#canadian music reviews

[mywifeleftme]

298: Wolf Parade // Apologies to the Queen Mary

Apologies to the Queen Mary Wolf Parade 2005, Sub Pop

Apologies to the Queen Mary is on the short list of ‘00s indie records that I’d consider masterpieces. The funny thing is that my list, as someone who was there (or there-adjacent), is pretty well fixed in time, whereas the consensus among Zoomer critics continues to morph in ways I’d never have figured. (Or maybe it’s not funny, really—just always how time and memory work.) In 2008, I would’ve bet my left pinkie that TV on the Radio (and especially Return to Cookie Mountain) would be the defining band of the era. Meanwhile, in 2024 the Killers are still riding the same five songs to a second greatest hits record and fifty times TVotR’s monthly residuals; the National have tween fans; and I hold a mug weird. Time clowns us all and Wolf Parade are a dad band now, owners of a few anthems from the era before genuinely weird indie bands could near the summits of the pop chart, economically compelled to continue touring small theatres together despite both Boeckner and Krug having been more invested in other, even less profitable projects for some time now.

Wolf Parade is one of those bands with two lead singers who sound indistinguishable before you know the group well, and instantly identifiable thereafter (like John and Paul of the Beatles, or Felix and Will of Chapo Trap House). They’re both yowlers who let their voices crack pubescently as shorthand for the frayed emotional spectrum they traffic in, given to barking and hooting to help drive their bric-a-brac compositions forward. Boeckner is a lanky post-punk looking fuckboy in roughly the Richard Hell mould, given to posing sweatily in torn undershirts and starting projects with a succession of raven-haired keyboard players he’s also dating. He loves motorik dance rock and Wire, but also has a substantial helping of Bruce Springsteen in his songwriting. Krug is a stocky, normal-looking guy who doesn’t really meet your eyes and self-deprecatingly called his solo project Moonface. He writes lyrics that sound like philosophy and love letters translated from an alien language, and prefers his music to both thwack and quaver.

Their similarities give Wolf Parade coherence, but much of their dynamism comes from how the two singers pass the controls back and forth. Backed by electronics tinkerer Hadji Bakara and Arlen Thompson, a drummer (crucially) capable of serving as a rhythm section unto himself, Krug and Boeckner find the perfect balance between Krug’s experimental art collective predilections and Boeckner’s slyly sexual rock ‘n’ roll heart. Krug leads with the empty warehouse strut of “You Are a Runner and I Am My Father’s Son”; Boeckner parries with the hooky acoustic rocker “Modern World”; Krug closes with the brittle seven-minute dirge “Dinner Bells”; Boeckner responds with the pinkly-hued Suicide-Springsteen collab “This Heart’s on Fire.”

Both Boeckner and Krug have made wilder, stranger music elsewhere, and there are plenty of other brilliant Wolf Parade songs to be found across their subsequent records. But Apologies remains the greatest blend of their particular talents they ever managed, a perfect example of two guys pushing each other to do their best work. With luck, a future generation will reconsider Wolf Parade and its many, many satellites (Sunset Rubdown, Operators, Handsome Furs, Frog Eyes, Swan Lake, Divine Fits…) as one of the most interesting micro-scenes the whole post-alternative rock era produced. And if not, I’ll still be here spinning the record a few times a year, believing in it all all over.

298/365

[aeolianblues]

I saw the Daniel Romano Outfit recently. Loved their music for a bit, so I’m really glad to finally have seen them live! They were exceptional, the energy was fantastic, pick me up, and they were tireless: the set was tight, Daniel didn’t say a word until his ‘thank you’ at the end of the first part of the set, but the music spoke for itself, shook you out of any torpidity and got you on your feet, stomping away and dancing with whoever’s next to you, singing and chanting along. It was a great night.

