Review – “Flavour Canyon” – Psyche Tongues

flavour canyonreviewed by J. Francis

To my knowledge (ie. YouTube’s) there are a total of two clips of live Psyche Tongues footage on the internet. One is thirty seconds of them playing in what appears to be the kitchen of a small apartment. Seeing as how there are five members in Psyche Tongues, it is incredibly cramped. The band is gleefully cranking out something that sounds a lot like The Velvet Underground’s “Sister Ray”, the few visible people that I guess you could call “the crowd” are super into it, and it’s the most fun footage of a band I’ve seen in a long time. The other clip features them playing “Pulsar // Halo” – the leadoff track of their new EP Flavour Canyon – in a venue not much bigger than that kitchen, and they have that same energy plus an ecstatic tambourine player who is having a better time than you or I will ever know.

Besides making me really want to catch the next Psyche Tongues show, it tells you something about them that the music on Flavour Canyon re-affirms: this is a group with a genuinely infectious sense of wide-eyed discovery to them. And seeing as how this is a group of guys that actually go so far as to call themselves a “psychedelic rock band” – a pretty boldly goofy thing to go telling people in the year 2013 – that’s important.

So many indie rock bands chase the neo-psychedelic Nuggets garage-rock template, and so few of them do anything with it besides aim to trigger that exact recognitory response in whatever nerd happens to have stumbled upon their shitty tape. Like any highly stylized and accessibly timeless aesthetic, it’s very easy to superficially duplicate, and thusly, when a band lands in that kind of sonic ballpark, I imagine it’s fairly easy to think that what you’ve made is good because it feels and sounds enough like something else that is good. And obviously, those are pretty different accomplishments. However, this is exactly why Flavour Canyon succeeds where so many like-minded bands go limp. They’re clearly enamored with late-sixties freak-rock, but they don’t allow it to be a limitation.

Songs like “Eat Yer Maker” and “Pulsar // Halo” have an ambitious immediacy to them that is truer in spirit to Psyche Tongues’ forefathers than most of their peers while simultaneously managing to avoid sounding like they’re trying that hard to sound like anybody but themselves. It’s easy to forget how rare it is to come across music that conveys a genuine sense of sincere enthusiasm, but Psyche Tongues are the kind of band that reminds you. Roll on down to Flavour Canyon, it’s a trip worth taking, man.

Flavour Canyon is available on Bandcamp.

Top Tracks: “Pulsar // Halo”, “Eat Yer Maker”

Rating: Strong Hoot (Good)

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Review- “ev ree wuhn EP”- ev ree wuhn

ev ree wuhn epreviewed by Michael Thomas

From the ashes of Dora Alexander comes ev ree wuhn. Sonically, it’s as though the guys have transitioned from OK Computer-era Radiohead to King of Limbs-era Radiohead. Neither descriptor is an insult.

What is clearly striking about the band’s debut EP is how easily it gets into a rhythm, and how easily that rhythm will fill the listener of the EP. The EP’s six songs can get musically dense, but the songs always build from the ground up, and any transitions from one dominant sound to another feels wholly natural.

Synthesizers play a large part in the creation of the ev ree wuhn sound, but so too does the percussion, the bass and the occasional bit of piano (the latter of which is heavily involved in “Control”). If you’re someone who likes to clap or snap along to songs, you’ll be doing a whole lot of that. I don’t think I’ve ever snapped along as much to a record as I have to this one. To be fair, songs like “Paper Tokyo” feature what sounds like snapping figures, so the urge to snap long is somewhat understandable.

In terms of influence on their sound, one could point to a whole bunch of places. Songs like “Turquoise” (which somewhat fittingly features the heavenly vocals of Bravestation’s Devin Wilson) sound right at home with hip-hop or R&B, whereas “Soon Enough” is a thoroughly experimental affair built up around rotating sounds and Alex Grant’s vocals, much of which is just him drawing out an “ah” sound.

