Album: The Big Roar

Label: Canvasback Music, Atlantic, Black Bell

Rating: 4.5/5

Simply put, The Joy Formidable’s The Big Roar is a monumental odyssey into the realm of musical ecstasy. Juxtaposing ambitiously loud and monstrous sounds with powerful and eerily hypnotic vocals, the album is an embodiment of a wondrous imagination at work.

From the opening track “The Everchanging Spectrum of a Lie”, a Sonic Youth-inspired eight minute extravaganza, the listener is greeted with an audacious piece of epic grandeur. Swarming with an array of rhythmic abundance, the song is a blue print for what is to come over the next eleven tracks. And what is to come assembles into one of the best albums of the year.

A landscape of sonic majesty, The Big Roar confronts the listener with multitudes of style. Whether it’s the hard-hitting and confrontational “The Magnifying Glass”, with its booming combination of distorted guitars and thunderous drum patterns, or the enigmatic “Llaw=Wall”, with its simplistic melancholic structure that eventually gives way to a chorus that explodes with jubilant desire, the album revels in its diversity.

Though, if there is one aspect that really ties the album together, it’s located in its thematic make-up. There is a loneliness that permeates throughout The Joy Formidable’s richly-textured songs, and rather than undermine The Big Roar’s slight leanings toward catchy pop hooks, it instead provides greater character to the overall structure of the album.

A joy to listen to, the Welsh trio’s debut LP is an amazing achievement that will continue to appreciate with age.

Album: See It All

Label: None

Rating: 2.5/5

There is something to be said about a debut album that contains 17 tracks and lasts over 66 minutes. Unfortunately, everything that can be said is not always positive.

Now, there is no denying that White Lightning’s See It All is ambitious in its pursuits. It attempts a lot, and not surprisingly, frantically struggles to hold on. Though talented in their own right, the band’s overambitious plans deter from what may have become a great record

The album bizarrely commences with odd trance-like chamber music, and then awkwardly transitions into a Datarock influenced track entitled “Satisfaction”. From here, the album incorporates sounds ranging from pop and punk to alt rock and simple piano medleys, and then finally concludes with a bouncy remixed version of “Satisfaction”. Though the last song is interesting and one of the few tracks that is quite enjoyable, it does seem largely out of place.

See it All also seems to suffer from a lack of memorable songs. Save for “Satisfaction” and “Hold On”, the album’s track list comes off as highly forgettable. And even the times when the album begins to come alive musically, it is usually for all the wrong reasons. The song “City Lights” instantly ignites thoughts of 311 rather than an original White Lightning tune.

Overall, the largest problem just seems to be a lack of identity found on the album. There is no real clear-cut way to define this band (and that may seem like a positive attribute to have), but not on your debut record. You want to embrace the listener rather than mystify them with diverse aspects of your sound. Though there are moments of brilliant musicality, this ends up becoming a highly schizophrenic introduction from the Edmonton-based trio.

Album: Fair Hero

Label: Ironside Productions

Rating:  4/5

There is no doubt that Kinley is a name foreign to many ears. An Acoustic Folk singer from the prairies of Saskatchewan, Kinley (alias for Josh Docksteader) humbly introduces himself by weaving a web of simplistic pleasure on his debut album Fair Hero. 

Clearly faith-based (Religious-wise) as a songwriter, Kinley’s songs are personal inspirational tales of hope and perseverance in a world gone astray. Devoid of pretentious motives, the songs are truthful expressions of a longing heart. And though melancholic at times, there is no denying the optimism that resonates throughout the core of the album.

Kinley’s voice is a blend of sorrowful regret and unwavering endurance, and it truly aids the thematic structure of the album. Themes of loss and submission found in the songs “Mercy for Us All” and “Defeat” are interspersed with themes of rejuvenation and rebirth in “On the Edge of Triumph” and “Winter to Spring”. So, as straightforward as the album is stylistically, there is great emotional depth lyrically.

Though there are other musicians credited on the album (and they do provide exceptional support), this is a highly personal record that derives from one soul. And with nothing to lose, Kinley lays it all out for the listener to embrace.

