Once again at the Milton Hardball Café on Wednesday February 3rd I had another interview right after the last one with USS but this time around the interview came from none other than Alex of illScarlett. Another favorite band of mine that I got to interview and soon enough this night had transformed into one of the best times I’ve ever had at any show. For those of you who don’t know, Alex is the lead singer of now widely popular Canadian band illScarlett, and after the band had finished their sound check for that night, he sat down with me to answer some of my questions.

A- From your big break playing outside, in the parking lot of Warp Tour so many years ago to now, what would you name as some of your biggest accomplishments?

Alex- Well we were signed to a record deal, but that’s always questionable if it’s truly an accomplishment or not. I’d have to say some of our biggest accomplishments though would have to be that we’ve toured Japan, the UK, Western Europe, and the States. We’ve also been nominated for Juno and Much Music awards. I’d just have to say that probably the biggest accomplishment we have is that to this day we’re still having fun and still loving every second of it.

A- With so many different genres encompassing the band, what influenced so much diversification?

Alex- We all like different types of music, we listen to everything from metal, classic, jazz, to of course reggae. We just listen to all sorts of music which I’d have to say is one of the biggest contributing factors to that.

A- With all the songs under your belt now, what would you label as the most defining for illScarlett?

Alex- I’d have to say One-A, it’s just the roots of everything and looks back at our roots in Streetsville. If you look at all our songs you’ll find quite literally that they’re all about us, but overall if you had to pick just one, I’d have to say One-A.

A- What was it like working with Kardinal Offishall on “Milkshakes and Razorblades”? How did that union come about?

Alex- We didn’t work directly with him, but we had always wanted to work with him previously. We had reached out to his managers for quite a while and never really got anything back from them. It wasn’t until the last day of recording where we wrote some of the bridges that we got a call at the last minute saying Kardinal was interested in working with us. So we sent the whole track over and shortly afterwards, Kardinal had produced, mixed and added all his parts to the track and 5 hours later it was done.

A- How would you say the band’s music has changed over the last couple years if at all?

Alex- We kind of do a mix match of everything, but it’s really hard to tell how your bands music has changed when you’re actually part of the band. In the end you just figure everything out and it ends up being what it is.

A- What’s up next for the band this year and in the far off future?

Alex- We’re currently working on the “Milkshakes & Razorblades” video, while at the same time just doing some more touring in around the States and Canada. There’s also a couple other things we’re up to at the moment, but I won’t get into any of that at the moment.

A- What do the fans mean to you as a band?

Alex- They’re everything to us, and any band that says otherwise are stupid. They’re the gas in our van and we just couldn’t do it without them. There just wouldn’t be any point to anything we’re doing if it weren’t for the fans.

A- What’s been the lowest point the band has suffered thus far? How’d you end up recovering?

Alex- Nothing big really, like none of us have ended up in rehab or anything like that, well not yet anyways. There’s always just those bad shows where everything just seems to go wrong and then right after that you have to drive 5 hours to the next show, it just drains the life right out of you sometimes. Playing over in Winnipeg, our van was broken into just a little while ago with five thousand dollars worth of stuff stolen. Plus it was a thousand dollars to replace the window, so that set us back but you know you just have to keep going, you just can’t stop because of something like that.

A- As of today, what would you were the best and worst show you guys have played so far?

Alex- The worst show, which I don’t want to mention, but if I really have to I would say was the show we played in Regina. It just wasn’t promoted properly, nobody really ended up showing, and it was supposed to be one of the biggest nights for the Roughriders. It was just really awkward, because they were the team that could have been that year. We were also broken into the very next day in Winnipeg. Some of the best shows would just have to be all those basement shows we played, or playing with bands like Weezer or Blink 182. We may not have played the best, but they were still downright amazing shows.

A- If you could have any super power whatsoever, what would it be?

Alex- Flying would be pretty cool, but then again it would only be good if you had other powers to go along with it. You’d probably need invincibility to go along with it because if you’re flying above the clouds you’d probably end up freezing to death. I mean I guess you could always wear a coat, but invincibility would be an awesome addition. You’d also want to fly fast, because what would be the point if you could only fly slow. So flying fast, invincibility, actually I’d probably want all of them. A mixture of everything would be pretty cool, but if just one I’d definitely take flying.

