An Horse – Grey Area
By Jenny Henkelman
It’s a long way around the world. When indie pop outfit An Horse pulled into Winnipeg in September, 2009, Kate Cooper and Damon Cox were more than a little run-down-looking, a little weary—offstage. Onstage, of course, the guitar-drums duo were impeccable and compelling, both in the UW quad and, I’m told, at the Lo Pub the same evening. Touring solidly this past year in support of their critically acclaimed debut full-length, Rearrange Beds, the pair are about to take a hiatus to write a new record. “We’ve nearly finished the cycle of the record we’re on,” said lead vocalist and guitarist Cooper. Continue Reading »
Montreal’s Michael Silver isn’t quite as prolific as when he first thrust himself into the blogosphere. He’s still doing remixes for the ultra-chic-hip yet sensible crowd of artists (HEALTH, Sally Shapiro, Datarock), but all in all, he has chilled out, and thus, his music seems to have chilled out with him. Continent doesn’t contain any jaw-dropping or genre-shattering tracks, but it makes for a smooth yet varied listen, every song belonging to some different subgenre under the now-loose umbrella of house music. “Big Love” comes as a bit of disco, with smiling house pianos and hushed vocals. “Letters Home” sounds like the Tough Alliance or Air France’s upbeat tracks, but with a much slower build and less dramatics. The soul guitar intro of “Invitation to Love” is enough to make anyone stop and shimmy their shoulders, slowly but surely. But this is nitpicking; all in all, it’s a peaceful electronic record, recommended if you want an entry point into the current state of blogosphere music, or if you need to keep your addiction fed. (Paper Bag, 
Jets Overhead are a band that would have fit in perfectly in the mid-1990s. Their sound, very much influenced by the Verve and Radiohead circa The Bends, was seemingly tailor-made to be included in film and television from around that time. That is not to say that they are a bad band; not by a long shot. Their sophomore album continues in the same direction—guitar-driven alternative rock that has an ethereal, dreamlike quality to it. Each track on the album has something that makes it stand out from the rest of the album. There is not one song on this album that could be classed as filler. Adam Kittredge’s vocals give the album a melancholy vibe. Jets Overhead are able to pay respect to their influences from past decades, while still making an original album that is relevant and enjoyable to today’s crop of listeners. Key tracks include “Heading for Nowhere,” “I Should Be Born” and “It’s a Funny Thing.” (Vapor Records, 
If I were to make a list of my favorite CDs from this last year, this one would definitely top the list. Hailing from Glasgow, Scotland, We Were Promised Jetpacks brings a fresh new sound to the encompassing genre of indie rock with their first studio album, These Four Walls. Putting this CD into your sound system of choice will introduce you to the stunning vocals of the band’s lead singer and guitarist, Adam Thomson. The level of emotion that comes out of his voice, accompanied by his very nonintrusive Scottish accent, allows him to create a variety of atmospheres, varying from very high energy, to sweet, soft, and mellow. The album itself is extremely well compiled, showcasing the band’s artistic range through the variety of tracks. From the first song, “It’s Thunder and It’s Lightning,” with it’s somber melody and compelling lyrics, to the more odd and upbeat, “An Almighty Thud,” the listener is exposed to the musical talent and genius of the band. I would highly recommend this album to anyone looking for a new and interesting sound, or maybe just a change of pace, and I hope to hear a lot more from these guys in the future. (Fat Cat, 
Tom Waits’ roaring voice leads the way on these 17 tracks from his 2008 Glitter and Doom tour. The live performances are a series of fresh renditions of Waits’ new material as well as classics like “Singapore” and “Get Behind the Mule,” which sound rawer and rockier than ever. The opener “Lucinda/Ain’t Goin’ Down” and the bluesy bad-ass interpretation of “Goin’ Out West” are at top form, eclipsing their previous versions; while “Fannin Street” and “Lucky Day” are stunning and sentimental but never sappy. Although songs like “Dirt in the Ground” and “The Party You Throw Away” are less then captivating, the majority of the album is a testament to why Waits is one of the most sought after live shows in North America. Along with the music, a second disc features another side of Waits. As a master storyteller, Waits spins a yarn about purchasing Henry Ford’s last breath on eBay among other things. His strange and comedic Tom Tales are almost as endearing as his music and really complements the cabaret-like atmosphere that surrounds him. Glitter and Doom Live is just another reminder of the ferocity, wit and sheer spellbinding power of Tom Waits. (Anti-, 
