things close with the excellent song
"Black Widow" (a rather good frantic version). Overall this is a vivid snapshot of one night in the life of a very
This album by the very talented American songstress has a very mysterious, other worldly and mysterious tone. It
also features strong, able vocals that boast a great range. Overall, it is beautiful and atmospheric. Some of
the songs lack a hook, and therefore end up being slightly forgettable, however this is compensated by excellent musicianship.
This album, to me, evokes images of castles 'n candles; an approach that was perfected all those years ago by the likes of
Chris De Burgh and Kate Bush (this sound is especially evident on tracks like "The Quest"). The title track, like many
of the songs, is rather filmic, with a torchy, romantic undertone. This is music that is tailor made to accompany wine
and fireplaces. It should also be noted that the material on this disc is lyrically good, especially on tracks like
"Behind The Future", which takes a biting look at all of humanity's mistakes. Overall this recording represents flashes
of world music infused with soft pop. The promo sheet that accompanied the CD mentions that it is sure to be hailed
by people in the "Yoga, spa and meditative circles". I couldn't have said it better myself! This is very calm,
soothing music for quiet, romantic nights.
"Memorandum"- Document No. 5
Here we have another recording by the great Moncton band, and sadly it appears that this may be their last offering.
Their drummer Chad has decided to move back to the Halifax area, so perhaps this is their swan song. If so, they did
a great job recording their last hurrah. "DRB" is a great rock anthem. It is very memorable and powerful.
And interestingly enough, the band pulls off a cover of the Human League's New Wave classic "Don't You Want Me?". They
give it a raw, punky edge. Devin sounds a bit like Iggy on this one. "Brood of Vipers" is very doomy and dark.
It struts along with a grim swagger. It is a very cool track. I am very sad to see another great band come to
an end, but at least we have this great final recording to immortalize their sound.
"MC Money"- Peter P and The Bridge Street Crew
I was fortunate enough to play a house party with these guys last summer. Their show was hilarious and tons of
fun. I think I had a constant grin on my face during their entire set. "MC Money" is an amusing disc proving that
these guys do indeed have a killer sense of humour. It's so refreshing to see a band like this that doesn't take
itself too seriously. And to Peter P's credit, the raps here are very well written. The guy is a funny urban clown
who is evidently having fun, inviting anyone to come along for the ride. The music is catchy and well put together,
giving the CD a pulse that can be listened to repeatedly. Tracks like "Smack Yo Ass" are a party waiting to happen.
The vocoder on "Cold Rokkin" sounds great, and "Straight Up Nerd" is hilarious. There does indeed seem to be a method
behind all this madness. This disc upholds the great tradition of early De La Soul. Great stuff.
"Keeping It Salty"- DJ Salty Flavor
Matt Bryant is a very talented electronic musician from Austin, Texas. He excels at creating crisp, infectious
grooves. It is literally impossible not to move to his material. "Keeping It Salty" continues to provide us with
great synth textures, killer beats and catchy melodies. While listening to this, it's easy to see that the studio is
DJ Salty Flavor's playground, and he's not afraid to have fun there. "Undignified" is a great opening track. It
would easily be at home on any dance floor. The air of positivity on this album is also very disarming (especially evident
on track titles like "Dare To Dream"). "Hot Or Cold" is also another great track, very glitchy and anthemic. It
sounds like an updated version of the classic sound of Devo. Things never get predictable on this CD. DJ Salty
Flavor is obviously a gifted master of the electronic beat.
"To Myopic Mutts"- Zwerg (independent)
Zwerg is the alter-ego of Eldon Thiele, a very unique and artistic young man from Moncton. I was lucky enough to
meet him briefly at a show I did in November of 2008 in the Hub City. He was kind enough to give me copies of two of
his CDs, including "To Myopic Mutts". I had no idea what to expect in terms of the type of music he did, yet I can safely
say after listening that I am very impressed.
Zwerg's vocal style is highly distinctive. He casually sways from a smooth croon to guttural moans and growls.
His eccentricity is winning...this is evidently the work of a true artist. Tracks like "Great Grief" remind me of Tori
Amos. It is an emotionally charged piano ballad that is gleefully left of centre. It is clear from the roccoco
designs in the CD insert and the neo-classical musical phrasing that Zwerg has a penchant for olde worlde theatricality.
"Azure Empyrean" is a beautiful ballad featuring piano and mandolin. It is highly filmic and haunting. After
a while, some of these tracks do start to sound a bit alike, but that is a very minor observation. Overall this is a
breathtaking, glorious effort.
"This Is Serious Business"- Q Ball (Bald Freak Music)
Hailing from the east coast, Q Ball is an interesting artist whose music is quirky and catchy. There is without
question an 80s feel on many of these tracks. Q Ball takes the idiosyncracies of New Wave and welds it to a modern computer-age
beat. To call this dance music would not be completely accurate (although many of the tracks could easily be played
in any night club). There is a distinct pop flavoring here as well, along with plenty of rock attitude (no doubt thanks
to guitar work from Bumblefoot).
The opening track "His Name Is Goliath" overflows with energy, while the title track sounds like it would easily be at
home on FM pop radio. "Freak Out, Rock Hard" is terrificly old school and infectious. Q Ball definitely understands
the value of the hook; there are catchy melodies aplenty.
It should also be noted that the guy can definitely sing. His vocals are clear and they cut right through the mix.
One must also appreciate the 70s "classic rock" vibe that runs throughout. Q Ball also has a great sense of humor as
evidenced by tracks like "Pez Dispenser" and "Music And Pizza Boy". If the latter doesn't make you move, you don't have
a pulse. I predict big things in this guy's future.
"The Fisherman's Daughter"- Joy Shannon and The Offering (independent)
This CD is a collaborative effort between Joy Shannon, a resident of California, and Mark Sheppard, the brains behind
The Offering, who are based in Cambridge, UK. Immediately, anyone listening to this will be taken away to a swirly,
"fairy tale" type soundscape. The overall sound of this CD is very seductive and emotional, and it boasts an immaculate
production. This is a highly introspective recording loaded with orchestral strings and permeated by stylish electronics.
"Your Lies" immediately brings to mind Sarah MacLachlan's better work. Joy's beautiful voice mixes well with the
sumptuous chords and understated beats. Her delivery is slightly reminiscent of Madonna, but with a much wider range.
"The Day You Knew Me" also delivers this calm, lullaby-esque feel. Like most of the tracks, it is highly romantic.
The title track features a gritty guitar crunch, while "Halfway There" sounds a lot like Tori Amos. It is moody and
heartfelt, like much of the album.
Throughout the disc there is a recurring theme of longing and desperation. "The World I Knew" is an absolutely
gorgeous track, worthy of standing right alongside Enya's best work. "Of Angels" is also a stirring finale to the album.
Overall this disc is wonderfully deep, full of feeling and a perfect disc to accompany quiet nights alone with the soul.
"Disappearance"- Copernicus (Moonjune records)
After treating us to his wonderfully challenging music for over 20 years, it's fascinating to see that Copernicus is
still as daring as ever. Make no mistake, "Disappearance" proves that Copernicus can still rattle cages like no one
else. Right away, the first track ("12 Subatomic Particles") shows that he is still fascinated with what goes on at
the subatomic level. The vocals (and the music itself) sounds drunk with a higher truth. To the average listener,
Copernicus may sound like a madman. But for the rest of us who find him mesmerizing, this is truly engaging stuff.
"The Quark Gluon Plasma" continues with themes that Copernicus has previously explored. Here he sounds like a tortured
soul, sitting by himself in the corner of a dark, seedy dive bar. Here, like previous Copernicus offerings, the music
is skeletal and the spoen word delivery is feverish. You know when "Humanity Created The Illusion Of Itself" begins,
eventually it is going to explode into a wall of sound, which it does. This is classic Copernicus: chaotic, yet still
highly intelligent. "Poor Homo Sapiens" is a sobering critique of modern man. It sounds like a modernized update
on the work of T.S. Eliot. It is lyrically bleak yet musically appealing.
Past Copernicus collaborators such as Pierce Turner and Larry Kirwan help to maintain a sonic consistency. In relation
to past efforts, this does sound familiar, however that's not to suggest this is just a xerox of previous discs. Indeed,
this could in fact be our favorite existentialist's best work. More than ever, Copernicus comes across as a sage prophet,
delivering his insightful odes to anyone brave enough to listen.
"Into the 4th Dimension"- Zwerg (independent)
Zwerg is nothing if not unique. Looking like a lost Nordic tribe from a futuristic parallel dimension, Zwerg is
quirky to the nth degree. But aside from striking visuals, the music within is very well done. This CD is certainly
more lively (and rhythm based) than "To Myopic Mutts".
"Unwavering (We're Done)" features a classic pop flavor, as well as pristine vocals and tasty electronics. The
production is loaded with numerous audio snaps and flourishes that come and go. The mix is very textured and multi-dimensional.
"Lucky To Be An Alien" is musically robust and full of energy. And the lyrics! Never have I heard lyrics such
as "The creator of creativity grants literary construction blood on Campobello". "Test The Spirits" is loopy and infectious,
sounding like an acid-tinged variation on Van Dyke Parks' solo work from the 70s.
Take the quirkiness of Bjork, marry it to the eccentricity of Sparks, and you probably still won't be near the brilliant
oddity of Zwerg. If you are open minded and embracing of music that is left of centre, this disc is just for you.
"Yo, It's Christmas!"- HeatherSong.com (independent) cdbaby.com/heathersong
HeatherSong is the alter-ego of Heather Pahl, a musician from California. This CD features her own quirky interpretations
of classic Christmas songs. The result is a real mixed bag. The tone of the CD is established right away with
the opening track "Merry Christmas". It is cute but cluttered.
I applaud Heather for seemingly having fun with this disc. There is certainly a playful sense of humor throughout
the recording. This actually reminded me of something my elementary school music teacher would have played for my class.
"Good King Hiphop" is a curious oddity, complete with a rather serious and stiff "rap" by Thomas (the same can be said for
"Housetop HipHop"). It actually appears that Heather's husband, children, and a variety of relatives and friends appear
on this disc. This is certainly a family affair, it seems.
I cheer Heather for doing something that is very "do it yourself". Kids will more than likely enjoy this disc,
however many adults probably won't be as amused. The music sounds rather cheap and canned at times, and the production
is shallow at best, but there is still something about this CD that is fun and intriguing. Heather has a pleasant voice,
and the innocence and naivete of this CD is charming.
"The Bedroom Demos 2008"- Terminal Influence
Coma Pop Records myspace.com/terminalinfluence
Terminal Influence is the alter-ego of Chad, a creative young musician from the Moncton area. This CD is a collection
of home demos, and it offers a fascinating glimpse into the world of a true poet and musician. Things start off with
"Hide Ma Shame", a dramatic, sincere track that features a good use of echo effects. Like many of the songs featured
on the CD, it is a very sparse example of a bedroom recording. There is nothing fancy here. The minimal nature
of this entire disc is very appealing. "Deadthings" has very good acoustics, as well as mysterious and resonant vocals.
I like the ambient noises on the disc. The stuff that most artists would try to delete (such as coughing) are left in
here, which makes the work that much more honest and real. "Circle of Fiends" is another excellent track that shows
a highly perceptive view of group politics, and "Freak" is yet another song that is captivating and brutally true. "Somebody..."
is also quite "to the point", while "Priss" is very revealing and features a good use of flange. "Echoes of Dismemberment"
shows a quieter side to Terminal Influence. It is very stirring and introspective. Overall, this is a highly intelligent
offering. Terminal Influence is not only a gifted musician, but also a talented wordsmith. Highly recommended.
"The Bedroom Demos Volume 2"- Terminal Influence
Coma Pop Records myspace.com/terminalinfluence
It really is amazing sometimes to consider the power of music that can be accomplished between just a guy and his acoustic
guitar. This is exactly what can be said about the music of Terminal Influence. There is certainly no lack of
feeling in his material. On this disc, we are treated to even more bedroom demos, and it is a great continuation of
the first recording. "Sunrise" is very atmospheric and moody. On this disc, I noticed that the recordings sounded
just a bit more polished than what we heard on the first volume. Also, the playing and the vocal phrasing seemed just
a bit tighter. On songs like "My Angel", Chad sounds like a world weary troubador, kind of like Springsteen after a
drunken night of wandering empty streets. "Ugly" offers great echo effects; the song is very snake-like and eerie.
"The Pain Remains" is anthemic, and anyone who has ever felt the hurt inside will relate to this. Another great recording
from an artist you should keep an eye on.