A- What is it like to wake up some mornings and be like “I’m in illScarlett, I’m a Canadian music icon”?

Alex- Can’t say I’ve ever started my mornings off like that, I mean I wake up just like anybody else. There are good days and bad days, if you wake up sick one morning, there’s still a show to go play and you play it. We’re just honored and privileged to play shows and be where we are now. We like what we do and it’s just amazing that after so many years we’re still having fun doing what we love most.

A- Lastly if you weren’t in illScarlett, what do you think you’d be doing?

Alex- I’d probably be a racecar driver, and if not that, I think I would have probably joined the army or something along those lines.

With another successful interview done, Alex ended up ordering me some food and beer from the bar and invited me to chill with the band throughout dinner. Getting the time to chill with one of my favorite bands was simply amazing, a lot of drinking, laughing and just having fun. Getting to hear the set list beforehand, I knew the show was not going to disappoint. With songs like “One-A”, “Extra Extra”, “Life of a Soldier”, and “Mary Jane” saved for last, it was a show I was not going to soon forget. These guys are truly the best, they rock hard, they’re loyal to their fans, and they simply have fun with it. I congratulate these guys on everything they’ve accomplished so far and to everything they will do in the future and I’d like to thank illScarlett for helping to make this night one of the best nights I think I’ll ever have.

One-A by illScarlett
Milkshakes & Razorblades by illScarlett
Mary Jane by illScarlett

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It was fifty-one years ago this past Feb. 3rd that, according to Don McLean, “the music died”. Buddy Holly, Richie Valens, and The Big Bopper, J.P. Richardson, all died on a snowy February day back in 1959 and took with them the talent and potential of a new generation. But what they left behind was a legacy that has influenced just about every musician to come after in one way or another, even if they aren’t aware of it – any musician who lists Bob Dylan, The Who, The Beatles, Rolling Stones, Paul Simon, or The Beach Boys as influences have been indirectly influenced by Buddy Holly. Heck, anyone who lists The Beatles as an influence has been touched by Buddy Holly because they recorded at least six of Holly’s songs but also songs that he recorded, and made into hits, written by others. All this is a long-winded introduction to a show I had occasion to attend on Friday, February 5th at the Living Arts Centre in Mississauga.

This show is a tribute to the last fateful concert tour that Holly took with Valens, Richardson and Dion and the Belmonts. They criss-crossed Wisconsin, Minnesota, and Iowa in the dead of winter in a unreliable tour bus that had no heating (one passenger had to go home due to frostbitten toes). Holly growing tired with the misery chartered a plane to take him to the next tour stop but the inexperienced pilot and dodgy weather caused the plane to crash in a farmers field shortly after take off. John Mueller, who has played Holly in numerous productions both in film and on stage, put together this fine tribute show in 1999 and has been touring with it ever since. Although no one knows for sure what the set list was for that tour, or even if there was one, Mueller has pieced together a kind of “greatest hits” that combines Holly’s music with covers of other musicians of the time such as Chuck Berry, Paul Anka, and Little Richard. Having played with several members of Holly’s band (Tommy Allsup, Carl Bunch and Niki Sullivan) probably helped Mueller piece together a set list that bears some semblance to what would have been played then.

I don’t know what to say about this show except that you must see it when it comes around again. It was one of the best nights of music I’ve been to in a long while. It was so much fun that everyone who attended, both young and old, left with huge grins on their faces. Not only is Mueller bang on perfect as Holly (it helps that he has a striking resemblance to the real man), but Toronto’s Ray Anthony is definitely channelling Richie Valens. Although I’m too young to have seen these artists when they were alive, Mueller and Anthony sure bring Holly and Valens to life and I have to admit that it brought a tear to my eye when Anthony launched into “La Bamba”. Valens was just seventeen when he died and his popularity was based on basically two songs, “Donna” and “La Bamba”, and it was sad to think of what might have been if he had lived. Such talent to be snuffed out so young.

J.P. “The Big Bopper” Richardson was portrayed by his son, J.P. Richardson Jr. and I have to say it, he was the weakest link in this production. Of course, this probably is because of another one of my petty biases showing itself, I never really liked The Big Bopper to begin with. He is best known for his huge hit “Chantilly Lace” and a novelty hit, “The Big Boppers Wedding” but he also wrote “White Lightening” for George Jones, and “Running Bear” that was a number one hit for Johnny Preston. These four songs were basically the whole set for Richardson and were, on a whole, done well with great enthusiasm from both the performer and the crowd.

