The Scope

Track Review: “The Day That Never Comes” – Metallica

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Track reviews by kids

Local track reviews by Luke, 11, maren, 11, and Havie, 9.

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Track review: AE Bridger “Stretch-a-Sketch”

Track Review: “Stretch-a-Sketch” by AE Bridger

From I am a Ghostly Leech (2008)
St. John’s, NL
soundclick.com/bands/aebridger

Alison Corbett: Neurologist Oliver Sacks writes that, although rare, many of his patients report having musical hallucinations. His patients often refer to the hearing recordings in their head as played on their “intercranial jukebox.” I can only marvel at how Bridger has managed to free the hits from his intercranial jukebox, but it’s definitely coming through loud and clear. Quite remarkable, to say the least.

Dave Sullivan: Imagine the Dead Milkmen were undead—that’s what it seemed like for the first minute of this song. Then, in fact, me and Song fell in love. But after a while me and Song lost interest in each other. There were tears. We hugged, and then the moment Song was out of earshot I shat all over him. I cut Song up in front of my friends. “Song? I knows Song,” I’d say, “he’s a dirty shagger!” Then one day, I was walkin’ down the road and I started hummin’… do you know what I was hummin’? You guessed it. I guess Song wasn’t as bad as I thought. I learned a valuable lesson that day.

Sean Panting: At first I thought I was listening to a ghetto blaster recording of some regular old band, but that was back when I was missing the point. Its appeal grows fridge fungus. On repeated listens I like the freaky Syd Barrett back half better than the Captain Beefheart meets the Specials bit, but that’s just me.

Track Review: “Ever Made Love to Communist?” by The Kremlin

Track Review: “Ever Made Love to Communist?” by The Kremlin (visit their MySpace page to hear the music)

From The Red Menace (2008)
St. John’s, NL
www.thekremlin.ca

Alison Corbett: Many moons have passed since I last donned the GoGo Dancer Strike Force outfit (and I’ve got the rolls to prove it…) but The Kremlin’s danceable beats and catchy riffs make it impossible to sit still! This particular track isn’t one of their tightest numbers, but it captures the character of the raucous live show. For the love of Lenin, accept the absurdity of the whole shtick and appreciate some groovy surf rock with theremin and electronics. Rock on, comrades.

Dave Sullivan: The Kremlin make their music like I make my eggs: Friggin’ fried. Fried to a point to where they’re almost burnt. Burnt right out. This track sounds like the underscore for some movie about aliens—be they terrestrial or otherwise—running about a city trying not to get caught. This is perfect “alien on the lamb” music (though the alien isn’t on an actual lamb, it’s a term meaning on the run. Though if he were on a lamb that would be a hell of a film too… nothing dirty… just something tasteful about an alien and his lamb. Like Pretty Woman with livestock. Anywho.) Great band, great track.

Sean Panting: Ah, The Kremlin: more than a cool band, they’re a cool idea for a band. Reverb so intense it’s like a fourth member—and I mean that in a good way. I dig the stop action riffs and space noises the most, but it’s still no “We Got the Clap”.

Track review: “dd’s blues” by Duane Andrews

Track Review:
“dd’s blues” by Duane Andrews

From raindrops (2008)
St. John’s, NL
www.duaneandrews.ca

Alison Corbett: Holy smokes! Pizzazz, character, drama—it’s got it all! The melody steps through seemingly infinite combinations of instrumentation and ornamentation, returning each time with smooth insistence. The texture is pretty tasty, especially the ever-so-nutritious unison string/horn lines. They’re good for the soul, so I’ve heard many a wise one say.

Dave Sullivan: When I was nine years old my cousin Desi taught me to play ‘Smoke on Da Water.’ That was 23 years ago, and ever since then up until about five minutes ago I thought I was the most awesomest wicked g’dar player what ever lived. After hearing Duane Andrews play, I will admit, I could be wrong. Cause by’s, he’s decent. …Who am I kidding? He’s unreal. It’s like he’s got eight arms—like tentacles—stickin’ out from all over his body. He’s like a squid. Squidhand! Every great guitarist has to have a nickname, and now Duane has his: old squidhand. Don’t thank me Duane, all in a days work. Squirt us another, squidhand!

Sean Panting: The spooky Halloween/Dragnet vibe is definitely doing it for me. I like the way the vibraphone and strings take the sound somewhere new. Crazy good guitar playing, naturally, but he spreads the glory around a bit. You can’t go wrong giving Pat Boyle a chance to go nuts. Nice recording. The best sounding Duane to date without question.

