// Category Archive for: Music Reviews

Music Review: French Horn Rebellion, Love Is Dangerous EP

By Less Lee Moore

In 2011, French Horn Rebellion released The Infinite Music of French Horn Rebellion. The 14-song album was a schizophrenic mixture of EDM, disco, synthpop, guitar solos, smooth jams, stark piano pieces, feedback, radio interference, and I’m pretty sure I heard some humpback whales in there. For an album described as “an intergalactic narrative that tracks the physical and emotional journey of an unknown French horn player” this seems completely logical.

Yet French Horn Rebellion aren’t zany for the sake of it, as there are some beautiful moments on The Infinite Music, particularly the vocals of the hilariously named “Mawson’s Peak” (reminiscent of Martin Gore’s Depeche Mode songs) and the sweet, wistful ’80s pop of “Last Summer.”

French Horn Rebellion’s latest single, “Love Is Dangerous,” features The Knocks’ Jpatt, and is an unrelentingly hook-heavy disco stomper. The song—along with two remixes from Chrome Canyon and FHRekles—appears on the EP of the same name.

Love Is Dangerous includes another awesome track, “Cold Enough,” with the vocals of none other than Jody Watley. It’s got a more mellow groove, but is still a siren song to get asses on the dance floor.

Love Is Dangerous was released on December 12, 2012 and can be ordered from the French Horn Rebellion website.

Upcoming Shows:
March 21: Treefort Music Fest 2013 in Boise, ID
Thu Apr 18: Red Room, Cafe 939, Berklee College of Music in Boston, MA\

Music Review: Iceage, You’re Nothing

By Less Lee Moore

When we last heard from Iceage in 2011, they were causing quite a stir with their debut album New Brigade (review). Encapsulating yet confounding the parameters of post-punk and hardcore in this new millennium, critics and music fans took notice. Now Iceage has returned with You’re Nothing, which does all it can to beautifully obliterate New Brigade, while still retaining the spirit that made that album so good.

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Music Review: Dawn McCarthy & Bonnie “Prince” Billy, What The Brothers Sang

By Less Lee Moore

It could easily be argued that without The Everly Brothers, the history of rock & roll would be vastly different. When Don’s baritone and Phil’s tenor were combined in their unique, close harmony singing style, it provided an enormous influence on the vocals of Lennon and McCartney, Simon and Garfunkel, and countless others. Don’s open-G guitar tuning inspired no less a musical dignitary than Keith Richards, among others.

Their talents translated to the Billboard charts as well. “Wake Up Little Susie,” released in 1957, ascended to #1 on the Country, Pop, R&B, and Canadian charts, as well as #2 on the UK charts. Felice and Boudleaux Bryant, the Cadence Records songwriting team, wrote the track while the brothers were on the Nashville-based label. In the late ’50s, under the stewardship of music publishing house Acuff-Rose, the brothers would enjoy chart success with more Bryant-penned hits on Cadence like “Bird Dog,” “All I Have To Do Is Dream,” and “Devoted To You.”

However, feeling stifled by Rose’s demands, the brothers left for what they thought were greener pastures at Warner Bros. in 1960. Although they were no longer privy to Bryant compositions, Don’s composition “Cathy’s Clown,” released in 1960, reached #1. The brothers would enjoy success in the UK through the early part of the decade, but their appearances on US charts began to diminish. One-digit chart hits turned to three-digit ones and soon ceased altogether. By the time the Beatles were breaking chart records in 1964, the Everlys’ biggest successes were behind them, with the exception of their #2 UK hit “The Price of Love” in 1965.

The singles-based musical economy of the time meant that radio and incessant touring were part of the daily grind; this had begun to take its toll not long after the brothers left Cadence for Warner Bros. Drug addictions, suicide attempts, nervous breakdowns, broken marriages, and estranged children eventually dampened much of the youthful exuberance of the Everlys, who had been performing music nearly since birth, under the tutelage of their father, Ike. (The senior Everly had his own radio show in Iowa—on which his sons appeared—and his fingerpicking guitar style fostered a big influence of its own.)

Tensions escalated to a boiling point, culminating in a notorious alcohol-fueled spat during a 1973 Knott’s Berry Farm concert in which an enraged Phil smashed his guitar and stormed offstage, leaving a shattered Don to sober up and finish the set solo. It would be ten years before the brothers would even speak to each other, much less record or play together. They eventually made up, playing a reunion show at the Royal Albert Hall in 1983 and releasing two critically acclaimed albums later that decade, even continuing to tour together throughout the next two decades. Though their relationship remained cordial and at times, strained, the incandescence of their musical partnership has never dimmed.

Now to the present day, and a different pair of singers and musicians: Dawn McCarthy and Bonnie “Prince” Billy (a.k.a. Will Oldham). The duo, who have performed together and separately, enlisted the help of an impressive array of their own former collaborators as well as much-respected Nashville session musicians to create What The Brothers Sang, a tribute album to the Everly Brothers.

