tag:blogger.com,1999:blog-186508912024-03-13T16:39:43.929-04:00radio free canuckistanmusical musings from the frozen northmmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.comBlogger653125tag:blogger.com,1999:blog-18650891.post-40177639263748349712022-09-16T12:28:00.001-04:002022-09-16T12:28:35.361-04:00Polaris Prize, not-so-deep dive, shortlist 2022<p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOfwTMqPG8f2461Oa6J7w9QMsxcdOTsP_Ar2YGsJdjPixLJcbq4XbWvQ6G6jI0nneycad2jKw4pRkY9jzo4haQfJ-0g2tB-OSJLkSa6U_g_yXJhl6BlqnQApRIkK88jWzs2RRuty9E-b0bnV2_M-OrnIeC7FLiYzS21lpECtCgS6EQBQo6Zg/s225/snrk.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOfwTMqPG8f2461Oa6J7w9QMsxcdOTsP_Ar2YGsJdjPixLJcbq4XbWvQ6G6jI0nneycad2jKw4pRkY9jzo4haQfJ-0g2tB-OSJLkSa6U_g_yXJhl6BlqnQApRIkK88jWzs2RRuty9E-b0bnV2_M-OrnIeC7FLiYzS21lpECtCgS6EQBQo6Zg/s1600/snrk.jpg" width="225" /></a></span></div><span style="font-family: arial;"><span style="font-size: medium;">This year’s Polaris Music Prize will be handed out this
Monday, September 19. Normally in this space, for the past 16 years, I’ve
devoted extensive digital ink to the shortlisters and albums I think should
have shortlisted. This year, my life is upside down for <a href="https://ecwpress.com/collections/books/products/hearts-on-fire" target="_blank">various</a>
reasons* and my extracurricular music writing has taken a hit, so I won’t be
doing that. (I did a long list deep dive in June, <a href="http://radiofreecanuckistan.blogspot.com/2022/07/polaris-prize-long-list-2020-reviews.html" target="_blank">here</a>.)
But there’s another reason I’m keeping this (relatively) brief: this year’s
shortlist leaves me unusually cold.</span></span><p></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">This isn’t the first time that’s happened. But it is
unusual. In Polaris history, including recent years, there’s usually only one
or two records on the shortlist I don’t care for (sometimes they win!). This
year, there’s only one or two records on the list I actually <i>do</i> care for. If I
don’t have anything nice to say, I don’t even have mental energy this month to
say anything at all. Some of the 2022 shortlist records are promising, or just
okay; some are by artists I have great respect for but these records just don’t
do it for me. A few of them I find interminable and/or downright unlistenable—including
one by an artist I’ve loved for a very long time. To each their own. </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">So here’s who I do want to talk about: </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLaQT8xdJ3gdTlZAqBg4rULaZriCiGqRGvoANZlOzSLT7bS39_Y6Wg1K7hU3cWmiOaIBAGWzr38VRqUW1Eg4O4rc5IRd02JgoAbgUQjOOAOw9w7jgn3JQIFvATI7wuS6V2_ygVzKfolEqYsZ4GwHFsH3V3XNEpG_C46PvddafvtqwaFSwvFw/s225/leblanc.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLaQT8xdJ3gdTlZAqBg4rULaZriCiGqRGvoANZlOzSLT7bS39_Y6Wg1K7hU3cWmiOaIBAGWzr38VRqUW1Eg4O4rc5IRd02JgoAbgUQjOOAOw9w7jgn3JQIFvATI7wuS6V2_ygVzKfolEqYsZ4GwHFsH3V3XNEpG_C46PvddafvtqwaFSwvFw/s1600/leblanc.jpg" width="225" /></a></b><span style="font-family: arial;"><span style="font-size: medium;"><b><span style="font-family: arial;"></span>Lisa LeBlanc – <i>Chiac Disco</i>.</b> This is a gas. It’s a party in a
can. It practically projects a mirrorball into the listener’s surroundings and
makes you feel like rollerskates were just magically strapped to your feet. The
Acadian franglais gives it a unique twist. The musicianship is amazing: who is
this bassist? (Of course I have no liner notes; I’m waiting to buy a copy when
she <a href="https://www.horseshoetavern.com/event/lisa-leblanc" target="_blank">comes to Toronto</a> on… March 16, 2023?!) The keyboardist is also killer. But
also: sacré Jesus, le entire groupe. This doesn’t sound like some overproduced digital
bullshit. It sounds like a band that spent the last year playing every taverne
from Gatineau to Gaspé, from Montreal to Mistissini. The songs are great. The
strings are sumptuous, even more so on ballads like “La poudre aux yeux.” And
you gotta love a Covid-era disco banger titled “Veux-tu rentrer dans ma bubble?” </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3923413557/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4055742420/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lisaleblanc.bandcamp.com/album/chiac-disco">Chiac Disco by Lisa LeBlanc</a></iframe>
</span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> <br /></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RCCmgc9cZVc" width="320" youtube-src-id="RCCmgc9cZVc"></iframe></span></div><span style="font-size: medium;"><br /></span><p></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Will it win? Well, only one franco record has ever won (Karkwa),
and that was in 2010. She’d be the second New Brunswicker, after Jeremy Dutcher
(who also didn’t sing in English). But the biggest knock against <i>Chiac Disco</i>
for Polaris is that IT IS SO MUCH GODDAM FUN. Looking at past winners, I can
only see one record that actually feels like a good time, and that’s Kaytranada’s
<i>99.9%</i>, which won in 2016. </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/iLuEWnHr5eI" width="320" youtube-src-id="iLuEWnHr5eI"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"> Will po-faced Polaris nerds embrace the pleasure
principle? I’d say no. Especially not for what could successfully be argued is
a retro record. But here’s hoping Lisa LeBlanc dances all the way to the bank,
one way or another, Polaris or not. </span></span><p></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZR2Be0zWtXM" width="320" youtube-src-id="ZR2Be0zWtXM"></iframe></span></div><span style="font-size: medium;"><br /></span><p></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><b>Snotty Nose Rez Kids – <i>Life After</i></b>. This can and should win. You
should, of course, inherently mistrust any 50-year-old white man’s opinion of current
hip-hop, but I find these two MCs electrifying in ways I don’t hear in anyone
else not named Haviah Mighty or Little Simz**. As lyricists, of course—they
effortlessly mix the political and the playful—but also with fiery delivery
that flies in the face of the nihilist ennui enveloping modern trap. “Grave
Digger” is an absolute all-timer but also specifically now, post-Kamloops: “My
very existence is a resistance.” </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3742467922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3336010867/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://snottynoserezkids.bandcamp.com/album/life-after">Life After by Snotty Nose Rez Kids</a></iframe>
</span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/eFjQ3RIzCFU" width="320" youtube-src-id="eFjQ3RIzCFU"></iframe></span></div><span style="font-size: medium;"><br /></span><p></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">The music this time retains the fiery punk energy of earlier
records (they also go full-on punk with the help of last year’s shortlisters
the OBGMs), but has more nods to pop—which I initially resisted, but they wear
it well; “Uncle Rico” is a total jam, and “After Dark” is… lovely and zen?! And
I will never not love their extensive use of “niichii” as a term of brotherly
affection that replaces that other n-word. Again: that’s me, the Canadian
history student (with family history in the Rez Kids’ hometown of Kitimaat). <br /></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TtqSpToGGOg" width="320" youtube-src-id="TtqSpToGGOg"></iframe></span></span></div><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span><p></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><i>Life After</i> should win because it’s the best record on the
list. It should win because it’s the best record on the list for these times. It should win
because it’s made by an artist at the top of their game (although honestly I prefer their last record, <i>Trapline</i>). And, like LeBlanc, it's also pretty fun! We need fun. But even on top of all
that: holy shit, IT’S TIME THE WEST WON. It’s never happened in Polaris history,
unless you count the fact that Buffy Sainte-Marie happened to be born in
Saskatchewan but never lived there (and Tanya Tagaq is considerably more north
than west). Please oh please oh please: can we give this thing to someone west
of Brampton?</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Because I love two records on the shortlist, here’s eight
more that would make my ideal personal shortlist (all Laurentian elites, sorry
ROC):</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Basia Bulat – <i>The Garden</i></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Chiiild – <i>Hope For Sale</i></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Joyful Joyful – s/t </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Orville Peck – <i>Bronco</i></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Lydia Képinski – <i>Depuis</i></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Ada Lea – <i>One Hand on the Steering Wheel…</i></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Salomé Leclerc – <i>Mille ouvrages mon coeur</i></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">The Weeknd – <i>Dawn FM</i></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">I also came late to Abigail Lappell’s <i>Stolen Time</i>, which
came out in April. And Lil Andy deserves a chutzpah award for his box set
project under the alias Hezekiah Procter, which involves ancient recording
technology and an accompanying novella. </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Go listen to some great music right now. The gala will be
live on CBC Gem Monday night at 8pm.</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">* <a href="https://www.linkedin.com/in/michael-barclay-8830a3137/">Currently looking
for work</a>. </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> ** </span></span><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;">Shameless plug:</span></span> I'm on stage with last year's winner Cadence Weapon at the Toronto International Festival of Authors at Harbourfront, Saturday September 24 at 4.30pm. Tickets are <a href="https://festivalofauthors.ca/event/stories-and-soundtracks/" target="_blank">here</a>. <br /></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
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{page:WordSection1;}</font></span></style></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-77779143323940855562022-07-04T14:18:00.004-04:002022-07-05T10:09:10.917-04:00Polaris Prize Long List 2020 reviews<p class="MsoNormal" style="margin-bottom: 12pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0g7izFm6IUXOh9A0iA2ECS3clL2yl1IQUikflUi5mHX3E8JMMKAuLy8yDARXunGdaPDFf0XRERBxpnw9gi5zi84VWgI-QhtNK0gEEyMrt1uTUknFTJjPuBl5F-UJ-CLLcKjhYMDy9ca4RQWz7tY38QK1JXrVmSJK7ffraF-LxLLCl9stROA/s225/chiiild.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="224" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0g7izFm6IUXOh9A0iA2ECS3clL2yl1IQUikflUi5mHX3E8JMMKAuLy8yDARXunGdaPDFf0XRERBxpnw9gi5zi84VWgI-QhtNK0gEEyMrt1uTUknFTJjPuBl5F-UJ-CLLcKjhYMDy9ca4RQWz7tY38QK1JXrVmSJK7ffraF-LxLLCl9stROA/s1600/chiiild.jpg" width="224" /></a><span style="font-size: medium;"><span face=""Arial", sans-serif" style="color: black;">Voting for the Polaris Music Prize shortlist closed last week.
Jurors had to vote for five records from a long list of 40. The shortlist will
be announced on July 14. I voted. I have a sense of general sentiment from the
jurors who choose to share their opinions often (which is maybe 10% of them),
but ultimately I know nothing. I’m always surprised. This year I have reason to
believe I’ll be more surprised than usual. Do not take anything in this post as
any kind of premonition. This is just my own dive into the long-list records before
¾ of them disappear from the discussion. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12pt;"><span style="font-size: medium;"><span face=""Arial", sans-serif" style="color: black;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12pt;"><span style="font-size: medium;"><span face=""Arial", sans-serif" style="color: black;">I realize this is likely TL;DR so *** indicates one of 10 records
I’d love to see on the shortlist. Not a prediction—just where I personally
would direct your attention so that you don’t miss these records. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12pt;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">AHI – <i>Prospect</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> Nice record. Seems like nice guy. This is likely the nicest
record on this list. Nice.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12pt;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Arcade Fire – <i>We</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> It’s no secret I love this band. I love this
record. <i>Just as much as their last one, haters!</i> I didn’t vote for it,
though, so if you’re unhappy if/when it shortlists, don’t blame me. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Backxwash – <i>I Lie
Here Buried With My Rings And My Dresses</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> It’s also no secret I don’t get this artist. If this is a metal
record, I want the sound to be heavier and thicker. If there’s supposed to be
hip-hop in this mix, I’d love to hear it. I realize I’m trying to fit this into
boxes where it might not even belong—and the whole point is to resist
classification anyway—but I don’t find the vocals compelling, either. Many
people do! I’m not naturally drawn to music this goth-y and confrontational, so
there’s that: I don’t like Black Sabbath or Nine Inch Nails, either. This
sounds more like primal scream therapy than rapping or singing. (In which case,
I’d rather turn to Tagaq or Diamanda Galas.) I love the fact this artist exists
in this conversation, but I’m waiting for the music to be as powerful for me as
the story and visuals behind it.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">BadBadNotGood – <i>Talk
Memory</i>. </span></b><span face=""Arial", sans-serif" style="color: black;">I’m in an extreme
minority here, but I feel this band suffered a major loss when co-founding
keyboardist Matthew Tavares left the band (somewhat acrimoniously). There are
tons of top-shelf guests to help fill the gap, and this record definitely has
plenty of inspired moments. But it doesn’t really compare to the two classics
they put out before this, 2016’s <i>IV</i> in particular. Like I said, though,
this record has an abundance of critical love; wouldn’t be surprised to see it
shortlist.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Jean-Michel Blais – <i>Aubades</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> This is the most “classical” album on a
shortlist since previous winner Jeremy Dutcher, and one of a precious few to
ever enter the Polaris discussion (do Godspeed and Owen Pallett count?). It’s
lovely. Beyond that, I can’t say I have the critical capacity to assess it.
It’s lovely! But so is…</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHA-Q7roF4-hzQpPeKanw7e7ya0b6NXNqzZag0EBeb2ZOLbPYtfomSKFOA2z-vC35AlUoezI1nIvh3nEX1Tfhmjw01LTFpg4pxv2uIVSvAcwInuDr7bWG2sm8096VacJlN5IYFzeSgxcun_ViCGlpcxt61R-Q_9yJlL_IylrBv0tHS1QovAw/s225/basia.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHA-Q7roF4-hzQpPeKanw7e7ya0b6NXNqzZag0EBeb2ZOLbPYtfomSKFOA2z-vC35AlUoezI1nIvh3nEX1Tfhmjw01LTFpg4pxv2uIVSvAcwInuDr7bWG2sm8096VacJlN5IYFzeSgxcun_ViCGlpcxt61R-Q_9yJlL_IylrBv0tHS1QovAw/s1600/basia.jpg" width="225" /></a><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">***Basia Bulat – <i>The
Garden</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> String-quartet
reinterpretations of your back catalogue: it sounds like a retread of an idea,
some kind of stop-gap move (timed to your maternity leave?). But in the case of
Basia Bulat, it’s not that at all: it’s so much more. Bulat is an artist who’s
always been blessed with a powerhouse voice, but as a writer and a performer
she gets better with age. Revisiting earlier material with wisdom and
experience displays that growth, and the arrangements are often transformative.
Other than two or three key songs from her past, this all sounded like new
material to me. There will be inevitable grumbling if this record shortlists,
but I think it stands on its own in Bulat’s discography; it might even be her
best work yet. That should be rewarded. Will it? Unlikely.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Tanika Charles – <i>Papillon
de Nuit: The Night Butterfly</i></span></b><span face=""Arial", sans-serif" style="color: black;">. This is one classy lady: if you’ve ever seen her on stage or,
hell, even just walk into a room, you know what I mean. That’s also apparent
from her vocal delivery in the studio; in a time when one has to constantly
question how much technology is involved in streamlining even the greatest new
R&B singers (see: the Weeknd), Charles sounds like a fully alive human
being in every take. How novel! Her music has obvious shades of Al Green,
Stevie Wonder, et al., but doesn’t sound like a sonic throwback. “Gin and Wine”
is fab, as is “Different Morning,” with a star turn from 2021 shortlister
DijahSB.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">***Chiiild – <i>Hope For
Sale</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> So good! This is,
frankly, at least as good as a Weeknd or Miguel album—without making me feel
creeped out. It’s a psychedelic modern pop/R&B record with killer melodies
and songwriting sophistication, to say nothing of the great vocal performances
and production textures. And—no misogyny. Like Sault, with better songs. It’s
all killer, no filler: no skits, no extraneous guest spots, no ego trips, just
pure pleasure. I’m positive that the more people spend time with this record,
the more they’ll love it. I think that will be true in a jury room as well,
should it make it that far.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Destroyer – <i>Labyrinthitis</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> </span></span><span style="font-size: medium;"><span face=""Arial", sans-serif" style="color: black;"><span style="font-size: medium;"><span face=""Arial", sans-serif" style="color: black;"><i>I’m not sure I’ve ever been even able to listen to this
record all the way through</i>. </span></span>I’m a huge Destroyer fan, albeit a fairweather
one—does that make sense? White hot or ice cold, this guy. Three of his earlier
albums were a huge inspiration to write my latest book. Some Destroyer shows
have been the most memorable of my life; others have been total shit. I haven’t
loved a Destroyer record since 2015’s <i>Poison Season</i>, which I thought was
one of his best. The last one, 2020’s <i>Have We Met</i>, was not bad but truly
came to life on stage; Destroyer’s March 2020 show at Toronto’s Opera House was
the last show I saw before the lockdown, and I cherished every memory of it for
two years afterwards. Destroyer, indeed. Now this: what fresh hell? This sounds
like a parody of a Destroyer record. The man actually rhymes “moon” with “June”
at one point. The music, largely by John Collins, is interesting, and
characteristically well made, but lyrically and vocally this really sounds like
Dan Bejar on autopilot—or worse. And yet, conversely, there are big ’80s pop songs
on here (“It Takes a Thief”), which chipper CBC Music hosts introduce with glee
on the drive shows. There are times when I wish the reluctant rock star
would be a bit more reluctant, and this is one of them.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Julie Doiron – <i>I
Thought of You</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> This is the first
record since 2012 credited solely to eternal team player Julie Doiron. There
was an amazing—and surprising—collab with metal band the Cancer Bats (Julie and
the Wrong Guys), there was another Lost Wisdom album with Mount Eerie, and this
year there was a duo album with Québécois psych-folk artist Dany Placard.
Little ever changes on Doiron’s solo albums, sonically or thematically. I’m
unclear why this one registered with Polaris jurors more than, say the Wrong
Guys record. This is her first Polaris appearance since <i>Woke Myself Up</i>
shortlisted in 2007.</span><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span face=""Arial", sans-serif" style="color: black;"> </span><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghwjJvyQUIalOqSJQt6uwG_hc3x9HRhzl92ucQBteu9y4J436dnrywHnhHHZt6yPLJ-0_-bZoCxTic0duAgPlvo-ji0cBJqjWmbSQRCN72bsr8LE_fB_JIILaDDdLs88iK0z7TjD89WRSlSLBvQid2OE_4wqhsmiDCmOP72F2kE3i7iweKQw/s225/garrys.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghwjJvyQUIalOqSJQt6uwG_hc3x9HRhzl92ucQBteu9y4J436dnrywHnhHHZt6yPLJ-0_-bZoCxTic0duAgPlvo-ji0cBJqjWmbSQRCN72bsr8LE_fB_JIILaDDdLs88iK0z7TjD89WRSlSLBvQid2OE_4wqhsmiDCmOP72F2kE3i7iweKQw/s1600/garrys.jpg" width="225" /></a><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">***The Garrys – <i>Get
Thee to a Nunnery</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> This
is a fantastic band of Saskatoon sisters playing surf-influenced, hazy psychedelia—not
unlike the Sadies, whose Dallas Good produced this record, the last before his
shocking death earlier this year. They’re not just sister Sadies, though; they
first came to my attention a couple of years ago when they did a soundtrack to
a Dutch silent film about witchcraft. And their sisterly harmonies, often
wordless, add magical texture throughout. I’ll be pleasantly surprised if this
shortlists—Prairie acts find Polaris hard to break—but I hope they find bigger
audiences sooner than later. This is certainly the kind of record that should
help them do that.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">The Halluci Nation – <i>One
More Saturday Night</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> This
group is down to one original member; I enjoyed co-founder DJ Shub’s 2020 solo
record more than this group’s 2016’s effort, on which he was audibly absent.
This new one has more diminishing returns—the title even suggests something
rote—despite the totally stacked guest list, including Tanya Tagaq, Sate,
Lillian Allen (!), Haviah Mighty, and new-to-me names like New Zealand’s Rob
Ruha and Tex-Mex DJ El Dusty. Full points for the remix of Keith Secola’s “NDN
Kars,” the original dating back to the 1994 film <i>Dance Me Outside</i> (I’ve
been waiting for a recent hot take on that film’s legacy, but—among other
issues, no one wants hot takes on Canadian film history in general). But what’s
up with inviting CBC host Tom Power—who anchors the network’s flagship arts
show—to play banjo? That just seems like pandering. Fellow CBC host Odario
Williams makes a bit more sense here, but still smells funny. I was told
recently by someone who works at CBC Music that they weren’t allowed to ask an
artist or promoter for a +1 on a guest list because it violated journalistic
ethics. And yet a radio host can appear on a record that they’ll likely play on
the air?! I thought Randy Bachman got fired over this shit. It’s not either
man’s fault that the CBC likes to hire active musicians and groom them to
become broadcasters, but it certainly won’t help the CBC look less incestuous
if this record ends up on the shortlist and the group plays the CBC-sponsored
gala. Wonder if Tom Power will get a +1.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq_Ip8LoC2_x01b3S9oI3OQXghx93xctjH3_DsVmdWtBSNeRbUXvn7c_3lTb-GR05ZtxTUBaK1p2D7IYcriS4Ql9tpIdxo9LThA2yxhcG1sPaXUZ3WpGr9aJfh9ZhNrg1WIHpoJms39Kaa5-rVqt15oH24fHWlQgcHHEvAmYPccy8X3XQ9NA/s225/joyful.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq_Ip8LoC2_x01b3S9oI3OQXghx93xctjH3_DsVmdWtBSNeRbUXvn7c_3lTb-GR05ZtxTUBaK1p2D7IYcriS4Ql9tpIdxo9LThA2yxhcG1sPaXUZ3WpGr9aJfh9ZhNrg1WIHpoJms39Kaa5-rVqt15oH24fHWlQgcHHEvAmYPccy8X3XQ9NA/s1600/joyful.jpg" width="225" /></a><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">***Joyful Joyful – s/t.</span></b><span face=""Arial", sans-serif" style="color: black;"> These droning songs of devotion are what I
needed to hear all through the pandemic, but better late than never. I saw this
duo perform a daytime set in a packed tent at Hillside Festival in Guelph in
2019, knowing zilch about them beforehand, and it was nothing short of
transcendent. This record has the same effect. It opens with birdsong and what
sounds like a choral drone. The vocal melodies are modal. Rarely is a chord
change suggested. Never is one required. Nothing about this music sounds like
the blues or qawwali or Celtic pipes or ragas or... take your pick and dive
into the drone tradition of your choice. But the spiritual and meditative
effect is the same. At the risk of projecting from what I know of their
biography (they formed in Peterborough, Ontario), this sounds like it was
recorded in communion with the Canadian Shield, recorded somewhere remotely,
with the layered choir of voices resonating through the woods and across
fresh-water lakes. It's healing music informed by queer exile from
fundamentalism, made by former folk and noise musicians. Things I hear in here:
Alanis Obomsawin, Lisa Gerrard, Majical Cloudz, Laurie Anderson, Jeremy
Dutcher. And birdsong on foggy mornings. I can’t recommend this enough.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyeI7Dj5TwyXiERabX5PcY8svK7wX_BhZWlvLB2rAZl_zWp-bzbO4u8Cccez6jgpxmt8y_c6kfgae0xd8JEy8a6Ro2CdN7FjojEZmYH9J8Zfbd_T4opBBiX3Mn4QJktSb_opc1GgYrawh_4ihM9I4dYuR5kceqEGosmlva0Yv7ME7pOAA-HA/s225/adriakain.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyeI7Dj5TwyXiERabX5PcY8svK7wX_BhZWlvLB2rAZl_zWp-bzbO4u8Cccez6jgpxmt8y_c6kfgae0xd8JEy8a6Ro2CdN7FjojEZmYH9J8Zfbd_T4opBBiX3Mn4QJktSb_opc1GgYrawh_4ihM9I4dYuR5kceqEGosmlva0Yv7ME7pOAA-HA/s1600/adriakain.jpg" width="225" /></a><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">***Adria Kain – <i>When
Flowers Bloom</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> Of the new crop of
Toronto R&B singers, this might be the most fascinating. A Brittany
Howard-esque androgynous voice, exceptional production, acoustic elements and D’Angelo
grooves, and exceptional tracks like “Melt With You” and “Only With Time.” If
an R&B record other than Chiiild makes the shortlist, it should definitely
be this one.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy9mrP1XsexolNRLRZV5WpA8UOoJuOYPhyCEajaoJZfN2vDdyWXjLsfzcavq37ReLKdjeV9dTu2EphZNI6nm8zZNARHOJGJ1Jc9N5u4hm0g1eMoxhw87lOaydEMvCsq3gjztltoVq8bC8ktKQN7hXXKLG62HvfFBXuQyFw5INUGWqcDsQNJA/s225/lydiakepinski.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy9mrP1XsexolNRLRZV5WpA8UOoJuOYPhyCEajaoJZfN2vDdyWXjLsfzcavq37ReLKdjeV9dTu2EphZNI6nm8zZNARHOJGJ1Jc9N5u4hm0g1eMoxhw87lOaydEMvCsq3gjztltoVq8bC8ktKQN7hXXKLG62HvfFBXuQyFw5INUGWqcDsQNJA/s1600/lydiakepinski.jpg" width="225" /></a><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">***Lydia Képinski – <i>Depuis</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> I’m still smarting from the fact that Salomé
Leclerc didn’t long list, but take solace that this record did. This franco
performer makes fascinating prog-pop records that rarely go where you think
they might, sometimes within the same song. “Vaslaw” might be the most
accessible entry point here, but once you’re in, you’re in. It was heartening
to see Klo Pelgag shortlist last year; hopefully Képinski can this time out
(it’s easily the best of the five francophone records here). She deserves to be
heard well beyond Québécois borders.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Pierre Kwenders – <i>José
Louis and the Paradox of Love</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> This is a fascinating artist and a very good record—there are few
records I feel are certain to shortlist, but this is one. I was a huge fan of
Kwenders’ 2014 debut; I was somewhat mystified by the shortlisted 2017 album <i>Makanda</i>.
This is a lovely record that I like more and more every time I spin it, and
yet: it’s fine. Smooth. “Your Dreams” is a great ballad, “Kilimanjaro” is
wonderful Afro pop, as is “Coupé.” I certainly won’t be sad if Kwenders takes
the prize—which he well could—but I don’t think this is the best record he has
in him.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB-yMFFfznWT2I1eK92YLW4hS_vOtR4-a3DYi9roU_mxBNeGWN8hVPYx9V_7CuQwxvE183p-GkKiWmGDOg0HFtsxpnA__IEMcxS-o8psX-I_Fui5q3jLB4eAhgEDJXZq9VagewWEKscG6TkSaB4PJKanzho9m3xbn4oclCmjpaGrUOJWGy9g/s225/adalea.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB-yMFFfznWT2I1eK92YLW4hS_vOtR4-a3DYi9roU_mxBNeGWN8hVPYx9V_7CuQwxvE183p-GkKiWmGDOg0HFtsxpnA__IEMcxS-o8psX-I_Fui5q3jLB4eAhgEDJXZq9VagewWEKscG6TkSaB4PJKanzho9m3xbn4oclCmjpaGrUOJWGy9g/s1600/adalea.jpg" width="225" /></a><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">***Ada Lea – <i>One Hand
on the Steering Wheel the Other Sewing a Garden</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> This took a long time to sink its hooks in
me–almost a full year–but it’s now one of my favourites of this Polaris period.
This artist is identifiably from Montreal, the city being a frequent and vivid
lyrical inspiration (“moving down Parc Avenue at 3 p.m. Paris time”). Opening
track “Damn” sounds like Big Thief covering a Cyndi Lauper classic.
“Saltspring” is unadorned folk music that belongs beside Jennifer Castle.
Several songs here sound like the children of the XX and Mac DeMarco, others
like opiated Stars demos. There’s a slightly aquatic submergence to the chorus
pedals and reverb units throughout. The swoony, droopy slide guitar on
“Violence” is intoxicating; I wish Julee Cruise were still alive to hear it.
Crossing my fingers that this shortlists so that no one (like me) will ever
underestimate the subtle powers of Ada Lea.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7jXSrvch6gnMpmYPLG5QThAWkPuhNEn9RDqzsA9Gh3I8p7n85_5SBmeoCSofv5zvvYdK0b1Tg7V2PN3h2tlRtrXO-KUKoZx3_okVfD8PFVkvIfBEXOqW1TiMel0x9lMxD72n9zuD41ycWluuDBnPQ9X0pOBhcujz3QqeT9S8sWQ4l7KrW0A/s225/leblanc.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7jXSrvch6gnMpmYPLG5QThAWkPuhNEn9RDqzsA9Gh3I8p7n85_5SBmeoCSofv5zvvYdK0b1Tg7V2PN3h2tlRtrXO-KUKoZx3_okVfD8PFVkvIfBEXOqW1TiMel0x9lMxD72n9zuD41ycWluuDBnPQ9X0pOBhcujz3QqeT9S8sWQ4l7KrW0A/s1600/leblanc.jpg" width="225" /></a><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">***Lisa Leblanc – <i>Chiac
Disco</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> Easily the most fun
record on the long list, this is an Acadian disco record that could only be
improved by a Gino Soccio remix. LeBlanc first came to attention as a
banjo-wielding, foot-stomping roots rocker (and shortlisted while doing so), so
this is a left turn into vintage disco. She plays it straight, and it sounds
glorious: this is not a band of slackers slumming in a kitschy thrift shop. Her
hoser-ish Chiac accent clashes with the Studio 54 vibe, but only in ways that
work in her favour. Meanwhile, the handful of non-disco tracks here, like the
lovely ballad “Le poudre des yeux,” drenched in Parisian strings, remind us
that LeBlanc is a songwriter of depth, not just on the dance floor.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Hubert Lenoir – <i>Pictura
de Ipse: Musique directe.</i></span></b><span face=""Arial", sans-serif" style="color: black;"> The enfant terrible of Québécois glam-pop fuckery returns with a
batshit crazy record that confounds all expectations. Wish I actually liked it.
Bit too Ween-y, though the best parts are Prince-y in Camille mode. Weird as he
may be, Lenoir is still a pop performer at heart, with tracks like “Sucre +
Sel” and “Hula Hoop” following through on the promise of his breakthrough debut
(which shortlisted, if any anglos remember).</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Luna Li – <i>Duality</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> Objectively, this is a very well-made,
well-crafted pop record: “Star Stuff” definitely has exactly that.
Subjectively, it doesn’t do much for me—I suspect that’s generational, the same
way my aged brain doesn’t trust anyone under 30 (I’m kidding. See: Ada Lea.).
Also, the Lydia Képinski record checks a lot of the same boxes for me in ways I
find more fascinating. (They should tour together!) Very interested in what
this artist does next.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Les Louanges – <i>Crash</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> I have no idea how this guy ended up on a
shortlist with his last record, and I don’t get the appeal of this, either.
Someone tried to tell me that he was the Québécois equivalent of Frank Ocean,
if that helps. What do I know? I don’t even get the most influential American
pop artist of the last decade, so don’t listen to me. And I never understood
Scritti Politti and I’m still livid that there’s a Steely Dan revival. Which
means this could easily win! </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Loony – <i>Soft Thing</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> Singer. Toronto. Pop/R&B. I have nothing to
say about this, positive or negative. It exists.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Kelly McMichael – <i>Waves</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> This Ontario musician has served time in many
others’ projects: most recently, Sarah Harmer. Now living in Newfoundland, she
won a boatful of ECMAs for this record, an easy-to-like guitar pop record
that’s a fine showcase for her voice. I once had the immense pleasure of seeing
her duet with Gentleman Reg on a cover of Sheryl Crow’s “If It Makes You
Happy”: it was better than the original (which I love). The downside is that I
can’t ever stop hearing the vocal resemblances McMichael shares with Crow. But
that’s me: people who love this record really, really, <i>really</i> love it,
and I would not be at all surprised to see it shortlist. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;"> </span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Men I Trust – <i>Untourable
Album</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> Duuuuuuuuuuuuude. <i>Did</i>
they actually tour this album? Where did they play, mattress stores? Float-tank
spas? I know I’m streaming this, but is it even at the right speed? This makes
Lana Del Rey sound like Lydia Lunch. Saint Etienne sounds like the Prodigy
compared to this. I don’t trust it.</span><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;"> </span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Haviah Mighty – <i>Stock
Exchange</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> This previous Polaris
winner, a fantastically gifted singer and rapper (and performer), does not need
to bring the T-Pain and I’m not sure why she does here with the effects on her vocals. Kidding: obviously most
modern (t)rap records sound like this and I’m a grump. This is a fiery collection
of tracks (“Atlantic,” “Protest”) that’s billed as a mixtape, not an album,
FWIW. Collabs with Brampton neighbour Tobi and Barcelona MC Mala Rodriguez are
highlights. Could easily shortlist; I still think it’s highly unlikely that the
actual prize will go to the same person twice—and certainly not in a row. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">myst milano – <i>Shapeshyfter</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> “I am not the rule I’m the exception / Bitches
copying notes from me like they in detention.” From their days as a teen punk drummer
in Edmonton to DJing and rapping in an early ’90s hip-hop/house style as a
non-binary queer Black performer in Toronto, Milano has been on a journey that
sounds fully formed on this debut record. If they don’t end up on a shortlist
this year, I don’t doubt they will sooner than later. <span> </span></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Cedric Noel – <i>Hang
Time</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> This record is… fine?
What’s it doing here? I’ve listened to it at least a dozen times and I can’t
remember a thing about it. Non-descript, plodding and slightly shoegaze-y indie
rock singer-songwriter. And yet: would not be at all surprised if it shortlists,
because that vibe is very popular these days. Oddly enough, it sounds a lot
like the next artist on this list, which would be: </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Ombiigizi – <i>Sewn Back
Together</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> Music for anti-colonial
cloud-watching, made by previous shortlister Zoon and previous long-lister Adam
Sturgeon of Status/Non-Status. Produced by Kevin Drew with Nyles Spencer at the
Tragically Hip’s Bathouse. This has a lot of love from the Polaris jury: I
expect it to at least shortlist. I don’t really get it at all. Which means it
will win!</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUjNqj2Jj6IneVx40jZ3VLUnYizIanWNuPKlu084voJDRIXDheDa_2VZoiT68Sy3boXMwoZ8Afmh8SuW4tSQ26bDJjHXK0PkiYS-1mJb8DjCp9ZSvE5aJ3iiZyQk2fI-Duaj7ntPn2GWvCep9H2YXBz9DOSjwm-ZO4TIvgHcEFZjcTe3RVhA/s275/orville.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="183" data-original-width="275" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUjNqj2Jj6IneVx40jZ3VLUnYizIanWNuPKlu084voJDRIXDheDa_2VZoiT68Sy3boXMwoZ8Afmh8SuW4tSQ26bDJjHXK0PkiYS-1mJb8DjCp9ZSvE5aJ3iiZyQk2fI-Duaj7ntPn2GWvCep9H2YXBz9DOSjwm-ZO4TIvgHcEFZjcTe3RVhA/s1600/orville.jpg" width="275" /></a><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">***Orville Peck – <i>Bronco</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> I have no desire to see the new Elvis biopic,
especially when I could spend the summer listening to Orville Peck. The country
singer has a powerful, theatrical baritone with an intriguing tremolo when
required, and plenty of Presleyan swagger. (There’s also the cheeky lyric here,
in “Outta Time”: “She told me she didn’t like Elvis / I said I’d like a little
less conversation, please.”) There’s also, of course, the mysterious-masked-man
aspect of his stage persona (he’s never revealed his face), which if nothing
else shows he’s invested in showbiz mythology. None of that makes for a great
record. What sends me back to this again and again is what he <i>does</i> with
that voice, the melodies he writes to showcase its full range, and the band
behind him, including guitarist Bria Salmena, who herself put out a fine EP
last year (<i>Cuntry Covers Vol. 1</i>). I don’t care if you think the cowboy
hats and the mask are corny; I don’t care if you think this isn’t “real”
country music. It’s a fucking fantastic album from top to bottom. </span><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span face=""Arial", sans-serif" style="color: black;"> </span><b><span face=""Arial", sans-serif" style="color: black;"> <br /></span></b></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Ouri – <i>Frame of a
Fauna</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> Not sure what’s going
on here. Wispy vocals, some mildly interesting electronic soundscapes—background
music, not active listening. Makes Jessy Lanza sound like Peaches.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">P'tit Belliveau – <i>Un
homme et son piano</i>. </span></b><span face=""Arial", sans-serif" style="color: black;">I
love the fact that this odd Acadian from rural Nova Scotia is genuinely and
completely bonkers and that his uncategorizable yet vaguely hip-hop-influenced
outsider record somehow made the Polaris long list. Those are the only things I
love about it. I think it’s genuinely terrible and it makes me want to run out
of the room screaming. Can’t believe that B.A. Johnston was somehow controversial
a couple of years ago, and this guy gets a free pass.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">PUP – <i>THE UNRAVELING
OF PUPTHEBAND</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> WHY IS THIS BAND ALWAYS
SHOUTING AT ME. I’M TIRED OF THIS TYPOGRAPHICAL ABUSE. BACK IN MY DAY WE USED
TO LOWER-CASE EVERYTHING; I GUESS K.D. LANG DIDN’T HAVE TO COMPETE FOR
ATTENTION AS MUCH AS ARTISTS DO TODAY. I STILL DON’T LIKE PUP’S MUSIC ALTHOUGH
I SUPPOSE THEY DO WHAT THEY DO VERY WELL AND THE KIDS LOVE ’EM. IS THIS RECORD
BETTER THAN THEIR LAST TWO, WHICH BOTH SHORTLISTED? I HAVE NO IDEA. ASK THE
KIDS.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Sate – <i>The Fool</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> This was a pleasant surprise. Sate has been toiling
in Toronto for years with little to no recognition, despite tonnes of charisma
and an astounding voice (inherited in part from her mother, Salome Bey,
recently celebrated on a Canada Post stamp). She’s a Black woman making
hard-rock music: Betty Davis fronting Fishbone at Lollapalooza. She’s amazing,
the production is heavy, the band is tight: I wish the songs and riffs matched
her intensity. I will say this, though: this is miles ahead of anything else
that passes as “modern rock” on commercial radio. As long as this list leads people to
her live show—and to her as an artist in general—all is well.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Shad – <i>Tao</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> I’m a big fan of Shad the lyricist, Shad the
performer, Shad the broadcaster, Shad the guy in general. I wish I loved Shad’s
music; I’d happily listen to a spoken-word record by him. This is yet another
solid album from the Polaris hall-of-famer (“Tao Pt. 3,” “Storm,” “Out of
Touch”), but not sure I’d slot it with his best—or the best of this year. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Sister Ray – <i>Communion</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> Intriguing new artist. Though this debut took a
while to come (I first saw this Edmonton artist play four years ago), it sounds
like… a debut. There are some Big Thief vibes here that will serve them well.
Much better things will come.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjohMlOQ7eYT6ya6XMI990cetxTLIjlRKoNKwLeiWpPyYRuf508mBXSRF7g4YGqEl2JqXornnwFPaiDi40pYP1xsBoHuI6SH3yAh1pHtk0WbCHFAv07l6BF-nEl2KyMzRgmbuyaNqlrt32fBIyckKWSFjg3O2LLsjXMjC2zB7BGqJSFdofOJA/s225/snrk.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjohMlOQ7eYT6ya6XMI990cetxTLIjlRKoNKwLeiWpPyYRuf508mBXSRF7g4YGqEl2JqXornnwFPaiDi40pYP1xsBoHuI6SH3yAh1pHtk0WbCHFAv07l6BF-nEl2KyMzRgmbuyaNqlrt32fBIyckKWSFjg3O2LLsjXMjC2zB7BGqJSFdofOJA/s1600/snrk.jpg" width="225" /></a><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">***Snotty Nose Rez Kids –
<i>Life After</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> Hard to imagine a more
powerful or timely track in Canadian rap in 2022 than opening track “Grave
Digger” from this Haisla duo: “My very existence is a resistance … </span><span face=""Arial", sans-serif">coz Jesus ain't die for my sins / I tell 'em my ancestors
did.” And I can’t imagine that there are two better rap lyricists in the country
today: no disrespect to others on this list (or our global pop stars), but
these guys write dextrous verses rich with political fury and history lessons
and also just the full spectrum of modern Indigenous life (“Uncle Rico”). We
could talk lyrics all day long, but SNRK don’t get enough respect for their <i>music</i>:
not just the tracks underneath them, but their own cadence and melodic flow,
which allows them to deliver dense and complex lines with seeming ease. Unlike,
say, a Kendrick Lamar record that might be equally brilliant, this never sounds
like <i>work</i>. And yet it’s the product of two master-craftsmen MCs at the
height of their powers. It demands as little or as much from the listener as
you want to give it. <i>Life After</i> is also their most musically diverse
record to date, with some sidesteps into R&B and pop and even metal, thanks
to 2021 shortlisters the OBGMs. (There’s also some inevitable use of that
goddam T-Pain effect again—why, people, why?! Signed, Old Man). It concludes
with “After Dark,” an unusually positive track, an zen ode to “all my relations”
that acknowledges struggle and gratitude and that “the sun shines bright after
dark.” I thought SNRK should have won the Polaris for 2019’s <i>Trapline</i>, an
album I still prefer, but they should win this thing sooner than later, so why
not now? This record could do the trick. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span face=""Arial", sans-serif"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Stars – <i>From Capelton
Hill</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> This band is
bulletproof—despite the fact they keep threatening to break up because of the unsustainable
economics of being a middle-aged pop band in the streaming age. Their
creativity, on the other hand, is entirely sustainable, and this album is a
reminder of the reasons why. “Pretenders” and “Snowy Owl” are two of the best songs they’ve ever written;
the rest is better than most songs other people wrote in the last 12 months.
But, like the Julie Doiron record, I wonder: is this any different than the
last three or four records that were ignored by Polaris juries? (Fairweather
fans: go back and listen 2012’s <i>The North</i>, in particular; or check the best-of
collection that came out in 2019.) I’m not complaining, but curious as to why
this record, why now. Maybe, like me, other jurors suddenly became big fans of
melancholy music about complicated relationships during the pandemic. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span face=""Arial", sans-serif" style="color: black;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Tanya Tagaq – <i>Tongues</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> The magic of Tagaq’s previous two albums—one of
which won the Polaris, the other shortlisted—is that she managed to take the
power and unpredictability of her stage show and somehow harness it in a studio
with her band. She didn’t need lyrics because her music conveyed so much. This
time out, she’s more direct, in part using text from her novel, <i>Split Tooth</i>.
There is no logical reason for my opinion, but I’d rather hear her read that
text than set it to music. (It's actually the only audiobook I've ever listened to.) I had high hopes for the collaborations here with
Saul Williams and Gonjasufi, but I don’t think it improves on anything she’s
done before. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">The Weeknd – <i>Dawn FM</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> Finally, it’s the Weeknd album everyone can
love! This is undeniably well-crafted pop music: songwriting, production, and
of course the swoony vocals of Abel Tesfaye. It’s a big-tent pop record for a
SuperBowl audience. So that means no more creepy, druggy misogyny, right? Do
the pop songs still have to compete with nihilistic death wishes about crashing
a car off a California cliff while doing coke and getting a blowjob in the
driver’s seat? Well, the first song here, “Gasoline,” finds him high at 5 a.m.
and squeezing his hands around his lover’s neck, fantasizing about OD’ing and
then having her cremate him in his own bed. Fun for the whole family! And the
incredibly catchy “Take My Breath Away” appears to be about erotic
asphyxiation. The rest of the album mostly maintains his Cabbage Head Lothario
character, even—especially—when he’s singing the sweetest melodies. I want to
love the Weeknd, I really, really do. I love everything about this record—even
the Jim Carrey bits work!—except the goddam lyrics. Does that make me a prude?
