Record Review: Wolf Parade

Wolf Parade - Expo 86 3.5/5

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Montreal band, Wolf Parade find a darker groove on their third release Expo 86. Opener "Cloud Shadow on the Mountain" holds no punches, eluding to the elements that provide the frame work for most of the band's latest offering, from reverb-saturated guitars, to glossy synthesizers and pulsing drums. "Palm Road", a thundering, Springsteen-esque rocker, fails to excite feeling like an Arcade Fire, b-side.

Expo 86 is weighed down in darker tones and the boys' own neuroses, highlights like the funky, mechanical groove of "Ghost Pressure" with glamorous keyboards, or the marching drum beat of "Yulia", make the experience lighter. The boys have traded in their tight production of At Mount Zoomer for a looser sound, that helps breathe life into tracks like the climatic-closer "Cave-O-Sapien". For a record unified by it's themes and mood it somehow feels aimless, but if that's the worse criticism then they must be doing something right.

Record Review: Kylie Minogue

Kylie Minogue - Aphrodite 4/5

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Ditching the urgency and American pop aesthetics of 2007's X, for what Kylie does best, sleek electro-pop, that fits any Friday night party. Kylie finds a bounty of synth-soaked tracks, produced and co-written by the likes of Stuart Price (Madonna's producer), Scissor Sisters and Calvin Harris.

From the album's lead single "All The Lovers" to the closing track "Can't Beat This Feeling", Minogue ties it all together with breathy vocals, energy, and hints of 70s disco turned out with a sonic boom. Minogue may have never left the dancefloor but it's certainly been a while since she commanded it with such delicious tracks like"Get Outta My Way" a sassy, slice of pop heaven, or the glitzy dance-rock of "Cupid Boy". Aphrodite, may not be innovative or the most unique pop out there but then again, who cares, as long as we're dancing.

Record Review: Sheryl Crow

Sheryl Crow - 100 Miles From Memphis 3.5/5

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100 Miles From Memphis finds Crow in a state of bliss, exploring the very sounds that influenced her as a girl growing up in Missouri. Infused with soul, r&b, and even a bit of reggae, Crow sounds right at home. Collaborations provide some of the most enjoyable highlights with Justin Timberlake on "Sign Your Name", a Terence Trent D'Arby cover, remade in the model of Al Green and Keith Richards on "Eye To Eye", where Crow shows off her reggae swagger.

The album's opener "Our Love Is Fading, sets off a record that feels like Crow pulled the sounds straight out the 1970s. Throughout Crow finds upbeat grooves, horns at every corner and hook heavy chorus' like that of lead single "Summer Days", and "Peaceful Feeling". The disconnect comes with Crow's thinner than usual vocals, and the purposely impure production, though refreshing, Crow seems to fade out against her instrumental backing, like that of her Aretha-flavored "Stop".

It's an imperfect record, but an enjoyable and refreshing experience, that more often than not reaps the reward of Crow's experiment with the very sounds that have shaped one of rock's best female artists.

Singles Selection: Jamie Lidell

Jamie Lidell - I Wanna Be Your Telephone 4/5

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The highly underrated UK soul man, rivals Prince with his latest single, a funk/soul number that puts a bit of swagger in your step. Naughty lyrics and a dirty groove are an irresistible combination, making "I Wanna Be Your Telephone" all the more tantalizing.

MNDR - I Go Away  3.5/5

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Having created buzz following her collaboration with Mark Ronson, Amanda Warner a.k.a. MNDR, hits us with the slow burning, dance-pop number "I Go Away". Rich vocals, an echoing drum beat and a clear pick for the summer's post-relationship anthem, its pop candy worth the cavities. 

The Best Coast - Boyfriend   3.5/5

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Cali noise-pop duo, lead off with a the hazy summer single, "Boyfriend". It's all about the boyfriend that's just a friend. Fuzz pop and sonic vocals dominate this alt-rock number, it's a ready-made mix for shades, surf and sun.

Sterling8 - Hypnotized   2.5/5

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The instant Prince comparison is hard to avoid, but this 80s tickled debut track from Sterling8 has promise, and a distinct R&B/pop flavor that sets it apart from other electro-dance obsessed acts.

Stars - How Much More   4/5

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The female half of Stars' vocals, Amy Millan, is showcased on the catchy, melodic, mid-tempo number from the band's latest offering, The Five Ghosts. Millan's breathy vocals, over slick synth, coupled with the upbeat feel, "How Much More" lends perfectly to any summer playlist.

In Conversation With... Dan Mangan

In Conversation With... Dan Mangan

   

Setting out on his most recent North American tour Dan Mangan continues to build a following and gain recognition for his sophomore record Nice, Nice, Very Nice. In the past year XM Satellite's The Verge has named Mangan Artist of the Year and his single "Robots" was hailed by the CBC as Best Song and Best Vocals of 2009. The morning prior to our interview, Mangan's name was announced on the short list for Canada's 2010 Polaris Music Prize alongside 9 other nominees including Broken Social Scene and Tegan & Sara, .