Here we have an intriguing collection of electronic drones that immediately draws the listener into a clinical alien
landscape. The title of this work could not be any more appropriate, as the sounds within are indeed very cold, and
they also conjure up images of frosty, lonely, concrete cityscapes. The ghost of bands like Suicide is alive and well
in this recording. The title track is scary and empty, and abounds with a mechanical nervousness. "Kandahar" is
blissfully chaotic, with a never changing beat. "Flaming" is a great cover of the Syd Barrett tune, and provides a good
closing to the tape. I loved this work from beginning to end. For the most part, it is extremely devoid of any
emotion or feeling at all, yet this coldness and detachment is itself the reason why this is so unique and compelling to listen
to. Oblast has succeeded in creating a sound all his own. Excellent.
"Debt From Above"- Add Higga
The title track for this album kicks off with a sample from Tennessee Ernie Ford's
classic recording "Sixteen Tons". You know right away this is not going to be a standard issue, run of the mill hip-hop
offering. Add Higga employs lines like "Saint John is an exhaust pipe", proving that he is an able poet who does a fine
job of capturing the world around him. Overall, this album is a grim portrait of a grey world- the opening track, like
many of the songs, is very uptight (and honest). A recurring theme explored on this CD are dreams not achieved, a theme
that is all too well known in the east coast. Add Higga comes across as a smart as hell wordsmith who is not afraid
to be real and raw. His raps are delivered with conviction. "Waking Up The Dead" captures desperate people in
desperate situations. "Soon Enough" borrows a smaple from The Smiths (and sounds great), and "I've Waited My Whole Life"
is infectious with great vocals by Mary Ferguson. "Debt From Above" is a frightfully honest and realistic disc loaded
with smarts. Add Higga is a true urban poet.
"Ghost Stories"- Neil Campbell
Neil Campbell is an artist from Liverpool, England, whose music is sure to stir the
souls of anyone who listens. "Ghost Stories" is eerie, evocative and entrancing. The opening track is a 29 minute
sprawling suite that salutes shadows and darkness. A higly talented guitarist, Campbell collaborates on this disc with
Anne Taft (voice) and Michael Beiert (electronics) to create a haunting sonic melange. His guitar work is stirring,
and it mixes so well with the beautiful vocals drifting in the background, and the weird electronic treatments add just the
right touch. As I listen to this, I imagine grey clouds whirring by in stop-motion frenzy, or a vampire crying as the
October sun rises. This is simply so romantic and resonant. A perfect album for quiet nights alone with the soul.
"Ghost Stories" manages to be ambient, instrumental, and goth all rolled in one. Highly recommended.
"Evidence"- Document No. 5
Have I mentioned how much I love this band? These guys are experts at doing
songs that feature tight, punchy beats and simple, memorable basslines. "Evidence" is essentially a three track EP,
but it manages to pack so much into three little songs. "Black Widow" is dark and brooding. Devin's vocals conjure
up memories of Joy Division. It is catchy and well composed. "Sore" is manic and neurotic, mixing post-punk angst
with excellent musicianship. The vocals drip with an eerie chill that sounds great. "The Duke Needs A Home" plods
along with attitude and power. Check these guys out, you won't be disappointed.
"Seraphim"- Feedback Scars
This is a 6 song disc from the husband and wife duo of Devin and Tanya. It's
great to see that these guys are still cranking out their unique brand of punk-infused pop. The distortion effects on
Tanya's voice (on "Equinox") sound very cool. Feedback Scars' sound is primal and powerful- it is full of loud, crash
filled beats and ultra gritty guitars. And then, from out of nowhere, along comes a soft, pretty track like "Waiting",
which provides a pleasant break from the more serated tracks. It is a truly poignant song. "Grey Goose" makes
me grin, and the disc ends with "Lullaby", another pretty track. I look forward to many more recordings from this talented
Brown Coffee Records
This is an excellent disc by Samplescience (also known as Pierre Parenteau). I have been listening to Pierre's music for
years and I have been consistently impressed by the quality of his compositions. This disc is a great example of strong,
very well put together, home-made electronic music. "Bamboo" is lush and inviting, with a very fat bassline. "Minimal
Automatik" harks to the grand tradition of Kraftwerk. It is an excellent brew of electronic sounds. Tracks like "Vintagius"
are moody and stylish, while "3S Ambient Work" is brilliant. "Magic Spell Pounder" is another mysterious
and moody track, with great old school 808 drum machine sounds. "The Final Notes" is an excellent finish. It sounds
big, serpentine and slightly eerie. There is a touch of medeival in this track, and a juicy analogue bass. I also love the
echo effect on the percussion sounds. Overall this disc is highly inventive, and very smart. The proceedings never get boring.
I would highly recommend this for fans of YMO, later Depeche Mode and Aphex Twin. This is DIY electronics at its best.
"Into The Hive"- The Offering
The Offering Official Website
This latest disc from the great British act The Offering has been in the works for quite some time, and has been well worth
the wait. This is definitely a band whose creative output just keeps getting stronger and stronger. The Offering excel at
purveying dark goth-tinged pop which skillfully marries electronics with an awesome rock guitar sound. "48 Hours In
Tokyo" features slick production, great vocals and cool electronic flourishes. Like many of the tracks, songs like "Damaged"
and "Golgotha Falls" have a clean, uncluttered sound and a very polished, smart production. "Luna" is
hooky and infectious, while "Of God and Gasoline" is looser and almost jazzy. "Love Song" is very minor
sounding, with lilting vocals and a mechanical patchwork of exquisite sounds. This is an album that is very melodic, to-the-point
and not overlong. The Offering are very talented at crafting music that is the aural equivalent of black silk....stylish,
sensual and dark. Very well done.
"Wrecking Havoc"- Minimal Frank
Wreck Age Recordings
I'm glad to see that Wreck Age is still at it. This is a reworking of tracks by various artists, previously released by this
daring little Montreal based label. Behind all of this is the mastermind known as Minimal Frank (or also called Francois
Marceau by his friends). This is a gleefully noisy mish-mash of sounds and soundscapes, all brought together into one adventurous
sonic brew. "A Beer, A Laptop and Some LSD" sounds like a drum machine breathing its last breath. Minimal Frank
is not afraid to mix things up and be downright spooky at times. Sometimes this is chaotic, but in a good way. The key word
here is "experimental". The CD features layer upon layer of destruction and orchestrated distortion. "What's
Left of the Leftovers" sounds a bit more "song based", if that is possible, while "Another Tough Hangover"
is absolutely nightmarish. Suggestion seems to be very important- the pieces can be interpreted in many ways, which is why
this disc is so interesting. This work is creative, dark, mechanical and non-musical. I hope Frank keeps letting us peer
into the fascinating (and eerie) recesses of his mind.
"The Soft Focus Sound of Today"- Dreamsploitation
Dreamsploitation's MySpace page
What I love about Dreamsploitation is that the music is glorious, celebratory, and positive without being campy. This is
not easy to pull off, yet Dreamsploitation do it in spades. There is a high level of sincerity that runs throughout the entire
album. "The Night Everything Changed" sets the tone- it is frivolous, flippant and playful. Chuck comes across
as a sonic auteur, mixing and matching forgotten string flourishes with gorgeous melodies and infectious rhythms. I love
the dizzy, almost euphoric quality of the music. I've heard material in this vein before, but nothing exactly quite like
this. "Anxious Lullaby" sports gorgeous vocals and pseudo far-eastern undertones. It is smart and artfully beautiful.
Blips like "Monochrome" waft by like a half-remembered dream. The songs culminate in an album that is jazzy, cinematic,
worldly and pop infused. This is the sound of a technicolor 1950's Hollywood, modernized and spiritualized by the hand of
technology. I so enjoy how this album floats by on a breeze of whimsy. Excellent.
"Visions and Dreams"- Catherine Duc
Catherine Duc Website
Catherine Duc seems to be very adept at creating calm, soothing, beautiful music. This work is very well assembled and musically
pure. It is resonant, heartfelt music that pleases the ears and the soul. This is a masterful combination of ambient, celtic,
electronica and world music. There is also a very visual quality to the music...I'm sure Duc would have no problem moving
into the realm of film scores. There is a wide palate of sounds in the mix: voice, strings, pan flute, guitar and a myriad
of other instruments. "Essence of Dreams" is just that- grand and stirring. Tracks like "Evocation"
are sultry and mysterious. In general the album is skillfully composed and played. Duc's musicianship is exquisite and a
joy to listen to. Highly recommended for fans of Enya, Deep Forest, Ennio Morricone and the Tea Party.
"Goth Core"- Document No. 5
Document No. 5 MySpace
Here is the latest 5 song EP from the new Moncton band Document No. 5. It is a genuine mixture of various sounds and styles,
and ultimately a very enjoyable listen. Things kick off with "Sensory Overload", a track that is pure punk rock.
It is very primal and full of energy (and at one minute long, short and sweet in the good old punk tradition). "Sunset"
saunters along with plenty of attitude, while "This Song Sucks" (it doesn't) features more punky gusto. And then
from out of nowhere comes "Murder Mystery", in all its Poly 800 glory. It is a huge contrast to the other tracks,
but it works. The synth sounds great meshed with the live acoustic drums. This is a very cool track....it achieves a very
distinct and resonant atmosphere that many bands will never reach. "The Duke Needs A Home" is the sprawling finale.
This band does a great job at creating a simple, straightforward DIY sound that I love. The basement quality that runs through
the tracks makes this EP so genuine and real.
"Electronic Messages"- Various Artists
Brown Coffee Recordings
Brown Coffee is a new indie label in Montreal, specializing in underground electronic music. This compilation features an
assortment of bands and solo acts from around the globe. "One Dream Day" by the UK's John Havelock-Moore is serious
and stiff, starting out as a spoken word monologue. The track by Ian SDHZ is ambient, with leanings towards Aphex Twin.
3AM provide a cut that is weird, spooky and glitchy. Some of the tracks are more memorable than others, but that is to be
expected. Carlos Natale's song is dreamy and ethereal, while Samplescience's track is futuristic and dancey. Victor Eijkhout
also provides a selection that is atmospheric and evocative, while Necrosensual give us two tracks that are both raw, dark
and danceable. I applaud Pierre for including a real variety on this compilation. It is definitely varied, which makes it
a highly enjoyable listening experience. Many tracks seem to boast a distinct Boards of Canada influence. This compilation
is excellent and very well-rounded. I look forward to further releases from Brown Coffee.
"Only Science Can Tell Us The Truth"- Radium 88
This is an album abundant with good, pure electronics. It sounds very slick and modern. Swirls of electronic liquid
beautifully frame this introverted classic. Songs like "Nocturne" are exceptionally beautiful, and remind me of
Bleep and Booster. Overall, this album is very moving and full of melancholy and insightfulness. The title track evokes
images of the Fall, complete with dying leaves and grey skies. "Nostalgia For A Time That Never Was" features a
great synth melody and is very infectious. This is a sumptuous masterwork full of feeling. Whoever said that electronic
music could not resonate with heart needs only to listen to this.
"Dicotomia"- Project Morfeo email@example.com
I was pleased to receive a package of CDs from a label based in Alberta called Trostlos. It seems they specialize in
music that mixes electronics and ethnic music from other countries. "Dicotomia" is very beautiful and poignant.
It features a high degree of musicianship, and has an undeniably cinematic quality. The songs are very emotional and heartfelt.
Obviously, this is the work of craftsman. It is very well produced, with a good mix of sumptuous string sounds, graceful
piano and crunchy guitar. The music is often rather dark with a strong Euro feel, and the mix is very well balanced with
distinct vocals. If you are into bands like the Tea Party who mix middle eastern sounds with western rock structures, you
will love this.
"The Acid Cowgirl Audio Trade"- Salme Dahlstrom
This is a name that I'm sure will be on the lips of the masses in the not too distant future. Salme excels at purveying
great, energetic electronic pop with a very distinct nod to Fatboy Slim and his ilk. Salme is very "in your face"
with tons of edge. The album is comprised of slightly distorted textures and punchy loops, and pop songs with plenty of power.
Salme is a one-woman dynamo who is very, very close to exploding into the realms of mass appeal. Songs like "Superstar
Car Crash" (which was featured on the TV show Big Brother Australia) are very radio friendly, while tracks like "C'Mon
Y'All" are cute, spunky fun. Salme has a very sharp ear for popcraft (evidenced on songs like "Hello California")
and "Popwreck" is hooky fun. This young lady definitely knows how to get the party going. A winning effort.
"Tripas de la Miseria"- Christian McKee christianmckee.com
This offering opens with "Disappear and Don't Return", a well crafted pop song with pleasant vocals. Like many
of the songs, it is hummable and unique. The song "Marlane" is informed by decades of rock wisdom; McKee comes
across as a modern poet with a terrific sense of melody and hooks. "Don't Say" is an excellent track, while "Pop
Song" is pure Casio-pop candy. Overall the album features a great mix of acoustic guitar and electronics. McKee has
a distinct and likable voice, suitable for mainstream radio. His songs are affable, smart and heartfelt. McKee does an exceptional
job of mining the warm 70's classic rock vibe, yet he does it with an elevated degree of sensitivity and smarts. This is
the work of a gifted artist with an undeniable talent. I have no doubts that this recording will be appearing on my Top 10
Albums list of 2008.