Fine. (I blame Eminem for everything that’s gone wrong in pop music in the last
25 years.) When this gets peddled as innocuous and ubiquitous pop culture, I
have some questions. Can’t take “Less Than Zero” away from me, though, which is
low-self-esteem pop perfection.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><b><span face=""Arial", sans-serif" style="color: black;">Charlotte Day Wilson – <i>Alpha</i>.</span></b><span face=""Arial", sans-serif" style="color: black;"> Hard to believe that this is Wilson’s first
full-length after years of hype and three EPs. But it is, and, well, I managed
to stay awake all the way through this one, even if it sounds like Daniel
Caesar on downers.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><span face=""Arial", sans-serif" style="color: black;"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; margin: 12pt 0cm;"><span style="font-size: medium;"><i><span face=""Arial", sans-serif" style="color: black;">The shortlist will be
announced at 5 p.m. on Thursday, July 14. The winner will be announced at the gala
(the first in-person gala in three years) on Sept. 19.</span></i><i><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"></span></i></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span face=""Arial", sans-serif" style="color: black;"> </span><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"> </span></p><span style="font-size: medium;">
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{page:WordSection1;}</font></style></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-36657119154109025462022-06-15T14:18:00.012-04:002022-06-20T10:18:12.428-04:00Moneyballing the 2022 Polaris Prize long list<p><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj5SFcg1bI1efBdft9VJXHe3Uzgn3xPtBFeAYoLZ0-1btvdYIcWbkzFuUJaSQJf2cyrWEkEGNjTrrvihjj-43CjcuNKf9tNYXFWpbLKtzHza22eKwK9iGUzHTsN7AEOEkDJSIod_3UTVhWvy6_nA4Uy17hWUj7wa12kPdgjuzlexVGZuT9Iw/s225/joyful.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj5SFcg1bI1efBdft9VJXHe3Uzgn3xPtBFeAYoLZ0-1btvdYIcWbkzFuUJaSQJf2cyrWEkEGNjTrrvihjj-43CjcuNKf9tNYXFWpbLKtzHza22eKwK9iGUzHTsN7AEOEkDJSIod_3UTVhWvy6_nA4Uy17hWUj7wa12kPdgjuzlexVGZuT9Iw/s1600/joyful.jpg" width="225" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joyful Joyful<br /></td></tr></tbody></table><span style="font-family: arial;"><span style="font-size: medium;"><br />Nothing like a Polaris long list to break my hiatus.</span></span><p></p><p><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;">Speaking of which: <a href="https://www.michaelbarclay.ca/heartsonfire" target="_blank"><i>Hearts on Fire: Six Years That Changed Canadian Music 2000-05</i></a>! It came out in April! <a href="https://shoplocal.bookmanager.com/isbn/9781770415874" target="_blank">Go buy it</a>! Listen to the <a href="https://www.michaelbarclay.ca/playlists" target="_blank">playlists</a>! It's about, among other things, the artists that inspired the Polaris Music Prize to exist. I'll be speaking at the Bookshelf in Guelph on Tuesday June 28, in Uxbridge at the Springtide Festival on Friday July 22, and at the Hillside Festival on either July 23 or 24. </span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;">You can find this year's Polaris long list <a href="https://polarismusicprize.ca/blog/2022-polaris-music-prize-long-list-is-here/" target="_blank">here</a>.</span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;"> <br /></span></span></p><p><span style="font-family: arial;"><span style="font-size: medium;">Every year I break down the long list of 40 albums up for the prize, and this year it goes a little something like this: </span></span>
</p><p class="MsoNormal"><br /></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><b>Previous experience: </b></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">4 previous winners: Arcade Fire, Backxwash, Haviah Mighty,
Tagaq</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">15.5 previous shortlisters (not including winners): BadBadNotGood
(2xLL, 2xSL), Jean-Michel Blais (1xLL, 1xSL), Basia Bulat (2xLL, 2xSL),
Destroyer (1xLL, 1xSL), Julie Doiron (1xSL, 1HP), Halluci Nation (1xLL, 2xSL), Pierre
Kwenders (1xLL, 1xSL), Lisa LeBlanc (1xSL), Hubert Lenoir (1xSL), Les Louanges (1xSL), Ombiigizi
(.5, Zoon)*, Pup (2xSL), Shad (4xSL), Snotty Nose Rez Kids (2xSL), Stars (1xSL, 1xLL), the Weeknd (1xSL, 4xLL)<br /></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">6.5 previous longlisters, most appearing only once before: </span></span><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;">Charlotte Day Wilson (2x), </span></span>Tanika Charles (2x),
Lydia Képinski, Men I Trust, Orville Peck, P'tit Belliveau, Ombiigizi (.5, Whoop-Szo)*</span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">*Ombiigizi is a collaboration between Zoon and Status/Non-Status (FKA Whoop-Szo) <br /></span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><b><span style="font-family: arial;"><span style="font-size: medium;">Geography:</span></span></b></p><p class="MsoNormal"><b><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></b></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Toronto/GTA: 15 (includes many migrants from elsewhere)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Montreal: 13 (includes many migrants from elsewhere)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Vancouver: 2 (Destroyer, Snotty Nose Rez Kids)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Quebec City: 2 (Hubert Lenoir, Les Louanges; do they both
live in MTL now?)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Non-GTA Ontario: 2 (Halluci Nation, Joyful Joyful)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">New Brunswick: 1 (Julie Doiron)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Nova Scotia: 1 (P’tit Belliveau)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Newfoundland: 1 (Kelly McMichael, though she’s Ontarian)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Saskatchewan: 1 (the Garrys)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Alberta: 1 (Sister Ray)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Nomad: 1 (Orville Peck, born in South Africa, started career
in Vancouver, band is Torontonian, now in L.A.)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkGwQ7EVWbbmreXAYTiPltDLRfVvF2_exR7b3KYgO9izw8oDtFrRx8aee4qAg0vDwjbfPZVcCPmvWTH0It_psAnajahWBsNdJPEaxD6QoAY19qJpyK_yAInhYrRGU0AY9IqspSYijR__tjfUgd32Yxu51LSHsbgquOT_BUKbE0ukynqqZL0Q/s275/orville.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="183" data-original-width="275" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkGwQ7EVWbbmreXAYTiPltDLRfVvF2_exR7b3KYgO9izw8oDtFrRx8aee4qAg0vDwjbfPZVcCPmvWTH0It_psAnajahWBsNdJPEaxD6QoAY19qJpyK_yAInhYrRGU0AY9IqspSYijR__tjfUgd32Yxu51LSHsbgquOT_BUKbE0ukynqqZL0Q/s1600/orville.jpg" width="275" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Orville Peck's Bronco</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><span style="font-family: arial;"><span style="font-size: medium;">The mysterious Orville Peck isn’t the only one with tricky
geography. Tanya Tagaq is from Cambridge Bay, Nunavut, but has lived in many places
and has been based in Toronto for many years. Arcade Fire are ostensibly still
a Montreal band although the primary couple spends most of their time in New Orleans
and the drummer is now in Australia. Backxwash grew up in Vancouver but began
their career in Montreal. Lisa LeBlanc is an Acadian from New Brunswick now based
in Montreal. Montreal’s Basia Bulat grew up in Toronto and started her career
in London, ON. Stars is a Montreal band full of Torontonians and one of their
singers now lives in Vancouver. Tanika Charles is a Toronto artist who grew up
in Edmonton. Shad grew up in London, ON, began his career in Toronto and lived
in Vancouver for many years. Ouri is a South American who grew up in France and
is now based in Montreal. </span></span><p></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">I don’t doubt there’s even more movement in the
stories of other long-listers.</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><b>Gender: </b></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">At the peril of misgendering anyone, it looks to me that
there are 19/40 female-fronted or female solo acts; three others identify
publicly as non-binary.</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><b>New Canada:</b></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">At the peril of… everything, I would guesstimate that 18/40
artists are racialized minorities; four of those are Indigenous.</span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfMcr5n74dnYji3Ly42nfOor9iVQeSlbkZTrR-lAbSLY3nlE3_VN6gjsaAYw8XIQsoDcNvC3zoOW7UnX1Wd3iAJQKdmNJvWcLofU9pJeJ_qE8Mvke_Fdp8OdzMCHy68tIPBQ9VcKhVw3bgpNfuNH-k8HfkJu7X8Tk0JmKClUA9X-idVtkEUw/s225/myst.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="225" data-original-width="224" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfMcr5n74dnYji3Ly42nfOor9iVQeSlbkZTrR-lAbSLY3nlE3_VN6gjsaAYw8XIQsoDcNvC3zoOW7UnX1Wd3iAJQKdmNJvWcLofU9pJeJ_qE8Mvke_Fdp8OdzMCHy68tIPBQ9VcKhVw3bgpNfuNH-k8HfkJu7X8Tk0JmKClUA9X-idVtkEUw/s1600/myst.jpg" width="224" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Myst Milano's Shapeshifter<br /></td></tr></tbody></table><span style="font-family: arial;"><span style="font-size: medium;"> </span></span><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span><p></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><b>Genre:</b></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">This gets trickier and tricker and more fluid every year. Half
of these records I would hesitate to slot into any particular genre at all other than the "pop" umbrella, whatever that might mean.</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Of the other half, I’d say there are:</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">5 records that could be identified as modern R&B in its
many forms (Adria Kain, Charlotte Day Wilson, Tanika Charles, Pierre Kwenders)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">4 rap records (Haviah Mighty, Shad, Myst Milano, SNRK)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">2 that could be argued are experimental (Tagaq, Joyful
Joyful)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">2 records that are folkie adult contemporary (AHI, Cedric
Noel)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">1 that’s jazz-adjacent, angering the purists (BadBadNotGood)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">1 that’s country-adjacent, angering the purists (Orville
Peck)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">1 that’s metal-adjacent, angering the purists (Backxwash)</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">And, surprisingly, 3 unabashed guitar rock records (of quite
different stripes): Pup, Sate, Ombiigizi. </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p class="MsoNormal"><b><span style="font-family: arial;"><span style="font-size: medium;">Linguistics:</span></span></b></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">There are three franco artists: Lydia Képinski (my fave), Hubert Lenoir, Les Louanges, and two franglais Acadians: Lisa LeBlanc and P'tit Belliveau. And Pierre Kwenders continues to do whatever he wants in whatever language he chooses. In other words, six non-anglophones in total.<br /></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><b>Popularity contest:</b></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Arcade Fire and the Weeknd are the only two names here that
will come up in lay conversation. Maybe Orville Peck. Possibly Stars or Pup.
But expect a lot of shrugging and the age-old response of “I’ve never heard of
any of these people.” <i>Which is exactly why you should listen</i>.</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><b></b></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><span style="font-size: medium;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg50FUaz6UknoNWD-nrrsfDCOQhIaXRcsNUYJXU5N_4brj-6nIj4Asi1HvXZkUVXx2IAn5Ish-aO2fdwjXsDHlMPLObJKlwrv14pANoRi94t2X7r1N3SJDRP9CMLQvsRH_TRNrkxGenKujjU6t9Y5mgnMzQO-bpVdY75lB08K3jdggDegViOg/s225/doiron.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="224" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg50FUaz6UknoNWD-nrrsfDCOQhIaXRcsNUYJXU5N_4brj-6nIj4Asi1HvXZkUVXx2IAn5Ish-aO2fdwjXsDHlMPLObJKlwrv14pANoRi94t2X7r1N3SJDRP9CMLQvsRH_TRNrkxGenKujjU6t9Y5mgnMzQO-bpVdY75lB08K3jdggDegViOg/s1600/doiron.jpg" width="224" /></a></b></span></span></div><span style="font-family: arial;"><span style="font-size: medium;"><b><br />Age:</b></span></span><p></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">The old-timers this time are Stars, Julie Doiron and
Destroyer, children of the 1970s who are all on the other side of 50. Tanya
Tagaq is only a couple of years behind them.</span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Stars have quite a long gap between Polaris appearances: the last time they were long-listed was 2011, for <i>The Five Ghosts</i>. But that doesn't beat Julie Doiron: the last time she appeared on a Polaris shortlist was 15 years ago, in 2007, at the second Polaris ever. You <i>can</i> call these a comeback!<br /></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;"></span></span><span style="font-family: arial;"><span style="font-size: medium;"></span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><b></b></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><span style="font-size: medium;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJLkpIDge7879t89X7-DUXblYV2jjTVOil6UjF7kEc_7KuCyzAuQ1AwcX2_FwqrCYvVwqycRXCJ94eWpNY8kJO6J7drOeQXs40AIlyRyZbdhrXiQW7-_5ytbcXJzlUD27c1pfR6YP6RfOMTl_lTA6KtnDYG9bouUE6J8jh_54mJlGspn4jSQ/s225/shad.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJLkpIDge7879t89X7-DUXblYV2jjTVOil6UjF7kEc_7KuCyzAuQ1AwcX2_FwqrCYvVwqycRXCJ94eWpNY8kJO6J7drOeQXs40AIlyRyZbdhrXiQW7-_5ytbcXJzlUD27c1pfR6YP6RfOMTl_lTA6KtnDYG9bouUE6J8jh_54mJlGspn4jSQ/s1600/shad.jpg" width="225" /></a></b></span></span></div><span style="font-family: arial;"><span style="font-size: medium;"><b><br />Hall of Famers moving up the ranks: </b></span></span><p></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;"></span></span>
<p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">I tabulate the Hall of Fame by according 3 points for a win,
2 for a shortlist and 1 for a longlist.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><i><span style="font-size: medium;"><span style="font-family: arial;">CAVEAT: Accuracy by no means guaranteed. I’m not getting
paid for this!</span></span></i></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Before this week, the champs were Caribou (3xSL, 1 win) and
Cadence Weapon (2xSL, 2xLL, 1 win), with 9 points each.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Arcade Fire now joins them with 9 points: 1 win, 2
shortlists, and now their second long list. They also won the Heritage Prize
for <i>Funeral</i> (not factored in here).</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Shad is also now tied for first place with the above,
despite never having won (4xSL, 1 LL). This year, if he shortlists or wins he’ll be on
top.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">(Second tier, with 8 points, has Drake, Owen Pallett and Dan Boeckner of Wolf Parade / Handsome Furs / Operators. No change there this year: Drake's <i>Certified Lover Boy</i> did not make this year's long list.) <br /></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Basia Bulat and the Weeknd move to the
third tier of the Hall of Fame (7 points), alongside Feist, Joel Plaskett, New
Pornographers and Patrick Watson.</span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">The Weeknd now holds the quantitative record for most Polaris appearances: six. However, he's never won and has only been shortlisted once, for his debut, <i>House of Balloons</i> (which lost to Arcade Fire's <i>The Suburbs</i>). <br /></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;">BadBadNotGood and the Halluci Nation enter the fourth tier (6 points); both acts have shortlisted twice and long-listed twice before. They join US Girls, Metric, and Besnard Lakes.<br /></span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Pup and </span></span><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;">Snotty Nose Rez Kids both </span></span>enter the Hall of Fame with their third appearance on a
Polaris list; both acts' previous two albums shortlisted (5 points). They join the Sadies, Daniel Romano and Tom Wilson (Lee Harvey Osmond, Blacke and the Rodeo Kings). <br /></span></span></p>
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{page:WordSection1;}</style><span style="font-family: arial;"><span style="font-size: medium;"></span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><b>My favourite album that didn’t long list:</b></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Salomé Leclerc — Mille ouvrages mon coeur</span></span><a href="https://salomeleclerc.bandcamp.com/community"></a>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2411298248/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://salomeleclerc.bandcamp.com/album/mille-ouvrages-mon-c-ur">Mille ouvrages mon cœur by Salomé Leclerc</a></iframe>
</p><div class="bannercontainer">
</div>
<div class="trackView leftMiddleColumns has-art" data-tooltips="{"tooltips":[],"dash_seen":null}">
<div id="name-section">
<h2 class="trackTitle"><br /></h2></div></div><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><b>Runners-up on my personal ballot:</b></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Suzie Ungerleider — My Name Is<br /></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4239643706/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://suzieungerleider.bandcamp.com/album/my-name-is-suzie-ungerleider">My Name is Suzie Ungerleider by Suzie Ungerleider</a></iframe>
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Geordie Gordon — The Tower<br /></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=906853106/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://geordiegordon.bandcamp.com/album/the-tower">The Tower by Geordie Gordon</a></iframe>
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">John Southworth — Rialto<br /></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3160430024/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://johnsouthworth.bandcamp.com/album/rialto-2">Rialto by john southworth</a></iframe>
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Abigail Lappell — Stolen Time<br /></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=725338899/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://abigaillapell.bandcamp.com/album/stolen-time">Stolen Time by Abigail Lapell</a></iframe>
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"><b>Future predictions:</b></span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Of the four previous winners on this long list, I think only
Haviah Mighty has a chance at shortlisting. But Backxwash has surprised me
before.</span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">Several previous shortlisters are likely to make it again;
many have momentum with widely acclaimed new records, though I wouldn’t put
money on any in particular. </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">This could be a shortlist with many familiar names.</span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;">As for newbies, I expect Chiiild to do very well through this
entire process. </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/tOMFcO2JXlU" width="320" youtube-src-id="tOMFcO2JXlU"></iframe></span></span></div><span style="font-family: arial;"><span style="font-size: medium;"><br /> </span></span><p></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></p><span style="font-family: arial;"><span style="font-size: medium;">
</span></span><p><style><span style="font-family: arial;"><font size="4">@font-face
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{page:WordSection1;}</font></span></style></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-25732840867666073272021-12-16T22:51:00.007-05:002021-12-17T15:03:29.599-05:00Best of 2021<p class="MsoNormal"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEie70Q_eM6PI1z0fIjAk1y6_OD9QZBxSxqAlzyxCnN6mx9C0scRc9iHDVlzUCy14L-0ED-LEIM8x7kNLlH4oFvjYuq2gGwdL_bUpiG2T1P7-UONIOIHAVfG-ZrKUhd0lUW2ftPB3TBRURqzIyhOHCdjIVObXjAnHkBM_amnM27jdjhh3OHESg=s225" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/a/AVvXsEie70Q_eM6PI1z0fIjAk1y6_OD9QZBxSxqAlzyxCnN6mx9C0scRc9iHDVlzUCy14L-0ED-LEIM8x7kNLlH4oFvjYuq2gGwdL_bUpiG2T1P7-UONIOIHAVfG-ZrKUhd0lUW2ftPB3TBRURqzIyhOHCdjIVObXjAnHkBM_amnM27jdjhh3OHESg" width="225" /></a></span></div><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">I didn't review records this year; I was busy writing <a href="https://ecwpress.com/collections/books/products/hearts-on-fire" target="_blank"><i>Hearts on Fire: Six Years That Changed Canadian Music 2000-05</i></a> (out in April 2022!). But I didn't stop listening to everything I could, and I was never bored. </span></span></span><p></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Not ranked this year, other than into tiers. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Bandcamp links where possible; please support your favourite artists.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Tidal playlist:</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">https://tidal.com/browse/playlist/55a29b0e-f86c-4de0-b864-4ba725e3ce41</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Spotify playlist:</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">https://open.spotify.com/playlist/2TOeEJcUH4MlGPVaTV4t7W?si=6e684aee7de0486b <br /></span></span></span></p><p></p><p><br /></p><p></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"><b>Tier 1: #1-10 (alphabetical)</b></span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;"></span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Arooj Aftab – <i>Vulture Prince</i> </span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">(New Amsterdam). This Pakistani-American singer has made a
gorgeous record that’s a beguiling amalgam of Dorothy Ashby, Sheila Chandra and
Owen Pallett. Dedicated to her late brother and another lost friend, the “neo-Sufi”
album is beyond haunting, whether she’s singing in Urdu or English. Right in
the middle she drops “Last Night,” an acoustic reggae song comparing her
beloved to lunar majesty. Read a P4K profile <a href="https://pitchfork.com/features/rising/arooj-aftab-vulture-prince-interview/" target="_blank">here</a>. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"><br /></span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=901580230/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2535987563/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://aroojaftab.bandcamp.com/album/vulture-prince">Vulture Prince by Arooj Aftab</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Altin Gun – <i>Yol</i> </span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">(ATO). A Turkish-Dutch psych-pop band that lean more Talking
Heads than Tame Impala? Yes, please. This band blew me away live a few years
ago, and each record is better than the last. Every player is essential, the
rhythm section is killer, and the new-wave synths are a nice touch alongside
the Fuzzy guitars, Balkan scales and male-female vocals. In yet another bleak
year, this January release was a constant source of sunshine. </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><br /></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2777880092/size=large/bgcol=ffffff/linkcol=0687f5/license_id=1585/tracklist=false/artwork=small/track=681286360/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://altingun.bandcamp.com/album/yol">Yol by Altin Gün</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Brandi Carlile – <i>In These Silent
Days</i> </span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">(Elektra). I’m not ranking anything
this year, but this is the album I listened to the most compulsively after it
came out, the album that sent me to a piano to learn all the songs (not
something I do often). I admired Carlile before, but hearing a 40-year-old
woman knock it out of the park on her seventh album is beyond inspirational.
This is one of the great mainstream singer-songwriter albums of the last two
decades; it’s that fucking good. Opening track “Right on Time” is a total
show-stopper, both as a song and a vocal performance—but she’s only warming up.
Every song here is a stone-cold classic. And did you see her on SNL? Holy shit.
</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/VDjeuXAME-A" title="YouTube video player" width="560"></iframe>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/hWnVjSD6xzY" title="YouTube video player" width="560"></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></b></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Cochemea – <i>Vol. II: Baca Sewa</i> </span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">(Daptone). His record label calls him “the Dap-Kings’
electro-sax space warrior.” Sounds about right. On this album of mostly just
saxophone and percussion, with occasional help from the Dap-Kings’ rhythm
section, Cochemea taps his Indigenous Mexican-American roots to create a swampy
brew with faint echoes of Dr. John’s <i>Gris Gris</i> and the quality control that
Daptone brings to everything it puts out. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2911416019/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4222330355/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://cochemea.bandcamp.com/album/vol-ii-baca-sewa">Vol. II Baca Sewa by Cochemea</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Delvon Lamarr Trio – <i>I Told You
So</i> </span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">(Colemine). Move over, Khruangbin, there’s
a new instrumental trio on the scene, and this one is not chill. This one, from
Seattle, channels New Orleans legends the Meters almost effortlessly—no small
feat. This is a whip-tight funk band led by an organist and featuring a jazz
guitarist; miraculously, there’s no bassist. Even the cheeseball ’80s cover
totally works, in part because the original material around it is so strong.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3476419932/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=777197698/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://delvonlamarrorgantrio.bandcamp.com/album/i-told-you-so">I Told You So by Delvon Lamarr Organ Trio</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Daniel Lanois – <i>Heavy Sun</i> </span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">(Maker Series). The Hamilton producer goes to church: a
church in Shreveport, Louisiana, specifically, where the father of drummer
Brian Blade preaches. One day Lanois and Blade heard the church organist,
Johnny Shepherd, and insisted on making a record with him. Praise Jesus, they
did. <i>Heavy Sun</i> is a gorgeous, gospel-soaked album centred around Shepherd’s
voice and B-3 Hammond organ playing, while masters Lanois and Blade are joined
by their regular bandmates, bassist Jim Wilson and guitarist Rocco DeLuca for
gorgeous harmony singing. I’ve been a Lanois fan for decades now, so trust me
when I say this is his greatest solo record, second only to <i>Acadie</i>. One could argue, however, that Shepherd deserves equal billing.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"><br /></span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/WKGlZyuIh0k" title="YouTube video player" width="560"></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Low</span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> <b>– <i>Hey What</i></b> (Sub Pop). I listened to more Low than
any other artist in 2020, their music offering the ideal mix of extremes: the beauty
I craved and the discomfort I felt. Going through their whole discography made me
appreciate the last three records they made with producer BJ Burton even more:
2016’s gorgeous <i>Ones and Sixes</i> (my favourite), the profoundly strange <i>Double
Negative</i> in 2018, and now <i>Hey What</i>, which pulls back somewhere
between those two poles. Every year at this time you’re likely to hear their
version of “Little Drummer Boy” cutting through the usual dreck; if you haven’t
checked in Low in a while, it’s never been a better time.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1429273597/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2607303089/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lowtheband.bandcamp.com/album/hey-what">HEY WHAT by Low</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Mustafa – <i>When Smoke Rises</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Regent Park Songs). “Stay Alive” is the opening track
here—and it’s not a metaphor. <i>When Smoke Rises</i> is about the losses
Mustafa has witnessed through gun violence in his Toronto neighbourhood, and
about a resilient community awash in grief. A child prodigy who’s releasing his
debut album at the age of 25. Worth the wait. Though Mustafa first made his
name in Toronto as a poet, he has a gorgeous singing voice, and the music owes
more of a debt to Sufjan Stevens than my inherently racist assumptions led me
to expect. His first headlining hometown gig? At the newly reopened Massey
Hall, where he was the third performer to take the stage after Gordon Lightfoot
and Buffy Sainte-Marie. Now that’s a baller move. Too bad Toronto police deemed
it a “high-security event” and installed airport-level security outside the
venue, while Mustafa himself wore a backwards bulletproof vest on stage as a
fashion statement. All of which is to say: This is a stunning album, an
astounding debut, and something you absolutely must hear. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/7E26_sjxbYY" title="YouTube video player" width="560"></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></b></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Allison Russell – <i>Outside Child</i> </span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">(Fantasy Records). Speaking of Brandi Carlile’s mid-career
excellence, this was a breakthrough year for one of Carlile’s favourites:
Montreal-Vancouver-Chicago-Nashville singer/songwriter Allison Russell. Canadian
folk festival attendees might know Russell from Po’ Girl in the 2000s (with Be
Good Tanya Trish Klein) or with Birds of Chicago. The latter band’s JT Nero is
a big part of this record, but it’s very much Russell’s story to tell: these
are at-times harrowing personal stories, dressed up in the velvet glove of
Russell’s luxurious voice. There are some Al Green grooves, some Lucinda
Williams twang, some Norah Jones comfort, and some of Emmylou’s <i>Wrecking Ball</i>: this
is the very definition of what’s called Americana. You can listen to this
record devoid of context and find it lovely; once you listen closer, it’s
profoundly moving. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2280543287/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3967628496/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://allisonrussell.bandcamp.com/album/outside-child">Outside Child by Allison Russell</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Yu Su – <i>Yellow River Blue</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Yi She Yi Se). This Chinese-Canadian world traveller made perfect
music for a microdosing summer (see also: K.D.A.P.’s <i>Influences</i>). Opening
track “Xiu” layers Chinese instrumentation over a Neu groove and Colleen-esque
layers. There’s some sparse electro-dub, some Four Tet-ian psychedelia, and
even some Prince-like Linn drums on “Meleleuca.” This is a fascinating sonic
journey from a restless spirit.</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=416300961/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=710250748/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://yusu.bandcamp.com/album/yellow-river-blue">Yellow River Blue by Yu Su</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Tier 2: #11-20 (alphabetical)<br /></span></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Godspeed You! Black Emperor – <i>G_d's
Pee at State's End</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Constellation).
Don’t take this band for granted. Yes, it’s largely the same bag of tricks they’ve
explored for the past 25 years, but they’ve never sounded as sonically fierce
as they do here, thanks mostly to engineer Jace Lasek. Godspeed is always more
hopeful than they’re given credit for—even though they literally spell it out
in their stage visuals—and this album arrived at the perfect moment in time. (See
also: Fly Pan Am’s <i>Frontera</i>.)</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=480777236/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2404429815/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://godspeedyoublackemperor.bandcamp.com/album/g-d-s-pee-at-state-s-end">G_d’s Pee AT STATE’S END! by Godspeed You! Black Emperor</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Geordie Gordon – <i>The Tower</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Victory Pool). Perhaps you’ve seen Geordie Gordon in U.S.
Girls, Islands and many other Toronto/Montreal/Guelph acts in the last 15 years.
This is his first solo album, and at times he sounds like an unusually good
synth-lounge act of the early ’80s. Drum machines that sound lifted from old
organs, vintage keys with modern synths delivering one soft-rock gem after
another, with some seriously strong songwriting at the core. Also remarkable is
Gordon’s constantly developing vocal range; having seen him perform since he
was a teenager, I’m never not amazed at the singer he’s become.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=906853106/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1142644614/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://geordiegordon.bandcamp.com/album/the-tower">The Tower by Geordie Gordon</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Arushi Jain – <i>Under the Lilac Sky</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Leaving). This Indian composer and singer, now based in
San Francisco, plays ragas using only modular synths—which are helpful to get
at microtonality unavailable on most Western instruments. This material was
composed for a sunset performance on a rooftop near the Rajasthan desert; it
sounds like it. Close your eyes and you might as well be there. More info <a href="https://composer.spitfireaudio.com/en/articles/arushi-jain-on-identity-indian-classical-music-modular-synthesisers">here</a>. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3800737209/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3104115540/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://arushijain.bandcamp.com/album/under-the-lilac-sky">Under the Lilac Sky by arushi jain</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Rochelle Jordan – <i>Play with the
Changes</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Royal Mountain). This
L.A.-via-Toronto singer channels vintage Neneh Cherry or what the post-drum’n’bass
Brits called “garage,” but I don’t remember any of that music from more than 20
years ago sounding this good (no disrespect to Cherry, who continues to be
awesome). Jordan is a wispy vocal presence, yet effective—and just in time for
the Janet Jackson renaissance. This is the kind of club record lush enough to
feel like a warm bath. Luxurious.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3309418989/size=large/bgcol=ffffff/linkcol=0687f5/license_id=1950/tracklist=false/artwork=small/track=1917753462/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://rochellejordan.bandcamp.com/album/play-with-the-changes">PLAY WITH THE CHANGES by Rochelle Jordan</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Little Simz – <i>Sometimes I Might
Be an Introvert</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Awal). This rap album opens with
martial drums, big symphonic brass and a choir, before breaking into a nylon
guitar riff over a Questlove-worthy beat while a string section swells.
Ambitious? Yep. But this British MC can do anything she puts her mind to—except,
maybe, maintain our interest through way too many “interludes,” what used to be
called skits (why is that still a thing?!). The production here is once again
by Inflo, the man behind Sault (whose Cleo Sol appears here) and Michael Kiwanuka;
he also pops up on the new Adele. If Little Simz wasn’t the charisma magnet she
is (not unlike Haviah Mighty), she’d be in jeopardy of being overshadowed by
Inflo. But this is a perfect meeting of the minds.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/GSOFGFagOsY" title="YouTube video player" width="560"></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Madlib – <i>Sound Ancestors</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Madlib Invazion). This producer has likely more than 100
releases to his name over the last 20 years. After the landmark 2004 Madvillain
album, where to start? Right here. Combining his love of jazz and obtuse
samples with his post-J Dilla beat innovation, this is an album assembled with
the help of Four Tet, who brings focus to the usually scattered genius. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=550616848/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1269054310/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://madlib.bandcamp.com/album/sound-ancestors">Sound Ancestors by Madlib</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Mdou Moctar – <i>Afrique Victime</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Matador). There are many artists on this list I would have
loved to have seen live this year, but I do regret that I have yet to have my
face melted off by the electric guitar wizardry of this Nigerien master.
Especially now that he has a large North American indie behind him. Is this
album better or worse than its predecessor? Who cares? Turn it up and
surrender.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=976124536/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1272930794/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://mdoumoctar.bandcamp.com/album/afrique-victime">Afrique Victime by Mdou Moctar</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Serena Ryder – <i>The Art of Falling
Apart</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Arthaus). It seems weird that a
woman with big radio hits here in Canada would be so critically underrated. But
did I read anything, anywhere about this record? One of the most naturally gifted
pop singers working today, her writing keeps improving, and this record is full
of affirmational earworms—“Waterfall,” “Kid Gloves,” “Better Now,” for
starters—that hit me right in the gut during a most difficult year. This record
should be mentioned in the same breath as Adele or Olivia Rodrigo or Brandi Carlile—it’s
that good. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/BUDBM9dEM18" title="YouTube video player" width="560"></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Leanne Betasamosake Simpson – <i>Theory
of Ice</i> </span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">(You’ve Changed). The first time I
heard this record was walking on a frozen lake in Simpson’s general vicinity (near
Peterborough, Ontario), a vivid experience I relive every time I put this on.
Simpson is an acclaimed poet and writer; this is her first album. A singer, she’s
not—and that’s not the point (though she’s just ever so slightly AMSR for my
taste). If Laurie Anderson were an Indigenous Ontario folk musician, she might
make a record like this. Musical textures from sister Ansley and producer Jim
Bryson bring her words to life, giving them further depth and colour. A cover
of Willie Dunn’s “I Pity the Country” is essential listening in 2021, but doesn’t
overshadow anything Simpson does on her own. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3132692032/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2508619526/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://leannesimpson.bandcamp.com/album/theory-of-ice">Theory Of Ice by Leanne Betasamosake Simpson</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Suzie Ungerleider – <i>My Name Is</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Stella). Ungerleider recorded for almost 25 years as Oh
Susanna, so this is a bit of a rebirth. And what a way to make a mark: this is
easily one of her best records, if not a career high (so far). If she’s new to
you, she’s a short-story lyricist with an exceptional sense of melody, not
unlike a folkier Aimee Mann, writing perfect character sketches like “Mount
Royal” or “Summerbaby” or the devastating “Disappear,” about a child hiding
from an abusive parent. Oh, and there’s a song here with the chorus “hearts on
fire” which also happens to be the title of an amazing book out next April.
Just FYI. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4239643706/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=437409243/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://suzieungerleider.bandcamp.com/album/my-name-is-suzie-ungerleider">My Name is Suzie Ungerleider by Suzie Ungerleider</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"></p><b><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Tier 3: #21-30 (alphabetical)</span></span></span><span style="font-size: medium;"><span style="font-family: arial;">
</span></span></b><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Cadence Weapon – <i>Parallel World</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (eOne). The most heartening thing about Cadence Weapon’s
Polaris prize win this year wasn’t that the mid-career musician finally copped
it (after two shortlists and two longlists), but that he was just as weird as
he’d always been—musically, that is, which proves that the world is catching up
to him. Lyrically, he’s more direct here than he’s ever been in his career, and
tough times call for straight talk. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1995683482/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3553504987/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://cadenceweapon.bandcamp.com/album/parallel-world">Parallel World by Cadence Weapon</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Theon Cross – <i>Intra-I</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">. Theon Cross plays tuba in Sons of Kemet, a band credited
with spearheading much of Britain’s current jazz revival. That band’s prolific
saxophonist, Shabaka Hutchings, deservedly gets most of the attention. But
Cross’s second solo album—yes, the tuba player’s solo album!—bettered his main
project this year, by delving into dubby electronics, hip-hop, cinematic
soundscapes and anywhere else a tuba is not normally supposed to go.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2849321803/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2634942652/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://theoncross.bandcamp.com/album/intra-i-2">Intra-I by Theon Cross</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Eris Drew – <i>Quivering in Time</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (independent). Very little electronic music ever makes me
want to dance in a dark club packed with people—especially now. But this album
does. Apparently it was crafted in a rural New Hampshire cabin where, during
the pandemic, Drew would broadcast DJ sets held in a nearby clearing. With shades
of Chicago house and early ’90s rave with deep bass, actual funk, and constantly
intriguing samples and shifting textures, this is a dense delight. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3018135629/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3040284204/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://erisdrew.bandcamp.com/album/quivering-in-time">Quivering In Time by Eris Drew</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Equiknoxx – <i>Basic Tools Mixtape</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (independent). This Jamaican production team began in dancehall
but now go wherever they want, and the weirder the better: like Tricky took an
American R&B artist to make a record in Kingston and only rolled tape
between 2 and 4 a.m. This is murky, muggy, swampy music—and it’s glorious. The
vocalists are a welcome presence, but the instrumental versions speak just as
loudly. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1224594790/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3483727571/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://equiknoxx.bandcamp.com/album/basic-tools-mixtape">Basic Tools (Mixtape) by Equiknoxx</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Greg Keelor – <i>Share the Love</i> </span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">(Warner Canada).<b> </b>The Blue Rodeo co-lead has put out
several solo albums; this is easily the best since his debut, Gone. Recorded
and then re-recorded live for a video promo, Keelor decided to scrap the original
and go with the live performance. An ace band (including drummer Glenn Milchelm
and Peterborough singer/songwriter Melissa Payne) that was likely pent up from
months of pandemic isolation pour their hearts into Keelor’s music, which
teeters between melancholic and morose as it grapples with gratitude, death and
heartbreak.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/vp2oPQbNNwo" title="YouTube video player" width="560"></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span></span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Miranda Lambert, Jack Ingram, Tim
Russell – <i>The Marfa Tapes</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Sony).
Note: it’s not a “campfire record” unless <i>there’s an actual fucking campfire</i>.
Which there is here: this is as unplugged as it gets, other than the recording
equipment—which may well have been a smartphone, by the sound of it. It’s like
Michelle Shocked’s <i>Texas Campfire Tapes</i>, except instead of a young, unknown
folk singer, we’re eavesdropping on three of the biggest names in modern country
music. Okay, I’ll admit I was only familiar with Lambert, but Ingram has had
No. 1 hits, and Russell is a hitmaking songwriter and producer. Here, the three
of them pass the acoustic guitar and harmonize exquisitely. There’s offside
conversation, crackling fire, and at least once you can hear Lambert say, “Beautiful!”
Which it absolutely is. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/RQdNixK-p_A" title="YouTube video player" width="560"></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Salomé Leclerc – <i>Mille ouvrages
mon coeur</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Audiogramme). Snowy-day franco
melancholy rarely gets better than this—except when Leclerc ramps up the drama
with lush strings and Velvet-y rhythms. (See also: Myriam Gendron’s <i>Ma Delire</i>.) </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2411298248/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=505688166/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://salomeleclerc.bandcamp.com/album/mille-ouvrages-mon-c-ur">Mille ouvrages mon cœur by Salomé Leclerc</a></iframe>
</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></span></p><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Olivia Rodrigo – <i>Sour</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Geffen). Being a 50-year-old man, I’m not the target demo
for this teenage Disney actress who sings about getting her driver’s licence.
But goddammit, she’s good. She’s got a Broadway voice, co-writes a collection
of earworms, and while she’s very much rooted in modern pop idioms, opening
track “Brutal” betrays a lineage from Joan Jett to Liz Phair to Courtney
Barnett—so, right up my alley. How good is she? Taylor Swift and Jack Antonoff
show up for a co-write—and it’s one of the weaker tracks here. The rest of the
album shows immense dynamic range, from big pop ballads to rockers (“Good 4 U”)
to acoustic numbers (“Favourite Crime”) to Lorde-ish self-awareness (“Déjà Vu”). </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/OGUy2UmRxJ0" title="YouTube video player" width="560"></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">John Southworth – <i>Rialto</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Tin Angel). Stay with me here: <i>Rialto</i> is not just a
14-song album about an insomniac who works as a driver for a writers festival
and must courier a film called <i>The History of Jazz </i>to its premiere:
apparently, it’s also a book and an eight-episode podcast performed by a cast
of 25, made by a perpetual underdog with 13 albums under his belt. I’ll admit,
I have no idea what’s going on here, or if Southworth has simply constructed an
elaborate ruse. But the always-ambitious, hit-and-miss artist comes out
swinging hard, with a strong chamber-pop record fuelled by a muscular string
quartet, arranged by Andrew Downing; guest singers include the Weather Station’s
Tamara Lindeman, Rheostatics’ Martin Tielli and members of Bernice. It’s…
something, to be sure. But I’m pretty sure it’s brilliant. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3160430024/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2711446241/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://johnsouthworth.bandcamp.com/album/rialto-2">Rialto by john southworth</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Vanille – <i>Soleil '96</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Bonbonbon). There were many moments this year when I just
wanted simple pleasure, such as a French woman cooing in my ear over carefully
arranged dreampop à la Alvvays. Which is what made this Vanille record such a
tasty treat. </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4200910805/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1443054378/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://vanille.bandcamp.com/album/soleil-96">Soleil '96 by Vanille</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Reissues:</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Willie Dunn – <i>Creation Never Sleeps, Creation Never Dies</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Light in the Attic). I’ve been waiting years for this project,
ever since Kevin Howes assembled the Native North America box in 2014. It does
not disappoint. Much like the Jackie Shane reissue, it’s worth it just for the
liner notes alone (both got Grammy nominations). Dunn’s rich baritone is a
commanding presence, communicating painful truths through modern Canadian folk
songs that deserve to be heard far and wide. Howes does exceptional archival
work on all his projects; he has yet to disappoint. This is beautiful. </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span></span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Bruce Springsteen and the E-Street
Band – <i>The 1979 Legendary No Nukes Concerts</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Sony). Recorded at the arguable height of their live
prowess, this is everything I could ever hope for in an archival E-Street
recording, including the “Detroit Medley” that I seem to recall thrilling me on
FM radio in Toronto in the early ’80s. Every time something like this surfaces
I become a fan all over again. </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";">Nancy Sinatra – <i>Start Walkin’:
1965-76</i></span></b><span face=""Arial",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> (Light in the Attic). “How Does
That Grab You, Darlin’?” Why, just fine, Ms. Sinatra, just fine. Come for “These
Boots,” “Bang Bang,” “You Only Live Twice,” “Some Velvet Morning” and put on
your go-go boots for 19 more brassy ’60s pop hits, with and without Lee
Hazlewood. </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif">2020
albums I listened to the most in 2021:</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif">Eddie
Chacon – <i>Pleasure, Joy and Happiness</i>. Reviewed <a href="http://radiofreecanuckistan.blogspot.com/2021/03/2020-catchup.html">here</a>.
</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif">Sam
Roberts – <i>All of Us</i>. Yes, I’m in my dad-rock years, and this is as good
an example as any. I’ll admit I’m not a big Roberts fan outside of the
occasional single, but this album really hit home and had nary a dud track—but plenty of dad tracks! (Maybe
it helped that he’s one of my favourite interview subjects in my last two books.)</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><b><span face=""Arial",sans-serif">Lists
I always read (but I didn’t before making this list):</span></b></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif">Sean
Michaels’s Said the Gramophone has been <a href="https://www.saidthegramophone.com/archives/best_songs_of_2021.php">doing
this</a> for 16 years now. </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif"><a href="https://aquariumdrunkard.com/2021/12/13/aquarium-drunkard-2021-year-in-review/">Aquarium
Drunkard’s list</a> usually takes me a couple of weeks to get through and I
always find fascinating new things</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif">Same
with Bandcamp’s extensive lists, this year <a href="https://daily.bandcamp.com/best-of-2021/best-of-2021-future-history">broken</a>
<a href="https://daily.bandcamp.com/best-of-2021/best-of-2021-bodies-in-motion">into</a>
<a href="https://daily.bandcamp.com/best-of-2021/best-of-2021-psychedelic-visions">four</a>
<a href="https://daily.bandcamp.com/best-of-2021/best-of-2021-working-together">pieces</a>.
</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif">Dominionated
is always on top of interesting new Canadian music. <a href="https://dominionated.ca/features/favourite-fifty-of-2021/">Here’s their
fave 50</a>. </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif">CBC
leans more to the R&B side these days on <a href="https://www.cbc.ca/music/the-21-best-canadian-albums-of-2021-1.6262209">their
list</a>. </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif">Exclaim
is my alma mater. They went with Little Simz <a href="https://exclaim.ca/music/article/best_albums_of_2021/page/5">this year</a>.
