Thick Specs - classic indie rock then and now

Joel Plaskett Emergency - Somewhere Else

2012-02-19T07:17:00.000-08:00

As the first chord is hauntingly struck on the mandolin, listeners know that 'Somewhere Else' is not going to be the usual Joel Plaskett Emergency fare. With a reverb-heavy vocal guiding us through a unique blend of sounds, the phrase 'take me somewhere else when I close my eyes' continues to crop up throughout the journey of the song. Having released a video alongside this track (which is apparently a culmination of many years of Plaskett family home movies), the theme of memory and partially forgotten faces pervades in Somewhere Else.

Running shorter than every other Scrappy Happiness tune to date, this is one the oddest offerings thus far (in a series of weekly releases, leading up to a full album release on March 27th). Difficult to grasp and complex in its phrasing, Somewhere Else seems to be Plaskett's way of saying that memories can be difficult and laborious and that many times, those memories are gone faster than the actuality of the moments they are made within. Passing the halfway point at number six out of ten, Plaskett offers the darkest tune of the album and maybe of his career.

Joel Plaskett Emergency - North Star

2012-02-19T06:53:00.000-08:00

Delving further down the retrospective rabbit-hole with his serial song releases, Joel Plaskett and The Emergency have given us a plodding and marauding rocker in the form of 'North Star'. With a simple-enough, climbing progression, rooted in a crunchy electric, a clankety piano, and drums, North Star grows into a full-on party anthem, head-bobber. The lyrics play out like a passionate, stream of consciousness rant at a drunken party:

Half a mil - half a million
We were listenin' to Neil Young
You gotta shoot to kill em
If you wanna get that heavy

With a chorus that sounds faintly like a Harvest Moon b-side, Plaskett seems to be paying homage to the musicians he respects and admires, yet again. And much like the structure of any JPE tune, North Star is wildly unpredictable in sound-scope as it tinkers along for three quarters of the song, and then gets a volume/fuzz-blast during the last quarter. As the final refrain comes out of nowhere and the Big Sugar-esque, triple-layer-cake-distortion sounds burrow into our minds, we are reminded that we are listening to not only a great songwriter - but a lover of other great songwriters.

Joel Plaskett Emergency - Slow Dance

2012-02-14T11:30:00.000-08:00

Apparently one of the hardest songs to record on the new album, Joel Plaskett's 'Slow Dance' paid off in a big way with a twangy, porch-stomp sound that is reminiscent of Led Zeppelin's "Black Country Woman". Dave Marsh's straight ahead drum-thump, rhythm track lays a solid foundation. JP's lyrics seem to indicate a memoir of a young boy talking to his mom about the perils of young romance.

Mama - where ya goin / I've been clickin' and clackin' my heels
I've been reelin - I've been rollin' / I've been spinnin' unspinnable wheels
...Is this slow dance my one and only chance
To find a little bit of romance?

This song is, without a doubt, my favourite Scrappy Happiness single to date. Though simple enough in its structure, the summery colour of the steel, the chunky acoustic and the drums are a perfect blend for Joel's nostalgic ride back to the magic and awkwardness of high school slow dances.

Joel Plaskett Emergency - Old Friends

2012-02-13T08:45:00.000-08:00

Remember when Led Zeppelin released Houses Of The Holy - an album laden with crazy, sprawling tracks like No Quarter and The Rain Song?

'Old Friends' is Plaskett's No Quarter. The ebb and flow of the track is a little wobbly and loose at times and it takes a few listens to really absorb the layers. Starting out with a chimey piano and loungey rhythm track, JP's distant and subdued vocal track calls us in for a closer listen. This song is definitely not my favourite single thus far - but I don't hate it, either. It plods along as Joel continues his memoir-centric stream of consciousness that seems to be pervading this album. But in true JPE fashion, the song gets almost dead quiet on a contemplative verse before the volume explodes.

'Old Friends with a new guitar
So much whiskey at the bar'

Much like No Quarter, when the song picks up, and when the brooding moodiness drops, and when the toms and snare build, and when the grinder, laser-beam electric guitar kicks in, we know that we are in for a tumultuous, sonic ride. A fuzz-gun guitar solo rips into the ear of the listener as Joel lets loose on the fretboard - something he is innately skilled at but often strays from in his more popular songs. A little weird and dark at times, Old Friends is JP showing that he cannot be pinned down into any one musical genre and an indication that Scrappy Happiness is his most unpredictable project yet.

Bry Webb - Provider

2012-02-06T13:17:00.000-08:00

Is it better to have nothing and hope for something much greater, or to have had something great that disappears? Both scenarios will give anyone plenty to think about. Bry Webb is clearly pondering the void on this short but amazing album. There's nothing like having a child to get you thinking about your place in the world. However if music is your life, then fatherhood is clearly forcing him to put the life of musician on the scale. One side gets weighed down by the satisfaction of self-expression, while the other side gets loaded down with absolutely everything else!

The Constantines will be remembered as of one of Canada's most revered indie bands, and it's tough to follow up greatness. The answer here is to take the quieter and more reflective side of things with a lyrical exploration of what was, what might have been and what will be. Formerly playing in a band with an 'understanding that we could understand' is the kind of lyric with a depth that can only be understood in context of the life of a musician. It's complicated to say the least, and if you've ever lived it inside a real working band, you know exactly what he means. The Contantines were are admirable band that stood as beacons for the DIY ethic, touring and idea of supporting the people that support you. Now that Bry is moving forward with a family, day job and healthy side platter of musician life, he will come to a new understanding about how the world works.

Bry has shown on this album that he's got the stones to go to the restrained side of the musical spectrum, no matter what people expect of him. So if he does go high octane once again with his next project we'll all know that he's been to the mountaintop and seen that he really understands the life of the musician, and that his family and community are a bigger part of him than ever before.

Listen to samples (or buy) this album on Zunior today!

Dave

Joel Plaskett Emergency - Harbour Boys

2012-02-04T13:52:00.000-08:00

The music industry can be a morally and spiritually devoid wasteland, often forcing the creators of great art to sacrifice their integrity in order to make a quick buck, stay afloat and leave any ideals in the dust. Aside from the artists, famous music critics tend to play a part in the aforementioned 'dream-crushing' by swaying listeners to become increasingly negative, biting and cynical towards everything that flows through the headphones of the public.

Joel Plaskett has managed to navigate through the detritus of a plasticized terrain, staying true to his vision and often letting the listener experience an organic and heartfelt return to innocence.

Harbour Boys is the second single from JP's upcoming album 'Scrappy Happiness' (which is being released at a rate of one song per week until March). The opening lyrical refrain screams of a youthful glow as the listener is transported warmly to a simpler time:

So much sadness on this earth / We get weary, we get hurt
What we need is not for sale / So set your heart down on the rail

The backdrop of a simple but far-away acoustic strum sounds like a bright, teenage-summer breeze as Joel waxes poetically about the things that really matter in life. His east-coast 'baie'-ness has forged a bit of unique celebrity for him in Canada, but it has also allowed him to stay rooted in his musical values. JP's love for the seaside Halifax region is vivid in every homegrown lyric of the chorus:

Sun goes down upon the bay / Looking for somewhere to play
I came here to bring the noise / To the island girls and the harbour boys

Joel's honesty in both his musical mission and his simplistic love of his hometown are refreshing. Though not as rockin' as the first single You're Mine, Harbour Boys is the perfect, summer-splashed, solo-mellow contrast to the axe-wielding, drum-whacking soundquake of his band The Emergency.