[thejoyofviolentmovement]

New Video: SUUNS Share Sludgy and Shoegazy "Wave"

New Video: SUUNS Share Sludgy and Shoegazy "Wave" @suunsband @JoyfulNoiseRecs @pitchperfectpr

Montréal-based experimental rock outfit SUUNS— founding members Ben Shemie (vocals, guitar) and Joe Yarmush (guitar, bass) with Liam O’Neill (drums) — can trace their origins back to 2007: Shemie and Yarmush got together to make some beats, and it quickly evolved to a few songs. The duo was joined by O’Neill and Max Henry (keys) to complete the band’s first lineup. The band signed to Secretly…

[pennanbrae]

Album review by ‘Girl at the Rock Show’ for the new ‘Arcade’ 🕹️ album. 10 tracks of vintage style rock & roll, one single of which, ‘Ricochet’, streams below.

[sophsweet]

Starting new journey to live music promotion funding

Recently, I got approached by a company called UK Startup. We set a date for a call-back in 2 weeks time after they chased me by email then phone over the summer. I get wary when the other contents of my life are disregarded by any new interloper. Following our call, Sophie Blair sent me an email outlining the process. Essentially, they attribute support, provide a platform to build a business…

[thekillogiceffect-blog]

FREEZE THE FALL - Masquerade REACTION | Metal Head DJ Reviews

Today we are checking out a band out of Canada called Freeze The Fall with their song "Masquerade".  Once again they rip it up with awesome hooks killer riffs held together with some awesome bass lines and hard hitting drum beats that really put this song over the top! It has a real catchy chorus as well that sticks to the brain and just overall has fantastic writing both musically and lyrically! If you are a fan of bands like The Warning or just rock and hard rock in general I highly suggest checking this band out!!! Have you heard of Freeze The Fall and their music? We will have you all linked up on where to go show this awesome band some support! Share their music and videos and show this incredible up and coming band to everyone you can! Also let me know what you think about them and suggestions are always welcome! #music #reaction #review Freeze the Fall - Masquerade https://youtu.be/9YnQhK2d-BY Official Website: https://freezethefallband.com/ YT Channel: www.youtube.com/@UCxoq7LQwBMai25LC261Q2CQ IMPORTANT LINKS: linktr.ee/freeze.the.fall.band Instagram: instagram.com/freeze_the_fall_band TikTok: tiktok.com/@freeze_the_fall_band FaceBook: facebook.com/freeze.the.fall.band My Social Media: patreon.com/thekillogiceffect https://www.twitch.tv/thekillogiceffect https://www.reddit.com/user/TheKillog... https://www.tumblr.com/thekillogiceff.. thekillogiceffect.weebly.com https://www.facebook.com/thekillogiceffect/ twitter.com/KillogicFilth vk.com/thekillogicefect Join this channel to get access to perks: https://www.youtube.com/channel/UC7KATFYYjZG1Zr8eowKdaMQ/join

[thepermanentrainpress]

FAWKES & HOWND: BACKROADS

Backroads – Fawkes & Hownd Release Date: June 7, 2024

Track Listing:

1. Backroads 2. A Little Longer 3. I'm Sold 4. Follow You Anywhere

It’s been a long-awaited return for Fawkes & Hownd. Five years prior saw their debut in Balancing Act and a single released shortly after. I’m happy to say they haven’t lost their congeniality and charm.

The four songs were written during a 2023 trip by music (and life) partners Justin Kelley and Phöenix Lazare, and later recorded in Qualicum Beach at Barnhouse Sound Studios. They’ve grown as musicians and people since their last release, which is reflected in their new music.

“Backroads” is relaxed and playful. An homage to both Kelley and Lazare’s childhoods on the coasts of Massachusetts and British Columbia, respectively, it speaks to the idyllic landscape and livelihood they bestow on their residents (“Backyards and picnics / Following footprints / Sparklers spray like fireflies”). The slower pace is perfect for the song’s ‘cruising with the windows down’ vibe, with soulful vocalising between Lazare and Kelley.

Kelley has the vocal lead on “A Little Longer,” fitting as he initially wrote the song ten years ago before it was re-worked by the duo. It emits the universal feeling of holding onto the emotions and positive memories of a just-ended relationship – heartbreak whilst material items bring a sense of comfort and peace. There is more of a cinematic, sweltering feel, but it remains grounded with the use of acoustic guitar. It’s a wistful, reflective piece and stands as my favourite from the EP.