</span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif">Pitchfork:
congrats to the Weather Station for being the only Canadian on <a href="https://pitchfork.com/features/lists-and-guides/best-albums-2021/">this
year’s list</a></span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><span face=""Arial",sans-serif">NPR:
congrats to Allison Russell for being the only Canadian on <a href="https://www.npr.org/2021/12/01/1054318397/the-50-best-albums-of-2021-page-1">this
year’s list</a></span></span></span></p></span>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-76886637485690861882021-09-26T16:23:00.005-04:002021-09-27T09:40:26.875-04:00Polaris predictions 2021<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-RrgtOYumxBI/YVDOgBIJ5WI/AAAAAAAAOSg/17OsPn8i5uIqNOIMDi2fsQRGfVxmanY1wCLcBGAsYHQ/s700/%2521leanne.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial; font-size: medium;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-RrgtOYumxBI/YVDOgBIJ5WI/AAAAAAAAOSg/17OsPn8i5uIqNOIMDi2fsQRGfVxmanY1wCLcBGAsYHQ/s320/%2521leanne.jpg" width="320" /></span></a></div><span style="font-family: arial; font-size: medium;">The Polaris Music Prize is always big deal to me, but this year, I don't have a lot of time to dive deep, for myriad reasons. </span><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">Apparently neither does anyone else: with the exception of event sponsor CBC Music (now run by Polaris founder Steve Jordan), I'm not sure I've seen a single piece anywhere analyzing the shortlist. A shortlist, by the way, that for the first time doesn't have any white men on it—coincidence? A nation's culture reveals itself by the stories it can't be bothered to tell. Are editors increasingly allergic to Polaris the less white, the more left-field it gets?! I say this every year, but why doesn't Polaris get the same media attention as the Giller prize for literature, which features just as many underdogs? </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">Whether or not anyone is writing about Polaris this year, I'm happy it's championing the music that it is. </span><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">If the shortlist was entirely up to me, a 50-year-old white man in Toronto, it would look like this: <br /><br /></span></div><div><span style="font-family: arial; font-size: medium;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-egSN_vn98gg/YVDPzbXfL_I/AAAAAAAAOSs/durbjcFZo-I44jK86gXphqvBsavjdZOzQCLcBGAsYHQ/s700/%2521alias.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-egSN_vn98gg/YVDPzbXfL_I/AAAAAAAAOSs/durbjcFZo-I44jK86gXphqvBsavjdZOzQCLcBGAsYHQ/s320/%2521alias.jpg" width="320" /></a></div><br />Alias Ensemble - <i>A Splendour of Heart</i></b>. An unbelievably gorgeous folk record, with exceptional playing and a stunning presence in singer Kelly Sloan. Available only on <a href="https://danielromano.bandcamp.com/album/a-splendour-of-heart" target="_blank">Bandcamp</a>.<br /><br /><b>Kathleen Edwards - <a href="https://kathleenedwards.bandcamp.com/album/total-freedom" target="_blank"><i>Total</i> <i>Freedom</i></a></b>. Career best? <br /><br /><b>Rochelle Jordan - <i><a href="https://rochellejordan.bandcamp.com/album/play-with-the-changes?from=search&search_item_id=3309418989&search_item_type=a&search_match_part=%3F&search_page_id=1927512006&search_page_no=1&search_rank=1&search_sig=d7ff03a232469b9d497e3590c6fd5943" target="_blank">Play With the Changes</a></i></b>. Retrofuturist R&B by this L.A.-via-Toronto artist, who's graduated from "most promising" to simply great. One of my favourite summer records of 2021.</span></div><div><span style="font-family: arial; font-size: medium;"><br /><b>Daniel Lanois - <i>Heavy Sun</i></b>. Career best?<br /><br /><b>Mustafa - <i>When Smoke Rises</i></b>. Actually on the real shortlist! See below.<br /><br /><b>Nyssa - <i><a href="https://nyssa.bandcamp.com/album/girls-like-me" target="_blank">Girls Like Me</a></i></b>. This woman's voice is a total powerhouse: both physically and lyrically. Anthems for the new era. Few pop records in the last year have made me long for live audiences more than this one.<br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-mDEUbXnVbK4/YVDPq7xrfFI/AAAAAAAAOSo/rszERJW0kxAGUY4RBS5zAX_IO3KXT8wEgCLcBGAsYHQ/s700/%2521allison.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-mDEUbXnVbK4/YVDPq7xrfFI/AAAAAAAAOSo/rszERJW0kxAGUY4RBS5zAX_IO3KXT8wEgCLcBGAsYHQ/s320/%2521allison.jpg" width="320" /></a></div><br />Allison Russell - <i><a href="https://allisonrussell.bandcamp.com/album/outside-child" target="_blank">Outside Child</a></i></b>. The music is deceptively gorgeous; the lyrics are chilling and haunting. An incredibly powerful record, and the one I truly wish had made the shortlist so that more people here would hear it. Russell is doing very well in her adopted hometown of Nashville, however, with the likes of Brandi Carlile and Jason Isbell singing her praises—and loudly. <br /><br /><b>Leanne Betasamosake Simpson - <i><a href="https://leannesimpson.bandcamp.com/album/theory-of-ice" target="_blank">Theory of Ice</a></i></b>. Actually on the real shortlist! See below.<br /><br /><b>Julian Taylor - <i><a href="https://juliantaylor.bandcamp.com/album/the-ridge" target="_blank">The Ridge</a></i></b>. I've long respected Taylor as a singer, guitarist and all-around good guy in the Toronto club scene. Confession: I never loved his music. But this solo record (as opposed to his eponymous band) has become his most critically acclaimed to date (beyond borders, too), and it's no surprise why. It's a beautiful acoustic folk record that would make Jim Cuddy jealous, Taylor-made for Canadian campfires. <br /><br /><b>Yu Su - <i><a href="https://yusu.bandcamp.com/album/yellow-river-blue" target="_blank">Yellow River Blue</a></i></b>. Enchanting, psychedelic Asian-Canadian electronic music that owes a small debt to Caribou (and even some Prince and Kraftwerk). In yet another year when West Coast music is left out of this discussion, this was a rare bright light (as was the equally underrated C. Diab). <br /><br />--<br /><br />And now, briefly, the actual shortlist, voted on by 199 people other than me:<br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-S6CKTbuhkjg/YVDRKM11QCI/AAAAAAAAOS4/SZS48dcmq1wVcYJ1jM-C9RMtDJ51s0AJQCLcBGAsYHQ/s700/%2521cadence.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-S6CKTbuhkjg/YVDRKM11QCI/AAAAAAAAOS4/SZS48dcmq1wVcYJ1jM-C9RMtDJ51s0AJQCLcBGAsYHQ/s320/%2521cadence.jpg" width="320" /></a></div><br />Cadence Weapon - <i><a href="https://cadenceweapon.bandcamp.com/album/parallel-world" target="_blank">Parallel World</a></i>. <br /></b><br />Good record. Great artist. I prefer his previous two records, but whatever. I'm really, really looking forward to his memoir, out next May. And I'm excited that the veteran artist seems to be riding a new wave of buzz, thanks in part to a more direct approach in his lyrics, tapping into the current political zeitgeist. He also just signed to Kelp Management, home of Lido Pimienta, Andy Shauf, and Ada Lea. <br /><br /><i>The chances</i>: Strong. Many feel that this Polaris stalwart—shortlisted for the very first prize in 2006--is long overdue, and that this is the one to take it. </span><span style="font-family: arial; font-size: medium;">However: "their time has come" has never been a convincing argument in the Polaris jury room.</span><span style="font-family: arial; font-size: medium;"><br /><br /><b><br /></b></span></div><div><span style="font-family: arial; font-size: medium;"><b><br /></b></span></div><div><span style="font-family: arial; font-size: medium;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-_TcOm1OB_oA/YVDRn3wOMpI/AAAAAAAAOTA/I-ruLH6w-4UUghMP-tAqrJlC8dk8T19fQCLcBGAsYHQ/s700/%2521dijahsb.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-_TcOm1OB_oA/YVDRn3wOMpI/AAAAAAAAOTA/I-ruLH6w-4UUghMP-tAqrJlC8dk8T19fQCLcBGAsYHQ/s320/%2521dijahsb.jpg" width="320" /></a></div></b></span><b style="font-family: arial; font-size: large;">DijahSB - <i><a href="https://dijahsb.bandcamp.com/album/head-above-the-waters" target="_blank">Head Above the Waters</a></i>.</b></div><div><span style="font-family: arial; font-size: medium;"><br />Very strong new rap artist from Toronto. Put out two EPs in 2020; the first, called, uh, 2020, is musically stronger, I think, though this one is lyrically stronger. So who knows? I'm more interested in where they're going than where they're at right now, but this record has a lot of love. As someone allergic to trap and its derivatives, I find the arrival of a young MC actually interested in funk and groove to be inspiring. <br /><br /><b>The chances</b>: Good. Solid underdog choice.<br /><br /><br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-CpHbNk6sqOk/YVDR7wxNnMI/AAAAAAAAOTI/_2VuX1EIAp4XQfjcnXkKyXFIhpQC-GTCQCLcBGAsYHQ/s700/%2521dfa.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-CpHbNk6sqOk/YVDR7wxNnMI/AAAAAAAAOTI/_2VuX1EIAp4XQfjcnXkKyXFIhpQC-GTCQCLcBGAsYHQ/s320/%2521dfa.jpg" width="320" /></a></div><br />Dominique Fils-Aime - <i><a href="https://singwithmi.bandcamp.com/album/three-little-words" target="_blank">Three Little Words</a></i>.<br /></b><br />This Quebecois artist surprised a lot of people when her 2019 album <i>Stay Tuned</i> appeared on that year's shortlist. I love that record, and its predecessor, <i>Nameless</i>. This album, the third in some kind of trilogy (the concept is not entirely clear to me), I don't enjoy as much: it seems safer, and aimed at a much wider audience, a bit too CBC Radio Two for my taste. But it's clearly working for her. I was surprised this shortlisted, but happy that she continues to be recognized: she's a major talent.<br /><br /><i>The chances</i>: I'd say slim. <br /><br /><br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-F59kbPPdnvg/YVDSOpQv4RI/AAAAAAAAOTQ/Pq_ULMimU1UdGYW-rKRSynVspXDnat_-wCLcBGAsYHQ/s700/%2521klo.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-F59kbPPdnvg/YVDSOpQv4RI/AAAAAAAAOTQ/Pq_ULMimU1UdGYW-rKRSynVspXDnat_-wCLcBGAsYHQ/s320/%2521klo.jpg" width="320" /></a></div><br />Klo Pelgag - <i><a href="https://klopelgag.bandcamp.com/album/notre-dame-des-sept-douleurs" target="_blank">Notre-Dame-des-Sept-Douleurs</a></i>.<br /></b>Beloved in Quebec. Solid record. Incredibly well crafted and orchestrated. Leaves me a bit cold; my francophone choice this year would have been Vanille (as well as the largely instrumental acts Fly Pan Am, Population II and You Doo Right). But right from the beginning I predicted this would shortlist, because it's just that good (and accessible). As poppy as Charlotte Cardin, but with a whole lot of Anna Calvi and Owen Pallett in the mix.<br /><br /><i>The chances</i>: Fair. It's enough of a curiosity and left-field pick for anglo jurors that it has a shot. And amidst such an odd squad of competitors, it could very well rise to the top. <br /><br /><br /><br /><br /><b>Leanne Betasamosake Simpson - <i>Theory of Ice</i>.<br /></b><br />Fantastic. First time I heard this, I listened on headphones as I walked the perimeter of a frozen Ontario lake not that far from where Simpson grew up. That sublime experience aside, this is a gorgeous record in which the sonic poetry, arranged in part by Jim Bryson, matches the lyrics by an acclaimed poet and novelist. This is one of several records this year, including Thanya Iyer and the Weather Station, that gave me flashbacks to Jane Siberry; could there be a looming Siberrenaissance?! (Sorry.) All that said, there is a sense of emotional distance and restraint here that I find slightly off-putting (and a bit ASMR). But there's no denying it's a great record. <i>Theory of Ice</i> also gets a big lift from Simpson's timely cover of Willie Dunn's "I Pity the Country": it's timely because of the sadly ever-relevant lyrics, but also because Kevin Howes's long-awaited Dunn retrospective, <i>Creation Never Sleeps</i>, came out this year to great acclaim. Simpson nails the song with a powerful arrangement (and vocals by her sister, Ansley), but by no means does it overshadow her own material. Bandcamp <a href="https://leannesimpson.bandcamp.com/album/theory-of-ice" target="_blank">here</a>. <br /><br /><i>The chances</i>: Strong. As recent years have shown, jurors are acutely interested in Indigenous voices, and Simpson's lyrical voice is incredibly strong. Part of me wants this record to win just to make Jonathan Kay angry (based on a barely-worth-mentioning Twitter fart of his last month).<br /><br /><br /><br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-LAZmMo1QJTo/YVDSrQBUvWI/AAAAAAAAOTY/Do_gacdLjmomntqLMTTa51EsGcnf7VOugCLcBGAsYHQ/s320/%2521mustafa.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="320" data-original-width="320" height="320" src="https://1.bp.blogspot.com/-LAZmMo1QJTo/YVDSrQBUvWI/AAAAAAAAOTY/Do_gacdLjmomntqLMTTa51EsGcnf7VOugCLcBGAsYHQ/s0/%2521mustafa.jpg" width="320" /></a></div><br />Mustafa - <i>When Smoke Rises</i>.<br /></b><br />Hooooooly shee-it, this is great. I'd heard the buzz about Mustafa the Poet for years; he's been in the public eye since he was 12, and has co-written songs for Shawn Mendes and Justin Bieber. But I had no idea what to expect when this debut dropped (without "the Poet"). For a concept record by a Sudanese-Canadian about the death of his friend, rapper Smoke Dawg, I did not expect it to be so folkie and influenced by Joni Mitchell and Sufjan Stevens (insert my systemically racist assumptions here, about music being made in the immigrant-heavy Toronto neighbourhood of Regent Park). This record is gorgeous: the vocals, the songwriting, the guitar playing, the production, the cameo from Mercury Prize-winner Sampha (whose supple voice is remarkably similar to Mustafa's). It's what I wanted to hear from Daniel Caesar; Mustafa is an infinitely superior songwriter, and almost as good a singer. Smarter people than me with more time on their hands can explain this record better than I can right now. Here's a <a href="https://draft.blogger.com/#">great article</a> by Nick Krewen. One thing that definitely works in its favour: economy. This is a relatively brief (by today's standards) eight-song collection, without a single dud. </span></div><div><span style="font-family: arial; font-size: medium;"> </span></div><div><span style="font-family: arial; font-size: medium;">Update: Read <a href="https://www.thestar.com/news/gta/2021/09/26/we-feel-hopeless-as-regent-park-grapples-with-death-of-beloved-youth-worker-many-worry-about-the-generational-wounds-gunfire-inflicts.html" target="_blank">this great article</a> by Wendy Gillis and Victoria Gibson about the ongoing grief in Regent Park—important context while listening to this record.<br /><br /><i>The chances</i>: Excellent. This year the Polaris in general was wide open; it was unusually difficult to predict both the long list and the shortlist, but this is the one record I always knew would be in the final running, despite the fact it came out days before the deadline. I'm almost certain it will win—and I only include a qualifier in there because Polaris has been known to confound. But whether or not Mustafa wins, I will say what an awesome flex it is that his headlining Toronto debut is being held at <a href="https://draft.blogger.com/#">Massey fucking Hall</a> (on December 1, making him the third person to play the newly renovated hall after Gordon Lightfoot and Buffy Sainte-Marie). Never heard of him? Catch up now. <br /><br /><br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-SDpYgC20PSU/YVDTBr4fQsI/AAAAAAAAOTo/smkw8vnfvTU3ezm4jYGuHAe6kEknx1ssgCLcBGAsYHQ/s745/%2521obgms.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="745" data-original-width="745" height="320" src="https://1.bp.blogspot.com/-SDpYgC20PSU/YVDTBr4fQsI/AAAAAAAAOTo/smkw8vnfvTU3ezm4jYGuHAe6kEknx1ssgCLcBGAsYHQ/s320/%2521obgms.jpg" width="320" /></a></div><br />The OBGMs - <i>The Ends</i>.<br /></b><br />Not for me. I don't get Pup, I don't get Metz, and I don't get this. If you do, then great. I might be too old for rock'n'roll at this point. But hats off to this band, which, to my knowledge, didn't even have a big profile in Toronto, never mind the rest of the country, before suddenly arriving on the Polaris shortlist. Fun trivia: Colanthony Humphrey is the younger brother of longlisted rapper Clairmont the Second, making them the first siblings in different acts to make a Polaris long list in the same year. (Shout out to Kate Killet for pointing that out.)<br /><br /><i>The chances</i>: Slim. I don't think a young rock band will win Polaris; that hasn't happened in more than 10 years, and frankly I think it's unlikely to ever again. <br /><br /><br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-lLlIHBHNui8/YVDTSBpa9BI/AAAAAAAAOTw/yANcbMTiThcMV-_cQ2Wj9hIDz3AvafF7gCLcBGAsYHQ/s225/%2521tobi.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://1.bp.blogspot.com/-lLlIHBHNui8/YVDTSBpa9BI/AAAAAAAAOTw/yANcbMTiThcMV-_cQ2Wj9hIDz3AvafF7gCLcBGAsYHQ/s0/%2521tobi.jpeg" width="225" /></a></div><br />Tobi - <i>Elements Vol. 1.<br /></i></b><br />Incredibly talented new artist who was deservedly longlisted for his debut album, and now shortlists with this follow-up. I preferred the debut; this one veers more toward mainstream R&B, and a singer this good certainly doesn't need AutoTune. But his pop shift manifests in otherwise entirely natural ways and hopefully will expand his audience. Tracks like "Dollas and Cents" would give Anderson.Paak a run for his money. There are many strong tracks here, but despite the massive talent on display I'm not convinced this is a stellar collection overall. Would still be happy to see him win, though. </span><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><i>The chances</i>: Fair. Depends a lot on the makeup of the jury, and how they weigh this against its most immediate analog, DijahSB—whose record is a lot more concise. </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span><div><span style="font-family: arial; font-size: medium;"><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-CE0yqcAGaTg/YVDTi8JG4jI/AAAAAAAAOT4/e3ywBo4VLPIc3a621IeYppaHbPA0vbWpgCLcBGAsYHQ/s700/%2521weather.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-CE0yqcAGaTg/YVDTi8JG4jI/AAAAAAAAOT4/e3ywBo4VLPIc3a621IeYppaHbPA0vbWpgCLcBGAsYHQ/s320/%2521weather.jpg" width="320" /></a></div><br />The Weather Station - <i><a href="https://theweatherstation.bandcamp.com/album/ignorance" target="_blank">Ignorance</a></i>.<br /></b><br />Wanted to love this record. I do not love this record. I love <i>the idea</i> of this record. Tamara Lindeman works with great people. She's incredibly smart and articulate. And yet--this record puts me to sleep. But so do those late-period Talk Talk records everyone cooler than me loves so much, so make of that what you will. I do really like the singles here, particularly "Robber." But, even more so than the Leanne Simpson record, this record sounds ice cold (and equally ASMR). After going through a tumultuous year of raw emotion, I found it hard to connect to something this reserved. But I'm more than thrilled that Lindeman's years of hard work are paying off, rising from a thriving Toronto musical community that I've admired for years (ever since she was in Bruce Peninsula). <br /><br /><i>The chances</i>: Good. There's a lot of love for this record, both at home and (FWIW) abroad. And the completely mystifying millenial fandom for Steely Dan and pristine, slick adult pop records with jazz players might help tilt opinion in the Weather Station's favour. Also, as with Cadence Weapon, there may well be the sentiment that after years of critical acclaim, that Tamara Lindeman's time has finally come: and not with a sympathy vote, but with the most successful record of her career. </span></div><div><span style="font-family: arial; font-size: medium;"><br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-bz-Kh8n55XM/YVDT3GdktDI/AAAAAAAAOUE/HOszeVv09voXwfBbA--gtqL6tJDCKzl2gCLcBGAsYHQ/s700/%2521zoon.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-bz-Kh8n55XM/YVDT3GdktDI/AAAAAAAAOUE/HOszeVv09voXwfBbA--gtqL6tJDCKzl2gCLcBGAsYHQ/s320/%2521zoon.jpg" width="320" /></a></div><br />Zoon - <i><a href="https://zoongideewinmusic.bandcamp.com/album/bleached-wavves?from=search&search_item_id=2844028232&search_item_type=a&search_match_part=%3F&search_page_id=1927528870&search_page_no=0&search_rank=2&search_sig=a7574bc9197b808aff69f28fb43203d6&logged_in_menubar=true" target="_blank">Bleached Waves</a></i>. <br /></b><br />I've always hated shoegaze music, and calling it "moccasin-gaze" doesn't make it any better. This may well be the electronic Anishinaabe version of My Bloody Valentine's <i>Loveless, </i>as some claim<i>; </i>either way, it's not my bag. If your musical act of deconolonization is emulating the most bland music ever made by your colonizer, is that its own sort of musical statement? No idea. The woozy title track makes me physically nauseous—which may well even be the point. <br /><br /><i>The chances</i>: Slim. I honestly can't imagine anyone being excited about this record, but that's clearly my own bias and I'm constantly told that objectivity is dead. C'mon Polaris, shock me!</span></div><div><span style="font-family: arial; font-size: medium;"><br />15 other non-shortlisted records I really enjoyed, and if/when I have time I'll tell you more about them, if I haven't already: <br /><br /></span></div><div><span style="font-family: arial; font-size: medium;">Jennifer Castle - Monarch Season<br />C. Diab - White Whale<br />Fly Pan Am - Frontera (I've finally come around)<br />Thanya Iyer - Kind<br />Yves Jarvis - Sundry Rock Song Stock (I've finally come around)<br />Garrys - Haxan: Witchcraft Through the Ages<br />Greg Keelor - Share the Love<br />Population II - A la O Terre</span></div><div><span style="font-family: arial; font-size: medium;">Sam Roberts Band - All Of Us (career best?)<br />Serena Ryder - The Art of Falling Apart<br />Sagot - s/t<br />Vanille - Soleil '96<br />Donovan Woods - Without People<br />You Doo Right! - Don't Think You Can Escape Your Purpose<br /><br /></span></div><div><span style="font-family: arial; font-size: medium;">Could I make a playlist? Could, but won't. Not this year. I'm amazed I even pulled off this post. </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">And of course there's a lot more on the longlist that I haven't talked about here. </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">Happy listening! Congratulations to everyone who managed to stay alive and keep the lights on last year, never mind make amazing music. </span></div><div><span style="font-family: arial; font-size: medium;"><br /><br /><br /></span><br /></div></div></div></div>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-76541192615597764312021-08-27T14:29:00.002-04:002021-08-27T15:19:04.868-04:00Coke Machine Glow at 20<p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><a href="https://1.bp.blogspot.com/-MDbvQssXxac/YSkuqVbjl2I/AAAAAAAAOFo/DkFxI6q1GFQIw7bqbg2rI2L3mXm5Fz1fgCLcBGAsYHQ/s368/cmg.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="368" data-original-width="368" height="320" src="https://1.bp.blogspot.com/-MDbvQssXxac/YSkuqVbjl2I/AAAAAAAAOFo/DkFxI6q1GFQIw7bqbg2rI2L3mXm5Fz1fgCLcBGAsYHQ/s320/cmg.jpg" width="320" /></a></span></span></div><span style="font-size: medium;"><span style="font-family: arial;"><br />Gord Downie's first solo record, <i>Coke Machine Glow</i>, came out 20 years ago. It's being treated to a deluxe double-vinyl release, with an extra disc of outtakes, and another disc of his friends and family reading excerpts from the book of poetry that accompanied the album. (In 2001, Downie insisted the book-album bundle be sold only at bookstores, not record stores, something that some booksellers still fondly remembered when I was doing my book tour in 2018.)</span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">More information about the reissue <a href="http://www.killbeatmusic.com/media-releases/2021/7/20/gord-downies-coke-machine-glow-sees-expanded-20th-anniversary-release" target="_blank">here</a>. </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/xw3ZaEmMiRk" width="320" youtube-src-id="xw3ZaEmMiRk"></iframe></span></div><span style="font-size: medium;"><br /> </span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"><i>Coke Machine Glow</i> is, to me, one of the greatest things Downie ever did. I loved the people he chose to work with. I loved the songs. I loved the fact that the mainstream absolutely fucking hated this record. I wrote <i>The Never-Ending Present</i>, in part, because I knew most other people writing about the Tragically Hip would not give <i>Coke Machine Glow</i> the time of day, or treat it as anything other than a footnote. (The title of my book comes from a song on this record.) While touring the book, I was amazed to learn that there were many Hip fans <i>who had never even heard it</i>. On the flip side, I know there are many <i>Coke Machine Glow</i> fans who would never identify as Tragically Hip fans—some of whom only discovered the album after reading my book. On my book tour, I invited many local performers at each stop to play Hip and/or Downie songs at my readings. More than I would have expected picked songs from <i>Coke Machine Glow</i>. (Especially in <a href="https://barclayhipbook.blogspot.com/2020/04/the-never-ending-tour-east-coast-2018.html" target="_blank">Sackville</a>. You can read my <a href="https://barclayhipbook.blogspot.com/" target="_blank">tour diaries</a>, starting <a href="https://barclayhipbook.blogspot.com/2020/04/the-never-ending-tour.html" target="_blank">here</a>.)</span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">This is the chapter I wrote about <i>Coke Machine Glow</i>. I'm proud of the entire book, of course, but I'm particularly proud of this one. Thanks again to Kevin Hearn, Dave Clark, Julie Doiron, Dale Morningstar, José Contreras and Steven Drake for their time and their endless talents.</span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">More information about <i>The Never-Ending Present</i>, which is an awesome book you should buy if you haven't already, is <a href="https://ecwpress.com/products/the-hip" target="_blank">here</a>. </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">News about my new book, due out next spring, is coming soon.<br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">
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</span></span></p><p class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-size: medium;">CHAPTER
FOURTEEN </span></p><span style="font-size: medium;">
<p class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">Is
the actor happy?</p>
<p class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">2001:
Coke Machine Glow </p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"><span> </span></span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><i><span lang="EN-US" style="line-height: 200%;">“You must experiment. You do things in which you
eliminate something which is perhaps essential, but to learn how essential it
is you leave it out. The space then becomes very significant.” —Henry Moore </span></i></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="line-height: 200%;">In 1999, Gord Downie was restless. He
was tired of playing arenas. He’d been inspired by the opening acts he’d
curated for Hip tours and Another Roadside Attractions. He was writing songs he
knew wouldn’t fit with the Hip. He had itches that couldn’t be scratched. It
was time for artistic infidelity. </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">In
any other band with 12 years of recording behind them, this wouldn’t be a
surprise. It’s more unusual when this <i>doesn’t</i> happen. But inside the
Tragically Hip, it was blasphemy among brothers. Several sources say that
Downie’s decision came at a time of poor communication and passive aggression,
and it caused a degree of discomfort for much of the next decade.</span> When Gord started doing solo albums,” Rob Baker
admitted in 2017, “none of us liked it, because he had a voice with us.” </p><p class="MsoNormal" style="line-height: 200%; text-indent: 36pt;"> </p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">I
put the question to Jake Gold: what led to Downie’s decision to <a>make</a><span class="MsoCommentReference"><span style="line-height: 200%; mso-ansi-font-size: 11.0pt; mso-bidi-font-size: 11.0pt;"><span></span></span></span>
a solo record, and how was it received inside the band? The normally
forthcoming Gold slightly <a>paused</a></span><span class="MsoCommentReference"><span lang="EN-US" style="line-height: 200%;"><span></span></span></span><span lang="EN-US" style="line-height: 200%;">,
gave a steely glare and responded, “I’m not going to talk about that.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-indent: 36pt;"><i><span lang="EN-US" style="line-height: 200%;">Coke Machine Glow</span></i><span lang="EN-US" style="line-height: 200%;">
came out in March 2001 and caused as much confusion as it did excitement. The
Tragically Hip could still be heard constantly on every classic rock station in
Canada; those stations did not play <i>Coke
Machine Glow</i>, with its dirgey country songs and poetry set to soundscapes,
an album where there are only two uptempo songs: one sounds like the Velvet
Underground’s “White Light White Heat,” the other is a polka with a tuba and
banjo. Mainstream press were likewise baffled. The indie scene was inherently
suspicious of a rock star slumming in its world. The new band was scrappy,
loose and exploratory, not a tight rock’n’roll machine. “Maybe Downie wanted
the creaky-boards feel of a coffee-house poetry reading,” wrote the Kingston
Whig-Standard reviewer (and later Michael Bublé biographer), who cited the
“clompy percussion with timid acoustic guitar and Downie’s hesitant vocals in
an under-produced sound that has the deliberate unfinished feel of a demo tape.”
The Globe and Mail wanted to know “how someone so demanding of his words can be
so complacent about the music.”</span></p><p class="MsoNormal" style="line-height: 200%; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Gord
Downie would never make another record like it again. Yet it became one of the
most beloved albums in his <a><span>discography</span></a></span><span class="MsoCommentReference"><span lang="EN-US" style="line-height: 200%;"><a class="msocomanchor" href="#_msocom_4" id="_anchor_4" name="_msoanchor_4"></a><span> </span></span></span><span lang="EN-US" style="line-height: 200%;">.
Musicians who played on it say that strangers ask them about it all the time. <i>Coke Machine Glow</i> is to Downie what <i>Nebraska</i> is to Bruce Springsteen or <i>Tonight’s the Night</i> to Neil Young: an
album full of songs shunned by radio and rarely performed live, yet adored not
only by certain fans but by people uninterested in almost everything else by
the artist in question. <i>Coke Machine Glow</i>
became a secret whispered from one sympathetic ear to another. Like its title,
it was a beacon of light in unfamiliar surroundings from a widely recognized
brand name.</span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="line-height: 200%;">--</span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="line-height: 200%;">The album was born on a train.
Travelling from Kingston to Toronto, Downie asked Steven Drake for ideas about
how to make a solo record. Drake told him to just get a good group of people
and record it all live. A solo project would inevitably be a home for songs
that fell outside of the Tragically Hip’s oeuvre. But Drake says Downie was
“more interested in a certain combination of people and what that would bring
about.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">The
first person he had in mind was Josh Finlayson of the Skydiggers. “He was
really the first friend I made in Toronto,” Downie said. “We’ve been like
brothers ever since.” It was Finlayson who convinced him the project could
work. Drake was hired as producer, engineer and bassist. Recording at the
Bathouse was out: Downie wanted something totally fresh. Not a single piece of
equipment, not even a guitar, would be borrowed from the Hip’s clubhouse. </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Downie
booked the Gas Station studio, at 53 Fraser Avenue in Toronto’s Liberty
Village, run by Dale Morningstar and Don Kerr. Kerr was in the Rheostatics and
had toured with the Hip on Another Roadside Attraction in 1995 and on an arena
tour in 1997. On the last night of that tour, there was an after-party at the
studio, which is where Downie first fell in love with the space. Morningstar
and Kerr had once been bandmates in the Dinner Is Ruined, an often chaotic,
noisy avant-garde band that started out on the outer reaches of grunge, with
nods to Sonic Youth, and got progressively stranger with each record. The Gas
Station was their playground, stocked with junkyard instruments and odd
artifacts. When Kerr left the Dinner Is Ruined, Morningstar and keyboardist
John “Dr. Pee” Press continued as a duo until original Rheos drummer Dave Clark
signed on. Kerr remained a partner in the Gas Station, a studio that birthed
many beloved records of the late ’90s, including Thrush Hermit’s <i>Clayton Park</i>, Neko Case’s <i>Furnace Room Lullaby</i> and Godspeed You
Black Emperor’s <i>Slow Riot for a New Zero
Kanada </i>EP. </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">In
the 1990s, Liberty Village was full of disused factories and loft spaces. It
was a corner of Toronto that time forgot, colonized only by film crews and
artists looking for maximum space at minimal rent. Today, it’s a bustling
village of towering condos, prime office space, upscale bars and high-end
grocery stores. At the Gas Station in 2000, you still had to load your gear
onto an old freight elevator and down a dusty hallway before entering the
magical playroom, with its 12-foot-high ceilings and huge windows that offered
a panoramic view of the city. “It was a Fibonacci room,” says Drake, “meaning
the height of the ceiling to the width of the wall was 1:618, the Golden Ratio.
Those proportions are comforting for people.” The acoustics are inherently
impeccable in such a room.</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Morningstar
was assisting Drake with the studio set-up in late March 2000 when he got a
call saying the studio was being evicted. The next week Morningstar staged an
anti-gentrification protest outside his landlord’s office, which rallied other
artists and got some local media coverage. That night he had a Dinner is Ruined
gig at College Street venue Ted’s Wrecking Yard. Having always been the kind of
band to walk a tightwire act, with no script or plan, the Dinner is Ruined was
known for having an erratic live show. “DIR is like someone plugs the thing in
and you never know if it will hop, buzz, fizzle or explode,” said Dave Clark.
When they were on fire, however, as they were that night at Ted’s, they were
mind-blowing. Gord Downie was in the audience that night, witnessing
Morningstar, Clark and Press channel their eviction blues into a strange
performance piece about the birth of the universe. Downie was grinning in the
middle of the room; one could almost see a light bulb going off over his head. </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">That
week was the first of two scheduled sessions for <i>Coke Machine Glow</i>, with Kerr on drums and Kevin Hearn on piano. It
started out, recalled Hearn, as a series of “very mellow, stoned afternoons.”
Until it wasn’t. “</span><span style="color: #404040; line-height: 200%;">The
people directly below the studio were having some sort of eviction party,” said
Hearn. “They were trashing the place—hurling couches, smashing appliances,
throwing bottles at the wall. Gord was trying to do a vocal take, but the noise
was too much. He took off his headphones, walked downstairs and calmly walked
into their party. I tagged along. Everything stopped when Gord walked in;
it was like an old Western movie. Wearing a plaid shirt, jeans and cowboy hat,
he politely asked if they could please give us an hour, so he could finish his
last vocal take. Everyone in the room, a little shocked, said, yes, of course,
sorry et cetera. We went back upstairs and finished his vocal, accompanied by
beautiful, reverent silence.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span style="color: #404040; line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">It
resulted in only two songs, “Chancellor” and “SF Song,” along with a rocking,
Lou Reed–style take on “Vancouver Divorce” before both Hearn and Kerr had to
leave for tour commitments with Barenaked Ladies and Ron Sexsmith,
respectively. They were scheduled to return for a second session in June, but the
Gas Station was being evicted by May 15. Morningstar called Downie with the bad
news; Downie begged to reschedule for any time available before the eviction.</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Dave
Clark heard about this and knew that Kerr couldn’t finish the record. He asked
Morningstar to tell Downie he was available if needed. Morningstar was
reluctant; he didn’t feel he knew Downie well enough to put in a word for a friend.
But he did. “<i>The</i> Dave Clark?” asked
an enthused Downie. “I didn’t think he’d be into it—but yes!”</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Dave
Clark joined the Rheostatics when he was a teenager, in 1980. His last three
records with the band—1990’s <i>Melville</i>,
1992’s <i>Whale Music</i>, 1994’s <i>Introducing Happiness</i>—garnered a massive
word-of-mouth cult audience, comprised mainly of fellow musicians, including
Neil Peart of Rush. Clark was one of four very different and charismatic
characters in the Rheos, whose live shows would veer from the triumphant to
harrowing to downright silly. He would often play around the beat rather than
delivering a standard rock pulse.</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">He
joined the Dinner Is Ruined on the day he quit the Rheostatics in 1995. He then
focused on his improv band, the Woodchoppers Association, while also doing “different
joe jobs: a lot of office cleaning and deliveries, some consulting for music
festivals,” he said. “I was still delivering <i>Now</i> magazine at that point.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Many
people didn’t understand why Dave Clark would leave the Rheos for the Dinner is
Ruined, or why Gord Downie would possibly hire that band to comprise the
majority of his. “With DIR,” said Dave Clark, “it gave me the ultimate faith in
any sound, any thought: just make it, if you believe in it. Playing with that
band, I learned how to give in. I used to delineate between improvisation and
playing songs. I was wrong. You can do what you want.” That freedom was what
Downie went looking for. </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">When
sessions resumed, Morningstar started out plucking the strings of the piano
with a guitar pick on “Blackflies” and ended up playing on most of the tracks.
“He was like fungus,” said Steven Drake, when talking about Morningstar. “He
just grew into it.”</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Musicians
sat in a circle. Finlayson and Drake knew the songs; Morningstar and Clark were
learning as they went. Overdubs, including vocals, were minimal. Drake
conducted the band while playing bass; at the end of a take, he’d run back to
the control room to work the board. No one wore headphones except Downie, who
used a small set of what Clark described as “airplane Walkman headphones, just
to get a bit more attenuation on his vocals. We played at a whisper. The record
sounds much bigger than what it is.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“We
didn’t have any amplification,” said Drake. “We were playing at an acoustic
level, so we could hear Gord singing in the room. I just had a kick drum mic
and a single overhead on the drums. Gord was singing in a Beyer Dynamic Ribbon
mic from the ’50s, the same kind of mic Stan Getz used on his horn for ‘Girl
From Ipanema.’ He was playing his Martin nylon string [acoustic guitar], and he
was quite awkward on his guitar.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“I’d
never experienced that before,” said Clark, “but the sound was phenomenal. The
tones are so clear and we’re playing together, so it’s very dynamic.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“There
was a magic on that record,” said Morningstar. “There was a map, but I don’t
think anyone knew the direction. That’s not a bad thing; we were just moving
forward. Some things just happened. The original title [track] was ‘Insomniacs
of the World, Goodnight.’ That song came about when I was in the other room,
jamming away on the pump organ by myself. Gord was walking through and said,
‘Hey, is that something? Can I use that?’ So he got Steven to come in, mic it
up. Gord had his lyrics and they just did it, right then and there. Then they
layered on Dave doing some swells and Julie [Doiron] on backing vocals. Gord
was so open to stuff like that, the spontaneity of those moments.”</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Some
of those moments were glorious mistakes—mostly from Dale Morningstar. “If Dale
plays what sounds like a wrong note at first, he’ll lean into that thing until
it’s the right note,” said Clark. “He’ll bruise that note until you stop
feeling the pain and it starts tasting sweet. He’s magical that way.” By Divine
Right’s José Contreras, who played organ on two songs, was there when Morningstar
played an atonal, screeching note right before the third verse of “Vancouver
Divorce.” “I remember Steven Drake: [makes pained face, covers ears] <span>‘<i>Fuckin’ HELL,</i></span>’” said
Contreras. “I was sitting there going, ‘That’s fucking beautiful.’” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“Dale
was the studio rat character,” said Drake. “He’s a funny guy. I don’t know if
he was shitting me or not, but I remember I turned to him and said, ‘Oh, that’s
a D.’ He said, ‘Huh? I don’t know what that is.’ Then he played a D. If I
played it, he could play it, but he didn’t know the names.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“What’s
beautiful about the record is the vulnerability, and surrendering to these
people that [Gord] trusted,” said Morningstar. “Nobody there sounds like a
session player, or like they’re phoning it in or following orders. And there
are songs like ‘Trick Rider’: I can’t imagine the Hip doing something that
delicate. That set of lyrics also strikes me as the strongest.”</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“Trick
Rider” is one of the most beautiful songs about parenting ever written, and the
most straightforward, emotionally vulnerable set of lyrics Downie had penned
since “Fiddler’s Green.” It’s not particularly original subject matter: the
narrator marvels at the innocence of his children, long before the hypocrisies
and failures of the future can corrupt their idealism. He cannot bear to watch
them perform dangerous, carefree acts, even as he admires their fearlessness.
In Downie’s hands, of course, the song avoids cliché, and the harmonies with
Julie Doiron of Eric’s Trip make it even more haunting. </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“I
absolutely adore ‘Trick Rider,’ which I think is one of the greatest songs he
ever wrote,” said Clark. “Julie is amazing on that song. The lyric is
heartbreaking. I liked that it addressed being an adult with children. A lot of
people hide who they are, and Gord did not. He’s a dad. There’s nothing more
rock’n’roll than being a dad—oh, wait, yes there is: <i>being a mom</i>!”
Clark’s daughter is the same age as Doiron’s and Downie’s eldest; all were
about five years old at the time of <i>Coke Machine Glow</i>. The song would
routinely move Clark to tears while playing it live, even 10 years later.
Doiron called it “one of the most beautiful songs ever written.” She’s not
wrong.</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Doiron
was not given much notice before the session: when she got the call, she was
leaving for a Swedish tour in two days, so she went to Toronto a day early
before her flight. “Trick Rider” just happened to be the song scheduled for
that day. “No one said, ‘We’ve been waiting for you to do this one,’” Doiron
recalled. She played piano, which she rarely does, only because there were
three other guitarists there. </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Doiron
and Contreras were two of several players outside the core band brought into
the main session. Jaro Czerwinec, who played accordion on the Cowboy Junkies’ <i>Trinity Session</i>, provided a direct link
to one of <i>Coke Machine</i> <i>Glow</i>’s inspirations. Andy Maize of the
Skydiggers played trumpet. Filmmaker Atom Egoyan played classical guitar. Los
Lobos drummer Louie Perez co-wrote one song. The Sadies’ Travis Good played
fiddle and mandolin. </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">For
a record that was supposed to be entirely Hip-free, one guest was more than
conspicuous in his presence: Paul Langlois, Downie’s oldest friend in the band,
contributes his unmistakable harmonies on “Lofty Pines” and “Yer Possessed.” It
was a last-minute decision. Because the entire album was being recorded to only
eight tracks, Travis Good’s fiddle got wiped from those two tracks to make room
for Langlois. </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Contreras
credits Downie’s faith and Drake’s expertise with the album’s success. “It was
incredible, musically,” he said. “‘Vancouver Divorce’ was three takes: every
take, different set of lyrics. No lyric book in front of him. Maybe he’d have
some papers to look at. But he’d sing a lyric and you’d think, ‘That verse is
incredible.’ Then he’d not do that verse in the next take. And you can’t be
like, ‘Oh, don’t forget that verse.’ Because these other verses are just as
great.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">That
said, Contreras felt a clash between what he perceived as the straight half of
the band—Drake and Finlayson, both coming from musically conservative rock
bands—and the weirdoes from the Dinner Is Ruined. “Steve very much believed in
the songs and thought it could be a hit record,” said Contreras. “Because
that’s what he does. You can take that really any way you want. There was a lot
of tension in the air because Dale and Dave did not click with Steven Drake.
I’d had a video hit and I was twenty-nine and Steven pulled me over to get me
onto his team: ‘C’mon, José, you like hit records, buddy, we want to make a hit
record here, don’t you think?’ Then Dale and Dave did the same thing, pulling
me into another room and grouching about ‘fucking corporate rock’ and how shit
it is, and the attitude. There was real tension in the studio, but Gord was
either oblivious or rose right above it. Not a word about it, zero.”</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Contreras
was only in the studio two days. The others dispute his version of events. “The
sun would be shining in the windows,” said Clark. “Everyone was very happy,
joyous, very relaxed. Gord and Steve had a vibe together that made sense. There
were times when I wasn’t sure if Steven was making the right decisions, but I
listen to the record, and it really makes me happy.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“I
don’t think there was any uneasiness,” said Morningstar. “I think we were all
trying to harvest those songs. I was trying to play as sparse as I could and
not overstep. I was the colour man. That’s how I saw myself. It was the first
chance I’d had to play with a singer, an outside singer, and really try to play
off his voice, or complement it. That’s what everyone was trying to do: not
step on the music.”</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“I
mean, Steven Drake did an amazing job,” said Contreras. “If you listen with the
idea that one person in the room was producing and engineering and also in
close touch with Gord about what the idea was, <i>and</i> he’s playing bass while looking around the room, too—and then
you listen to the bass playing—you realize he’s a fucking master.”</span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="line-height: 200%;">--</span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="line-height: 200%;">For his first solo performance
outside the Tragically Hip, Gord Downie could not have chosen an environment
more unlike the rock clubs where he cut his teeth. That said, it did involve
beer. </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Held
on February 3, 2001, at the newly opened Steam Whistle Brewery in the shadow of
the CN Tower, the Do What?! Festival was curated by Dave Clark and Terence Dick
of the Woodchoppers Association. Downie was a featured performer, alongside
performance artist Sook-Yin Lee, Toronto avant-garde veteran “sound poet” Paul
Dutton, dance performances by Andrea Nann and Lisa Prebianca and art
installations including one by Reid Diamond of Shadowy Men on a Shadowy Planet,
who’d died of cancer months before. Tickets were $10, available only at College
Street record store Soundscapes. They sold out immediately. Judging by the
dress code of the crowd at this freaky event, a significant majority were
mainstream Hip fans unsure what they were in for.</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“It
was the kind of gig I’d normally do with the Woodchoppers,” said Clark,
“dancers, singers, visual artists, musicians all together. Gord worked out
these dance pieces with Andrea Nann, who is one of the greatest living
exponents of modern dance Canada has ever produced. He improvised with the
Woodchoppers. We had a huge band, and everyone was dressed up in everything
from hockey gear to princess and fairy outfits. Gord kicked it through the
post, man. It was really good. I remember some people being beside themselves,
freaking out at how much fun it was, and others were just shocked.” Nothing
about the evening was predictable or rote. Downie looked delighted, completely
at ease in this environment. </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">In
July 2001, Downie debuted his “Goddamned Band” with Finlayson, Morningstar and
Clark, as well as John “Dr. Pee” Press from the Dinner Is Ruined on keyboards
and Julie Doiron, who would alternate between guitar and bass with Finlayson. Their
first gig was playing a webcast for the Umbrella Music <a>site</a></span><span class="MsoCommentReference"><span lang="EN-US" style="line-height: 200%;"><span></span></span></span><span lang="EN-US" style="line-height: 200%;">.
“We’d rehearsed a bit, </span><span style="color: black; line-height: 200%;">but I didn’t feel like I really knew the songs yet,”
said Doiron. “I went up to Gord and said, ‘I’m sorry I’m so nervous! I’m
freaking out. What am I doing here? Why me?’ He said, ‘Julie, you’re here
because I need <i>you</i> here.’ He could have easily had any studio musician
who would know all the parts. But he didn’t want that. I don’t think he’s ever
looked for that. He wants people he wants to be around, creative people, not
necessarily technically good. That’s what makes working with him so cool,
because he trusts whatever it is you’re going to do. I’ve never been given any
guidance. He’s like, ‘You know what to do.’”</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span style="color: black; line-height: 200%;"> </span><span style="line-height: 200%;"></span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">That
was followed by a few select dates at summer folk festivals, starting the
weekend of July 27 at the Calgary Folk Festival and the Hillside Festival in
Guelph, Ontario. Those shows threw a lot of Hip fans for a loop, even if they
had bought <i>Coke Machine Glow</i> a few
months earlier. “Sure, some hardcore Hip fans just hated it,” said Morningstar.
“But I’m sure some thought, ‘This is different, this is great.’ People didn’t
shout out for Hip tunes. We thought that might happen, but it didn’t at all.
Gord was just proud— proud of the band and what we were doing. He would say
stuff like, ‘I love this band. I believe in this band. This is my band. I’m
really good at putting bands together.’ He didn’t give a fuck what anyone
thought. He wanted to make it good from his own perspective and from ours.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">The
Goddammed Band, later renamed the Country of Miracles, was a relief valve for
Downie. If the Hip had become entrenched in an all-too-familiar working method,
with audiences cheering the loudest for songs written 10 years prior, this new
band had something to prove every night. And they were fearless players. </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“Things
would get <i>outside</i>,” said Clark. “That band was able to go in on a dime.
Lots of vocals, some really bluegrassy stuff. I ended up playing tuba; we all
played different things. When we went to New York City, we’d play in the middle
of the audience. We’d stretch things out; Gord would extemporize. Every time
we’d go on tour there would be a lot of taking the piss out of each other and
loads of jokes. After gigs, we’d put on some music and dance and sing on the
bus. We’d hang out and talk about music. Everybody in that band is a hyper
nerd.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">It
wasn’t just Downie learning from his band; the exchange was mutual on all
fronts. Clark praised Doiron for influencing his own playing. “She’s a monster
of a musician,” he said. “She’s one of the hardest-working musicians I’ve ever
met and manages to raise a gigantic family of kids. She had this vibe, this
groove, this pocket she could get into, which helped me out as a player a lot.
I tend to get adrenalized and can push things too hard. She made me aware of
some things that could work better, and I thought, ‘I should listen to this
person. She knows what she’s talking about.’”</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">It
was also a band of singers. Having just toured with Kate Fenner as a temporary
member of the Hip, Downie relished the even bigger harmonies his new band could
provide. So did Clark. “I love singing with people, probably more than I love
drumming,” he said. “Sometimes I’d be on stage and it would be like, ‘Holy
fuck, man, I’m singing backups with Gord Downie!’ I’d look around, and there
were all my friends I’d known for years and we’re on stage together and the
whole thing’s bouncing and we’re having a good time. Then my brain would shut
off and I’d start listening and be part of the band again.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Cover
songs appeared in many of the sets, the first time since he had a record
contract that Downie regularly sang other people’s songs live. The Goddammned
Band did some Randy Newman, some Bob Dylan, some Taj Mahal, some CCR. And one
particularly memorable version of Neil Young’s “Tonight’s the Night.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“We
ended up headlining the Edmonton Folk Festival, at night,” Clark recalled. “The
ampitheatre there is on what looks like a ski hill, and people light candles so
it’s like looking at stars at night. The band before us was Baaba Maal’s big
band, from Africa, an eighteen-piece band with dancers. I remember standing at
the side of the stage with Dale and saying, ‘Jesus. Who thought <i>this</i> was a good idea, to put us on after
these guys?’ But we got up and had, to my mind, the best set of the tour. We
started with ‘Tonight’s the Night.’ Gord walked out there and just grabbed
it—every night.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">When
there was time, the Dinner Is Ruined booked shows for off nights in the same
town. Again, Edmonton was a highlight. At a gig at the Liquid Lounge, Finlayson
joined them on bass, and Gord commandeered the mic while the five of them
improvised an entire set of music. In an odd twist, said Morningstar, “One big
DIR fan after was like, ‘Ah, man.’ He was bummed out that Gord Downie was on
our stage. I’m like, ‘Oh, c’mon.’” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Something
similar happened in Yellowknife. “They put us up in a house for five days,”
recalled Morningstar. “One night, a Monday or Tuesday, we went down to the
local watering hole, where they had an open mic. We went and said, ‘Can we hit
the stage?’ Josh was home sleeping. We took over that room. It was Gord
freestyling. It was the DIR with Julie on bass. The crowd had no idea Gord
Downie was going to play. They were all standing on tables. No songs, we were
just jamming. It was the peak of his freestyling, just going for it.” </span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">Whether
or not Downie knew what he had been looking for when he stepped outside the
framework of the Hip, he had most certainly found it. This was a new family of
freaks, of dancers, of kindred spirits. Even if they never took precedence over
the Tragically Hip, even if they only did two other records and tours over the
next 16 years, these were people with whom Downie felt at home. The feeling was
more than mutual.</span></p><p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-indent: 36pt;"><span lang="EN-US" style="line-height: 200%;">“The
time we spent together was special and intense and instructive,” said Clark.