Joel Plaskett Emergency -You're Mine

2012-01-31T12:56:00.000-08:00

On the heels of the 27 song 'Three' and a sprawling collection of B-sides, Joel Plaskett is hard at work again with another new album - but the best part is, he's being a tease; He's only releasing one song a week, including a weekly segment with Rich Terfry on CBC 2's The drive, and making the listener beg for it until the climax of the full album releases in March.

As if we didn't need more build-up from an already craft-honing song sculptor.

The already epic 'You're Mine' is the first song from the upcoming Scrappy Happiness record. Ripping out of the gate with an accapella vocal blast, Plaskett states a visionary and passionate mandate for the song and the whole project, belting "Let's make a record for the old and young". The song then explodes into a sonic rock blaster that makes you think of The Who at their finest, as Dave Marsh's drum-mastery splashes and crashes around in an uptempo ocean of rock and a Spectre-esque wall of layered, bendy electric guitar riffs. Chris Pennell's often unmentioned but dead-set 'bass-thundery' lays a strong foundation for the track.

When the chorus comes in, you've already forgotten the first part of the song as Plaskett recites an instantly sentimental and catchy anthemic refrain, making the biggest cynic melt in a warm moment of innocent memory:

'The skies will turn from pink to blue / The years will turn to sand
The needles drop on Husker Du / They were my favourite band
I'm travelin' through space and time to keep my love alive
It's 1995'

Plaskett has become an avant-garde songwriter throughout Canada and often switches gears between a stripped-down, folksy strum and a full-steam-ahead molten rock rhythm. If the first track is any indication of things to come, the listener is in for an avalanche of hit-worthy, instant-classic creations on 'Scrappy Happiness' as Joel is back in rock-mode with a vengeance.

Thick Specs Favourite Albums of 2011

2011-12-19T12:32:00.000-08:00

To celebrate the end of 2011, the three wise men behind Thick Specs unwrap some cherished musical bounty. This almost-holy basket of twelve album reviews presents an offering of insight and heartfelt appreciation. Chuck, Matt and Dave provided four picks each and then created this mix-n-match collection. Make it a game and try and guess who picked what.

Plaskett - Emergencys, False Alarms, etc.

Like a soul train out in the Prairies, Joel keeps picking up steam and burning the midnight oil through fields of wheat. Although I didn't love every song on this compilation, it is representative of a work ethic in music that has faded fast in the light of American/Canadian Idol-ism and instant fame. Songs like 'When I Go' (a B-side of 'Three') give the listener ear-chills and show you that this man has a deep arsenal of melodic, meaningful gems about leaving, loving, staying and going.

Listen to samples (or buy) on Zunior!

Find the Others - Find the Others

Andy Sheppard reinvents himself as a soft-sung master of sample-laden, looped-up, electronic-inclined melodic pop and the engaging results are well worth the effort of the transformation. There's still plenty of the artist's virtuosic guitar playing here, but its part of the diverse package, not the main attraction. Percussionist Mark Mariash plays a significant creative role here, as well, and is likely responsible for the album's occasional jazz nuances.

Nichol Robertson - Stranger Things

Nobody puts out record like this any more. An instrumental guitar grizzler that has pickin', riffin', slidin' and rockin'. Every song is a winner and it never grows old. My favourite Zunior album of the year.

Listen to samples (or buy) on Zunior!

Feist - Metals

It was talked up, mocked up and even scaled down but 'Metals' is a record made by a true artist who has been cut off from the world for a while. Any way you look at it, it's a refresher. Feist and long-time collab partner Chilly Gonzales made a soulful, sombre record here. It won't be great spin material if you want to drive fast on a dark highway but it will guide you through some winter afternoons.

Listen to samples (or buy) on Zunior!

Sloan - Is That All I Get?

Sure, Sloan released a proper, new studio album (The Double Cross) this year as well, and it's not bad. But this authorized "bootleg" LP of a live 1993 performance in Winnipeg captures one of Canada's greatest bands climbing towards its creative zenith, rather than coasting down the other side. Boasting surprisingly good sound quality, Is That All I Get? was originally limited to 500 slabs of vinyl, but after those sold out in a matter of hours Sloan availed the album as a digital download via the band's web site. Clearly, there's an enthusiastic market for Sloan's past glories out there. That's good news for fans and the band, as this album is rumoured to be merely the first in a series of similar retrospective releases.

Miracle Fortess - Was I The Wave?

This sophomore album from Miracle Fortress threw me off, as I was initially judging it in relation to their brilliant debut from a few years back. The album's odd blend of 80's keyboards, Beat It-era drum samples and jazz guitar noodles can confuse at first, After repeated listens, however, it all comes together with a confident-sad mood that use musical space to manage tension and keep up the interest. (Side note - many of these themes apply similarly to Austra's also great debut from this past year.)

Listen to samples (or buy) on Zunior!

Al Tuck - Under Your Shadow

Al is a craftsman; a sommelier of finely oaked and distilled songs. 'Under Your Shadow' reviewed so aptly by Ullrich here is a record that blends all that we miss within music (i.e. Nick Drake, early Bob Dylan) and mixes it with an east coast, fisherman grit. He is an unsung hero of the Canadian music scene and this album will hopefully allow him to finally start to shake that reputation.

Listen to samples (or buy) on Zunior!

Camp Radio - Campista Socialista

Sincere, straight-forward, hook-laden tunes delivered by Ottawa indie-rock survivor Chris Page, drummer Scott Terry and bassist Dave Draves, Camp Radio's solid, sophomore full-lengther makes anything larger than a power trio seem totally unnecessary by comparison. Page's consistent knack for coaxing original, yet timeless sounding riffs out of his guitar is uncanny, and he's always had a strong, distinct vocal style, even going back to his Stand-GT days. Stir that up with Draves' rich, warm production and the fact Campista Socialista dropped in 2011 is almost enough to make you forget about the Tory majority.

Listen to samples (or buy) on Zunior!

Hey Rosetta - Seeds

These bright, punchy, power-pop, string-crescendo-obsessed Newfoundlanders know how to make a record that powers you through a dark day. Filled with hope in a way that would be smiley overkill with any other artist, Hey Rosetta is probably the only working band that can do this style of music well and in a believable way. 'Seeds' is the better follow-up to 'Into Your Lungs' as they finally get to let loose and blow the top off the sound stratosphere, holding back some times and rocking recklessly at others.

Listen to samples (or buy) on Zunior!

The Weather Station - All of it Was Mine

Loneliness. A classic musical inspiration gets a thoughtful and inspired investigation. Subtle finger picking guitars and measured vocals create a solemn and strong musical vibe. Given it's the holidays, and you may be near a crackling fire right now, throw this album on immediately and be thankful you're not alone.

Listen to samples (or buy) on Zunior!