"Tunsi Wrap"- Tunsi
Tunsi is an American rap artist who has no shortage of attitude. The first thing that struck me while listening to his
latest effort "Tunsi Wrap" was how strong his lyrics were, and how clear his delivery was. The album boasts a very
good level of production. I'm definitely not an expert on rap, but I can easily recognize the merit in this offering. Tunsi's
raps are delivered against a background of inventive music tracks. He captures the world around him and delivers it to us
in all its grittiness. My only complaint about the CD is that it did start to sound a bit samey after a while. More variation
in rhythm would be good. The best track is probably "Planetarium", while "Tell Me Something" is sweetened
with female backing vocals. "Rat Man" is somewhat comical. All in all, this is an excellent disc from a very brave
"Document No. 5"- Document No. 5
Here we have an EP from a new Moncton band. I liked this right away. The music is gloomy and doomy and very Joy Division-esque.
The opening track ("Mainline") really comes to life at the 3 minute mark. The song has good lyrics that perfectly
showcase desperation. "Girlfriend of the Grave" is punky, and the flange treatments in the song sound great. "Grey
Goose" is a Leadbelly cover that really shows that the band has a sense of humour (I was previously unfamiliar with this
track, but it did remind me of the old classic "The Preacher and the Bear"). This disc reminds me that this is
what it's all about: good friends getting together to make noise and having fun with it.
"Trust In The Lord"- DJ Salty Flavor
DJ Salty Flavor does a very good job of creating dancey, upbeat electronic music with Christian values. This is very
reminiscent of New Order. It is positive and bright with lots of captivating electronic textures. The music is very suitable
for dance clubs (especially tracks like "Hey Ashley"). While listening to this disc, I was frequently reminded
of the golden era of late 80s/early 90s club music. This work is full of references to bands like The Shamen. "Deep
Inside" is well produced with excellent rhythm sounds, and "No Good With Girls" is a club anthem waiting to
happen. It is a very fun track that reminded me of the Robin Gibb classic "Boys Do Fall In Love". "Outerspace
Jam" is a more pensive moment, while "Just Another Day At Sonic" is hilarious! Fan of intelligent, catchy
dance music should definitely check this album out.
"Traffic"- ABC abcmartinfry.com
Finally, after an 11 year wait, diehard ABC fans now have a new album to clutch to their hearts. And this one was definitely
worth the wait. Martin Fry (the only remaining original member of the band) is better than ever on this one. As I listen
to this, I feel like I'm sitting down with an old friend, sipping a cup of tea and talking about the old times. It is a very
warm, welcoming disc.
Martin rocks out on the opener "Sixteen Seconds to Choose". It boasts a full, polished sound and a great mix.
"The Very First Time" is an excellent pop number that harks back to ABC of yore. It is hooky with exquisite strings.
"Ride" is another catchy winner. "Caroline" sounds like nothing ABC have done before. It is very bittersweet
and sincere, with a sensual summertime feel. It is on tracks like "Life Shapes You" that the listener realizes
just how far Fry has come. The last album (1997's "Skyscraping") was airy and dreamy. "Traffic" is much
Another song of note is "Way Back When". Here Fry plays historian, looking back on rock and roll's brief history.
His passion for the genre is so evident. And I was pleasantly shocked to hear an ABC song that referenced Elvis! "Fugitives"
is quirky, funky and slightly sinister. It crawls along with the swagger of a predator.
This is an excellent entry in the ABC story. Fry displays a maturity and wisdom (and a knack for melody and experimentation)
that is incredible. People who grew up with ABC will not be disappointed, and newcomers will also love the undeniable ABC
pop zeal, which is present in abundance. "Traffic" is modern, yet infused with the classic ABC flavour. A great
return to form.
Right away, the door to this album opens wide and BOOM..."Pump" kicks things off with vigor. It is an infectious,
pounding track, much like the rest of the album. Most of the tracks on this "comeback" album are downright lively
and fun. It is difficult not to move to these goodtime classics! Listen up party people, the B-52's are BACK!
The classic B-52's sound has not changed much over the years. They still do a great job of mixing twangy surf guitars
with electro dance beats. And the lyrics are still just as kitschy and nonsensical as ever. And the 60's tinged vocal harmonies
are still as sweet as ever. And just like past efforts, these guys embrace life with all the "carpe diem" they
can muster. They still know how to keep things light and fun. Sit back and enjoy the familiar layering of textured guitars,
nice harmonies and touches of electronics.
I'm not sure if there are any obvious hits on this album, but that doesn't matter. The title track features classic rock
chords, and it is nice n' linear and catchy. Overall the album never strays too far from a stomping 4/4 party vibe, a domain
the B-52's practically perfected. This may not be their best album, but you'll be having too much fun to actually notice.
Put this on and a party will be born, guaranteed.
"Ethnic"- Shiva In Exile firstname.lastname@example.org
This is a disc of "world ambient" music. It features lots of strings, and a dramatic mix of middle eastern
melodies and foreign language lyrics. The album is beautifully realized, stylish and overflowing with emotion. Every corner
of every song is soaked with atmosphere. As I listened to this, I was frequently reminded how much it sounded like a motion
picture soundtrack to me. "Breathing" is a sumptuous, resonant track that conjures up exotic imagery. Like many
of the songs, it features a good mix of traditional instruments and electronics. Overall, this offering is dark, evocative
and slightly eerie. Highly recommended.
"Femtastic"- Jennings jennings-music.com
Mary Jennings has a distinct, robust voice that has no problem delivering a melody. Her album "Femtastic" abounds
with pure, well crafted pop songs. The opening track "Falling Higher" is a great track, primed for mainstream FM
radio success. Her music could be described as Sarah MacLachlan with a bit more edge, however it must be noted that Jennings
has a sound and style that is all her own. It is evident that lots of time went into the songs and the production, plus Jennings
has an obviously keen ear for melody and popcraft. The title track ups the tempo nicely, as does "Do Or Die".
Also included is a second disc ("Stripped") that features "piano and voice" versions of selected songs
from the album. Very nice. This album is smart, energetic and poetic. I sense big things in Jennings' future.
"Technologic Epoch 2000"- David Monte Cristo
Straight out of New York, we have this disc of techno/dance tracks mixed with New Age riffs. I enjoyed this disc from
beginning to end. It features an old school vibe that is irresistible. "B-52 Runway" is a minimal, engaging track
that flows along, waiting to erupt. There's some great dance tracks on this disc- "Limelight DJ" manages to capture
all the dizzy euphoria of a blissful night out dancing. Moroder's influence can be heard throughout, especially in the opening
of "Rave Chant". The disc is full of good, crisp electronics. Monte Cristo is a great label that specializes in
quality electronic music. I loved all the chimey synth pads, organ sounds and minimal sequences offered in this recording.
It is unique and highly listenable. Very well done.
"Underground"- David Monte Cristo and James Michaels
Make no mistake, this disc is aimed directly at the dance crowd. It features original tunes and a variety of covers.
I did think that some of this was a bit campy and over the top, but still very well done. Released in 2000, the technology
on this all ready sounds dated in spots. The echoes of disco that run throughout also adds an outdated (yet charming) quality
to the recording. There is no shortage of melodramatic vocals. Many of the tracks are dancey, yet there are also some atmospheric
moments, such as "Resurrection". "El Bimbo" is rather cabaret, like something you would hear walking
into a smoky night club in Berlin. Also featured is a curious cover of the Depeche Mode song "Sweetest Perfection".
"Led Zeppelin" is a beautiful, poignant track. A bounty of analogue juiciness punctuates several of the tracks.
Overall, this is a fun disc that fans of electronic dance music will love.
"Toolbox Hero"- Toolbox Hero
This was NOT what I was expecting. I received a very unspectacular looking home burnt CD-R in the mail, slipped into
a red paper sleeve with hand written song titles scrawled across the envelope. Immediately (don't ask me why) I imagined
some glitchy, artsy noise that some kid recorded on their PC. How wrong I was. This is a 5 song demo of songs by Toolbox
Hero, the alter ego of Zeke Sayer. All of the tracks are highly touching and haunting. "Between the Earth and Moon"
is beautiful; a mix of acoustic guitars, electronics and gentle male-female vocals. Like most of the tracks it is very thought
provoking and introverted. "Free Now" is a catchy and melodic slice of indie pop. It features a neat mix of simple
piano melodies....and is that an SK1 I hear in the background? Toolbox Hero kind of reminds me of Hayden, but only if Hayden
used electronics. "Having Fun Can Be Dangerous" sounds a bit like early Talking Heads, while "Now Is The Time"
mixes things up with a bit of rap. Zeke does a great job of creating soft, gentle and smart pop tunes. This is a brilliant
disc. I can't wait for the full-length release!
CD Reviews by Jill Davis LeBlanc
"She Wants Revenge" (2006) - She Wants Revenge
"This is Forever" (2007) - She Wants Revenge
Do you remember the David Bowie movie, "The Hunger", where in the opening scene the vampires are hanging out
at a nightclub, dancing to "Bela Lugosi's Dead" and sexily hunting down their prey? If you thought that was cool,
then keep that image in mind and read on...
These two albums are virtually identical so I'm going to review them together. In fact, they are so much alike, that
they even sport the same cover photo -- just one is white (2006) and the other is black (2007). To carry the black &
white analogy one step further: it seems this is either a band that you love or you hate. For some, She Wants Revenge are
simply vapid retro 80s - Joy Division wannabes who have apparently been quoted as saying "We just wanted to make a record
that would make girls dance and cry." Fair enough. The comparisons to Joy Division, Depeche Mode & Bauhaus have
been made and are obvious. It's my opinion, however, that if you're going to imitate someone, why not imitate the best?
So I really don't view this as a bad thing. Admittedly, there is more style than substance here but there's nothing at all
wrong with the style -- dark, brooding, catchy as all hell and extremely repetitive. Musically, the delivery is very monotone
-- never deviating from the heavy beats, heavy bass, rigid vocals and danceable synth lines. If you like one song, you'll
like them all because honestly, it is a bit difficult to tell them apart sometimes. Every song delivers basically the same
thing: the imagery is full of loneliness, lust, betrayal, rough sex, and dance floor crushes gone wrong. For example, in
"Monologue", the lines:
"This is the time of night when the moonlight shines down
and we can reveal who we truly are
Within the darkest most depraved
If you're afraid to say
But you'd like to try
Just give me the safe word and take your hand
And smack me in the mouth , my love"
(Remember what I said about "The Hunger"?) There isn't a lot of growth between these 2 albums, and I'm guessing
that the closeness in their release dates suggests that maybe these songs were all composed around the same time. They found
a groove & stuck to it -- there's really no discernible difference between these 2 albums -- or even much difference between
songs to be honest. But, if you love it, like I do, that's a good thing. Stand out tracks for me are "Red Flags and
Long Nights", "Monologue", "Out of Control" and "Tear You Apart" from the "white"
one. On the "black", I like "What I Want", "Checking Out", and "It's Just Begun".
"Silent Shout" - The Knife
Although I later learned that this album was the 2006 Pitchfork Media's "#1 Album of the Year", I had previously
been unaware of The Knife. I came to this album through sheer serendipity, searching for Jay-Jay Johanson. The Knife are
an enigmatic electronic duo of siblings from Sweden, and admittedly I know very little more about them. They would appear
to be the black sheep in the same musical family as Mum. This album is very avant garde. Some tracks are slightly more poppy
and accessible than others ("Forest Families", for example), but overall the tone & atmosphere is elusive and
creepy. The word "defeat" keeps coming to mind. To me, the theme of the album seems to be skeletons in the closet:
it carries you through a winding mystery wherein you become convinced something terribly wrong is going on, but you can't
quite figure out what it is. Or, maybe I just don't understand it. Jay-Jay Johanson lends his ethereal voice as guest on
"Marble House", which obviously is my favourite track (God, but I love that man's voice!). Lots of choppy noise
and bizarre vocal distortions add to the confusion/illusion (see "We Share Our Mother's Health") . Some of it is
just downright strange. Mewing kitten-like vocals in "Na Na Na" squeak out lines like: "Every month I've got
my period to take care of and collect in blue tampons Na na na".