Simplicity at its best.

Album: It’s a Beautiful Future

Label:  Rebel Time Records, Clandestine DIY Collective, G7 Welcoming Committee Records, Out of Tune Records

Rating: 4/5

The Rebel Spell’s It’s a Beautiful Future is an embodiment of what punk rock is supposed to resemble; an uncompromising lyrical molestation of the senses that is fearless in its onslaught of confronting social injustices. Without the presence of ambiguity, the album is a raw, abrasive, stripped-down DIY entity that strikes a voice for the little man through the subversion of mainstream ideals.

There is no time to waste as The Rebel Spell (out of Vancouver) relentlessly blast through 12 songs of outspoken attacks on what they deem troublesome with the world we live in. “Beautiful Future” is a sarcastic sneer towards our impending doom while “Uncontrollable” angrily leads a rebellious uprising against the oppressive forces of the powers that be.

Personifying the simplistic style of punk rock, The Rebel Spell infuse their commentary with a highly regimented mode of aesthetics. Throughout the duration of the album, the band incorporates a minimalistic use of chords (3-4 at the most), aggressive in-your-face drum patterns, and angry, venom seared verbalism directed towards anyone who has had the gall to piss these punk rockers off.

At times, however, there are concerns that the album will delve into parody as a result of thematic repetition, but the band quickly abolishes any thought of redundant blather by providing a highly energized presentation of the material.

There are traces of Bad Religion, The Offspring, and Rise Against filtered throughout, but The Rebel Spell understand how to incorporate (rather than copy and paste) their influences into assisting them personalize this album.

It’s a Beautiful Future truly breathes fresh air into the punk rock scene!

Album: The Bread and the Bait

Label: Antenna Farm

Rating: 3.5/5

A highly deceiving album, Foxtails Brigade’s The Bread and the Bait revels in its trickery. This is an LP that commences in a very simplistic way but quickly becomes a highly diverse piece of transcendent beauty.  Through the use of guitar, cello, and violin, Foxtails Brigade creates a sense of feeling regarding time and place. During most of their eleven-track debut album, the listener is transported to an era once lived.

At times, the soft, melodic tone of singer Lauren Weinbach’s majestic voice summons the innocence of a mother singing her child to sleep. While at other moments the tranquil pitch of harmonic beauty is interrupted by accelerated guitar finger plucks that insinuate nightmarish visions of increasing horror.

This is greatly emphasized on the songs “Pan-Asian Delight” and “Steak and Cookies”. Two truly bi-polar melodies where peaceful and innocent lyricism is interspersed with dark and foreboding imagery.

Though, at times, some songs (“Creeping Ophelia” and “The Hours”) inch towards the mundane and the simply boring, it never once takes the time to admire these characteristics. There is a vivacious spirit present here, and the album refuses to remain bound by simple genre limitations. Musically, it bounces around (in a good way) with the energetic exuberance brought about by inspiration, and through this motivation dares to delve into numerous themes ranging from gentle sombreness (“The Clown”) to nostalgic remorse (“Long Day”). In essence, each track benefits as a result of its unpredictable nature.

Though not for all tastes, The Bread and the Bait offers something new and exciting to the listener privileged enough to hear it.

Album: Return To The Ugly Side

Label: Domino Recording Co.

Rating:  4/5

A slow and tragic atmospheric journey into the psychedelic landscapes of Trip hop that is enunciated, at times, by fierce and powerful beats: This is how it is best to describe Return To The Ugly Side, Malachai’s sophomore follow-up to their 2009 debut Ugly Side Of Love.

The duo, consisting of Gary Ealey and Scott Hendy, provide the listener with an orgiastic feast of mood, melody, and stunning hypnotic manipulation within a relatively short length of time (14 songs clicking in at just over 35 minutes).

True to the Trip hop genre, Malachai deliver a dark and disturbing album that is not meant to be glossed over lightly. There is a great diversity of sound present here, and it is highlighted by melancholic themes and haunting lyricism. Many tracks, such as “Rainbows” and “Distance”, systematically enslave the listener with poetic poignancy and intimate personal anguish throughout most of the duration time of Return To The Ugly Side.

