CD Reviews
Moonstarr
Moonstarr Remixes
Public Transit Records, 2006
4 out of 5
The first time I ever heard Toronto’s Moonstarr was when his Dupont EP landed on my desk. That release showed an understanding of the intricacies of broken-beat, and I knew at that point that I would need to keep an ear open for future releases from both this producer and his then-fledgling label, Public Transit Records. That was 2001, and since that time, both Moonstarr and PTR have gained stature and experience. Now comes the ubiquitous (at least in electronic-music circles) remix album.
Moonstarr Remixes collects all the work that has appeared on singles, 12-inches and compilations over the past half-decade, and it’s an impressive body of work. The best known of these remixes are the ones Moonstarr’s done for German labels Compost and Sonar Kollektiv: Ennio Morricone’s “Ritratto D’Autore” and Jazzanova’s “Another New Day.”
That all of this material has been previously available shouldn’t deter anyone from checking the album out — the best part is listening to the balance Moonstarr strikes between his signature sound (hard to pin down, but I’m certain it has something to do with the kick of his off-beat hi-hats), and crafting reworks that are individual and stay true to the source material. From the Brazilific “Uam Uam” by Povo, to Ivana Santilli’s neo-soul, Moonstarr walks the musical tightrope.
Michael Elves Volunteer Staff
Mike Shannon
Possible conclusions to stories that never end
Scape, 2006
3 out of 5
Known as one of the many pioneering technical wizards of his time (when electronic music was just emerging as raw forms of music), Mike Shannon now has a different vision. This new venture takes us on a journey into familiar territory that has been explored by luminaries like Akufen & Pan/Tone. Other than being a popular artist and DJ worldwide, Shannon’s new brand of minimal house, techno and abstract has not reached that pinnacle yet. These playful songs are mere explorations and are not really grown up tracks, much like his previous masterpieces. A lot of the beats carry a sedated jazz-infused arrangement but still hold a hybrid of laid back ambient parts. Where Shannon tries to take you is a bit confusing, but perhaps the album title explains all this. On “I’ll pay my rent on the daytime Nocturnal,” we hear a more soulful fluid and lounge-y piece. The piano keys are soothing and a more evident groove is noticeable among the live drums by Tim Stokes-Rees. “Bathing in Microwaves” is perhaps the oddest of all the tracks, hailing up strange analog and short wave sampled sounds with peculiar, emotional ghostly sounds. The message he conveys on this album is nothing like many artists would share, but his revelations are also strangely welcome.
Marc LaCasse Volunteer Staff
Bombay Dub Orchestra
Bombay Dub Orchestra
Six Degrees, 2006
3 out of 5
This double disc is tailor-made for the vagaries of our time. If you’ve been beat down by the hardships of the week and need to slip something in that will complement a chilled beverage and an extended sit in a comfy chair, disc one of Bombay Dub Orchestra (referred to as the “Bombay” disc) will fit the bill. Delicate instrumentation — strings, sitar and tabla — support ethereal vocals from Preeti Uttam Singh and Rakesh Pandit. These vocals are mostly sounds, showcasing the voice as another instrument, and add to the evocative, filmic quality of the arrangements Garry Hughes and Andrew Mackay have written.
The second disc (or the “Dub” disc) is a decidedly more up-tempo reinterpretation of much of the material on the prior disc. While the remixes flirt with a House pulse, they exercise a restraint that stays true to the source — no big beat butchering makes its way onto the album. This is, after all, a dub album — the highlight of which is “Compassion: The Continental Drift Mix,” with a beat that sneakily works its way into the cerebral cortex. You’ll catch yourself moving ever so subtly to this one.
Michael Elves Volunteer Staff
Sinewave
Unity Gain
Vinyl Republik, 2006
4 out of 5
Recently headlining at the Vinyl Republik showcase at the Canadian Music Week in Toronto, Sinewave can provide so many dimensions with minimal instrumentation. Mark Wiebe (also known as Sinewave) has cultivated his enigmatic sound from the various depths of his life and experiences. This Vancouver native has garnered a following for his cinematic chilled beats. Served lightly with a martini or just relaxing is where this album is best suited. This is Wiebe’s first release on Winnipeg label Vinyl Republik, and some may be familiar with Mark’s other alter-ego, Guitaro, seeing as it has a quirky indie feel to it, much like all of his creative outlets.
Throughout Unity Gain you’ll be introduced to beats that are usually below sea level, so grab your scuba gear and prepare to dive in deep. These shallow grooves may reflect his passion for sci-fi and spy films, as there seem to be themes that pick up and slow down where excitement is permitted. Among all this innovation there are also eerie vocals provided by Mr. Todd Whiskers. Low end samples of jazz and odd grooves that play off of each other form a structured sound. Unity Gain is one CD that will last in your collection and further your quest for more special sounds like these.
Marc LaCasse Volunteer Staff
Janiva Magness
Do I Move You?
NorthernBlues, 2006
3½ out of 5
Do I Move You? is the sixth album from Los Angeles-based Janiva Magness, a 20-some-year veteran of the American blues scene and a self-proclaimed “brazen hussy.” (No, really! It’s right there in the liner notes, apparently as justification for the cover photo quite literally featuring her cleavage front and center.) It’s an album comprised mostly of blues standards and covers, with a few originals thrown in here and there.