The whole show is less than two hours long but could easily have gone on longer if the crowd response was any indication. There was cheering. There was yelling. There was dancing in the aisles. There was clapping of hands. There were Canadians out in public having a jolly good time and not being afraid to show it. Even Mississauga Mayor Hazel McCallion was dancing up a storm in the aisles. It was actually quite shocking. But I jest, well, not about the dancing and cheering and stuff, just about Canadians having a demonstrably good time. Anthony, especially, had the crowd jumping with La Bamba.

Although Holly released only three official albums, he was a prolific writer and so many more songs were released after his death. Mueller only performed those songs that would have been released at the time so we were treated to such classics as It’s So Easy, True Love Ways, That’ll Be The Day, I Guess It Doesn’t Matter Anymore, Peggy Sue, Not Fade Away, and Brown-Eyed Handsome Man. He also performed, as a closing, a song he wrote to Holly, Hey, Buddy, which takes the titles of some of Holly’s best known tunes and weaves them into a fine tribute to the man. He said he has amended it to add a couple of verses that include Valens and Richardson.

As I said earlier, if you see this show playing anywhere near you please go and see it even if you don’t know who Holly, Valens, or The Big Bopper are. There is just no denying the influence Holly had, and continues to have, on pop music. This is as close as you will ever come to the real thing and since that isn’t available Mueller et. al. are worth every penny.

You can visit the official Winter Dance Party blog here, although it hasn’t been updated in a while, or you can go to John Mueller’s website or MySpace page for more information, albums, and tour dates. There are a few dates on the east coast in March so if you live in Nova Scotia or New Brunswick look out for them. You can also find out more about Ray Anthony as Richie Valens here and here, and J.P. Richardson Jr. here, although this site is under construction. And as always, you can by the original music on iTunes,
Amazon, or, well, just about everywhere.

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The album itself is not very easy to like. He attempts to try to be atomspheric more so straight up catchy. He uses a variety of pop elements. Definitely rivaling some of the best within the electronica industry it feels like CFCF has more of a future in producing or scoring movie soundtracks. The skill is there and for instrumentals alone CFCF needs to be commended. The thing is – I do have a tough time with these albums.

It’s not just short poppy instrumentals, there was a lot of time and effort put into each track giving a full 65 minutes. It’s rare to see albums that long let alone just purely instrumental.It has two important qualities you like to see of artists: creativity and boldness. It’s not easy to get people’s attention in an ADD world we live in and I think that’s where CFCF falters in this case. I’m not saying it’s boring because I don’t find it that way but it’s definitely not very accessible.

Personally I’d like to see him make use of vocals because he does seem so incredibly talented, giving more to work with likely would lead to better material.

All in all, it’s an average album. The album I feel like isn’t quite great but for Silver’s career it’s definitely leaves some promising prospects for the future.

Rating: 3.5 out of 5

Monolith by CFCF
Summerlong by CFCF
Half Dreaming by CFCF

No related posts. Sorry.

The first time I had heard anything of HEALTH was a collaboration with Crystal Castles, (both being experimental, electronic-ish artists) and I was astounded by the merging of the two.

I recently downloaded HEALTH’s latest venture, Get Color, and to be honest, just found the album to be mediocre at best; all the songs sounded like one big track to me, but at the same time I appreciate what the band is doing.

The one song that really sticks out in my mind though is Glitter Pills (not on Get Color.) It’s one of the only songs where you can actually understand what the band is saying, and not to mention that the beat is just really ill.

I had read somewhere that the band purposely tried to keep their lyrics vague on purpose for the listener, so that it was them who could distinguish an attitude and a certain feeling. Personally I don’t think that is the right way to go; it’s the lyrics to most people which connect someone to a song in the first place, so to leave the words to your own song very opaque seems a little lazy and just makes the tracks sound like noise, something the band said they didn’t want to sound like.

Although the lyrics are minimal in Glitter Pills (their mostly just ‘oohing’ and ‘aahing’,) the spurts of it are just plain great, and the echo to their voices is really enthralling.

It’s the passion that really makes HEALTH so interesting, no matter if you think so or not, and their fearlessness to create something so abstract.

