Since 1992, the English have been annually awarding their best bands and musicians with the coveted Mercury Prize. It was created for the specific purpose of honouring the year’s best record, regardless of genre, album sales, or industry pressure, which all too often seemed to steer the mainstream Brit Awards. Finally, in 2006, Canada has a comparable award in the new Polaris Music Prize. Its mission is to seek out the best Canadian record, over 30 minutes in length, released in the past year (from June 1, 2005 to May 31, 2006). All records are judged purely on the creativity and artistic merit of the music on the album (sorry Mr. Kroeger).
A panel of nearly 100 music critics, programmers, and experts from across the country were tapped to create a shortlist of ten nominees. From those 100 specialists, a select group of 11 will deliberate during the award show to be held this coming Monday at the Phoenix Concert Theatre, and at the conclusion, announce their decision to the world. Pretty cool huh? Oh, yeah, and whoever wins takes home a cool $20,000, plus all kinds of cred. So in celebration of the inaugural Polaris Music Prize, here’s a look at the ten nominees:
Broken Social Scene
- Broken Social Scene
(Arts & Crafts)
Released last fall on their Arts & Crafts imprint, this third, self-titled offering from Toronto’s coolest grown-up indie-kid collective picks up right where their universally acclaimed 2002 release You Forgot it in People left off. Featuring ambient soundscapes snuggled between lo-fi pop anthems like “Ibi Dreams of Pavement,” “7/4 (Shoreline),” and a guest appearance by K-OS, Broken Social Scene make full use of all of their diverse assets on this recording. From the superb vocal stylings of Amy Milan and Emily Haines on “Bandwitch,” to drummer Justin Peroff’s skilled beats on “Windsurfing Nation,” this album sports pure Canadian heart and soul from start to finish. While BSS is clearly a masterpiece, band leader Kevin Drew pulled one of the record’s strongest punches, opting to release the fast version of “Major Label Debut” on an accompanying EP, leaving a slower, weirder, and markedly less catchy version in its place. However, with genius arrangements and the top-shelf songwriting on the creepy and ethereal “Hotel,” Broken Social Scene are still easily at the top of their game. Broken Social Scene is our pick to take the cake on monday night.
Cadence Weapon – Breaking Kayfabe (Upper Class)
On his debut, Cadence Weapon (AKA Rollie Pemberton), a fresh-faced rapper straight outta Edmonton, manages to marry his unique brand of jerky hip-hop beats with dirty synths and eerie, shimmering guitars that sound like they’re sampled from a Radiohead b-side. Spitting razor-sharp rhymes with lots of plot, and sporting a dark, wicked sense of humour (“She was holding her panties, I misconstrued this as a combination of lost-childhood and possessive tendencies, but really, she just wanted to fuck”) on tracks like “Oliver Square” and “Grim Fandango,” Cadence Weapon proves he should never have lost his job reviewing hip-hop CDs for Pitchfork Media (who gave this record 8/10).
The Deadly Snakes – Porcella (Paper Bag)
Calling it quits after ten years of owning Toronto’s soul-punk scene-and touring most of the world in the process-the final Snakes record, Porcella pales in comparison to their 2001 offering, Ode to Joy. Mainly victims of over-production, Andre Ethier and Co. kept the Deadly Snakes alive long enough to prove that the mature and diverse tunes on Porcella can actually kick ass when played to a drunken crowd at any of their legendary live shows. Are the Deadly Snakes one of the best Canadian bands of this decade? Yes, easily. Is Porcella the most creative and catchy Canadian record of the past year? Sadly, no. Anyone missing the Snakes’ insane live shows should keep their eye on local up-and-coming garage threats The Mark Inside and Action Makes.
Final Fantasy – He Poos Clouds (Blocks Blocks Blocks)
Besides having what appears to be a fart joke in its title, this second album from Toronto violinist (and sometimes-member of the Arcade Fire) Owen Pallett is a beautiful hybrid of classical sounds and pop songwriting. Featuring a wide array of guest musicians and diverse instrumentation, Final Fantasy’s newfound stardom has helped to raise the profile of hardworking Toronto-centric DYI disc collective Blocks Recording Club who have yet to release a sub-par record. With a feel decidedly straddling the fence between happy and downtrodden, He Poos Clouds features one of the only songs that’s ever been dedicated to a condominium real estate agent, the hauntingly beautiful “This Lamb Sells Condos.”
