CD Reviews
Sylvie
An Electric Trace
Smallman Records, 2005
Sylvie is a band that has to grow on you. Though their live show is great,
a quick, cursory listen to An Electric Trace left me feeling disappointed.
My initial thoughts were that this album sounds deflated — it did not
capture the band’s energy. But there’s more to this album and this
band.
An Electric Trace opens with “Hit & Run,” a song that highlights
Sylvie’s duality. In between the cacophonous sound of piercing guitars
and the dry, raspy vocals of lead singer Joel Passmore, there is the more
subdued and melodic component found in the voice of Riva Farrell, Sylvie’s
bass player who sings backing vocals.
The rest of the album showcases more of the range found in the band, with
striking songs such as “Shopping Isles” and its counterpoint, “Syntax.”
Though “Anatomy of a Headline” leaves a little to be desired, what
with its annoying chants, there is a clear buildup to the album closer, “Small
Differences.” This song not only has one of the best openings I have
heard, but it also exposes the lighter, more harmonious and lovey-dovey side
of the band with such lyrics as “make me laugh in the kind of way that
I can’t catch my breath when I’m looking at you.”
The album’s complex sound is sure to please the curious rock fan, and
for that, An Electric Trace deserves the chance to prove itself.
Vuthana Suon Staff
The Like
Are You Thinking What I’m Thinking?
Geffen Records, 2005
The Like is a southern Californian trio of tiny waif women, none of whom are
yet over 21. Their album inset has pictures of them wearing frumpy ’60s
dresses and sitting in a charming old house with a black cat. Hell, the front
cover is a picture of a fawn. A fawn!
These three girls are not exactly the most threatening creatures in the world,
but nonetheless they want to be rockers when they grow up. This, their first
album, doesn’t exactly render them alt-rock goddesses — in fact,
this album doesn’t accomplish much of anything.
The instrumentation is solid, but lazy; there’s definite room for improvement,
but there’s also a definite base of talent. The weak links that sink
this album, rather, are the vocals and lyrics. All three women take turns
on the singing duties, but none of them seem able to get any strong notes
out.
The longer you listen to this album, the more the band sounds like a miniaturized
Clone High resuscitation of the Cranberries — but without the meaningful
lyrics or strong vocals that made the Cranberries good to begin with. Be glad
that Lilith Fair is dead, because the Like is exactly the kind of thing you’d
be subjected to.
James Howard Volunteer Staff
Corduroy Kid
The Sleep Project
Old Sofa Music, 2005
Vancouver-based singer/songwriter/producer Shawn Hall — alias Corduroy
Kid — has put out The Sleep Project, apparently a concept album about
all the possible different moods of an evening. He most certainly nailed the
“different moods” part; this is one of the most temperamental albums
I’ve ever heard.
The album starts off great, firing off a couple of smoking funk and soul tracks,
but as it continues on into progressively more disparate genre choices —
ambient dub reggae, down tempo drum-and-bass, sparse electronica, smooth jazz
with mild turntable scratching over it — it not only loses steam but
begins audibly creaking and groaning under its own weight.
Hall wears all of his influences and ideas on his sleeve at once; not only
that, but the album also features what must be every other artist on the label.
Almost every track bears a guest contributor, and then said guest contributor
drags all of his or her influences and ideas onto the album as well. The end
result, as you can imagine, is a lopsided and misshapen collection of disconnected
ideas — and with every track running over four minutes and 45 seconds,
there are several tedious stretches.
The Sleep Project has its moments, and it isn’t a bad album, but it demonstrates
that you can’t just throw all of your favourite genres together at once
and expect a cohesive album to emerge.
James Howard Volunteer Staff
Jeen O’Brien
Sixties
SoStarStruck! /Sonic Unyon Distribution, 2005
I like Hawksley Workman, and I don’t like to have to blame Hawksley Workman
for anything, but it’s Hawksley Workman’s fault that this album
isn’t as good as it should be.
Sixties is the sophomore solo album from Toronto singer-songwriter and former
Lilith frontwoman Jeen O’Brien. The album is decent alt-rock that doesn’t
bring anything special to the table, but the songwriting and performance displayed
on this album are solid and perfectly serviceable. And a few of the songs
— particularly “Lay the Blame,” “Like A Child” and
“Side By Side” — are written well enough to deserve radio play.
What does any of this have to do with Hawksley Workman, you may ask? As it
turns out, Hawksley Workman took the helm as producer of the disc, but, unfortunately,
his involvement therein drags the album kicking and screaming downwards. What
the songwriting indicates should be a raucous, full-bodied rock album is instead
flattened into a glossy, over-polished pop gurgle; many of the songs, notably
“Guilty as Gold” and “Did It Again,” are flat-out murdered
by their hollow or poorly-leveled production values.
To understand the songwriting, think of a female David Usher. To understand
the production, picture a recording studio built entirely inside a giant vat
of Vasoline. The resulting album is as frustrating and messy as the mental
picture would indicate.
James Howard Volunteer Staff
The Magic Numbers
The Magic Numbers
Heavenly Recordings/EMI, 2005
Many have heard of the Magic Numbers from weak comparisons to the Mamas and
Papas, a Californian ‘60s pop band. Sure the Magic Numbers are composed
of two brother-sister pairs, the Stodarts and the Gannons, and have a very
similar sound. But their self-titled debut warrants them such an accolade
because their album is simply timeless pop music.
The album transitions smoothly between upbeat love songs and smart, melancholy
melodies. The band plays music like music is supposed to be played: like they
are having a great time just jamming.
Their airy harmonies can brighten any listener’s mood. Singer-songwriter
Romeo Stodart crafts rich lyrics that are complemented by his sister, Michele,
and Angela Gannon’s high-pitched background vocals.