Glitter Pills-HEALTH

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I’m gonna keep this one short & (bitter) sweet:

Those that loved All Hours Cymbals are (really) going to hate Odd Blood.

Best track – “Ambling Alp”
Worst track – Everything but “Ambling Alp”
Overall rating – “F” for Fail

Ambling Alp-Yeasayer

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Milton, Ontario, Hardball Cafe; never did I once ever think that two of my favorite bands would ever be playing this small city let alone the same venue. After rescheduling the show after minor technicalities involving bookings and what not, Wednesday February 3rd I finally got my interview with USS. While I didn’t get to interview Ash that night, Human Kebab was more than happy to answer my questions.

A- Where did the name Ubiquitous Synergy Seeker come from? Whose idea was it?

HK- It was Ash’s idea, it was his desire to become this whole thing from the very beginning. We spent a lot of time flipping through dictionaries looking up different and ultimately putting together something that fit. We’re in pure essence information sponges, we soak up everything we can. Ash wanted to care out this niche for himself to become this all encompassing figure that he could adapt for himself and in 2007 he asked me to join. It’s just amazing how this whole thing came about and how what essentially became Ubiquitous Synergy Seeker was shortened to USS by most people as an easier quicker way to say our name. I just find it amazing that we have an acronym that in essence can mean so many different things but also applies to us.

A- After releasing the EP and parting ways shortly after, did you ever expect to get that life altering phone call? What was your first reaction to it?

HK- Well by that point we had done all we could, and we had basically reached a road in financially so it was just great timing that we essentially parted ways and I was able to head out to Alberta to the oil rigs while Ash travelled to Texas with a friend just on this inner journey of his doing a lot of meditating and self searching. When it comes right down to it just don’t have any expectations, you just have to let it happen. I’ve learned you just have to love yourself no matter what. Being happy and content with what you do in life are two of the biggest rules o success and we’ve been grateful for every moment that we’ve had so far.

A- Every track seems very poetic and beautifully written, where does all this inspiration come from?

HK- Well if Ash were here he’d probably tell you that it comes from everything around him. It comes from waterfalls, documentaries, forests, nature itself. Ash is the main creative engine behind the band and puts so much that surrounds him into everything we do. While my inspiration tends to lean to other bands, Ash takes in what he’s living where the influences can be anything, and it really shows in our music.

A- Your stage performance is so unique and truly one of a kind. When was it that you decided you wanted to organize something as chaotic, spontaneous and entertaining as what you do up there?

HK – Well back in 2007 when we were fist starting up, we were very tame, more about the music, and were basically very stationary on stage. Then it was like something just snapped in us and we wanted to move. With me I always want to see just how acrobatic I can be and what bounds could be pushed. I’d classify us as alternative entertainers, we do things so differently with no limits constraining us and holding us back.

A- Where did all the props come from? Any stories behind any of them?

HK- Well the heart rate monitor we use, Ash picked up from 1-800-JUNK, which we aptly named Heart Scope. Back in 2005, during a jam practice, Ash started to push buttons on it and it would start beeping and ended up displaying something that could be described as an 8-bit Loch Ness Monster. Another story would be the blender we have up there which came about one night when Ash really wanted a smoothie so he ended up bringing a blender on stage to the show and making a smoothie right then and there during the performance and both pieces have remained aspects of the show ever since.

A- With two heavily successful albums released thus far, what’s up next for USS?

HK- We’re writing new songs as we speak, working with new producers and we’re hoping for a fall release, something in 2010 nonetheless. We’re also getting a lot of one off opportunities as of late and hoping to do more in the future. We played the Toronto4Haiti show yesterday and it was an unbelievable experience unlike any other. There just seems to be new opportunities always arriving and we just follow them wherever they take us.

A- One of my favorite songs off Questamation would have to be “Stationary Robbery”. It’s a fun and upbeat song that is fuelled almost entirely by yourself. Any of your rap stylized tracks planned for anytime soon in the unforeseen future?

HK- I’m starting to get a bit more involved on the rap front specializing in what I like to call garage rap. There will definitely be a lot more on the next album, I’ve just been working and experimenting with different things for the next release. I’m also interested in venturing out on a solo album and entering more into that once USS becomes more established. I’d like to take it in a direction of something along the lines of Buck 65, where some of my inspiration and sound comes from. It’s funny because I get a lot of comparisons between my voice and his even though where he doesn’t have that naturally deep voice and continually practices to perfect it, I have it naturally. He tends to write his songs a lot more cryptically, while I tend to push towards a more humorous side of things and I’d like to take that whole process further in the future.