"Disco 4"- Pet Shop Boys
Sadly, I kind of lost interest in the Pet Shop Boys sometime around the mid to late 90's. The last album of theirs that
I recall enjoying was "Nightlife". But after that, they didn't seem to captivate me that much. But I'm happy to
say that "Disco 4" is a great return to form for the classic synthpop duo. This collection of remixes overflows
with the Pet Shop Boys' signature sound: stomping 4/4 beats, hookish synth melodies and infectious basslines. Track one is
a remix of The Killers' "Read My Mind", and it sounds great. Brandon Flowers' vocals mesh perfectly against the
synthetic background. "Hallo Spaceboy" features a classic dancefloor groove, while the remix of Yoko Ono's "Walking
On Thin Ice" is very old school. The remix of "Sorry" by Madonna is dance gold, while "Hooked On Radiation"
has a delicious Giorgio Moroder feel. This is exactly the sound that the PSB are known for, and they keep delivering it with
style. This may not be as melodic or memorable as past efforts, yet it stands as a necessary disc for the night club crowd.
"New Man"- Sonic Hub (CD single)
Here we have a collection of remixes of the song "New Man", by the band Sonic Hub. I was initially drawn to
this release because it features lead vocals by none other than Martin Fry of ABC. It should also be noted that the song
is a re-working of the track "Cars" by Gary Numan (hence the painfully obvious title). Although this track is moderately
catchy, this is only due to the fact that it lifts the classic melody from Numan's best known track. Other than that, this
is not a very noteworthy disc. Track one is a good remix, and track two features a more poppish, radio friendly version of
the song. Fry's voice is great as always, but not even his immense talent can salvage this forgettable footnote. In the
end, this song only re-invents "Cars"....or at least it tries.
"No One Is To Blame"- Evan Cowden
Prior to quite recently, I had never heard of Cowden and had no idea who he was or what type of music he did. Apparently,
he is well known in dance-pop circles, and has a penchant for doing covers of classic 80s songs. On this disc, we are treated
to ten remixes of his cover of the classic Howard Jones song "No One Is To Blame". Now, I don't want to totally
trash Cowden...he does have a very pleasant, disarming voice. And his cover of the Jones song is actually quite good at times.
All the versions of the track feature uptempo drum machine beats and crisp synth sounds. This is good music for dancing
or driving. Ultimately his sound is very Erasure-esque, and his cover is rather different from the original version. It
has been totally revamped for the modern dance crowd. Again, Cowden's voice is pleasing, but I've heard so many other artists
who sound just like this.
"Vision Correction"- Be Bad (Divorce) divorcerecords.ca
Be Bad are nothing if not original. Honestly, this has to be one of the most unique discs I have experienced in quite
some time. The bands hails from Halifax, and they specialize in epic, powerful music that comes in for the kill and never
relents. The title tracks kicks off the album, and it sets the tone very quickly. The tracks features layer upon layer of
distorted, twangy guitars and pounding tom drums. "Dead Head" has incoherent lyrics and energy in abundance. It
is chaotic, but in a fascinating way. Desperation seems to be the key word, which is heard in lines such as "push the
needle in!". "White Tongue" goes off in numerous directions, yet ultimately this is a smart move, since things
never get predictable. "Back To The No Future" starts out with a curious intro and then gives way to a full-out
sonic assault. "Battledick" is the sprawling climax of the album. It is epic and droney and features wave upon
wave of sound. This simple and pounding track sounds like a phoenix arising from some molten metal sludge. "(I've Got
No) Positive Vibrations" starts out like a Cure song. It has a familiar chord progression and proves to be a good conclusion
to the disc. It should also be noted that the drums on this album sound great. They sound very clean, and stereo separation
is clear with an overall excellent production. I also must say that this album boasts some of the most original artwork I've
ever seen. This is a very cerebral, high octane effort from a very daring band.
"Murder Mystery"- Antarctica
Antarctica is a side project of Devin Quinn, a very creative and prolific musician from Moncton. I was actually very
pleasantly shocked the first time I heard this, because it felt like I was listening to some long lost recordings that were
made on a reel to reel four track way back in 1981, in someone's bedroom studio somewhere in England. It really does have
a very authentic, minimal and dark sound that harks a bygone era. It sounds great. The title track is doomy, chilly and
a great example of minor electropop. One could essentially refer to this as Coldwave...all the songs are smart, minimal and
melodic. Devin's vocals sound great too. This reminds me of Modern Eon, Robert Rental, John Foxx and all that great early
Euro New Wave. The Poly 800 definitely shines through on many of these tracks. "Mainline" is absolutely desperate,
and "Long Long Night" is dark electronic brilliance. "For The People of Ireland" conjures up the ghost
of Ian Curtis. The music is gloriously weird and nightmarish. The disc ends with a live cover of John Lennon's "Working
Class Hero". It is a good ending, which contrasts the previous dark electronic tracks. This is a vivid and brilliant
CD that is destined to be on my Top Ten list for 2007. Highly recommended.
"Sunday Girl" (Discs One and Two)- Erasure
Here we have a recent CD single from the kings of synthpop Erasure. Now, first of all, before I say anything else, I
must let it be known that Vince Clarke is one of my Gods. I mean really, nobody has ever done synthpop as well as him. He
is the undisputed king of the genre. Plus, I also think it is super cool that he now lives not that far from me, and it blows
my mind to think that the latest Erasure album was recorded in Portland, Maine, a city I have visited several times and thoroughly
love. Hopefully I will run into him someday on a future trip to that city.
But anyway, that's beside the point. "Sunday Girl" is a classic Erasure song. As always, there are many melodic
hooks and chirpy analogue synths. As in the past, there are riffs a-plenty. But it cannot be denied that this does sound
dated, and one can't help but think that the Erasure sound hasn't changed much since 1986. This does sound quite samey after
a while. CD 2 is more of the same. Of all the mixes, I think the single version (is this the same as the album version?)
is probably the best. Erasure may sound the same as they did 20 years ago, but maybe that's the whole point. As long as
there are droves of people who are ready to consume their classic synthpop sound, the band will always be in demand.
"Storm Chaser"- Erasure
Here is another collection of remixes and various other new tracks from Erasure. This collection opens with "Storm
In A Tea Cup", which is a good example of minor electropop. "Sucker For Love" is punchy and full of fat synth
sounds. It is the classic Erasure sound. "Early Bird" is a great duet with Cyndi Lauper, which is good, bluesy
fun. Track 6 is yet another remix of "Sucker For Love" which is guaranteed to get people dancing, and track 7 is
a nice and moody remix of "Storm In A Teacup". Overall, this disc is dancefloor filler that no DJ should be without.
Diehard fans will love this, while others may find it a bit too unidimensional.
"2007 Demo"- Painful Defecation
I've been in touch with Kurt from Montreal for quite a few years now. His music is nothing if not brave. This is essentially
a collection of 17 tracks, most of them only one minute in duration. One gets the impression that these are basically not
songs, yet more so ideas. They are comprised of warped soundbites, mangled dialogue and noise upon noise. The end result
is provocative and beautifully weird. The listener is assaulted with chopped up beats and sped up recordings from God knows
where. "Christo" is a great track....it is very ambient and spooky. "Rastlet" is eerie as well. Kurt
tells me that Painful Defecation is on hold until he finds a way to make it "progress". Let's hope the sabbatical
won't be too long.
"Year Zero"- Nine Inch Nails
I was quite a fan of NIN back in the day, when I was a teenager who first discovered "Pretty Hate Machine".
Reznor seemed to know exactly what I was going through. And he seemed so gifted at welding angst with doomy electronics.
Fast forward to 2007, and we have the latest disc called "Year Zero". "Hyperpower!" is a great opener,
with plenty of grit. It features the typically angst ridden NIN sound. "The Beginning of the End" is an anthemic,
Bowie-esque pop tune loaded with hooks, while "Survivalism" recalls "Pretty Hate Machine". "Vessel"
is a good track, yet in a small way it underlines the fact that Reznor's sound hasn't evolved much. "Me, I'm Not"
sounds like "Songs Of Faith and Devotion" era Depeche Mode, and "Capital G" is dark, buzzy and a little
silly. "Another Version of the Truth" is quiet, emotional and piano based. It provides a welcome respite from
the clunky beats of the other songs, but it comes too late in the sequence of the album.
"Year Zero" is well produced, features an uncluttered production, and is not quite as noisy or layered as NIN's
past efforts. The band maintains its fascination with the same topics explored on previous discs: religion, politics and
isolation. It must be noted that many of the beats on this album sound software based, and after a while they do start to
sound the same. Almost every track starts with, and maintains a stiff, computerish beat. But this is a small complaint.
Reznor still remains the poet laureate for an army of pasty faced angry goth kids. Those obsessed with his dark world will
inhale this gleefully.
"Thinking Cap"- Neo Cortex
Here we have the latest collection of Neo Cortex's synthpop. They excel at making music with quirky lyrics, and bright
catchy melodies. This is essentially earnest, well made electro-pop. It is well produced and well structured. Some of the
songs are a bit too short, however, there's something to be said for a band who knows how to keep things short and sweet.
"Can't Not" and "Piece of Work" are great dance tracks, and the Euro influence is very obvious in these
tracks. There are nice, lush sounds in "Practice Youthful Spirit", and "Privacy" is a pleasant, understated
track. "Old Bard" is probably my favorite...it is delightfully strange, as is "And Introducing Salvador Dali",
which features great Simmons drum sounds. "May Day Calamity" is probably the rockiest Neo Cortex song I have ever
heard! This album is bright space-age pop, and probably their best CD so far.
"Tomato Soup For The Damaged Soul"- Cryptic
Cryptic are a great band from Moncton, NB. I received this disc from them quite some time ago. Immediately, this disc
establishes the fact that these guys are heavily influenced by all the great alternative music of the 90s. "Coming Down"
sounds like early Nirvana. It is very well done, with lots of power. This reminds us of alternative back when it was still
actually alternative. "Let Her Go" is not as loud....it is more controlled, with plenty of emotion. Again, the
90s influence is HUGE. "This Song Sucks" displays the band's sense of humour. The song makes me grin from ear
to ear. "Tomato Soup" starts with Devin saying "here's a story about being in sixth grade". This one
is funny as hell! Throughout this disc there are many melodic basslines, lots of hooks and memorable songs. The album cover
artwork is great too, and Ryan can definitely scream. I love this CD.
"Stomp Atlantica Compilation" (various artists)
This is an excellent compilation put out by The Sharpie Fumes Collective. Its purpose was to help raise funds for the
collective to travel to Halifax to protest the Atlantica summit. If you haven't heard of this proposed amalgamation, and
you are a citizen of the east coast, please educate yourself immediately. In a nutshell, the Atlantica proposal suggests
that the maritime provinces should amalgamate with the north eastern United States, forming one huge super-state. Essentially,
this would have a devastating effect on local economy, health care would be privatized, and the only people to benefit would
be huge corporations. Not good, folks.
Anyway, this compilation is very smart, and put out by a brave group of artists and activists. Outspoken Wordsmiths give
us a very inventive and unique track. Petunia sounds like an artist straight out of the 1930's, and The Fool delivers a simple,
heartfelt track with good lyrics and vocals. Team Rocket are raw synthpunk, and Flags of Convenience do Casio-pop that is
lo-fi as hell. Olympic Symphonium contribute an excellent track with outstanding vocals, and The Farm Nikita provide an interesting
noise collage. This compilation is extremely varied and fun to listen to, with generous dashes of punk, hip hop, folk, and
electronics. It conjures up images of tape recorders, bedroom studios, basements, and underground locales. Fascinating.
"Jam Jams"- various artists
Here we have an excellent compilation of music from Newfoundland, compiled by zinester and musician Curtis Kilfoy. To
be honest, I don't know much about the Newfoundland scene, so this comp is a great introduction. Some of this is from vinyl,
along with various other sources. "A Beautiful Dialectic" by Rory Hinchey is a great opener. Good Kids Pretend
They're Bad have an excellent track called "Single Room", which is one of the smartest and most moving tracks I've
heard in a long time. No Trolls More Souls give us a comedic, spoken word cut, while the Linger Effect (a band I've heard
before) provide a great electronic pop instrumental track. There is also social consciousness on this CD, and nowhere is
this more apparent than on the track "Frank Sobey Ain't Gettin' This House" by Liz Pickard and Christine Taylor.
This track is brilliant, and shows off the resilience that Newfies are famous for. Headcleaner provides an epic, 10 minute
dramatic soundscape. This is definitely a great collection of music from a land that is very musically rich.
"Kitty Smack"- Kitty Smack
Well, after a very anxious wait, I was enormously excited to get my hands on a full length Kitty Smack CD. It was worth
the wait. I finally hold in my hands all those great songs that I heard the synth duo perform live back in the day. Ah,
2003, I remember it well. Back when there were actually bands in Saint John who played synths.