Bon Iver - Bon Iver

Every now and then the hype machine gets it right. Such is the case with Justin Vernon's critically-acclaimed second release under the Bon Iver moniker. To a song, the album is a flawless masterpiece of composition and pacing, featuring a beautiful, slow parade of deceptively minimal arrangements wherein so much sounds like so little sounding like so much. A genre-defying album that rewards listeners by repeatedly yielding something new (even on the 79th time through), Bon Iver is one for the ages, even if it ends up winning a stupid Grammy.

Timbre Timber - Keep on Creepin' On

This album continues the chilling musical vibe of their last album, which might be described as Motown stuck in molasses. I could listen to songs like these all day, every day. I find this music endlessly interesting and musically focused. The musical theme is disciplined and perfectly executed. The band knows exactly how they want to creep you out, and they just creep on doing it!

Listen to samples (or buy) on Zunior!

---

Dave would also like to file two great 2011 albums in the 'conflict of interest' category. I'm referring to the Zunior Music Label pop nuggets from Great Aunt Ida with Nuclearize Me and The Golden Seals with Increase the Sweetness.

Have a great holiday and see you in the New Year on Thick Specs.

Dave/Matt/Chuck

The 2011 Zunior Holiday Blender

2011-11-25T07:16:00.000-08:00

The 2011 Zunior Holiday Blender is inspired by the amazing album ‘XMAS - The Beatmas’, created by a Danish Beatles cover band called the Rubber Band. This group made an entire album of Beatles songs with the original vocal melody/lyrics switched out with a Christmas classic. This Zunior release features Canadian artists blending classic Canadian songs with vintage holiday lyrics and melodies.

Trevor Waurechen, long-time Zunior artistic collaborator, takes inspiration from this musical concept to create his own artistic vision. He blends classic Canadian album covers with Christmas-themed images. Every song has it’s own unique cover created by Trevor, and all covers are included in the album package.

100% of the retail price of this album goes to the Daily Bread Foodbank, and the album package includes a unique cover for each song created by Trevor. You can buy it right here.

Dave

Classic Albums: Lilys - Better Can't Make Your Life Better

2011-11-12T05:59:00.001-08:00

A well-curated jukebox can make the difference between a good bar and a great bar. I was reminded of this fact last weekend while on a chilly pub crawl through Brooklyn's Park Slope neighbourhood. I ended up at a craft beer lover's paradise called Mission Delores - a bunker-like infill joint with an impressive range of exotic suds on taps operated by a couple of bartenders who really know their stuff.

Even more impressive, however, was the Mission Delores jukebox featuring as it did a mix of essential titles from decades past, along with a handful of lesser-known independent gems. Chief among this later lot was Lilys brilliant 1996 full-length effort Better Can't Make Your Life Better. A start-to-finish masterpiece of richly melodic, mid-'60s-inspired psychedelic indie rock, the disc remains among my all-time top-10 favourite albums and likely always will. I can vividly recall the first time I heard it and it takes two hands to count the number of friends who have become enthusiastic fans upon their first listen, as well.

A notorious live let down throughout most of the band's career, Lilys never came close to matching the brilliance of the Michael Deming-produced Better Can't Make Your Life Better. It's one of those rare aural documents of seeming magic put to tape, where even a flubbed note comes off sounding profound and masterful, and disparate elements that, at first blush have no business together, appear to meld with a some sort of divine alchemy.

Despite being picked up by Elektra and distributed via the (then) massive Warner machine, Better Can't Make Your Life Better enjoyed approximately zero commercial success in the band's native America. The undeniably catchy (just like the rest of the hook-laden disc) track 'A Nanny in Manhattan' (see video below) managed to chart in the UK, but much of the band's lineup scattered soon after to other project (Beachwood Sparks and Pernice Brothers, among them).

Lilys have issued seven full-length albums (the most recent being 2006's Everything Wrong is Imaginary) and just as many EPs. But with the exception of a few select tracks, none of those releases stood up as solidly and consistently as Better Can't Make Your Life Better. If you know the album, then you probably know and love it well. If you don't, you should check it out.

Chuck

Review - Al Tuck - Under Your Shadow

2011-11-08T12:33:00.001-08:00

Al Tuck is a Canadian icon. When I first heard his music back in 1994 I thought...'man, this guy sounds pretty old to be signed to Murderecords'. Then I met him and thought....'why is this young punk singing like such an old guy?'. Well it is years later and he still sings like an old guy and it still sounds great!

The lead track 'Slappin' the Make on You' sounds like Nick Drake marooned on a tiny celtic island with nothing but a case of whiskey, some roll-your-own-smokes and a vintage acoustic guitar. This really is an instant classic.

Al's sly sense of humour shines throughout this album and gets a real showcase with the live take on 'Hello, Prince Edward Island'. The crowd hangs on his every word, and this track effectively seals the gold stamp of approval on Al's reputation as an undiscovered East Coast gem that, once discovered, creates fans this crazy-serious about his music.

He really is an icon.

Listen to some samples (or buy the album) here.

Dave

Robyn Hitchcock - Chronology

2011-10-29T09:51:00.000-07:00

In its ongoing bid to stifle any complaints about a shortage of Robyn Hitchcock compilations, Yep Roc has issued Chronology (The Very Best of Robyn Hitchcock). The digital-only collection features 16 songs spanning Hitchcock’s nearly four-decade-long recording career, during which the UK artist has delighted, baffled and otherwise entertained with his distinct and playful variety of clever, whimsically melodic, occasionally psychedelic and always artful and enigmatic music. There is solo material here, several tracks born of his years fronting the Egyptians, a few tunes from Hitchcock’s celebrated late-’70s band the Soft Boys and even a couple featuring his most recent backing unit, the Venus 3.

Said to be compiled by the artist himself, Chronology does represent a couple of Hitchcock firsts. It is, for instance, the first Hitchcock collection to be available exclusively online. Of course, all of the tunes can be enjoyed conventionally if one purchases, or already owns, the original source albums. And given there is no previously unreleased bonus material, most longtime Hitchcock fans will probably have little motivation to download it.

Of greater significance, though, is the fact Chronology is the first Hitchcock compilation to draw from the artist’s entire body of work. Previous collections (of which there have been many - see below) have, mostly due to licensing and rights considerations, typically presented either solo and Egyptians material, or that of the Soft Boys. In that sense, despite its relative brevity, Chronology has to be considered the most definitive album-length compilation of Hitchcock’s music to date.

If, like many fans of Hitchcock’s voluminous body of work, you have ever thought about making an introductory compilation for that friend/colleague/family member/love interest who purports to be into music but has (gasp!) never heard any of Hitchcock’s tunes (“Isn’t he that old guy playing guitar in Rachel Getting Married?) then Yep Roc has just saved you several hours of agonizing deliberation.

On that note, I’ll spare myself (and readers) the laborious exercise of debating what tracks should or shouldn’t have been included on Chronology. If, in fact, Hitchcock is responsible for these selections, then one must trust the creator’s hand.