A- Out of every song you’ve written so far, which song would you want people ages from now to most remember you by?

HK- I’d have to say Hollow Point, it was our first song professionally mixed, produced, written, and recorded. There’s also this whole Canadiana touch to it that just reminds us where we came from. Ash’s experience with a former friend from Newfoundland is also largely part of the song and really relives that whole experience for him. It got us to where we are now and just largely speaks to every bit of essence that is us, from Canada and Newfoundland, to family and friends.

A- Looking back to when you guys were both working that golf course in 2004 did you ever think that you’d be where you are now doing what you love most? What’s it like now being where you are currently with the band, the fame, and all the fans? Would you do it all over again?

HK- No not at all, I mean in some way or another I always knew in some capacity that I would get into entertainment and always had that feeling I’d be on stage but never in as big a capacity as all this. There’s still so much we want to do, going, seeing, and travelling to new places. It’s a whole never ending process with so many goals to get done. The only regrets I’d have if it all ended right now would be that we still have all these unrealized goals but in some capacity or another I believe it would get done through another project of sorts. I’ve been doing a bunch of voice work and acing as of late, while Ash has been trailblazing, doing a lot of silent meditation, keeping himself in good physical shape, he really takes care of himself. In one way or another there’s always those open doors to which we can accomplish our goals. We never ever thought we’d have this much success though and we’re just very grateful to all the fans out there who truly helped make this happen. I’ve had five near death experiences within the last month and I’ve learned that you just have to live for the here and now.

A- How important are the fans to you?

HK- We couldn’t go where we go if it weren’t for the genuine fans out there. Like there’s been people out there who’ve used the song “Pornostartrek” for their wedding. We’ve had a whole bunch of people now taking some of our artwork and getting it tattooed all across their bodies. Like it’s truly amazing to see how far some of these fans will go just because they genuinely admire you this much. There are times where you’ll get hung up on a dream and then you’ll get that realization that “Holy shit! There are people out there who will go all out for us”. It’s just that realization that makes everything that we do worth it in the end. Everything from wedding to tattoos and everything in between, just thinking about the fans is all worth it.

A- If you could have any super power at all what would it be?

HK- I would have to say the ability to teleport. If I had the ability to teleport I would go see a very special person to me right now in a split second and be right back to play the show in another split second. I genuinely need it especially for this evolving relationship with this someone special.

A- Okay for the final question; what was the feeling that went through you guys during that first gig? What was the setup like?

HK- During our first gig we were actually known as Team of Captains, which we have since retired, and played the first show up in Stouffville. In all honesty it was just a mixture of shitty beats and a rough setup of turntables. We were setup so close beside each other and during that first show Ash had me count him in. We’re just leaps and bounds from where we were. From that first show we knew from then on that it would work. You just have to go with your guts.

Human Kebab provided so much beautifully intellectual insight on the band as well as some good life lessons to live by. A truly retrospective and informative look at Ubiquitous Synergy Seeker, these are some of the most genuinely great guys that you don’t usually come by in this era of teen pop sensations so full of arrogant stuck up artists. It’s nice to see these guys doing so good out there because they genuinely deserve to be where they are now. Hoping to keep in touch with the both of them in the near future and even though I didn’t get my interview with Ash I did end up having a 2 hour philosophical talk with him that lent subject towards anything from the pure beauty in life to meditation to different bands and everything encompassing life. I found him to be so enlightening that I picked up my new favorite seven little words from him “I never saw it that way before”. All in all they played an amazing set list that night and it turned out to be one of the best experiences I’ve had thus far in my life. I wish HK and Ash all the best in everything they do, because these guys truly deserve the best.

Hollow Point Sniper Hyperbole by Ubiquitous Synergy Seeker
Stationary Robbery by Ubiquitous Synergy Seeker
Pornostartrek by Ubiquitous Synergy Seeker

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Toronto’s own Kit Knows (a.k.a. Kit Weyman) released his first solo project, “The First Space: Kit on the Moon,” early January. Kit Knows, formerly known as Kaynose from the hip-hop duo, Two Left, is also a recognized actor in the Canadian television industry. His most notable roles were Sam (Life With Derek) and Sulley (Degrassi: The Next Generation). Essentially, Kit Knows’ “The First Space: Kit on the Moon” is a remix of an up-and-coming Berlin producer’s beat tape, fLako’s “The First Space Shit on the Moon.” The album is up for free download on his personal website. Kit Knows lays his own vocal styling over fLako’s original instrumental album, bringing a sense of cohesion between hip-hop, jazz and new-wave electro. 