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Music Review: Parenthetical Girls, Privilege*

By Less Lee Moore

“But hard as I’ve tried, I’m helpless to describe.”
—Parenthetical Girls, “The Pornographer”

If you’re not yet familiar with the unusual pop music of Parenthetical Girls, you’re in for an aural treat. Despite what connotations they may have intended for the title of their new album, it’s an apt descriptor for these 12 songs; experiencing them is indeed a privilege.

It’s not often that a band comes along so precisely indefinable as Parenthetical Girls, always a sure signifier of brilliance, with genius waiting in the wings. It makes categorizing their aesthetic troublesome, though no less enjoyable to attempt. “Chamber pop,” though appealing, has its origins in the mid-1960s, and Parenthetical Girls are far too modern for a term older than the average ages of its members.

“Indie rock” has its own negative connotations; despite the Girls’ decidedly independent means of releasing records (not to mention their seeming inability to serve any mistress but their own unique flights of fancy), that descriptor brings the word “twee” to mind, and Parenthetical Girls are much to daring to be considered twee.

I have chosen to dispense with such aspirations and simply review the album.

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Music Review: George Jones—The Complete United Artists Solo Singles

By Cait Brennan

“Country music,” George Jones told music writer Holly George-Warren “is a religion to me.” Well, if country music is a religion, George Jones’s music is one of the bedrock gospels. From 1950s hillbilly hellion to elder statesman of the genre, Jones has always been one of the purest singers in country music. Jones is “just” a country singer the way Sinatra was “just” a saloon singer—both men mastered, then transcended their genres, making each song uniquely their own.

Some of Jones’s finest mid-’60s sides are collected on George Jones—The Complete United Artists Solo Singles, one of three essential country music compilations released on February 12 by those high llamas of music at Omnivore Recordings. No no-shows here; this is prime time Possum, showing the hall of fame singer on a diverse range of material penned by Jones and some of classic country’s greatest songwriters.

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Music Review: Goblin, The Awakening (box set)

By Less Lee Moore

If you’ve seen Suspiria, then you know of Goblin, the Italian band responsible for its iconic, eternally terrifying score. There have been lineup changes over the years, but several members have been consistent: original members Massimo Morante and Claudio Simonetti, in addition to Maurizio Guarini, Agostino Marangolo, Walter Martino, and Fabio Pignatelli.

Fans of filmmaker Dario Argento may already be familiar with Goblin’s contributions to the Italian horror and giallo genres, but Goblin has much to offer the music aficionado looking for something challenging. In keeping with the spirit of their prog rock origins, they have several albums that are not scores, including at least one straight-up concept album, sort of like a soundtrack without a movie.

Cherry Red Records and Bella Casa have compiled an excellent sampling of Goblin’s bizarre and enthralling discography with a six-disc box set including not only the band’s compositions for Argento films, but also their contributions to the prog rock pantheon.

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Music Review: Mary Gauthier, Live At Blue Rock

By Cait Brennan

There’s probably never been a more honest songwriter than Mary Gauthier. From her earliest days in music, taking up songwriting after becoming sober at 35, she’s created characters whose struggles—with adoption, addiction, sexuality, homelessness, rootlessness—have closely mirrored her own. The road can be rough, but Gauthier’s an expert in finding the spark of hope in the saddest of situations.

Over six studio albums, commencing with 1997’s Dixie Kitchen, Gauthier’s proven herself to be a storyteller of the first order. If the mood ever hits her, she’d be as great a novelist as she is a songwriter. Worlds rise and fall in her songs. Her characters reach grasping hands out of the cold darkness for one last shot at redemption. They grab it, sometimes. Sometimes it slips away.

Her songs have been covered by everybody from Blake Shelton to Boy George, and while you ponder that mental image, know that nobody’s done ’em better than Gauthier herself.

It took her a long time to record a live album, but the outstanding songs and powerful performances on Live At Blue Rock prove it was worth the wait. Recorded live at Blue Rock Artists Ranch in Austin, Live At Blue Rock presents 11 of her finest, eight of which were written or co-written by Gauthier.

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Music Review: Hayden, Us Alone

By Emily Carney

Toronto’s Hayden Desser released one of my favorite indie rock albums in 1996, Everything I Long For. It has aged remarkably well, given that it was produced in the mid-1990s (let’s face it; music did have a specific sound then, even though we didn’t realize it at the time). It occupied a prominent place in my CD collection (remember CDs?), next to Sebadoh’s III and Pavement’s Wowee Zowee. I’ve lost track of Hayden over the years, but just caught up with his music by listening to his newest release, Us Alone. It’s like saying hello to an old friend who has gotten older and might be having a slight nervous breakdown, but I mean that in the best possible way.