This is very well produced. It is good, no-nonsense, percolating, crisp synthpop. I almost feel like there is sunlight
pouring out of my speakers when I listen to this. There are loads of juicy synth bits, and a strong melodic sense. "Hey"
sounds like "Construction Time Again" era Depeche Mode. "Alex" is brilliantly modern, buzzy and smart,
and has a just-right tinge of darkness. "Weave Sunlight" recalls all the great 80s New Wave bands at their peak.
"The Future" has a very memorable piano melody; it reminds me of a cross between the Psychedelic Furs and Bowie.
"Spacey" is a bittersweet and poignant ending. Such a great disc. My musical life has been indelibly enriched
by the magic of Kitty Smack.
Listen to the music of Kitty Smack! Click here.
"Bleed The Constants"- We, The Undersigned
We, The Undersigned are a metal/hardcore band hailing from Fredericton, New Brunswick. After hearing the tracks from
their debut EP, I predict these lads will make many new fans over the next while. Considering that they will soon be heading
out on a tour that will take them from their native Maritime soil all the way to Ontario and back, I'm sure they will leave
a trail of incendiary metallic fire along the way. These guys are definitely onto something good.
Tracks like "Tonight I Dine On Turtle Soup" establish the WTU sound immediately. It is rousing, high energy
and delightfully gritty. There are screaming, tortured vocals that are delivered with tons of gusto. Also, the band makes
the smart move of having their songs take dramatic shifts in direction, making the proceedings that much more interesting.
The songs also boast a very high degree of production values. "Interlude in C# minor" is a great track, maybe
even the best. It is a fine instrumental, replete with an abundance of musicianship and feeling. It is overall a very pleasant
and thoughtful track which compliments the grittier songs very nicely.
The title track comes in for the attack and goes straight for the jugular. "Of Suns and Dunes" features very
impressive vocal harmonies (not only can this band play, they can definitely sing as well). I can hear an old school metal
edge on this track, and I like how the song shifts gears dramatically at the end. "TFRMM" only emphasizes further
that this is a band that pours 110% of their heart and soul into every song. This EP overflows with energy and power. If
We, The Undersigned ever come to your town, check them out. This band pumps out pure, no-nonsense metal and hardcore and
they do it well.
"The Long Term Physical Effects Are Not Yet Known" - Jay-Jay Johanson
Jay-Jay Johanson has no fear of intimacy. Using self-exposition as a means for self-exploration, The Long Term Physical
Effects Are Not yet Known lays bare all of the artist's memories, dreams, and insecurities and draws the listener in. There
is a wonderful coherency to this album, which marks a return to Jay-Jay's jazzy, trip-hop roots. His confessional style and
ethereal voice weave us between moments of regret and optimism. Dreams are a recurring theme throughout. The opening track,
"She Doesn't Live Here Anymore", a haunting track about loneliness is underscored by an impossibly beautiful and
catchy xylophone line. "Time Will Show Me" features clashing guitars & organ contrasted by a soft-focused chorus.
"Coffin" paints an eerie picture of hopelessness with the poignant imagery of a raft and a desert island. In
the jazzy & catchy "As Good As It Gets" , he lays bare his insecurities for all to see by sharing some highly
personal dreams which poetically illustrate a fear of failure and both the frustrations and triumphs in trying to overcome
it. A sexy, James Bond style guitar & lilting flute spices up the track "Jay Jay Johanson Again". (Yes, this
is at least the second self-titled song he's done in his career. I repeat, his style is highly personal!) "New Years
Eve" features a gorgeous organ line that you can almost visualize (to me, it sounds like rain on the windshield at night).
It's followed by the companion piece "Tell Me When the Party's Over". In my opinion, The Long Term Physical Effects
Are Not Yet Known is Jay-Jay's best work to date. The only curiosity is the brief "Prequiem", a short acapella
bit followed by helicopter and orchestra sounds, leading into the sweet & quirky love song "Peculiar". These
seem to break slightly with the overall album, but since they come at the end, perhaps the break is intentional. -reviewed
by Jill Davis LeBlanc
"Sing, Memory" - Sarah Nixey
This CD breaks my heart. I wish I could say that's because it's delicate, subtle beauty hits me on a deeply personal
level as only art can. But I can't say that. Its not that kind of heartache at all. This CD disappoints me the same way
as when you see your childhood heroes in TV commercials and realize they're not really cowboys but just aging actors trying
to make a living. This is disappointment on the "there is no Santa Claus" level. That's because the darkly glamorous
Brit trio Black Box Recorder has had such a profound impact on me. BBR drew me into their spider web of class consciousness,
manipulation, murder, black irony and the stiff upper lip and I loved every damn moment of it. So, upon receiving the first
solo effort by former (<sob!>) BBR vocalist Sarah Nixey, I was expecting more of the same dark majesty. What it delivered
was repetitive, vapid electro-dance cabaret. Sing, Memory makes lofty promises: the CD liner notes lays out a pretentious
manifesto -- it even lists for you (in point form, no less!) the 15 themes of the album. And twice on the CD, Sarah tells
you these points again in her breathy, spoken word style: once at the very beginning to introduce the "Sing" side
of the album (presumably the lighter, dancey portion) and again later to lead into the "Memory" side (the introspective
dancey portion?). Not surprisingly, the album seems to lack focus. I prefer to be "shown", not just "told"
what a work is about, and here I just don't see anything concretely demonstrated. Musically, there are some good, catchy
hooks and I do like that the album is purely electronic. "Nightshift" is blippy a la "Asteroids" on Atari
2600. The lead single of the album is "Strangelove" which boasts such meaningful lyrics as "Gonna stir it
around - Hey! Hey! Turn it upside down - Hey! Hey! Push it right & twist it inside out. This is love - Hey! - A strange
love." So, if you are expecting "England Made Me" calibre BBR you won't find it here. This is more Grace
Jones, or perhaps even Madonna or Gwen Stefani. "When I'm Here With You" shows a conscious Leonard Cohen influence.
"Endless Circles" is perhaps the most BBR reminiscent track but it doesn't leave a lasting impression. The album
ends with a cover of the Human League classic "The Black Hit of Space". Hopefully her next CD will show us the
more distinct personality & clarity that we know she is capable of giving. (I am so sorry, Sarah!) -reviewed by Jill
"Are You Listening?" - Dolores O'Riordan
You may be asking yourself this same question, only prefaced by "Why". After a 6 year sabbatical, the former
vocalist for the 90s pop-rock band The Cranberries, Dolores O'Riordan returns with her first solo album. I am not sure what
it was about this album that required 6 years to gestate, or why she decided that 2007 should be ripe for a come-back (apart
from the fact that it seems absolutely everyone is releasing a new album this year!). The liner notes provide a myriad of
excuses for her absence, and she apologizes to her fan base stating that her isolation has been "the only means where
upon I can grow...I hope I will not let you down." I'm guessing that she did. To be honest, I don't see much growth
here from her 90s material. Are You Listening? is a bit of a mish-mash of pompous pseudo-classical piano, harsh guitar, grating
vocal exercises and twee Celtic pop. Believe it or not, I had a weakness for The Cranberries back in the musical black-hole
that was the 90s. They could sink to the depths of misery pop that would rival Morrissey himself. There are several tracks
on Are You Listening? that sound like they could have been leftovers from The Cranberries cutting room floor: opening tracks
"Ordinary Day" and "When We Were Young" are very Cranberries-like and are decent tracks. The rest of
the album is pretty much a mixed bag. "In the Garden" is marred by frequent tempo shifts (pompous classical-style
piano in the verses/frantic screaming guitars in the chorus); this is a musical trend which I often associate with nu-metal
that has never impressed me. "Loser" is a bouncy, poppy melody but with angry lyrics sung in a cutesy, quaint Celtic
style that seems to implode on itself, defeating its own purpose (imagine the lyrics "Die loser die/Why loser why"
sung in a typically sing-songy Irish way.) This album probably would have seemed more relevant 6 years ago, but with the
90s just an unpleasant memory to me now, the moment has passed. I just don't feel like listening. -reviewed by Jill Davis
"Of Toasters and Burnt Toast"- Leper Collective (Wreck Age)
This album is comprised of minimal noise, which is manipulated to produce a very daring and experimental soundscape.
This is the sound of dying machines and electronic insanity. Leper Collective is the work of Maim Patterson from Boca Raton,
Florida, and Francois Marceau of Montreal. These guys are definitely not afraid to be weird or inaccessible, and I applaud
them for that. There are many twisted soundbites which combine into a multi-textured stew. "Melting Pot Sewage"
is a brave mix of distortion and manipulated noise. It sounds like Kraftwerk having a bad acid trip. "Dan Buck"
is probably one of the most fascinating recordings I've heard in my life. It is slightly eerie, realistic beyond belief and
a great ending to the CD. It's nice to know there are still brave souls out there who challenge us with their genius, and
it's also nice to know that labels like Wreck Age are still around to release it. This is a fascinating listen that conjures
up a jumble of surreal, mangled images.
"Channel Zero"- Leper Collective (Wreck Age)
Here we have more great experimentation from Leper Collective. "Channel Zero Introduction" is GREAT- it is
doomy, scary and weird. "A Wolf's Fairy Tale" creeps along very quietly. It is unpredictable and delightfully
strange. I can almost imagine that this is the sound of appliances coming to life late at night in a dark pawn shop. "Something
Terrible This Way Comes" is a sprawling 21 minute epic. "Cartoons About Cannibals" is very funny. Like
many of the tracks, it is comprised of characters, distorted noises and distorted realities, along with spoken word rumblings.
"Owner of the Black Hole Universe" is also a good representation of the duo's sound- it is smart, thought provoking
and very adventurous.
"Computer Generated Shit Noise Attack"- Flesh For Frank (Wreck Age)
I applaud this guy. In a world where eccentricity is seldom rewarded, and strange sounds are often met with sneers, this
guy deserves major kudos. Frank (Francois Marceau) is a guy who is not afraid to dabble in the avant garde. He does not
run in fear from the strange. He embraces it. His compositions are collections of mangled found sound. While listening
to these tracks, one is bombarded with the sounds of machinery, digital hiccups, and a "cut and paste" mentality
that is perfectly suited for the modern age. Soundbites from bargain bin cartoons and long forgotten documentaries can be
barely heard in the mix. "Outro" is an honest spoken word piece that features Francois giving his real opinion
on noise. Very well done! I wish there were more brave souls like him in the world of electronics.
"How Men Are" (REMASTERED)- Heaven 17 (Virgin)
I bought this album on vinyl way back in the early 90s. After listening to it a few times, I determined that I liked
it. However, compared to "The Luxury Gap", it just wasn't as impressive. So, unfortunately, I put it away and
haven't listened to it since. But now, listening to the remaster, I realize my error in judgment. This is, in fact, a brilliant
album, and certainly much better than I remember. It is brazen, bold, intelligent, and extremely well produced. Many of
the songs, including "Sunset Now" sound very dated now, but that only adds to the charm. Truth is, this album glows.
It is blue-eyed electronic soul, a genre Heaven 17 practically perfected. Glen Gregory sounds great as always, and there
are gorgeous vocal melodies. There are also some b-sides and alternate versions included on this CD. I still don't think
this is Heaven 17's best album, but it's far from their worst.
"420"- The Dry Heeves (VVVU)
The Dry Heeves are a great band from Cape Breton. They do energetic, ballsy post-punk type music that sounds great.
I can tell by listening to this CD that the band has seen their fair share of garages and crowded bars. "Oh Candahar"
is a brilliant, gritty song that exposes the ugly truth. This is obviously a band who are not afraid to say how they feel.
The whole CD is full of great musicianship, tight playing, excellent vocals and strong lyrics. Anjali Heble provides memorable
vocals on "Bras d'or bu". "Son Of A Gun" continues with the band's political awareness, and it does so
with sincerity. "Reggie" is terribly original, and "Myspace Girl" is freakin' hilarious. There are many
very good instrumentals on here as well. I love how this album never repeats itself. It is refreshingly varied and off the
wall. Highly recommended.
"South Dakota Baby"- Tony Kenyon and Mark Sheppard (Fierce Kitten Records)
This is a CD single featuring one track, "South Dakota Baby". The song represents a combining of talents between
two men: Tony Kenyon (lyrics) and Mark Sheppard (vocals and music). Of course, many of you will be familiar with Mark's
work in his excellent band The Offering. Well, prepare yourselves, because this sounds nothing like your typical Offering
song. I was delightfully surprised to hear this song for the first time. It's obvious Mark is not afraid to dabble in different
styles of music. "South Dakota Baby" is a rocker, make no mistake. It is a good old, no-nonsense, radio friendly,
southern rock tune that is guaranteed to make you feel good and get you groovin'. This song actually reminded me a lot of
all those great American southern rock bands, like CCR and Lynyrd Skynyrd. And that's definitely a compliment. Tony has
done a great job capturing the feel of this genre in his lyrics, and Mark has really brought it all home with an excellent
(and uncluttered) musical background. The song is incredibly sunshiney and feel-good, and I can easily imagine it being played
on mainstream FM radio. Way to go, lads!