However, those looking for a more comprehensive collection of Robyn Hitchcock’s recordings have many other options to weigh. Although some titles may be out of print, here are a few to consider:

Soft Boys 1976-81 (Rykodisc, 1993)
A double CD featuring 38 Soft Boys tunes ranging from proper studio album tracks to live songs that sound as if they were recorded in a wee pub somewhere. Several cover tunes betray the band’s influences ranging from doo-wop to the Velvet Underground.

Robyn Hitchcock Greatest Hits (A&M, 1996)
A tongue-in-cheek titled compilation of tracks from the albums Globe of Frogs, Queen Elvis, Perspex Island, Respect and the Madonna of the Wasps EP (in other words, all of Hitchcock’s A&M recordings). Nearly half of the 21 tracks are B-sides, which makes this a worthwhile addition to any Hitchcock collection.

Uncorrected Personality Traits: The Robyn Hitchcock Collection (Rhino, 1997)
Boasting 20 tracks and running at just over an hour, this compilation sidesteps a massive chunk of Hitchcock’s career (Soft Boys, his A&M years) and is therefore more of a snapshot than a portrait.

I Wanna Go Backwards (Yep Roc, 2007)
An exhaustive box set comprised of Hitchcock’s first three solo albums (Black Snake Diamond Role, I Often Dream of Trains and Eye), loads of bonus tracks and two full discs of rare and unreleased songs. The bonus discs are called While Thatcher Mauled Britain, so you know dude is still bitter. You would be too.

Luminous Groove (Yep Roc, 2008)
Another exhaustive box set, this time consisting of three Robyn Hitchcock & the Egyptians albums (Fegmania!, Gotta Let This Hen Out and Element of Light), lots of bonus material, and two full discs of rare material. At 89 tracks, this should cover your entire drive from Toronto to New York City, provided you don’t get hung up at the border.

Chuck

Interview with Jill Barber

2011-10-27T11:15:00.000-07:00

Getting ready to leave London and head for St. Catharines, Ontario, Jill Barber had a few minutes to spare on a chilly, Wednesday morning and chat with Thick Specs. We talked about life, love, sweeping orchestral music, high drama, Canada Savings Bonds, Halifax, Vancouver and her newest release 'Mischievous Moon'.

MattMcKech/ThickSpecs: Take me back to the beginning – how did you ever know that you, Jill Barber, wanted to pursue music professionally?

JillBarber: Well I definitely didn’t know that from the beginning of my life. The beginning for me was around 14, 15 - and my older brother Matt played guitar and I worshipped him, so I followed in his footsteps and he lent me his guitar and taught me a few chords. As soon as I learned to string a few chords together, I was writing songs. At that time, in the mid-late 90’s, there was a great, great all ages music scene happening in Toronto and I’d go see bands playing live. At the time, it was amazing and it was so inspirational for me to hear these bands play their own songs. So I started writing tons of songs and me and my friend from high school started playing shows in each other’s basements. So that’s where it started but in my wildest dreams, I never thought I would do it professionally. By the time I went to (Queens) University, I started playing coffee houses and open mic nights. I even started getting paid a little bit of money for it which was exciting. It wasn’t until after I graduated and worked my first shitty job that I yearned to do something I loved for a living. There was a feeling inside that was just kinda saying ‘I know what I want – I want to be a musician’. So at that time, my grandmother had bought me Canada Savings bonds my whole life so I cashed in on those, quit my job and things started to happen on a small level. It was right around that time that CBC Halifax approached me and said ‘we’d like to help you make a record’. And then I became affiliated with the guys from Dependent Music (like Wintersleep) and they released my EP. But Dependent music was distributed by Outside Music and that was my first interaction with Outside Music and they’ve been my label ever since. It’s been a really slow build, but I guess that’s the longwinded answer!

TS: Did you have any younger musical experiences?

JB: I did take piano lessons but ya know what? I hated them. I absolutely hated them. I was taught by a 90 year old woman who taught me scales and songs I didn’t care about. I have lived to regret that, though, because I can’t play piano now and I don’t read music. I don’t do music from a theoretical standpoint. A lot of people ask if Matt and I came from a musical family – but we didn’t. My dad is a scientist and my mom is a teacher – but neither one of them are musical at all.

TS: How did moving from Halifax out to Vancouver influence your music? Are there a lot of differences about the lifestyles or music scenes on each coast?

JB: Yeah, definitely. I was ready to move out of Halifax. I’d been there for six years. The musical community was so supportive and gave me the leg up I needed early in my career. But I was seeking a change and I didn’t really have the roots in Halifax. I didn’t have a job in Halifax. I didn’t have family in Halifax. I didn’t have a boyfriend in Halifax - I actually had a boyfriend in Vancouver. I had to really follow my heart and leave Halifax and move to Vancouver. I guess I’d have to say, though, to be perfectly honest, that I’m not part of the Vancouver music scene. Although there is good stuff coming out of there, I feel like I had my day in the Halifax scene and I don’t really need the immediate support of my community because I feel like I’m part of the Canadian music scene, now. But I can tell you with a lot of confidence that nothing really measures up to the Halifax music scene, but I’m kinda bias there.

TS: Your voice is very unique and stands out. Were there any key inspirations to help you start singing the way you do?

JB: It evolved really naturally. When I was a teenager, I never thought I had a good voice. No one ever said ‘Hey! Great voice!’ so I do think there was a process where I started to find my voice. I guess as a child, I would sing in choirs and they would put the girls in these really high sections like soprano, but I was never a soprano. So I realized later that I don’t sing like all the other girls. I realized too that the singers I loved all had unique voices so I stopped wishing for a generic one. I’m a songwriter too so I started writing songs with my voice in my mind, within my range. I definitely can’t do vocal acrobatics – I mean, American Idol? I would never stand a chance on that show. It seems to me that what people generally think is a good voice is someone who can do all of that stuff. But I figured it out my own way.

TS: Mischievous Moon seems pretty themed out – even down to the intricate photography and fashion in the cover art. What inspired you to write this album?

JB: The temptation to make another record like Chances was strong. I mean, I was so proud of chances and it really felt like I found my style. But I feel like with this new record, I wanted to push past the boundaries and go further down that path – and not be afraid to go for high drama and high romance and movie soundtrack-worthy, overwrought romance. Because I feel like I have those feelings and I wanted to express them musically. I feel like with Chances, it was a lighter record but Mischievous Moon has a lot more headiness and weight. I wanted to explore the complexities of love and once you’re in love, what that looks like. Thematically, I guess it’s sort of about mystery and intrigue – and the moon being a symbol of that mystery and intrigue. It’s dark and romantic.

TS: How long did it take for that up-do on the cover?

JB: It took a lot of back-combing, if that means anything to you. I really think about how I wanted to present my music. I definitely had a woman do my hair and somebody do my make-up. Ivan Otis is an amazing photographer. We did a fully day shoot – probably about 10 hours or so. It’s important for me to explore the visual aesthetics of an album. The hair probably took about an hour and a half.

TS: For All Time (2006) and even Chances (2008) have a much more strummy, picky acoustic based feel but the instrumentation on MM is pretty sweeping and orchestral. How did that transition take place?