Tracks like “Instructions” and “Just Give Me a Name” are moody and slow, very much in tune with some of Hayden’s 1996 tracks. The more uptempo tracks, including “Rainy Saturday” and “Blurry Nights” have a Neil Young-esque quality to them—lots of guitar effects, plaintive vocals, and slightly country-ish flourishes. This album is not a radical departure for Hayden by any means; it’s more like a whisper in the dark than a sonic boom.

That being said, it’s recommended listening. It has a “sweet and low” quality, similar to Yo La Tengo. It’s perfect listening for the party after the party, where you’re drunk, emotionally overwhelmed and exhausted.

As some things get older, some things stay the same—while it seems Desser is in a happy relationship, he’s still a bit mournful. Adulthood does that to you.

Us Alone is out today from Arts & Crafts and is available to order from the label’s website. You should also check out Hayden’s website at http://wasteyourdaysaway.com.

Tour Dates:
2/6: Kingston, ON @ The Grad Club
2/7: Guelph, ON @ Cooperators Hall SOLD OUT
2/8: Hamilton, ON @ The Dundas Valley Montessori School SOLD OUT
2/9: Avening, ON @ Avening Community Centre SOLD OUT
2/13: New York City, NY @ Mercury Lounge*
2/20: Toronto, ON @ The Dakota Tavern SOLD OUT
2/21: Toronto, ON @ The Cameron House SOLD OUT
2/22: Toronto, ON @ Rivoli* SOLD OUT
3/7: Wakefield, QC @ Blacksheep Inn*
3/8: Montreal, QC @ La Sala Rossa*
3/13: Austin, TX @ SXSW
3/17: Denver, CO @ Hi Dive*
3/20: Seattle, WA @ Tractor Tavern*
3/21: Portland, OR @ Doug Fir Lounge*
3/23: Vancouver, BC @ The Rio Theatre*
3/24: Nelson, BC @ The Royal on Baker*
3/26: Edmonton, AB @ The Royal Alberta Museum Theatre*
3/27: Calgary, AB @ Festival Hall*
3/28: Saskatoon, SK @ The Bassment*
3/30: Winnipeg, MB @ West End Cultural Centre*
4/3: Chicago, IL @ Schubas*
6/8: Toronto, ON @ Arts & Crafts 10th Anniversary Field Trip

* with special guest Lou Canon

Music Review: Chris Stamey, Lovesick Blues

By Cait Brennan

Just about any item on Chris Stamey‘s resume would get you your cult rock and roll bona fides. He played with Big Star’s Alex Chilton, and formed his own great (if short-lived) powerpop band Sneakers alongside Mitch Easter and Will Rigby. Stamey even founded his own indie record label, which released the one and only solo single by Big Star’s Chris Bell, the transcendent “I Am The Cosmos.” But he was just getting started.

Perhaps best known as a founding member of influential rockers the dB’s, Stamey cemented his place in music history early with that band’s first two landmark albums, 1981’s Stands For Decibels and 1982’s Repercussion. But despite the acclaim, Stamey stepped out for a solo career shortly before the band’s third album Like This, and has traveled a fiercely independent road ever since.

The past few years have found Stamey busier than ever. He’s produced records for artists as diverse as Yo La Tengo, Whiskeytown, Le Tigre, and Alejandro Escovedo, recorded duo albums with his former dB’s compatriot Peter Holsapple, and even served as the driving force behind the acclaimed Big Star tribute shows, fully-orchestrated live performances of Big Star’s Third/Sister Lovers.

In 2012, 30 years after leaving the band, Stamey and the dB’s reunited for an outstanding new album, Falling Off The Sky, a blazing rock record that sounded less like a reunion of old pals and more like the debut of a vital new band (review). And now, before the ink’s even dry on Falling Off The Sky‘s strong reviews, Stamey’s back with a complete about-face, a warm, intimate solo collection of new songs called Lovesick Blues.

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Music Review: Richard Thompson, Electric

By Chelsea Spear

At this point in Richard Thompson‘s life, his legacy is assured. As one of the members of British folk band Fairport Convention, he played a role in bringing together traditional Celtic music, folk rock, and psychedelia, and his albums with former wife Linda are some of the most melancholic and offhandedly cathartic albums of their time. As a songwriter, Thompson has a mordant wit and a great sense of melancholy. His guitar work brings together several different styles and approaches, but unlike his contemporary Eric Clapton, his real skill is in the notes he doesn’t play. In short, one could forgive him for coasting.

To some extent, Electric picks up where Thompson’s previous album Dream Attic left off (review). While he doesn’t appear to be playing these songs before a live studio audience, this latest album at least sounds as though it was recorded live, with all the members of the band in the same room. While the stripped-down arrangements, with their focus on Thompson’s electric guitar solos, find him in his comfort zone, the lyrical content seems a bit angrier and more immediate than much of his previous work.

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