s T. Gobena’s new album with the Abyssinian Roots Collective could be one of the best world music albums of the last decade. Gobena is the bass player for current ethnic music dominators Gogol Bordello, and rather than attempt to out-maneuver his lively compadres, he has collected a potent band that delivers stunning, diverse and captivating tracks that effectively defy categorization. Dollops of afrobeat slither up against deep dub and jazzy asides, signs that these players left flimsy chops behind long ago and now exist to play in the realm of the truly masterful and soulful. It’s just that good. With this album, Gobena has become a player/composer to watch. And that is just what you should start doing. (Easy Star, 
In the documentary People Who Do Noise, one noise musician says that the genre has “stripped all of the musicality from music.” But does that make it any less of an experience to catch one of Winnipeg label Midori Records’ acts live when the rare opportunity arises? Hell, no. The experience is all they’re concerned about. Sigmund just played an improv set at Element Sircus, horrifically backing for a self-mutilator. In the summer, Krakk sometimes lays all their electronic gear on the street and blasts the ears and minds of passers-by in guerrilla shows. And a couple years ago, label owner Fletcher Pratt played at Send + Receive festival, to recreate sounds from his Mind Gunk series. Stylus recently met with Pratt, who is also a member of Krakk and Sigmund, to ask a couple of label-related questions.
The opening track of this Toronto band’s album is a six-minute instrumental called “Juvenile Haul,” an alt-country-esque jam that is reminiscent of Wilco. I got excited, because this track was showcasing the ability of this band as musicians. I was anxiously waiting for vocals to kick in, but after track two was finished, I was wishing that the record was entirely instrumental. Zachary Bennett’s vocals are the worst sounds committed to tape that I have heard (though that is barely scratching the surface compared to what Kent Davies has listened to). He sings in a high-pitched nasal whine, that sounds like he is singing the entire album with a clothespin on his nose. This voice is so grating, that despite the great musicianship of the album, I can’t really enjoy it at all. I’m against the idea of Auto-Tune, but this is one album that I wish was run through the program before it was unleashed on the public. (Sparks Music, 
New Zealand’s the Black Seeds have finally released an album on this continent and Solid Ground will fully please reggae music fans both old and new. This eight-member-strong contingent blows away the competition with their blasting horn charts, sweet vocals and deep roots vibe that are all heightened by air-tight production. This record is one wild ride that begs to be played loud enough to dislodge the dust in the cracks of your hardwood floor. Reminiscent of top ranking old-school U.K. combos like Matumbi, UB40 and Steel Pulse, this Kiwi band sweetens its vibe with a vividness that will compel fanatics to immediately hit the dance floor and cut loose. While it’s hard to pick favorites, tracks like “Love is a Radiation,” “One Step at a Time” and “Strugglers” are at the top of this listener’s personal hit parade currently. Oh-so-sweet and dandy, indeed. (Easy Star, 
Somehow it seems unfair and hardly proper that Toronto’s Ron Hawkins remains a rather obscure character in Canadian music. Any self-realized radio DJ with a decent library of tunes and a need to fill a Canadian content quota should be a little familiar with his “other” band, the Lowest of the Low, or his fine Ron Hawkins and the Rusty Nails albums. His latest solo ten-tracker tips the goodness scales well in his favour again—Ron Hawkins can’t and shouldn’t be denied. Again, his striking, observational lyrics are in full flow here. Sad sacks and street corner poets, emotional has-beens and people scraping through life’s dirt are all here and oh, so achingly familiar. Hawkins’ hewn vocals add an earthy dimension to whatever he sings and his emotional delivery will keep you coming back for another listen to hear if the song has turned out any happier since the last time you tuned in. A must for fans and a positively enticing listen for anyone looking for honesty, integrity and grit in their musical diet. (Independent, 