“More than anything, we developed a lifelong friendship. I don’t have to see
Julie for years and when I see her it’s beautiful. I go out walking with Josh,
and I start laughing before we even open our mouths. All those people who
played on the first record: Andy, Don, José, Kevin—they’re all friends. My
whole point for playing music personally is to commune with people. I don’t go
to church; I’m not a religious person. Where I go to church is when I get on
stage with people. I want to be with people. I want to sing. I want that
endorphin rush. I want to be a part of something. With Gord and that crew,
there was a real community and a real family and I’m deeply grateful for it.”</span><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p></p></span><p></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-69966715656155195852021-06-15T13:43:00.006-04:002021-06-18T14:10:07.332-04:00Moneyballing the Polaris longlist 2021<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-h7vp90VAMEs/YMjmOvc4NGI/AAAAAAAANig/g55OEUVPLcwBZxE2WQUWXDIEjktCQoL_wCLcBGAsYHQ/s225/mustafa.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial; font-size: medium;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-h7vp90VAMEs/YMjmOvc4NGI/AAAAAAAANig/g55OEUVPLcwBZxE2WQUWXDIEjktCQoL_wCLcBGAsYHQ/s0/mustafa.jpeg" /></span></a></div><span style="font-family: arial; font-size: medium;">Well, <a href="https://polarismusicprize.ca/blog/2021-polaris-music-prize-long-list-is-here/" target="_blank">this is quite the list</a>. It's wild. I love it. </span><p></p><p><span style="font-family: arial; font-size: medium;">I would understand if you don't: there are only two "names" on the list of 40 that most people who don't work in the music industry will recognize (Daniel Lanois, Kathleen Edwards). There's only about eight others that might register (Tobi, Weather Station, Mustafa, Art Bergmann, Charlotte Cardin and previous shortlisters Cadence Weapon, Besnard Lakes and Dominique Fils-Aime). That leaves (at least) 30 underdogs. This field is wiiiiiide open. </span></p><p><span style="font-family: arial; font-size: medium;">(UPDATED) No one in the <a href="http://radiofreecanuckistan.blogspot.com/2020/06/moneyballing-2020-polaris-long-list.html" target="_blank">Polaris Hall of Fame</a> is on this longlist (nor were they eligible this year). But Cadence Weapon now enters with his fifth nomination (including two shortlists). The Besnard Lakes now have four appearances, with two shortlist nods and two longlist nods. </span></p><p><span style="font-family: arial; font-size: medium;">Current Hall of Fame stats:</span></p><p><span style="font-family: arial; font-size: medium;">6: Dan Boeckner of Wolf Parade, Handsome Furs, Operators (2 shortlists, 4 longlists)</span></p><p><span style="font-family: arial; font-size: medium;">5: </span><span style="font-family: arial; font-size: large;">Drake (3 shortlists, 2 longlists);</span><span style="font-family: arial; font-size: large;"> </span><span style="font-family: arial; font-size: large;">Joel Plaskett (2 shortlists, 3 longlists); </span><span style="font-family: arial; font-size: large;">New Pornographers (2 shortlists, 3 longlists); <b>Cadence Weapon (2 shortlists, 3 longlists);</b></span><span style="font-family: arial; font-size: large;"> </span><span style="font-family: arial; font-size: large;">the Weeknd (1 shortlist, 4 longlists); Tom Wilson of Lee Harvey Osmond and Blackie and the Rodeo Kings (5 longlists)</span></p><p><span style="font-family: arial; font-size: medium;">4: Caribou (winner, 3 shortlists); Owen Pallett (winner, 2 shortlists, 1 longlist); Shad (4 shortlists--a record); Patrick Watson (winner, 1 shortlist, 2 longlists); Basia Bulat (2 shortlists, 2 longlists); BadBadNotGood (2 shortlists, 2 longlists); <b>Besnard Lakes (2 shortlists, 2 longlists);</b> Daniel Romano (4 longlists)</span></p><p><br /></p><p><i><span style="font-family: arial; font-size: medium;">Take the rest of this post with several grains of salt; I'm deep in another project and don't have a lot of time to get too far in the weeds here. Corrections are welcome.</span></i></p><p><span style="font-family: arial; font-size: medium;">The 2021 list is full of new blood, even with 68-year-old Art Bergmann on there: from what I can tell, 26 artists here have never been on a long list before. </span></p><p><span style="font-family: arial; font-size: medium;">24 are either female, female-fronted, or non-binary.</span></p><p><span style="font-family: arial; font-size: medium;">From what I know, five are Western Canadian (Art Bergmann, Sargent X Comrade, Vagina Witchcraft; Yu Su; the trio of Shabason, Krgovich and Harris are two-thirds Vancouver). I don't think Cadence Weapon identifies as Western Canadian anymore, seeing how he's writing to his MPP and roasting Toronto mayor John Tory. (UPDATE: the rapper messaged me to say that he's "Edmonton for life.")</span></p><p><span style="font-family: arial; font-size: medium;">I don't see any Atlantic Canadians here, other than those backing up Toronto artist Fiver. Montrealer Russell Louder grew up in P.E.I.</span></p><p><span style="font-family: arial; font-size: medium;">15 artists are from Quebec; one of those is from a remote community north of Quebec City (Laura Niquay). Three are francophone (Sagot, Klo Pelgag, Thierry Larose); Charlotte Cardin has sung in both English and French, though her 2021 album <i>Phoenix</i> is largely in English. <br /></span></p><p><span style="font-family: arial; font-size: medium;">Allison Russell, formerly of Po' Girl and Birds of Chicago, was born in Montreal, lived in Vancouver and Chicago, and now lives in Nashville. Daniel Lanois is living in Toronto these days, though he has a place in L.A.--which is where Torontonian Rochelle Jordan lives now. </span></p><p><span style="font-family: arial; font-size: medium;">That leaves a whole lot of Ontario on the list. Which is fine by me, if you look at the diversity of people and sounds: the Indigenous electronic music of Zoon, the anthemic pop of Nyssa, the stunning modern balladry of Mustafa, the punk of OBGMs, the gorgeous roots music of Julian Taylor, the new-school hip-hop of DijahSB, the nerdcore art folk of Bernice.</span></p><p><span style="font-family: arial; font-size: medium;">From what I can tell, more than half (22) of the longlisters are racialized minorities; four of those are Indigenous.</span></p><p><span style="font-family: arial; font-size: medium;">Aggressive music is usually marginalized. This year there are two incredibly heavy records by Montreal's Big Brave and the Winnipeg band with the best name on the entire list: Vagina Witchcraft. </span></p><p><span style="font-family: arial; font-size: medium;">There's more instrumental electronic music than usual: CFCF, Zoon, Yu Su. I didn't really see any of those coming, but that's just me. The Shabason/Krgovich/Harris album is not instrumental, though it certainly taps some Eno/Hassell vibes, and was accompanied by a full-length instrumental version. </span></p><p><span style="font-family: arial; font-size: medium;">Coupled with those polarities are the more folk-festival sounds of Julian Taylor, Allison Russell, Dominique Fils-Aime and Mustafa.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-jp6jBbP97MY/YMjmeyZ0rDI/AAAAAAAANio/X1zoFCoFF08oG8u1Qkxko8vSOx31YrGNwCLcBGAsYHQ/s225/lanois.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial; font-size: medium;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-jp6jBbP97MY/YMjmeyZ0rDI/AAAAAAAANio/X1zoFCoFF08oG8u1Qkxko8vSOx31YrGNwCLcBGAsYHQ/s0/lanois.jpeg" /></span></a></div><span style="font-family: arial; font-size: medium;"><br />Shout out to the 40+ crowd for hanging in there: LAL (second longlist in a row), Julian Taylor (who just had his best year ever), Art Bergmann (Order of Canada), Kathleen Edwards (this makes up for the Juno snub), Daniel Lanois (career best), and dark horses the Besnard Lakes. I'm guessing the youthful Allison Russell is over 40; she was in Po' Girl 20 years ago. I have no idea how old Sagot is; he's always sounded at least 70 (glad he's finally getting some overdue Polaris recognition). </span><p></p><p><span style="font-family: arial; font-size: medium;">Shout out also to the influence of Jane Siberry, whom I've been thinking about a lot while listening to Leanne Betasamosake Simpson, Bernice, Thanya Iyer, and Helena Deland. </span></p><div><span style="font-family: arial; font-size: medium;">And much love to eight great records I've been listening a lot that didn't make the list:</span></div><div><span style="font-family: arial; font-size: medium;">C. Diab - White Whale</span></div><div><span style="font-family: arial; font-size: medium;">Alias Ensemble - s/t </span></div><div><span style="font-family: arial; font-size: medium;">Greg Keelor - Share the Love</span></div><div><span style="font-family: arial; font-size: medium;">Serena Ryder - The Art of Falling Apart</span></div><div><span style="font-family: arial; font-size: medium;">Fly Pan Am - Frontera</span></div><div><span style="font-family: arial; font-size: medium;">Vanille - Soleil '96 </span></div><div><span style="font-family: arial; font-size: medium;">The Garrys - Häxan: Witchcraft Through the Ages (Original Score)</span></div><div><span style="font-family: arial; font-size: medium;">Jennifer Castle - Monarch Season <br /></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">My totally random guess for the ten spots on the shortlist? I'm not going to do that, other than to place money on Mustafa. The other nine? I have no idea. </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">Short list is announced July 15.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">In other news, goddammit I miss music festivals, the kind where I could see all of these artists this summer. </span></div><p><span style="font-family: arial; font-size: medium;"><br /></span></p><p><span style="font-family: arial; font-size: medium;"><br /></span></p><p><span style="font-family: arial; font-size: medium;"><br /></span></p><p><br /></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-88895006496972415842021-04-02T23:21:00.009-04:002021-04-03T10:16:56.965-04:00Soundscapes RIP<p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://1.bp.blogspot.com/-9G87b0PiaxQ/YGfdKiFM4TI/AAAAAAAANFc/MxHj_Yp2TO8In8bzVLT7TAJCvoyjSc33wCLcBGAsYHQ/s400/soundscapes.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="266" data-original-width="400" height="213" src="https://1.bp.blogspot.com/-9G87b0PiaxQ/YGfdKiFM4TI/AAAAAAAANFc/MxHj_Yp2TO8In8bzVLT7TAJCvoyjSc33wCLcBGAsYHQ/w320-h213/soundscapes.jpg" title="photo from Soundscapes website" width="320" /></a></span></div><p><span style="font-size: medium;">I’ve been inside dozens, possibly hundreds, of record stores in my life. Soundscapes is the only one where I’ve wanted to own every single thing on their shelves. <br /><br /> <br />The staple of College Street in Toronto for the last 22 years announced this Easter weekend that they’re closing their doors. Greg Davis opened Soundscapes in 1999—the dawn of file-sharing. Music soon became irreparably devalued, a process that only continued to accelerate. But Soundscapes was where the true believers rallied. It was a destination. When I didn’t live in Toronto, every visit to town had to include a trip to Soundscapes. Every gig I saw at Ted’s Wrecking Yard was usually preceded by a trip across the street to Soundscapes. I still remember the first CD I bought there: the Weakerthans’ <a href="https://radiofreecanuckistan.blogspot.com/2020/07/20-years-of-weakerthans-left-and-leaving.html" target="_blank"><i>Left and Leaving</i></a>, right before my own band’s gig at Ted’s. Soundscapes was open late, a late-night record shop, to which one might drive downtown in the rain. Am I right, <a href="https://www.youtube.com/watch?v=fE3mFOwUxdk" target="_blank">Steven Page</a>? <br /><br /> <br />The curation at Soundscapes was impeccable. Unusually, it was all-new: this record store did not have a used section. You can find a lot of what you’re looking for and more at Sonic Boom, but that store’s Amoeba-style warehouse approach can be overwhelming. Not that I’m complaining, it’s just not always what I want. Rotate This was and still is a vital hub, but that store’s reputation always depended on being the hippest place in town—invaluable, but a vibe of its own. You want International Anthem vinyl or the new Kikagaku Moyo on import? Go to Rotate. You want Exclaim’s and Mojo’s current picks on CD? Go to Soundscapes. <br /><br /> <br />Soundscapes was small, brightly lit, welcoming. Attention to detail marked not just the new releases but the reissues and classic records that should always be in stock. If you were a 60-year-old who’s heard it all, there was always some new collection of R&B Beatles covers, and clipped-out record reviews next to the listening stations to help you with new artists. If you were an 18-year-old who just discovered Irma Thomas and Aphex Twin, those records were always there, too, and easy to find. If you were a local musician, you’d find all your peers in the stacks at the back—and often at the front. Soundscapes was a place where music felt alive, where every shelf felt like a history lesson—about either the last seven months or the last 70 years. The store played an invaluable role in Toronto's exploding music scene at the time: Three Gut Records, Broken Social Scene, Feist (who lived upstairs when she was writing "Let It Die"), Great Lake Swimmers, Fembots, Blocks Recording Club, and others.<br /><br /> <br />The staff were super helpful, especially last man standing <a href="https://www.taddlecreekmag.com/stranded-in-the-jungle" target="_blank">"Flipped Out" Phil Liberbaum</a>. Some of them were sorta famous. Steve Lambke of the Constantines was a frequent sight behind the counter, even at the height of his band’s success. John Crossingham of Broken Social Scene was guaranteed to talk your ear off on a slow afternoon (he's probably writing a 10,000-word store obit right now UPDATE: <a href="https://www.facebook.com/johnjcrossingham/posts/10165159109045578" target="_blank">here it is</a>, it's beautiful, please read it). Colin Medley, who’s now one of this country’s finest video directors for the likes of U.S. Girls, worked there for years. Folk singer Isla Craig, of Bruce Peninsula and other projects, worked there. Ubiquitous drummer Jay Anderson, ubiquitous jazzbo Mike Smith. </span><span style="font-size: medium;">I'm told Derrick Vella of local death metal heroes Tomb Mold was there also. Julie Fowler, Craig Dunsmuir, Iris Fraser, so many others. </span><span style="font-size: medium;"><span style="font-size: medium;">My
friend Sylvie Smith of the Magic (no, not that one) not only worked the counter but
designed many of the gorgeous window displays promoting local artists’
new records. </span>At one point I knew enough people who worked there that I was invited to the store’s Christmas party (the playlist was amazing, of course). Although, you know what? I'm now old enough that I'm not entirely sure that even happened. But dreaming of a Soundscapes Christmas party is not out of character for anyone who spent a lot of time (and money) there.<br /><br /> <br />I’m also not sure I ever went to an in-store, but looking at <a href="http://www.soundscapesmusic.com/past-in-stores/" target="_blank">the list of people who played</a>, I have no idea why not. I did, however, host my own in-store: Greg graciously allowed me to host an event for the revised edition of <i>Have Not Been the Same</i>, where Shadowy Men’s Don Pyle, Julie Doiron, and Alison Outhit had a lovely panel discussion. If the store were still to be open when I finish my current book, about the early 2000s, Greg himself would be on a panel, because he’s almost as essential to the story as the musicians I’m talking to. <br /><br /> <br />We’ve all heard about how bookstores and record stores are cultural hubs, where clerks can help change lives, yadda yadda. That was all true of Soundscapes as well, but it really did feel like a community where you ran into friends in the aisles, or you randomly found yourself chatting to someone in one of Canada’s biggest bands. When writing <i>The Never-Ending Present</i> a few years ago (its third anniversary is this week), I learned that when Gord Downie played his first-ever solo gig, months before the release of <i>Coke Machine Glow</i> (20 years ago this spring), he insisted the tickets be available exclusively at Soundscapes. Diehard Hip fans from across the GTA had to high-tail it to the tiny Little Italy shop to see what weird adventure their hero was up to next. <br /> <br /><br />Soundscapes wasn’t just a place to find music, it was a place to read about music. The magazines were the best (Wax Poetics, The Wire) and cheapest in town. I was told that Greg barely marked them up because he considered them a loss leader: the more people read about music, he figured, the more they were likely to come back and buy it from him. Soundscapes was the first record store I’d ever been to that had an extensive book selection (this was before Sonic Boom’s Spadina location). Looking for that exhaustive new Can bio? It’s at Soundscapes. </span><span style="font-size: medium;">My
recent trips were usually to buy books and magazines—and
still the occasional CD, as recently as a few months ago. </span><span style="font-size: medium;"><span style="font-size: medium;">When <i>Have Not Been the Same</i>
first came out in 2001, our publisher had never heard of Soundscapes; I
insisted that they reach out to Greg to stock it, which of course he
did. I didn't really care where else the book was stocked: Indigo? Of
course, whatever. As long as it was at Soundscapes.</span></span></p><p><span style="font-size: medium;">I'd guess that most of the store's visitors </span><span style="font-size: medium;"><span style="font-size: medium;">in
the last 10 years were there primarily to
buy tickets without exorbitant Ticketmaster fees—the loss of live music
last year likely hurt the store almost as much as plummeting CD sales.</span> I’m pretty
sure that one day the taxman is going to ask this freelance writer why,
for years, the majority of my business expenses consisted of Soundscapes
receipts. </span></p><p></p><p><span style="font-size: medium;">This closure hurts—a lot. (As much as all the other horrible shit happening right now? Suicides, evictions, loss of livelihoods, mass malfeasance? No, of course not. But grant me a minute of myopia here before we return to our general grief.) It’s not that I should be surprised that a store selling physical copies of music is endangered, Covid or no Covid. I’m also not surprised that an inept provincial government—one that claims to be business-friendly—managed to blunder its pandemic response in ways that irreparably harm every business but the box stores. This closure hurts even more because it’s likely a domino, the first before a cascade of closures render my corner of the world unrecognizable. One down, two to go: Soundscapes is one of three downtown record stores that, until now, have been essential components of music fandom in Toronto. I hope that will continue to be true for future generations. I’m not counting on it. <br /><br /> <br />Thank you, Greg Davis, for creating a space that felt like home to many. Thank you, Soundscapes staff through the years, for your warmth and gab and helpful pointers. And thank you, Rotate This (my local) and Sonic Boom and all the smaller shops—hang in there. We love you all. </span></p><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">Raise a glass for the late-night record shop.</span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">And be sure to read John Crossingham's thoroughly excellent appreciation of Greg Davis as a person, and how and why his curiosity set his shop apart. It's <a href="https://www.facebook.com/johnjcrossingham/posts/10165159109045578" target="_blank">here</a>.<br /><br /></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/12R4FzIhdoQ" width="320" youtube-src-id="12R4FzIhdoQ"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-15424062384673113762021-03-18T10:25:00.002-04:002021-03-18T23:06:07.575-04:00Crocks N Rolls: Five Bucks at the Door<span style="font-family: arial; font-size: medium;"><br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-k2M6wpzw8Gg/YFNgFUvA2-I/AAAAAAAAM_k/ehsCUDma5nUWYo2x-z7yOyu6WB7ssVtkQCLcBGAsYHQ/s245/laffredo.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="205" data-original-width="245" src="https://1.bp.blogspot.com/-k2M6wpzw8Gg/YFNgFUvA2-I/AAAAAAAAM_k/ehsCUDma5nUWYo2x-z7yOyu6WB7ssVtkQCLcBGAsYHQ/s16000/laffredo.jpeg" title="photo by Brent Linton" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Frank Loffredo<br />photo by Brent Linton</td></tr></tbody></table>FIVE BUCKS AT THE DOOR <br /><br />The Story of Crocks N Rolls<br /><br />Directed by Kirsten Kosloski<br /><br />I once co-wrote a book about Canadian music from 1985-95. It talked about a lot of people, a lot of places from coast to coast. After watching Kirsten Kosloski’s new documentary <i><a href="https://www.crocksdoc.com/" target="_blank">Five Bucks at the Door</a></i> (link to full film below)<i>,</i> I realize I could have set the entire book in Thunder Bay, at a bar called Crocks N Rolls. The main character, as it is in the film, would be the club’s owner, Frank Loffredo.<br /><br />If you were a touring Canadian musician in the late '80s and early '90s, you played at Crocks N Rolls. You had to. The distance between Toronto and Winnipeg is 21 hours. Sudbury and Winnipeg: 18 hours. Hell, even between Sault Ste. Marie and Winnipeg is 14 hours. <i>You have to stop in Thunder Bay</i>. </span><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">You’d be happy to see it. And the approximately 300 freaks and weirdos who live there, surrounded by thousands of hockey players and hunters, were more than happy to see you. Frank Loffredo is the guy who ran it, booked it, and literally slept there to keep it going. His wife (and mother to their three children) worked late shifts at the bar before getting up at seven in the morning for her day job as a nurse. Loffredo wanted to create a community, a refuge for both local outcasts and travelling artists, located at the tip of fabled rock’n’roll roadway Highway 61. He succeeded.<br /><br />Kosloski grew up as a nerdy, shy kid who taped CBC’s <i><a href="http://radiofreecanuckistan.blogspot.com/2007/01/call-of-brave.html" target="_blank">Brave New Waves</a></i> late at night and listened to it on the bus to school the next day--so she’s already someone after my own heart. The first night she goes to Crocks N Rolls, when she’s 16, her life changes. The fact that she was allowed in is itself a miracle: all-ages shows in bars were hardly the norm anywhere else in Canada. (I had to grow a beard to have a similar experience in Toronto, at the same age.) There, she sees all kinds of freaks: NoMeansNo, Bob’s Your Uncle, Jr. Gone Wild, Change of Heart, Bob Wiseman, Rheostatics, the Inbreds, 13 Engines, Furnaceface, Acid Test. Years later, she interviews them all for her film.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8dS-yKKiJm8/YFNgbvJZK9I/AAAAAAAAM_s/tiIm7STYnfUcnwv3WJ1-iHvSXujNu1YXQCLcBGAsYHQ/s300/fivebucks.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" src="https://1.bp.blogspot.com/-8dS-yKKiJm8/YFNgbvJZK9I/AAAAAAAAM_s/tiIm7STYnfUcnwv3WJ1-iHvSXujNu1YXQCLcBGAsYHQ/s0/fivebucks.jpeg" /></a></div><br /><span style="font-family: arial; font-size: medium;"><br />Even if I didn’t write a similar book, can I possibly be objective about this film? I’m between the ages of 45 and 55, had my life changed by <i>Brave New Waves</i>, went to see way too much live music, and my main goal in life when I was 25 was to tour Canada. Which I did--but Crocks N Rolls happened to close the very week my band left on tour. So we drove from Sudbury to our next gig… in Regina (ouch). But the fact I never entered its doors doesn’t diminish the effect this film has on me. This is as nostalgic as I can possibly feel about a place I’ve never been to. <br /><br />This film is clearly a love letter to the wonderfully weird side of Thunder Bay (which is a welcome respite from the avalanche of horror stories out of the city in recent years; for better or worse, that aspect of the city is not addressed here). The queers, the punks, the metalheads, the jam bands, the tree-planters: all were welcome, with girls to the front. But it’s also an ideal microcosm for every Canadian city that isn’t Montreal, Toronto or Vancouver. If you’re lucky, your town had that one club, or one arts space, or one radio station or record store, that acts as a hub, a lifeline and a pipeline to the outside world. Some use it as a launching pad for escape; some use it to empower a local existence. God bless those like Loffredo, who stick around, who make something happen, who don’t give up on the place that they live. <br /><br />Kosloski brings the story to life not just with candid chats with Loffredo and the artists mentioned above, but with a wealth of photos and original animation. She also puts herself in front of the camera, a technique I normally find grating unless absolutely necessary--which she is. She’s the heart of this story, even more so than Loffredo; without her testimonial, his story would be far less effective. And her (perhaps too long) tribute to <i>Brave New Waves</i> is perfect (and therefore not a single second too long): the national radio show helped her imagine a bigger world, and Crocks N Rolls brought it to her directly. I grew up in a suburb of the biggest city in the country, and even I know what it feels like to find those lifelines. She makes a strong case for how much more important those things are when the next town is an eight-hour drive in any direction.<br /><br /></span><a href="https://1.bp.blogspot.com/-fFWKMtEdhQk/YFNh-ZfDuHI/AAAAAAAAM_0/Yf64xQRToDYNNBu9pTV5nat-JoruacDhwCLcBGAsYHQ/s564/0620_arts_feat_crocks_-outside-w.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="423" data-original-width="564" src="https://1.bp.blogspot.com/-fFWKMtEdhQk/YFNh-ZfDuHI/AAAAAAAAM_0/Yf64xQRToDYNNBu9pTV5nat-JoruacDhwCLcBGAsYHQ/s320/0620_arts_feat_crocks_-outside-w.jpg" width="320" /></a><span style="font-family: arial; font-size: medium;"><br /><br />I loved this film. If you’ve read either <i><a href="https://ecwpress.com/products/have-not-been-the-same-rev?_pos=4&_sid=fa143a608&_ss=r" target="_blank">Have Not Been the Same</a></i> or <i><a href="https://ecwpress.com/products/have-not-been-the-same-rev?_pos=4&_sid=fa143a608&_ss=r" target="_blank">The Never-Ending Present</a></i>, or listened to <i>Brave New Waves</i> during the Brent Bambury years, or watched Bruce McDonald's trilogy of <a href="https://www.kanopy.com/product/roadkill" target="_blank"><i>Roadkill</i></a> / <i><a href="https://www.youtube.com/watch?v=9VxntoErjSA" target="_blank">Highway 61</a></i> / <i>Hard Core Logo</i>, I can guarantee you’ll love it as well. (You’re also likely to be a dear friend of mine.) <br /><br />I have a few minor quibbles: there’s some minor repetition in the storytelling (not uncommon in current docs), and there’s some Thunder Bay inside baseball that’s not fully explained: <i>Who is that guy? Why was his band important? </i>But to be fair, those locals don’t resonate for me only because I know all the other talking heads extremely well, some of them personally. If you came to this film cold--as a mainstream music fan, as a non-Canadian, or even as a Canadian under 40--the composite portrait is still effective. And while obviously it would be great to have had more video footage, Kosloski does a fantastic job with photographs--and the fact she doesn’t have much video makes the whole time period seem further away than it actually is, therefore more exotic. (The amazing photos, by <a href="https://brentlintonphotography.wordpress.com/about/" target="_blank">Brent Linton</a>, are in vivid B&W.)<br /><br />It’s such a tired cliche of historians talking about events from 30 years ago to provide qualifiers about how “of course, this was pre-Internet”--but it’s a tired cliche that’s entirely necessary, especially here. This really does seem like ancient history now. As Sook-Yin Lee points out in the film, it’s ephemera in dire danger of fading away entirely. </span><br /></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">So thank you, Kirsten Kosloski, for capturing Crocks N Rolls. It’s unlikely we’ll get films or books or oral histories about similar venues across the country unless it’s the Commodore Ballroom or Massey Hall, but maybe that’s okay. <br /><br />Maybe the story of Crocks N Rolls says it all. <br /><br />A Calgary Herald story by Eric Volmers is <a href="https://calgaryherald.com/entertainment/movies/an-oasis-in-the-north-documentary-by-calgary-expat-explores-iconic-thunder-bay-music-venue" target="_blank">here</a>.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">Watch the whole glorious goddam thing here:<br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/6qO1pKcQZ8Q" width="320" youtube-src-id="6qO1pKcQZ8Q"></iframe></div><br /> <br /></div>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-26034857393119362612021-03-04T15:17:00.001-05:002021-03-04T17:57:20.631-05:002020 catchup<p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><a href="https://1.bp.blogspot.com/-m6QaGIHkxfM/YEE_zWRECeI/AAAAAAAAM4A/VeDJChw9nwkP5BT2TXLC-leDS5hXZVPNwCLcBGAsYHQ/s225/eddiechacon.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-m6QaGIHkxfM/YEE_zWRECeI/AAAAAAAAM4A/VeDJChw9nwkP5BT2TXLC-leDS5hXZVPNwCLcBGAsYHQ/s0/eddiechacon.jpg" /></a></span></span></div><span style="font-size: medium;"><span style="font-family: arial;">Yes, I'd like to forget 2020 as much as everyone else. But in the first two months of 2021, as I pored over various lists posted by my favourite writers and outlets (shout out to Bandcamp, the venerable Said the Gramophone and the always-fascinating Aquarium Drunkard), there was a lot I'd missed. And next to nothing interesting came out in Jan/Feb this year anyway, which allowed me to spend more time with this music.<br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">The list I made in November is <a href="https://radiofreecanuckistan.blogspot.com/2020/11/top-10-of-2020.html" target="_blank">here</a>.</span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">Here are 10 records I only recently discovered that blew me away: </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p>
</p><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Alias Ensemble – <i>A Splendour of Heart</i> <br /></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">I’m not on the Daniel Romano bandwagon, by any means, though
I should be: we have many mutual friends, people I admire in turn admire him,
and in theory I should be a fan of his various projects—but I’m not, for
entirely subjective reasons. Yes, it’s impressive that he released at least 10
records in 2020, and I wish I could say they struck some chord with me, but
they didn’t. This is an exception, perhaps because the lead vocals are all
tackled by Kelly Sloan, or perhaps because it bears no resemblance to the indie
rock, retro-country, or punk rock that Romano normally pinballs between. This
is British Isles folk music, which is also not normally my thing, but this
record is so goddam charming it’s impossible for me not to fall in love with
it. If I had to compare it to anything contemporary, it would be Dublin band
Lankum, though there’s a lot more sunshine on this record than there is on that
Irish band’s incredible 2019 album <i>The Livelong Day</i>. Kelly Sloan is a stunning
singer, the harmonies are even better, the string playing (and accordion) is
all very strong, and on top of all that the production is perfect, neither
slick nor raw.</span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2664953931/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://danielromano.bandcamp.com/album/a-splendour-of-heart">A Splendour Of Heart by Alias Ensemble</a></iframe> </p><p> </p><p> </p><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Eddie Chacon – <i>Pleasure, Joy and Happiness</i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">That title pretty much sums up how I feel about this record.
A comeback record by a guy I’ve never heard before, this is laid-back, synth-y
R&B with a Shuggie Otis vibe that sounds entirely out of time and place.
The “Long Hot Summer”-ish synth bass on “Hurt” just kills me. Song title of the
year: “My Mind is Out of Its Mind.” Great profile in the <a href="https://www.nytimes.com/2020/07/28/arts/music/eddie-chacon.html">New York Times</a> I
stumbled upon after falling in love with this music. </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3861001842/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://eddiechaconofficial.bandcamp.com/album/pleasure-joy-and-happiness">Pleasure, Joy and Happiness by EDDIE CHACON</a></iframe> </p><p> </p><p> </p><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">The Garrys – Haxan: Witchcraft Through the Ages</span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">A new soundtrack for a silent film: this has been a trend
for decades, and it’s mostly been a pleasant experiment in the moment—you had
to be there. This, however, by three women from Saskatoon working with a 1922
Dutch documentary about the occult, easily stands on its own. Elements of Dirty
Three, spooky Sadies, and the Morricone side of Godspeed are all run through an
Echoplex, with some trombone and accordion thrown in for good measure.</span></span></p><p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1503764510/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://thegarrys.bandcamp.com/album/h-xan-witchcraft-through-the-ages-original-score">Häxan: Witchcraft Through the Ages (Original Score) by The Garrys</a></iframe>
</p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Matthew Halsall – <i>Salute to the Sun</i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">British hippie space jazz with harps and kalimbas and, yes, even some fucking rainsticks, with song titles like "Joyful Spirits of the Universe" and, I shit you not, "Mindfulness Meditations." Part of me should hate this with a passion, but it's really goddam gorgeous and I was listening to it constantly in December and January. Though obviously inspired by Alice Coltrane, Halsall's smooth trumpet is a much gentler instrument than Pharoah Sanders's saxophone, for better or worse. In a year like the one we just had, I'm perfectly fine with gentleness. Now excuse me while I meditate. <br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3664439814/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://matthewhalsall.bandcamp.com/album/salute-to-the-sun">Salute to the Sun by Matthew Halsall</a></iframe> </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Nyssa – <i>Girls Like Me</i> </span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">How did I miss this? Totally up my alley, quite literally
(she’s in my Toronto neighbourhood). Nyssa is a modern pop singer with serious
old-school vocal skills, the kind that would have once put her in Pat
Benatar/Annie Lennox territory. Her songwriting is full of pop hooks, big
choruses and is illustrated with home electronics (with some pedal steel on the
side) that could easily be scaled up to Springsteenian stadium level in less
subtle hands—but they're inherently more charming because she never succumbs to
the super-obvious and corny grand gesture. It's the kind of record I'd love
Lady Gaga (I'm a fan) to make. "You're not going to get what you came
for," she sings. Nyssa has been in bands since she was a teen, from the
community that spawned Frigs and Ice Cream, but from what I can tell this is a
entirely self-produced affair. Fans of US Girls should take note; there's
plenty of social critique in the lyrics here, not surprising on an album that
opens with the line: "Start this story with a dead girl / that's what
makes it just like the others." Would love to see Nyssa on a double bill
with Winnipeg artist Boniface, whose record earlier in 2020 mined similar sonic
territory of classic-rock-through-modern-pop sounds. As a guy who lived through
the 80s, I'm wary of twentysomethings in period-specific clothes, but
everything here is pitch perfect and rings true—clearly part of a continuum and
entirely contemporary. And outside of Dominique Fils-Aimé, I feel unlikely to
hear a better vocal performance among this year's potential Polaris Prize
picks.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3627477993/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://nyssa.bandcamp.com/album/girls-like-me">Girls Like Me by NYSSA</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Population II – <i>A La O Terre </i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Psychedelia from franco Quebec par excellence, somewhere
between Kikagayu Moyo and Dungen, if that means anything to you. Yes, the
guitarists are both excellent, as they’d have to be to pull this off, but it’s
the rhythm section here that really makes this work. I’m also wondering if I prefer
non-anglophone psych because then I can ignore the lyrics, which are usually
downright embarrassing in English.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3589090457/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://population2.bandcamp.com/album/la-terre">À la Ô Terre by POPULATION II</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Shopping – <i>All or Nothing</i> </span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Is it time for yet another revival of early ’80s post-punk
pop? The genre got mighty tainted in the last 20 years, with too many
watered-down replicas of the Slits, ESG and Gang of Four paying more attention to
fashion than tunes. This band has a monstrous bass player and British-accented
women singing like the second coming of Delta 5. But also: great songs. I’m
prone to liking bands like this on aesthetics alone (see: Bodega), but I do
believe this is a step above. </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1256894685/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://shoppingfc.bandcamp.com/album/all-or-nothing">All Or Nothing by Shopping</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Teenanger – <i>Good Time</i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">This Toronto pop band sounds like a 21<sup>st</sup>-century
version of Queen Street West in 1984—Pukka Orchestra, Martha and the Muffins,
et al—and that’s fine with me. Even better: the mixing and mastering job on
this record sounds like a million bucks—which nothing in Canada ever did in the
’80s.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2011361120/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://teenanger.bandcamp.com/album/good-time">Good Time by TEENANGER</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Widowspeak – <i>Plum</i> </span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Enchanting, dreamy pop with an anchor of a rhythm section
that ensures the songs don’t drift away, like a more muscular Mazzy Starr. “The
Good Ones” is positively sublime. </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3759436265/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1321035539/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://widowspeak.bandcamp.com/album/plum">Plum by WIDOWSPEAK</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Sven Wunder – <i>Eastern Flowers</i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">To satiate my recent hunger for Turkish psych music, I spent
2021 waiting for new albums by Altin Gun (Dutch-Turkish) and Gaye Su Akyol (actually
Turkish) and then found this record by a Swedish guy (not remotely Turkish)
whose other 2020 record was comprised of Japanese music. Make of that what you
will, this is a great record.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4049627120/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://svenwunder.bandcamp.com/album/eastern-flowers">Eastern Flowers by Sven Wunder</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
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{page:WordSection1;}</span></font></style><span style="font-size: medium;"><span style="font-family: arial;"> And 10 more that really stuck out:</span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Tony Allen and Hugh Masekela – <i>Rejoice!</i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">What, did we have to wait until both giants were dead before
this album saw the light of day? Anyway, regardless of timing, this is utterly—and
entirely predictably—awesome.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ON-Jbge2OZk" width="320" youtube-src-id="ON-Jbge2OZk"></iframe></span></span></div><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></p><p></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Analog Players Society – <i>Tilted</i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">With Donny McCaslin (Bowie’s Blackstar) on sax, the Bad Plus’s
Orrin Evans on piano, bassist Devron Douglas (Ravi Coltrane) and drummer Eric
McPherson, this is an inspired one-off where they tackle three songs: one by
Monk, one by Joao Gilberto, and one original. I’m a bit confused as to the nature
of this project, which usually revolves around a different duo entirely, but
this is certainly an inspired collection of gentlemen. <span> </span></span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3937802486/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://analogplayerssociety.bandcamp.com/album/tilted">TILTED by Analog Players Society</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">The Chicks – <i>Gaslighter</i> </span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">I’ve never listened to a full Chicks record before now, for
whatever reason, though I’ve obviously admired them for various reasons from afar.
This, however, hooked me right away; sonically, it sounds much less like
mainstream country than I expected, and it’s also not a super-glossy pop record.
I’m totally projecting here, but it sounds like three women who don’t give a
shit what anyone expects them to do anymore. “Julianna Calm Down” and “March
March” are the tracks that did it for me.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TGxPeJto3U4" width="320" youtube-src-id="TGxPeJto3U4"></iframe></span></span></div><p><span style="font-size: medium;"><span style="font-family: arial;"><br /> </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Chouk Bwa & the Angstromers – <i>Vodou Ale</i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">A few years ago, I loved the debut by Mbongwana Star, a
Congolese band working with Belgian producers. Last year I loved the Ugandan band Nihiloxica's record, which was recorded by U.K. producers and came out on a Belgian label. Now there’s this Haitian band
also working with Belgian producers. Do I need Belgian producers to make this
music accessible to these North American ears? Not sure, but I do like this
record quite a bit. </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2751566711/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://choukbwa.bandcamp.com/album/vodou-al-2">Vodou Alé by Chouk Bwa & The Ångstromers</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Aquiles Navarro and Tcheser Holmes – <i>Heritage of the Invisible
II</i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">This Panamanian-Canadian trumpeter and NYC percussionist use
samples, field recordings and electronics to take a little trippy trip as a duo
away from their regular gig in Irreversible Entanglements.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3362165413/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://intlanthem.bandcamp.com/album/heritage-of-the-invisible-ii">Heritage of the Invisible II by Aquiles Navarro & Tcheser Holmes</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">North Americans – <i>Roped In <span> </span></i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Meditation music from acoustic guitarist Patrick McDermott
and pedal steel player Barry Walker, with contributions from like-minded peers
Mary Lattimore on harp and guitarist William Tyler. It’s music for dreaming of
the continent’s open roads that we’re advised not to travel right now.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4197446195/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://northamericanszone.bandcamp.com/album/roped-in-2">Roped In by North Americans</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Eric Revis – <i>Slipknots Through a Looking Glass </i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Sparse and funky jazz on acoustic bass with plenty of
tickles and tinkles.</span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2725444386/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://ericrevispyroclastic.bandcamp.com/album/slipknots-through-a-looking-glass">Slipknots Through A Looking Glass by Eric Revis</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Roots Magic – <i>Take Root Among the Stars</i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Italian jazz band, who sound Mingus-y to me, tackle songs by
Skip James, Ornette Coleman, Sun Ra and others. </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2549598507/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://cleanfeedrecords.bandcamp.com/album/take-root-among-the-stars">Take Root Among The Stars by Roots Magic</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Skinny Dyck – <i>Get to Know Lonesome</i> </span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Homespun Albertan country music recorded to ¼” tape in a Lethbridge
living room. The name is gimmicky, but the music most definitely is not. </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=527603118/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://skinnydyck.bandcamp.com/album/get-to-know-lonesome">Get To Know Lonesome by Skinny Dyck</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><b><span style="font-size: medium;"><span style="font-family: arial;">Waxahatchee – <i>Saint Cloud</i></span></span></b></p><span style="font-size: medium;"><span style="font-family: arial;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">I’ve been lukewarm on this critical favourite until now.
