Record Review: Dan Mangan

Dan Mangan - Nice, Nice, Very Nice   4/5

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"Now I don't need to re-invent the wheel," sings the raspy voiced, Vancouver-based Mangan, on his sophomore effort, Nice, Nice, Very Nice. It's that phrase that sums up the approach to a well-rounded record of melancholic tracks that rely on pretty guitars, piano and violin to compliment Mangan's rough, weathered vocals and impressive poetic talents. 

"Road Regrets," and "Robots" are folk-rock charmers, that while easily the most accessible and single friendly, are only the tip of the iceberg. Much of the record is simple guitar-driven folk-rock, but the main attraction here is Mangan's lyrical talent, translating his observations into well-crafted storytelling. Like the satirical wit of "Sold," and the chilled elegance of "You Silly Git," listening to the story within Mangan's music, feels like a conversation over coffee with a good friend. Nice, Nice, Very Nice sums up the feeling of the 40-minutes of simple, sweet folk-rock.

Single Selections: Sheryl Crow

Sheryl Crow - Summer Day 4.5/5

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With Motown soul in its veins "Summer Day," is the definition of a classic summer pop song. Crow not only reminds us why we love her, but scores another summer single. Kicking Katy Perry's "California Gurls" ass right off the stage. It's pitch perfect for a summer day with friends and a beer. Enough said.

Gentlemen Husbands - Family Economics 4/5

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These Cobourg, Ontario natives channel rock infused with a bit of blues with surprising authority. Their lyrics speak to their blue collar surroundings with real depth and endless energy. It's good old rock, no doubt.

Brandon Flowers - Crossfire 2.5/5

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It's apparently en vogue for every mid-level rock band's lead singer to produce a solo record, following Kele of Bloc Party, and Julian Casablancas of The Strokes, into the fray. "Crossfire" fits into the Killers Sam's Town vain, but doesn't make much a splash for Flowers as a solo artist. But it leaves you wondering does Brandon Flowers really need The Killers or are The Killers really just Flowers?

Fefe Dobson - Ghost 2/5

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After a much delayed return, the synth driven, rock/pop Ghost hints at a more mature Fefe without straying too far from her signature angry snarl, wronged by another dirt bag. We were hoping for more of "Watch Me Move."

Maroon 5 - Misery 4/5

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"Misery" reads like its predecessor "Makes Me Wonder," with decidely more perky pop, funky bass lines, and a catchy chorus. Like it or not, the boys of Maroon 5 know how to hit the pop G-spot!

Record Review: Sia

Sia - We Are Born 4/5

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The Zero 7 alum, known for her chilled, atmospheric ballads like "Breathe Me," whips up a dizzying collection of up-tempo, quirky pop that's sugar coated and deliciously sinful. We Are Born's electro-pop plays up the Aussie native's wild side with goofy confidence.

Attributing her more upbeat sound to her relationship with JD Samson, of Le Tigre, and her childhood influences, Madonna and Cyndi Lauper. It's apparent from "Clap Your Hands," the album's first proper single, full of jagged guitars and synth beats that's ridiculous fun. Elsewhere, the hand claps of "Bring Night" to the ragged guitar riffs of "Never Gonna Leave Me" rein supreme.

In her more heartfelt moments, "Clouds" and "Be Good To Me," Sia possesses soulful vocals, that command emotion, yet remain optimistic never straying too far into moody or atmospheric ballads. The album closes on the airy, and lackluster Madonna cover, the only real misstep on an otherwise energetic and fun record.

Record Review: Kele

Kele - The Boxer 1.5/5

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Stepping out into the spotlight alone is a tricky move for any artist, few succeed and even fewer manage to sustain that success over the long-run. For Kele Okereke of indie-rock darlings, Bloc Party, his well documented interest in exploring modern R&B and dance music, is the reason for taking time out with his band, to release his solo debut, The Boxer.

Unlike a Justin Timberlake or Gwen Stefani, Kele (as he now goes by) fails to distance himself from his Bloc Party past and embrace new sounds. Instead, from the album's opener, the marching chant of "Walk Tall," to the guitar-riffs of "The Other Side," it reads like Bloc Party b-sides, there is a feeling of indecision and lack of direction. "Tenderoni," the synth driven dance track is about as good as it gets. "Rise" finds its footing in twinkling synth and an explosion of chaos, but both are crushed under the weight of their surrounding tracks, melodramatic lyrics and lack of energy.