JB: Well, I guess I’ve been playing less and less guitar. I still write a lot on guitar but sometimes I just write acapella, stream of consciousness, in the air and I find that a lot more freeing. I feel like the strings and everything sets it off into the sky. There’s something about acoustic guitar that’s really grounding. We deliberately didn’t want this record to feel that way. We wanted it to feel like it was floating in the air as opposed to that grounded feel. We wanted it to feel like it was in the sky, ya know? There is a bit of acoustic but not that much. I’ve got nothing against the acoustic – I’ll probably use it more on my next record. I think once you go up, you have to go back down. I think I’ve made my high-end, high-drama record. I’ll probably want to bring it back down to earth for my next record.

TS: I had the chance to interview Jim Bryson about a year ago. How did that whole process come about in working with him on Falcon Lake Incident?

JB: Jim is one of favourite people on earth. I was a huge fan of his before I knew him. I just think he’s a brilliant songwriter and performer. And now that I know him, I just love him. He makes me laugh. He’s just a lovely guy. We toured together and I guess that’s where it all started. We’re friends and he asked me to sing on his record and it was a huge honour. I would do anything for Jim. He’s an amazing artist. I want to tell you that me, Jim and John K Sampson all sat around in a room together, but I recorded my parts in Toronto.

TS: I was looking at your tour schedule and minus a few small breaks, you’ve basically been on the go since November of last year – how do you retain sanity and a balanced home life or does the road inspire you?

JB: That’s a good question. I love it. I really do. I love being on the road. I have an amazing band and they’re like family. I also have a really supportive husband who is my biggest champion and totally gets it. And Grant is really busy with his own career but both of our careers are so important to us. There’s a real mutual respect and understanding there about the demands they have on our lives. It makes going home and being together more precious. Our love is renewed every time. The old ‘absence makes the heart grow fonder’ thing – there’s something to that. I wouldn’t want to test it too far but my philosophy with my career is to perform as much as possible because I feel like that’s where you build an audience. I feel like I make fans for life. I’m building what I hope to be a lifelong career. So I feel like the more tracks I make, the more often I can return to those places and build an audience. So it’s important for me to play St. Catharines, London, Guelph and Alliston as opposed to just playing big cities. Touring – I love it. This is most extensive tour we’ve ever been on. But we take good care of ourselves. We eat really well all the time and we are trying to make this the ‘fitness’ tour so we’ve been hitting the hotel gyms in the morning and working out. But I get my balance from going back home and being super domestic, and nesting and cooking up a storm. But I love the road and I’m kinda addicted to it. I’m addicted to playing shows. It gives my career forward motion.

TS: What else do you think you’d be doing if you weren’t a full time musician?

JB: I don’t know. There’s really nothing else that I would want to do. I don’t really have a plan

B, if that’s what you’re asking. I’d like to be a chimney sweep and I’d sing ‘chim-chimminey’ to people. I have other interests but there’s nothing else that I can imagine putting as much time into. I have a degree in Philosophy – I don’t know what I could do with that!?! Maybe go sit on a mountain somewhere and think about things.

Listen to samples (or buy the album) on Zunior!

Matt

Nichol Robertson - Instrumental old-style country music from Toronto

2011-10-25T12:41:00.000-07:00

The new album Stranger Things from Nichol Robertson is a timeless treasure. This old-school guitar slinger lays out a compelling example of the rarely-seen instrumental country/surf/riff playing that can only be hatched from a musical mind seasoned by hours and years of live gigs.

Nichol is a musician in it for the long haul, and he certainly plays lots of gigs (with everyone from Friendly Rich to The Woodchoppers). The songs and production harken back to an earlier time that may remind you of a young Les Paul, early Lenny Breau or even teenage Jimmy Page.

This rock solid album relentlessly pleads its wordless case for more clean melodies and razor-sharp licks. It will make a believer out of indie rocks fans, jazz heads and country hippies alike. You will not be disappointed by this album.

Listen to samples (or buy the album) on Zunior here.

Dave

Find the Others - Find the Others

2011-10-22T09:46:00.000-07:00

Those familiar with Andy Sheppard likely know him as a soft-sung guitar virtuoso who, since debuting in the late 1990s, has tended toward the folk end of the singer/songwriter spectrum. Here, as (at least) 50 per cent of the creative power behind duo Find the Others, Sheppard reveals his command of a more contemporary musical lexicon, embracing loops, samples and a variety of other electronic elements to conjure an immediately engaging eponymous debut. Percussionist Mark Mariash (he of considerable live and studio experience throughout the Canadian jazz, folk and pop realms) comprises the unit’s other half.

Sparse vocals, often sung just a rung or two above a whisper, afford an instrumental quality to nearly half of the album’s 11 tracks. Several songs feature sampled narrative bits which seem to alternate between telling a (sometimes disjointingly abridged) story and merely setting a mood. The initial samples of a woman’s voice on the song ‘I Like You’, for instance, are cut so abruptly as to sound awkward and clumsily random alongside the subtlety and intent of the song’s instrumental arrangement. Presumably that was the plan. Meanwhile, ‘Sons and Daughters’ appears to mine vintage radio archives (is that Voice of the Pioneer narrator J. Frank Willis, or Lorne Green, perhaps?) in relating a tale of inevitable regional changes due to early industrialization... or something like that. One particularly dreamlike and cinematic track, ‘We’ve Got To Sell’, makes the most effective use of the technique.

Elsewhere on the album, comparisons to Sufjan Stevens seem fitting, especially on the buoyant ‘And the Bells they Ring’, with its delightful male-female vocal harmonies, and the lilting, banjo-imbued ‘Farewell to Winter’.

Mariash’s percussive contributions are showcased on tracks like the upbeat ‘The Things You Want (and the Things You Need)’ and album opener ‘In Time’, while routine flourishes of classic Sheppard six-string wizardry demonstrate the versatility of his principal instrument. The artist’s keen, appropriate sense of arrangement for acoustic guitar in the context of less-than-traditionally guitar-friendly music is commendable as well.

Several of the album's tracks can enjoyed in advance of the Nov. 1 release date via Find the Others' website.

Feist - Metals

2011-10-19T09:15:00.000-07:00

You don't often see an artist, who falls on the extreme side of artier musicians, attaining success through iPod and Lacoste perfume commercials. Feist is a rare case of someone who has superseded the idea of the starving artist by making people constantly take notice of her in a non-commercialized way. Her music canvas is the antithesis of glitzy pop; it is darkly coloured, layered, brooding and beautiful.

Metals has been a long time coming. After The Reminder's smash release in 2006, Feist has been mostly off the grid (save for a few live appearances with Broken Social Scene and other acts). After taking an 18-month sabbatical from 'the scene', Feist has released something that sounds like an album that doesn't care about the world's insane pace. The opening track 'The Bad In Each Other' opens with a drum stomp that sounds a lot like layers upon layers of hand-claps and floor-stomps. As the song careens along and the urgent beat calms down a bit, a sonorous chorus-melody erupts with strings and a male-female voice duo (featuring Bry Webb of The Constantines) and spouts words of hope and tension:
"When a good man and a good woman
Can't find the good in each other
Then a good man and a good woman
will bring out the worst in the other
The bad in each other"

The album is a dark and gritty one and at times, the songs are so organic that you swear you can almost hear dirt and garden soil spilling out of your speakers. Sonic blasters like 'A Commotion' (one of Feist's loudest offerings to date) thrust the listener into a different soundsphere with tempo-heavy, frantic vocals while a more plucky and mellowed acoustic-based tune like 'The Circle Married The Line' sounds like a B-side from Neil Young's Harvest Moon. At no point does this record fail to surprise as Feist's volume-range is jarringly brilliant. A lounge-like, distant guitar riff in Undiscovered First explodes into a catastrophic chorus that implodes upon itself with thickly distorted guitars and howling vocals. In Metals, we constantly see Leslie Feist testing her metals in the the universal themes of loving, leaving, intense sadness and being re-born.