This is a very strong record, though I think it sounds a lot better if you’re
listening to it in the American South; it sounds like the soundtrack to a North
Carolina road trip I haven’t taken in a few years now. See also: H.C. McEntire’s
Eno Axis. </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2443156388/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://waxahatchee.bandcamp.com/album/saint-cloud-2">Saint Cloud by Waxahatchee</a></iframe>
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><span style="font-size: medium;"><span style="font-family: arial;">
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{page:WordSection1;}</span></font></style></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-22019836872974373102021-01-04T20:24:00.005-05:002021-01-04T22:08:20.462-05:00Best of 2000, 20 years later<p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><a href="https://1.bp.blogspot.com/-Zknewv_9--I/X_O3cH3VgqI/AAAAAAAAMiM/rHKKBUp_jVEJ0ZubJMK4MmW1MDvZqjXLwCLcBGAsYHQ/s640/IMG_20210104_1937298.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="640" data-original-width="594" height="320" src="https://1.bp.blogspot.com/-Zknewv_9--I/X_O3cH3VgqI/AAAAAAAAMiM/rHKKBUp_jVEJ0ZubJMK4MmW1MDvZqjXLwCLcBGAsYHQ/s320/IMG_20210104_1937298.jpg" /></a></span></span></div><span style="font-size: medium;"><span style="font-family: arial;"><br />My friend Aaron Brophy likes to revisit his year-end lists <a href="https://riskyfuel.com/2011/12/08/aarons-top-10-albums-of-2000/" target="_blank">from at least a decade back</a>, and alternately either boast about his amazing, timeless taste, or wonder what the heck he was thinking. <br /> <br />20 years ago I was hired by Philip Bast at the Kitchener-Waterloo Record to write a weekly CD review column. I did that until 2019, reviewing three to six albums a week. <br /><br /> In 2000, I was living in Guelph, working at Exclaim, writing for Eye Weekly, and working on a book called <i>Have Not Been the Same</i>. </span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">In 2020, I'm writing a book about events 20 years ago, so I've been living in a bit of a time warp.<br /> <br />Here’s the 10 albums I submitted to Eye Weekly’s year-end poll in 2000. Commentary is new. <br /><br /> <br /><b>1. Sarah Harmer – <i>You Were Here</i> (Cold Snap) </b><br /> A classic record, to this day. I knew that the day I heard it, after buying a copy from her after a show at Ted’s Wrecking Yard on College Street, a copy that was a CD-R with a hand-drawn cover. I was a huge Weeping Tile fan and was thrilled that Harmer finally got her due. Is it the best album of 2000? It’s one of my favourite albums of all time, so there’s that. Will have a lot more to say about this in the book.<br /><br /> <br />2. <b>The Weakerthans – <i>Left and Leaving</i></b> (G7). O hell yes. I first saw this band a couple of months before this album came out, at Exclaim’s anniversary party, and these songs blew me away. So did songs from 1997’s Fallow, which everyone in the room but me seemed to know by heart. I bought a copy from Soundscapes before my own band played a show at… Ted’s Wrecking Yard. The year 2000 was very much about Ted’s Wrecking Yard for me. I wrote an essay about this album’s anniversary <a href="http://radiofreecanuckistan.blogspot.com/2020/07/20-years-of-weakerthans-left-and-leaving.html" target="_blank">here</a>. <br /><br /> <br /> 3. <b>Yo La Tengo – <i>And Then Nothing Turned Itself Inside Out</i></b> (Matador). I listened to this album more in 2020 than I had since the year it came out. That had nothing to do with its anniversary, and everything to do with therapeutic listening during enforced isolation. </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/xJAXG6n3jPw" width="320" youtube-src-id="xJAXG6n3jPw"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /> <br /> <br />4. <b>Bettie Serveert – <i>Private Suit</i></b> (Parasol). I have a lot to say about this, one of the most underrated rock records of the last 30 years, and one I revisit annually. I’m pretty sure I’m the only person in the world who feels that way. Wrote about this <a href="http://radiofreecanuckistan.blogspot.com/2020/12/bettie-serveerts-private-suit.html" target="_blank">here</a>.<br /> <br /> <br />5. <b>Sleater-Kinney – <i>All Hands on the Bad One</i></b> (Kill Rock Stars). This isn’t even among my top three favourite S-K records now, but it sure sounded great in 2000—in part because so much other rock music was terrible. “You’re No Rock’n’Roll Fun” still gives me chills. I have never seen this video!</span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rCy1VIy8Hj0" width="320" youtube-src-id="rCy1VIy8Hj0"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"> <br /> <br />6. <b>PJ Harvey – <i>Stories From the City, Stories From The Sea</i></b> (Island). I had some kind of hipster hang-up at the time about whether this was the best PJ Harvey record to date or whether it was just the PJ Harvey record you were most likely to put on when other people come over for dinner. Does it matter? Still sounds amazing, top to bottom. <br /><br /> <br />7. <b>Neko Case – <i>Furnace Room Lullaby</i>; Carolyn Mark – <i>Party Girl</i>; The Corn Sisters – <i>The Other Women</i></b> (Mint). It’s amazing to me that these three albums came out the same year as New Pornographers’ <i>Mass Romantic</i>. I still know every lyric to each of these songs. In the political climate of 2020, I re-latched on to Neko’s “Mood to Burn Bridges.” Feeling disconnected, I found solace in “someone singing my life back to me” in “Guided by Wire.” For 20 years leading up to my midlife crisis, I’ve had a Corn Sisters lyric by Mark in my head: “Is it a groove? Or is it a rut?” In April, I watched an online hootenanny hosted in isolation by the incredibly social Carolyn Mark, during which she played <i>Party Girl</i>’s “Don’t Come Over, Baby.” It was perfect. <br /> <br /><br />8. <b>Crooked Fingers – s/t (</b>Sonic Unyon). Much like Sleater-Kinney, this is nowhere near my favourite album by one of my favourite artists of all time. But again, like Yo La Tengo, this one sounded particularly good in 2020: “Crowned in Chrome,” “New Drink for the Old Drunk,” “Broken Man,” “Black Black Ocean,” “Under Sad Stars”—because it was just that kind of year. <br /> </span></span><p></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/J9iNH6Th1a4" width="320" youtube-src-id="J9iNH6Th1a4"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /> <br />9. <b>Jess Klein – <i>Draw Them Near</i></b> (Slow River/Ryko). This is the one album on this list where I thought: really? I remember liking it, but I don’t remember loving it and I definitely haven’t listened to it in 20 years. But guess what? It’s pretty great. Really solid songs, great voice, great band. In the same vein as Harmer, but American. 2000 might have been the last year I listened to a lot of roots rock, which is why Klein would have fallen off my radar. She’s still active, and new stuff sounds pretty good. <br /><br /><br /> 10. <b>The Gruesomes – <i>Cave In</i></b> (Tyrant). This might have been the first of my favourite bands from my high school years to reunite and not suck, and so the surprise element no doubt vaulted this onto my top 10. Listening to it now for likely the first time in 20 years, it is a great record, and probably even the Gruesomes’ best. The songs and performances are all killer (and there’s finally a studio version of “You Were Not Using Your Head”). I just don’t listen to garage rock anymore; I barely did in 2000, either. But if you do, and/or if you were ever a Gruesomes fan and have somehow never heard this, I highly recommend it. <br /> <br /> <br /><br />-- <br /><br /><br /> Other favourites I wrote about in my year-end column for the K-W Record: <br /><br /> <br /><b>Asian Dub Foundation – <i>Community Music</i></b> (London/Polygram). I’d totally forgot this band until two years ago when I wrote a book about the Tragically Hip—which is a weird connection, but I read an article where drummer Johnny Fay talks about rocking this record on the tour bus. It also came to mind when I dug the Melt Yourself Down record this year. In many ways this record sounds either of the moment or incredibly dated, depending on your POV. I still think it sounds great. I had no idea they were still active; they put out a new record this year, and haven’t changed a bit. If Rage Against the Machine can have a revival, this band sure as hell can—and should. It’s not like what they were singing about has improved one iota. </span></span><p></p><p><br /><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/m3Hcv3KffeU" width="320" youtube-src-id="m3Hcv3KffeU"></iframe></span> <br /><b> </b></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><b>Bjork – <i>Selmasongs</i></b> (Warner). I was in a deep Bjork period of my life. Does this oft-forgotten soundtrack to <i>Dancer in the Dark</i> hold up? Probably much better than the movie, I’m guessing. After hearing about the antagonistic working relationship she had with notorious sadist Lars Von Trier, I reconsidered all portrayals of extreme suffering on film (not the first or last time in my life Bjork changed my worldview). The production is a delightful blend of the digital clicks and cuts she’d soon dive into and the orchestration heard on much of <i>Post</i>. I often forget that in the same year <i>Kid A</i> came out, Thom Yorke duetted with both PJ Harvey and Bjork on their albums, both of which are better than <i>Kid A</i>. <br /></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/N8FJyhnC2Eo" width="320" youtube-src-id="N8FJyhnC2Eo"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /> <br /><b>Blue Rodeo – <i>The Days in Between</i></b><i> </i>(Warner). I loved this band for about 10 years of my life (1987-97), but have followed only from a respectful distance since. This album was probably the last one I enjoyed—or listened to more than thrice—and revisiting now I can see why. Was this the last time Keelor and Cuddy brought their best work to the band instead of their solo records? Trina Shoemaker’s production brings just the right amount of atmospherics. It sounds great today. Still: best of 2020? This was a nostalgia vote for me. <br /><br /> <br /><b>Deltron 3030 – s/t (</b>75 Ark). The sound of the future? Nope, but definitely the sound of 2000, when Dan the Automator seemed to be everywhere (Gorillaz, Primal Scream, Handsome Boy Modeling School). Del the Funky Homosapien has great flow as always, though I don’t know about this as a concept album: the main appeal for me, then and now, is the music. (And yet: I’ve never listened to the accompanying instrumental album.) Kid Koala features prominently. His own <i>Carpal Tunnel</i> Syndrome is not on this list; it baffled me at the time. Now it’s clear he was charting his own path. I don’t think I’ve listened to a new Dan the Automator record since 2001, though I had a soft spot for his 2006 Mike Patton collab Peeping Tom (which I haven’t listened to since). <br /><br /> <br /><b>DJ Serious – <i>Dim Sum</i></b> (Sound King). This was a Toronto DJ whose debut featured MCs Brass Munk, D-Sisive, Arcee, Asicks and Lil Jaz. This being Canada, with a woeful hip-hop infrastructure, it came out on the same label that put out rock bands Danko Jones and Bionic and promptly got lost. Musically, it’s on the same wavelength as California’s Quannum crew, a mix of ’80s electro funk and early ’90s jazz-influenced tracks. It was definitely out of step with the Choclair and Kardinal crowd, and is now out of print and unavailable to stream except on <a href="https://www.youtube.com/watch?v=91tJIV7RnGM">this YouTube rip</a>. I’m sure I haven’t listened to this in 20 years; it totally holds up. DJ Serious released a follow-up, <i>Cold Tea</i>, in 2005; I’ve never heard it. His studio output has been silent since. <br /><br /> <br /><b>Steve Earle – <i>Transcendental Blues</i></b> (Artemis). I don’t think Steve Earle gets enough credit for his five-album run between 1995-2000: <i>Train a Comin’, I Feel Alright, El Corazon, The Mountain</i> and finally this one. It’s flawless. Dozens of killer songs in that run. Where’s the box set? It should be mentioned in the same breath as the Beatles, Led Zeppelin, Stevie Wonder, Prince, you name it. He’s released at least nine albums of original material since, but I’ve only paid sporadic attention—maybe because it’s hard to measure up to this, which still sounds fabulous, especially loud. “All of My Life”—what a goddam anthem. “Another Town” is the greatest song the Pogues never wrote (see also: “The Galway Girl”). There’s too many more here to list. I’m not sure Earle’s production skills have ever sounded better. No idea why this wasn’t in my top 10. <br /><br /> <br /><b>International Noise Conspiracy – <i>Survival Sickness</i></b> (Epitaph). I put “Smash It Up” on so many mix CDs for years, but did I ever like this whole record? None of these other songs sound remotely familiar—although the title track certainly hits home these days. Garage rock was not my thing; I was posing, craving a political rock band so much that I imagined this was this one for me. It wasn’t. Little did I know at the time that this band’s predecessor, Refused, would prove to be so influential on a lot of the aughts’ aggressive music. </span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/FyjmCg_VMU0" width="320" youtube-src-id="FyjmCg_VMU0"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /><br /> <br /><b>Jurassic 5 – <i>Quality Control</i></b> (Interscope). I saw this band open for Femi Kuti’s North American debut at the Roxy in New York City in 1999: one of the most unforgettable nights of music in my life. This band was maligned at the time, considered some kind of retro hip-hop Sha Na Na or some bullshit, at the time of Timbaland and Jay-Z, but I loved it. Still do: I’m a sucker for genuine interplay between MCs, which is all but unheard of in this day of one-off collabs. (Quick: try to name one modern rap act with more than two MCs and not named Migos.) Related: Cut Chemist put out a good record a couple of years ago that I only just discovered. <br /><br /> <br /><b>King Cobb Steelie – <i>Mayday</i></b> (Ryko). One of my favourite bands of the ’90s, for both musical and personal reasons. This was a final bid for glory on Rykodisc, with pop songs and guest vocalists (Michelle McAdorey, Tamara Williamson), before they resurfaced four years later with an indie instrumental album before fading away. Produced by Laika’s Guy Fixsen, Mayday sounds amazing—though definitely dated. There’s something textbook turn-of-the-millenium in the drum machine sounds here, as heard on the title track; it’s a post-triphop groove that was ubiquitous for a while with the KCRW crowd and then vanished. There’s an entirely unnecessary scratch solo (by DJ Serious! see above) on “Below the Stars”—remember when rock bands felt they needed turntable solos to be somehow relevant? “Home” is still a great single, with a synth bass squiggle that now reminds me of Charanjit Singh’s Ten Ragas to a Disco Beat. Weirder moments like “Fast Money Blessing” have aged very well. This is an album ripe for rediscovery—or at least half of it. This band’s discography would be served well by a collection of greatest non-hits. And there have been rumours of a reunion. <br /><br /> <br /><b>Paul Macleod – <i>Close and Play</i></b> (independent). This one hurts. Paul Macleod was one of the most brilliant performers and songwriters I’ve ever known; he was a staple in the Kitchener-Waterloo and Guelph area, where he was never short a weekly gig. He performed often with Danny Michel, collaborated with the Rheostatics, and joined the Skydiggers as a sideman (at a time when he was writing better songs than they were). He always seemed poised for great things, which never materialized—a common story for hometown heroes everywhere, but I truly believe Macleod was exceptional. This was his first of only three proper studio records that I’m aware of (2007’s <i>Bright Eyes Fade</i> came out on Busted Flat; I’ve never heard 2014’s <i>Gauge</i>). He made it with Hawksley Workman, and it’s full of the same energy Workman brought to his own material as well as early records by John Southworth, Serena Ryder and Tegan and Sara. The songs are perfect Beatle-y pop. Macleod was an amazing singer. But no one heard this record unless you bought it from Macleod at a show. That’s not as big a tragedy as the fact that the Macleod I knew is no longer with us. I only knew him as an acquaintance and have very fond memories; I didn’t know his demons, which eventually took hold of him, hurt someone else, and landed him in court shortly before he died by suicide in 2016. It’s an awful story. I wish I could listen to his music now without thinking about it. I can’t. Hopefully someone can. <br /><br /> Listen to “Cruelty.” I mean, holy shit, what a song. </span><div class="separator" style="clear: both; text-align: center;"><br /></div><br /></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=132320710/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1071538574/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://bustedflatrecords.bandcamp.com/album/close-and-play">Close and Play by Paul MacLeod</a></iframe> </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br />Or “Giants.” <br /><br /></span></span><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=132320710/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3191074246/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://bustedflatrecords.bandcamp.com/album/close-and-play">Close and Play by Paul MacLeod</a></iframe></span></span> <br /><br /><br /><b>New Pornographers – <i>Mass Romantic</i></b> (Mint). Kind of shocked this didn’t make my top 10, though it was released in November so maybe hadn’t fully sunk in. I was definitely in love with “Letter From an Occupant,” because who wasn’t? I wrote about this anniversary <a href="http://radiofreecanuckistan.blogspot.com/2020/11/20-years-of-new-pornographers-mass.html" target="_blank">here</a>. <br /></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XBAUQaj6EJo" width="320" youtube-src-id="XBAUQaj6EJo"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /> <br /><b>Outkast – <i>Stankonia</i></b> (BMG). 2000 might have been the last year I felt remotely connected to mainstream hip-hop. I do love Outkast because they’re genre-busters, game-changers and genuinely odd. I also can’t love Outkast because I’m too much of a white Toronto prude. But this album is bloated: way too long, populated by skits, and dragged down by tracks like “We Luv Deez Hoez.” And as much as “B.O.B.” still slams (musically), the chorus is downright gross: “bombs over Baghdad” is not a great metaphor in any context, least of all as a pre-9/11 sentiment for not finishing a fight or not following through on a challenge. <br /></span></span><p></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/lVehcuJXe6I" width="320" youtube-src-id="lVehcuJXe6I"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /> <br /><b>Radiohead – <i>Kid A</i></b> (EMI). I don’t know that I ever loved this album—but not for the reasons people hated it. I like it just fine. If anything, it wasn’t weird enough. The fact that it was remotely divisive speaks to the intense conservatism of the time. (I’m debating whether I even care enough to read Steven Hyden’s new book about it.) I probably put it on my list so that I wouldn’t seem out of touch. Total posturing on my part. <br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br /><b>The Salteens – <i>Short Term Memories</i></b> (Endearing). This was when I still had great affection for peppy indie pop populated by handclaps, trumpets and bop-ba-da’s. Come to think of it, I was in a band not unlike this one at the time. This Vancouver band had really catchy songs, heavily influenced by Sloan, and a really strong rhythm section. This is a really good record, better than most of its peers other than the New Pornographers. Not one I’d listen to today, though given the chance I’d probably join a band like this in a heartbeat. <br /><br /> <br /><b>Amon Tobin – <i>Supermodified</i></b> (Ninja Tune). Pretty sure I was a complete poser when I put this on my year-end list. Some of it is great and totally holds up—sexy, even; some of it sounds like a dial-up connection. <br /><br /> <br /><b>Travis – <i>The Man Who</i></b> (Sony). Woof. Really? I’m glad working for Brave New Waves saved me from becoming a guy who likes Travis. <br /><br /> <br /><br /><b>Records that should be on this list that I got into shortly afterwards: </b><br /><br />Belle and Sebastian – <i>Fold Your Hands</i>… <br /><br />Destroyer – <i>Thief </i><br /><br />Be Good Tanyas – <i>Blue Horse </i><br /><br />Gonzales – <i>Uber Alles </i><br /><br />White Stripes – <i>De Stijl </i><br /><br /> <br />And Royal City’s <i>At Rush Hour the Cars</i>, made by some good friends of mine, and which I might have left off the list for nepotistic reasons. <br /><br /> </span></span></p><p><b><span style="font-size: medium;"><span style="font-family: arial;">Albums I should have appreciated more at the time, relevant to current research:</span></span></b></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;">Dears – <i>End of a Hollywood Bedtime Story</i></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;">Godspeed You Black Emperor – <i>Lift Your Skinny Fists...</i></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;">Peaches – <i>The Teaches Of </i></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><i> </i></span></span><br /><b>Album all my friends loved and I still don’t get: </b></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">Blonde Redhead – <i>Melody of Certain Damaged Lemons</i>. <br /><br /> <br /><br /> <br /><br /></span></span></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-82210688864009756962020-12-30T14:01:00.005-05:002020-12-30T14:11:18.989-05:00Bettie Serveert's Private Suit<p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://1.bp.blogspot.com/-53fUuGCJPPU/X-zG3aWY0NI/AAAAAAAAMfw/f46zqeDFnAYEIFPaiaiu3XtYwoAiDQF0QCLcBGAsYHQ/s225/bettie.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="224" data-original-width="225" src="https://1.bp.blogspot.com/-53fUuGCJPPU/X-zG3aWY0NI/AAAAAAAAMfw/f46zqeDFnAYEIFPaiaiu3XtYwoAiDQF0QCLcBGAsYHQ/s0/bettie.jpg" /></a></span></div><span style="font-size: medium;"><span style="font-family: arial;"><i>“Little works of wonder in a nostalgic mood” </i><br /><br /> <br />I’m not a betting man, but I’d wager my life savings that this will be the only piece celebrating the 20th anniversary of Bettie Serveert’s <i>Private Suit</i>. It came out the same year as the <a href="http://radiofreecanuckistan.blogspot.com/2020/07/20-years-of-weakerthans-left-and-leaving.html" target="_blank">Weakerthans' <i>Left and Leaving</i></a> and PJ Harvey’s <i>Stories from the City Stories from the Sea</i>; its aesthetic is somewhere in between and, to me, it’s as strong as either of those records. It’s a record about which I became evangelical, playing it for anyone who entered my house or my car. I’m pretty sure I played a track from it every week for a year on my campus radio show. <br /><br /> Unlike a lot of records from 20 years ago, even ones I adore, I pull this out and play it at least three times a year—usually during a long drive alone. Carol van Dijk’s voice is as comforting as the face of an old, dear friend. Peter Visser is one of my favourite guitarists of all time: capable of subtlety and squall, generous in his textures and acutely melodic in his solos. The rhythm section is perfectly complementary, either playing it straight or weaving in and around the vocal and guitar melodies. But the songs: sweet Jesus, the songs. More on that later. <br /><br /> If this Dutch band—the greatest since Shocking Blue!—is known to North American audiences at all, it’s because of their 1993 debut <i>Palomine</i>, which came out on Matador and fit in perfectly beside records by Pavement and Yo La Tengo. (I first saw them tour with the latter, in 1997, on a bill in Toronto where the opening band featured a very young Leslie Feist on bass.) Two more records on Matador followed, their evolving brilliance in sadly inverse proportion to general interest. This was nerdcore indie rock for people who watched mediocre Hollywood films hoping that Janeane Garofalo would magically make them better.<br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">I don’t even like <i>Palomine</i>; it’s fine, but it’s baby steps. I fell in love with 1995’s <i>Lamprey</i>, and not just because one song features a passage that sounds like it directly samples the Rheostatics’ “Self-Serve Gas Station”—not just the melody, but the entire recording. (It’s a really weird coincidence, as I’m pretty sure there’s no way they heard that record—despite van Dijk’s Canadian citizenship, because she left Vancouver Island at age 7. Listen to “Crutches” at the 2.25 mark, and compare it to the Rheos at 4.23). The next album, 1997’s <i>Dust Bunnies</i>, was straight-up brilliant, shedding a lot of the straight-up grunginess of the first two and focusing on songcraft. I became so obsessed with the melodies and chord progressions that I sat down and learned the entire record on the piano by ear—not a normal habit of mine. <br /> <br />But by that point, no one cared. People still cheered loudest for the songs from <i>Palomine</i>. They were dropped by Matador. The drummer split. <i>Private Suit</i> was released to no fanfare, was barely reviewed, and wasn’t easy to find in stores (though it did have distribution here). Hence my lonely evangelical crusade. They didn’t tour North America to promote it, outside of one show in New York City at the CMJ Festival. I drove 10 hours there to see it. <br /><br /> How’s this for an opening line: “I took a Tylenol and an hour’s drive / and somehow found a reason why I’m still alive.” The chorus to that song is, “It’s good to be unsound.” <i>Yeeeeeeah</i>—let’s just say I come back to that song often. Throughout, van Dijk’s lyrics slay me. “Callous on the sore where you hurt before / are you happy now that you don’t feel it anymore? / Placid are the skies when you dream at night / are you satisfied? … Tell me what are we looking for, if all we really want is each other?” “Auf Wiedersehen” is one of the greatest breakup songs I’ve heard, a nonchalant acknowledgment of frozen stares and lost passion. Every song here is just as great.<br /><br /> This is all set to van Dijk’s magical melodies and Visser’s glorious countermelodies, with bassist Herman Bunskoeke an essential part of the glue. Van Dijk is also underrated as a rhythm guitarist. This is the only Bettie Serveert album with drummer Reinier Veldman, but he fits perfectly—not surprising, as he played in a band called De Artsen with them in the late ’80s. He adds jazzy textures to the string-laden swinging 6/8 time of the title track. PJ Harvey sideman and producer John Parish is the producer here, at a time when he was starting to branch out and work with Goldfrapp, Giant Sand, Sparklehorse and others. </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><i> Private Suit</i> has a definite Euro feel to it in ways that are hard to articulate, other than to say it’s definitely not from an English-speaking country. Yes, there are nods to the Velvet Underground (a comparison that the band embraces, having released a live album of VU covers, which was the first record I ever ordered online), but there is an outsiders’ lens on North American indie rock that’s refreshing; they spent a long time trying to ape it, and now they’d successfully moved on while retaining the best bits. <i>Private Suit</i> is also easy to like: it’s a pop record with a down-to-earth singer and an unusually great guitarist. “Recall” is the kind of song I kept hoping the Cardigans would one day evolve into writing but never did. <br /> <br />Most music fans have a record or a band like this in their lives: something intensely important to them that seems like a lost cause to the larger world. Sometimes it’s the artist who lives around the corner, sometimes it’s a band on the other side of the world. Bettie Serveert must do well enough in their native Netherlands, because they’re still together and have released six albums since <i>Private Suit</i>, some of which are better than others (the follow-up, 2003’s <i>Log 22</i>, might be the weakest). I saw them in Montreal in 2004, touring the solid release <i><a href="https://exclaim.ca/music/article/bettie_serveert-attagirl" target="_blank">Attagirl</a></i>; they were fantastic, unbelievably good. (Reviewed <a href="https://exclaim.ca/music/article/bettie_serveert-main_hall_montreal_qc_-_february" target="_blank">here</a>.) I have a vague memory of seeing them at the Drake in Toronto in 2010, touring a just-okay new record and being bummed out that the crowd didn’t seem to be listening until they played Palomine’s “Kids Allright.” <br /> <br />I’m just as bad as that audience of disinterested douchebags, because I’ll be honest: I lost the plot and stopped paying attention over the years, perhaps because this one record burned so brightly for me. That just means I have more Bettie Serveert records to explore, now that I’m in this wormhole. Maybe I’ll even learn them on piano. I’ve got the time. Better late than never. </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">Also: happy belated birthday to my old friend James Rocchi, who in the '90s told me he once woke from a dream about living above an Amsterdam coffee shop where he would meet </span></span><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;">Carol Van Dijk and </span></span>smoke cigarettes and talk philosophy. One can dream.<br /><br /> <i>Hey, but don't worry about me,<br /> I'll be sitting by the seashore,<br /> Laughing at the lifeforms,<br /> Whistling down the breeze.<br /> So don't worry about me,<br /> 'Cause you can't please everyone.<br /> And I'm thinking to myself,<br /> And I'm not the only one,<br /> We all gotta learn<br /> To give some in return,<br /> Like little works of wonder. <br /></i></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><i></i></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">The album is streaming everywhere. They're not on Bandcamp. I can't find video footage of any songs from <i>Private Suit</i> (lots of <i>Palomine</i>, though) other than some not-great ones of the title track. But, oh, look, here they are a couple of weeks ago, gorgeous and sounding great as always, Peter rocking a Chapel Hill T-shirt, playing a Cure song in a garden:</span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MXjZJ8E-KtA" width="320" youtube-src-id="MXjZJ8E-KtA"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /><i> </i><br /><br /></span></span><p></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-4373780406170707722020-12-15T12:22:00.001-05:002020-12-15T13:46:13.310-05:00Gonzales vs. Enya and Christmas<p>
</p><p class="MsoNormal"><span style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-q-DQlf_ZeWg/X9jq-i4Ba-I/AAAAAAAAMXI/w4TTKbhkik0c6fNDLuTYuuPom0BtSwK3gCLcBGAsYHQ/s225/chillygonzales.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-q-DQlf_ZeWg/X9jq-i4Ba-I/AAAAAAAAMXI/w4TTKbhkik0c6fNDLuTYuuPom0BtSwK3gCLcBGAsYHQ/s0/chillygonzales.jpg" /></a></div><span style="font-size: medium;">"Last Christmas I gave you my art / and the very next day you didn't press play / So this year I made a record for you / [long pause] holy shit, from a secular Jew!"</span><br /><p></p><p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;">Yes, Jason "Chilly Gonzales" Beck, the Montreal- and Toronto-raised pianist who once declared himself a Jewish supervillain and president of the "Berlin Underground," has released a <i>A Very Chilly Christmas</i>, a solo piano album of minor-key Christmas carols along with covers of David Berman, Wham and Mariah Carey; it's accompanied by a considerably less sombre mixtape with Toddla T (the source of the above quote). But that's not all: the current resident of Köln has also written a book-length essay about a woman who once sang in Elvish.</span></p><p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;"><a href="http://www.chillygonzales.com/books/enya-a-treatise-on-unguilty-pleasures/" target="_blank"><i>Enya: A Treatise on Unguilty Pleasures</i></a> has been published in German, French, and in English by Rough Trade UK and Canada's <a href="https://invisiblepublishing.com/product/enya/" target="_blank">Invisible Publishing</a> as part of their Bibliophonic series. It's only partially about Enya; it's also about ego, namely Beck's, and about music as social function, like the lullabies that populate Enya's blockbuster albums and Gonzales's <i>Solo Piano</i> albums. It's a variation on Carl Wilson's game-changing Céline Dion book, <i>Let's Talk About Love</i>, though much more informal—and funny, though just as earnest. Both books aim to reclaim their subjects from punchline purgatory. For me, Enya seems to be an easier case to make: see also Jenn Pelly's <a href="https://pitchfork.com/features/article/enya-is-everywhere/" target="_blank">excellent piece</a> in Pitchfork this year. <br /></span></p><p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;">2020 also marks 20 years since the debut Gonzales album, <i>Uber Alles</i>, which launched a series of events that enabled the success of his friends Peaches and Feist. We talked about that in a separate conversation, but you'll have to wait for my book to read that.</span></p><p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;">My 2008 conversation with Gonzales is one of my favourites; it can be <a href="https://radiofreecanuckistan.blogspot.com/2008/05/gonzales.html" target="_blank">found here</a>. <br /></span></p><p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;">This conversation took place last month, but because I don't want to think about Christmas until it's time for partridges in pear trees, I present it to you now, during Hanukkah. <br /></span></p><p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><b><span style="font-size: 14pt;">Gonzales</span></b></p><b>
</b><p class="MsoNormal"><b><span style="font-size: 14pt;">November 6, 2020</span></b></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">Does the world needs Enya
more than ever now?</span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><a href="https://1.bp.blogspot.com/-CviFduFRhhs/X9jq-pQSt2I/AAAAAAAAMXE/LfbjmEX9EbgvKxXzcJ5SmaChC4MUcqsFgCLcBGAsYHQ/s273/enya.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="273" data-original-width="185" src="https://1.bp.blogspot.com/-CviFduFRhhs/X9jq-pQSt2I/AAAAAAAAMXE/LfbjmEX9EbgvKxXzcJ5SmaChC4MUcqsFgCLcBGAsYHQ/s0/enya.jpg" /></a><span style="font-size: 14pt;"><span style="font-size: 14pt;"></span>It seems so. When most
records come out, we’re constantly reminded of the personality of the artist
and their singular point of view, especially in rap songs. All the words we use
to describe music have so much to do with the artist’s POV. We forget that
music before that had no POV, it had a collective POV, and Enya is closer to
that than many other artists at their level. I love the idea of what folk music
is, a kind of music where you don’t hear the word “I”—and you don’t hear the
word “I” in Enya songs. Her melodies don’t have a lot of twists and turns and
signatures. I struggle with it, because my ego is so ever-present in my music
and I try to put it to good use. But I’m fascinated with music in which there
isn’t that, where the composer isn’t present—to paraphrase Marina Abramovich. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">Solo Piano wasn’t intended
to be functional hipster dinner party music, but you’re often quoted as being
fine if it’s accepted as such. There is a letting go of your own work.
Background music serves a social purpose. In the same way Enya’s does.</span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Yeah, and it makes me think
of my background as a bar pianist, or a lingerie store pianist, or these more
humble background-music jobs I had.</span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">Where was that? In Montreal,
or Toronto? Berlin?</span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">A lot in Toronto. A bit in
Montreal. I did a lot of it when I graduated from McGill and moved back to
Toronto, before my band Son kicked off. That was a two- or three-year period of
constant jobbing, including at a Yorkville lingerie store called Andrew’s,
where I was the pianist. It was really interesting. The owner was like, ‘Hey, I
know it’s not Carnegie Hall here.’ Part of me was like, ‘Believe me, I know.’
But at the same time, it dawned on me that I didn’t <i>need</i> it to be
Carnegie Hall. For about two years in Berlin, before I could make a living as
Chilly Gonzales, from about 1998 to 2001, I had a job playing in a restaurant
around the corner from where I lived. It’s a great job to have when you don’t
speak the language in the country to which you’ve moved. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">When some people might
approach me and say, ‘Hey, are you okay with your music being used as
background music?’ I speak of the moment when Thomas Bangalter of Daft Punk
used Solo Piano to get his baby to sleep. I thought, not only is my music
useful, it’s useful to one of my heroes. That was a really nice moment. I do
think it’s possible to make music that works on all those different levels. And
a third level, which is playing sheet music. That is the most intimate way of
interacting with the composer, because the music is literally coming through you. </span></p><p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;">[In 2014, Gonzales published <a href="https://www.chillygonzales.com/books/re-introduction-etudes/" target="_blank">Re-Introduction Etudes</a>, sheet music for lapsed pianists. It became a bestseller. I was just given a copy for Hanukkah, and I'm hard at work.]</span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Close headphone
listening, or listening while doing dishes, or as a sex soundtrack—there are so
many wonderful activities in which music can play a role. It’s quite humbling
to own up to that. Music that can only be appreciated when you listen closely
to it—I mean, who has that kind of time these days? I don’t. A lot of albums I
find interesting, like that last Fiona Apple album I thought was really
interesting, but I didn’t have any social use for it, personally. For my taste,
it’s too much, it demands too much of my attention, and nor is it the kind of
music I would put on when I need energy—that’s when I’ll use rap music and
listen very closely and get a vicarious energy through what the rapper is
saying, and the beat. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">The balance of ego and
generosity: for any musician, unless you’re a prodigy and then become a
superstar, there’s an inherent humbling at every step of the way, whether it’s the
early humiliation of playing your original material to nobody, or serving a function,
whether it’s jobbing in a wedding band or teaching music to disinterested
children.</span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Or playing in a punk band!
Which is another functional thing I learned, when I joined the Shit [in 1995
with Peaches]. That was my introduction to “the hang” being most important, not
just between the band members themselves, but with the audience. If you go to a
great all-ages punk show, there is a huge amount of egoless solidarity. Or a
rave. I’m jealous of that yes-or-no success threshold for stand-up comedy,
because it’s so clear: if it works, people are laughing. My DJ friends, I’m
envious of them—even though I tease them by telling them they’re not
musicians—because through the playing of music they are also creating a social
function that mirrors what folk music did back in the day. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">The only genre where that
isn’t the case is the one I’m in, which is personality-based, artist music,
where we’re all hoping to be taken seriously as these forward-thinking, free
artists. It’s a real trope, one I sometimes fall into, and one I make fun of by
calling myself a musical genius. I try to take the piss out of the whole idea
of what a genius is. When you’re a folk musician, I don’t think anyone thinks
in those terms. The [idea of the] musical genius was more or less invented in
Europe, somewhere between Beethoven and Liszt, and continues to this day to
Kanye West and “stable genius” ex-president Trump—it feels good to say that! I
think Enya is much closer to that. I highly doubt she thinks of herself as a
genius, or even wants to be called one. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">But we’ll never know,
because she never speaks! I take issue with part of your thesis. I don’t know
that the guilty pleasure still exists. I feel that’s been chipped away for the
last 20 years. Do people still feel guilty? </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">I would say so. So much of my
book reflects the fact that my young musical adulthood was in the ’90s when
there was a divide. That’s why I’m talking about Pavement, which is almost
quaint to think about. I think there has been generational change. In my
anecdotal milieu, people talk about it in terms of TV shows, in terms of liking
bad TV. Or they say, ‘These are the novels I read when I’m on holiday, they’re
a guilty pleasure.’ Or with food. In a way, the concept is still there. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Maybe in music, through
whatever the poptimism movement was supposed to be, I’m not sure, which I think
involves not putting mainstream pop music in a different category. In a way,
that’s still playing into the same idea. It’s saying, ‘We’re not going to
exclude pop music from cool stuff anymore; we’ll include it.’ Which means there
is still stuff on the other side of that line—what, exactly, we don’t know. But
it has to do with only young pop people who dare to work with cool producers
get included in that. So a very mainstream pop person might be considered
cheezy, and they only get included in the cool club when they work with Ariel
Reichstad or whomever. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">Perhaps the last uncool
thing is, for lack of a better term, white-trash stadium country music. There
are a bunch of class and racial reasons why that is.</span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">I know a lot of people who
look down on David Guetta and that world, very mainstream dance anthems, which
tend to be more earnest. The less winking there is, you have to see if you pass
some kind of smell test for the gatekeepers. So yes, I agree that the guilty
pleasure is not as pronounced and obvious as the era in which I was struggling
with it. I’ve gotten over it, and I bet you have too. I quote Dev Hynes who,
when asked about his guilty pleasure, challenged the premise of the question.
He said, ‘I’ll say Cyndi Lauper, but it’s not guilt, it’s just pleasure.’ </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">I don’t think I’m radical by
saying, ‘I’m enlightened! I can enjoy what I enjoy and never apologize for it
ever again!’ That’s not the point of my book. It’s more of a journey for me to
find out who I was. I had so many false stops along the way. First I got
hoodwinked by virtuosity, then I got hoodwinked by trying to be cool. I went
through all these phases. Some people have said I’m very hard on all the
musicians I used to like, and therefore I’m hard on myself by admitting to
being taken in by charlatans—and I don’t mean Charlatans the band. But now, I
can be sitting in the hotel bath after the concert, with a joint, and I’ll
think, ‘Ah, in the last three minutes of that one song I tried to somehow
impress people rather than connect with them.’ I still fall into that trap. I’m
by no means pure. I still fear the gods of music and their judgment more than
ever, because I know I can easily slip. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">My first love was ABBA,
and I never turned my back on that. That went through years of not being cool
depending on what circles I was in, then they had a couple of revivals, but that music has
always given me intense pleasure, and it has my entire life. Did you read Carl
Wilson’s Céline Dion book? </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-hiqdhHqA6K0/X9jrgWNVkDI/AAAAAAAAMXQ/NHaiTlTIW7Md1pZxoYPgYuN-KV_Cf5k7wCLcBGAsYHQ/s279/carlwilson.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="279" data-original-width="181" src="https://1.bp.blogspot.com/-hiqdhHqA6K0/X9jrgWNVkDI/AAAAAAAAMXQ/NHaiTlTIW7Md1pZxoYPgYuN-KV_Cf5k7wCLcBGAsYHQ/s0/carlwilson.jpg" /></a></div><span style="font-size: medium;">I’m aware of the book, and I
read it after I finished mine. We actually went to McGill at the same time. He
wrote for the school paper. His gang was in a slight rivalry with my gang, in a
weird way. Since then, we’ve been writing each other on Twitter and I asked for
his address so I could send him a book. But yes, his book is wonderful. It’s a
different topic, in a way, but comes down to a lot of the same issues. When you
say you like something, where is that really coming from? Is that a deep-seeded
pre-taste mindset? Like, when you fell in love with ABBA, was that before you
knew what musical taste was? </span><p></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">I was 10. </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Right. So there’s something
incredibly pure and innocent about your love for them. The fact you never
turned your back on them, means that you were probably a more secure person
than I was. Especially in my teens, I had a lot of issues of not being sure
about what I liked. Whereas [frequent collaborator of 25+ years] Mocky, when I
met him when he was 19 or 20, his taste was fully formed. It’s the same today.
His music evolves, he finds new music to love, but his criteria is solid. It
might have to do with personality. </span></p><p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;">There was something shape-shifty about my
personality back then. I was so desperate to be liked and to fit in, that it
took me a while. When I moved to Berlin [in 1999], it gave me that last push, where if I
was actually going to continue doing this, I had to have the balls to put all
these things together that, on paper, seem like they won’t work. Of course they
work, because they’re all me. I can put the sense of humour together with my
studious musicality. I don’t talk often about why I love rap has so much to do
with my dad, and his capitalist-revenge-fantasy mindset. Essentially, my father
has the attitude of a rapper. He grew up very, very poor and wanted to prove
that he could be upwardly mobile. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">What was his profession?</span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">He started as an engineer,
and he’s now a huge real estate business man in Canada. He’s retired now, but he was the CEO. It was a real
rags-to-riches, <i>Get Rich Or Die Trying</i> kind of story. That’s what I think makes
me love rap so much. The other side, I love the reassuring, feminine-style
music with maternal voices. I know now where those twin obsessions come from.
The Enya book is more about the mother’s side, but if you scan my lyrics there
are a lot of references to my dad, and his effect on my aesthetics and my
personality. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/745GRaVGHLM" width="320" youtube-src-id="745GRaVGHLM"></iframe></div><br /><span style="font-size: medium;">It took me a really long
time. I try to be gentle. I try to have some sympathy for who I was then, and
how I could allow myself to say, ‘I’m going to reinvent myself as someone who
likes Pavement.’ That was a conscious decision based on not being able to own
my own taste yet. I was a late bloomer. In [2002's] ‘Salieri Serenade,’ I have a lyric
that is key to my harshness, in which I say, “I’m going to persecute all
musical prostitutes / I know a ton of ’em / I used to be one of ’em / So now I
make fun of ’em.” That’s where I’m at. I’m telling my conversion story. Much
like you might read those books like, ‘I used to be a white supremacist and now
I’m out of jail and organizing in the inner-city.’ It’s one of those kind of
memoirs. </span><p></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">One of my favourite lines
in the book is that, ‘Art suffers if you like everything. Taste is what you
hate.’ Framing your taste in the negative. </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">That gives you power. When
you like everything, the power of those choices becomes diluted, because you’re
theoretically open to everything. It’s fundamentally coming from a position of
weakness: ‘Well, who am I to say?’ We all know people like that, who don’t want
you to say bad things about anyone. They think that to say anything bad is, in
itself, not constructive. But it can give you power. Enya’s refusal to have
drums is linked to her refusal to go on tour. My refusal to use electronics on
stage is akin to me refusing to go on a TV show and give a music lesson to a
cheezy host. That’s inspired by artists like Enya. You hear, in her music and
in the way she runs her career, that she’s built these fortified walls, and
everything inside her fortress is lovely and protected. The walls keep out
beats and pressure to go on tour. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">And interest in her
personal life. </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Exactly. I noticed it living
in France. Maybe because French music always focuses on the lyrics first,
they’re a very literary culture. That’s why there is not a lot of groovy French
music. Not a lot of exuberant, simple pop. Gainsbourg was such an anomaly
because of that, because he could just write a song where he says
“toot-toot-toot” over and over again. He had a feel for what sounds good.
Generally, the French are on the outside looking in at British and American
styles of music. I would meet these French musicians and they just loved
everything. They would be like, ‘Reggae! I can play that. Bossa nova! I can
play that.’ I was like, ‘Well, you must hate something. It doesn’t make sense
to love everything.’</span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">I want to talk about
texture, because this is fascinating to me. I was Enya agnostic; I didn’t think
enough about her to hate her. You and I are roughly the same age. I liked
“Orinoco Flow” well enough at the time, and I, like you, had access in high
school to a Roland D-50 where that string sound is right there. As I got older,
the sound of the Roland D-50 became kryptonite to me, the DX-7 as well.
Textually, I just find them grating. I have friends who recoil at the sound of
a tabla, or the guy in your book who, like me, hates the vibraphone. Certain
textures prevent me from entering into the world of Milt Jackson or Enya,
aesthetic decisions that are independent from all the other issues you’re
talking about. </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/LTrk4X9ACtw" width="320" youtube-src-id="LTrk4X9ACtw"></iframe></i></div><i><br /> </i><p></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;">Also, I’ve always loved Julee Cruise, which might be some
bullshit hipster association with David Lynch, but after reading your book I
wondered: why do I love that Julee Cruise record [1989's </span></i><span style="font-size: 14pt;">Floating Into the Night</span><i><span style="font-size: 14pt;">, featuring the </span></i><span style="font-size: 14pt;">Twin Peaks</span><i><span style="font-size: 14pt;">' theme, 'Falling'] but I don’t care about Enya?
Is it just because there’s no Roland D-50?</span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">I could have written a book
about that Julee Cruise album too, to be honest. Or Cocteau Twins or Beach
House or Lana Del Rey. There’s a lot of music that’s similar, but Enya just
felt right—even though I’m not that big a fan of her music compared to some of
those others. I probably listened to Julee Cruise more than Enya, when all is
said and done. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZbVjf3wB_2w" width="320" youtube-src-id="ZbVjf3wB_2w"></iframe></div><br /> <p></p><p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">But it’s fascinating that a
piece of technology—whether it’s physical, like a vibraphone, or electronic,
like a DX-7—can carry these associations for us to the point where we can be
blocked [as a listener]. As a piano player, when you play covers on the piano,
you divorce them from all of that. Sometimes people get a clearer shot at what
the music is capable of when you remove those [production choices]. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Case in point, I just did a
Christmas album and I do a version of ‘Last Christmas’ by Wham. As people start
to hear the album, people are really singling that out, saying, ‘I never knew
what a beautiful, bittersweet little lullaby “Last Christmas” is.’ Because
they’re picturing [Wham!’s] Christmas sweaters, they’re hearing the SPX90
that’s doing the reverb on George Michael’s voice—a very specific ’80s reverb
that everybody knows, consciously or unconsciously. I took away the drum
machine, the cheezy synths. People couldn’t get a clear shot of what the melody
and harmony was until they hear an instrument like the piano—which of course is
not an instrument of pure reduction, pure atomic musicality, not quite the
instrument that shows us the Platonic world of forms, but it’s the closest we
have. It divorces all reference to the real world, and you end up in this
abstract world and you get a different version of ‘Last Christmas,’ which is
the opposite of how it usually works with Christmas carols. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/9yGl400viH0" width="320" youtube-src-id="9yGl400viH0"></iframe></div><br /> <p></p><p class="MsoNormal"><span style="font-size: 14pt;"> If I ask you right now to
think of ‘Silent Night,’ you don’t think of one particular recording. You think
of some Platonic version that only exists in your mind, and you will now hear
all future and past versions that exist in the real world, whether it’s
carollers on your doorstep, or the version of it on my album. It’s always being
compared to this abstract, ur-text version of ‘Silent Night.’ With ‘Last Christmas,’
it’s the opposite: all we have in mind are the references. So I’ve taken that
all away and showing what was lurking beneath the whole time. It’s an
interesting reaction that surprised me, how much people are able to re-evaluate
a song like ‘Last Christmas’ when it’s played on the piano with very little
stylistic liberties taken. I play a lot of songs in a minor key, interpolating
them with other carols. But with those two—Mariah Carey’s ‘All I Want For
Christmas Is You’ being the other—I play them so straight, so respectfully,
because I wanted to make sure there was no chance people thought I was making
fun of them. On the contrary, I’m venerating them.</span></p><p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Wxr5jLSQCn4" width="320" youtube-src-id="Wxr5jLSQCn4"></iframe></div><br /> <p></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">Is that not a common trope: to take an overproduced song, strip it down to acoustic guitar,
and now it’s so-called “real music”? Like Ryan Adams doing his Taylor Swift
thing, or any acoustic cover of a pop song going back to at least Frenté.<br /></span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">That’s different because
there are voices. The voices will always colour it. The voice is another
stylistic exercise. On the piano you get closer to the purity. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">What I find more
interesting about your record is the seasonal affective disorder element of it, by making the
traditional carols minor. That completely changes the meaning of the song. I’ve
seen you do that exercise live before, where you take a well-known major-key
song and make it minor. It’s usually ‘Jingle Bells,’ isn’t it? </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">I do a few. ‘Happy Birthday,’
‘Frere Jacques.’ It can apply to any happy song. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">In the context of this
record, I find it much more fascinating. This could be hold music for a suicide
hotline. </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">I recorded and planned the
release before the pandemic, but it turns out events are making it seem more
prescient. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">The decision to do that to
the traditional songs is more illuminating than a straight-forward ‘Last
Christmas.’ </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">The more well-known and
universal the song is, the more it has lived in the collective unconscious. The
more liberties I can take. Then there were exceptions. I wondered what trap I
could fall into by doing standards. How can I bring these more recent pop
songs, which do have the word I in them, and by playing them on piano I could
minimize the I. In my version, I try to make you not think about Mariah Carey
or George Michael, and let you hear the pure musical intentions. I don’t think
you get that with the trend you’re talking about, a trend I really don’t like,
of the bossa-nova versions by Nouvelle Vague, or when Richard Thompson did a
very earnest version of ‘Oops I Did It Again.’ I feel you’re just
replacing one trope with another by that point, because you’re framing the song
in a very personal style. That’s why I try to play those songs as impersonally
as possible, to avoid falling into that trap. I’m not trying to make it my own;
I’m trying to make it your own. </span></p><p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/V4WGsMplGxU" width="320" youtube-src-id="V4WGsMplGxU"></iframe></div><br /> <p></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">A bit off topic, have you
heard the Karen O and Willie Nelson version of ‘Under Pressure’ that just came
out? </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">No!</span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">I think it’s one of the
best covers I’ve ever heard. It’s two acoustic guitars, and she sings most of
it and he sings the Bowie part. I’ve always loved that song but was too
distracted by the greatest male vocal duet in history to notice the lyrics. With this version, they’re both incredible singers for different reasons. </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MEU-7uga_4A" width="320" youtube-src-id="MEU-7uga_4A"></iframe></i></div><i><br /> </i><p></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i><span style="font-size: 14pt;">That’s a good example of
where with ‘Last Christmas,’ you’re distracted by the kitsch, in ‘Under
Pressure’ you were distracted by the voices. That song has an unusual
structure, instead of a typical A/B/A/B/bridge structure. I have played that on
piano many times; it was a commonly requested song when I was a bar pianist,
when I often faked my way through any request. As you’re playing songs, you’re
like, ‘Oh my goodness!’ When you play a Pet Shop Boys song on piano you realize
how complicated it is, how many key changes there are, and extra bars you
didn’t realize were there. The sophistication is so hidden and buried in music
like that, and ‘Under Pressure,’ when you sit down to play it, you think,
‘Where is this going?!’ There is very little repetitive scenery to anchor you.
You can permit yourself to do that when you have two of the greatest male
voices of your generation. I’m curious to hear how it sounds stripped down with
those two legends. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">In the Enya book, you talk
about your friend the 4 Non-Blonde fan claiming that band’s hit song is ‘so bad
it’s good.’ I wonder if that concept still exists.</span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Reality TV occupies that
space for a lot of people. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">Sure, but just talking
about music here. I once had to learn ‘We Built This City’ for a wedding band.
One of the most horrific recordings of all time, but having to learn how to
play it, I gained a lot of odd respect for it.</span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Have you heard the Diplomats
do that? They’re the last gasp of New York hip-hop in the early 2000s, led by
Cam’ron, and with my personal favourite rapper, Juels Santana. They didn’t have
that many hits, but in the rap world they’re untouchable, very ahead of their
time, stylistically, visually. Their music is quite epic, and they have an epic
version of ‘We Built This City.’ I’ll send it to you, as revenge for you
telling me about the Karen O and Willie Nelson cover. </span></p><p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PzEU6kdGCxs" width="320" youtube-src-id="PzEU6kdGCxs"></iframe></div><br /> <p></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">Back to the evolution of
one’s taste, do you disown things you once loved? Can you listen to Chick Corea
today? </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">I will get a minimal
nostalgic thrill, but I don’t like it in the way I like music today, no. I do
hear that it displeases the gods of music. I feel strongly about that now. Of
course we all put our personality and our ego into the creative things we make;
that is the modern definition of the artist, since we’ve had a word for it.
People created stuff before, but they didn’t have a sense of ownership over the
things they made. There was a feeling of craftsmanship involved, of social
function. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Maybe it’s my age, or the
phase I’m in, or the year we’ve had, maybe it’s the pleasure I get from doing
projects like the <a href="https://www.chillygonzales.com/gonzervatory/" target="_blank">Gonzervatory</a>, that more and more I start to think I’m never
going to surgically remove my ego. It’s too late for that. But I can try to get
closer. I’m never going to be perfect, I’m too fundamentally selfish. But until
my dying day now, I’m going to try to push a bit closer to all these different
signposts, whether it’s what I see in Enya and how she runs her career and
protects her songs to the degree that makes me feel ashamed about how I sell my
songs in multiple different ways, and so it inspires me. <br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">I use the word ‘balls’ a lot
in the book, but I hope I grow Enya-size balls in the coming years. Reflecting
on folk music of the past and reading about how music was made, and
understanding the role of craftsmanship, making sure my ego can find its proper
place in what I’m doing and not necessarily totally dominate. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">Chilly’s cojones. That’s
what you’re looking for. </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Yes.</span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 14pt;">Tangent: I was listening
to Nina Simone’s </span></i><span style="font-size: 14pt;">To Love Somebody</span><i><span style="font-size: 14pt;"> today, for the first time. I’m a big fan, but
I’d never heard that entire album before. It struck me what a lost era it is,
when an artist of Simone’s stature would put out an album of covers featuring
total newbies like the Bee Gees or Leonard Cohen and entirely rewrite a Beatles
song released that same year. Or how people like Joni Mitchell had two or three
years of hits via covers before they put out their own music. </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"> </span></i></p><p class="MsoNormal"><i><span style="font-size: 14pt;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bDK0YEQAZ_g" width="320" youtube-src-id="bDK0YEQAZ_g"></iframe></i></div><i><br /> </i><p></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;">That’s what I was hoping to
do with <i>Let It Die</i>, which was to remove Feist’s songwriting ego and
focus on her being useful as a voice interpreting songs. That eventually led to
her being able to write her own songs again. But when she was blocked,
instinctually one of my solutions was to suggest to her that she’s putting the
songwriter-as-artist thing on a pedestal, and she was feeling she wasn’t living
up to it. So I said, ‘Maybe we’re attacking this the wrong way, and remove this
from the equation rather than trying to find a new way to scale that mountain.