Joe Belly – “Crawlin’ out of a Hole”

Track Review: “Crawlin’ out of a Hole” by Joe Belly

From Crawlin’ out of a Hole (2008)
St. John’s, NL
www.myspace.com/joebelly

Alison Corbett: Set the dial to slow rock and start swaying with your lover. If you don’t have one, this song might make you cry. So pretend you’ve got something in your eye, grab your India and waltz like no one’s staring (which they are). Anyway, I could’ve gone for a little talkin’ country insert in this song (it begs for it) but I’ll settle for a “sha la la” chorus line. *sigh*

Dave Sullivan: This is where Facebook makes things uncomfortable, I’m currently Facebook firends with one member of the band… which is fine, but—and here’s the issue—I don’t really like this song. Almost, Songs: Ohia-like in its composition, this song seems to hang its hat on one note. And if that note ain’t for you… well, you’re screwed. While the backing vocals of Sherry Ryan (or Captain Awesome) attempt to drag this song in another direction, it cannot break free from it’s “uninotedness.” I guess if somebody done stole your heart and shot your dog I want to hear about it in a wider vocal range (which I’m sure is there). Sorry friend.

Sean Panting: Blues tunes are tough to pull off without descending into parody, but I like this. Everybody involved is able to bring the required levels of cryin’ and hurtin’ without the wankery that often goes along with it. Cool production, too. I’m particularly partial to the sha-la-las.

Track Review: “New Townie Man” by Colleen Power

“New Townie Man” by Colleen Power

From Rejects (2008)
St. John’s, NL
myspace.com/colleenpower

Alison Corbett: I’m totally into this! Witty lyrics, a wicked beat and down-to-earth Newfoundland quirk all joins together to create a re-enactment-worthy song. I’d highly recommend trying it out on Water Street if you know someone who can do a little beatboxin’.

Dave Sullivan: This song is awesome for so many reasons. First, it’s funtacular. Second, it’s got this real trimmed down Slick Rock kinda vibe to it that I really like. It’s so refreshing to hear a songwriter that doesn’t take themselves seriously. Instead of hearing about agony, we are treated to a lesson for hairy-arsed baymen. A widely-ignored demographic, in my opinion.

Sean Panting: Colleen Power plus 80s drum machine equals deadly. This makes me laugh and also makes me want to listen to Run-DMC. As a townie man myself, I think this song is long overdue. It tears down the pointlessness of the Townie/Bayman rivalry and at the same time suggests town is winning. Go Town!

“Yr Best” by Mercy, The Sexton

Track Review: “Yr Best” by Mercy, The Sexton [listen at their MySpace page]

From Another Month (2008)
St. John’s, NL
myspace.com/mercythesexton

Alison Corbett: On the continuum of “sparkle to sparkliest,” this definitely falls in the latter portion. The new wave shimmer from the synth/keys is backed by a solid rhythm section, and enhanced by the clarity of the vocals. Lyrically, it feels like the best part of the story is missing, but who cares about that when the sparkle is making you dance like a star?!

Dave Sullivan: Catchy. You know, like Syphilis? My only complaint is “the clock on the wall reads a couple of aces” is just a little too cool for school. The lyric seemed contrived, and stood out amongst the honesty of it all. Then again, it could be the syphilis talkin’. I’m maggoty with it.

Sean Panting: I hear this song and it’s like the 1990’s never happened. Rarely have I heard a keyboard mixed so unashamedly loud. I like the way everything is clean and clear and right up in your face as opposed to drowning in reverb and misery. *Sigh.* Pop music makes me happy.

Track Review: Hey Rosetta! — “There’s an Arc”

Track Review: Hey Rosetta! — “There’s an Arc” [listen at heyrosetta.com]

From into your lungs… (2008)
St. John’s, NL
www.heyrosetta.com

Alison Corbett: If you’ve ever seen the end of the show “House,” you know the drill: melancholy opening with interesting lyrics that breaks into full-on epic rock song once you’ve been lulled. A perfect example of those “no-surprises-here” type songs with lovely string parts, it would no doubt complement those “tragic-but-with-purpose” type scenes.

Dave Sullivan: The first thing I thought was… “wow, this guy sounds like Martin Tielli, if Martin Tielli had balls.” I’m happy to report that Tim Baker and his crew of hardy musicians have a boatload—of balls that is. This track is written and performed with a sophistication rarely found in Canadian music. Me likey… a lot.

Sean Panting: This is easy to like. Great singing, obviously. Nice production and variety. Josh kicks ass on the bass as usual, especially when he goes all Geddy Lee for the prog-rock bit at the end. The strings get to be in the band instead of just being gooey vanilla frosting. Full marks.