My only reservation about this album is Feist's constant attention to funneling her voice through various filters and washes. We all know that this lady can sing in the company of the heavenly host and so I question her addiction to vocal effects. And so, until she releases an album that she records in a bedroom with just her bad self belting it out, I'll make do and be just fine with this record. It was worth the wait.

The Golden Seals - Sweet Beats

2011-10-18T10:02:00.000-07:00

If you like your pop classic, your lyrics intelligent, your production lock-solid, your musicians skilled and your songs time-tested...then check out the new one from Ottawa's Golden Seals. It's been a long wait, but Dave Merritt is back with a 9-song stunner that will stay on the top shelf of your digital collection for years to come. Check out the lead-off single below:

To buy the album, check out Zunior.

- Dave

Thick Specs - Our Aim is True

2011-10-18T08:28:00.000-07:00

Thick Specs is going with a new look. This new dynamic template provides a neat way to browse the many articles Chuck, Matt and myself have written over the past 5 years. Choose a view and see what you find. You'll see more new articles in the coming days and even more exploration of the rich history of indie rock.

Dave

The Gertrudes - New Song "Good People"

2011-08-29T08:17:00.000-07:00

Kingston, Ontario's The Gertrudes have a brand new album coming this fall on Apple Crisp Records. Check out this new song called "Good People", free for your streaming enjoyment:

Here is the full album track listing:

1. Derby Girl
2. Six Jars
3. Dreams
4. Good People
5. Flashbulbs
6. Carolina
7. Summer Plans
8. Yellow Yard
9. Heartland
10. Lonely Days

Go to the band's website at www.thegertrudes.com to listen to another track from the album.

They have upcoming shows with Wilderness of Manitoba (Sept 8, Lee's Palace Toronto), Bruce Peninsula (Sept 22, Kingston, venue TBA), and a set at Pop Montréal on Sept 21 (venue TBA). Also many more shows to come in the fall including the Black Sheep Inn on Oct 29 with One Hundred Dollars.

Stay tuned for a full review of the album next month.

- Dave

Wolfe Island Music Festival 2011

2011-08-21T10:00:00.000-07:00

On a tiny berg of land called Wolfe Island (which is known mostly for its snowy owl and windmill population), something very exciting happens every year around the start of August. The Wolfe Island Music Festival is one of the most secret but also one of the most buzz-worthy music festivals of the Canadian music scene. Virginia Clark and her team of concert promoters, prominent producers and Kingston cronies put on a show every year that literally levels the festival playing field (and I'm not just saying that because the festival takes place on a very flat baseball diamond). My photographer friend Bryce Hunnersen and myself were priveleged to be a part of this year's eccentric musical circus and got a true taste of what WIMF is all about.

FRIDAY

With some pre-main-stage showcases, that happen in different venues on the island on the Friday night, the festival's schedule extends into the late evening on Saturday. In front of the Wolfe Island town hall, on Friday August 5th, I had the chance to see Weather Station and Great Lake Swimmers. Their styles meshed well as each acts folky, haunting melodies hovered like chimney smoke in the balmy evening air.

(TOP - WEATHER STATION; BOTTOM - GREAT LAKE SWIMMERS - PHOTOS BY BRYCE HUNNERSEN)

Once GLS and WS wrapped up, most fest-goers sauntered about 100 feet down the main drag to the Island Grill where Kingston local Greg Ball opened up for Paul Langlois (of The Tragically Hip). Both performers boasted some crunchy, guitar-driven rock on the insanely overcrowded patio of the Island Grill. Luckily, we were able to snap a few quick ones as Ball purveyed a soothing but jagged twang and Langlois (backed up by Bobby Baker of The Hip on lead guitar) pounded out some fuzzy, melodic anthems.

(TOP - GREG BALL; BOTTOM - PAUL LANGLOIS & BOBBY BAKER; PHOTOS BY BRYCE HUNNERSEN AND MATT MCKECHNIE)

SATURDAY

After a great sleep and some lofty notes that bounced around in my ears for hours, we headed back to the Island for the mainstage festival on Saturday. Wilderling kicked things off with some dreamy guitar-pop and Evening Hymns stayed rootsy and quietly hallow. Jennifer Castle showed a strong, vibrato voice and Forest City Lovers displayed some sugar-sweet harmonies. When The Wooden Sky took the stage, the commanding voice of Gavin Gardiner careened through the overcast skies and got people excited, on their feet and stompin' up a storm. Their hard-edged folk was just what the doctor ordered to liven things up. Next up, Jenn Grant lent her soothing, honeydrip voice to the festival. Although some of the power of her songs was a little low with just a duo, her quippy banter and subtle vocal stylings kept the crowd riveted. Following Jenn, Kingston locals P.S. I Love You took the stage and struck buzz-chords of amplified terror and joy. People were literally ear-glued to the speakers. Plants and Animals were next on the docket and did not disappoint as they grooved right into their retro-hippie rock personas (at one point, they even had a dog on stage with them!).

SPECIAL GUEST

There had been many rumours circulating in the wheelhouse of the Wolfe Island Music Festival as Buck 65 (who was slated to perform 2nd last on Saturday) had to cancel in early August due to a family emergency. As sad as it was that Buck would not be appearing, the spirit of the festival remained high as it was announced on August 4th that a 'special guest' would be joining the lineup. Uber-unique rap stylist Shad (who actually performed at the festival in 2010) was able to show up in Buck 65's stead and he did not let down the masses. Shad had the audience in the palm of his hand as his machine-gun mouth blasted out a multi-rhyme per nanosecond.

The final act of the night were Stars and it was fitting that this ever-exuberant, sonic pop-rock troupe closed out the festival as they put on a performance clinic. Torquil Campbell seemed more energetic and excited than ever as he Amy, Evan and the gang had the crowd transfixed to their every lyric and note. Playing favourites and a wash of new tracks from Five Ghosts, Stars left no stone unturned in their musical arsenal.

Year after year, The Wolfe Island Music Festival continues to produce talented acts and an inspiring atmosphere in which to hear and see them. Where other festivals yearn for product placement, annoying intermissions and kitschy popularity, The WIMF has proven itself to be about staying homegrown and being proud of that. Even MC Stu Mills of CBC kept the tone light but still amped up the crowd when he needed to do so. Serving only Beau's beer (an organic brew from Vankleek Hill) and local food, WIMF is not out to gouge anybody with their prices (in fact, I'm sure they probably barely break even).