Grant’s vocals, meanwhile, are something to take note of. While not present in every song (and “Paper Tokyo,” a purely instrumental song, doesn’t suffer for lack of vocals), they add an additionally eerie element to the already hypnotic soundtrack.

One might certainly get the sense that ev ree wuhn are experimenting to see what they’re capable, but rarely does experimentation come across so masterfully. It’s hard to accurately grasp exactly what it is that makes this EP so special, but maybe the lack of grasp is exactly it. Listening to this EP is very much a personal experience- follow along with the band and let the music take you places.

The EP is available for the unbeatable price of free from the band’s website.

Top Track: “Colours”

Rating: Hunting Call (Excellent) +*swoop*

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One-on-One with the Washboard Union

Aaron Grain (left) and Chris Duncombe (right) of The Washboard Union//Photo: Michael Thomas

Aaron Grain (left) and Chris Duncombe (right) of The Washboard Union//Photo: Michael Thomas

by Michael Thomas

For some bands, even dealing with playing one Canadian Music Week showcase can be daunting. The Washboard Union played four.

When I met up with Chris Duncombe and Aaron Grain of the Vancouver-based band in March during CMW madness, the two guys seemed the epitome of calm. Probably some of that calm came from the fact that despite only releasing their debut album last year, the Washboard Union has built up quite a buzz.

Grain and Duncombe call their band a band of brothers, all of whom were attracted to the same type of music growing up. The guys were all attracted to musicians like Willie Nelson, Johnny Cash and Hank Williams.

“Storytelling became a big part of what we do in our music,” Grain said.

“I think that’s the thing we were most attracted to—the storytelling songs,” Duncombe added. “That stuff is timeless, it doesn’t go away. That’s what probably drew us to it.”

With the band boasting four songwriters (though the majority are written by Duncombe and Grain) there’s a lot of great voices to be heard in their music. Their self-titled debut album features on the same disc the irreverent song “Hillbilly Bullshit” and also a country lament in “Billy the Kid.”

The fact that they’re a large band with four songwriters surprisingly doesn’t make things more complicated, though. “The sound is the sum of its parts,” Duncombe said. “Typical country acts have a lead singer or a lead singer and a co-singer, and the band just follows along. This is built of a bunch of pieces that were built together that way and we really focus on that.” He also added that every band member sees the build-up method as the most important means of creating their songs.

However one might define their songwriting process, it’s certainly building up a lot of buzz. When I asked them what they think is the reason for it, Grain’s immediate first answer was “We have a great publicist.” But he later added that there aren’t too many bands doing three-/four-part harmonies (and boy do I love harmonies) and that their energy is one best experienced at a live show.

“When you see a live show, you feel the live show,” Grain said. “If you can walk away from that live show with goosebumps, you witnessed it with everybody else in the room, you can talk about that. That’s an experience.”

Being part of a rising band still comes with its surprises, of course. Grain and Duncombe recounted a show they played at Rifflandia last year.

“We walked on stage and the club was maybe a quarter full, if that,” Grain started. “And we got into our first song, and halfway through the first song the club became jam-packed. And there’s these people right around the front door. Then this buzz came in the room; there was a lineup down the stairs, out the door, down the block and around the block to get into the show. So not only was it packed within five minutes, there’s a lineup. We never had that before.”

“It scared the shit out of us when we got on stage!” Duncombe said.

“The fact that we were a destination felt great,” Grain finished.

The two guys certainly made clear their love of festivals, both in terms of all of the ones they played last year and the numerous others they’ll be playing this summer. They’re also now in the process of recording a second album.

“It’s gonna be a busy summer and busy fall for us,” Duncombe said.

By the end of the interview I got the feeling that Duncombe and Grain really enjoy being busy. And that’s always a good work ethic for a band to have.