Track Review: The Sleepless Nights — “Allyson Got Robbed”

Track Review: The Sleepless Nights — “Allyson Got Robbed”

From Turn Into Vapour (2008)
Halifax, NS
myspace.com/thesleeplessnights

Alison Corbett: Rocking the sound of bands like The Killers and Panic at The Disco, Halifax’s The Sleepless Nights use minimalist techniques to create an amazingly catchy song about a robbery. The guitar/bass/drums serve as a solid foundation while the keyboard synth overlays fill out the sound and the vocals do the rest. Caution: this song will definitely be stuck in your head.

Mark Bennett: The bass intro gives a good jump-off point for the hooky guitar riffs and overly-accessible chorus. The drums take focus midway, and are the driving energy. They could have, however, pushed a little further and added more layers to make the song even better.

Track Review: The Pathological Lovers — “Sister Cities”

Track Review: The Pathological Lovers — “Sister Cities”

From They’re Playing Our Chord (2008)
St. John’s, NL
myspace.com/thepathologicallovers

Alison Corbett: Advance! No, wait! Retreat! Dynamic tension and textural layering abounds! Melodic guitar riffs and tasteful drumming keep the ear interested and Jody’s vocals are nothing less than pure. Lyrically, the repetition motif borders on monotonous: what translates well in a live show makes the recorded version sound slightly forced. Definitely worth a listen if you appreciate token rock n’ roll “oohs.” After all, it’s the part that everyone knows the words to.

Mark Bennett: Heartfelt indie music—what else can I say? The lyrics are consistently written and they suggest the usual “sway with a beer in your hand at the bar” moments. I love these guys live and I wish they could have captured more of that energy on this track.

Tom Power: It’s hard to think of another band that can make such an impacting piece of music out of two chords… Okay, so there are a few other chords in there. Through these minimal harmonic shifts, however, Jody’s earnest, beautiful lyrics shine through and give the listener a chance to listen without distraction. A great, great cut.

Track reviews

Track reviews by Luke, 11, and Havie, 9. (more…)

Track Review: Cadence Weapon — “Black Hand”

Track Review: Cadence Weapon — “Black Hand”

From Breaking Kayfabe (2007)
Edmonton, AB
www.cadenceweaponmusic.com

Darcy Fitzpatrick: If listening to music can be compared to reading, then I probably listen to hip hop at a grade 3 level. Meanwhile, this track from Cadence Weapon has me  inspired to learn more. You’ll find none of the faux flash and doggerel of the genre’s mainstream incarnations here. When I imagine what real hip hop sounds like, this is the song I hear.

Dan Murray: This is really fun. Try it out. You’ll have a good time. The track has an accessible sound that isn’t boring, and it has good variation in samples, which flow well. I did find the vocals to be less dominant than I’d like, which is odd for a style that often prides itself on lyrics.

Thea Morash: In this track, Cadence Weapon allies himself with Bob Dylan, Marxist hip-hop group The Coup, and Gavrilo Princip, assassin of Franz Ferdinand (the archduke, not the band.) He lays political commentary over fun and funky synth beats, and manages to fit in pop culture references to Lite-Brite and Pac-Man. Nice.

Track review: City and Colour – “Waiting…”

Track Review:
City and Colour — “Waiting” [click to launch audio player]

From Bring Me Your Love (2008)
St. Catharines, ON
www.cityandcolour.ca

Darcy Fitzpatrick: What’s unfortunate about this song is if you listen closely you can tell the band has chops, but the high concept, low narrative lyrical approach to this depressingly acoustic folk pop navel-gazer drowns out all the potential. But if you’re a fan of frosty 4pm sunsets in November, this one might be for you.

Dan Murray: Dallas Green must be a real downer to hang out with. The poor guy can’t even get off the floor for the start of the video for this song. It’s a hard life when your songwriting relies on being lonely and heartbroken. The song is pretty trite, but I probably would have liked it in grade nine.

Thea Morash: His voice is plaintive and sincere, and the simplicity of the instrumentation complements the raw melancholy he tries to capture. This song will likely appeal to listeners just in the springtime of their angst. The lyrics are a shade too green for those who have a more mature melancholy.

Track review: am/fm dreams – “poison flowers”

Track review: am/fm dreams — “poison flowers”

From Flora and Fauna (2008)
St. John’s, NL
www.myspace.com/amfmdreamsband

Darcy Fitzpatrick: The subtly employed organ in the first verse then thunders in and almost consumes the chorus. A ghost-like lead guitar takes a backseat to the rhythm section until unleashing a sorrow-charged solo on the bridge. There’s a deliciously bitter sweetness to the nectar of this Poison Flower: a low-fi, bluesy rock ballad.