Greatly influenced by Massive Attack, Portishead and even hints of N.E.R.D., Malachai create a distinct, personal piece heavily derived from acid-infused sampling.  The duo, from Bristol, England (the birthplace of Trip hop), work hard to create a multi-layered narrative that incorporates many seamlessly intertwined musical genres ranging from hip hop and rock to jazz and club music.

A hectic ride through the shadows of life, returning to the ugly side was a journey well worth embarking upon.

Album: Different Gear, Still Speeding

Label: MapleMusic Recordings/Dangerbird Records LLC

Rating: 3.5/5

Just as Oasis’ “Rock n’ Roll Star” (the first song off of their debut album Definitely Maybe)provokingly slapped you across the face with that ‘pay attention to me’ audacious sneer, Beady Eye’s introductory album Different Gear, Still Speeding brazenly confronts the listener in much the same way with the opening track “Four Letter Word”. The song embodies such a feeling of insolent audacity that you can’t help but feel a tad let down by the sentimentality the record seems to lean towards from there on out.

Following the great opening track, the album tends to vary between sounds inspired by The Beatles (not really shocking), The Rolling Stones, The Kinks, and even Jerry Lee Lewis. Clearly influenced by the 1960s, the album teeters on greatness, but yet seems to fall short as a result of a couple of forgettable tracks like “Millionaire” and “Kill For A Dream”.  Also, marred by some unmemorable lyricism from the song writing team, the album does seem to lack that Noel Gallagher expertise of infusing meaningful lyrics with a particular poignancy.

But one must remember that this is not Oasis, and the album should be treated as an entirely separate entity. With this in mind, the ex-members of the aforementioned group (Liam Gallagher-Vocals, Andy Bell and Gem Archer-Guitars, and Chris Sharrock-Drums) still do achieve something special. Through its simplistic approach in presentation, the album incorporates a very back-to-basics sort of rock n’ roll, which is defined through the incorporation of rudimentary drum patterns and basic guitar riffs. And for a group as legendary as Oasis, this return to the basic modes of musicality is definitely the most logical step for the new band.

Different Gear, Still Speeding is not without its flaws, but Liam and the boys do prove that they have the ability to step out onto their own and craft an enjoyable listening experience.  And in the long run, isn’t that the most important thing?

Album: The Ground Cries Out

Label: Riverland Records

Rating:   4/5

With over 20 years of experience in the music business, many of those years highlighted as frontman for The Tea Party, one would assume that Jeff Martin understands what he wants when constructing an album.  With his latest endeavour, a three-piece band entitled Jeff Martin 777, Martin and company conjure up (at most times successfully) a vivid and alluring musical landscape that permeates across the eleven song track list of The Ground Cries Out.

Some of the tracks, like “The Cobra” and “The Pyre”, seductively entwine the listener’s ear with a hypnotic, murky eeriness, while songs like “The Ground Cries Out” (First Single) and  “1916” incorporate a boot stomping, heady grooviness that strikes the cochlea instantaneously.

If you know anything of Martin’s previous works, he has typically been quite fixated on lyrical inspiration from occult themes and Pagan influenced literature, but Jeff Martin 777 manages to keep it light on “Queen of Spades” and “Riverland Rambler”, and even finds the time to include two relatively short but nonetheless mesmerizing musical interlude pieces on tracks six and eight.

But as much as it is admirable to applaud the band’s incorporation of diverse sounds and thematic issues, it’s also very difficult to ignore the simple fact that some of the more easy going songs, especially “Riverland Rambler”, don’t seem to quite gel with the overall sound of the album.  Yes, they are having fun with them, but the jovial light-heartedness the band is highlighting slightly undermines the overall effectiveness of the darker themes featured on the album. At times, the listener is pulled in many conflicting directions by the wide array of variety.

With this being said, it’s hard to fault the rejuvenated sounds emanating from Martin’s voice. He is definitely excited about this album, and his enthusiasm elevates The Ground Cries Out to a level he hasn’t ascended to since his time with The Tea Party.  This is an album that truly grows on you with each additional listen.