Let’s bypass the mountain.’</span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">As I think about this more,
and writing the Enya book came at an interesting time, when shooting for [2018]
<i>Shut Up and Play the Piano</i> documentary had wrapped, as a postscript to
everything that happens in the movie—the movie is about me getting away from
constantly seeking attention at all costs, to then discovering there is this
other side that people will appreciate through <i>Solo Piano</i> and then trying to
harmonize all that. Starting the Enya book, along with the entire story of the movie and where
I’m headed is: how can the ego find its proper place and not dominate, but be
in harmony with the gods of music? It’s not realistic for me to entirely excise
my ego from the equation, but if I can live in harmony with the gods of music,
that would be wonderful.</span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span></p>
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{page:WordSection1;}</style> <br /></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-68361128134345460062020-11-28T15:17:00.004-05:002020-11-28T16:40:33.752-05:00Top 10 of 2020<div style="text-align: left;"><a href="https://1.bp.blogspot.com/-w1ytsbVEDBk/X7-7heKfVEI/AAAAAAAAMPY/2ZrQW5Rj5SsFaAYR0BK1uwKV7ctAtHyFgCLcBGAsYHQ/s225/perfume.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial; font-size: medium;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-w1ytsbVEDBk/X7-7heKfVEI/AAAAAAAAMPY/2ZrQW5Rj5SsFaAYR0BK1uwKV7ctAtHyFgCLcBGAsYHQ/s0/perfume.jpg" /></span></a><span style="font-size: medium;"><span style="font-family: arial;">These records may or may not be "the best," art is not sports, I no longer have to review 250 new records a year (though I listen to at least that much), and so much of my listening this year was coloured by the state of the world. Make of all that what you will. This glorious music made 2020 somewhat bearable for me, hopefully for you as well: music of joy, pain, therapy, escape and beauty. Dancing, not so much. </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">If this is all TL;DR, here's a 38-song playlist of single tracks from my top 40 albums (two are Bandcamp exclusives) <iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/playlist/5YslHRKGmIzVd6QIopvsRg" width="300"></iframe> <br /><br /><br /></span></span><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"></span></span>1 <b>Perfume Genius – <i>Set My Heart on Fire Immediately</i></b> (Matador). "Half of my whole life is gone" is the opening line here. It's not a lament. Not a regret. Mid-life crisis? No. Instead, it's a time of forgiveness—of the self, more than anything—and for moving toward a time when "shadows soften toward some tender light." Not that Perfume Genius's Mike Hadreas is a shiny, happy person peddling you some self-healing. This album, like all his work, mines a lot of pain, mixed with a romanticism and eroticism that's all the more powerful when it's clear how important—and difficult—it is for a lot of people to transcend mountains of negativity to achieve those idealized states. </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/N09-KMAGLeE" width="320" youtube-src-id="N09-KMAGLeE"></iframe></div><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span><span style="font-family: arial;">All of that is evident only if you listen to his lyrics—which you obviously should—but his skill as a songwriter is that it also doesn't really matter. If you listen to the incredibly sensual "Jason" and all you hear is a seductive tale, that's fine; read closer and only then will you realize it's about a one-night stand with a straight man who leaves his boots on, and sneaking a $20 bill out of his wallet after he tells you to leave. Or how a seemingly simple pop song about longing with the chorus "</span></span><span style="font-family: arial;">It's been such a long, long time without you" is actually about body dysmorphia. Does it matter? They're both perfect pop songs with or without the lyrics. The melody, the vocal performance, the production, the players all offer plenty to distract you, if distraction is what you're after. And sometimes a hot and horny song of pent-up sexual release like "Nothing At All" is simply exactly that. </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZtUuMPTbcbc" width="320" youtube-src-id="ZtUuMPTbcbc"></iframe></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span><span>There are pop records I loved this year, experimental records I loved, sad music I loved, joyous music I loved. This is my No. 1 pick because it's all of those things. There are songs here that can easily appeal to anyone who loves Roy Orbison as much as Hadreas does. And there are songs here for people who love the "difficult" deep cuts on Peter Gabriel and Bjork albums. There's one song here, "Leave," that features what sounds like a pack of coyotes duetting with a gorgeous string arrangement. Several songs are incredibly sparse and haunting. </span></span><span>There are five rousing anthems that should be played as loud as possible, at least one of which</span><span> could be</span><span> capable of creating the cinematic synergy that happened when his 2017 song "Slip Away" was used in </span><i>Booksmart,</i><span> </span><a href="https://www.youtube.com/watch?v=6f7oNqT90iI" target="_blank">in a scene</a><span> that had me weeping with joy in the theatre last year.</span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ln4S83JeY2Y" width="320" youtube-src-id="ln4S83JeY2Y"></iframe></div><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span><span style="font-family: arial;">Producer Blake Mills (Alabama Shakes, Fiona Apple, John Legend), who also helmed 2017's <i>No Shape</i>, deserves a lot of credit for how this record sounds, and his bass playing on </span></span><span style="font-family: arial;">"Jason" and "Just a Touch" manages to outshine even studio vet Pino Palladino, who plays on most of the rest of the album. Speaking of studio vets, heavyweight drummers Jim Keltner and Matt Chamberlain are also all over this, tasteful as ever. But it's what Mills does with Hadreas's longtime partner Alan Wyffels with the otherworldly synth textures here that provide each song with its own unique world to frame Hadreas's gorgeous melodies. </span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span>Hadreas breaks down each song for </span><a href="https://pitchfork.com/features/song-by-song/perfume-genius-breaks-down-every-song-on-his-beguiling-new-album-set-my-heart-on-fire-immediately/" target="_blank">this feature</a><span> in Pitchfork, and for these </span><a href="https://music.apple.com/us/album/set-my-heart-on-fire-immediately/1498608837" target="_blank">liner notes</a><span> on Apple Music.</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1396102644/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://perfumegenius.bandcamp.com/album/set-my-heart-on-fire-immediately">Set My Heart on Fire Immediately by Perfume Genius</a></iframe></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /><br /></span></div><div style="text-align: left;"><a href="https://1.bp.blogspot.com/-yjeR5MEwyMg/X7-7hrOxSuI/AAAAAAAAMPk/xeW1Z6osYhEjYCW1JzDaDPAa6hP8-u0BwCLcBGAsYHQ/s225/shabaka.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial; font-size: medium;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-yjeR5MEwyMg/X7-7hrOxSuI/AAAAAAAAMPk/xeW1Z6osYhEjYCW1JzDaDPAa6hP8-u0BwCLcBGAsYHQ/s0/shabaka.jpg" /></span></a><span style="font-size: medium;"><span><span style="font-family: arial;"><br /></span></span><span><span style="font-family: arial;"><span><span style="font-family: arial;"></span></span>2 <b>Shabaka and the Ancestors – <i>We Are Sent Here By History</i></b> (Impulse). </span></span><span><span><span><span style="font-family: arial;">Shabaka Hutchings has become a jazz crossover sensation through his work in Sons of Kemet and the Comet is Coming, both of which are thrilling, visceral and ecstatic; it's not hard to understand their appeal to non-jazz audiences. This more traditional group, with South African musicians, is more laid back. Though Hutchings's melodic style is unmistakable, this music is driven largely by upright bassist Ariel Zamonsky's Mingus-y lines, while drummer Tumi Mogorosi and percussionist Gontse Makhene lay down some Afro-Caribbean grooves underneath him. The poet Siyabonga Mthembu's gospel-esque Zulu vocals bring a lot to the table, but are never the focal point. He does, however, provide the the context for an album inspired by Extinction Rebellion and other crisis points: the songs were composed based on his titles, which include "They Who Must Die," "Run, the Darkness Will Pass," and "Beasts Too Spoke of Suffering." "We are here because history called," he sings. Hutchings says the music is "a reflection from the ruins ... Music is the seed from which new worlds must grow." In a year when it became more important than ever to reimagine a "new normal," this was a spiritual salve. </span></span></span></span></span></div><div style="text-align: left;"><span><span><span><span style="font-family: arial; font-size: medium;"><br /></span></span></span></span></div><div style="text-align: left;"><span><span><span><span style="font-family: arial; font-size: medium;">Great New York Times profile <a href="https://www.nytimes.com/2020/03/11/arts/music/shabaka-and-the-ancestors.html" target="_blank">here</a>, and one in the Guardian <a href="https://www.theguardian.com/music/2020/mar/10/history-needs-to-be-set-alight-shabaka-hutchings-on-the-radical-power-of-jazz" target="_blank">here</a>. </span></span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/eg-0rBD38Lc" width="320" youtube-src-id="eg-0rBD38Lc"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Crhs76o9mvw" width="320" youtube-src-id="Crhs76o9mvw"></iframe></div><br /><span><br /><br /></span></span><span><span><a href="https://1.bp.blogspot.com/-qSCSdWux_Yw/X7-7hQEqo7I/AAAAAAAAMPg/qRPqaHICa0AUiHbgNbLgDSDID2LL9u9ogCLcBGAsYHQ/s225/agnes.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-qSCSdWux_Yw/X7-7hQEqo7I/AAAAAAAAMPg/qRPqaHICa0AUiHbgNbLgDSDID2LL9u9ogCLcBGAsYHQ/s0/agnes.jpg" /></a>3 <b>Agnes Obel – <i>Myopia</i></b> (Deutsche Grammophon). Piano, cello, voice, and absolutely haunting minor-key melodies steeped in melancholy: perfect for lonely, uncertain times. Every song is a miniature sonic film, and titles like "Broken Sleep," "Island of Doom" and "Won't You Call Me" reinforce the mood. What makes it even better, however, is this Berlin-based-Belgian's approach to production: all the instruments are often pitched higher or lower, including her voice—like Fever Ray, she likes to harmonize with a "male" version of herself in a lower register. If that wasn't otherworldly enough, the drum sounds and overall use of reverb make this seem like it was made at the bottom of a frozen lake in the German Alps. Which seems like a nice enough spot to get myopic and shelter in place. </span></span><span>I listened to this daily, almost obsessively, at the beginning of the lockdown. It's lost none of its magic and mystery since.</span><span> </span><span>The one concert ticket I had pinned to my wall when the pandemic hit was to see her open for—wait for it—Dead Can Dance. </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/R0-HVFEjOlE" width="320" youtube-src-id="R0-HVFEjOlE"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/G2bpm8bkVLo" width="320" youtube-src-id="G2bpm8bkVLo"></iframe></div><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><br /></span><span style="font-size: medium;"><span><a href="https://1.bp.blogspot.com/-6NqXlvmt7Ow/X7-6FVt6dcI/AAAAAAAAMO4/tZFs3lqq9ZUoh3iFuhKAHIgo6i1ghFnfwCLcBGAsYHQ/s225/junia.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-6NqXlvmt7Ow/X7-6FVt6dcI/AAAAAAAAMO4/tZFs3lqq9ZUoh3iFuhKAHIgo6i1ghFnfwCLcBGAsYHQ/s0/junia.jpg" /></a>4 <b>Junia T – <i>Studio Monk</i></b> (Pirates Blend)<br /><br />Wrote about this <a href="https://radiofreecanuckistan.blogspot.com/2020/10/2020-polaris-music-prize-shortlist-day_16.html">here</a> and <a href="https://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-longlist-2020-part-2.html">here</a>. <br /><br />This album should be to the next generation of Toronto what Broken Social Scene’s <i>You Forgot It In People</i> was to indie rock in the early 2000s. Junia T steps to the forefront after being Jessie Reyez’s tour DJ for the last few years to craft this masterful collection of grooves built from the bottom up with live musicians and invite an array of mostly Toronto talent to shine in his stead. It functions not so much as a solo record but as a mixtape with all-stars like Reyez, Sean Leon, and River Tiber, but relatively unknown singers Storry and Faiza, as well as highly underrated Toronto vet Adam Bomb. Sometimes this much talent on one record means a lot of compromise and mush, but every single artist here brings their A-game. (Well, maybe not Nate Husser.) Jessie Reyez is the only big name here, but every guest here shows off big personalities while never overshadowing the brilliance of Junia T’s arrangements, which draw from vintage funk, neosoul, reggae, triphop, Brazilian beats and jazz. The beats are killer; the bass lines even better. The singers are all pitch perfect. Slakah the Beatchild is behind the boards, ensuring a rich, warm, vintage sound. This album was two years in the making, and it shows: there is a deep attention to detail and mood on every track. </span></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/IO1d0gHlQcw" width="320" youtube-src-id="IO1d0gHlQcw"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/BuVnY4-4_5M" width="320" youtube-src-id="BuVnY4-4_5M"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">An in-depth short doc about the artist:</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/VX2Ff21FMFs" width="320" youtube-src-id="VX2Ff21FMFs"></iframe></div><br /><br /><br /></span><span style="font-size: medium;"><span><a href="https://1.bp.blogspot.com/-qixo3DdEpKY/X7-7hdJfE8I/AAAAAAAAMPc/QlHWaxLVFq8rYw5Ss71f3QWMKDzQB1f-gCLcBGAsYHQ/s225/myd.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-qixo3DdEpKY/X7-7hdJfE8I/AAAAAAAAMPc/QlHWaxLVFq8rYw5Ss71f3QWMKDzQB1f-gCLcBGAsYHQ/s0/myd.jpg" /></a>5 <b>Melt Yourself Down – <i>100% Yes</i></b> (Universal). One of my all-time favourite jams is Pigbag's "Papa's Got a Brand New Pigbag" (a.k.a. the theme from CITY-TV's The New Music), and so to discover a current London band mining a similar vibe is nothing short of glorious. But nothing else sounds like this, and if it does I need to find it: Killer grooves, heavy percussion (timbales, congas, darbuka), a raunchy two-saxophone attack (bari and tenor) run through distortion, and a compelling singer howling in Mauritian, English and made-up languages. There's no doubt this is a party band, but so were the Specials and Mano Negra and Asian Dub Foundation, and, like those bands, the lyrics here are rich with reactions to racism and recent British history (i.e. the indifference to the Grenfell highrise tragedy). There's been an explosion of creativity in British jazz lately, and it should be noted that this band—which is not jazz—dates back to 2014, after which two founding members left to form Sons of Kemet, among other projects (including Shabaka and the Ancestors; see above). Between that association and a jump to a major label, this band should be much better known than they are. This is perhaps the one 2020 record I regret most not being able to see live (<a href="https://www.youtube.com/watch?v=VBXG00zfCZc" target="_blank">this is kind of fun</a> but doesn't really cut it); that said, it's a hot, sweaty mess even just coming out the headphones. <br /><br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/iLCVZi267LU" width="320" youtube-src-id="iLCVZi267LU"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bEjHmwEhzmo" width="320" youtube-src-id="bEjHmwEhzmo"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/BfFe-65MDMM" width="320" youtube-src-id="BfFe-65MDMM"></iframe></div><br /><br /><br /></span><span style="font-size: medium;"><span><a href="https://1.bp.blogspot.com/-K6QKvVuxzl0/X7-6FX7BDLI/AAAAAAAAMPA/W9dwFZRUbrgYkIbWNOlyX95lTsIl991XgCLcBGAsYHQ/s225/pantayo.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-K6QKvVuxzl0/X7-6FX7BDLI/AAAAAAAAMPA/W9dwFZRUbrgYkIbWNOlyX95lTsIl991XgCLcBGAsYHQ/s0/pantayo.jpg" /></a>6 <b>Pantayo – s/t</b> (Telephone Explosion)<br /><br />Wrote about this <a href="https://radiofreecanuckistan.blogspot.com/2020/10/2020-polaris-music-prize-shortlist-day_14.html">here</a> and <a href="https://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-2020-long-list-part.html">here</a>. <br /><br />It’s safe to say that few people, if anyone, in North America has heard a band like this, which combines traditional Filipino percussion (kulintang) with modern R&B and pop. Producer Alaska B (Yamantaka//Sonic Titan) ensures everything sounds rich, thick and totally pro: deep Solange-ish grooves over which the Moondog-ish metallophones and other kulintang percussion sparkle with life. If this were just a novel and evocative instrumental record, it would already succeed, but these women are also great singers: check out the sultry soul ballad “Desire,” which absolutely could and should be a pop hit. The brooding pulse of “V V V” is a 2020 anthem (“They lie / they will never tell the truth”). “Heto Na” and “Taranta” have some serious ESG vibes, while obviously sounding nothing like them. I was thrilled when they made the Polaris shortlist, because this deserves to be heard around the world.</span></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><span><br /></span></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><span><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3310473080/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://pantayo.bandcamp.com/album/pantayo">Pantayo by Pantayo</a></iframe> </span></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><span><br /></span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4_khrQsXQIM" width="320" youtube-src-id="4_khrQsXQIM"></iframe></div><br /><span><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/r12Npcffcfs" width="320" youtube-src-id="r12Npcffcfs"></iframe></div><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span><span style="font-family: arial;"><br />7 <b>Kathleen Edwards – <i>Total Freedom</i></b> (Dualtone). Edwards is a master of economy: lean but lovely arrangements, great players, and 10 songs so good that her long hiatus has been entirely justified. But bring hankies—especially if you're forty-ish or over and living with a bunch of regret. For those rare moments when you're not, "Glenfern" might just be the greatest song ever written with affection for an ex, remembering the good times with gratitude and moving past the hurt. (After years of armchair trainspotters wondering who Edwards's songs were about, that one is quite explicitly about ex-husband Colin Cripps.) And though I'm not well versed on the canon of canine songs, I'd hazard a guess that "Who Rescued Who" is also near the top of that niche. As always, there's an ace band behind her: longtime friends and collaborators Jim Bryson (keys, guitar), guitarist Gord Tough (also heard on Sarah Harmer's record), drummer Peter Von Althen and bassist Darcy Yates. </span></span><span style="font-family: arial;">Extra points for the driving kosmische Canadiana of "Hard on Everyone." </span><span style="font-family: arial;">I have to admit that I took this record for granted: on many levels, it sounds like Another Kathleen Edwards Album—an extension of 2012's fantastic <i>Voyageur</i> and entirely predictable, for better or worse. But as the weight of the songs began to sink in, it was not only a reminder of what a great writer she is, but that she keeps getting better: the character portraits, the tiny lyrical details, the turns of phrase, the earworms. Take your time, Ms. Edwards. You've more than earned it. </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4283327112/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://kathleenedwards.bandcamp.com/album/total-freedom">Total Freedom by Kathleen Edwards</a></iframe> </span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><span><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bSYWShYsMF4" width="320" youtube-src-id="bSYWShYsMF4"></iframe></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><br /></span><span style="font-size: medium;"><span><a href="https://1.bp.blogspot.com/-6DAck61fj_c/X7-6GOgji3I/AAAAAAAAMPI/JveQ8tlsLsIxQtMhQHWel8c4jOQEkmMLACLcBGAsYHQ/s225/witchprophet.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-6DAck61fj_c/X7-6GOgji3I/AAAAAAAAMPI/JveQ8tlsLsIxQtMhQHWel8c4jOQEkmMLACLcBGAsYHQ/s0/witchprophet.jpg" /></a>8 <b>Witch Prophet – <i>DNA Activation</i></b> (independent)<br /><br />Wrote about this <a href="https://radiofreecanuckistan.blogspot.com/2020/10/2020-polaris-music-prize-shortlist-day.html">here</a> and <a href="https://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-2020-long-list-part.html">here</a>. <br /><br />“Bow down to queen,” demands Ayo Leilani on her second album as Witch Prophet. As we should: <i>DNA Activation</i> is a completely captivating, entrancing journey through trippy soul with an Eritrean Erykah Badu bent. Jazzy vibes, deep grooves and synesthesiac textures abound, creating a sonic splendour in which it’s easy to get lost. Leilani’s vocals aren’t a focus as much as they are a centring guide, a soothing presence asking, “Where do we go from here, when the whole world is falling?” Karen Ng’s saxophone plays a key role on three of the 10 tracks, indebted to Ethio jazz. “Makda” comes off like a trippier Dan the Automator. Everything about <i>DNA Activation</i> is a huge step up from her promising debut; its only real drawback is that it’s incredibly brief: 10 songs in 24 minutes. </span></span></span><span style="font-family: arial; font-size: large;">This is hypnotic, healing music for humid days, during days when these lyrics strike deep: “Where do we go from here / When the whole world is falling / Through darkness / And we cannot see the light.” The woman known as Witch Prophet brings that light. </span><span style="font-family: arial; font-size: large;"> </span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><span><br /><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=925811280/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://witchprophet.bandcamp.com/album/dna-activation">DNA ACTIVATION by Witch Prophet</a></iframe><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/LllZ-8YmDcQ" width="320" youtube-src-id="LllZ-8YmDcQ"></iframe></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><br /></span><span style="font-size: medium;"><span><a href="https://1.bp.blogspot.com/-qgyT4TwmBk4/X7-6FaB0ZzI/AAAAAAAAMO8/HQARfgsv5e4mxjFMrj4Xt_Yz4if9ewPUgCLcBGAsYHQ/s225/frazey.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-qgyT4TwmBk4/X7-6FaB0ZzI/AAAAAAAAMO8/HQARfgsv5e4mxjFMrj4Xt_Yz4if9ewPUgCLcBGAsYHQ/s0/frazey.jpg" /></a>9 <b>Frazey Ford – <i>U Kin B the Sun</i></b> (Arts and Crafts)<br /><br />Wrote about it <a href="https://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-longlist-2020-part-2.html">here</a> and <a href="https://radiofreecanuckistan.blogspot.com/2020/10/2020-polaris-music-prize-shortlist-day_16.html">here</a>. <br /><br />Words will always fail to describe Frazey Ford’s voice, probably because she fails to enunciate most of her words in the first place. Such is the magic and mystery that this soulful singer brings to everything she does, whether it was the folk revivalism of the Be Good Tanyas 20 years ago (!) or the soul music she immerses herself in here. This is not exactly retro R&B, but it is a solid live band with a Hammond organ (or imitation) hovering over the bass-heavy grooves and gospel-tinged backing vocals. She’s a devoted D’Angelo fan, and her last record used the same band Cat Power did on <i>The Greatest</i>; Ford brings her own hippie B.C. vibe to the genre. She’s not in this game to win; she can take or leave the music business, as she’s proved over the years while moving at her own pace. The music she makes is for healing, for uplift, for the spirit. Which is all well and good and inspiring, but the songs she brings to the table this time, and the players she gathered to perform it, that elevate this far beyond mere good intentions. The Aretha Franklin of the Kootenays? </span></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><span><br /></span></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><span><br /></span></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><span><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=931840635/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://frazeyford.bandcamp.com/album/u-kin-b-the-sun">U kin B the Sun by Frazey Ford</a></iframe></span></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span><span><br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Tge9e-DJhAM" width="320" youtube-src-id="Tge9e-DJhAM"></iframe></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span><br /></span></span></div><br /></span><span><span><a href="https://1.bp.blogspot.com/-tVUi8WuKGyY/X7-6F9aaKBI/AAAAAAAAMPE/Sy-sURxguvEYX3RB7bGWa-J1VYvDnYNIgCLcBGAsYHQ/s225/usgirls.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-tVUi8WuKGyY/X7-6F9aaKBI/AAAAAAAAMPE/Sy-sURxguvEYX3RB7bGWa-J1VYvDnYNIgCLcBGAsYHQ/s0/usgirls.jpg" /></a>10 <b>U.S. Girls – <i>Heavy Light</i></b> (4AD / Royal Mountain)<br /><br />Wrote about this <a href="https://radiofreecanuckistan.blogspot.com/2020/10/2020-polaris-music-prize-shortlist-day.html">here</a> and <a href="https://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-2020-long-list-part.html">here</a>. <br /><br />This was recorded by humans in a room together at the same time. Crazy, right? Meg Remy and her circle are politically progressive but have decidedly old-school beliefs when it comes to musical chops: you should be able to play, you should be able to play well with other people, and no amount of multitracking can substitute for the sound of amazing singers surrounding a microphone in real time. <br /><br /><i>Heavy Light</i> aims to be a <i>What’s Going On</i> of this generation: lyrics that address personal and systemic pain, enveloped in melodies, grooves and arrangements that seek to soothe rather than confront. “You gotta have boots, if you wanna lift those bootstraps,” goes the opening track, addressing historic economic inequality in the guise of a sweet soul song. “Overtime” is a first-person song about a widow discovering that her overworked husband drank their savings away. “Born to Lose” could be a Sarah Kendzior or Barbara Ehrenreich book about American decline in a torch-y song with a choral chorus, set to ’50s lounge exotica. A Latin excursion on “And Yet It Moves / Y Se Mueve” works surprisingly well—or, not so surprising at all, considering the calibre of musicians involved. The entire record is lush and expansive, and yet always in subtle ways; this is not a record that wants to show off, it wants to draw you in. <br /><br />Remy has a lot of top-shelf help here: Basia Bulat, Arcade Fire’s Tim Kingsbury, partner Slim Twig, the band Ice Cream, future superstar James Baley, the E Street Band’s Jake Clemons, the underrated Geordie Gordon and Michael Rault, engineer Howard Bilerman, and vocal arranger Kitty Uranowski. It’d be hard to make a bad record with those people in the room. But with Remy at the helm, the result is an instant classic.<br /><br />Everything about this exudes empathy and community, which is exactly what we need right now. <br /><br /><br /></span></span><br /><span><span><span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-MI_lezVO6I" width="320" youtube-src-id="-MI_lezVO6I"></iframe></span><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XCW_DZ-IUNQ" width="320" youtube-src-id="XCW_DZ-IUNQ"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/UGQ1UAX0aYo" width="320" youtube-src-id="UGQ1UAX0aYo"></iframe></div><br /><br />--<br /><br />RECAP!<br /><br /><b> 11-20:<br /></b> <br />11 Nihiloxica – <i>Kawali </i><br />12 Lido Pimienta – <i>Miss Colombia</i> </span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span>13 Marlaena Moore – </span><i>Pay Attention, Be Amazed! </i></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">14 The Dears – <i>Lovers Rock</i><br />15 Wye Oak – <i>Horizon EP</i><br />16 Deerhoof – <i>Love</i> <i>Lore</i></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">17 Fiona Apple – <i>Fetch the Bolt Cutters</i></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">18 Nels Cline – <i>Share the Wealth</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">19 Sault – <i>(untitled) Rise</i></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">20 C. Diab – <i>White Whale</i></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Blurbs for those are <a href="http://radiofreecanuckistan.blogspot.com/2020/11/top-20-of-2020-11-20.html" target="_blank">here</a>. <br />Playlist for all top 20 albums is here. Shuffle it up: <iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/playlist/2oWYfajkgYWYdHsrsUg5mw" width="300"></iframe></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /><br /><br />--<br /><br /><b>21-40, in alphabetical order:<br /></b><br />79ers Gang – <i>Expect the Unexpected</i></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Allie X – <i>Cape God</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Julianna Barwick – <i>Healing is a Miracle</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Bloto – <i>Kwiatostan</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Budos Band – <i>Long in the Tooth</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Caribou – <i>Suddenly</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Jennifer Castle – <i>Monarch Season</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Brandy Clark – <i>Your Life is a Record</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Alabaster DePlume – <i>To Cy & Lee: Instrumentals Vol. 1</i></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Sarah Harmer – <i>Are You Gone</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Blurbs for the above 10 are <a href="http://radiofreecanuckistan.blogspot.com/2020/11/2020-top-40-pt-2-10-more-of-lower-20.html" target="_blank">here</a></span></span></div><div style="text-align: left;"><div><span style="font-size: medium;"><span style="font-family: arial;">Blurbs for the below 10 are <a href="http://radiofreecanuckistan.blogspot.com/2020/11/2020-top-40-pt-1-10-of-lower-20.html" target="_blank">here</a> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Quin Kirchner – <i>The Shadows and the Light </i><br />Mourning (a) BLKStar – <i>The Cycle</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Owen Pallett – <i>Island </i><br />Prince Nifty – <i>We're Not in Kansas Anymore</i><br />Slow Leaves – <i>Shelf Life</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Julian Taylor – <i>The Ridge</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Throat Funeral – <i>OU812212 </i><br />Etuk Ubong – <i>Africa Today </i><br />Wolf Parade – <i>Thin Mind </i><br />Donovan Woods – <i>Without People</i></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Playlist for these 20 full albums is here. Shuffle it up: <iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/playlist/4NTqniZEZyFwRBaWvwowWQ" width="300"></iframe> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">--</span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><b>10 more of interest: </b></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Destroyer – <i>Have We Met</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">DijahSB – <i>2020 The Album </i><br />Dana Gavanski – <i>Yesterday Is Gone</i></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Magnetic Fields – <i>Quickies</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Jon McKiel – <i>Bobby Joe Hope </i><br />Terrell Morris – <i>Lavender</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Sneaks – <i>Happy Birthday</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Charles Spearin and Josefin Rusteen – <i>Thank God the Plague is Over </i><br />Tricky – <i>Fall to Pieces </i><br />William Tyler – <i>New Vanitas </i><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><i><br /></i></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">Blurbs for those are <a href="http://radiofreecanuckistan.blogspot.com/2020/11/2020-odds-n-sods.html" target="_blank">here</a>.</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">--</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><b>Honourable mention, about which I can't possibly be objective:</b></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">Gord Downie – <i>Away is Mine</i>. Wrote about it for Maclean's <a href="https://www.macleans.ca/culture/gord-downie-returns-not-for-the-last-time/" target="_blank">here</a>. </span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">--</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">My favourite singles and non-album tracks by artists not in the top 40: Magnetic Fields, Anderson Paak, Terrell Morris, Regina Gently, Destroyer, Sufjan Stevens, Will Butler, Buddy & Julie Miller, Serena Ryder, The Weather Station, Guiding Light, Eric Bachmann, The Ropes, Karen O & Willie Nelson, Beverly Glenn-Copeland</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/playlist/0TyQbbGiKhjgChmr5zRFnU" width="300"></iframe></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">--</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /><span><span><span><span><b>Reissue:<br /></b>Beverly Glenn-Copeland – <i>Transmissions </i><br /><b>Runners-up:<br /></b>Prince – <i>Sign O the Times </i><br />Pylon – <i>Box</i><br /></span></span><br />Blurbs for those are <a href="http://radiofreecanuckistan.blogspot.com/2020/11/2020-best-reissue-beverly-glenn-copeland.html" target="_blank">here</a>. <br /><br />--<br /><br /><b>2019 albums I was late to in 2020:</b><br />Bon Enfant – s/t</span></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Kaytranada – <i>Bubba</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Little Scream – <i>Speed Queen</i></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Little Simz – <i>Grey Area</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Lankum – <i>The Livelong Day</i></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Lightning Dust – <i>Spectre</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Mdou Moctar – <i>Ilana: The Creator</i></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Junius Paul – <i>Ism</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Wilco – <i>Ode to Joy</i> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Yola – <i>Walk Through Fire <br /></i></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">Blurbs for those are <a href="http://radiofreecanuckistan.blogspot.com/2020/11/2020-vision-on-2019s-missing-greats.html" target="_blank">here</a>.</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">Playlist for those is here:</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div> <iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/playlist/5csoWVv3kPM8ElydH42IQ7" width="300"></iframe>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-6436523864928630052020-11-25T10:50:00.003-05:002020-11-25T10:56:09.159-05:00Top 20 of 2020: 11-20<p><span style="font-family: arial; font-size: medium;"> My top 20 of 2020, numbers 11-20. <br /></span><span style="font-family: arial; font-size: medium;"><a href="https://1.bp.blogspot.com/-JoPzuoDQbwc/X72LcQkEuMI/AAAAAAAAMNw/YI3S_0bMEVsvxc2wAzblexuKeQZ2SsinwCLcBGAsYHQ/s225/nihiloxica.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-JoPzuoDQbwc/X72LcQkEuMI/AAAAAAAAMNw/YI3S_0bMEVsvxc2wAzblexuKeQZ2SsinwCLcBGAsYHQ/s0/nihiloxica.jpeg" /></a></span></p><span style="font-family: arial; font-size: medium;"><br />11 <b>Nihiloxica – <i>Kaloli</i></b> (Crammed Discs). Ugandan drumming through a techno lens. This project started when the Nilotika Cultural Ensemble in Kamapla, Uganda, started playing at a local nightclub in between and during DJ sets. Word spread to Belgium, where a jazz drummer wanted to capture the synergy on tape. After a couple of EPs, this is the debut full-length, featuring two drum kits and electronics augmenting the vivid percussion, for a 21st-century Olatunji experience, a next-gen <i>Congotronics</i>, that doesn't in any way feel like the original tracks are being overshadowed. It's a great record, but on a personal note, it's also a very productive record: for writing, for walking, for housework, for whatever it is you need to do. As long as you're somewhere you can turn it up loud. <br /><br /><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2947440817/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://nihiloxica.bandcamp.com/album/kaloli">Kaloli by Nihiloxica</a></iframe><br /><br /><br /></span><div><a href="https://1.bp.blogspot.com/-K6W1MoQbxlM/X72NZJgccgI/AAAAAAAAMN8/uwKEgtCCon0ZqZnjMPrFUc314DqcrshkACLcBGAsYHQ/s700/lido.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-K6W1MoQbxlM/X72NZJgccgI/AAAAAAAAMN8/uwKEgtCCon0ZqZnjMPrFUc314DqcrshkACLcBGAsYHQ/s320/lido.jpg" /></a><span style="font-family: arial; font-size: medium;">12 <b>Lido Pimienta – <i>Miss Colombia</i></b> (Anti). I wrote <a href="https://radiofreecanuckistan.blogspot.com/2020/10/polaris-music-prize-shortlist-2020-day.html" target="_blank">this</a> and <a href="https://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-2020-long-list-part.html" target="_blank">this</a> earlier: It’s great. And I say that as someone who didn't at all love Pimienta’s Polaris-winning <i>La Papessa</i>. Everything has stepped up, starting with Pimienta’s own vocals: they’re stronger, express more dynamics and inflection, and generally more emotionally resonant. That’s true of the electronics as well; she’s said part of her challenge here was to make the technology sound beautiful, and she succeeded. The brass arrangements throughout are also a lovely touch. Her blending of Colombian rhythms with electronics more fully developed. The record is roughly divided into two parts: side one is more modern, side two is (mostly) more traditional, with guest spots from South American pop stars Bomba Estereo and the traditional Afro-Colombian percussion/vocal Sexteto Tabala (the collab here will sound familiar to any fans of Caribbean-Colombian legend Toto La Momposina) illustrating the scope of what Pimienta is aiming for—and achieves. And—hey, look! A Grammy nomination for Best Latin Alternative Album. <br /><br /><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1636926862/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lidopimienta.bandcamp.com/album/miss-colombia">Miss Colombia by Lido Pimienta</a></iframe><br /><br />And check out this beautiful video made for the Polaris Prize:</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MFmvrBmki-U" width="320" youtube-src-id="MFmvrBmki-U"></iframe></div><br /><span style="font-family: arial; font-size: medium;"><br /><br /><br /></span><span style="font-family: arial; font-size: medium;"><a href="https://1.bp.blogspot.com/-1uMG4dXS22c/X72NZKsn8tI/AAAAAAAAMOE/pZqQFahs_fE0KZKyQPIoZf0jGRVi-mtLwCLcBGAsYHQ/s700/marlaena.jpg" style="clear: right; float: right; font-family: Tinos; font-size: medium; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-1uMG4dXS22c/X72NZKsn8tI/AAAAAAAAMOE/pZqQFahs_fE0KZKyQPIoZf0jGRVi-mtLwCLcBGAsYHQ/s320/marlaena.jpg" /></a>13 <b>Marlaena Moore – <i>Pay Attention, Be Amazed!</i> </b>(Flemish Eye). Wrote about this earlier <a href="https://radiofreecanuckistan.blogspot.com/2020/10/polaris-music-prize-shortlist-2020-day.html" target="_blank">here</a>: It's a good sign when the opening track on your debut album is a song of longing on par with "Nothing Compares 2 U." Yes, this Edmonton performer's "I Miss You" is that good, and so is the rest of the record. Moore has no shortage of great lyrics that document fragility ("You came to see my harvest and you wanted it for free / Now this empty garden is all that's left of me"), and she often delivers them with a voice with just enough waver that you think she might break, but her inner strength pulls through every line. Moore's an incredible torch singer, as closing waltz "Tiger Water" demonstrates, over guitar feedback, vibraphones and snare brushes. "Imposter" borrows from Roxy Music's "More Than This," likely unconsciously, but the album is full of equally killer melodies all her own. "Xmas Oranges" is a total earworm, an acrobatic melody set to chugging cellos and a beguiling chorus: "Christmas oranges / I don't care for sticky citrus / You can't tell the difference between love and fatal interest." Producer Chad Van Gaalen, who's known for an often-hazy and psychedelic '90s aesthetic in his solo work and for others, helps Moore deliver a vivid and colourful sonic backdrop for songs that are part Patsy Cline, part Liz Phair, part Angel Olsen. It's hard not to be impressed with the chutzpah of the album title, but it turns out to be entirely accurate. I can't wait to hear more from this woman.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><br /><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=337837631/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1965671384/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://marlaenamoore.bandcamp.com/album/pay-attention-be-amazed">Pay Attention, Be Amazed! by Marlaena Moore</a></iframe> <br /><br /><br />Also, I'm a sucker for one-shot videos (well, three in this case), no matter how goofy.<br /><br /></span><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/jgm-x7PjciE" width="320" youtube-src-id="jgm-x7PjciE"></iframe></div><br /><span style="font-family: arial; font-size: medium;"><br /><div class="separator" style="clear: both; text-align: center;"><br /></div></span><span style="font-family: arial; font-size: medium;"><a href="https://1.bp.blogspot.com/-1rKWfGL8fJE/X72NZEG9ryI/AAAAAAAAMOA/0kE2JLxA1iMdDqG4s8izArxkvshA0DrygCLcBGAsYHQ/s700/dears.jpg" style="clear: right; float: right; font-family: Tinos; font-size: medium; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-1rKWfGL8fJE/X72NZEG9ryI/AAAAAAAAMOA/0kE2JLxA1iMdDqG4s8izArxkvshA0DrygCLcBGAsYHQ/s320/dears.jpg" /></a>14 <b>The Dears – <i>Lovers Rock</i></b> (Dangerbird) I wrote <a href="https://radiofreecanuckistan.blogspot.com/2020/10/2020-polaris-music-prize-shortlist-day_17.html" target="_blank">this</a> earlier: When Murray Lightburn put out such an incredible solo album just last year, called <i><a href="http://radiofreecanuckistan.blogspot.com/2019/03/murray-lightburn-and-hawksley-workman.html" target="_blank">Hear Me Out</a></i>, I wondered if he would resurrect the ever-imploding Dears, of which only he and Natalia Yanchak remain. But at his age, it's important not to mess with the brand and name recognition. Sadly, very few people heard that solo record. And as this record proves, there is still a lot of life in this band, who this year celebrated 20 years of their breakthrough <i>End of a Hollywood Bedtime Story</i>. "Since all these years / is it still the same old song?" he asks. Maybe it is, but these are some of the best songs the Dears have ever written, starting with "The Worst in Us," the kind of melodic anthem they often excelled at, with a surprising and danceable bridge taking a left turn in the middle of the song. There are more orchestrations here than they've used since 2011's big-budget <i>Degeneration Street</i>, although <i>Lovers Rock</i> was recorded at their home studio and at Hotel 2 Tango (and Sam Roberts dusts off his violin for the occasion). Jake Clemons of the E Street Band (and Montreal transplant) elevates the lovely "Stille Lost" with his soaring saxophone, while some of the softer moments here ("Play Dead," "Is This What You Really Want," "Too Many Wrongs") are the most stunning. For a band that always recoiled at obvious Smiths comparsions (and I'm going to apologize for bringing them up yet again), there are some decidedly '80s-sounding Johnny Marr effects on the guitars here, but at this point in time, with such a rich and varied career behind them, the Dears shouldn't have to be so defensive. The closing track threatens "We'll Go Into Hiding." Let's hope not.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1697357577/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://thedears.bandcamp.com/album/lovers-rock">Lovers Rock by The Dears</a></iframe> <br /></span><p><span style="font-family: arial; font-size: medium;"><br />15 <b>Wye Oak – <i>Horizon EP</i> </b>(Merge). A few years back, this Durham-via-Baltimore duo covered Pat Benatar's "We Belong" for a radio session (watch it <a href="https://www.youtube.com/watch?v=CanuRtlRr74" target="_blank">here</a>), and it was stunning. That song makes me weepy at the best of times, and Wye Oak managed to make it their own. They didn't have a youth choir behind them at the time, but they do here: the Brooklyn Youth Chorus, who commissioned this work. Normally I find the use of kids choirs in pop music treacly (Benatar notwithstanding), but here they take Jenn Wasner's songs of alienation and dislocation and, to state the obvious, make them sound a lot less lonely, like all those Italian apartment-dwellers singing songs together during the first wave of the lockdown. Of course, these aren't catchy pop songs or simple folk anthems; this is Wye Oak, in all their glorious subtlety and complexity. Almost 15 years into their career, they continue to surprise. I'm extremely grateful they got to record this when they did, before it was no longer possible.</span></p><p><span style="font-family: arial; font-size: medium;"> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2657326866/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://wyeoak.bandcamp.com/album/no-horizon">No Horizon by Wye Oak</a></iframe> <br /><br /><br /><br /><br />16 <b>Deerhoof – <i>Love Lore</i></b> (Joyful Noise). This band is prolific at the best of times, and the pandemic made them even more so. In addition to a live album and a collection of odds and sods, they released a new album of original material, Greg Saunier covered Voivod's <i>Angel Rat</i> acoustically, and then finally this album of eclectic covers arranged into four long medleys. WIth such output, Deerhoof are more than easy to take for granted, which is why <i>Love Lore</i> is likely getting more attention than the original album released this year: we know what Deerhoof sound like playing their own songs, but what happens when they unleash their powers on others? Only Deerhoof would attempt Ornette Coleman, the Knight Rider theme, Eddy Grant, Stockhausen, Penderecki, Kraftwerk and the Jetsons theme on the same record, rubbing up one another and reinvented in the most magical way. The greatest rock band of the 2000s is still alive and kicking.</span></p><p><span style="font-family: arial; font-size: medium;"> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2550002731/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://deerhoof.bandcamp.com/album/love-lore">Love-Lore by Deerhoof</a></iframe> <br /></span></p><p><span style="font-family: arial; font-size: medium;"><br /><br />17 <b>Fiona Apple – <i>Fetch the Bolt Cutters</i></b> (Sony). This is an uneasy listening record centred around piano and voice and searing lyrics, and yet for me the main appeal is the production, the percussion (drummer Amy Aileen Wood, and percussionist David Garza) and Apple's rhythmic choices, especially on tracks like "Relay," "Newspaper" and "For Her." Apple's strong personality dominates the discussion about this record, which is hardly surprising: it's the most visceral post-#MeToo record to have a large audience, a solidarity message and warning to other women about predatory behaviour, and she laments "yet another woman to whom I won't get through." But it's the band—including bassist Sebastian Steinberg and Apple's own piano work—that I keep coming back for. <br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yM63Tzv-uZg" width="320" youtube-src-id="yM63Tzv-uZg"></iframe></div><br /><span style="font-family: arial; font-size: medium;"><br /></span><p></p><p><span style="font-family: arial; font-size: medium;"><br /><br />18 <b>Nels Cline – <i>Share the Wealth</i></b> (Blue Note). As much as I love guitarist Nels Cline's playing, in Wilco and elsewhere, I never know what to expect from his solo records. I <a href="https://radiofreecanuckistan.blogspot.com/2016/09/september-2016-reviews.html" target="_blank">loved</a> his Blue Note debut <i>Lovers</i> in <a href="http://radiofreecanuckistan.blogspot.com/2016/12/from-what-i-can-tell-this-list-is-not.html" target="_blank">2016</a>, a deliberately pretty and "accessible" journey through a varied songbook, everything from Rodgers and Hart to Gabor Szabo to Annette Peacock and Sonic Youth. <i>Share the Wealth</i> is considerably more adventurous, skronky and noisy at times, filled with swing and verve and prog turns and itchy-scratchy avant-garde tumbles into the unknown—in the case of the aptly titled 17-minute epic "Stump the Panel," all in one song. And yes, it's also pretty, as on the relatively straightforward "Nightstand" and "Passed Down." Featuring staple Zorn players Brian Marsella (keys) and Cyro Baptista (percussion), Mr. Bungle bassist Trevor Zorn, Tuatara saxophonist Skerik, and Cline's long-time drummer Scott Amendola, this particular lineup had never played together before recording this album in two days. Cline originally intended to take the sessions and splice them up, but there was so much magic there he didn't bother. With players like this, there's no need for sleight of hand.<br /><br /></span><br /><span style="font-family: arial; font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-dZpVsPniB8" width="320" youtube-src-id="-dZpVsPniB8"></iframe></span></p><p><span style="font-family: arial; font-size: medium;"></span></p><p><span style="font-family: arial; font-size: medium;"><br />19 <b>Sault – <i>(untitled) Rise</i></b> (Forever Living Originals). Nobody appears to know anything about this British act: whether it's an actual group, or a collection of studio musicians, or some kind of community arts project, or what. What we do know is that this is their fourth full length in the last two years, and the one before this, <i>untitled (Black Is),</i> managed to feature Michael Kiwanuka on one track; otherwise, everyone is completely anonymous. Each record is better than the last, and this features more complete songs rather than sketches, alongside killer grooves throughout. The sound can loosely be labelled soul, tied to no particular time period: big gospel/disco/R&B vocals, either by female soloists or in groupings, lush string sections, live rhythm section, and tasteful arrangements throughout. The raison d'etre, however, is to write songs that speak to the current/eternal unrest: "Fearless," "Street Fighter," "Uncomfortable," "Scary Times"—you get the idea. They sound all the more essential because so very few others appear to be doing this, or at least doing it this well. Closing track "Little Boy" is heartbreaking.</span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p><p><span style="font-family: arial; font-size: medium;"> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3847166500/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3327225119/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://saultglobal.bandcamp.com/album/untitled-rise">UNTITLED (Rise) by SAULT</a></iframe> <br /><br /></span></p><p><span style="font-family: arial; font-size: medium;"><br />20 <b>C. Diab – <i>White Whale</i></b> (Injazero). This album is the musical equivalent of escaping from the current shitshow to a Pacific Coast cabin during a rainstorm and just droning out with bowed guitar that sounds like a one-man Godspeed filtered through Loscil and Martin Tielli. It's not just bowed guitar, there are a few things going on here, none of which are ambient or soothing, but this does have a powerful catharsis of calm, if that makes an iota of sense. This is a very interior record, released during an extremely interior year, and it's been on high rotation for me since its release in June. </span></p><p><span style="font-family: arial; font-size: medium;"><span style="font-family: arial; font-size: medium;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650472222/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://cdiab.bandcamp.com/album/white-whale-2">White Whale by C. Diab</a></iframe></span> <br /></span></p><p><span style="font-family: arial; font-size: medium;">Why the Melvillian title? Here's what he says in his artist statement: </span></p><p><span style="font-family: arial; font-size: medium;">“The hope for security, for accountable humanitarian leadership, for affordable housing and fair income, for understanding, things which we learned were natural pieces of a progressive society, now seem like humanity’s great white whale in a darker, regressive world, once appearing on the horizon only to disappear again into the deep.<br />“It’s my hope that <i>White Whale</i>, for what it’s worth, will lend a small hand to the listeners’ emancipation from inward fear and sadness and feelings of unworthiness. And help you realize what it is you need to do in order to have that conversation, or make that move, and two steps forward in crushing that which seeks to crush you.” <br /><br />Get I get an amen? <br /></span><br /> </p></div>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-45810344219132096612020-11-22T15:12:00.003-05:002020-11-22T18:37:20.779-05:002020 Top 40 pt 2: 10 more of the lower 20<p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><a href="https://1.bp.blogspot.com/-WE6qBtReYJY/X7rF1Fwi9hI/AAAAAAAAMMc/hDIs8dDzijMt3qw8IhfpVOebwjLHItPDwCLcBGAsYHQ/s225/79rs.