The album consists of 20 tracks. In his opening track, Welcome, he gives a shout out to fLako and reminds the listeners that “Two Left is dead.” The rhymes of Kit Knows are smart — with the lyrics of the tracks ranging from the lack of support from the Canadian music industry to politics to getting high to media literacy to love. The only criticism that I have for Kit Knows and this album is to reduce the number of ”ugh’s” and ”yeah’s” before each song. It is not to say Kit Knows is without flaws or without things he could work on; However, I can see the potential in him, at least from what he’s done thus far with Two Left and this album, to be a recognized independent artist.  

For more tracks, check out Kit Knows‘ myspace.

Kit Knows – Desert Ride
Kit Knows – Footprints
Kit Knows – Knots

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Throw on your flannel shirt and grab a mouthful of marbles because it’s 1992 all the fuck over again.

kc quilty hail from Brooklyn, New York, which has probably given us enough cheesy-ass post-Strokes guitar pop in the last ten minutes to burst a blood vessel; Sadie Dupuis and co. buck this trend and take us back to a time that seems so much simpler and yet so much more complicated. I often listen to alt-rock records from the 90’s and reflect wistfully on how no one produces like that anymore, with the monolithic guitars charging out of both speakers right into your fucking face, like a huge pane of glass attempting to pin you to the wall. The production is really what makes this record, mostly unadorned, the drums crunchy and overdriven, the guitars a dense sludge of indie-post-indie-rawk, yet still floating widely around Sadie’s sardonic vocals. Yeah, the singer’s a girl, and she has a sweet voice, but don’t call her twee. She sings like she’d be sticking her tongue out if she could, and if you tried to make eyes at her while she’s on stage, she’d probably roll them deliberately at you, and considering the gloriously pulverizing noise she can wring out of her instrument (punctuated by quieter moments of breathless tension) while rhyming “supernova” with “nice to know ya,” you want to avoid fucking with her like you would Jerry Cantrell.

In spite of the confrontational posturing, though, this music is pop perfection – the classic Pixies loud-soft dynamics given new melodic life by the band’s Britpop inflections; matter of fact, “Mr. Benjamin Watson” is probably the best song Blur never got to write for their self-titled album, and probably half of these songs could sound like Leisure with balls if it wasn’t all so gloriously punk rock. It’s hard to avoid trying to play “spot the influence” with indie music these days, but kc quilty do what the best pop music does, drawing together disparate influences into a seamless and infectious whole. Need proof? Put on “Jackshit,” crank the volume, and try to resist letting your hair down and air-drumming to Julian Fader’s slapbacked virtuosity.

kc quilty’s debut album, Clover/Coriander, is to be available soon via NYC micro-indie Cooling Pie Records, home to the recently Village Voice’d (and polarizing) Ava Luna.

kc quilty – Jackshit
kc quilty – Mr. Benjamin Watson

kc quilty Official Site
kc quilty MySpace
Cooling Pie Records

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Mos Def is what you would call a veteran when it comes to the hip-hop game. Mos has been rapping from when he was 6 years old, and also grew up in the golden age of hip-hop- when the genre was more conscious and and just more convivial. His first album was released in 1998 with Talib Kweli, and was entitled Black Star. From then, Mos has been dominating the hip-hop genre. Mos has also had stints in many movies, and as great of an actor he is, it’s clear Mos’ true endowment is in music.

Mos Def’s latest album, The Ecstatic, is probably his best yet. The first track I had heard off the album was Quiet Dog and from then I immediately knew the album was going to be insane, and more eclectic than Mos’ older stuff. The album oozes with Muslim association (Mos Def himself is Muslim,) which in my opinion is what makes the album so infectious.

After listening to the one track, I moved onto the whole album, and not to sound to gushy, but I was in awe. The album opens up with a speech from Malcom X, and throughout the album, many notable and past speakers appear on the album as well, once again going along with the vintage appeal.