Dan Murray: I have a thing for low production value. I like it when the instruments blur together a bit when the song gets louder. am/fm Dreams have pulled this off and were able to fit a great and corny guitar solo on top. Far from perfect, but these local unknowns have caught my interest.

Thea Morash: A smoke-filled bar gathers plaid, but the song isn’t fast enough to mosh to… without reverting to that awkward, sluggish goose step. I like the moody, live sound but I’m wading through cymbals trying to reach submerged vocals. Interesting jazz and blues influences are shown in their other tunes, but this song muddies more than it reveals.

Track review: Hayden – “Where and When”

track review:
Hayden — “Where And When” (Visit his myspace page to hear the music or you can watch the official video on YouTube)

From In Field and Town (2008)
Thornhill, Ontario
www.wasteyourdaysaway.com

Darcy Fitzpatrick: The gently cascading sounds of a pair of horns loosely engaged in a game of call-and-answer rescue this song from the mediocrity of an otherwise unvaryingly mellow swagger, consenting you to bask in the cozy, lazy wonderment of a Sunday morning reflection on a love still young in its bloom.

Dan Murray: This is a nice song with a rather awkward ending. Hayden is still a sad sap with an acoustic guitar, but you won’t turn into too much of a mope as long as you sway your head back and forth with the drums, bass and handclaps. The sudden and extended appearance of a trumpet near the end of the track is a pleasant surprise; unfortunately bringing the bass back for one closing riff did not work so well.

Thea Morash: Sitting in the car as it drives along the highway, the honey-coloured oblique light of morning unmasking your cigarette smoke as it curls and escapes through the half-open window. Unhurried guitar and bass, with smooth, hopeful horns and handclaps. This is a thoughtful, nostalgia-inducing tune that you’ll want to let wash over you with eyes closed.

Track review: Malajube — “Montreal -40°C”

Track review: Malajube — “Montreal -40°C”

From Trompe l’oeil (2006)
Montreal, Quebec
www.malajube.com

Darcy Fitzpatrick: For reasons that are beyond me, French-speaking Canadian film acting always strikes me as being more genuine than the English-speaking variety. Conversely, the opposite tends to prevail with music. There’s something inherently corny about this high-energy, technically marvelous pop song, though the closing vocal acrobatics are compelling enough to demand a second listen.

Dan Murray: I kept wondering why this song sounded so familiar to me; is this a cover? Did they rip off some 90s pop single? I just couldn’t place it. Then I found out the pop hooks of Malajube appeared in a commercial for Rogers. Québecois indie pop considered good enough to sell wireless communications.

Thea Morash: This tune is a many-armed creature, reaching out to its abundance of influences. One arm grabs indie rock, another stretches to Ska, another extends backwards in time, to clean—almost choral—harmonized backing vocals. It maintains its own position between them all, though. Despite lyrical melancholy, the sound is bright, and makes me want to jump into my rubbers and dance through the slush and snow.

Track review: The Hot Springs — “Headrush”

Track review: The Hot Springs — “Headrush”

From Volcano (2007)
Montreal, Quebec
www.hot-springs.ca

Darcy Fitzpatrick: Pull the tab on this more or less generic can of rock-o-cola and decide for yourself if you like the way the carbonated vocals tickle your tongue on the way down. Sure to lose in a taste test, but a decent enough substitute to get you through a craving when you find yourself staring into an otherwise empty fridge.

Dan Murray: Presenting an anti-hipster attitude—at least in their press releases—Hot Springs certainly have reinvented themselves since their debut EP by dropping the fun pop in exchange for 70s-inspired rock. It’s hard rock with a dance beat thrown in for good measure, and occasional Yeah Yeah Yeahs impressions from the vocalist. I prefered the pop songs, but I guess they were sick of being called cute.

Thea Morash: This is serious rock. Gritty instrumentation gets taken up a notch once frontwoman Giselle Webber adds her torn velvet vocals. Her voice is brimming with intensity—a fusion of Feist, Joplin, and Karen O. There are echoes of early Heart on this track, and it’s deeply satisfying. Despite the influence of seventies rock, Hot Springs keeps it fresh with a measure of ‘now’ that kills the derivative, and produces a vigorous sound that begs to be heard live.