“I’m Sold” is a beautiful look forward for the pair. It dreams of children, a dog, a lake view, next door neighbours, and ample family time. The personal storytelling never fails to make a mark for Fawkes & Hownd. Amidst the wish factor is the idea that future plans can change with time and more life lived (“I never thought I would take it slow / But as of late it’s all I crave”). In sound, the song is compelling with roots and Americana at its core. Their voices blend together seamlessly in the chorus and in some verses, Lazare’s upper register a gracious and soft echo.

I was pleasantly surprised by “Follow You Anywhere” and the 70’s rock influences. The added groove to their folk mainstay was refreshing. Sweet and simple in narrative, it speaks to their love for each other and a bond that can carry them to new and unexpected places. In addition to acoustic guitar (Lazare) and electric guitar (Kelley), the release features Atom Lazare on drums and Sam Schuette on bass. Their additions help create the full sound in the song, building on the bright and controlled energy from the vocals.

I’m left inspired by Backroads. It is smooth and purposeful in all the right places. Fawkes & Hownd are kindred spirits and tonally, there is an immense warmth and consideration in their music. I’m glad to see them back with further experiences to share and musicianship to showcase.

Backroads is available on Spotify and Bandcamp.

Written by: Chloe Hoy

[musicftmisfits]

Matías Roden - Close Your Eyes

Here's a dark and crooning new release that is a simply satisfying listen and the perfect introduction to the dark new wave slash indie rock sound of Matías Roden!

Here’s a dark and crooning new release that is a simply satisfying listen and the perfect introduction to the dark new wave slash indie rock sound of Matías Roden! ‘Close Your Eyes’ is a softly thumping, slowly building new wave release hinting at influences taken from indie rock and synth pop and it’s addictive from its very first listen. Those crooning vocals and that shimmering, colourful…

[standing-wave-mag]

Let’s Hear It 2024 Showcases Vancouver’s Most Promising Musicians

On a cold March evening in Vancouver, 4 beloved venues heated up for a night of local talent. From the prestigious Fox Cabaret to the intimate winery La Fabrique St-George, people gathered from all corners of the city to taste a flight of 18 talented local bands in 30-minute increments.

While I wish I could’ve cloned myself and attended all 18 often overlapping shows, I was still able to discover a handful of music I didn’t know existed until that very night, which is something uniquely special. Every artist brought something new to the table that had locals hook line and sinker. Here’s a rundown of each show I was able to attend.

FOX CABARET – Parlour Panther, Haleluya Hailu

The night all started at the historic Fox Cabaret in Mount Pleasant, the former porn theater-turned-venue. Known as the hottest venue in the city (according to the MC, in temperature not vibes!) the space was surprisingly chilly. But the spirits were high as guests piled in ready for the first band to hit the stage.

Four-piece Parlour Panther opened the night, engaging the crowd with dreamy indie pop tunes. Lead vocalists and instrumentalists Frankie and Lee have been making music for a decade now, and this was evident as their chemistry filled the entire room. They promoted their new single “BLOOM,” a bass-heavy but light indie pop tune about self-change. Just observing from the floor, you could feel the intense love reverberating amongst the band members; this is what they enjoyed the most. They were the best choice to kick off the night on a positive note.

Following this was the quick-witted and feisty singer/songwriter Haleluya Hailu. Hailu, her drummer and guitarist all walked on stage wearing brightly coloured construction vests, with the singer waiving a light saber-esque red wand around the stage.

“We're here to construct sounds for you!” she joked.

The singer has a distinct R&B flavor with a trilly powerful voice that launches her music into new dimensions.

Hailu showcased singles such as the floaty “pinball,” and crowd favourite “MANIC PIXIE PACIFIST.” Using the infamous trope, the singer wants you to know she is a force to be reckoned with.

Boldly, she quips at the crowd to boo her. She gave out her next song “Useless” to all Vancouverites, defining her relationship with the crowd as one of love-hate (but mostly love, we can only hope).