Usually when listening to an album, there are 1 or 2 songs which everyone agrees the album could do without. There were absolutely none on The Ecstatic. In fact, the harshest criticism I have for the album is that many of the songs were way to short.

This album is in a whole other category than other hip-hop artists. Comparable to none, Mos Def maintains a style which many in the industry today and lusting for. This album could have easily been a corny, rushed effort but it wasn’t. It proves that with time, comes perfection. It is artists like Mos Def who give hope to a weltering genre.

I have never been the type to be preachy about an album or artist. But this album pushed me to break that rule.
Mos Def-Quiet Dog

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Has everyone ever noticed how ridiculously similar Katy Perry and Zooey Deschanel look? Silly question. If you’ve seen both of them you’re sure to recognize some similarities. Well today you get the best of both worlds: a new Katy Perry song, and a cute little Zooey Deschanel song.

“If We Ever Meet Again,” a track from Timbaland’s Shock Value II, is a collaboration of Timbaland himself and Ms. Perry. The track, I’d say, is the most catchy on the whole album. The lyrics execute a story of mystery and love. The beat produces a catchy support system to Katy Perry’s passionate voice and creates the desire to dance. To accompany the song, the music video displays a romance of two criminals. When listening, however, the song seems more appropriate in describing love at the club.

Timbaland Feat. Katy Perry – If We Ever Meet Again

“Uh-Huh” happens to be a track from Deschanel’s character’s band, “Munchausen By Proxy,” in the movie Yes Man. I saw the movie a couple of days ago and was moved by Deschanel’s adorable performance and quirky lyrics. The instrumentals are a simple synth. Repetitive and maybe annoying actually. Her presence on stage in the movie is worth watching, but the song may not transfer well without that context in your mind. The song is a break up song filled with hostile lyrics, yet sung with such pleasantness. Anyone familiar with Deschanel, or looking for some sort of aid for their post-break up status, should give it a try.

Munchausen By Proxy – Uh-Huh

And personally, I’d choose Zooey Deschanel anyday.

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In 2007 Spoon got the top 10 spot on Billboard 200 with Ga Ga Ga Ga Ga – and as far as indie rock goes  – it’s safe to say they’ve ‘made it’. With Transference – perhaps due to recent commercial success – Spoon’s gone back & done what any band would if they could: anything they want. It’s also happens this is their 1^st self-produced album – the result is what I can only describe as more ‘authentically spoon’. You get the same clever lyrics, plenty of hooks, & usual oddities – but with fewer studio novelties.  You could call it: Spoon Light™ – same sound as the original but with ½ the calories.

The first track – Before Destruction - is a good example of old-school Spoon and is reminiscent of 2001 release – Girls Can Tell. The rest of the album is more daring, with Is Love Forever?’s echoing vocals; The Mystery Zone’s tight rhythms & sweet keys; and my personal fav – Who Makes your Money – with it’s loopy vocals, catchy bass riffs & song writing that brings to mind recent documentary Zeitgeist: Addendum. But Transference isn’t just clever song writing, they’ve thrown in a few love songs too – so you can rock the sheets & screw the system all in one evening. Amen to that…

Transference is intimate & insightful – almost (dare I say) enlightening? Topics range from existentialism, to psychology, & even political economy. Britt Daniel ‘knows’ – and he isn’t afraid to put it out there for the masses. This is a wake up call: “Dear America, please… put down your Big Mac – shut up – and listen.”

Other than Radiohead – there isn’t another (current) indie rock band that has experimented as often, and quite so successfully, while staying true to their particular brand of music. This is the holy grail of rock & what ultimately distinguishes the best from the rest. Not an easy feat.

FYI – Spoon’s on tour & they’ll be at the Sound Academy at the end of March.

Best track – “Who Makes Your Money”

Second best(s) – “Is Love Forever?” + “The Mystery Zone” + “Got Nuffin” + “Nobody Gets Me But You”

Overall rating – “B” for ‘Better than most’

MP3s removed by request.

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Christopher Bell had a great idea: he’d cover song written by his friends, so this EP is a collection of songs that you probably won’t be familiar with but should be. This is a fine group of five folk tunes that bring to mind the Cold Mountain or Oh, Brother Where Art Thou? soundtracks. In fact, these songs have a lot in common with the duo of Robert Plant and Alison Krauss with their beautiful harmonies and old-fashioned folk sensibilities. They are bare-boned, simple arrangements that take advantage of Bell’s talent as a multi-instrumentalist.