The Washboard Union will be on tour at various summer festivals this summer, dates below:
June 21st – Calgary, AB - Sled Island
June 22nd - Gravelbourg, SK - Summer Solstice Festival
June 29th - Port Renfrew, BC - Tall Tree Music Festival
July 5th - Kelowna, BC - Keloha Music Festival
July 10th - Vancouver, BC – VENUE
July 25th – Victoria, BC - Victoria Live & Unsigned Showcase

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Review – “Pity Slash Love” – Prince Nifty

princeniftyreviewed by Elena Gritzan

The other day I thought there was a ghost in my room. I was minding my own business, reading a magazine, when I heard a deep, chanting voice sounding like it was coming through the walls. At first I thought it was just my downstairs neighbour’s music, but it sounded closer than that. I stood up and pressed my ear to the wall. A bass chant came through. Atmospheric, ominous. Then I realized it was just the headphones sitting on my desk accidentally blaring the final song of the new Prince Nifty album. It’s otherworldly, indeed.

I have remarked before that you never get the same thing twice with a Prince Nifty live performance, and his huge range is apparent on the album as well. Beginning with a folk/beat hybrid, the album moves through instrumental synth tones, a cappella campfire chants, some intense dancey bass punctuation, and a Gregorian chant-inspired vocal line mixed with nature sounds.

Pity Slash Love is a conglomeration of a lot of different elements; besides the disparate genre influences, it walks a delicate line between experimental and intellectually challenging on one side, and visceral pop music on the other. This can be seen even in single songs: “Body Irony” begins with hollow percussion taps to introduce a thumping bass line and incredible synth hook, but deteriorates into quick saxophone cacophony by the end.

It is that slightly ghostly final song “O Sluggard”, that is the most striking. The sound of ducks, birds, and dogs crying out keep the song grounded in reality, while the chant transports it to another mental headspace entirely. It is the kind of song to listen to in complete concentration, eyes closed, while letting it transform you. In fact, the whole album might just allow you to achieve such transformation.

You can find the album for PWYC at the Prince Nifty bandcamp.

Top Tracks: “Pity Slash Love”, “Body Irony”, “O Sluggard”

Rating: Proud Hoot (Really good) + *swoop*

 

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Bravestation @ The Drake

Bravestation//Photo: Michael Thomas

Bravestation//Photo: Michael Thomas

by Michael Thomas

Apparently Jack Daniels supports emerging talent. I was wondering what in the hell “J.D. Originals” was that was presenting Bravestation’s IV release show last night at the Drake Hotel. Turns out it’s none other than everyone’s favourite whisky (or maybe only some people’s favourite whisky; I don’t know my whisky very well).

Before the main act went on, though, there was an opening set by a hip-hop act called TFHOUSE. The almost complete disconnect between opening and headliner was a little jarring, to say the least, but the small crowd who showed up early seemed to like it.

I personally didn’t enjoy TFHOUSE all that much, mainly because I’m not much of a rap fan when it comes down to it. I didn’t really get anything from TFHOUSEs lyrics, particularly when he was singing or rapping over top of recorded vocals, although some of his stage banter was a little amusing, particularly before he started in on a song that Devin Wilson of Bravestation recorded vocals for. I was a little more interested in the DJ, I guess, but overall I wasn’t bowled over by the opening act.

After a Jack Daniels rep introduced the band and incorrectly identified IV as Bravestation’s second full-length album (it’s actually an EP, and their third EP at that) the band took the stage to a suddenly-crowded house.

It’s been literally years since I’ve seen Bravestation live- by my memory the last time I saw them was in October or November of 2010, and so seeing them simplified as a three-piece is interesting. Devin Wilson seemed particularly freed, sometimes going through whole songs occasionally tapping an electronic pad and providing his stellar vocals.

The band played a good mix of tunes from IV and Giants & Dreamers. It took seeing them live to realize that Devin Wilson’s vocal timbre is so smooth that if Bravestation were to decide to do an R & B tune, they probably could. He certainly had the audience entranced.