Even though the rain threatened and Buck 65's cancelation set a dreary tone for this year's fest, the grounds stayed dry and spirits stayed high. Wolfe Island Music Festival has shown, year in and year out, that it is not just a list of hot performers but that it is a visceral and musical community experience. You really do have to be there to understand.

See you next year on The Wolfe Islander ferry!

(FROM TOP TO BOTTOM - PLANTS AND ANIMALS, SHAD, FOREST CITY LOVERS, JENNIFER CASTLE, JENN GRANT, STARS, P.S. I LOVE YOU, THE WOODEN SKY - PHOTOS BY BRYCE HUNNERSEN).

Interview with Andrew Scott

2011-07-07T04:18:00.000-07:00

Having interviewed Jay Ferguson of Sloan a few years ago, I wanted to get a different perspective on their new album (The Double Cross) and all things Sloan. On a well-deserved break between tour dates, Andrew graciously spared a few minutes from his packed schedule to chat with me over the phone. Andrew is many things; a musician, a painter, a father and much more. This was definitely one of my most interesting interviews to date.

ThickSpecs/MattMcKechnie: Even before No Damn Fears and Oreo Reversed, what started you down the road of music?

AndrewScott: Growing up in a musical household, you can’t help but be turned on to music. All my friends were musical, my sisters were musical – I mean music is what attracted me. It attracted all of us.

TS: I know you’re a painter as well - Where did you first hit on some of your early moves like Dogs and black and white photo-type images that are coloured over?

AS: Dogs were just something I tripped over as subject matter for a long time. But as far as the black and white stuff, there was a German painter named Gerhard Richter and when I was a student in New York, I saw some of his paintings. They knocked me out and so I thought ‘I want to make paintings like that’ (chuckles). So I guess that was the springboard for me.

TS: In the balance of painting and playing music, what better conveys an emotion (or story) - is it a song or a painting?

AS: Painting is a bit more of a ‘you make up more of your own story’ type of thing. But I mean you could say the same for songs. Songs are a bit more…dare I say ‘lyrical’? (laughs) But I make paintings the same way that I write songs. I piece ‘em together and see how they come out when they’re done.

TS: Is it difficult to be in a band with 4 rotating songwriters or is it more enriching than just playing drums every song?

AS: It would be a lot more boring to be in a band with one principal songwriter. Everybody brings something to the table, ya know? It’s a much healthier way to be in a band, I think. It’s more difficult when everyone is contributing because someone might not be so into what someone else presents. But ya know, on your own songs, you run the show, and on someone else’s song, they run the show.

TS: In the early days of Sloan, was having a band with 4 different frontmen hard for marketing purposes?

AS: With Geffen, that was a problem. Geffen or any big label, really - they prefer simplicity. They need a main dude, or something. But that has always been one of our strengths. We are hard to categorize. I think that’s what sets us apart from all the mono-faced crap. I mean don’t get me wrong - there is mono-faced gold, too. But there definitely is more garbage than gold.

TS: Your dad was a jazz drummer – did that get you into drumming?

AS: I honestly never fancied taking up the drums til I was 20 years old or so. But inevitably, my dad’s drumming had an impact on me. You can’t help but always have it on the backburner.

TS: Do you prefer percussion or would you rather sing, play guitar and be a frontman?

AS: No man, I like it all. I really have no preference. I get to do everything. I mean, on the songs I record, I play every single thing but I’m a bit of a control freak that way.

TS: Traces is a pretty incredible song with a lot of themes – specifically about enjoying life. What helped bring that song to fruition?

AS: Ya know what, musically, it all began with Chris and I in the studio and I needed to write a song and I wanted to do it on the spot. My only rule for Chris’s drumming was ‘no fills’ and for me, I said ‘I’m just gonna play G’. And eventually, I threw in a few more chords and it grew from nothing into something. Lyrically, I had no real agenda. When I go to write lyrics, I keep re-writing them over and over until they are done to my satisfaction.

TS: Why did you want Chris to play a straight 'knucklehead' drum track with no fills?

AS: Ya know what, we played Sappyfest last year and Rick White (of Eric’s Trip fame) played just before us and he and his band did this song where it was this metronomic thing for the whole song. Just straight ahead drumming with no fills or anything. And it was so heavy and awesome and so, again, I thought ‘I wanna make a song like that’. (chuckles)

TS: She’s Slowing Down Again has a definite throwback feeling – it feels like it could be a Navy Blues song. I’ve heard it was based on a piano riff you had kickin’ around for years. How did that song come into play?

AS: Well, ya know, I had that little piano bit since the days of Navy Blues so it was probably was from that era. But it happened kinda the same as Traces did. Chris contributed this part where he kept singing over top of the piano riff, saying ‘She’s going out again’ which sort of helped because I didn’t know what the fuck to do with it. So after a while, I said ‘Let’s change it to She’s Slowing Down Again’ and I made it into a little tale about my lovely wife Fiona.

TS: On The Double Cross, you guys all seem to sing leads a bit more on each other’s songs (Chris on She’s Slowing Down Again – the Shadow of Love reprise in Beverly Terrace) – was there a reason for the crossovers or did they happen naturally?

AS: It really happened organically. The collaborating keeps it interesting. It’s a nice thing that we all sing. It sort of defines our band.

TS: You’ve mentioned that your 7 year old loves drumming - Now that you have kids, do they paint or play music?

AS: They do both. It’s in their blood. My wife’s an actor. They’re a couple of actors, too. They absorb everything they do. Whether they use it all when they’re older, who knows. It’s up to them.

TS: Who do you think is the coolest painter/musician of all time? Ron Wood? Bill Berry?

AS: The coolest one, just based on coolness, is probably Paul Simonon from The Clash. What’s uncool about him is that he makes these sentimental, pastoral, impressionistic landscape paintings. And tons of them. I don’t know. I’d like to say myself but I guess I can’t do that. That’s a tough one.

TS: How has the tour gone thus far?

AS: It’s been great. We have a show in Buffalo tomorrow, then we are off to Meaford, Belleville, and all over until the Hillside Festival. We’re playing live really well and there has been such good will around this record. And out of all corners, too. It makes touring that much more palatable.

TS: Greg Macdonald has been playing keys for you guys for a while now and he plays a big sound role on the new record. Are you hitting a good stride with him in the band?

AS: Absolutely. Greg’s the MVP. He’s been with us for 6 years now. He’s so crucial. He’s such a great force of enthusiasm and silliness and musicality. He’s the most musical of all of us. He hits the really hard high notes.

Review - SLOAN - The Double Cross

2011-05-12T06:56:00.000-07:00

The new album from Sloan is getting press just about everywhere these days and many are treating it as somewhat of a 'celebrity roast'. As in, 'Sloan have been around for 20 years and they are still rockin, so let's pay tribute to their legacy...but don't forget the new album is out too'. In recent interviews, Chris Murphy himself keeps making references to the Stones, who have found themselves is a similar, but larger scale, situation themselves since the late 70's. Every album is chance to remind the world of their legacy, while still trying to sell the new album. The thing is that the music biz knows better than anybody else that releasing a new album from a band with a huge back catalogue, like Sloans or the Stones, is largely an opportunity to sell back catalogue. Even if you never bought/heard Steel Wheels, you may have been inspired to buy a new copy of Exile on Main Street.