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-WE6qBtReYJY/X7rF1Fwi9hI/AAAAAAAAMMc/hDIs8dDzijMt3qw8IhfpVOebwjLHItPDwCLcBGAsYHQ/s0/79rs.jpg" /></a></span></span></div><span style="font-size: medium;"><span style="font-family: arial;">10 more records from the lower 20 of my Top 40 of 2020, in alphabetical order. </span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><b>79rs Gang – <i>Expect the Unexpected</i></b> (independent). I can't claim to know a lot about New Orleans tradition of Mardi Gras Indians other than a well-loved copy of The Wild Tchoupitoulas in my collection. This is a band comprised of two former rival chiefs, who unite to make a thoroughly modern record steeped in deep tradition. Yes, there's yet another version of "Iko Iko" (this one called "Iko Kreyòl," with Haitian band Lakou Mizik), and a spoken word track that condenses New Orleans history into 90 second. But the rest is a welcome reset, with some help from members of Arcade Fire and LCD Soundsystem, if you need that to nudge you a bit closer. <br /><span style="font-size: medium;"><span style="font-family: arial;"></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1575076371/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://79rsgang.bandcamp.com/album/expect-the-unexpected">Expect The Unexpected by 79rs Gang</a></iframe></span></span><br /><b> </b></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><b>Allie X – <i>Cape God</i></b> (AWAL). This is a really smart, well-arranged pop record, in the realm of a more operatic Maggie Rogers. It pushes all the buttons for me that Carly Rae Jepsen should but never does. Allie X is a pop star without a radio audience of her own; she writes for BTS, Katy Perry’s a fan, and she’s been slogging it out for a while, to the point where she has more than a million streams (which is more than some Canadian acts who fill arenas). But this album is where Allie X’s classical training and craftsmanship really come to the fore. Ideally, she’d be a household name by now; in the days of Kate Bush, maybe she would have been. <br /></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yndYl6c5_zY" width="320" youtube-src-id="yndYl6c5_zY"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /><br /><b>Julianna Barwick – <i>Healing is a Miracle</i></b> (Ninja Tune). Yes, yes it is. And I listened to this album and others like it (collaborator Mary Lattimore's <i>Silver Ladders</i>) this year as a meditative balm. Even if there are times when I feel like Barwick is the new Enya, and after reading about the latter in Chilly Gonzales's <a href="http://www.chillygonzales.com/books/enya-a-treatise-on-unguilty-pleasures/" target="_blank">treatise</a> and Jenn Pelly's <a href="https://pitchfork.com/features/article/enya-is-everywhere/" target="_blank">Pitchfork appreciation</a>, I might be okay with that. </span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1770815062/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://juliannabarwick.bandcamp.com/album/healing-is-a-miracle">Healing Is A Miracle by Julianna Barwick</a></iframe> <br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br /><br /><b>Bloto – <i>Kwiatostan</i></b> (Astigmatic). Polish jazz from the end of the world. The drummer seems to be channelling drum'n'bass at times. The bassist plays Moog bass as often as he does electric. The keys are largely atmospheric and at times industrial, with the occasional vibraphone flourish or dark piano riff. The saxophonist plays tenor, alto, soprano and even that ridiculous Akai "electronic wind instrument." I know nothing else about this band other than that they sound like the Comet is Coming's creepier younger brothers. And it's awesome. </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=507090063/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://bloto.bandcamp.com/album/kwiatostan">Kwiatostan by Błoto</a></iframe> <br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br /><br /><b>Budos Band – <i>Long in the Tooth</i></b> (Daptone). Hey, remember the '70s, when there was massive political unrest, people getting shot in the street, cities were decaying, there was mass unemployment, there was a drug epidemic and institutions were breaking down? And yet people made powerful music that managed to encapsulate all that in ways both beautiful and bleak? Thank god we have the Budos Band around today. This might be their first album where no one will compare it to a '70s NYC dystopian movie soundtrack, because we're living the movie right now. At least this is a part of the soundtrack. <br /><br /></span></span></p><p><br /><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=491355999/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://thebudosband.bandcamp.com/album/long-in-the-tooth">Long in the Tooth by The Budos Band</a></iframe></span></span><b> </b></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><b>Caribou – <i>Suddenly</i></b> (Merge). I wrote <a href="https://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-longlist-2020-part-1.html">this</a> in June: Dan Snaith continues to not only improve, but to remain unique in his field. I’m hard pressed to think of another electronic artist with this breadth of material in one album, from beat-less ballads to R&B pop songs to psychedelic jazz loops to early '90s house. Less rigid than his last record, this is Snaith’s most soulful and encompassing records of his long career. <i>Suddenly</i> is like his own greatest hits collection. </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2088310273/size=large/bgcol=ffffff/linkcol=0687f5/license_id=836/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://caribouband.bandcamp.com/album/suddenly">Suddenly by Caribou</a></iframe> <br /><br /><br /><b>Jennifer Castle – <i>Monarch Season</i></b> (Idée Fixe / Paradise of Bachelors). This Toronto songwriter split for Port Stanley several years ago, and so instead of the usual all-stars surrounding her, this is a true solo record. And it's perfect: guitar, piano, harmonica, and that spine-tingling voice, all sounding like they were recorded in a rural town on the coast of Lake Erie (which they were). Remembering friends in "NYC," singing about how "butterfly days are here" in the title track, writing a paean to the moon on "I'll Never Walk Alone"—these are songs for meditative moments when life slows down to a crawl. Had any of those lately? She can even lift a phrase from a well-known Motown song—Jimmy Ruffin's "What Becomes of the Broken-Hearted?"—and make it entirely her own. <br /></span></span></p><p><br /><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3711856688/size=large/bgcol=ffffff/linkcol=0687f5/license_id=1363/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://jennifercastle.bandcamp.com/album/monarch-season">Monarch Season by Jennifer Castle</a></iframe></span></span><br /><b> </b></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><b>Brandy Clark – <i>Your Life is a Record</i></b> (Warner). Game respects game, which is why it's not remotely surprising that this Nashville songwriter got Randy Newman to drop by for a song called "We're Gonna Need a Bigger Boat." It's not even close to the best song here. Like him, she is a master of character portraits, rich with acerbic details and kiss-off one-liners. She sounds cynical at times, but that's the "hopeless" part of "hopeless romantic." This is ostensibly a country record, but any fan of great songwriting should get on board. <br /></span></span></p><p><br /><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/_cwpl-yii_w" width="320" youtube-src-id="_cwpl-yii_w"></iframe></span><br /><br /><b> </b></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><b>Alabaster DePlume – <i>To Cy & Lee: Instrumentals Vol. 1</i> </b>(International Anthem). “People have said this to me: ‘I put your music on, and it was perfect, but then you started shouting something about a pig. Can’t it just be the nice bits?'" Alabaster DePlume <a href="https://thequietus.com/articles/27926-alabaster-de-plume-interview" target="_blank">explained to The Quietus</a> about why he put out an instrumental record lifted largely from his previous four albums. I knew nothing about this oddball beforehand, so I can't really comment on his pig poetry, or how this album relates to his work in music therapy, but I do know that this is a beautiful, soothing record focused mainly around a saxophone played with maximum vibrato, which suits the eastern melodies. This isn't jazz or experimental or specific to one specific cultural reference (though there are certainly nods to Ethiopian jazz); it simply sounds like open-minded, delicate players aiming for beauty. This was essential pandemic listening for me early on. <br /></span></span></p><p><br /><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=43264658/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://intlanthem.bandcamp.com/album/to-cy-lee-instrumentals-vol-1">To Cy & Lee: Instrumentals Vol. 1 by Alabaster DePlume</a></iframe></span></span><br /><b> </b></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><b>Sarah Harmer – <i>Are You Gone</i></b> (Arts and Crafts). I wrote <a href="https://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-longlist-2020-part-2.html">this</a> back in June: The master is back. It’s been 10 years since we last heard from her, and she’ll tell you this is her best record yet. Strong words: it’s hard to top the untouchable You Were Here or I’m a Mountain. But this comeback is full of timeless gems, not the least of which is “St. Peter’s Bay.” And dammit, “New Low” is exactly the political pop song we needed in 2020; I only wish she turned up the guitars on that one in order to match the lyrical bite. Would love to hear Billy Talent take a stab at that. Can imagine Stars doing a lovely cover of "Wildlife." But can't imagine anyone but Harmer improving on the sublime "Just Get Here" or "Little Frogs" or "Take Me Out" or, or, or... ah, dammit, it's so great to hear her voice again. Her comeback might have been ill-timed from a business standpoint, but fans really needed to hear from this old friend during times like this.<br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=501810072/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://sarahharmer.bandcamp.com/album/are-you-gone">Are You Gone by Sarah Harmer</a></iframe> </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">Next: the top 20 <br /></span></span></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-22717645171833340372020-11-22T13:59:00.003-05:002020-11-22T18:27:57.564-05:002020 Top 40 pt 1: 10 of the lower 20<div><div><div><div><span style="font-size: medium;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-fCtquzaTtNM/X7q1Acel9_I/AAAAAAAAMMQ/3VvG30gBvrQkEw5hsrub9O9RCjAtdnHuQCLcBGAsYHQ/s225/wolfparade.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-fCtquzaTtNM/X7q1Acel9_I/AAAAAAAAMMQ/3VvG30gBvrQkEw5hsrub9O9RCjAtdnHuQCLcBGAsYHQ/s0/wolfparade.jpg" /></a></div><br />10 records, alphabetically, from the lower 20 of my 2020 Top 40. That make sense? <b> <br /></b></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b> </b></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Quin Kirchner – The Shadows and the Light</b> (Astral Spirits). This Chicago drummer wants to blow your mind right out of the gate, with the solo percussion piece "Shadow Intro," but it quickly becomes clear that this record is anything but an ego trip, ranging from full band freakouts to more melodic material, to songs featuring just an unaccompanied horn section, to the delicate kalimba-and-upright-bass "Pathways," to the dreamy, interstellar Sun Ra-ish journeys heard on the latter half of the record. <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><br /><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4029748509/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1847598837/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://quinkirchner.bandcamp.com/album/the-shadows-and-the-light">The Shadows and The Light by Quin Kirchner</a></iframe></span></span></span></span></div></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Mourning (a) BLKStar – The Cycle</b> (Don Giovanni). Is there a secular gospel movement afoot? Last year Damon Locks and the Black Monument Ensemble put out <i>Where Future Unfolds</i>, featuring a chorus of voices singing modern civil rights songs over jazz instrumentation and electronics, and it was fantastic. This year Cleveland's Mourning (a) BLKStar showed up with this stunner, featuring three lead singers with clear gospel skills, a robust horn section, and grooves harkening back to Massive Attack's <i>Blue Lines</i>, with organ at the forefront. "Mist :: Missed" opens with the lines, "I've been dealing with a whole lot of shit / Got my mind racing over it / Folks don't care what they say / It's like they're playing different games." Amen.</span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3166460325/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://mourningablkstar.bandcamp.com/album/the-cycle">The Cycle by Mourning [A] BLKstar</a></iframe> <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div></div><div><div><div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Owen Pallett – <i>Island</i></b> (Secret City / Domino). There's always more happening on an Owen Pallett record than first meets the eye. At first glance, I thought this was his most stripped-down record, with most songs based primarily on acoustic guitar or piano. Which is ridiculous: part of Pallett's immense talent as an arranger is the delicate detail that you're not even aware is happening. (See also: his soundtrack to the documentary <i>Spaceship Earth</i>, released this year.) Island is much more of an interior mood piece than any of his previous records, and it's a mood that landed exactly at the right moment (for listeners, anyway; it sure put a wrench in his touring plans). </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1700236834/size=large/bgcol=ffffff/linkcol=0687f5/license_id=1067/tracklist=false/artwork=small/track=3208749546/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://owenpallett.bandcamp.com/album/island">Island by Owen Pallett</a></iframe></span></span> <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">Also: video of the year?<br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b><br /></b></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/L_Tvi4v_j0M" width="320" youtube-src-id="L_Tvi4v_j0M"></iframe></div><br /><b><br /></b></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b><br /></b></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Prince Nifty – <i>We're Not in Kansas Anymore</i></b> (Bandcamp exclusive). "A soundtrack for doing nothing." Well, that's 2020 in a nutshell, ain't it? Matt Smith is a long-time collaborator of Owen Pallett's, dating back to Les Mouches, and had a hand in Lido Pimienta's excellent <i>Miss Colombia</i>. Here, in his solo alias, he opens with "Over the Rainbow," on solo acoustic guitar and sounding like he's being beamed in from Mars, and from there spends most of his time futzing with synths in what sounds like '70s sci-fi soundtracks. There are two layered vocal tracks that could accompany a Guy Maddin film, while there's also a dramatic Angelo Badalamenti cover and a beautiful acoustic original called "Imitation of Life" (def not a cover of R.E.M.'s worst single). As a whole, it doesn't make a lot of sense. But what does these days? <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><br /><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2294926825/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://princenifty.bandcamp.com/album/were-not-in-kansas-anymore">We're Not In Kansas Anymore by Prince Nifty</a></iframe></span></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Slow Leaves – <i>Shelf Life</i></b> (Birthday Cake). I wrote <a href="https://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-2020-long-list-part.html">this</a> earlier: <span style="color: black;">It’s not like critics
are stumbling over themselves in a hunt for the new Lightfoot in 2020. But hey,
FWIW, Slow Leaves is likely the new Lightfoot, or at least the most worthy
contender since Doug Paisley dropped the 2011 classic <i>Constant Companion</i>.
Davidson sings with a gentle lilt and affecting tremolo, his breezy folk rock
designed to be played on crackly vinyl or around a campfire. Davidson sounds
like a middle-aged dad, which he is, and this is an ideal midlife rainy day
record when accompanied by coffee and/or scotch. It’s not new or dark or sexy;
it’s just life.</span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: black;"> </span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: black;"> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3972789982/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://slowleaves.bandcamp.com/album/shelf-life">Shelf Life by Slow Leaves</a></iframe>
</span></span></span> </div></div></div></div><div><div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Julian Taylor – <i>The Ridge</i></b> (independent). Taylor has spent more than 20 years knocking around Toronto's music scene in two original bands (one of them eponymous), but this solo acoustic record has proven to be his breakout. Small wonder why. These are gorgeous, folk-country songs with rich production and Taylor's velvety voice. The full-band arrangements are gentle and warm; this whole record feels like a warm blanket in front of a campfire on a chilly night. It's comfort food, but it's fucking delicious. <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><br /><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=397651763/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3724107678/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://juliantaylor.bandcamp.com/album/the-ridge">The Ridge by Julian Taylor</a></iframe></span></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><span style="font-size: medium;"><span style="font-family: arial;"><b>Throat Funeral – <i>OU812212</i></b> (Bandcamp exclusive). Why, yes, all things considered, 2020 is the perfect year to debut a new noise project called Throat Funeral that sounds like a chest being eviscerated. Riff-rocker / heavy metallist / prolific podcaster Danko Jones has had this record in the can for a while, and decided to unleash it on the world now. There are guest spots from Tanya Tagaq (naturally), first-wave grunge singer Tad Doyle, and Swedish avant-garde saxophonist Jorgen Munkeby, but all other sounds here were generated in the deepest depths of Jones's chest and lungs. It's paradoxically aggressive and ambient, somehow both soothing and terrifying. It's 2020 in an audio nutshell.</span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3235956149/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://throatfuneral.bandcamp.com/album/ou812112">OU812112 by Throat Funeral</a></iframe> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Etuk Ubong – <i>Africa Today</i> </b>(Night Dreamer). This Lagos trumpeter arrives with accolades from Seun Kuti, and it's not hard to hear the connection to that family's legacy. Recorded live to disc in the Netherlands, this is a document of a band on fire; every single player is fantastic and stands out in the mix, as impossible as that seems (though the keyboardist and percussionists are essential). In a year of horrible headlines from Nigeria, this was some welcome news.</span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=960940080/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://nightdreamer.bandcamp.com/album/africa-today-night-dreamer-direct-to-disc-sessions">Africa Today - Night Dreamer Direct-To-Disc Sessions by Etuk Ubong</a></iframe> </span></span></div></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Wolf Parade – <i>Thin Mind</i></b> (Sub Pop). I've said this often in the past three years: Wolf Parade Mk 2 is infinitely superior than this band's first kick at the can. Sure, <i>Apologies to the Queen Mary</i>, which turned 15 this year, is an untouchable classic, but 2017's <i>Cry Cry Cry</i> and now this display a band hitting their stride all these years later: as songwriters, performers and singers. Underestimate them at your peril. I wrote about this <a href="https://radiofreecanuckistan.blogspot.com/2020/10/polaris-music-prize-shortlist-2020-day.html">here</a> and <a href="https://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-2020-long-list-part.html">here</a>. Oh, and for the Globe and Mail <a href="https://www.theglobeandmail.com/arts/music/article-wolf-parade-coming-up-with-their-fifth-album-thin-mind-is-somewhat/">here</a>.</span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=802679520/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1550286230/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://wolfparade.bandcamp.com/album/thin-mind">Thin Mind by Wolf Parade</a></iframe> <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Donovan Woods – <i>Without People</i></b> (Meant Well). Are you feeling lonely in a long-term relationship, possibly exacerbated by a pandemic lockdown? Then hey, have I got the bummer country-pop album for you! Ontario's deep, dark Woods is a master of economy who keeps getting better: in his melodies, in his lyrics, and here he paints some devastatingly vivid pictures on tracks like "Seeing Other People" and "Clean Slate." This record is full of earworms, and the more they get in your head, the more he's here to remind you that "lonely people wrote every song you ever loved." <br /></span></span></div></div><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/JbRcXZUcAOU" width="320" youtube-src-id="JbRcXZUcAOU"></iframe></span></span></div><span style="font-size: medium;"><span style="font-family: arial;"><br /> </span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-52416711143267434932020-11-19T20:32:00.005-05:002020-11-20T12:56:45.521-05:0020 years of the New Pornographers' Mass Romantic <p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://1.bp.blogspot.com/-jTowSpPofZY/X7cWXRKbqfI/AAAAAAAAMLA/SMej-rty3r4sfN5YNOF_3aPq6Fp7vibvQCLcBGAsYHQ/s225/massromantic.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-jTowSpPofZY/X7cWXRKbqfI/AAAAAAAAMLA/SMej-rty3r4sfN5YNOF_3aPq6Fp7vibvQCLcBGAsYHQ/s0/massromantic.jpg" /></a></span></div><span style="font-size: medium;">When history is written about the New Pornographers’ 2000 debut <i>Mass Romantic</i>, it usually revolves some incredulity: how did this happen?!<br /><br /> How did this band that wasn’t supposed to be a real band become, for the next decade and beyond, one of the leading lights of Canadian music and the broader international indie rock scene in general? How did this many talented people with parallel careers continue to be a functioning band? How did this album on a tiny Canadian indie make such an impact?<br /><br /> I don’t buy any of that. Everything about <i>Mass Romantic</i>’s success makes total sense, for one simple reason. It was too good to fail.<br /><br />This was a new band, but not new players. Most were closer to 30 than 20; the two principal architects were (gasp) over 30. There was a decade of experience, friendships and overlapping circumstances that brought that group of people together to create a pop masterpiece. Lots of things could have gone wrong along the way, and certainly afterwards. </span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">But there is an air of inevitability around <i>Mass Romantic</i>. This was a record that had to happen, and it had to happen with these people. And because it did, it ushered in a new era of possibility in Canadian music. There’s a reason that Kevin Drew, when applying for a grant very early on in Broken Social Scene’s career, described his project as “Ontario’s version of the New Pornographers.”<br /><br />The first New Pornographers rehearsal took place in 1997. Carl Newman, who worked at Scratch Records and already had two bands on the go—the arch Zumpano, signed to Sub Pop, and the grungy, bombastic Superconductor, a favourite of Guided by Voices—invited a group of friends and acquaintances to form what Western Canadians call a “fuck band,” effectively a social club that might play the occasional gig. Newman claims he had no grand designs, but take a look at who got the invite.<br /><br />Neko Case grew up in Tacoma, Washington, where she played drums and sang in a band called the Propanes. She was such a local light in the scene, known for go-go dancing at other band’s gigs, that local Sub Pop band Girl Trouble wrote a song about her called “Neko Loves Rock’n’Roll.” Tacoma was a popular destination for Vancouver punk bands, which is how she met Dave Carswell of the Smugglers. She moved to Vancouver in the early 90s to go to art school, temporarily joining Cub as a touring drummer. She then co-founded a punk band called Maow, who recorded early demos with Carswell and John Collins.<br /><br />Collins played in the Evaporators, a long-running band fronted by Nardwuar the Human Serviette (at that point still primarily a CITR DJ, with little profile outside Vancouver). He also subbed in with Superconductor on occasion. He and Carswell were working on the second record by Dan Bejar, who called himself Destroyer. Both Collins and Bejar were also at that first New Pornographers rehearsal, along with keyboardist Blaine Thurier, a close friend of Newman’s, and drummer Fisher Rose, a friend of Bejar’s. <br /><br />Their first gig was at a vintage clothing store, the Good Jacket. A few other gigs followed over the course of the next year, and a four-song demo was cut, with two songs by Bejar and two by Newman: “Execution Day,” “Breaking the Law,” “Mystery Hours” and something called “Letter From an Occupant.” The demo was sent to Sub Pop, who ignored it. It was sent to Matador, who rejected it (though A&R rep Nils Bernstein was a big fan). Then “Letter From an Occupant” was selected to be on a compilation put out by Mint Records in April 2000, curated by the Good Jacket, called <i>Vancouver Special</i>. (The album also featured an early version of Black Mountain, called Jerk With a Bomb, and an early version of the Organ, called Full Sketch.) The comp got a lot of attention from campus radio, but the New Pornographers track was far and away the standout. </span></span><br /></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XBAUQaj6EJo" width="320" youtube-src-id="XBAUQaj6EJo"></iframe></span></div><span style="font-size: medium;"><span style="font-family: arial;"><p><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></p>An opening one-note guitar riff doesn’t necessarily sound promising, until Case starts singing and the drums drop out to just a four-on-the-floor bass drum and fills. The chord progression follows a classic '50s pop pattern of I-VI-IV (the same pattern as Arcade Fire’s “Wake Up,” incidentally, although totally different rhythm and feel). The melody is instantly catchy, and Case’s delivery—Newman instructed her to “sing like a robot,” with Shocking Blue’s Mariska Veres as a reference point—is instantly compelling. Then the pre-chorus hits (hanging on just the IV and V), Case holds longer notes, and the song opens up wide. The chorus itself is wordless, impossibly high ooos sung by Newman, an insanely catchy hook in a song already full of them. </span></span><p></p><span style="font-size: medium;"><span style="font-family: arial;"><br />But wait! There’s more. The punchy first bridge finds Case hollering, “<i>WHERE HAVE ALL SENSATIONS GONE?</i>” followed by Beach Boys in a blender, unintelligible male vocals muttering about something or another, perhaps cowering in the presence of Case. Then another chorus and a monstrous second bridge, a cacophony of collapsing drums, and what sounds like an insect crawling over the strings of the lead guitar part, while Neko repeats “<i>the song, the song, the song has shaken me</i>” like a mantra. It sure as fuck has. <br /><br />But what the hell is this song about? What is a “letter from an occupant”? Why will “the eventual downfall” be “a bill from a restaurant”? Is this all just a shower of “yeahs” and “whatevers”? These questions dogged me for years, as I attempted, poorly, to sing this song at the top of my lungs. Not only do I not have the range (uh, who does?) but the album had no lyric sheet and I sure as hell couldn’t figure them out apart from random phrases. Turns out some of the actual lyrics are: “The tune you'll be humming forever / All the words are replaced and wrong.” Huh.<br /><br />The title phrase (“ ‘For the love of God,’ you said, ‘not a letter from an occupant’ ”) is paraphrased from something Newman heard a landlord say once. There is definitely a power dynamic at play, the lyrics a litany of disappointments: “What the hell have the 70s brought me?” “Where have all sensations gone?” “I’ve cried five rivers on the way here / which one will you skate away on?” That last one is a brilliant twist on a line from Joni Mitchell’s <i>Blue</i>, which makes me think the whole song is a jaded GenXer’s complaint to a bewildered Boomer landlord who fails to grasp the reality of economic anxiety. Or something.<br /><br />The lyrics were beside the point, though: with a melody like that, with a vocal performance like that, with a band performance like that, with production like that--does it matter what the song is about? Countless examples from pop music history would suggest it doesn’t. <br /><br />Obviously intrigued by that one song, Mint Records asked for more material, and the rest of <i>Mass Romantic</i> was the result. Recorded by Collins and Carswell, and with drummer Kurt Dahle replacing a missing Fisher, the album was released seven months after <i>Vancouver Special</i>. </span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">Newman has often said that he felt immense pressure to live up to not just the single, but to other work by people in his own band. In February 2000, Neko Case released her second solo album, <i>Furnace Room Lullaby</i>, featuring an all-star cast of Canadian indie rockers and alt-country players, not to mention amazing songs and, of course, the arrival of a major vocalist and serious artist. A few months later, Destroyer put out <i>Thief</i>, a record that was leaps and bounds ahead of anything Bejar had done before, and he too was getting noticed in international underground circles. Newman knew he had to make a record at least as good as those two. By that November, he had. <br /><br /><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/WtZDxzlGbN4" width="320" youtube-src-id="WtZDxzlGbN4"></iframe><br /><br />If there was any concern about living up to “Letter From an Occupant,” the opening title track put that to rest. It opens with a descending riff played on a tinny keyboard and slashing guitar chords, set to a clipped shuffle. Once again, Neko takes the lead, with multiple harmonies joining her at the end of each line. The bridge has intricately layered Beach Boys harmonies (no blender this time) for eight glorious bars, reappearing again before the coda (again, no shortage of hooks here), which has a different descending riff while first Newman and then a chorus of voices sing about “this boy’s life among the electrical lights.” With that, you can hear floodlights being turned on, the music nerd universe’s attention suddenly directed toward this ragtag group of Vancouverites who, after a decade in the trenches, are more than ready for prime time.<br /><br />There was no shortage of ambition. During recording, there were two key reference points: one was Neutral Milk Hotel’s <i>In the Aeroplane Over the Sea</i>; the other was the dense pop symphonic concoctions of ABBA. Everything needed to be over the top. So much of <i>Mass Romantic</i> sounds like pent-up teenage energy, of people who’ve been waiting in the wings for too long and finally get a chance to shine. Maybe they were nerds too smart for their own good, maybe they were weirdos never accepted by cool kids, maybe they were not only Canadians (which no one in the world cares about) but Western Canadians (which no one east of Thunder Bay cares about) and goddammit, they were going to set off fireworks that could be seen far beyond Rocky Mountains and national borders. <br /><br />And so the music here demands to be played loud, full of big riffs, fuzzy guitars, layered harmonies, piano parts that never miss a chance to glissando, ugly synths that sound like creaking doors, galloping drums, saxophones (anathema in the zeitgeist at the time) and choruses revolving around phrases like “salvation holdout central.” Then there’s “Mystery Hours,” a song of constant bluster, where the verse chord progression sounds like trying to maintain balance during a log rolling competition, until the chorus repeatedly pummels you over the head while Newman threatens to sing way out of his range and yet gets there every time.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><br /></span></div><span style="font-size: medium;"><br /></span><br /><p></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/NfgJ0SX0XA0" width="320" youtube-src-id="NfgJ0SX0XA0"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br /> That song is followed by Bejar’s “Jackie,” a respite at a slower tempo, featuring these incredible opening lines: “Jackie, you yourself said it best when you said / ‘There's been a break in the continuum / the United States used to be lots of fun...’ " To hear that line in a pop song in the same month that a contested presidential election was galvanizing America was a weird, seemingly prescient thrill at the time (Haha, end of empire! Take that, exceptionalists!)—except that it can now be argued that the outcome of that (actually stolen?) election started a 20-year-old march toward what now looks like a looming civil war. A break in the continuum, indeed. Oh yeah, and there are also songs on here titled “Fake Headlines” and “Centre for Holy Wars.” So there’s that. Does hope still grow “greener than grass stains” these days? I don’t know, I mean, grass stains are usually more dirt brown than green anyway. I digress. <br /><br />The album was a hit right out of the gate, exceeding any expectations in terms of sales and press. Someone told Newman after a gig at a Manhattan club that, “Canada is cool now. Because of you guys and Peaches.” It was picked up by Matador in 2001. More great albums followed. They toured the world. <br /><br />Part of the initial appeal to international media was patronizing, to say the least: “How did a band this good come from Canada?” (It’s not our fault you didn’t pay attention, you Canuckophobic fuckers!) When it came out in November 2000, <i>Mass Romantic</i> ended a year that also brought us <a href="http://radiofreecanuckistan.blogspot.com/2020/07/20-years-of-weakerthans-left-and-leaving.html" target="_blank">the Weakerthans’ <i>Left and Leaving</i></a>, the Dears’ <i>End of a Hollywood Bedtime Story</i>, the Be Good Tanyas’ <i>Blue Horse</i>, Kid Koala’s <i>Carpal Tunnel Syndrome</i>, Godspeed You Black Emperor’s <i>Lift Your Skinny Fists</i>, Tegan and Sara’s <i>This Business of Art</i>: lots of wheels in motion there for the explosion that followed shortly thereafter. </span></span><span style="font-size: medium;"><span style="font-family: arial;">(Yes, I'm writing a book, about this and more.) </span></span></p><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">One could easily argue that there is no Broken Social Scene or Arcade Fire without <i>Mass Romantic</i>, made by the first-ever Canadian band to erroneously be called either a "collective" or a "supergroup," a trend that plagued others in their wake. The question was no longer, “How did this come from Canada?” It became, “How come there are so many great Canadian acts right now?” <br /><br /></span></span><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;">The band is still going
strong today, even though Case and Bejar are now only tangentially
involved in touring. (Bejar actually quit right after <i>Mass Romantic</i>
came out, though he showed up for the occasional gig and continued to
contribute a couple of songs per album until 2014. Todd Francey joined in 2000; Kathryn Calder in 2005; Dahle left a few years ago, replaced by Joe Seiders. Auxiliary players have come and gone.) Their 2019 album was
one of their best (and, sadly, highly underrated). The New
Pornographers’ story is far from over.</span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">There were loose plans to celebrate the anniversary with some shows in 2020. <i>Even Bejar was in</i>. Then, of course, suddenly no one had any plans at all. All we can do now is turn it up, annoy the neighbours, do some air drumming, sing really terribly, and hail the New Pornography that got us here. <br /><br />The songs are still shaking me.</span></span><br /></p><br />mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-19505664141953958022020-11-18T16:58:00.002-05:002020-11-18T17:04:13.301-05:002020 odds 'n' sods<p><span style="font-size: medium;"><span style="font-family: arial;">Before posting my top 40 of 2020, here are 10 other records I enjoyed this year that deserve to be in the time capsule: mostly either by promising newbies or vets who continue to surprise. <br /></span></span></p><div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Destroyer – <i>Have We Met</i></b> (Merge). Come for John Collins's impeccable and interesting production, which is an '80s throwback that improves considerably on the original era. Stay, if you like, for Dan Bejar, who's more miss than hit this time out; some of his weaker lyrical moments prevent me from loving this more than I do, because musically it's one of his strongest. <br /></span></span></div></div><div><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><div><br /><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1920339613/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://destroyer.bandcamp.com/album/have-we-met">Have We Met by Destroyer</a></iframe></span></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>DijahSB – <i>2020 The Album</i></b> (independent). "It's time for me to become a household name," this Toronto rapper <a data-saferedirecturl="https://www.google.com/url?q=https://www.dailyxtra.com/non-binary-indie-rapper-dijahsb-181954&source=gmail&ust=1605754154396000&usg=AOvVaw1R6v6iAbOUfRlCVpxSy0bE" href="https://www.dailyxtra.com/non-binary-indie-rapper-dijahsb-181954" target="_blank">told Xtra</a> recently. Why not? This is a bright, bold, funky record with serious flow, an album made for the dancefloor that never falls into trap. Musical positivity abounds, even when the lyrics are brutally honest about the chronic pitfalls of poverty ("I'll Pay You Back on Friday," "Broke Boi Anthem." </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2686373573/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4248139100/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://dijahsb.bandcamp.com/album/2020-the-album">2020 the Album by DijahSB</a></iframe></span></span> <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Dana Gavanski – <i>Yesterday Is Gone</i></b> (Flemish Eye). Here's what I <a href="http://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-longlist-2020-part-2.html">wrote earlier this year</a>: <span style="color: black;">No wonder this odd
little record is so fascinating: it was born in Vancouver, Montreal, the
Laurentians, Banff, Toronto, and Serbia. Gavanski packs a lot of work,
discipline and experience into her debut album, which fits into a lineage that
spans Nico to Aldous Harding (and FWIW I’m not a fan of the latter). It’s
unassuming at first, with subtle arrangements and Gavanski’s deadpan voice
somewhat off-putting. But the intimacy and delicacy of the instrumentation
ultimately draw you in; every tiny production decision here is very particular
and deliberate, creating a world you want to inhabit on a lazy afternoon. Fans
of Jennifer Castle should be paying attention. </span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: black;"> </span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: black;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="color: black;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3491658076/size=large/bgcol=ffffff/linkcol=0687f5/license_id=858/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://danagavanskifth.bandcamp.com/album/yesterday-is-gone">Yesterday Is Gone by Dana Gavanski</a></iframe></span></span></span> <br /></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Magnetic Fields – <i>Quickies</i> </b>(Nonesuch). With 28 songs in 47 minutes, there's not much time to dislike anything here—though there are definitely a few duds—and Stephin Merritt is up to many of his best tricks. Who else could spin a relationship metaphor from "Kraftwerk in a Blackout"? And I'm kind of surprised that "The Day the Politicians Died" ("billions laughed and no one cried... celebrations spread worldwide") didn't get more play in this hellish year.</span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1100060743/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=715354173/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://themagneticfields.bandcamp.com/album/quickies">Quickies by The Magnetic Fields</a></iframe> <br /></span></span></div><div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Jon McKiel – <i>Bobby Joe Hope</i></b> (You've Changed). If this record sounds like a long-lost '60s pop gem, that's because it kind of is. McKiel lives in Sackville, N.B., where he bought an old analogue reel-to-reel tape recorder from an online seller. The recorder came with some tapes. On one of those tapes were isolated tracks: instruments, vocals, and even one complete song. McKiel took the tracks to Jay Crocker, a.k.a. Joyfultalk, and chopped them up into pieces from which McKiel then wrote his own songs, collaborating with an artist he never met and never will. The result is hazy, psych-folk pop rich with mystery.</span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=374638776/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2661408420/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://youvechangedrecords.bandcamp.com/album/bobby-joe-hope">Bobby Joe Hope by Jon Mckiel</a></iframe> <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Terrell Morris – <i>Lavender</i></b> (Blakk Velvet Arts). Multi-dimensional Toronto R&B/hip-hop, silky singing voice,
decent rapper, but most important a breadth of styles heard over the
course of this album. Opening track "Winterfall" ("Fuck I hate the
winter / damn I love the fall" speaks to me) spends half its running
time with Morris accompanied by only a solo alto saxophone. The more
contemporary "Roxy" features a video co-starring 2019 longlister
Sydanie. "Play the Fool," primarily a solo acoustic guitar track, puts
him in Bahamas/Kiwanuka territory. "Got the Love" is a Kaytranada-esque
pop song. "Renaissance" is in super-smooth Sade territory. Fans of fellow Torontonians Junia T, Keita Juma, Charlotte Day Wilson, Daniel Caesar et al should be tuning in. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/wl-RempEFzM" width="320" youtube-src-id="wl-RempEFzM"></iframe></div><br /> </span></span></div></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Sneaks – <i>Happy Birthday</i> </b>(Merge). "Tell me, do you want to go out tonight?" HELL YES O GOD PLEASE MAKE THIS LOCKDOWN END. (Safely and scientifically, of course.) Sitting somewhere between early Solange and Le Tigre with some 80s Detroit techno in the mix, this DC artist's fourth album ("I'm not overrated / I'm not underrated / I'm just slightly sophisticated") would have sounded great after last call at your local, but in 2020 it became a soundtrack to driving around desolate streets late at night remembering what was. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><div><br /><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=131850856/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3418338448/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://sneaks.bandcamp.com/album/happy-birthday">Happy Birthday by Sneaks</a></iframe></span></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><div><div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Charles Spearin and Josefin Rusteen – <i>Thank God the Plague is Over</i></b> (Arts and Crafts). So, yeah, about that title: this was recorded in a 16th-century chapel in a tiny Italian town ravished by the Black Plague, and the titular phrase was 400-year-old graffiti on the wall. Spearin (Broken Social Scene, Do Make Say Think) and Rusteen (a Swedish violinist who's played with Ane Brun) improvised in this chapel every day during an artist's retreat set up by Feist, on nyckelharpa and violin. There are ghosts in this music, and two strangers who don't speak the same language found common ground among them. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2011944617/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://charlesspearinandjosefinrunsteen.bandcamp.com/album/thank-god-the-plague-is-over">Thank God The Plague is Over by Charles Spearin and Josefin Runsteen</a></iframe></span></span> <br /></span></span></div></div></div></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b><br /></b></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Tricky – <i>Fall to Pieces</i></b> (False Idols). I only check in on Tricky every few years, but the success of Backxwash (with whom I'd love to hear a collaboration), the continued influence of Billie Eilish, and other elements in the zeitgeist made me realize how much we still hear 1995's <i>Maxinquaye</i> every day, in different ways. What I hadn't realized is that he lost his 24-year-old daughter in 2019, and wrote a memoir about his tumultuous life later that year. This new record is very much a 21st century blues album, particularly the raw "Hate This Pain." Most of it is sparse, lovely, and features Polish vocalist Marta. It's his 14th album. I don't claim to be intimate with every minute detail of his discography, but I'd hazard a guess that this is one of the best. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yAEiIF5parQ" width="320" youtube-src-id="yAEiIF5parQ"></iframe></div><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>William Tyler – <i>New Vanitas</i> </b>(Merge). I'm not going to the U.S. anytime soon. I'm not going anywhere soon, for that matter, except the furthest reaches of my imagination. For those journeys, Nashville guitarist William Tyler makes great driving music. It's vivid and meditative music, but always seems to be in motion, full of changing landscapes and small details spotted at the side of the road. And whereas someone like Julianna Barwick--whose music served a similar function for me this year--seems to reside in fantastical places, Tyler sounds rooted in the natural world, or at the very least in the quotidian corners of your neighbourhood you never noticed before you were forced to explore them when the world collapsed around you. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1628135241/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://williamtyler.bandcamp.com/album/new-vanitas">New Vanitas by William Tyler</a></iframe></span></span> </span></span></div><div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div></div>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-20656195554855847642020-11-18T10:09:00.001-05:002020-11-18T13:06:07.935-05:002020 best reissue: Beverly Glenn-Copeland<p><span style="font-size: medium;"><span style="font-family: arial;"></span></span><span style="font-size: medium;"><span style="font-family: arial;"><b></b></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><b><a href="https://1.bp.blogspot.com/-YS-6L_pJmNU/X7U0UZWp5mI/AAAAAAAAMKI/7mtXwCoJ2dcshsQm3-ucbVx7ZakHXS4cgCLcBGAsYHQ/s700/bgc.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-YS-6L_pJmNU/X7U0UZWp5mI/AAAAAAAAMKI/7mtXwCoJ2dcshsQm3-ucbVx7ZakHXS4cgCLcBGAsYHQ/s320/bgc.jpg" /></a></b></span></span></div><span style="font-size: medium;"><span style="font-family: arial;"><b>Beverly Glenn-Copeland – Transmissions </b>(Transgressions).</span></span><span style="font-size: medium;"><span style="font-family: arial;"></span></span><p></p><div><div><span style="font-size: medium;"><span style="font-family: arial;">Is it a comeback story if no one knew who you were? Are you a late bloomer if you've been performing for 50 years? No, the incredible story of Beverly Glenn-Copeland is one of a new generation's discovery of the right artist at the right time and place. <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">Here's the short version of the story: a Philadelphia woman attends McGill as one of the first black students and certainly one of the only out lesbians there at the time, records two self-titled albums: one for the CBC in 1970 and one the next year with some of the top players in Canada, including guitarist Lenny Breau, and recorded by future Rush producer Terry Brown. Does some session work, including with Bruce Cockburn in 1980-81 (among other things, on the phenomenal "Tokyo," one of the greatest singles by Cockburn—or anyone), and lands a 25-year gig on <i>Mr. Dressup</i>. Moves to the woods near Huntsville, Ontario, in the 1980s, discovers early computer music software and releases <i>Keyboard Fantasies</i> in 1986, selling only 50 copies on cassette. Lived a life of obscurity for decades, identified as trans in 2002, and through a weird fluke and Japanese interest in <i>Keyboard Fantasies</i>, ended up becoming a minor underground sensation in the late 2010s, sparking a documentary, tributes, and international gigs and press. That all leads to this career-spanning compilation. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">Among others, a really lovely long-form profile ran in the <a href="https://newrepublic.com/article/159457/world-finally-ready-beverly-glenn-copeland" target="_blank">New Republic</a>. <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">Before Copeland's renaissance, I was aware of the name, if only because I'm the kind of nerd who reads Bruce Cockburn liner notes. I inherited a bunch of '70s vinyl years ago from a family friend, which included Copeland's second album. It didn't do anything for me when I got it, nor when I revisited it over the years: it's lovely but very earnest folk-jazz that I pegged as a post-Yorkville curiosity. Likewise, when Keyboard Fantasies was first re-released, I listened and heard only the kind of '80s new age that seemed oddly in vogue with people 20 years younger than me, and I was mystified. For all I knew, which was not much, this story could be the new "Lewis"—and if you know that somewhat regrettable obscure Canadian reference, more power to you. As Copeland's profile increased, I didn't pay much attention. <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">This brief yet comprehensive compilation, however, is a game-changer, and the strongest testament yet as to why Copeland deserves to be heard. First, is the voice: rich with operatic gospel tones, seemingly effortless and never show-offy. It's such a beautiful and warm instrument. With that comes a sheer force of personality that carries the listener through those Joni-esque early folk recordings to the lilting '80s synth lullabies of "Ever New" to the trip-hop of opening track "La Vita" to more recent recordings, including a rousing singalong version of "Deep River" recorded in the Netherlands. <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b><br /></b></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">That's why this compilation works so well: by spanning such a broad stretch of time, the track list's musical diversity reveals a complete portrait of a complex artist. Whereas certain albums sound dated as a whole, individual tracks illuminate steps in a journey (and I now love the two tracks here from <i>Keyboard Fantasies</i>). Without this curatorial vision, would I ever have become enraptured by the world of Beverly Glenn-Copeland? Possibly, if I had the chance to see him perform live, or finally got around to watching the doc (which I haven't yet). But this comp is revelatory and endlessly rewarding. <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><br /><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4246895836/size=large/bgcol=ffffff/linkcol=0687f5/license_id=1181/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://beverlyglenn-copeland.bandcamp.com/album/transmissions-the-music-of-beverly-glenn-copeland-2">Transmissions: The Music of Beverly Glenn-Copeland by Beverly Glenn-Copeland</a></iframe></span></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">This week, the <a href="https://polarismusicprize.ca/heritage-prize/all-winners/" target="_blank">Polaris Heritage Music Prize</a> inducted three records: Buffy Sainte-Marie's <i>It's My Way</i>, Main Source's <i>Breaking Atoms</i>—both selected by a jury of critics—and <i>Keyboard Fantasies</i>, which won the public vote. All three choices seem rooted in a deliberate attempt to broaden the Canadian canon, which thrills me to no end (I say this having been a founding juror in 2015, when I considered it part of the mandate). But I'm always skeptical of public votes on prizes, because it's all too easy for an artist's fan base to vote early and vote often, so depending on the rabidity of the fan base (Rush) and the hustle chutzpah of the artist (Peaches), it can be relatively easy to win (not that either of those two didn't deserve it; they did). <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">But how the hell did Beverly Glenn-Copeland win the public vote? There's no marketing machine there. It's not a nostalgic favourite; the album only became widely available relatively recently—an album, I'll remind you, that only sold 50 copies the first time around. And finally, two years ago the number of people who knew his name probably numbered in the low hundreds. From total obscurity to winning a public vote previously won by Neil Young, Arcade Fire and Alanis Morrisette—that's quite a leap. <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">It says a lot that this music, this man, strikes such a chord right here, right now, with healing music in a world of pain. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7XUi5URT6a0" width="320" youtube-src-id="7XUi5URT6a0"></iframe></div><br /><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b><br /></b></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Runners-up for best 2020 reissue:<br /></b></span></span></div><div><div><span style="font-size: medium;"><span style="font-family: arial;"><b><br /></b></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Prince – <i>Sign O the Times</i></b> (Warner). I mean, <i>come on</i>. On the one hand, it presents a good argument for record company interference: the 1987 double album is flawless; a triple album would not have been. But the "fat" sure is fascinating, even if we've already heard the best tracks trickle out over the years (and the mythical Miles Davis collab is not one of them).<br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Pylon – <i>Box</i></b> (New West). I'm not a big enough fan that the B-sides and early demos mean a lot to me, but the fact that the first two records, from 1980 and 1981—the missing link between the B-52s and R.E.M. in the lore of Athens, Ga.—are once again widely available is thrilling enough. The band that once blew away Gang of Four and turned down a tour with early U2 can now once again prove what all the fuss was about. Still pinching myself over the fact that I got to see the Pylon Re-Enactment Society perform at a street festival in Athens last year, a teenage dream come true. Only question: where is 1990's <i>Chain</i>, the record they made after R.E.M. lured them out of retirement?<br /></span></span></div></div></div>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-62124058088183656952020-11-17T13:20:00.005-05:002020-11-18T08:23:19.344-05:002020 vision on 2019's missing greats<div><div><span style="font-size: medium;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-I29_WV3tmzU/X7QT7WnUTLI/AAAAAAAAMJ4/7E96l_-2o0UtHCZ0ZH4H0fM_E5CwRRnrwCLcBGAsYHQ/s700/bonenfant.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-I29_WV3tmzU/X7QT7WnUTLI/AAAAAAAAMJ4/7E96l_-2o0UtHCZ0ZH4H0fM_E5CwRRnrwCLcBGAsYHQ/s320/bonenfant.jpg" /></a></div>Every year there are tons of records I miss, only to discover later—usually through the help of reading other people's year-end lists, or various wormholes I find myself falling into. Now that I'm no longer writing a weekly review column, that list is larger than usual. Here's 10 records that I wasn't aware of, or that hadn't sunk in, when I wrote my 2019 best-of, which <a href="http://radiofreecanuckistan.blogspot.com/2019/12/best-of-2019.html" target="_blank">you can read here</a>. Best of 2020 coming soon.</span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/playlist/09QLTyEfzm33RFFTkITCvt" width="300"></iframe> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Bon Enfant – s/t.</b> In the shittiest year imaginable, this French-Canadian slice of psych-pop brought rays of sunshine and escapism. A windows-open, first-day-of-spring classic. This list is in alphabetical order, but Bon Enfant would be at the top even if it wasn't. I've written about it <a href="http://radiofreecanuckistan.blogspot.com/2020/10/2020-polaris-music-prize-shortlist-day_17.html" target="_blank">here</a> and <a href="http://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-longlist-2020-part-1.html" target="_blank">here</a>. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2584623892/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://bonenfant.bandcamp.com/album/bon-enfant">Bon Enfant by Bon Enfant</a></iframe></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Kaytranada – <i>Bubba</i></b> (RCA). This came out in mid-December 2019, after most year-end lists were published. Why such a summer dance record would come out in December is a mystery to me, but it didn't seem to affect this Montreal DJ's upward trajectory. I wrote about it <a href="http://radiofreecanuckistan.blogspot.com/2020/10/2020-polaris-music-prize-shortlist-day_16.html" target="_blank">here</a> and <a href="http://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-2020-longlist-part-3.html" target="_blank">here</a>. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/02KzxLGcNJg" width="320" youtube-src-id="02KzxLGcNJg"></iframe></span></span></div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><br /><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Lankum – <i>The Livelong Day</i></b> (Rough Trade). A traditional Irish band from Dublin who approach their material like a Gaelic Godspeed, full of drones and tension and explosions. Some incredible interpretations of traditional songs ("Katie Cruel") alongside originals ("Young People," about a suicide epidemic). This is music for life during wartime. Or, say, a pandemic. "<span>I've been a wild rover for many's a year</span><span> / And I've spent half me money drinking strong ale and beer / </span><span>But now for the future I must take better care / In case that misfortune might come to my share." So stay at home and drone the fuck out with Lankum instead. </span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><span> </span></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><span><span><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2732722445/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lankum.bandcamp.com/album/the-livelong-day">The Livelong Day by Lankum</a></iframe></span> </span></span></span></div><div><div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">Also: holy cow, this video.</span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5rukIHD7rNY" width="320" youtube-src-id="5rukIHD7rNY"></iframe></span></span></div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Lightning Dust – <i>Spectre</i></b> (Western Vinyl). Fifteen years after Josh Wells and Amber Webber were a huge part of Black Mountain's debut album, their own project put out what might be the best record they've ever been involved in. I don't know why I first heard it and thought merely, "Oh, that's nice." The more I dove in, the more I fell in love—especially during isolation times. I wrote about it <a href="http://radiofreecanuckistan.blogspot.com/2020/10/polaris-music-prize-shortlist-2020-day.html" target="_blank">here</a> and <a href="http://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-2020-longlist-part-3.html" target="_blank">here</a>.</span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div></div><div><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2289886250/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lightningdust.bandcamp.com/album/spectre">Spectre by Lightning Dust</a></iframe> <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Little Scream – <i>Speed Queen</i></b>. This took a while to sink in, but when it did—after seeing her live show at the Wavelength anniversary—I couldn't stop listening to it. I've written about it <a href="http://radiofreecanuckistan.blogspot.com/2020/10/2020-polaris-music-prize-shortlist-day_14.html" target="_blank">here</a> and <a href="http://radiofreecanuckistan.blogspot.com/2020/06/my-personal-polaris-2020-longlist-part-3.html" target="_blank">here</a>. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4264682697/size=large/bgcol=ffffff/linkcol=0687f5/license_id=665/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://littlescream.bandcamp.com/album/speed-queen">Speed Queen by Little Scream</a></iframe> <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Little Simz – <i>Grey Area</i></b>