Buck 65 — “Dang”

Track review: Buck 65 — “Dang” [listen at buck65.com]

From Situation (2007)
Nova Scotia
www.buck65.com

Darcy Fitzpatrick: If Beck and Vanilla Ice were to successfully breed, that child would grow up to start a Buck 65 fan club, and Dang would be their anthem. After the song played and the last meeting’s minutes were read, the remainder of the club’s weekly business would entail the resumption of an elaborately devised checkers tournament. If you play “Dang” backwards, details on how to structure this tournament can clearly be heard. This reinforces the fact that Buck 65 is a lyrical genius.

Dan Murray: Buck 65 returns to the realm of standard indie hip hop with a pretty weak effort of cliché beats and uninspired vocals. Neither the humour nor emotion of his best work can be found here. And don’t even get me started on the chorus of “dang diggy dang di dang di dang diggy diggy dang…”

Thea Morash: The opening seconds of this track conjures up zoot suits, fresh oxfords, and jitterbugging. The peculiar but satisfying country hip-hop sound that Buck 65 is known for is laid over a drum-dominated tune that combines surf with big band and makes me want to get up and dance around like an idiot. Stop comparing the chorus to that Kid Rock song, and notice that you’ve been moving to the beat the whole time.

Chris Picco — “Same Old Story”

Track review: Chris Picco — “Same Old Story”

From Ferris Wheel (2007)
Newfoundland
www.myspace.com/chrispicco

Darcy Fitzpatrick: In a catchy, toe-tapping style, Picco tells us that “same old story” of incompatible lovers with lyrics that ring all too true to experience. Putting on a brave face, the song seeks to inspire even the most dejected of the lovelorn, prescribing a healthy dose of apathy in lieu of the usual naval-gazing self-pity. You might have heard it before, but you’ll still want to hear it again.

Dan Murray: This song, from a sure to be darling of the local music industry, sounds as if Picco has been hanging around the Novaks a little too much (or perhaps they’re just in his backing band.) Bland, bland, bland. If you’re into mediocre rock songs, check it out.

Thea Morash: Happy harmonies, a satisfying bridge reminiscent of an earlier time in pop, and a smooth, consistent sound throughout. Seems to me that a song with this name should go far enough beyond it that the title is satirically or ironically apt. Resurrection and repetition are two different things, and this track fits almost too well into the “same old” category. But maybe that was the whole point.

Basia Bulat — “I was a daughter”

Track review: Basia Bulat — “I was a daughter” [listen at her MySpace page]

From Oh, My Darling (2007)
Ontario
www.basiabulat.com

Darcy Fitzpatrick: Daughter attacks its own melancholy with a plucky upbeat rhythm which builds, disappears, then reappears. When it’s gone, Bulat’s vocals become haunting and there’s a time for a solemn moment of self-reflection. When the rhythm returns, it feels deserved, like a genuine hope has been revealed.

Dan Murray: This could have been a nice average folky indie pop tune, but Bulat decided to go a bit quirky, and it doesn’t help her at all. The repetitive hand claps and drums are irritating, and the viola seems unnecessary. If it were only a piano, guitar and ukulele I could have put up with the song—please remember that less can be more.

Thea Morash: Running barefoot through the woods, heady with nostalgia, moss underfoot… Bulat’s voice is wistful and unaffected, at once light and full, and the strong flow of this song carries you back to a time when the idea of love was new, and not scary. Beautiful.

Corb Lund — “I want to be in the cavalry” review

Track review: Corb Lund — “I want to be in the cavalry” [listen at his MySpace page]

From Horse Soldier! Horse Soldier! (2007)
Alberta
www.corblund.com

Paul Warford: You know what they say: Can’t beat a song that tells a story. This track does so, and quite well. With a beat set to a hurried trot, and a wheat-in-your-teeth twang, this song will leave you grasping for your bridle—whatever that is. The vocals are strong, and the introduction of strings in the second half of the tune really gets the job done. “I listen to everything except country music” is a mindset that this generation needs to grow out of I think. This track might not be good enough to have us eating pork and beans from a tin plate, but it’s certainly a step in the right direction.

Sarah Hoyles: With enough beers in you, you might mistake this mix of banjo, fiddle, drums and chants for a local trad tune. And this drinking tune is just like that beer you’re drinking: it doesn’t matter if it’s an India Beer or a Grasshopper Beer from Alberta, it still satisfies.

Geoff Younghusband: Corb Lund and the Hurtin’ Albertans are Canada’s reigning Folk Country Heroes, and deservedly so. This tune is a snare driven, marching song given a celtic feeling twist thanks to Geoff Berner’s accordion. In a time of anti- war songs, Corb crafts a historical wish list of a war story. It’s a classic tale, with a classic country but contemporary Canadian folk sound backing it all up.