The Boxer is a record that's never fully realized, and with the dropping of his last name, Kele, and the album feel more like an exercise in ego, than an expression of the sounds that help shape Kele as an artist. Okereke may have been better off, releasing a single or two and taking his time to channel and shape his body of work, and not just his biceps.

Record Review: Sally Seltmann

Sally Seltmann - Heart That's Pounding 2.5/5

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Stepping out from behind her moniker as New Buffalo for her real name, Sally Seltmann, is essentially re-branding post her co-written "1234" success with Feist. Like her previous records Seltmann possesses an awkward charm, slightly quirky, minimal arrangements and breathy vocals, with the occasional change up for more lush chamber arrangements and a twinkle of synth.

When Seltmann hits the right cord like the album's lead off single, "Heartbeat In Harmony," the combination of charming melodies, momentary flourishes of interest, and breathy coos, manages to give hipsters a hard-on.

Most of the album however, is limp and falls victim to its own sickly sweet, Carpenters brand of optimism. "On the Borderline," is hard to take while keeping a straight face, and "Happy," is a melodramatic, sparely arranged answer to Feist's "Honey, Honey." While the arrangements and song-writing is quirky and generally intriguing, twinkling synth and Seltmann's falsetto aren't capable of sustaining interest through Heart That's Pounding's 12 tracks.

In Conversation With... Ruth Cassie

In Conversation With... Ruth Cassie

A mother, multi-instrumentalist, former backing vocalist for Hawksley Workman, alongside her work with Hey! Rosetta, and Imogen Heap, time abroad in Australia, to touring Paris with Workman, Ruth Cassie is about as seasoned as they come, full of colourful experiences, and eager to take in more of what life has to offer.

Catching Ruth by phone at her home in Huntsville on a rainy Wednesday, a little off guard, "you caught me with a bit of pancake in my teeth," and earl grey tea in hand, we spoke about her debut record, and the forces that shaped her making Ivan Blackbird's Story and her current Ontario Tour.

How did the record of Ivan Blackbird's Story come about, was it planned or more organic?

I found myself on tour with Hawksley, and I felt all of a sudden it was like now or never. I had songs in my back pocket, and I ran into my friend, who's a producer, and it was all about the right timing.

The record has a lot of energy and genuine emotion. How were you feeling during the recording of the album?

It was very exhilarating, and exhausting. We had numerous discussions about the direction of the record. It was an intensive six months in a Polish basement recording, staying up some nights 'til 2 AM, fortunately for me, my producer lived two blocks from where we recorded. There were many trips by bus back and forth to Toronto. I wanted it to be up beat, there is a lot of my own personality on the record.

One of the more playful songs on the record is "Cake for Rebecca," how did that song come about?

It's one of the most literal songs I've written, I made and ate a lot of food, and had a lot of conversations with myself. It's one of the oldest songs on the album, written when I was newly married in Australia, and evaluating my life.

There is a certain sense of quirkiness and thoughtfulness in your lyrics and sound, what brings that out?

I think part of the quirk is my own insecurities, my questioning and wanting the music to not be just a statement but open, I want you to respond. Not for affirmation from the audience but for it to be open to interpretation.

Prior to the album, you had toured with Hawksley Workman as a backing vocalist, what did you take from the experience?

I feel like my career started from the other end of the spectrum, Hawksley has you know, ten albums, and has been around for years, and I've done a lot of singing in the community, at local events, and lived other lives. I found that there are real people in the business, and they are so passionate, but live not necessarily healthy lifestyles, and that for longevity, you need people outside the business to ground you, and be your support.

How is touring as part of Hawksley's crew, compared to being out there performing your own material?

I'm not locked into a part, with being in a band, you sort of have your place to blend in, and not to overshadow the artist, and be supportive. It was a real pleasure with Hawksley, and even now the musicians are still a collective, but I have more flexibility with my vocals and control over where we take the songs. I make the expectations.

I've read you've workd on cabarets in your hometown of Huntsville, like "Dream Life of Angels," what is it that draws you to do a cabaret show?

Community, it's all about community. I like the eclectic nature of community, I have a lot of holes in my musical training, and there's a lot for me to learn from others within the community.

As part of your tour you've organized the "Girl 8 Festival," to take place in Huntsville, alongside the G8 Summit, what made you decide to put on a festival?

I'm largely naive about politics, and keep my cards close to my chest, but when I heard the G8 were coming, I wanted to build an outdoor festival. It's a wonderful range of female artists from country to cabaret music, and I wanted to stay in town, while most are running for the hills and show the life of the town.


