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Roztoczański Park Narodowy
North By Northeast CD Wrap up
According to the liner notes, Simen is a turkish word meaning "deep from within my heart", a very apt description of this two song EP. The music is a combination of the singers various influences; at the start there is a turkish beat, then she adds the song writing sensibilities of American pop, then it's all mixed together with melodies of jazz and bossa nova. "A Certain Kind of Lovely" is like a torch song of yore with a light and breezy score underlining the haunting lyrics. "Boom Sheke Nana" is a little more exuberant, but still soulful in delivery. Truly delightful music well worth seeking out.
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I defy anyone to not get hooked on "Mista Ambarosia", it's the type of pop nugget you always say you want before you go back and put on something from the militant wing of the teenie pop sensation. There a just a dizzying array of influences on this album: R & B, soul, hip-hop, classic pop and guitar rock, all making a unique sound with an irresistible energy. Another great number is "You On Me", which features blazing guitar solos like something off vintage 70s rock, but it's sandwiched between Thomas Edwards' velvet smooth delivery of the lyrics. This is followed up by "Dear Sexy", where Edwards sounds as if he's channeling Biz Markie. A simply inspired album.
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A band that's simple in its elegance, or is that elegant in its simplicity - I'm not exactly sure. Reily is a folk-alt-rock quintet out of Brampton with a focus on the first two over the third, though there is no denying a rock influence in their musical numbers. The album started off a little weak in my opinion with the repetitive "What Are Songs"; it's nothing personal, it's just that I've seen and heard this too often on a lot of records. Fortunately, the rest of the album demonstrates a wide range of musical styles and sounds, sometimes buoyant and jazzy, other times slow and introspective. All new age should sound so good.
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Speaking of brave new worlds, shake hands with Japanese punk. You probably won't understand a lyric that is being sung, but the same can be said for Ozzy Osbourne and that didn't stop people from enjoying The Osbournes. I should be clear, Megababe is punk in the same way that Avril Lavigne is punk, that is, a poppy kind of punk that rocks hard and has fun. After all, how can you reasonably critique a song who's chorus is made up of singing the word "Yeah" over and over. You can't, you either go with or you don't, and for my part I rolled with it. |
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Some bands stir your soul, some bands work your brain, and others sprinkle sweet sounds into your ears while you focus on other activities. Len’s Haulage falls under the last category. The Etobicoke, Ontario band plays decent music, but when you listen closely, there’s little substance. The five tracks on The Hope Museum excel when traffic sounds and coworker conversations distract you; they fail when headphones allow your full attention. This kind of inoffensive pop rock plays every hour on modern rock radio stations, and you’ve heard it done better by others. Some parts evoke the best of Our Lady Peace and early U2 – bassist Evan Cochrane plays like Adam Clayton, and the descending bassline in “Small Town Girl” makes you want to strut down a staircase – but aside from the end of “Go On and Smile,” Michael Sbrocchi’s vocals rarely include hooks. There’s rarely a reason to come back to the album. Len’s Haulage needs to tunnel through blandness, fortify their potential, and discover the substance they need to affect people. Otherwise they’ll disappear with every other Age of Electric, Zuckerbaby, and Vertical Horizon. |
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The Toronto trio of MCs Sick Tricks, Ill Izm and singer/producer Richie Miles have created Outta Tha Basement, their first album together as Zero Tolerance. At first glance, it may appear as a general run-of-the-mill hip-hop/rap CD; however, the message is what sets them apart. Recent themes in hip-hop such as how artists like to party and reminiscing on how the music used to be can be found in small doses on the album. However, with backbeats provided by electronics, pianos, xylophones, and drums, the band raps about themselves and the listeners in a positive way. In addition, the three guys sing solo and melodies to round out their talent. At times the group can be heard as cocky, however in an industry where few make it big, the positive attitude is what’s needed for success. Tracks to look for include “Showstopper”, a rapid tempo beat with lyrics spit out just as fast as well as the final track “Livin’ It Up” which incorporate brass, maracas and conga drums. Sometimes I can’t say no to Latin influences.
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Edmonton quartet Red Shag Carpet can really sprinkle that magic onto the rug and make it ride. The group displays the classic quartet ensemble of drums, guitar, bass, and vocals, as well as some taut bluesy/ jazzy piano, and even some strings. Their sound falls somewhere between Sublime, Blind Melon, and a little bit of The Band. What separates this group is their extensive use of piano and their visions of rolling Edmonton plains. The lyrics are fairly tight and the instrumentation holds the compositions together well. What you can expect from most independent bands is their eagerness and determination, which translates, in music, into raw energy. Red Shag Carpet have a great album and hark back to the days of lyrical substance and bluesy/rock compositions. |
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New York City's The Shapes follow the trail blazed by such independent pioneers as The Strokes and Interpol. The quintet features both a male and female singer to give their songs a powerful sense of companionship. The speed of the group echoes the speed of their city; much faster, with riveting smog-like guitars, up-beat drums, and rumbling bass lines. Most songs are reminiscent of The Pixies with more of a studio-produced feel to them. Songs are fairly catchy but don't carry the air of determination that one might expect. With a little more exploration into their sound and the music making process, they may prove to be quite strong. |
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I believe this New York City quintet is pronounced "The Antiques," but I could be mistaken. Right off the bat, the sound comes off somewhat like punk and somewhat like blues. With an organ, a tambourine, and a deep grungy guitar, the sound hints slightly at The Byrds. The Anti-Q's are experienced and rip up jams on the songs with undeniable fury. The singer, in my opinion, lowers the impact of The Anti-Q's sound. Cliched lyrics such as "Don't you want to be cool" leave the tracks feeling a little empty in substance. The group has that anthemic approach to making songs, but when they hit the right spots, they hit it hard. The Anti-Q's carry a great sound and have a tried and true instrumentation, once the songwriting and singing matures a bit, they may be quite good. |
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And hell.o to you too. Following in the steps of such groups as Atmosphere and Sage Francis, SDR create dense tracks of melancholy cellos weeping, deep electronic synths humming, and a fast and furious rapper unafraid to mention anything that comes to his mind. The lyrics come quickly and without much warning from a voice trained well and confident. In contrast to this rapid paced spewing of raps is a female voice that sings angelic choruses. It's somewhat like Heaven and Hell incarnating into one group of fusion rap, rock, and electronica. The record is bleak-- it sounds more like the four horseman riding through black skies than anything else-- but the band reflects the messed up state of humanity. To some this may be a turn off. However, the group is quite talented. |
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