The trio’s best moment came toward the end of their set, when they got the audience really moving and grooving with a combination of “Fluorescent Scenes” and “All We Have is Us” from Giants & Dreamers and IV, respectively.

Wilson was quite respectful of the help the band had gotten- he acknowledged former member Andrew Hoeppner as well as their sound person, both of whom helped create the fairly unique sound that is Bravestation.

The set was fairly short, at around 45 minutes, and the crowd at least briefly wanted more. They probably would have loved to hear a little “White Wolves” or something from the 2010 EP although perhaps the band might be tired of that recording. Either way, their performance inspire equal parts dancing and cheering, so it was fun.

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Review – “Will to Well” – Heard in The Mountains

reviewed by Laura Stanley 

It’s amazing how a band can musically sound not all that different from some other Canadian bands but are still able to distinctly kick-ass. The debut EP, Will to Well, from Vancouver five piece band Heard in the Mountains continues the now familiar sounds of the “indie-rock” genre but are able to draw from enough varying sounds and inject it all with some personality to create a very strong first EP.

Will to Well’s album art captures a man (a band member?) half-way between land and water, soon to plunge into the unknown. That feeling from calm to chaos is one that is captured in the EP’s opener “Sills.”

A song which has a bit of a We Are The City vibe about especially with regards to some of the new soundscape from their upcoming record Violent, “Sills” begins with a light piano and vocal combination, mirroring that calm feeling you have after you jump and just before you realize that the water is coming closer. The song then swells to instrumental chaos as you are submerged into the water and ultimately submerged into the EP itself.

The following track, “Raccoon Hands” is the clear standout from the EP. A more a-typical “indie-rock” sound,  energy, catchiness, and just plain fun (animal references are aplenty!), are obviously included, the fact that Heard in the Mountains have a real winner here on their debut EP can only mean more great things to come.

Similar to “Sills,” “Major Change” is more textured and has an atmospheric sound, allowing for their other influences, particularly their “orchestral-synth-pop” ones to really shine. Besides showing off an impressive range in vocals from keyboardist and vocalist Mitch Walford, “Major Change” features a very epic feeling in the song’s build, gracefully coming to a whole end within the last minute of the song.

To finish off the EP, “In The Meadow” nicely combines all of the positive qualities of Heard in the Mountains. A sprawling and light guitar part fills the beginning of “In The Meadow,” instrumentally ushering in an extremely lush verse. While the same lushness continues and eventually ends the EP, it is temporarily interrupted by the almost dance-worthy bridge of “In The Meadow,” again, showing all sides to this very promising band.

Will to Well is available on Bandcamp and watch the band perform “Major Change” for a live music video below.

Top Tracks: “Raccoon Hands,”

Rating: Proud Hoot (Really Good)

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Review – “Tragic Care” – Folly & The Hunter

tragic carereviewed by J. Francis

The cover image of Folly & The Hunter’s Tragic Care is that of a mountainous landscape being swarmed with anthropomorphic spirits at dawn, all painted in muted colours.

This, combined with the record’s title and the band’s probably-intended-as-endearingly-esoteric-and-vaguely-old-timey-but-kind-of-hopelessly-goofy name, all adds up to a first impression that seems so aggressively determined to not just fall into, but to consciously become the very essence of the stale and unfortunate Serious Canadian Indie-Folk Band archetype that it’s easy to dismiss the whole thing right off the bat. And in a way, it’s a totally justified reaction. If you already think you’ve heard this band before just by adding up all these extra-textual details, it’s because you have. There is nothing immediately special or, heaven forbid, cool about Folly & The Hunter.

Their influences are blatantly obvious and unsurprising (Sigur Ros, Bon Iver, etc., etc.); you can hear them trying to hit all the marks. But hey, there is no evil inherent in simply wanting to make more of something you love. Folly & The Hunter a band that does one thing – but they do their one thing quite well. There are songs here, most of them good, and throughout they are sprinkled with enough small surprises to give Tragic Care enough of a unique personality that it does end up being more memorable and re-playable than you’d have much cause to expect.

