Record Reviews: Broken Social Scene

Broken Social Secne - Forgiveness Rock Record 3.5/5

Five years and a revolving door of band members, Broken Social Scene have reformed, and with yet another line-up change. Forgiveness Rock Record, is for the collective a leaner, more focused, and arguably their most accessible record to date.

The first single "World Sick" is a signature Broken Social Scene crescendo, post-rock anthem. Like all of their previous records, Forgiveness is expansive, from the minimalist "Sentimental X's" to "Art House Director" a fun, loose rocker, featuring a horn section, the gang sounds like they enjoyed every moment.

"All to All," is a flourish of cool percussion, Lisa Lobsinger's sly vocals make it all the more inviting. The standout track is another signature post-rock anthem, "Forced To Love," alternative radio-ready, slick production, built on a tighter sound, and plenty of energy.

Broken Social Scene is always evolving with a different cast of characters joining its rag-tag collective, but they haven't lost their touch. Sounding the best they ever had, the crew make some of their best music just doing what they do best... jam sessions.

Single Selections: Sarah McLachlan

Sarah McLachlan - Loving You Is Easy 3/5

With the return of Lilith Fair, Sarah McLachlan found a fitting moment, to release "Loving You Is Easy," from The Laws of Illusions, her first record in seven years. It's hard to avoid the comparisons to "Love Song," by Sara Bareilles, bouncing pianos and the immediately radio-friendly production. But where Bareilles, is bittersweet and full of brass, McLachlan sounds experienced and soft. It's a turn from her more heavy, darker sound. "Loving You Is Easy," finds a familiar upbeat vibe like that of fan favourite "Ice Cream." McLachlan is charming and endearing. Even if it is pure A.C. 40 radio-ready, its a spring record, colourful and perky.

Record Reviews: Kate Nash

Kate Nash - My Best Friend Is You 4/5

Sophomore records are always a true test of an artist's capabilities, what comes next especially for those whom experience success right out of the gate. For Kate Nash, that seems like a mild footnote. The Brash, wit-driven singer/songwriter, who created pop perfection with "Foundations" in 2007, seems poised to keep us intrigued with every turn.

Equal parts riot grrrl/sassy British pop, My Best Friend Is You is all about Nash spending hours re-discovering classic vinyl and translating her new found muse into biting, well-rounded pop. Both opener "Paris" and "Kiss That Grrrl" are Motown-soul pop, bouncing in all right places and sharp lyrics.

"I Just Love You More," is a simple guitar hook and vocals, The Slits taught Nash well. "Take Me To A Higher Plane," taps into the same vein, remaining loose, stripped of heavy production making Nash sound fresh and present on the record. During "Pickpocket" Nash seems to stray into Regina Spektor territory, but still manages with her lovely British accent to sound firmly footed as her own skin.

It's a vibrant sounding Kate Nash, confident with as much brass as ever. Still quite young at 22, Nash's vocals feel more experienced, and at home on her sophomore effort, comfortably sitting on the fence between indie and mainstream appeal. It is a pop record, well worth the whirl wind ride.

Single Selections: Neon Trees

Neon Trees - Animal 2/5

Neon Trees debut album, and single, makes you think The Killers circa Hot Fuss, but remove any substance, and add a healthy dose of 80s influence via Depeche Mode and Adam & The Ant. It's a decently constructed track if you like your electro-pop fast, up-front, void of depth, light and breezy. It's a radio friendly tune, that has a short and forgettable shelf life. Sometimes imitation is just that, a cheap knock off.

Single Selections: Robyn

Robyn: Triple Header

Dancehall Queen 4.5/5

Electronic and reggae, not your standard mash-up but Robyn does it effortlessly, on her Diplo produced track. "I came to dance, not to socialize," sings Robyn, with such bravado, you can't help but swagger. Meet feminism, circa Robyn 2010. Few woman particularly, a porcelain skinned, blond haired Swede, can rock a reggae groove, but Robyn runs with the best.




