Bloc Party
- A Weekend in the City (Vice)
It’s beginning to look like none of this decade’s indie-rock buzz-bands can deliver a decent sophomore follow-up. Bands like The Stokes, The Hives, The Vines, and Interpol all failed to top the critical buzz their breakthrough records initially sparked. If you’d asked me six months ago I would have guessed that Bloc Party would be the band to break this disappointing streak. Unfortunately, this over-produced effort pales in comparison to their immaculate 2005 debut Silent Alarm. Vocalist Kele Okereke tries desperately to be the new Morrissey taking his overwrought emo lyrics to a new level, which sadly crosses over into the realm of cheesiness. Example: “I will charm, I will slice, I will dazzle them with my wit” renders the otherwise OK first single “The Prayer” cringe-worthy. Closer “SXRT,” Weekend’s anti-thesis to Silent Alarm’s haunting comedown “Compliments,” is undermined by Okereke yelping “For a boy my age, If you want to know what makes me sad, Well it’s hope.” It’s not a travesty of a record or anything, “Hunting for Witches” has some single potential and showcases some cool sounds and sonic growth, but when compared to their only other album, Weekend lacks excitement and a certain je ne sais quoi, which may have just been perfect timing back in 2005. -J.B.
Rating: VVv
The Audiovisuals
- S/T (Faint and Hearted)
Coming straight out of St. Catherines, The Audiovisuals are a fierce four-piece who specialize in criminally tight dance rock. Taking some cues from post-punks Gang of Four and modern counterparts like The Gossip and I Love You But I’ve Chosen Darkness, one could make a decent argument that the A/V’s are actually more consistent, with every track on the six song disc sporting standout qualities. With sometimes-sparse vocals-“Train Song” is totally instrumental-which actually sound more influenced by the punk and hardcore sounds of Braid and Moneen than anything indie-rock, the A/V’s EP as catchy as it is kinetic. Keep your ear to the ground for more recordings from this promising outfit, and if you get a chance, be sure to check out their stellar live show. Your hips will thank you. -J.B.
Rating: VVVV
The Acorn
- Tin Fist (Paper Bag)
The Acorn is actually a pretty apt name for this Ottawa Quintet. Their songs are unassuming folk-ish numbers that each offer up multiple layers for the listener to explore. Their third release in as many years, Tin Fist is an expertly crafted offering featuring strong songwriting and solid guitar and banjo work plus some really cool percussion. The too-short EP opens with it’s longest song, “Heirlooms,” which would work great on a rainy-day mix tape between Elliot Smith and Death Cab For Cutie. Choosing to open with such a downtrodden, self-sorry opus shows that the Acorn are all about painting emotional pictures with their songs. “Heirlooms” gradually builds and subsides, with cool guitar sounds and great cymbal work filling the empty spaces, and culminates with a syncopated jazzy vocal hook which totally seals the dark deal. Another highlight is the more upbeat “Spring Thaw,” which is actually the perfect song for our present metrological situation. Sporting a driving rhythm section and a fleeting-yet-awesome disco-inflected bass part, this song sounds like the love child of Win Butler and Jeff Tweedy. This EP is a great start for the Acorn, but a full-length will be their real test. -J.B.
Rating: VVVv
You Say Party! We Say Die!
– Lose All Time (Paper Bag)
Even though they’re responsible for the demise of one of Vancouver’s all-time best bands-post punkers Cadeaux broke up when drummer Devon Clifford left to join YSP! and vocalist Dani Vachon became the group’s manager-I still like You Say Party! We Say Die! Their infectious debut Hit the Floor was just beginning to run out of steam when the release of its follow-up drop date was announced earlier this year. That’s good timing. In the space between records the band has been busy burgeoning its fan base by touring Europe a bunch and signing with Toronto tastemaker Paper Bag Records-presumably to replace the dance-rock hole in their roster left by the exit of controller.controller. Lose All Time isn’t a huge departure from the acoustic beats, angular guitars, keys, and angelic/aggressive vocals from HTF, but doesn’t feel like a retread either. Just another great group of songs which benefit from slightly better production, courtesy of Shawn Cole, than their predecessors. The first single “Monster” finds the band staking out the bouncy sonic space between Broken Social Scene and Kiss Me Deadly. “Like I Give a Care” actually sounds a lot like a lost Cadeaux b-side off their Physical City disc, especially in the middle. Overall, Lose All Time is solid effort from a great group of Canadian indie rock ambassadors.-J.B.
Rating: VVVV
Apostle of Hustle
- National Anthem of Nowhere (Arts & Crafts)
Andy Whiteman just keeps getting better and better. Building off the critical success of 2004’s Folkloric Feel he returns with more captivating indie-pop. Drawing on his connections to South America (Whiteman was born in Cuba) the record is infused with Latin influences and-I hesitate to use the term, but trust me, he does it well-world music. Recorded in Montreal and also in Whiteman’s bedroom in Toronto the album’s highlight is the title track “National Anthem of Nowhere.” The breezy guitar hooks stands out while the song dips in and out of a sea of twinkling reverby atmospheric picking. The bittersweet chorus progression drives the song, which is one of those compositions that would sound just as good played solo, but definitely benefits in character from the full band treatment. One thing that Whiteman brings along from his other gig as lead guitarist in Broken Social Scene is a cool ability to craft epic songs that sound grand, yet still come off as pleasantly down-to-earth. The record takes on a decidedly more Spanish flavour on “Rafaga!” but then ducks back into more standard fare with “Chances Are,” an upbeat number which kind of sounds like The Flaming Lips meets the Deadly Snakes. Watch for this gem to get a nod for this years Polaris Prize. -J.B.
Rating: VVVV
The Assistants
- S/T (Independent)
This debut full-length from local rockers The Assistants showcases this quintet’s affinity for their influences. Opener “Taste It” starts off curiously close to “Minnesota” by the Dandy Warhols while “Planet News” borrows a riff from Danny Wilde’s long forgotten colab with the Gin Blossoms, “Long Walk Back.” Superficial similarities aside, this record is full of the jangley energy and warm vocal hooks that very much in the vein of The Byrds’ 60s psych-inflected pop. There’s good guitar work on tracks like “Free to Believe” and one of the record’s standout songs “Handful of Heaven.” The Assistants show the most promise on the New Order-esque closer “Consent” featuring catchy guitar bends (which need to be louder in the mix), a great keyboard part, and good drumming. While they may not be full-time employees yet, The Assistants definitely have potential. -J.B.
Rating: VVVv