RED GATE - POSH COAT, LEO D.E. JOHNSON, SLIGHTEST CLUE

Next to open its doors was Vancouver’s beloved DIY music and arts hall Red Gate Arts Society. Upon arrival, the venue felt like a closed down fire hall. But once inside, it opens a dimension where all music and art is free to thrive–it’s like a breath of fresh air from the larger shinier venues that have been popping up lately. From the holes in the ceiling, to the cartoon eye stickers placed on the speakers, this venue is brimming with charm.

We were just in time to hear Posh Coat's final song. The trio, hailing from nearby Victoria, has so much potential to be a superstar band, describing themselves as “a cold front of Arctic Monkeys from the north.” It is astounding they currently only have 3 singles out at the moment, but their standout talent and energy is evident. I can’t wait to see what’s next for them.

Following Posh Coat, powerhouse singer/songwriter Leo D.E. Johnson took to the stage, absolutely blowing everything out of the water. Simply accompanied by an electric guitar and a drummer, Johnson’s voice evoked such a primal appreciation for how transcendent music can be. Blending soul with rock n’ roll, the non-binary artist expresses intense lyricism involving identity and belonging, allowing his voice to be all-encompassing. 

He performed my personal favourite track “Beneficiary,” a 7-minute ballad featuring growling rock vocals in the chorus combined with softer soulful verses; this perfectly showcases Johnson’s versatility as a vocalist and lyricist. To me, Johnson is the most promising and talented new Vancouver singer and songwriter we have.

To complete my personal Red Gate sandwich of performances, 4-piece band Slightest Clue was up next. What piqued my interest was the background of each band member, and how they shouldn’t work: “a stage actor, a hook-obsessed recovering choir girl, an electrical engineer, and a guitarist who played for (and left) ten other bands before deciding this was the one for him.” Their biggest draw is how they really shouldn’t work as a band but somehow do, in a post-punk garage kind of way.

The Vancouver misfits were eager to play songs off their latest EP Carousel, chock full of drippy post-punk hooks and word-vomit ramblings between verses. Lively bassist and vocalist Hannah Kruse asks the crowd “have you ever had a crush like, really really bad? ‘Cause I have,” before launching into the heavy garage guitar obsessive single “Why Can’t I Call You.” 

Another highlight was the “Carousel” single, featuring a back and forth vocal war between Kruse and lead vocalist Malcom McLaren accompanied by screaming guitar solos. Despite their mismatched union, the band is quick to show that they work in such a unique way that draws any post-punk indie rock fan in (seriously, I can’t stop listening to their music, even days after their show!).

La Fabrique St-George - JADE LE MAC, CARA BATEMAN

The final venue to open its doors for the evening shows was the smallest and most intimate of all the venues: winery La Fabrique St-George. A small queue of people formed a line outside, as the venue was at full capacity for a short burst of time, showing just how much Vancouverites were flocking for the local talent. Eventually, as people trickled in and out, we were let into the narrow hall. Unlike the grandeur of the Fox Cabaret, or the boldly artsy halls of Red Gate, La Fabrique held a more sacred and somber tone. Concert-goers sat cross-legged on large colourful pillows  in front of a small stage, or around long tables drinking wine.

Jade Le Mac was next, perhaps the most popular and youngest of all the artists in the festival. Armed simply with her powerful steady voice and an accompanying guitarist, it’s easy to see why Le Mac is so renowned among teenagers and young adults; she is the voice of youthful angst. Her lyricism and bubbly personality leads me to believe she is Vancouver’s own Olivia Rodrigo.

It’s clear she’s passionate about everything she writes, sharing stories and background about each song before launching into it. For the short set, the singer jumped between albums “Constellations” and “Confessions,” showcasing just how versatile she can be in sound: from the starry-eyed softness of single “Constellations” to the pounding anthemic “You’re Not A God.” Le Mac has the spark to launch further into superstardom.

To round out the night, the final artist to hit the winery stage was the charismatic and compelling Cara Bateman. Described by her friend as a “35-year-old teenager,” the artist walked out in pink sunglasses, cowboy earrings, and a silver glitter top. What makes Bateman stand out the most is her ability to genre-jump: using a primarily singer/songwriter base she can flawlessly transition from country to punk.