K’NAAN – The Dusty Foot Philosopher (BMG)
Originally hailing from Somalia, K’NAAN moved to Rexdale in his early teens and began rapping anywhere he could find an audience. After scoring a gig at a U.N. function in Geneva in 2001, a series of events lead to him impressing Toronto star-maker Jarvis Church (The Philosopher Kings, Nelly Furtado), who helped produce his breakthrough debut The Dusty Foot Philosopher. K’NAAN’s distinctly African flow and keen lyrical content mixed with some radio-friendly production work make songs like “Soobax” stand head and shoulders above hip-hop wannabes like Swollen Members and Bishop.
Sarah Harmer – I’m a Mountain (Cold Snap/Zoe)
After taking on the world with her seminal You Were Here disc back in 2000 and its follow-up, All of our Names in 2004, the former Weeping Tile front woman channels folksy sounds of town and country for this laid-back bluegrass inspired effort. While she retains all her trademarked vocal inflections and tender nuances, the songs on I’m a Mountain seem like unthreatening foothills compared to the rocking summits of her previous gems “Cold Snap” and “Weakened State.”
Malajube – Trompe L’oeil (Dare to Care)
What would a Canadian music prize be without exactly one francophone nominee? The surprise is that what at first seems to be a token nod to the French-Canadian population is actually one of the strongest records in the running. A mostly-upbeat collection of foot-stomping pop awesomeness, Malajube obviously take some cues from nominees The New Pornographers and fellow Montrealers The Arcade Fire (especially on the rocking “Fille À Plumes”) but ultimately crave out their own unique space drawing on electro and even metal influences. Standout tracks include “Étienne D’août,” “Le Crabe,” and that song you’ll instantly recognize from that stupid Rogers TV ad “Montréal -40°C”. Malajube are definitely a band to keep your eye on.
Metric – Live it Out (Last Gang)
After making a name for Last Gang Records with their “debut” record Old World Underground, Where Are You Now? and winning their way into the hearts of 14 year-olds everywhere, Live it Out dropped with tons of promo, but failed to deliver the infectious dance-floor mandatories of it’s predecessor. A critics’ darling regardless, Metric’s inclusion on the Polaris shortlist is more a testament to their dedicated fan base and solid reputation they earned with hits like “Dead Disco” and “Combat Baby,” rather than with Live it Out’s lone stand-out track “Too Little Too Late,” which pretty much says it all.
The New Pornographers – Twin Cinema (Mint)
Sometimes referred to as “Broken Social Scene West,” due to its members’ numerous musical affiliations, Vancouver’s New Pornographers returned in 2005 with their third and arguably strongest album to date, Twin Cinema. While sounding more like the Cars or Cheap Trick than any collective from Toronto, the New Porno’s prowess for pop perfection is undeniable. Dedicated to carving hooks into each part of every song, it’s sometimes hard determine whether the verse, or chorus, or even pre-chorus is in fact the catchiest section. At their best when vocalist Neko Case joins in, main-man Carl Newman has definitely succeeded in building a pop masterwork that includes singles “Use it,” “Sing Me Spanish Techno” and the haunting-to-happy album closer “Stacked Crooked.”
Wolf Parade – Apologies to the Queen Mary (Sub-Pop)
Originally from Vancouver, the founding members of Wolf Parade re-located to Montreal when they got tapped to open up for a little band called The Arcade Fire. After impressing Isaac Brock of Modest Mouse (a band they’ve been endlessly compared to) he worked to get them signed to famed indie label Sub-Pop, and even signed on to produce most of their debut album, Apologies to the Queen Mary. Not straying much from the home turf of Arcade Fire or Modest Mouse, Wolf Parade do make more use of analog synth sounds in creating their raw orchestral pop songs. Apologies is a bit of a slow burner, saving its best tracks, “Shine a Light,” “I’ll Believe in Anything,” and “This Heart’s on Fire” for the final half.