Sam's Town- The Killers
It goes without saying that I was quite anxious to check out The Killer's follow-up to Hot Fuss. That album made me quite
a fan of the group. Anticipation for this sophomore effort was high. Sam's Town definitely displays a notable level of growth.
The boys don't seem content to just repeat the approach of their debut, which ultimately proves to be a smart move.
Many critics have been quick to compare this album to the likes of Bruce Springsteen, and other earthy purveyors of Americana
rock. This comparison may not be totally off base, since thematically The Killers are delving into more pedestrian subject
matter on this effort. Yet that is not to say that the group has decided to totally neglect their New Wave pedigree. There
is still lots of glitz and polish, and the synths are a nice compliment to the crunch of the guitars, just as they were on
their debut. There is lots of energy and hooks aplenty (When You Were Young being a good example). But Sams Town does come
dangerously close to be being a tad too self-absorbed, a bit too much the work of guys who are excessively trying to outdo
their last effort, which ultimately is not necessary.
This is a fine follow-up, replete with style and emotion, yet it is shame that the band has seemingly neglected, ever
so slightly, the economical pop smarts that were such a benchmark of their debut.
Deep Fried WWKA- Women With Kitchen Appliances myspace.com/womenwithkitchenappliances
I was blown away last October when an odd collective decided to visit my sleepy little town. Make no doubt, you have
probably never seen anything quite like Women With Kitchen Appliances. They take to the stage (which could literally be anywhere,
both indoors or out) and proceed to assault the audience's senses with a barrage of processed noise. More specifically, they
use contact microphones, which they directly place on a myriad of kitchen appliances, which they then run through various
effects. The result is eerily fascinating. It is the sound of your refrigerator's worse nightmare. And to make matters
even more interesting, the performance is delivered with a high degree of theatricality. The Women stand there with blank
looks upon their faces, going about their business in a truly clinical and sterile fashion. What results is a stark critique
on modern society and our reliance on the all mighty machine. This is absolute genus. If WWKA come to your town, please
go check them out, and be sure to bring that can opener you don't use anymore.
Crions Notre Joie- Genevieve et Matthieu
At the same show where I was lucky enough to perform with WWKA, I was also ecstatic to meet and perform with Genevieve
et Matthieu, a highly quirky and fun duo from Rouyn-Noranda, Quebec. These guys were amazing. Genevieve pranced around on
stage frequently yelling at the top of her lungs, banging a toy drum and acting seductive for the crowd. Matthieu eventually
revealed that he was wearing a full body speed skating outfit underneath his clothes, and his guitar provided a perfect compliment
to Genevieve's beeping Casio sounds. Musically, the duo reminds me a lot of Lederhosen Lucil: it's a mishmash of cooing vocals,
clap-along Casio beats and simple electronic hooks. Histoire d'amour is a great song that actually reminded me of the legendary
French synthpop band Bal Pare. Overall the duo's sound harkens back to a classic French motif, complete with accordions and
dramatic vocals. This is fun, lively music that is highly entertaining, almost as entertaining as their live shows. The
songs are never delivered on auto-pilot, you can tell that a great deal of attention and thought went into the songs and the
production. Highly unique.
Black Cat- Siamese www.myspace.com/siameseband
I reviewed Siamese's first album "2600" on here a while ago. I was waiting impatiently for something new from
the band, and lo and behold, along came this fun little mini CD. This disc contains four new tracks. All the usual Siamese
trademarks are here: weird, spacey sounds, songs that are highly off the wall and a quirky sensibility that is loads of fun.
The thing I loved about their first disc, and what I love about this mini CD is the fact that Siamese definitely march to
their own drum. Musically, the band is very original, and this offering is enhanced by the addition of new member High Commander
Mittens. The additional guitar flourishes sound very cool. Songs like Maneki Neko (Beckoning Cat) are very cute and cartoonish,
and the disc ends with the classic Siamese Cat Song from the Disney film The Lady and the Tramp. I do hope Siamese do stay
here on planet Earth for a long time. They provide a very welcome alternative to all the bands out there with no sense of
The Luxury Gap (Remastered) - Heaven 17
The Luxury Gap is one of those pivotal albums that I discovered in my early twenties that has gone on to be a true favourite
of mine. What always impressed me about this album is the sheer intelligence that it displays, yet at the same time things
never get too cerebral. This album, above all else, is funky. The grooves are loose despite the abundance of electronics
used in its production. And the danceability of the tracks is gloriously complimented by the bold political commentary the
album boasts. In the space of one album, the band talks about the perils of technological progress, the breakdown of relationships,
the evils of temptation, and the breakneck pace of modern life. Heady subject matter, to be sure, yet Heaven 17 discuss it
in a delectable framework of 808 beats and lush synth backdrops. This is, without question, a timeless classic.
Being a hardcore fan of the band, and particularly this album, I was very excited to hear that it was going to get the
remaster treatment. This was long overdue. And now the album can finally be heard the way it was intended. Nuances that
were previously muffled now fly out of the mix, textures that were somewhat bright before are now absolutely brilliant. The
mix shimmers with a bold new zeal. The synth sounds are so crisp now, and overall the mix is highly punctuated and vibrant.
There are some great bonus tracks (including some remixes that I had never previously heard), as well as gorgeous and smart
liner notes written by John Gill. Overall, a superb packaging of an excellent album.
Illyria- The Offering http://theoffering.co.uk/
Last year I was delighted to get in contact with a very creative and brilliant young man from Cambridge, England by the
name of Mark Sheppard. I came to learn that this musician was involved with a group called The Offering. In time I would
realize that the music of The Offering is dense, well crafted, atmospheric and highly evocative. These are not merely songs
that tell a clear cut story, nor do they follow any safe formula. This is the sound of dark country roads on a moonlit night,
the sound of ghosts walking along a forgotten shore, the sound of wind blowing through black curtains. The music is dark,
mysterious and sensual. Illyria was released in 1999 and features some of the earliest work by the band. Alive brings to
mind the work of Kate Bush. How Far continues this sound, with dreamy female vocals and deft guitar playing. The beats are
irresistible, and the music is resonantly good. My Love reminds me of the Disintegration album by The Cure. This is music
tailor made for fans of Depeche Mode's &Black Celebration. Excellent.
Three Broken Threads- The Offering (2001)
The guitar playing on the track An Angel Who Fell is pure rock and roll. Like other outings by The Offering, this is
music that is as black as silk, and a pure joy to listen to. Percolating synth sequences are married to cutting beats and
firey guitars. The band must also be commended for the fact that they stress suggestion over statement. Rather than employing
lyrics that are easily accessible, the words used by The Offering are ambiguous and open to interpretation. Evca saunters
along with a sultry sway, it is a lush soundscape full of sumptuous layers. Tears and Chocolate introduces the listener to
Mark's mysterious and dark vocal stylings, which goes along perfectly with the female vocals.
Light In The Darkness- The Offering (2003)
This mini album by The Offering includes a somewhat upbeat and bouncy track, Chameleon. The overall feel and mood of
the album is still rather dark, yet there seems to be more percolating melodies and a general playful air that is infectious.
Nataline is another light, breezy song with plenty of nice acoustic guitar riffs and airy synth chords. Dreams of the Red
Chamber brings to mind classic 80s bands like Cocteau Twins and The Smiths. It is full of emotion. Ephemeral starts with
a dark edge, yet eventually morphs into a pretty number replete with pizzicato strings. Fans of artists such as Kate Bush
and The Cure will love this.
The Particle Garden- The Offering (2004)
Big Bubbles is an odd, loopy track that floats through the air like ether. Mark's voice is pleading and enigmatic. This
is the sound of an indecipherable dream. By this point, it seems that The Offering's overall sound had become considerably
more mellow and introverted, especially compared to early works like Illyria. Rather than the electric guitar being right
up front in the mix, it has become much more complimentary (and much less aggressive sounding). In this album, Mark sounds
like a mad scientist, concocting his brilliant opuses in a dark studio overlooking the sea. Electroshock has traces of Nine
Inch Nails, it plods along like a great evil monster lurking in the dark. Join The Dots is gleefully insane, while Petroleum
features a great, stuttering beat. It is clear that The Offering is not content to just fall back on safe rhythms that have
all ready been used by a million other bands. The female vocals that were such a part of previous discs are definitely absent
from the mix, yet Mark's voice is captivating enough to more than compensate. This album exhibits real growth for The Offering.
Monsters and Angels- The Offering (Fierce Kitten records) (2006)
The latest effort by The Offering makes reference to their past sound, yet also improves upon it. The production is even
better (which is no small feat, since production on prior efforts were excellent to begin with). Things get started with
a great opening track called Killing Time which is loaded with crunchy guitar sounds, Mark's slightly eerie vocals and plenty
of heavily processed electronic sounds. Golgotha Falls is a beautifully sumptuous track that casually moves along at its
own pace. Shadowlands is a wonderfully warped track with grunting horn sounds. When I Sleep commences with a very evocative
intro that sounds like something from a Tim Burton film. It perfectly suits the theme and feel of dreams that often punctuates
The Offering's work. When The Earth Met The Sky is a brilliant closing track, it is full of sitar like sounds and a slightly
psychedelic flavour. Make no doubt, The Offering is a gifted band that consistently just keeps getting better and better.
Unrelated Work Tapes 11/25/06- The Infant Cycle b/w
Beyond The Garden- Antmanuv theceiling.ca
Thank God for people like Jim DeJong. The guy has been running The Ceiling for several years now, and it has proven to
be at the forefront of experimental and avant garde music in Canada. I have been familiar with this operation for a number
of years, and I am consistently impressed by the daring sounds it promotes and distributes. Jim really must be commended
for all his hard work. Daring, hard working souls like him are becoming more and more of a rarity.
Here we have a mini CD featuring the work of two experimental outfits: The Infant Cycle and Antmanuv. The work by both
of these artists perfectly represents the output of The Ceiling. They are both minimal, highly evocative pieces that shun
any conventional trappings. These are essentially soundscapes that transport the listener to other environments. Overall,
this collection is also titled Periodical Three, and it appears that a series of these mini discs are going to be released
over time, each one featuring the work of "artists in the southern Ontario region of Canada". I look forward to
further releases in the series!
Be Bad/Attack Mode split 7" divorcerecords.ca
The great thing about 7" releases, at least from my perspective, is that they seem to act as perfect snapshots of
a given moment in time in any local music scene. You get together a bunch of friends, make some noise, record it, press it
on vinyl and get it out to the masses. The 7" format has a long standing tradition as being the perfect document of
indie cool. And as long as there are underground bands who are proud to be independent, I don't think this format will ever
die. I certainly hope it doesn't.
Here we have a split 7" between two Halifax area bands, Attack Mode and Be Bad. They are both punk outfits who do
not hesitate to pulverize the listener with a powerful, primal blend. The music of Attack Mode is doomy and desperate. It
resounds with an intense feel of nihilistic woe. As they state in Piece of Shit: "I am just a piece of garbage on the
side of the street". They also get their message across very succinctly in the ultra short song Society's A Prison.
Distortion is always cranked to maximum, and the beats feature plenty of crashing cymbals. A sense of total isolation can
be heard in Straightfaced: "By yourself/ little hell/ no one else".
Be Bad exhibit a somewhat similar approach. Tracks like The Slaves Who Buried The Pharoah are firey and insistent. There
is a breathless energy on their songs that is undeniable. There are also flashes of lyrical brilliance which continue a stark
commentary on modern society: "invisible reigns, but they're there". Ruin Your Life is also a gloomy track. With
twisted bliss, the singer claims "I'd love to ruin your life". It is explosive and sounds like the aural equivalent
of a nervous breakdown. The packaging for this split 7" is very cool, and all in all this is a noteworthy release from
an exciting label.
Penthouse and Pavement- Heaven 17 (remaster)
This is the very first Heaven 17 album, released way back in 1981. After all these years, it has finally been given the
remaster treatment. And this is definitely a treat for fans of the venerable electropop band. When I interviewed Martyn
Ware last year, he commented that this album was always intended to sound a little punky and raw, and now, finally, I totally
understand what he means. Unlike following discs by the band that would assume an ultra-lush and lavish production, this
one does sound more rough and ready. It is the sound of young, intellectual punks who choose to deliver their message with
synths rather than electric guitars. This album had loads of political commentary and a wide-open awareness of the global
scene that was way ahead of its time. The first half is jazzy and funky, whereas the last half is inundated with raw electronics.
Geisha Boys and Temple Girls sounds better than ever, and The Height of the Fighting is resplendent with divine simplicity
(and a cutting commentary on war).