It is surprising that the first single, “Love Me Like You,” did
not make its way on to mainstream radio. On the album’s two stronger
tracks, “Don’t Give Up the Fight” and “Love’s A Game,”
Stodart cleverly elaborates the ups and downs of relationships. On “Morning
Eleven” and “Long Legs,” the rhythms are so catchy one cannot
avoid nodding their head to the beat. “This Love,” “Try,”
“Wheels on Fire” and “Hymn for Her” are much slower and
sadder songs. These songs appear on the latter half of the album and calm
down the album’s initial pace.
One may be hard pressed to find a track that disappoints on The Magic Numbers.
Navin Bahl Staff
Various Artists
Northern Faction 3
Balanced Records, 2005
Balanced Records launched four years ago, and their release and the NF series
has leaped from the home-grown sounds of many Winnipeggers to include various
acts from across Canada and the U.S.. The sounds are minimal in the ways of
nu jazz and down tempo with elements of hip-hop. Here we find sultry deep
material from Om Recordings’ Kaskade and King Kooba, and organic warmth
from none other than Vancouver’s Gavin Froome of Nordic Trax. You may
want to take notice of the seminal unreleased track by Ottawa’s Rise
Ashen. Its dubby jazz roots give balmy textures to the track. Precursor Production’s
Andrew Yankiwski (FLFK) drops a soulful-infused track layered with delightful
horns and vocals by Sherry St. Germain. Vinyl Republik also brings in the
lounge-y offerings by Montreal’s Lampshade and Pete Samples. Along with
all these fantastic acts we hear the veteran sounds of Solidaze (always a
house favourite), Brace and Equanimity that we’ve been brought up on
for so long. With accolades from across the country and world slowly building,
perhaps we’ll see their efforts signed to majors in no time.
Marc LaCasse Volunteer Staff
Various Artists
Fuse Presents Joris Voorn
Music Man, 2005
Subsequent to his successful Lost Memories 12” series and debut album
Future History on Technasia’s Sino offshoot label, Voorn now emerges
with his first mix CD. Joining the techno legions of Dave Clarke, DJ Hell
and Technasia, who have all graced the Fuse mix group, Voorn solidifies the
techno genre in all its formats. Born and raised in the Netherlands, his love
for music developed by playing acoustical instruments and hearing the Orb
and various other experimental ‘90s music and engaged him to start his
own productions. He then began his own style with deep, soothing chords and
eerie melodies meant for late night dance floors.
Over the course of the Fuse you’ll be greeted with various techno varieties,
including the big room sound escapes and even a more rugged minimal motion.
The oddities of old house tunes like Lil’ Louis’ French Kiss comes
out in his own bootleg mix that brings in a bit of funk to ease things along
into a little Jeff Mills & G Flame & Mr. G. Some other artists you
may have heard that grace this compilation are Robert Hood, Visitor, Steve
Bug and Matthew Dear.
The mixing is flawless and always moving quickly into the next underlying
track, so listen up or you’ll miss something good!
Marc LaCasse Volunteer Staff
Duplex!
Ablum
Mint, 2005
You know that book Everyone Poops, by Taro Gomi? Duplex! would like you to
know that not only does everyone take a number two, they also do number one.
This information comes courtesy of the aptly-titled album-closer “pooing
and peeing,” and if you’ve made it that far into Ablum you’ve
heard stories of good dogs, bad salads and more.
It may seem like strange subject matter, but this release isn’t aimed
so much at the indie-hipsters as it is at their offspring (good god, they’re
reproducing!). Duplex! is made up of members of Great Aunt Ida, P:ano and
AC Newman among others and features the xylophonic talents of 3-year-old Abe
Caruso (I’m not making this up).
Much has been written recently about indie children’s music (google Smoosh
and see what I mean), and I have to say I wish an album like Ablum was around
when I was growing up on Sharon, Lois & Bram. The lyrical content may
be similar, but the music is decidedly more mature — as on the groovy
“Hanu,” which would fit alongside something by label-mates the New
Pornographers.
These are pop songs geared to younger listeners that serve as an introduction
to good music (instead of treacle) and provide a bridge between kids and their
cool uncle/aunt. United by a disdain for vegetables, a love of robots and
monkeys, and of course — numbers one and two.
Michael Elves Volunteer Staff
Inhabitants
Inhabitants
Drip Audio, 2005
Before I discuss Inhabitants, I feel I must state forthrightly that I am a
fan of fusion. Some jazz purists will shudder — fusion isn’t called
the “F” word in jazz for nothing. Developed in the late ’60s,
fusion was an attempt to marry rock and jazz, the results of which were especially
popular among prog fans. While Return To Forever (Chick Corea’s project)
is probably the best-known fusion outfit, the seminal album is Miles Davis’s
Bitches Brew.
Hearing Inhabitants, I couldn’t help thinking about my copy of The Complete
Bitches Brew Sessions (August 1969-February 1970), which I’ll admit is
a bit unfair. Comparing the debut by this quartet of Vancouver musicians to
an established masterwork stacks the decks — but try listening to the
muted, effected trumpet of JP Carter on album-opener “Main Drag”
without hearing Davis. Thankfully the guitar work of Dave Sikula around the
three-minute mark serves to distinguish the sound from its predecessor. The
Inhabitants (Skye Brooks [drums] and Pete Schmitt [bass]) find a quiet groove
by the end of “Main Drag” that segues nicely into “Cozy Forever,”
which surprises by devolving into noise two-thirds of the way through. The
shortest track on the album, “Commercial Break” provides the biggest
jolt with a rumbling, fuzzy bass and shoegazer-esque guitar work.
While this isn’t the most original or challenging fusion record I’ve
heard, it’s an enjoyable sonic journey recommended for those who enjoy
the “F” word.