None of Dem feat. Royksopp 4/5

Reuniting with Royksopp "None of Dem" is a dark, bassline thumping, tough track. "None of dem get my sex/none of dem move my intellect," she scoffs. The girl's got balls, and you'll be seriously vibing to this song, that's somewhere between Beyonce's "Baby Boy" and Missy Elliott's "Get UR Freak On." It's moody, rough with an electronic groove you can't deny.




Fembot 4.5/5


"I gotta lotta automatic booty applications," sings an electric Robyn, "Fembot" is anything but ordinary. Bouncy beats, plenty of electro-pop and whip-smart lyrics, it's a sensory overload. "Scientifically hot mama," this is one blond bombshell you couldn't agree with more. This is what pop music should be, unapologetic, experimental and just damn good fun.

Record Reviews: She & Him

She & Him - Volume 2 3.5/5


"The world is like a science, and I'm like a secret," sings Zooey Deschanel on Volume Two, her second collaboration with M. Ward. Picking up where Volume One left off, Deschanel and Ward continue to make impeccably well-crafted retro pop.

Deschanel, sounds more confident than on their first outing, but with her limited range it's her personality that shines. Dripping in SoCal folk rock, country twang, and crisp pop, Two demonstrates much of the same textures as Volume One. That's not to say its redundant, but encouraging given its complex composition.

"I don't know how I made it, but I sure have been blue," sings Deschanel on "Ridin' In My Car." All the songs are sickly sweet melancholy, propped up by sunny compositions. Clever songwriting, and approachable 60s radio sound, it's the happiest sad album you'll hear all year. It's charming and intelligent.

Single Selections: Hole

Hole - Skinny Little Bitch 1.5/5

Twelve years since Celebrity Skin, a lack of direction, numerous drug issues, among the many mishaps of Courtney Love's ever tragic post-Cobain existence and in trots "Skinny Little Bitch". If you're looking for Courtney's signature growl, you've come to the right place, it's here alright, anything resembling Live Through This, or Celebrity Skin well you've missed the boat by about a decade.

Hole's triumphant return, this is not, with heavy guitars, drowning out much of Love's snarling vocals, and a drum beat that drags/kills any momentum the song potentially has, to a stand still. Love being known for going balls out and rocking out. We ask Courtney one kind favor, put your balls away.

The only saving grace comes the last forty seconds with a more hyper beat, and a little more rage, Love sounds well... more like Brody Dalle and The Distillers. Oops!.... sorry Courtney.

Record Reviews: The Morning Benders

The Morning Benders - Big Echo 4/5

Being caught in the kaleidoscope of California indie pop can be a blessing and a curse. Too much California sun isn't always a good thing. With Chris Taylor, of Grizzly Bear, co-producing Big Echo, the boys manage to find a more solid footing, and an album, one shouldn't be afraid of sampling.

Big Echo's opener, "Excuses" has a sunny, welcoming vibe, awash in instruments, like an orchestra with no conductor, the song commands classic pop balladry circa the 1950's. It's easy to see the draw of Big Echo through its charming melody.

The rest of the opening half of the album are easily accessible. "Promises" big thumping beats and fuzzy vocals about a turbulent relationship, is a bittersweet track. A well crafted little ditty, calm, and simple "Wet Cement" waltzes along with echoing vocals. The charmer of the batch however, is "Cold War" a carefree, summer single, is short and sweet like a fisty summer romance.

The latter half of the record is heavier, more weighed in thick beats and climatic chords. "Pleasure Sigh" generates a feeling of Neil Young meeting the Beach Boys, a slow strummer, met with conflict in it's climatic moments. The album comes full circle with the hymn-like "Sleeping In" its breezy vocals, and ghostly strings are found throughout the record.

The Morning Benders never stray too far from the basic elements that make a well-crafted song, creating a well-rounded album, built on warped strings, jagged guitars and a good old carefree nature to music. It's hard not to like Big Echo.