There are also many great bonus tracks, including some very hard to find B.E.F. tracks, and some great tracks that I simply
had never heard before, like Are Everything. Make no mistake, Heaven 17 were absolute sonic auteurs. A crisp remastering
job, along with very nice liner notes make this an excellent disc for diehard fans, as well as a good primer for those who
are just beginning to discover the band.
Retrospective- The Offering http://theoffering.co.uk
This is a fine collection of The Offering's work, dating from 1999 to 2006. Many of their best tracks are offered, including
Nataline, Pray For An Angel and When The Earth Met The Sky. One could refer to this collection as a good summation, and also
an excellent document of the progression of a great band. The album cover artwork is very well done, and overall the packaging
is stylish and uncluttered. If you haven't all ready discovered The Offering, this album is an excellent introduction and
overview of their work up to the present day. Do yourself a favour and check out their entire catalogue. Fans of Depeche
Mode, NIN, and The Cure will not be disappointed.
"Disabled Controls"- Art Damage http://www.myspace.com/artdamage000
This effort was released by Atlantic Canada's electronic guru in 2003. It features a fine collection of lively, energetic
music that glows with feeling. Much like Art Damage's past efforts, this one proves that the man has a true knack for coming
up with a great sonic mix. "Controlled Entry" is a lush, sensual opener, while "Modicum" is an expressive
and unusual song that brings to mind the early Human League. "Hit on the Head" sounds like some of the stuff that
Flood was doing with Depeche Mode in the 90s (which is definitely a compliment), while "Apatheory" is a delightfully
minimal track. "Tweaking Fusion" is gloriously glitchy and robotic. Overall, this disc is very intelligently produced,
and proves to be an excellent collection of audio landscapes. Sometimes it's quiet, other times gritty, which makes "Disabled
Controls" all the more varied and interesting. A great work.
Buy Art Damage's CD here!
"Hot Action"- A/V http://swordfight.org
"Hot Action" marks the return of Gaspereau Fork's one and only synth maestro. And tracks like "The
Clumsy Surgeon" pick right up where his previous disc "Control Change" left off. Make no mistake, this is
good, raw, punchy New Wave. It's damn near impossible not to move to this.
Philip displays an attack on this disc that is absolutely relentless, both in the arrangement and the lyrics. His
vocals are intensely feverish, and tracks like "Phantom City Wants To Hurt You" comes in for the kill and rarely
comes up for air. Much like previous offerings, there's a ton of swift sequences, loads of hooks, plenty of distorted synth
bits and great singalong choruses. Philip's knack for simple, catchy tunemanship is displayed here in spades. The songs
speak of everything from urban carnal maneouvres to interpersonal politics. There is a genuine urgency on "Hot Action"
that cannot be ignored.
Much like his live shows, A/V discs are pure fun. If this doesn't make you move, you must be comatose.
"Electric Blue"- Andy Bell
"Electric Blue" is the debut solo CD from Erasure frontman Andy Bell. Yet make no mistake, this disc doesn't
stray too far from the Erasure formula. Immediately, the plethora of synth sounds that the duo made themselves famous for
are still heard on Bell's effort. Perhaps this is a bit more dancey that recent Erasure material, yet that is only a fine
distinction. "Crazy" is a bright and upbeat number, and you can hear Vince Clarke's influence all over it. "I
Thought It Was You" is nothing more than late-model disco, while "Love Oneself" features such painfully trite
lyrics as "We only have one life/ this is not a rehearsal". "Runaway" could be a pretty track, if the
incessant 4/4 beat was put on hold. "Delicious" is destined for club play the world over.
In the end, this all adds up to an album that is a bit misguided. It is a moderately good album, yet far from original.
But this won't matter to the club kids that the album is obviously aimed at. They need a good beat, and "Electric Blue"
"Bipolar"- Cold Cluster and "Wring the Wrist"- Gerstein (split CD) www.chaindlk.com
This is a very unique split CD by two innovative acts. I love packages like this that give you a lot of great music
all under one roof. I find that quite often, the rule of thumb with many split CDs is that one group will be somewhat good
and the other will be forgettable. But this disc defiantly breaks that rule, which is good news for fans of independent electronic
Cold Cluster's music is moody, minor and understated. There are many catchy drum machine beats, and a general lo-fi
European sound. All of the songs are gleefully minimal. This is excellent music for quiet nights alone with the soul. Gerstein's
material is a bit more upbeat. The songs are well structured with cool synth sounds, and the sincere vocals are delivered
with a captivating voice. "Tender" reminds me a bit of YMO or Japan. "Explanation" is a great song,
and on this disc we are featured with cool versions of the song by both bands. This CD will inspire any underground electronic
act to dust off their synth and create works of art. Highly recommended.
"Dana Is Gone / Eric Matolsci" www.astralplainrecords.com
I was ecstatic to receive this disc from Moncton's acoustic troubadour Dana. There is something hypnotic and twisted
about this CD, and because of that I simply can't get it away from my stereo. This is basically a collection of recordings
by both Dana and Eric, two acts who compliment each other very well, yet are certainly not copies of one another. This is
a fun, sad, emotional collection of awesome bedroom recordings.
Things get started with a great cover of the Beach Boy's "Sloop John B" that is relaxed and informal, and
boasts very sparse production. Eric's "How I See It" reminded me of Jonathan Richman. It brings to mind images
of cramped bedrooms, cigarette smoke and drunken banter. There is a definite Johnny Cash influence lurking in there somewhere.
His voice is vividly unique. And the same could be said for Dana. "Padded Walls" is (pardon the pun) gleefully
insane, and it features the artist's strum n' whine approach. This is askew country music with intriguing lyrics. "Going
On Too Long" sounds like a sincere nod to Daniel Johnston. Eric and Dana are definitely two tortured souls who make
some of the most vulnerable and memorably frail music you will ever hear. This is genius.
"Human After All"- Daft Punk
I wasn't going to get my hopes up about "Human After All". I mean, this is the record that the fans loved
to slander. In fact, it seemed to me that for about three months after this disc was released, all I heard were negative
comments about it. "Oh no", I thought. "The great Daft Punk have gone downhill?". Don't believe it
for a second, folks.
To be brutally honest, I thought this disc was great, and I was totally baffled as to what all the negative response
was about. In fact, I was struck immediately at just how much this disc sounded EXACTLY like previous Daft Punk offerings.
Read: good, simple, raw, dancey music. Just what you would expect from Daft Punk, right? Sure, this is definitely not as
warm or funky as "Discovery", yet why would DP want to make "Discovery Part Two"? That's just boring.
Maybe this album was just too simple and repetitive for most folks? If you need further evidence that this album really
wasn't as different as their past material, "Human After All" ends with a long, mellow track ("Emotion").
Seems to me "Discovery" did too. Heck, "Technologic" sounds like something off of "Discovery"
too (or even "Homework" for that matter).
"Robot Rock" is as infectious as hell, while "Brainwasher" is deliberately silly and dumb. "Television
Rules The Nation" guarantees dancefloor movement. So please don't let yourself fall victim to all the bad hype surrounding
this disc. It really is much better than most gave it credit for. I'm sure it will be ripe for rediscovery in about 15 years.
"Judas in Takkitakkiland"- DeHondenkoekjesfabriek http://www.xs4all.nl/~tellab
I received a quirky little package in the mail from the Netherlands. From what I can ascertain, DeHondenkoekjesfabriek
is a performance art outfit who dabble in a little bit of everything.....zines, music, live performance, video, you name it.
Almost everything I get from them is extremely left of centre, yet that is not a bad thing. I sincerely applaud these people
for not being afraid to shake things up and be a little weird. We need more brave souls like this.
This little mini CDR is composed of juicey, fragmented noise. It is warped, organic and a little eerie. At times,
the pieces sound like they are talking. This is in fact quite listenable for something from the noise genre. Track 3 starts
abrasive yet gets quieter. Overall, if you like noise, check this out. There is a real "let's push buttons and fuck
shit up" attitude on this that I like. This disc is funny, weird, and highly original.
"Playing The Angel"- Depeche Mode
This latest offering from the great Depeche Mode was preceded with a glowing buzz. "This is the one we've been waiting
for" was the cry that many diehard DM fans uttered over the internet. I heard some go so far as to say "this is
the best DM album since "Violator" ". So of course, my curiosity was piqued.
So, does this really hearken to the Depeche Mode of yesteryear? Sort of. It is definitely more melodic that their
last three albums, yet I would hesitate to refer to it as a "classic". "A Pain That I'm Used To" is a
great, gritty opener. Like many of the tracks, it is well produced and sincere. "John The Revelator" boasts a
great vocal performance by Dave Gahan, whose voice blooms with feeling. "Precious" is a great, somewhat mopey single,
while "I Want It All" is pretty and pensive. "Lilian" is a good, catchy pop number. The typical DM themes
are here in abundance: falling from grace, and struggles with religious convictions.
"Playing The Angel" is without question a great improvement over "Exciter", but this is still
not the Depeche Mode I keep waiting for.
"Speak and Spell"- Depeche Mode (2006 re-release- remastered with DVD)
"Speak and Spell" has been a favourite album of mine since I first heard it at the tender age of 17. This
is without question one of the early classics of synthpop. Songs that are loaded with infectious hooks, buzzing synths and
catchy "Brill Building" bubblegum flourishes that will make you smile. Ah, 1981 was certainly a much simpler, friendlier
So I was ecstatic when I found out that this album (along with many of their early albums) are being re-released
by Mute with all new packaging, remastered surround sound mixes and a DVD. But I have to say that I was a little disappointed
with this. It is disheartening when a true fan such as myself is treated to a reworking of an album you hold near and dear
to your heart that isn't quite on the mark.
First of all, the remastering sounds great. However, I don't have a surround sound system, so I can't enjoy the
surround sound mix. Oh well. But the liner notes were a big letdown. I would have liked a much lengthier booklet, perhaps
featuring interviews with all the original members. Yet all we are given is a four page intro from Daniel Miller that doesn't
reveal much that hasn't all ready been said. The photos included are nice, yet there's only a grand total of 7. Come on!
Diehard fans deserve more that that. The DVD is nice, yet since it's only 30 minutes in length, it seems to finish before
it even starts. I did get a laugh from the stories behind the creation of the album cover artwork, yet the rest of the footage
is slightly forgettable.
There's a lesson to be learned in all of this. If you're going to do a repackaging, listen to the fans. In fact,
why not let a diehard fan put it together? It would probably have a lot more heart.
"Consumer Vs. User"- Andrew Duke andrew-duke.com
Andrew Duke never disappoints with his music. The Halifax artist has been producing incredible electronic music
for years, and on this outing he maintains his masterful approach. "Consumer Vs. User" is scratchy, cleverly orchestrated
machine music. It is futuristic, daring and original. Duke once again proves his talent for audio manipulation.
There are many metallic melodies on this disc. "Buy First Second Free" is a great track. "Lucidril"
is cool and devinely Kraftwerk-esque. Like many of the tracks, it features the snap and buzz of raw electricity. "Frosting"
is also a captivating, percolating track. Like much of this album, it is mechanical, yet certainly not without feeling.
Duke's latest disc is a very artful, highly creative effort. Well done.
"State Of Nature"- Gilbert Switzer/ The Hold (split 7") divorcerecords.ca
No matter how widespread and all-encompassing various digital formats will become, nothing will ever replace the cool
factor of vinyl. End of story. As long as there are cool young bands wanting to promote themselves and release their material
on vinyl, the format will never die.
This split 7" by two of Halifax's finest punk bands is a prime example of just how much awesomeness can be crammed
onto 7 inches of wax. The Hold's stuff is potent beyond belief. The rhythms and the playing are tight, and the mix is very
clean. "Criminal" is energetic and powerful, and the lyrics deliver unabashed social commentary. "Drunk"
is a dead-on examination of isolation, and warns of the idiocy resulting from excessive drink. "Confidence" pulls
no punches: "Confidence if yours/ tell them to fuck themselves". "Panic" is a song that every drone
in every office building can relate to.
And then we have Gilbert Switzer, a band that consistently purveys a thunderous, gutsy (and intelligent) sound.
"The Prowler" is superb. Here we are featured to Ube's unforgettable vocal stylings, complete with generous echo.
The song is hooky and hummable. Poison and Ash keep the music simple and uncluttered. A "big n' doomy" sound
rips through "Oh God"; Ube sounds like he is having a nervous breakdown. "Freudian Slap" further emphasizes
Gilbert Switzer's unique identity. This band has definite influences, but they never sound derived. This whole 7" is
"Before After"- Heaven 17 ninthwaverecords.com
"Before After" is proof positive that Heaven 17 are still a force to be reckoned with. This infamous electronic
trio has produced some of the finest, most intelligent dance music you will ever hear, and their latest album is quite possibly
the strongest of their career.