The risk-taking singer launched into her latest single “Time To Be A Bitch,” an electric-guitar heavy anthem about setting boundaries and self-defining. But later, she seamlessly transitioned to the moody and jazzy “I Wrote This for You.” Each song was stripped down with piano and guitar accompaniment to match the low-key tone of La Fabrique.

To me, these two artists with their stripped down sets were the perfect way to end the night. Of course, many were headed to the late-night bonus shows at the Cobalt featuring more local artists such as NIKKAELA and PEAK. While I ended my night at the winery, I’m sure the aftershow was just as much fun as the entire evening.

MusicBC’s Let’s Hear It Festival is only in its second year of operation, but judging on how fast tickets sold out, it’s clear the people crave a glimpse into Vancouver’s newest and best local music. This is the festival to fill in the gaps, the perfect palette of music that allows local audiences to connect with emerging artists.

[artjipson]

Faves of 2023: Elephants and Starts - Get Your Own Army

Elephants and Stars, the Canadian band led by singer and guitarist Manfred Stittmann and bassist Mike MacMillan, is a muscular blend of musical prowess and lyrical brilliance that captivates all who hear their songs. Their sound transcends rock and roll boundaries, imagine fusing indie rock with catchy pop elements, creating an atmosphere that feels both familiar and refreshingly new. All too…

[theindyreview]

Album Review: Billy Raffoul - For All These Years

#AlbumReview: @BillyRaffoul - For All These Years Canadian singer/songwriter delivers a double shot of BLISS with his newest album release @NettwerkMusic #newmusic #review #indierock #indiefolk #folk #billyraffoul #singersongwriter #foralltheseyears

Every now and then a musician will come along with the type of voice that will get under your skin and stay with you for a long time. In the past, that’s happened to me with such artists as Hozier and KALEO, but I was side swiped in 2017 when my Spotify Discover Weekly playlist delivered to me a track called “Driver” by a new artist on the scene, Billy Raffoul. His voice instantly made my list of…

[mywifeleftme]

361: bill bissett & The Mandan Massacre // Awake in Th Red Desert

Awake in Th Red Desert bill bissett & Th Mandan Massacre 1968, See/Hear Productions (Bandcamp)

(From “mor memoreez uv marvara reel konversaysyun,” scars on the seehors, Talonbooks 1999)

That’s a sample of how poet bill bissett’s writing looks on the page, phonetic and arbitrary, intuitive and free, while also checking the reader from taking any word for granted. The poems are frequently conversational in tone, but the way you have to sound out his writing to understand it means the reader's cadence ends up replicating the idiosyncratic singsong way bissett speaks. The 84-year-old remains a one-of-a-kind live performer, doodling all over the line between spoken poetry and song. He croons nonsense lullabies and pastiche ragas, shakes a maraca, intones mantras until their familiar words lose all their sense, even dances a little. It’s funny—I wouldn’t recommend his writing to someone unfamiliar with the avant-garde, but I would confidently take just about any open-minded person to see one of his shows. He has the affect of a holy fool or a joyful monk, and basically anything he does makes more sense in the context of his corporeal presence.

Back in 1968 though, bill was a wild young man, and Awake In Th Red Desert, his LP with backing “band” Th Mandan Massacre, is full of noisy freakouts and some patience-testing explorations. The Massacre includes four percussionists, some trained (jazz drummer Gregg Simpson) and some not (poet Martina Clinton, bill’s then-partner); electric guitar; two flutes (one a toy); and cutting edge Buchla Box synthesizer by the otherwise unknown Wayne Carr. Response to Red Desert has been pretty mixed—one of its Bandcamp uploads even warns, “Please preview the tracks before downloading. There are no refunds.” I suspect many listeners don’t make it past the first side of the record, which often sounds like what it is: clattering free improvisations around bissett’s sung or shouted recitations. On the flip though, things mellow out for some fascinating minimal synth explorations, bissett doing his visionary thing on a haunting electronic field (see “fires in the tempul”). “she, still and curling” is particularly freaky, Carr making sinister cricket noises with his Buchla, tape of bissett’s voice chopped up into hypnotic loops, layered and manipulated till it sounds like a collage of short wave radio transmissions. The ramshackle noise of the early tracks eventually returns on the awesome “now according to paragraph ‘c’”: bissett reads what (initially) seems like a found text that gets weirder and bolder as the poet works himself into a lather, the Buchla’s bleak tones tattered by the percussion squad’s stiff beat.