Right from the opening notes of the record, there is a hint of something different. The first eighteen seconds of opening track “Watch For Deer At Dawn” is comprised of a clean, pentatonic guitar pulse over a modestly droning organ. It’s beautiful and, in its curveball Spacemen 3 evocation, weirdly thrilling. Then, some polite piano is introduced and the song immediately loses its edge, settling for a complacent attempt at earnest pastoral majesty, just like countless other bands that have populated the independent Canadian music landscape over the last decade-plus. These brief flirtations with breaking the mold populate the entirety of the record, and, depending on your point of view, can be alternately wonderful and infuriating.

The record’s greatest strength, however, is the band’s sense of melody. It, along with singer Nick Valee’s vocal cadence, can be eerily similar to that of Sufjan Stevens’ earlier, less wildly ambitious work, and it sometimes shares Stevens’ nameless, ghostly quality. The highlight of the record is “There Are No Great Redeemers”, as good a song about consciously disengaging with the dangerous illusion of complete fulfillment a new love affair brings as there’s ever been. As Vallee’s voice floats gracefully over a guitar line that doubles the vocal melody, the narrator’s pensiveness shifts more and more into something resembling a severe – but tangible – epiphany: “She is no great redeemer/I do not feel I need her.” It’s a bold, standout moment on the record, and its because the quietly triumphant nature of the music finally feels earned instead of like a game of aesthetic colour-by-numbers.

Top Track: “There Are No Great Redeemers”

Rating: Young Hoot (Decent)

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Review- “Skeletor EP/Lamprey Vargas”- Jay Holy

skeletor epreviewed by Michael Thomas

As Quick Before It Melts pointed out, it can be pretty tough to sift through recommendations for music. Friends are constantly telling you “I just listened to so-and-so and they were amazing. You have to listen to them.” And sometimes those recommendations fall by the wayside, particularly when you’re someone who receives pitches from bands nearly every day.

But when a musician you admire recommends something, you’ll probably instantly snap to attention. So it was with Jay Holy, recommended by the wonderful Rebekah Higgs. Jay Holy is/was part of the Toronto band Pow Wows, and is now making music solo.

In the span of a little over a month he’s released two EPs; the Skeletor EP is a new batch of songs with a theme of, you guessed it, skeletons, alongside Lamprey Vargas, which is apparently songs from 2009 (it’s really the only context that can be gleaned from Holy’s Bandcamp page.)

Skeletor EP is a very cohesive set of five songs, three of which feature some form of the word “skeleton” in their names. “Gothic” or “funeral pop” might best describe these songs which keys and synths that shudder and slide, often over top of a very solid bass line. Opener “Skeletons” features the paradoxical line “We’re livin’ like skeletons,” the music punctuated with rhythmic blasts of keys.

“You’ve Become Skeletal” goes for a slightly slower pace than previous, but the song still manages to pack just as much of a punch with lyrics that referencing dancing on a grave in a graveyard. The song appears again at the end of the EP as “Skeletal (Moog Abduction)” which becomes purely instrumental, with more stuttering keys thanks to the removal of vocals.

“Post Modern Medusa” is another instrumental track that definitely has a funereal element to it, sounding at first like a hymn one might hear at a church (though naturally without the bass that’s also present here). “Insight of Isis” makes a good counterpoint, bubbling to the brim with a great groove.

lamprey vargasThen there’s Lamprey Vargas, which is noticeably quite different from Skeletor. In these songs Holy’s vocals are a bit rougher around the edges, but they suit the atmosphere of the songs just fine. Opener “Hood and Cape” immediately hits hard with its almost punk-like assault of guitars over keys. The vocals here are basically indistinguishable, but like the music of WTCHS, they serve well as another bit of atmosphere. “You Fell In” somehow manages to get even more frantic, with the vocals getting a little clearer.