"I'm Gonna Make You Fall In Love With Me" is an energetic, bright, soulful opener. Billie Godfrey provides
backing vocals that exceed devinity. The rest of the album maintains the brightness of the opening track- overall the disc
abounds with a vibe that is very fresh and full of life. "Hands Up To Heaven" is positive and funky. Glenn and
Martyn's voices sound as good as ever, and there are many crisp synth textures throughout. "The Way It Is" proudly
declares it's Giorgio Moroder lineage. Their cover of "Don't Fear The Reaper" is awesome... it maintains the magic
of the original yet instills it with a new breath of life. "Into The Blue" is airy and warm, while "What Would
It Take" is a dramatic and tense song with a nice harpsi solo.
"Before After" is exactly what you would expect from Heaven 17. Well crafted music that embraces a party
attitude yet never checks it's intelligence at the door. Excellent.
"Sound Echo Location"- Honeyroot honeyroot.com
Honeyroot is the collaborative effort of Sheffield mates Glenn Gregory (Heaven 17) and Keith Lowndes (ABC, numerous
other bands). It appears their collective goal with this project is to produce music of the most ambient leaning. Indeed,
this album is very ambient, mellow and lush. It could also be referred to as mind-expanding, restful and shimmery. Right
away it establishes a pretty mood, where atmosphere is king and emphasis is put on feeling, not traditional song structures.
Either you will appreciate this or you won't.
"Falling", like many of the tracks, is beautiful and sumptuous, yet after a while this starts to sound
a bit samey. This is very British, kind of a hybrid of Eno and Parliament that the Brits seem to excel at. Overall I enjoyed
this album, and it is perfect background music for quiet nights of soul searching. My only real complaint is that they should
have featured more of Glenn Gregory's voice, which in itself is amazing.
"Revolution Of The Heart"- Howard Jones
This one really blew my expectations out of the water. For some reason, I was expecting this to be a safe, middle
of the road collection of bland adult-pop. So you can understand my total shock when I was greeted with a huge, stomping
techno beat on many of the songs. Is this the same man who in recent years cranked out hit after hit for FM radio?
"Celebrate Our Love" is a good, spritely opener. Jones' knack for melody shines through on this track.
"Just Look At You Now" is a throwback to the past which even uses snippets of lyrics from his early hits. His
positive demeanour of yesteryear is still evident. The title track steps back and takes a long hard look at the world. It
delivers a sincerity and a maturity that is pleasant and welcoming.
Jones has definitely grown up since the days of "New Song", yet his heart is still in the right place.
If you're old enough to remember the 80s with fondness yet not willing to actually go back to that time, Howard Jones has
grown up right along side you. The songs are graceful, yet at the same time the pounding techno beat keeps it far from boring.
"Minimum Maximum"- Kraftwerk
To see Kraftwerk live in concert has always been a goal of mine, which I hope to realize someday before the band
calls it quits and sends their robots out on the road in place of them. This two disc live collection is probably the closest
most of us will come to experiencing the live Kraftwerk show, and it certainly is an entertaining compilation.
There's plenty of lively audience reaction, and the entire set sounds amazingly clean. The sound quality is perfect.
In fact it is so perfect I wonder how much of this is live or how much of it is backing tracks and/or sequences. All the
classics are here, and after listening to this I just want to see them live that much more. Speaking of the show, as I listened
to this I realized that visuals are probably a very important element in the Kraftwerk equation. I incessantly kept visualizing
the stage in my head as the music played. Such is the vivid power of Kraftwerk's music...it always had a highly visual quality.
Overall this is a good concert recording, yet without the rapturous applause of the audience, I don't think there would be
much difference between this and 1991's "The Mix".
"Finis Terrae"- Masonic Youth and Fever Spoor masonicyouth.com
Here is another split CD (I seem to be getting many of these lately) from two bands who hail from the Netherlands. The
music is bold and experimental, and definitely not for the weak of heart, nor the close-minded.
Tracks one to four are by Masonic Youth. Their material is spacey and minimal. It is also spooky and uncluttered,
which I can appreciate. Sounds come and go from the mix, and many of their songs are mechanical and lumbering. Fever Spoor
produce music that can best be described as industrial landscapes. The pieces are cold, robotic and empty. Ultimately the
sounds are highly suggestive and open to interpretation. The uniqueness of this split CD makes it a good choice for those
who like their music unconventional. I also give the bands kudos for the nice, handmade album cover artwork. Very DIY!
"I Hear A New World"- Joe Meek
Finally, after years of being nearly impossible for audiophiles to add to their collection, this brilliant masterpiece
gets released on CD in a beautiful and lovingly assembled package. Make no mistake, Meek was so far ahead of his time it
was frightening. Mostly known for his pop productions and his numerous hits in the UK ("Telstar" being the most
famous), Meek released this concept album in 1960. His intention was to create a whole new world through sound, and he succeeded
The music in this collection is eerie, otherworldy and fascinating. It doesn't matter that some of this is laughably
dated. Those moments are quickly compensated by flashes of true genius. This is twisted, eccentric and brilliant. "Orbit
Around the Moon" has a classic 60s sci-fi sound, complete with twangy guitar. "Entry of the Globbots" is silly,
yet this only adds to Meek's madman persona. Tracks like "The Bublight" and "Glob Waterfall" are sincere,
and they act as a precursor to the work of Brian Eno. "Magnetic Field" is comprised of heavily processed sounds
and is very cinematic, while "Disc Dance of the Globbots" is melodic and sincere.
Also included are some audio interviews that Meek recorded in 1962, plus an enhanced video interview that Meek did
in 1964. This is a remarkable package that fans of modern electronic music should not be without.
"Love Yourself and Love Your Mom"- Mopey Mumble Mouse collectivevoice.net/mopeymumblemouse/
I discovered the work of Mopey Mumble Mouse a few years ago and I'm glad that I did. This is the work of Curtis
Kilfoy and his friends, a creative young soul from the wild streets of Saint John's , Newfoundland. Mopey's music is a breath
of fresh air. I never know what to expect, and I so appreciate that.
"Stuff It Up Your Arts" is gleefully chaotic. Much of this cassette features music that is a curious mish-mash
of high-strung vocals and programmed beats. It is severely unique and never boring. In fact, much of the songs on side one
brought to mind the pomp and circumstance of Sparks. At times I could have sworn that Mopey sounded like Russell Mael, with
the accompanying music being so incredibly manic. But then "boom!", the music takes an abrupt turn from a somewhat
British glam rock sound to flat out punk. Again, the unpredictability of this work is probably one of its best assets.
Obviously, this is the work of eccentric souls. In fact, the tormented artist is fully present on side two when
all hell breaks loose. The hyperactive, manic quality of this recording is great. Good work Mopey!
"391.5 MB Cerebro"- Neo Cortex www.neocortextheband.com
After having heard many of Neo Cortex's releases over the years, I am consistently impressed by the continual growth
the band exhibits. This latest offering from the duo of Steve and Chris definitely shines as an improvement from their previous
material. Growth can be heard in almost every track.
"Pay Attention", the album opener, is upbeat, bright and smart, with its roots firmly planted in the 80s.
On tracks like "Ponder" we are treated to the typically quirky lyrics that Neo Cortex have established as a trademark,
and it is refreshing to hear new rhythm styles on this track. It's obvious that the lads are huge fans of New Order....most
of this is very fun and dancey. "Music, Fantastic, Futuristic" looks back fondly at the 80s with a heavy Devo influence,
while "Waves" is minimal and experimental.
This is without question the duo's best work yet.
"Jill Porter"- Jill Porter www.jillporter.com
Jill Porter is steadily creating a name for herself as a rock tunesmith who does good, energetic, old fashioned rock
and roll. The Newfoundland guitarist, singer and songwriter should be proud of this disc, as it displays great musicianship,
clean production and a style that is simple and to the point. I get the feeling that Porter has heard a lot of classic rock
in her day.
The songs on this disc are tuneful and never forced. The lyrics are accessible, and she makes the smart move of
throwing in a quieter track here and there, just to keep things varied ("I'll Be Fine" being a good example). There
is a definite 60s pop influence all over this. Porter's voice is distinct, and the guitar work displays a supple prowess.
Sometimes the same tempo keeps showing up throughout the album, but that's only a minor issue. Songs like "In My Head"
are proof that this artist has genuine talent.
"2600"- Siamese http://www.myspace.com/siameseband
Straight out of Moncton, New Brunswick comes some of the quirkiest and funnest music I have heard in a long time.
Siamese are the duo of Devin and Tanya, and you know that any band that wears cat masks on stage and plays a theremin is
going to get my attention. Visuals aside, Siamese are also very talented at producing some very resonant, memorable music.
The key word with this duo seems to be "fun". They are happy to release cheery, upbeat music that bursts
with rays of sunshine. Neat little production touches (such as the walkie talkie conversation on "Feline Transcendance")
perfectly exhibit the duo's willingness to try new things and have fun while doing it. It is on this opener that the Siamese
sound is established: gentle guitar melodies mixed with simple drum machine beats and electronic giggles. This is undoubtedly
unique. "One Small Pounce For Cats (One Giant Bound For Cat-Kind)" saunters along at its own meandering pace.
Like many of the songs, it is cute, warm and eccentric. "Siamese Cat Blues" is absolutely hilarious.
If you're tired of electronic music that is forgettable and contrived, do yourself a favour and check out Siamese.
These guys are a breath of fresh air.
"The Bedsit Tapes"- Soft Cell
Serious fans of early 80s British New Wave have been treated to many great surprises over the last few years. A
few years ago we were given "The Golden Hour of the Future", an excellent collection featuring the earliest home
recordings done by the Human League, and the Deluxe Edition of ABC's "The Lexicon of Love" overflowed with early
demos and outtakes. Right up there along side those releases is this collection of early demos by Soft Cell, one of brightest
duos to ever emerge from the New Wave genre.
This collection is loaded with gloomy, buzzy, primitive synths and stiff beatbox rhythms. If you like your music
raw, slightly twisted and entirely analogue, you can't go wrong with this album. This is a crucial document of the early
days of a great group. The lyrics on many of these tracks are from way out in left field...just listen to "Cleansing
Fanatic" for a dose of the ultra-weird. Yet on the other hand, tracks like "L.O.V.E. Feeling" are surprisingly
gentle, and show flashes of their later pop sound. Considering that many of these songs were recorded on an old primitive
reel to reel machine in 1978, the sound quality on this disc is excellent. Despite the limitations that the lads had to work
under, this body of work is incredibly inventive.
"Hello Young Lovers"- Sparks
Everytime a new Sparks album comes out, I get genuinely excited. These guys have been cranking out highly eccentric,
intelligent and artsy pop since the early 70s. It is impossible to sum up their entire career in just a few words, since
it has been so varied and evolutionary. But it can be noted that since their 2000 release "Plagiarism", the band
has taken on a distinct, highly orchestral sound that is one part Bernard Herrman, one part Cosmopolitan and two parts bombast.
Right away, it is obvious that "Hello Young Lovers" is not as repetitive as their previous disc "Lil
Beethoven". In fact, at times it even gets downright sedate. Yet much like most material in the Sparks' canon, either
you will get this or you won't. In typical Sparks fashion, this is undeniably eccentric. "Dick Around" is a great,
dramatic opener, and "Perfume" is perfectly infectious. The band's trademark silliness is evident in songs like
"(Baby, Baby) Can I Invade Your Country?". "Waterproof" harks back to some of their past songs (it sounds
like a good companion to their classic track "Change"), while "There's No Such Thing As Aliens" is wildly
paranoid and nervous.
The shifts in tempo on this album keep things interesting, but overall this is simply not as lively or wild as previous
offerings. Make no mistake, this album is far from bad, and pretty much everything Sparks does will always be at least somewhat
interesting, yet "Hello Young Lovers" is just not their most memorable outing.
"Six Song Demo"- The Trick thetrick.ca
Hailing from Fredericton, New Brunswick, The Trick is the alter ego of Patrick Reinartz. This young man has always
shown a strong ear for popcraft and a talent for great melodies. Considering that this effort is supposedly a "demo",
I am amazed, because it sounds great. I hope to see a full length Trick album not too far in the future.
"Out For Blood" will be stuck in your head for days. It is a winning mix of sounds and strong melodies,
delivered with genuinely emotional vocals. Like all the tracks, the production values are impressive. "Rematch"
is another great track, while "Grounded" is gleefully manic. This collection of tracks illustrates an understanding
and a passion for pop music that does not come along everyday. It is smart, uncluttered, and the arrangements are stylish
and clever. This is one of those rare acts that achieves a balance between indie cool and conventional pop values.
The Trick has no problem delivering songs that are undeniably fresh.