Shattered Vinyl spoke with Dan after his long drive through construction from Portland, Oregon to his home in Vancouver. The groggy but humble and warm singer-songwriter chatted with us about his latest record, touring and recent nomination for the Polaris Music Prize.

What song or moment gave life to the record?

I made the first album in the summer of 2005 independently and started writing songs for this record just after I released the album. The record is inadvertently about Vancouver, I was touring six to seven months a year for four years and away from home so I was thinking about it a lot. I wasn't there so it was a long distance relay with my girlfriend and family and it came out in the record. There are a lot of subtle references and imagery of the city.

The record seems to transition with ease between different styles indie-rock, alt-country to folk. Is that a reflection of your interest in various sounds and elements?

I listen to a lot of music and am inspired by a lot. I'm a little bit of a scatter brain that way, when I hear something, I think I want to sound like that. It was written over four years, I was exposed to different artists and cities that influenced the sound of the record, there was time for the songs to gestate and develop over time. 

Your lyrics are often very witty and full of imagery is there a deliberate effort to find that when you write?

I'm glad you noticed that, it's usually a stream of consciousness. I'll spit out lyrics and then spend two months editing, I'm a meticulous editor. I mean I'm a pretty easygoing guy, though the music may suggest otherwise. Some call the record fairly dramatic but I think you have to be able to laugh at yourself, I think the lyrics show all sides of your personality. 

What inspired "You Silly Git"?

It's actually one of the more personal songs, I was in London [England] and I had called my girlfriend complaining about something and she basically said...well get over it, you know, you're in London doing what you want to do, so I tried writing the song from another angle, appreciating what I've got. I remember hearing that saying and was having a Monty Python moment, appreciating John Cleese's humour.

What challenges when writing/recording do you enjoy most?

The obsessiveness of going into the studio and burying your head for weeks. That obsessive compulsiveness of when you focus on something for six weeks that you're consumed by it. It's a roller coaster, one minute you think you're making something great, the next you think it's a total piece of crap. It's a double-edged sword, it's exhausting and draining but the feeling when you finish the process, you take a bit of time and want to do it again. 

What's your favourite song on Nice, Nice, Very Nice?

On the road it's day to day the song changes, sometimes a song fits the mood better. I'm quite proud of the song "Basket", it came together after my grandfather died, I was able to put my inner thoughts and emotions into words rather quickly.

What has the response been to the album on the road?

Really good. Here in Canada, to play the opening bars of a song and have people cheer, it never gets less awesome and weird. Everywhere you go you have to start from the ground up, from bigger shows in Canada to a crowd of thirty to fourty in Germany you have to be level-headed. People have been responding well. 

How did it feel to hear you were on the short list for the Polaris Music Prize?

Man, it was amazing. I was over the moon, I mean I thought we had a pretty good chance at the long list but the short list is even more insane, the quality of the award is the company it keeps. I can't even think about the gala, you know, I just approach it with zero expectation, it's just great.

Record Review: Scissor Sisters

Scissor Sisters - Night Work   3/5

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With the album's Mapplethorpe inspired cover, it's hard to be shocked by the Scissor Sisters, overtly sexual third album. Night Work, leaves the bands accessible campy 70s dance pop for a record of sleazy 80s pop obsessed with the wee hours of the morning at your local gay bar.

"Harder You Get," is a disco-metal hybrid, looking for the next available lap to grind, while "Skin This Cat" and "Something Like This" are drenched in synth pop. "Running Out" is 80s Bowie-esque cheese that manages to spin itself into a charming track. The lyrical themes are entrenched in gay culture, the tone and sounds are darker than any of their previous work, with the less than coy ballad "Skin Tight," is a Trojan condom ad, in a pretty neon pop package.

Though the album lacks potential singles, it spins the bands familiar sounds just right, to find new and dynamic avenues. Night Work makes no apologies for it's tone or subject matter, but it limits the band's previously broad appeal, as it's raunchy, sexual vibe is slightly over worked.

Record Review: The Shagbots

The Shagbots - We Were Born Tigers 2/5

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Calgary's The Shagbots may have missed the indie dance craze, but that doesn't mean this dance-punk outfit isn't worth some attention. We Were Born Tigers, has brief bursts of colourful synth beats, emotion and energy that feel urgent and create infectious music, but only briefly.

Lead singer, Davis de Souza's vocals recall a fuzzed-out Jason Stollsteimer, of The Von Bondies, a strong point for the band, too often drowned out by guitars, and keyboards or a chorus of chants, like the less than impressive "MTV." Much of We Were Born Tigers, loses traction with many songs dragged out, losing their immediate feeling and emotion.

The band's strength lies in short, immediate sounds, combined with the basic understanding of how to construct a dance-punk track. "Lost Time" and "Consequences" play to the boys' strengths and show promise, given their learn from their influences and stick to short, dance-ready punk tracks.

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.