“parlando morti” is a creepy and jarring little track that features a garbled voice speaking what is presumably Spanish over crackles and blips. Lamprey Vargas ends off with “Pyre,” a wicked, groovy number with woozy synths despite the song’s tendency to remind one of funerals. But then, Jay Holy’s entire first EP should do that.

So to sum up, Jay Holy’s stuff is super slick and you should go hear it. Both albums are pay-what-you-can downloads so you have no excuse.

Top Tracks: “Skeletons”; “Pyre”

Rating: Proud Hoot (Really Good) +*swoop*

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Visual Hoots: Wintermitts

In further “how-in-the-world-did-we-miss-this” news, Vancouver outfit Wintermitts last month released a stunning new video for a new song, “Our Love.” Talking about the song for a minute, it shows that the band is willing to change things up a little bit. Wintermitts have always been a bit of a “chamber-pop” kind of band, so the melodic, drum-machine-assisted opening is mesmerizing enough. As the song goes on, more instruments come into the fold to bring up the energy, and it’s one of the most thrilling builds I’ve heard in a long time.

The video, directed by Artino Ahmadi, is basically a short film. It’s mind-blowing how much story and raw emotion Ahmadi manages to pack into a little over five-minutes. It manages to pack in independent shadows, unicorns, dragons, universe-jumping and a sleepover, among other things. Visually it’s great too- it’s a music video you won’t want to look away from.

Keep on going, Wintermitts.

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Review – “Luna” – Collette Andrea

reviewed by Eleni Armenakis artworks-000043683387-hro04k-original

Brampton native Collette Andrea (Collette Falk) released her debut EP, Luna, in March of this year with the help of Hannah-Kin Studio in Georgetown. The five-song EP is a teaser of what’s to come from this Ryerson Social Work student, who’s promising a full-length album soon.

Collette cites a surprising mix of influences, including Joni Mitchell, Feist, Janis Joplin, Alice in Chains, Sublime, Cat Power, Nirvana, Jimi Hendrix and the Smashing Pumpkins—influences that aren’t all immediately evident, but show themselves in Collette’s playing.

“When The Sun Goes Down” introduces Collette’s Feist-like voice, and her steady acoustic guitar rhythms (a leftover from her earlier days as a bass player). The sparseness of the track works to show off Collette’s vocals and lyrics, and provides an apt introduction to her sound.

“Broken Coast” again offers a minimalist approach to the guitar, though with more variations than “When The Sun Goes Down”. The latter minute of the song introduces another guitar, adding a nice extra layer while Collette steps away from the mic, using the opportunity to show off the music rather than her voice.

There’s a nice country twang to Collette’s voice with “In The Morning” as she moves away from the typical indie-girl sound and draws on her other influences.  The strumming also picks up strength, creating a fuller sound to go along with the more powerful vocals.

The penultimate track on the EP, “The Night You Packed Your Bags,” is the meeting point between the indie-pop sound of the first two songs, and the powerful vocals of “In The Morning”. Collette’s voice sounds like it’s found a middle-ground between the two, while musically she’s much more present than on the EP’s first songs. It’s a welcome change, since it’s obvious she knows how to match her music to her vocals.

“Hey Jack” is reminiscent of Patrick Watson’s “The Great Escape” as it evokes imagery of long roads and empty plains. The country-inflection isn’t as prominent, but it again adds a depth to Collette’s voice that shows off her impressive abilities.

Collette’s voice is capable of a fullness that emerges during the second half of the EP, suggesting greater things to come with her full-length album. The simplicity of the album is surprisingly effective—allowing the vocals to take precedence over everything else. The steady, constant rhythm of her chord progressions reveals her musical past, but add a mesmerizing effect that makes late-night listening a pleasure. Since it’s so easy to get lost in, the fault of this EP is how abruptly it ends.

Top Tracks: “Broken Coast”; “In The Morning”

Rating: Strong Hoot (Good)

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