The album is anchored by a band of longtime blues professionals (including former backing artists for Janis Joplin, Tom Waits and John Hammond), including guitar work and production duties by Colin Linden (also of Blackie and the Rodeo Kings, recall); this gives the disc a solid foundation of fully authentic, perfectly handled blues. Then on top of that we have Magness herself, who brings an appreciably powerful and soulful voice to the table in belting out her selections; her best work here is on Lee Rogers’ “I Want You to Have Everything” and on the Nina Simone title track.
Reinventing the wheel is clearly not on her list of priorities, but it doesn’t really need to be. This album is there to show off her voice and lay down some old school blues, and as such it does a great — though not excellent — job at what it sets out to do.
James Howard Volunteer Staff
David Wall
The Spell I Was Under
Black Hen Music, 2006
2½ out of 5
David Wall has been the frontman of the Bourbon Tabernacle Choir and of the Winnipeg Klezmer band Both Ends of the Earth; he’s also, currently, lead singer for Toronto’s Flying Bulgar Klezmer Band. His second solo album, The Spell I Was Under, is a folk album drawing heavy inspiration from 1950s gospel, soul and blues. What we have here is a former funk singer and prominent Klezmer singer attempting some mainstream folk music; this description, unfortunately, is more interesting than the actual album.
Wall’s greatest strength is his songwriting — he’s perhaps best known as a former contributing songwriter for Big Sugar — and these 12 songs range from acceptable to reasonably catchy (notably the charming Set Your Sails and the gospel goodness of So Tired), though certainly nothing that could qualify as hit single material.
The failure of this disc is not in the songwriting or in the production (which is nice and clear, very crisp); the fault lies in the performance. Wall’s voice is thin and rather bland, even when supported by a very impressive backing choir, and the lack of intensity in the vocal and instrumental work makes middling mush out of songs that more energetic bands would render golden. The end result of this wasted songwriting potential is disappointment — 41 minutes and 36 seconds of folk festival fodder.
James Howard Volunteer Staff
The Awesome Team
The Awesome Team (EP)
None, 2006
2 out of 5
The Awesome Team probably gets their kicks out of people questioning the band name. They managed a whole paragraph in their bio about how nobody will ever forget it. Guess what? You need to have good music for people to remember you, however it’s kind of harsh to pick on a band after they’ve released just one EP. But it’s also hard to sit and listen through a 20-minute EP when it seems like every song is the same thing over and over. This is the usual cause for one hit wonders.
The music coming from the band itself is the definition of melodic pop rock. They’re definitely a Yellowcard meets Simple Plane meets, well, Yellowcard. They have all the elements: the high pitched whines about being frustrated in life and love, the three note songs that wrap up in three minutes, and the songs that share something with every other song on the album. Some of you might love The Awesome Team and think they have a catchy sound and name, and some of you might just think sarcastically to yourself, “good, another pop-punk-emo-rock band.”
Shaun McLarty
Sarah Harmer
I’m A Mountain
Cold Snap/Universal, 2005
3½ out of 5
As the first notes of opening track “The Ring” drift out of my speakers, I am transported back six months to Sarah Harmer’s 2005 Winnipeg Folk Festival closing performance. That night, after five glorious, exhausting days of festival living, I sprawled out on the tarp-laden ground, soothed beyond belief by her gentle musings.
I’m A Mountain showcases the same strengths that made Harmer’s music perfect for that festival moment: her intricate and witty, yet sweet and comfortable, melodies. On previous albums, the Ontarian drifted gently among genres. This project is a ‘less rock, more bluegrass’ statement and is not as varied. Guitar and upright bass provide the foundation of the sound, but a number of guest musicians add understated, but welcome, layers. Longtime collaborator Luther Wright stops by with his banjo and a song.
Harmer throws out some lyrical gems, too. On the standout title track she wonders, “Well now how did they get that lady on TV/ laughing so naturally/ for a Wal-Mart ad/ is it not as bad as I thought?” “Will He Be Waiting For Me” may be altogether too sugary for some tastes (mine), but that’s to be expected from a Dolly Parton cover.
The disc’s themes of love, lament, summer landscapes — and even land protection politics — coalesce to make it an all-around pleasing release.
Joel Trenaman Volunteer Staff
Global Communication
Fabric 26
Fabric, 2006
3½ out of 5
Tom Middleton and Mark Pritchard have been producing together off and on since the early ’90s. Some of their solo work has been under the monikers of Cosmos, AMBA AV and Troubleman, but the most memorable is the Jedi Knights. (But after much scrutiny from filmmaker George Lucas, they pulled out of that and began other ventures.) In late 1997, they released The Way & The Deep, an amazing collection of darker dance floor gems, which have recently been re-released. Here we are greeted to some much-anticipated refined flows from a new direction. It features deep ambient, hip-hop, broken beat house and electro techno. It also has a track from Tom Middleton under the moniker AMBA, which is an exclusive track to Fabric 26. This track alone defies gravity when played; it creates a sudden lift into a melodic harmony.
Some of the other charismatic artists that appear on this compilation are known for their diverse abilities as well. Harmonic 313 stands out and should be credited for his delicate craftsmanship of constructing a new wave of hip-hop and broken beat into a classy blend, and not just the usual dribble that seems to emerge from so many underground artists. This is the purest form of Global Communication set of tracks from years past, as they contain emotional, simple grooves that carry a level of elegance.