Thanks to Ruth Cassie for speaking with Shattered Vinyl.

Catch Ruth on Tour:

June 17 The Painted Lady NXNE TORONTO
June 19 Zaphods Beeblebrox, OTTAWA
June 24 Girl 8 Festival, HUNTSVILLE
June 25 "My Summit 2010" Intl. Youth Summit, HUNTSVILLE
June 29 The Central, TORONTO

Record Reviews: The Order of Good Cheer

The Order of Good Cheer - Tanto Manta ~ Manta Tanto   3/5

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The debut double EP from Toronto's The Order of Good Cheer, is a rock-country journey through nine oddly titled tracks, that feel at home beside a young John Cougar Mellencamp, or Creedence Clearwater Revival. 

It may be a stretch to draw comparisons in regards of talent or scope on Tanto Manta ~ Manta Tanto, but as for sound the boys range from psychedelic rock, found on "Lady Pizzle," to southern twang to straight-up alternative, on the standout track, "Marijuana Girlfriend."

The energy and personality of these nine tracks makes for an entertaining ride, that leads you to wonder what kind of live performance these boys are capable of putting on. At the very least, this is good ol' bar rock, and you can drink to that.

Record Reviews: Robyn

Robyn - Body Talk Pt. 1   4/5

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 There are few pop stars as provocative or inspiring as Robyn, at 31 she is in complete control of her own destiny, with her first record in five years, she controls not only her image but the direction of her musical progression. Robyn's sexuality counteracts that of Christina or Britney, by being provocatively anti-sexual, it's precisely what makes Swedish bombshell so sexy.

    At her best when her raw emotion bleeds onto every track, notably on the standout "Dancing On My Own," equal to that of breakout hit "With Every Heartbeat." The short record, one of three, not to be confused for an opus, is a mis-step in the Swedish folk ballad "Jag vet en dejlig rosa," and the lyrically strong but out of place "Hang With Me," an acoustic piano ballad. 

Robyn's footing is on the dance floor with, like the Royksopp collaboration, "None of Dem." The album is thin at eight tracks, but stacked with great tracks, that strut Robyn's undeniable talent, and cement her as one of the best pop acts around. Full of brash lyrics and erotic beats, Body Talk Pt.1 is delicious pop candy.

Record Reviews: Civil Twilight

Civil Twilight - Civil Twilight 2.5/5

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Many young bands, and many established, refer to The Police, U2, Oasis and Muse as influences, however few can imitate their talents or success. For the South African trio, their debut record is both impressive and frustrating, at times demonstrating clear talent without much personality.

From the soaring opener, "Anybody Out There," it's inevitable to draw parallels between vocalist, Steven McKellar and U2's Bono, minus the god complex. The arena rock anthem kicks off a record full of jittery guitars and climatic numbers that, over the course of the albums 14 tracks begin to lose their edge.

The band's strength is their songwriting and general ability to produce multi-layered tracks with relative depth. In their more enjoyable moments, Civil Twilight shows promise, like the worldly "Soldier" hints to The Police, finding comfort in a reggae feel and a political message. Songs like the stripped and soulful, "Quiet In My Town," and the melodic bounce of the album's most accessible track, "Next To Me," find similar enjoyment, with more emphasis on their own brand of music.

The album falls victim to it's own ambition, and lack of it's own personality or signature. Civil Twilight haven't quite figured out how to embrace their influences, without being overtaken by them.

Record Reviews: The Balconies

The Balconies - The Balconies 3.5/5

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The post-punk indie rock trio, from Toronto by way of Ottawa, have slowly been gaining a reputation for their live shows, energetic and dance-friendly. Two descriptors that apply equally to the band's self-titled debut LP. Jacquie Neville's impressive vocals steal the spotlight through the record, though boyfriend/drummer Liam Jaeger, and sibling Stephen Neville, a formidable bassist, find their moments on a well-rounded record.

Teeming with energy, catchy guitar riffs, and pop hooks, songs like "Smells Like Secrets" are hard to resist. Stand-out tracks like, "Elephant Lamp," "Battle Royale," and "Serious Bedtime" demonstrate the vast potential and immediate talent of the trio, and what's to come from the relative newcomers. But don't be fooled by their fresh faces and catchy tunes, with each listen The Balconies reveals surprising complexity, and a reason to dance.