Sadly, the whole game has changed in the face of digital music, and filesharing, as the above scenario simply means that true classic bands put out albums that may or may not sell well, but all the media coverage simply reminds fans to download all the old stuff for free. The result is that the band's legacy grows bigger than ever, because everyone knows the classic material inside out from listening on their iPhones, ie. 'Penpals' is even better than I remember it, and lyrics came from old letter to Kurt Cobain, cool!', but the band doesn't get any real sales boost on the back catalogue like the good old days. 'Legacy building' usually means a band sells more tickets to live shows, but album sales become a non-factor in helping a band to make a living. Don't worry though because it's all about publishing anyway, but that could be the subject of another post.

So, the Stones don't really have to make a living anyway, but Sloan do. For this reason, it is great to see Sloan taking even greater control of their career these days, doing things like such as limited edition band-made artwork, direct-to-fan music sales and more and more song licensing. You gotta pay the bills and you gotta really be creative these days. Sloan deserve it because they have been such hombres over the years to 90's-old-schoolers like Local Rabbits, Plumtree and my old band The Inbreds. Staying in the game, and working hard to stay on top of their game, Sloan are a Canadian rock treasure.

So, I'll be like pretty much everybody else and review the album pretty much by only talking about the past (except to comment that Follow the Leader is an amazing song) with a memory of each of them from back in the mid-90's. Name drop alert!

1. Andrew Scott - Sloan took us on a 'plane' tour with them in 1997, which meant we were flying on regular Air Canada flights with the group from city to city, starting in Winnipeg, while the crew took the gear in trucks. I recall an afternoon in Calgary walking by Andrew sitting in the driver's seat of some old low-rider-type car (I don't recall why he would have been in a car) with the stereo turned WAY up rocking a Beck-like song from our Sydney or the Bush album called 'Sad Sack'. He was just sitting there smiling at us, loving the very non-Inbreds hip hop groove of the song.

2. Patrick Pentland - Patrick once asked me to dog sit at his apartment back in Halifax, when they were away on tour. Specifically this mean getting access to a frozen lasagne from his freezer and finally finding a copy of the epic AC-DC concert flick 'Let There Be Rock'. I had been looking for this full-length movie for ages, and of course Patrick had a copy. Now you can watch the whole movie on Youtube, but damn it was great to see it then.

3. Jay Ferguson - Jay actually co-managed the Inbreds at one point during the time when The Inbreds were signed to Atlantic in the US, but Sloan were not playing as a band (the 'limbo' period just post Twice Removed). Nobody, including the band, was sure if they would do another album after the label mess that happened with that album. Jay used to fly out to see us in various places, for various business-type things, but what I remember most strongly from Halifax was his super huge record collection. I'd never seen one bigger, or more intelligently curated. I can only imagine the state of that collection today.

4. Chris Murphy - On one of our very first trips as a band to Halifax, Chris invited us to his parents house to hang out. I recall his parents being the picture of hospitality and friendliness, offering us a snack of 7-layer dip that was unlike anything I'd ever tasted before.

Cheers to Sloan and please do pick up their album here, there or anywhere.

Dave Ullrich

Hey Rosetta - Seeds

2011-04-18T07:36:00.000-07:00

There is something to be said for artists that aim to write songs which sprawl out over an epic expanse of sound and time. Some can pull it off – and others fail miserably. Hey Rosetta is just that kind of far-reaching but succeeding artist. Their sophomore and highly acclaimed album ‘Into Your Lungs’ (with production from Hawksley Workman) was a pretty serious concept record with images of leaving things behind and starting anew. At times on IYL, though, it seemed as if the band refrained a bit from fully blasting off. With all of the artistic and critical fuel of IYL, it would be hard to envision the band not burning out on a third release. The kick-off track Seeds, however, rockets the listener into a new atmosphere as the driving mandolin and bass-line let your ears know that this band has something to say. The blast radius spreads right into ‘Yer Spring’ as the refrain ‘Am I rising up?’ repeats in a pensive but explosive forum. Slowing down only a tiny bit when needed, the album throttles onward with the guttural guitar-driven ‘Welcome’ that speaks about emerging into light from dark places.

‘Seeds’ shows growth – both in song depth and in heart – and in the sound stylistics and variance from track to track. Where IYL sounded somewhat similar from song to song, ‘Seeds’ shows a complex instrumentation and thematic blend as the album plays out. When asked about the album, frontman Tim Baker was quoted as saying "...the idea is that we are seeds, traveling from town to town, blowing around, settling down here and there, trying to make something for people…” – and whether or not you believe that as a premise, there’s no way to get through this album without understanding that Mr. Baker firmly believes every lyric he spouts. The music most definitely takes the listening mind to new places and leaves you with a song in your guts. For as new as Hey Rosetta are, I think that for all of the press and acclaim that Arcade Fire gets, Hey Rosetta deserves just as much praise - if not more. The proof is, and will always be, in the songwriting – and in the seeds.

We Stand On Guard

2011-03-30T04:37:00.000-07:00

Over the period of days between March 8th and March 13th, I had the opportunity to go on a little adventure with a few big boys of Canadian rock - Joel Plaskett, Dave Marsh, Chris Pennell and Peter Elkas. It was to be the first Emergency tour in over a year as Joel has been back and forth to the UK, a few times, all by his lonesome. I traveled with the lads all around rural Ontario - starting at the Dakota Tavern in Toronto on March 8th (for a solo set that Joel played with Peter Elkas to support his residency) all the way up to North Bay, Ontario for a full theatre show on March 12th.

The story is still unfolding and the shape of the whole project is still undefined - but the name 'We Stand On Guard' is the working title. The aim of the project, for now, is to closely document the lives of a few hard-working musicians in the Canadian landscape and just how they make a go of it.

For more information, you can watch the snippet below and leave feedback or comments on the YouTube page - or go to the blog site here.

Jenn Grant - Honeymoon Punch

2011-02-24T08:57:00.000-08:00

Halifaxian power-popper Jenn Grant, after the release of ‘Echoes’ in 2008, is back at her artistic prowess again with ‘Honeymoon Punch’. This is essentially good news for the music world. Kicking off the record with the uber-catchy and puslating ‘Oh My Heart’, Grant shows that she is not afraid to rock out unlike a lot of her female companions in Canada who aim for a softer, earthier sound. Almost sounding like Tanya Donnelly of ‘Belly’ in some of the layering vocal warmth in ‘Baby’s Been Away’, Grant croons and oohs to a jangly, driving walkabout. Claiming that she writes songs about almost anything that crosses her path within a day, her lyrical themes are not very lofty but still intricate enough to keep the listener engaged.

Having known little about Grant before listening to this record, it’s safe to say that I’ll be watching her musical career with laser-beam attention. In a day and age with too few Julie Doirons and Liz Phairs, Jenn Grant is needed now more than ever to lead the charge on electric guitar and synth driven, bright-rock. She can still get smooth and soft when she needs to (and the beautiful, plucky and sonnet-esque ‘Paradise Mountain’ displays that) but Jenn Grant is quickly becoming a refreshing and loud selection on a downer day.