I snagged this off Montrealer Alex Moskos, who oversaw the reissue for Massachusetts-based avant-garde label Feeding Tube, and getting this thing back out there has clearly been a labour of love for him (the production quality is impeccable; great explanatory liner notes too). Are there 500 people who want this record? I’m not sure. But for fans of bissett, sound poetry, freaky music, and early electronic, this’ll be of interest. One idea: tell people Awake was the work of a solar death cult leader from the Pacific Northwest who disappeared during an eclipse and they won’t be able to keep the damn thing in stock.

361/365

[aeolianblues]

“Guitars! More guitars! I will not be honest with myself”

Kiwi Jr. are amongst the wittiest modern indie bands in Canada right now. Go check them out! This song is taken from their debut album Football Money, 2019, and is a short, sweet, punchy record that left us wanting so bad that their second album announcement was a genuine delight to me, as was the news that Subpop Records had signed them (if the name sounds familiar and you’re not sure why, it’s the indie label that signed a ton of 90s alternative bands in the wake of their most successful signing: Nirvana).

Now three albums in, Kiwi jr. are on the up: in only the last year, they’ve played well attended gigs across the European indie circuit, and opened in the states for some mammoths of indie music and their own heroes, Pavement, Dinosaur jr., and also other cool names like Guided By Voices and Sloan. Their most recent third album Chopper sees them lean into darker sounds, while keeping that distinctive Kiwi sound. Get on this band while they’re still small!

[thejoyofviolentmovement]

New Video: Yeah Yeah Yeahs Share Dance Floor Friendly and Feral "Wolf"

New Video: Yeah Yeah Yeahs Share Dance Floor Friendly and Feral "Wolf" @YYYs @KarenO @nickzinner @brianchase123 @secretlycndian @grandstandhq @allieavital

Yeah Yeah Yeahs — Karen O. (vocals), Nick Zinner (keys, guitar, drum machine, bass) and Brian Chase (drums) — released their long-awaited and highly-anticipated fifth album Cool It Down earlier this year through Secretly Canadian. The eight-song album is an expert distillation of the band’s gifts that will impel the listener to move, cry, and listen closely.   “To all who have waited, our dear…

[thrashntreasure]

Ep14 Come From Awakening w/ Steffi DiDomenicantonio! (CAN)

In this week's EXTRA EPIC episode, we're joined by the ever-delightful Steffi D. to discuss her online show 'Check In From Away', plus her role in Canada's production of Come From Away, as well as her stint touring USA in Spring Awakening- which Gareth will review! Meanwhile, Steffi reminisces about unrequited romance by bringing System of a Down's Toxicity to the party! https://www.youtube.com/user/mirvishproductions -- twitter.com/SteffiD3

[indielightuk]

Single Review: Annabel Gutherz – Interstellar

Annabel Gutherz is a singer/songwriter and musician from Montreal, Canada, she began her music career in her early teens, using music as a way to cope with the trials and tribulations of youth. She attended Berklee College of Music, and graduated Summa Cum Laude with a Bachelor’s degree in Interdisciplinary Music Studies, and has continued her education, as she is currently completing her Master’s of Arts degree in songwriting with the same educational establishment. Interestingly enough, I’ve actually reviewed two other artists who’ve also attended Berklee, specifically Laufey and Lily Marie Antonini. No real point with that tidbit, just thought it was worth sharing. Anyway, today I will be reviewing Annabel’s single ‘Interstellar’ which was released November 9th 2022. 

‘Interstellar’ kicks off with powerful percussion and strings, giving the track an immediate intensity and energy. Interestingly enough, there’s something about the opening melody that reminds me of the theme from Red Dwarf.

click here to read more