The best song on this EP is the last one, All My Ghosts, initially recorded by Mark Mandeville. It is a plaintive tune with cello, viola, and fiddle taking centre stage. “All my ghosts have released me, let me go, let me go”. It’s probably one of my favourite songs this year. It synthesizes all the songs into one. The gorgeous melodies found on the other four songs, Robert L. Sinclair, Pretty Thing, A Letter to Violet Edison, and Flat ol’ Florida; the interesting use of common instruments (cello, clarinet, accordion), and the simplicity of arrangement unite to make the best folk song I’ve heard in a while. I would recommend this EP to anyone who likes alt-country/bluegrass/folk simply because you get to hear talented songwriters you would otherwise miss. I would check out Mark Mandeville and Be Brave Bold Robot (these guys have a very odd sense of humour).

You can find Christopher Bell on MySpace. You can buy Bell’s music on CDBaby or from his record label’s website.

Christopher Bell – A Letter To Violet Edison
Christopher Bell – Pretty Thing

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After running through Contra – Vampire Weekend’s latest – I was left feeling disappointed. What was meant to be one of the most anticipated albums of 2010 – a near complete fail. Now maybe I’m just bitter after listening to Odd Blood – but let me explain…
Back in 2008 – I fell in love with the sickly sweet ballads; hook lyrics; & simple instrumentation that made up VW’s self-titled debut. It was simple, upbeat, & provided much needed relief from the vast array of dream-pop on my playlist.
In comparison – Contra sounds exaggerated & over-produced. Perhaps the notion is that synths + auto-tune = artistic development. In my opinion – the album feels forced.
So what happened?
You might recall a few years ago – the critics really came down on VW: profiled as privileged (white) American kids getting rich off the back of Afro-pop music – my guess is VW took those reviews to heart. Either they care what we have to say or they don’t – but the fact remains that their latest album reeks of the aftermath of broken hearts & bruised egos – and it shows.
Rather than fight the fact that you’re just a bunch of wealthy American kids with trivial concerns – embrace it. Instead of trying to wow us with deep lyrics & auto-tune tricks – stick to what made you great to begin with. If we wanted auto-tune – we’d all be listening to Cher. And Ezra – you’re not enlightening anyone by saying – ‘Half of me is the gasoline’ – most of us are aware of the your country’s dealings by now. Get real.
What VW failed to realize – is that simplicity can be beautiful. Some of the best bands in history had nothing to say – instead they got by on feeling alone. Regardless of the stylistic influences, witty references, or embedded irony – music is about the feeling. Contra has no feeling.
Things today mostly suck & I hear there’s a chance the world is coming to an end – but I don’t want to rock out to all that bad news. Enough about bombs – sometimes a girl just wants an oxford comma.

Best track – “Cousins”
Worst track – “Giving up the gun”
Overall rating – “A” for average

Cousins – Vampire Weekend

Giving up the Gun – Vampire Weekend

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The Touques latest self-titled EP is my first foray into their brand of eclectic syncopated music. The Reno, Nevada trio has changed slightly over the past few years and their music reflects it. During the first couple of playthroughs I found it difficult to latch or on relate to the type of music they were conveying. In immediacy the focus felt sparse and confusing. The first song to shed some light as to their insight was ‘White Elephant (Settling)’. It sounds like a three minute intermission with chorus guitars and background conversation. This ambient atmospheric moment was a lens into the style of the EP.

The majority of the songs on the album have odd timing rhythms and out of tune instruments, and while it doesn’t make a good first impression; it does work. The chorus in ‘4’ and the final minutes in ‘Roy Stampler’ are great highlights of fast beat energetic music. To the contrary ‘HRPM’ and ‘Goodbye Monsieur’ sound much darker and I didn’t feel the vibe in much of the same way as I did at the beginning. The greatest limitation here is the band’s ability to make contrasted styles of music. There’s plenty of evidence in smaller aspects but as an overall cohesive whole it may be lacking. The band has made their EP free to download. To check it out hit the link at the bottom.

MP3:

The Touques – Roy Stampler

Download at:

Rapidshare.com

More info:

The Touques blog / Myspace

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