Single Selections: Christina Aguilera

Christina Aguilera - Not Myself Tonight 3.5/5

It's easy in these Gaga-obsessed, dance oriented times to make the easy assumption, that Christina is merely doing what sells, but that would be a mistake. Given Aguilera's track record for changing her sound and image, it's par for the course.

Rumours prior to the release of Bionic have suggested collaborations with the likes of Sia, Le Tigre, Santigold just to name a few. If that's the case "Not Myself Tonight" plays as a tease for better things to come.

"Not Myself Tonight" isn't Aguilera's best single to date, but her vocals alone, make it rise above the rest of the dance crazed crop. Tribal house drums, heavy synths, pulsing basslines and Euro-glam appeal, make it stand out from your typical Britney or Gaga groove. It's Aguilera's alter-ego, X-tina from her Stripped days all grown-up, baby and all. There's no denying it's beat, a sure fire club banger. Christina still commands a crowd and her vocal range has been sorely missed, but it leaves you wanting something more.

Artist to Watch: Janelle Monae

Janelle Monae

The name may not resonate with the masses, but that's not to say Janelle Monae isn't deserving, of such recognition. Having already released an EP, Metropolis: The Chase Suites on P. Diddy's Bad Boy imprint, and appeared in Outkast's Idlewild, Monae already commands respect from some big names in Hip-Hop. Fusing Soul, Funk, and Hip-Hop, among others Monae is far from cookie-cutter, which her debut record The Arch Android, a combination of the remaining Metropolis suites, could prove to be a stepping stone to a more mainstream following.

Metropolis is a conceptual piece initially intended to be unveiled over four suites. It tells the story of Cindi Mayweather, an android. Monáe inhabits the cyborg skin of Mayweather, whom is introduced in The Chase Suites. After falling in love with a human she is destined to be disassembled by the "droid control". Don't let the concept fool you, this is music at it's finest.

With the release of two singles last February, Monae demonstrates a more accessible sound than of that found on Metropolis. "Tightrope" is a modern day James Brown jam, featuring Outkast's Big Boi, with killer horns and plenty of funk, it's a wonder, rhythm and AC 40 radio stations haven't picked it. It's sibling single, "Cold War" is a fast-paced track, fusing rock elements with hip-hop beats and a little soul, another triumph for Monae's ever expanding experimental sound.

The Arch Android is well worth the wait, and if Metropolis is any indication of what's to come from the genre-bending chanteuse, you're in for a wildly creative, fresh and highly addictive piece of conceptual music.

Single Selections: LCD Soundsystem

LCD Soundsystem - Drunk Girls 4/5

A two-word hook "Drunk girls", that's all it takes for James Murphy of LCD Soundsystem to capture hipsters ears on the dancefloor. Producing what is arguably Murphy's tightest and most accessible track to date, "Drunk Girls" is a hand clapping, shriek laden, four minute disco party. Murphy's singing sounds a little David Bryne-esque with the track's signature two-word hook over chugging guitar riffs. "Drunk Girls" is sure to be a summer tune, whether it be at drunken house parties, or appear playing over a melodramatic scene on Gossip Girl, this track has all the right elements for a fan favourite.

Single Selections: Kate Nash

Kate Nash - Do-Wah-Doo 3.5/5

It's been three years since Kate Nash, became a star in the U.K. scoring a hit single with "Foundations" in 2007. Returning with what could be cousin of her first hit single, "Do-Wah-Doo" fits right in with much of the material from Nash's first record Made of Bricks. With one major difference, unlike it's predecessors, Nash finds a loose jagged guitar rift and Motown inspired backing vocals to add some spice. Ever the clever songwriter, it's the simple things on this track that make it work. "Bah-dum-bah-dum" Nash rambles on, through climaxing horns and rattling guitars. Nash dishes up another piece of pop fun.