(Age 101). A fantastic rap record by this 26-year-old London woman,
moving through rock, reggae, funk, disco and even orchestral flourishes
("Venom"). She slays on the mic, with charisma not unlike Haviah Mighty,
but it's the music here that really gets me: sparse, lots of live
instrumentation, and thriving on raw energy. I'll admit that most UK rap
is a mystery to me, with rare exceptions, but this transcends many
barriers. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/iOjyGr01VZ4" width="320" youtube-src-id="iOjyGr01VZ4"></iframe></span></span></div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span><div><span style="font-size: medium;"><span style="font-family: arial;"><br /><br /></span></span></div><span style="font-size: medium;"><span style="font-family: arial;"><b>Mdou Moctar – <i>Ilana: The Creator</i></b> (Sahel Sounds). I've never been a blues guy, never need to hear a rock guitar god record again in my life, and if I ever crave electric desert blues I'm happy to cling to Tinariwen's 2017 album <i>Elwan</i>. But hoooooollllly shit, I was not prepared for Mdou Moctor, to whose game I'm coming to quite late, despite that <i>Purple Rain</i>-remade-in-the-Sahara shtick from five years ago. This record is fiery and entrancing and a total trip. He was on tour and due to appear in Toronto in March, with Les Filles de Illighadad, no less, when the shutdown hit—dammit! A new record on Matador is expected next year. <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3681570634/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://mdoumoctar.bandcamp.com/album/ilana-the-creator">Ilana: The Creator by Mdou Moctar</a></iframe> <br /></span></span></div></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Junius Paul – <i>Ism</i></b> (International Anthem). This Chicago jazz bassist appeared on Makaya McCraven's 2018 album <i>Universal Beings</i>, and this late 2019 debut solo outing compiles recordings made with others dating back years. He's a monstrous bassist surrounded by equally killer players, and this double album shifts between funk, bop and abstractions, sometimes all in one track ("Paris"). Lots of bang for one bass. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1246905825/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3069796939/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://intlanthem.bandcamp.com/album/ism">Ism by Junius Paul</a></iframe> <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><span style="font-size: medium;"><span style="font-family: arial;"><b>Wilco – <i>Ode to Joy</i></b> (dBpm). I haven't followed everything Jeff Tweedy and company have done in the last decade—Tweedy interests me more as a producer than as a songwriter these days—but his excellent memoir sent me back to this one repeatedly. Yes, it's a largely acoustic, middle-aged band record riding a bit of an endless bummer, but hey, that's where I'm at. </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1703655619/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2921043790/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://wilcohq.bandcamp.com/album/ode-to-joy">Ode to Joy by Wilco</a></iframe> <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><b>Yola – <i>Walk Through Fire</i></b> (Nonesuch). This was almost a year old (released in Feb 2019) by the time I heard it and was completely blown away. I mean, just the first song ("Faraway Look"), on the first verse and the transition to the first chorus on is such revelatory ecstasy that it's hard to imagine the rest of the album matching it. And yet she pulls it off, again and again. Yola is a British soul singer, with a huge voice, recording in Nashville with Dan Auerbach, who gives her a lush 70s country-pop sound that matches her songs and skills to perfection. These songs are so good and timeless that I can't believe they're not all covers. And "Ride Out to the Country" became a personal fave at a time in 2020 when no one was allowed to do so. <br /></span></span></div></div><div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></div><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/jWTwuQ3LeH4" width="320" youtube-src-id="jWTwuQ3LeH4"></iframe></span></span></div><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span><p></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-68353445790741084542020-11-17T10:54:00.001-05:002020-11-17T10:56:25.427-05:002020 old friends: Regina Gently, Minotaurs, Ropes<p><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://1.bp.blogspot.com/-KZZIHQq0KAs/X7Pynr60FPI/AAAAAAAAMJo/i_XGEehCD6osvwMueqtb5AYqYT3Nx_CygCLcBGAsYHQ/s700/regina.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-KZZIHQq0KAs/X7Pynr60FPI/AAAAAAAAMJo/i_XGEehCD6osvwMueqtb5AYqYT3Nx_CygCLcBGAsYHQ/s320/regina.jpg" /></a></span></div><span style="font-family: arial;"><br /><span style="font-size: medium;">Some lovely old friends put out lovely records in the not-so-lovely 2020, and flew under the radar. They each warm my heard for very different reasons.<br /></span></span><p></p><div><span style="font-family: arial;"><span style="font-size: medium;"><b>Regina Gently – Don't Wait To Love Me</b> (Cadence). Gentleman Reg is known to Canadian audiences for being the Zelig of the early 2000s indie boom for his role in Three Gut Records, Hidden Cameras, Broken Social Scene and familiar opening act for Sarah Harmer, Stars, and many others. He reinvented himself as drag performer Regina Gently in the 2010s, with a project called Light Fires, which can now be seen as growing pains that led to this fully formed electro-disco tour-de-force. He's always had a way with a great pop hook ("Good people / fucked over / again"), and here he has the production skills of Matt and Mark Thibodeau, whose vintage analog synths give this music a muscle that demands they be heard on big speakers, in DJ sets alongside early '90s house-influenced pop classics. Closing track "Do I Have To Do Everything My Fucking Self?" is a spoken-word piece lifted from Regina's one-woman drag show of the same name. The time for modest moves is over. All hail the new queen. </span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2800183800/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://reginagently.bandcamp.com/album/dont-wait-to-love-me">Don't Wait To Love Me by Regina Gently</a></iframe> </span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><b>Minotaurs – Higher Power</b> (Maxilicious). Speaking of early 2000s MVPs, Nathan Lawr spent time in Royal City, King Cobb Steelie, Feist, Fembots, Constantines and more while also putting out a series of solid solo records. His Minotaurs project focuses on his love of Afrobeat filtered through psychedelic modern funk, as filtered through someone schooled in straight-up folk-rock songwriting. Lawr and his guest singers (Jessy Bell Smith, Steph Yates, Misha Bower) are hardly slouches, but it's the band performances and production that are the real wow factors here: this record sparkles with life, with a big, bold brass section, colourful keys, great guitar tones, and of course a killer rhythm section. Recorded live off the floor, with energy that's evident on every listen.</span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=608523498/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://minotaursband.bandcamp.com/album/higher-power">Higher Power by Minotaurs</a></iframe> </span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><b>The Ropes – s/t (</b>Wolfe Island Records). Hugh Christopher Brown and bassist Jason Mercer have played together, on and off, since high school when they co-founded the Bourbon Tabernacle Choir. They're now neighbours on Wolfe Island, outside Kingston, and formed a piano-based trio with drummer Pete Bowers, and featuring Brown's consistent primary musical partner through the ages, Kate Fenner, on many tracks. As a huge fan, I've long been waiting for Brown--normally heard on clavinet, organ or guitar--to turn to the piano for more than a song or two per album, and this doesn't disappoint. There's a rich, 70s Van Morrison feel to much of this, which feels a lot better than listening to Mr. Lockdown lately. At least half these songs rank with the best Brown has ever written, particularly "Esselen." This was made by old friends, and it sounds like it. For anyone who's ever been a fan, it feels like a joyous love letter. <br /></span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div><br /><span style="font-family: arial;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-size: medium;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2648406205/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=113575936/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://hughchristopherbrown.bandcamp.com/album/the-ropes">The Ropes by Hugh Christopher Brown</a></iframe></span></span></span></span></div>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-62536308458227888182020-10-31T12:34:00.000-04:002020-10-31T12:34:03.343-04:00FLIP THIS: Playlist for Nov. 3 2020<p><span style="font-size: medium;"><span style="font-family: arial;">Made this week during high anxiety. Much love to all my American friends, who fight the good fights every day. </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">Spotify playlist is <a href="https://open.spotify.com/playlist/4ljVJGw7czE3g1l1Q0pnuB" target="_blank">here</a>. All YouTube links below. Mix, match, borrow, make your own. Music heals. </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"> </span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">1. Curtis Mayfield – "If There's a Hell Below We're All Gonna Go." Among the many things I love in these lyrics ("educated fools from uneducated schools") is the fact that he delineated between "whiteys" and "crackers."</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/BzsmciMNAGU" width="320" youtube-src-id="BzsmciMNAGU"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">2. Angelique Kidjo – "Born Under Punches." From her amazing reimagining of Talking Heads' <i>Remain in Light</i>. "All I want is to breathe."</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qR8jgFGmqvU" width="320" youtube-src-id="qR8jgFGmqvU"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">3. Arcade Fire & Mavis Staples – "I Give You Power." Recorded during the 2016 election.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/f6jma9VQEls" width="320" youtube-src-id="f6jma9VQEls"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">4. Peaches – "Flip This." Released this summer. Kick a column, make it crumble.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/nCxmuAL_R4M" width="320" youtube-src-id="nCxmuAL_R4M"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">5. The Comet is Coming – "Summon the Fire." No lyrics required.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/G55GspnNkBo" width="320" youtube-src-id="G55GspnNkBo"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">6. Weaves – "#53." Hope to have the chorus of this song in my head in January 2021. Buy <a href="https://weaves.bandcamp.com/track/53" target="_blank">here</a>.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rTvcpD7t7wg" width="320" youtube-src-id="rTvcpD7t7wg"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">7. Steven Page – "White Noise." Written after Charlottesville. "As an immigrant and a Jew, I'd be more than glad to replace you." <br /></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/VyyLNmSfVKw" width="320" youtube-src-id="VyyLNmSfVKw"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">8. International Noise Conspiracy – "Smash It Up." Metaphors only, please.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/FyjmCg_VMU0" width="320" youtube-src-id="FyjmCg_VMU0"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">9. Bodega – "How Did This Happen?" How indeed. (Buy <a href="https://bodegabk.bandcamp.com/track/how-did-this-happen-2" target="_blank">here</a>)</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TKAzK41-YHM" width="320" youtube-src-id="TKAzK41-YHM"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">10. Queen – "Another One Bites the Dust." Looking forward to watching the Senate races.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rY0WxgSXdEE" width="320" youtube-src-id="rY0WxgSXdEE"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">11. Leonard Cohen – "Everybody Knows." The boat is sinking. The captain lied.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/8IfmiKnZi3E" width="320" youtube-src-id="8IfmiKnZi3E"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">12. Amiri Baraka – "Who Will Survive America?"</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/0WhYi8xe9Ng" width="320" youtube-src-id="0WhYi8xe9Ng"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">13. Gil Scott-Heron – "Whitey on the Moon." For Elon Musk and those who want to market moon water.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/goh2x_G0ct4" width="320" youtube-src-id="goh2x_G0ct4"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">14. Geoff Berner – "Why Don't We Take the Billionaires' Money Away?" Entirely valid question, should not be considered radical. Buy <a href="https://geoffberner.bandcamp.com/track/why-dont-we-just-take-the-billionaires-money-away" target="_blank">here</a> and don't give your money to billionaires.<br /></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/g3q-n-hU6gI" width="320" youtube-src-id="g3q-n-hU6gI"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">15. Bruce Cockburn – "The Trouble With Normal." Had this song in my head ever since the election of Rob Ford.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/kybkiiAKMOY" width="320" youtube-src-id="kybkiiAKMOY"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">16. Buddy & Julie Miller, the McCrary Sisters, Steve Earle – "Let It Rain." Released in the spring of 2020 at the height of the BLM protests. Worldwide pandemic won't slow us down. Thank you, Nashville.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/VyrflVGMfwE" width="320" youtube-src-id="VyrflVGMfwE"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">17. Sarah Harmer – "New Low." Every day. Buy <a href="https://sarahharmer.bandcamp.com/track/new-low" target="_blank">here</a>.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/i_Z-PrmqNjw" width="320" youtube-src-id="i_Z-PrmqNjw"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">18. Arcade Fire – "Intervention." I can taste your fear. Who's going to reset the bone?</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/FTpynd2z_xw" width="320" youtube-src-id="FTpynd2z_xw"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">19. Handsome Furs – "What About Us." An army of thieves, lies and deceit so hard to believe. Read Sarah Kendzior's Hiding in Plain Sight.<br /></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Z1y_Bspc7d0" width="320" youtube-src-id="Z1y_Bspc7d0"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">20. EMA – "Aryan Nation." Tell me stories of famous men, I can't see myself in them. Buy <a href="https://emaband.bandcamp.com/track/aryan-nation" target="_blank">here</a>.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/sTeqvdiLwmI" width="320" youtube-src-id="sTeqvdiLwmI"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: arial;">21. Brad Mehldau – "The Prophet is a Fool." The emperor's new clothes.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bHP1iKN0FIM" width="320" youtube-src-id="bHP1iKN0FIM"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">22. Damon Locks & Black Monument Ensemble – "Rebuild a Nation." From an album of beautiful, choral uplift, released in 2019. Buy <a href="https://intlanthem.bandcamp.com/track/rebuild-a-nation" target="_blank">here</a>.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/LHed7gp4TKI" width="320" youtube-src-id="LHed7gp4TKI"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">23. Handsome Boy Modeling School, Roisin – "The Truth." You can't hide.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-HW7nj-GUZY" width="320" youtube-src-id="-HW7nj-GUZY"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">24. Stars – "No One is Lost." Put your hands up if you ever feel afraid. Buy <a href="https://starsband.bandcamp.com/track/no-one-is-lost" target="_blank">here</a>.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/1C5I5kHrNqg" width="320" youtube-src-id="1C5I5kHrNqg"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">25. U.S. Girls, Alex Frankel – "Overtime"</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-y8mBRKMhTA" width="320" youtube-src-id="-y8mBRKMhTA"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">26. Melt Yourself Down – "Every Single Day"</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/iLCVZi267LU" width="320" youtube-src-id="iLCVZi267LU"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">27. James Brown – "Funky President (People It's Bad)" Stock market going up, jobs going down. </span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vIU63C8K7-8" width="320" youtube-src-id="vIU63C8K7-8"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">28. Sharon Jones & the Dap-Kings – "People Don't Get What They Deserve." Buy <a href="https://sharonjonesandthedapkings.bandcamp.com/track/people-dont-get-what-they-deserve" target="_blank">here</a>.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/VmLl21gZjfM" width="320" youtube-src-id="VmLl21gZjfM"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">29. Tune-Yards – "Bizness." Don't take my life away. </span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YQ1LI-NTa2s" width="320" youtube-src-id="YQ1LI-NTa2s"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">30. A Tribe Called Quest – "We the People." Simple voodoo, so maniacal.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/fvjb2yNS36U" width="320" youtube-src-id="fvjb2yNS36U"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">31. Beastie Boys – "So Whatcha Want." Where'd you get your information, huh? You think you can front when Revelation comes? I think I'm losing my mind this time. </span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ru3gH27Fn6E" width="320" youtube-src-id="ru3gH27Fn6E"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">32. Ministry – "Thieves." Tear this MFer down.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/H_Puc8POyfM" width="320" youtube-src-id="H_Puc8POyfM"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">33. Spoon – "Shotgun." </span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RIbLVC3C-5g" width="320" youtube-src-id="RIbLVC3C-5g"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">34. Le Tigre – "Keep on Livin'." Don't let them bring you down and don't let them fuck you around.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/2_v1vU7DgOs" width="320" youtube-src-id="2_v1vU7DgOs"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">35. Thompson Twins – "Lies." They won't forget ya.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Wuv4f-AmKE4" width="320" youtube-src-id="Wuv4f-AmKE4"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">36. Jimmy Cliff – "The Harder They Come." The harder they fall.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/BpQrLUopf-k" width="320" youtube-src-id="BpQrLUopf-k"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">37. Janelle Monae – "Turntables." Got a new agenda, got a new dream, I'm kicking out the old regime. </span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/8CFrCk6_0rM" width="320" youtube-src-id="8CFrCk6_0rM"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">38. Max Romeo – "War Inna Babylon"</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oGYFobPWmck" width="320" youtube-src-id="oGYFobPWmck"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">39. The National – "Fake Empire."</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rzpC1AzO84Q" width="320" youtube-src-id="rzpC1AzO84Q"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">40. Karen O & Willie Nelson – "Under Pressure." One of the greatest goddam covers I've ever heard in my life. More on this later.</span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MEU-7uga_4A" width="320" youtube-src-id="MEU-7uga_4A"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p><p><span style="font-size: medium;"><span style="font-family: arial;">41. John Lennon – "Starting Over." Because despite my despair, I'm an optimist. <br /></span></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/pZCxyOcvp5A" width="320" youtube-src-id="pZCxyOcvp5A"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: arial;"><br /></span></span><p></p>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-5877389285021213052020-10-20T14:01:00.007-04:002020-10-24T14:37:14.066-04:00Samples and stifled creativity<p><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-yfkl2GD2eKo/X48nDb0tc-I/AAAAAAAAL04/smiP3CTzzGIrxWoZKxp4nu_J3_3IlAiOQCLcBGAsYHQ/s275/clyde.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="183" data-original-width="275" src="https://1.bp.blogspot.com/-yfkl2GD2eKo/X48nDb0tc-I/AAAAAAAAL04/smiP3CTzzGIrxWoZKxp4nu_J3_3IlAiOQCLcBGAsYHQ/s0/clyde.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">This man should be a household name</td></tr></tbody></table><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Backxwash won the 2020 Polaris Music Prize for her album </span><span style="font-family: Arial; font-size: 14pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">God Has Nothing to Do With This Leave Him Out of It</span><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. In doing so, the Montreal-based Zambian-Canadian trans rapper/producer, whose album draws heavily from a metal influence, vaulted from obscurity to national headlines in the space of six months. It’s a Cinderella story, and more power to her. </span><p></p><span id="docs-internal-guid-9c178384-7fff-db6f-bdac-4a62afa28585"><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I’m not going to retell her story here. It’s a great story. You can read about Backxwash:</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In Exclaim </span><a href="https://exclaim.ca/music/article/backxwash_montreal_rapper_interview" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">here</span></a><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">At NPR </span><a href="https://www.npr.org/2020/10/15/923899582/backxwash-metal-sampling-rapper-turns-fury-into-forgiveness" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">here</span></a><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In Complex </span><a href="https://www.complex.com/music/2020/09/how-backxwash-became-metals-favourite-rapper" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">here</span></a><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">At Bandcamp </span><a href="https://daily.bandcamp.com/features/backxwash-god-has-nothing-to-do-with-this-interview" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">here</span></a><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In Cult MTL </span><a href="https://cultmtl.com/2020/10/montreal-ottawa-trans-rapper-hip-hop-artist-backxwash-delivers-unfiltered-rhymes-on-god-has-nothing-to-do-with-this-leave-him-out-of-it-new-album-interview/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">here</span></a><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In Keep MTL Weird </span><a href="http://keepmtlweird.com/index.php/2019/09/14/an-interview-with-backxwash/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">here</span></a><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The album was one of three I didn’t want to win Polaris this year, but I’m in the minority, and many people genuinely love the record. I'm not going to tell them they're wrong; art is subjective. Polaris has been controversial since its inception, as it should be. Every single year there are howls about who won and why, for wildly different reasons (Too mainstream! Too obscure! Too new! Too old! “Why does my favourite genre never win?!”). Although Polaris is not supposed to be political, it inherently is, because it’s decided by journalists, and journalists love stories. That’s not to denigrate any of the winners, including this year’s. I’m a big fan of 2/3 of all Polaris-winning records in the prize’s 15-year history, and you and I will disagree over which ones “deserved” to win or not. Hence the inherent fallacy of arts prizes in general.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This year part of the controversy is that Backxwash had to take her album off streaming services because she samples Black Sabbath and Led Zeppelin liberally. As a result, the album is only available on </span><a href="https://backxwash.bandcamp.com/album/god-has-nothing-to-do-with-this-leave-him-out-of-it" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Bandcamp as a free download</span></a><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Michael Rancic of the web mag </span><span style="font-family: Arial; font-size: 14pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="https://newfeeling.ca/" target="_blank">New Feelings</a></span><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (an essential read and welcome addition to the landscape of Canadian music criticism) argues that copyright laws around sampling are a farce that serve to further marginalize independent artists who can’t afford sample-clearance fees, that creativity is somehow stifled because of these legalities. The article brings up a lot of great points.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">You should read that piece first: it’s </span><a href="https://newfeeling.ca/2020/10/15/backxwash-copyright-clearance-culture-hindering-canadian-creativity/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">here</span></a><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">There are many terrible things about copyright law: how it largely benefits the wealthiest rights-holders, how the rules keep changing to benefit baby boomers whose work from decades years ago was about to enter the public domain, etc. And when Rancic writes about AI scouring the internet for random sampling “violations,” that’s terrifying for a few different reasons. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">But the fact is, whether anyone likes it or not, once you’re in the public eye you can’t sample easily recognized works from popular music without expecting legal repercussions, and that's been true for 30 years now. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Backxwash made her record when, it’s safe to say, she had no expectation of being featured in national and international press and being interviewed on CBC Radio’s <a href="https://www.cbc.ca/listen/live-radio/1-50-q/clip/15804114-full-episode-backxwash-natalie-portman-shannon-lee-finneas" target="_blank">flagship mainstream arts show</a> next to Natalie Portman. Once the album got long-listed for Polaris, the vultures came circling. She could have removed the samples and kept the album on monetized streaming platforms. She chose not to, arguing that the samples were used for very personal reasons and she felt they told a story related to the lyrical themes of the album. That’s fair. I get that. But keeping them on there is a conscious decision to marginalize her own work, financially speaking, in the face of a legal reality--a reality worthy of debate and discussion, but a reality nonetheless.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">There’s a precedent here in Polaris history. The Weeknd was an unknown artist in 2010, when he released what he billed a “mixtape,” <i>House of Balloons</i>, exclusively online, for free. It was inventive, fresh and fascinating, and it too made the Polaris shortlist that year, alongside Arcade Fire, Destroyer and Ron Sexsmith. It featured unauthorized samples, including Siouxie and the Banshees, Beach House, Cocteau Twins and Aaliyah. The attention and success of <i>House of Balloons</i> led to a major-label deal and a re-release that </span><a href="https://www.billboard.com/articles/columns/the-juice/474219/the-weeknd-reps-talk-clearing-samples-touring-for-trilogy-release" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">cleared all samples</span></a><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (and added songwriting credit); the Aaliyah sample was the sole exception. The album still did very well, and the Weeknd is now an international mainstream star. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Even if <i>House of Balloons</i> had never been legally cleared for official release, it could have been seen as a loss leader: a stepping stone, using samples and given away for free, on the path to bigger things. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Somewhat similarly, Kaytranada became a name in the industry with an <a href="https://soundcloud.com/kaytranada/janet-jackson-if-kaytranada" target="_blank">unauthorized Janet Jackson remix</a> in 2012 (streamed 10 million + times on his Soundcloud). That opened all kinds of doors for him, including a Juno nomination before he put out his debut album,</span><span style="font-family: Arial; font-size: 14pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> 99.9%</span><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (which won the Polaris, and I’m not aware of any sample issues that album had). </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Small, uncleared sample snippets appear all the time in songs of varying levels of visibility. Earlier this year I asked Dan Snaith of Caribou which rapper’s voice appears all chopped up on his track “Sunny’s Time”; it’s from his new album </span><span style="font-family: Arial; font-size: 14pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Suddenly</span><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, which was also on the 2020 Polaris shortlist. He wouldn’t tell me, because he didn’t clear it. He did, however, clear the old, obscure soul song that provides the hook for “Home” (and I doubt anyone related to the original artist got royalties, because of crooked old publishing deals). But the “Sunny’s Time” sample is twisted beyond recognition. Is that “fair use” but the melodic hook on “Home” is not? Are both further examples of pillaging African-American artists? These are questions I don’t have answers for. “Fair use” is wide open to interpretation. But that’s where Backxwash got burned. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Backxwash’s samples in question, Black Sabbath and Led Zeppelin, are easily recognizable. Other samples on the album are not. Were I in court, I would argue that sampling Ozzy Osbourne’s voice--from the song “Black Sabbath,” howling, “Oh god, god, please god help me”--on the title track is fair game. It’s a small component of the original song in question; not the melodic hook, not the chorus, not a defining feature. Repurposed in Backxwash’s music, it’s incredibly effective. The last 10 seconds of the same song samples the opening of “War Pigs” straight up. It doesn’t add much to the Backxwash song, it’s more of a quick nod to an obvious influence. It’s superfluous. For all the legal hassle, it could easily be cut. Or simply re-sung by anyone who can do a passable Osbourne imitation; it's not like there's a copyright on that phrase.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Zeppelin sample is on Backxwash’s “Adolescence,” the drum break from “When the Levee Breaks,” which you’ve heard even if you’re not a rock fan. Beastie Boys, Eminem, Dr. Dre, Ice-T, Neneh Cherry, the list goes on. But who’s done it since 2000? It’s a clich</span><span style="font-family: Arial; font-size: 18.6667px; white-space: pre-wrap;">é</span><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> at this point. Apparently Beyoncé used it on “Don’t Hurt Yourself,” from Lemonade, but it’s cut up, used only on the chorus and hardly recognizable (I didn’t even realize it was there until </span><a href="https://www.whosampled.com/Led-Zeppelin/When-the-Levee-Breaks/sampled/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">researching</span></a><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> this). It’s bare naked on the Backxwash track. Small wonder that lawyers came calling. The entire track is less than 90 seconds long. Is it really that important to this album? I would argue the sample is a red herring, drawing unnecessary attention when there’s a whole lot of other things to discuss in this artist’s work, including her other, more creative samples.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">There’s a rich irony here, too, in that Zeppelin--and many white musicians of their generation--often lifted African-American songs verbatim and claimed all songwriting credit (see: Zeppelin vs. Willie Dixon, or Beach Boys vs. Berry, or Gainsbourg vs. Olatunji, or, or, or...). Should anyone care about ripping off Led Zeppelin? But the principle holds. Nile Rodgers and Bernard Edwards deserve credit for “Rappers’ Delight,” which their lawyers quickly sought and got, back in 1980. Rick James deserves credit for “Can’t Touch This.” Clyde “Funky Drummer” Stubblefield should have died a multi-millionaire, instead of having his friends hold fundraisers to pay for his kidney operation. That most people don't know his name is a crime against music.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">There are many creative reasons to use samples of popular songs. In 2020, I’m not convinced using them as a hook for your own song is one of them. That was different in hip-hop’s infancy, when sampling records birthed a whole new genre of music made by disenfranchised people, and necessity birthed invention. By the time of its Golden Age, I loved A Tribe Called Quest, but “Can I Kick It” bothered me just as much as “Ice Ice Baby,” because it seemed like a lazy shortcut. Ten years after that, the electronic artist Mr. Scruff lifted Moondog wholesale and made a mint licensing the track to every ad agency, which was just as bad as ’80s novelty act Jive Bunny and the Mastermixers, who simply put a medley of ’50s hits to a dance beat (a big hit at weddings). I was a huge fan of DJ Shadow’s <i>Endtroducing</i> until I actually heard his source material, David Axelrod et al, and realized how much he lifted straight-up. Obscurity worked in the crate-digger’s favour back then. It’s still an impressive record, but now I admire its Kid Koala-esque technique rather than its originality or composition. (Kid Koala's first tape, which freely sampled Bjork, Ryuichi Sakamoto and others, was never sold commercially but it landed him a record deal and is <a href="https://kidkoala.bandcamp.com/track/scratchcratchratchatch-tape-2" target="_blank">available</a>, PWYC, from Bandcamp.)</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">It’s now 2020. Home recording equipment and software has never been cheaper to obtain and easy to use, especially if you’re not recording acoustic instruments other than your voice. It’s not impossible to make great music, even award-winning music, out of nothing. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Not being able to sample popular records in no way impedes someone’s creativity. It should spark even more creativity. Dig deeper.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Let’s give Backxwash the final word, in an interview with Erik Leijon for Complex Magazine: “I was experimenting to go sample-less, but as I started making these beats, they sounded cool, but the idea of the sample is telling a story, and I miss telling those stories ... With the samples, I’m connecting to those sounds. But [the sampling controversy has] changed the way I approach music. The other day I did make a beat with a Diamanda Galás sample. If I use it, I’ll just have to approach them and see how much they want for it. Now I’m going to look for more obscure sounds and field recordings and friends. That’s how I’m going to do it.”</span></p><br /></span>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0tag:blogger.com,1999:blog-18650891.post-47762247325687856652020-10-17T10:25:00.001-04:002020-10-20T13:43:04.375-04:002020 Polaris Music Prize shortlist, Day 5: Caribou, Backxwash <span style="font-family: arial; font-size: medium;"><i>My annual five-part look at the shortlist examines two records a day, plus two personal picks from the qualifying period, and this year—as the prize gets older and still skews young—I’m including one veteran artist each day whose latest work risks getting lost in the shuffle.<br /><br /><br />This year we’re going in reverse alphabetical order, because, hey, everything else about 2020 is upside down.<br /><br /><br />The winner this year will be <a href="https://polarismusicprize.ca/blog/filmmakers-for-the-2020-polaris-music-prize-celebration-revealed/">announced</a> on Monday, October 19 in a televised ceremony featuring 10 commissioned short films, airing on CBC Gem, YouTube and social media.<br /><br /><br />Day 1, with Witch Prophet and U.S. Girls, is <a href="http://radiofreecanuckistan.blogspot.com/2020/10/2020-polaris-music-prize-shortlist-day.html">here</a>. Day 2, with Jessie Reyez and Pantayo, is <a href="http://radiofreecanuckistan.blogspot.com/2020/10/2020-polaris-music-prize-shortlist-day_14.html">here</a>. Day 3 with Lido Pimienta and Nehiyawak is <a href="https://www.blogger.com/#">here</a>. Day 4 with Kaytranada and Junia T is <a href="https://www.blogger.com/#">here</a>.</i><br /><br /><br /><br /><b>Day 5:<br /></b><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-z1tsWJKpkcI/X4nVqaJbBFI/AAAAAAAALxI/0g2fKViEEDEKQPM_0lOBpotlE1bkAqrSwCLcBGAsYHQ/s225/caribou.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-z1tsWJKpkcI/X4nVqaJbBFI/AAAAAAAALxI/0g2fKViEEDEKQPM_0lOBpotlE1bkAqrSwCLcBGAsYHQ/s0/caribou.jpeg" /></a></div><br />Caribou – <i>Suddenly</i> (Merge)<br /></b><br /><i>The album</i>: It’s a bit weird that Dan Snaith gets increasingly popular the older he gets, and the longer he waits between records--especially as a so-called “electronic” artist. But dammit, he’s very good at what he does. This time out his old-school songwriting continues to develop, whether it’s warped electro-folk like bookends “Sister” and “Cloud Song,” soul-sampling pastiches like “Home,” straight-up four-on-the-floor pop songs like “You and I” (which could almost pass for Tom Petty, were it not for the absence of guitars), total psychedelic loveliness like “Magpie,” or early 90s house music like “Never Come Back.” Nothing is ever straightforward, however, or particularly faithful to genre: everything here sounds unmistakably like Caribou, with all the twists and turns that entails. </span><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">The only thing that stops me from hailing this as his finest record, next to 2010’s <i>Swim</i>, is his overuse of clipped and stuttered vocal samples, which is great in small doses but is downright distracting on a track like “New Jade.” Brings back too many bad memories of 12” extended dance remix singles of the ’80s, when M-M-M-Max Headroom and P-P-P-Paul Hardcastle were both a th-th-th-thing. But that’s just me.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">Bandcamp <a href="https://caribouband.bandcamp.com/album/suddenly" target="_blank">here</a>.<br /><br /></span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Uazlt4CCr7o" width="320" youtube-src-id="Uazlt4CCr7o"></iframe><span style="font-family: arial; font-size: medium;"><br /><br /><br /><i>The chances</i>: Fair. It’s been long enough since his 2008 Polaris win that he might be able to shake the previous-winner curse. But I think it’s unlikely.<br /><br /><br /><br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-_Y6AxUsai68/X4nVjxnuxLI/AAAAAAAALxE/vxRBVYtJVN0L0XlnrF-irKMT27GqGwQPACLcBGAsYHQ/s700/backxwash.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-_Y6AxUsai68/X4nVjxnuxLI/AAAAAAAALxE/vxRBVYtJVN0L0XlnrF-irKMT27GqGwQPACLcBGAsYHQ/s320/backxwash.jpg" /></a></div>Backxwash – <i>God Has Nothing to Do With This Leave Him Out of It</i> (independent)<br /></b><br /><i>The album</i>: The title track opens the album with Ozzy Osbourne moaning, “Oh no, no, please God, help me!” from the song “Black Sabbath,” and it closes with a sample of that band’s “War Pigs.” Yes, this record is bleak. It’s a metal-tinged rap record with seriously goth overtones, maybe even “horrorcore,” made by a black trans woman known to wear devil horns on stage. Which sounds great--on paper. <br /><br />She is a Montreal artist, via Vancouver, via Zambia, with a little help from now-defunct Toronto duo Black Dresses, and yeah, there’s a whole lot of personality and backstory behind Backxwash. That she’s been vaulted from obscurity to pseudo-mainstream exposure (let’s face it, the mainstream doesn’t pay Polaris much mind) is a massive achievement, and one to be celebrated. Unfortunately, that also shone a spotlight on some of the uncleared samples here--you can’t exactly lift a Sabbath riff or one of the most overused drum samples in history, Led Zeppelin’s “When the Levee Breaks,” without getting some unwanted legal attention. And so the album had to be pulled off streaming services, and can only be heard on <a href="https://backxwash.bandcamp.com/album/god-has-nothing-to-do-with-this-leave-him-out-of-it" target="_blank">Bandcamp as a free download</a>. <br /><br />That’s the story of the album. As a listener, as a critic, I come from a considerably more privileged position, and this album is based on some very personal pain that I could never begin to understand. For starters, I got out of Christianity unscathed; Backxwash clearly did not. And as a black trans person from an immigrant family, there are entire skyscrapers of struggle to leap over for an artist to reach this place of catharsis. She says the album is about her “version of forgiveness, and things I need to face in order to reach my version of that.” The song “Into the Void” is the sound of burning everything down to the fucking ground. <br /><br />And yet, as much as simplicity is the shortest path to catharsis, as generations of hardcore punk musicians know, I want the rapping here to be better, especially with such a compelling story to tell. Many of the lyrics here are--well, fuck. Fuck fuck fuck. “Fuck these motherfucking fuckers.” “I fuck with black magic / I fuck with mathematics / I fuck with bad habits.” “FUUUUUUUUCK!” A whole lot of fucking rage here--not at all unwarranted or ineffective, but I think she has a lot more to say than this, and more interesting ways to say it. <br /><br />I’ll be the first to admit though I'm a fan of both genres, I’m not a metal guy or a hip-hop guy; most of my favourite new records of either genre usually sound like they were made at least 20 years ago. But for a record that professes to combine the two, I don’t think it succeeds at either, and nor does it forge a new path. I’m not pining for the <i>Judgment Night</i> soundtrack or anything, but I want the music here to at least match the intensity of Backxwash’s delivery. Metal aside, I want the beats to be more engrossing. Backxwash helmed most of this herself, and it’s no small achievement (“Black Sheep”), but there’s a lot to develop. There’s no reason at all, in 2020, to turn to tired classic rock cliches that sound like the Beastie Boys in 1985. I’d love to hear what Backxwash could get up to with Tricky or Arca or Lotic (“Spells” makes a good argument for this).<br /><br />Hopefully the Polaris nod will open up doors to opportunities as well as exposure (check this <a href="https://www.npr.org/2020/10/15/923899582/backxwash-metal-sampling-rapper-turns-fury-into-forgiveness" target="_blank">major piece</a> on NPR). Right now it’s a story in search of a record. It’s a great story. And lo and behold, I probably spent more time listening to this record than many of the others on this list, if only to reckon with how I felt about it over the space of 800 words. So: thanks, Polaris. That’s what this should all be about.<br /><br /></span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/lnhstW-lwdU" width="320" youtube-src-id="lnhstW-lwdU"></iframe><span style="font-family: arial; font-size: medium;"><br /><br /><i>The chances</i>: Who knows? Stranger things have happened in Polaris history. Some winners have been accused of winning for political reasons: not coincidentally, in John A. Macdonald’s Canada, the subjects of said accusations are almost all racialized. If Backxwash were to win at this moment in time, it would certainly send a political message (which is not the point of Polaris, but whatever). Whereas a record like Jeremy Dutcher’s also had a great political backstory, it was a phenomenal record by an artist who arrived fully formed. That was also a so-called “novelty” record. You know what else is a “novelty” record? Pantayo’s. And that record rules. Maybe this does, too. Maybe.<br /><br /><br /><b>The could’ve, should’ve beens:<br /></b><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-REgDqldRDxs/X4nWS-7MeHI/AAAAAAAALxQ/AvBwg7dCvbsKfwxVvFx6RY9Pzxfi1aDSwCLcBGAsYHQ/s700/bonenfant.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-REgDqldRDxs/X4nWS-7MeHI/AAAAAAAALxQ/AvBwg7dCvbsKfwxVvFx6RY9Pzxfi1aDSwCLcBGAsYHQ/s320/bonenfant.jpg" /></a></div><br />Bon Enfant – s/t (Duprince)<br /></b><br /><i>The album</i>: Okay, after talking about Backxwash, this is going to sound like some weak-ass shit. Because this is sunshine and roses. This is the kind of album you play on the first real day of spring, the day you open your windows and tune up your bike and start eyeing your garden. This year has sucked ass, so small wonder I’ve been drawn to music like this on any day we’re lucky to see sunlight. </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">Bon Enfant are a new Montreal band featuring vocalist Daphne Brissette from previous longlisters Canailles. She's a commanding presence, a bit of a Gallic Neko Case, or Amber Webber's more extroverted Quebecois cousin. </span><span style="font-family: arial; font-size: large;">The band behind her sound like children of the '70s; synth instrumental "Ode aux pissenlits" sounds like it soundtracked a kids show on public television (<i>Parlez-Moi</i> or <i>La Boite</i>, perhaps) 40 years ago. The breadth of material here puts all Bon Enfant's strenghts on full display:</span><span style="font-family: arial; font-size: large;"> the generous use of organs, pianos and synths; the harmony double-lead guitar lines that fell out of fashion with April Wine; the rhythm section that brings a powerful groove to everything, whether it's a motorik shuffle ("Aujourd'hui"), ye-ye ("Menage du printemps"), or psychedelic country soul ("L'hiver a l'annee), country boogie ("Liste noire") or the alternating 6/8 to syncopated 4/4 psychedelic Afrobeat pop of "Magpie," which sounds like the Swedish band Goat, only better. Then there's the entirely entrancing "Insomnie," a trippy slow burn featuring Brissette's best vocal performance here. </span></div><div><span style="font-family: arial; font-size: large;"><br /></span></div><div><span style="font-family: arial; font-size: large;">In one of my many fantasies of post-Covid times, I'm at a cozy summer festival somewhere in the Canadian Shield with an electric crowd buzzing to a glorious live set of Bon Enfant. One has to dream. </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/__aWhic7Pzc" width="320" youtube-src-id="__aWhic7Pzc"></iframe></div><br /><span style="font-family: arial; font-size: medium;"><br /><br />Bandcamp <a href="https://bonenfant.bandcamp.com/album/bon-enfant" target="_blank">here</a>. <br /><br /><br /><i>Why it didn’t even longlist</i>: It was #1 on my ballot, for what that's worth. I tried.<br /><br /><br /><br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-APlCZ5pFoxA/X4nWii0xQTI/AAAAAAAALxY/s2b4t_mnnfYAxR7gtIpzPTkXYjf4Y93fgCLcBGAsYHQ/s700/corridor.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-APlCZ5pFoxA/X4nWii0xQTI/AAAAAAAALxY/s2b4t_mnnfYAxR7gtIpzPTkXYjf4Y93fgCLcBGAsYHQ/s320/corridor.jpg" /></a></div>Corridor - <i>Junior</i> (Sub Pop)<br /></b><br /><i>The album</i>: The first franco band signed to Sub Pop, Corridor make it pretty clear why they’re ready for an international stage. A stew of potential influences immediately leap to mind: Television guitar interplay, Fleet Foxes harmonies, nods to Sonic Youth, traces of Stone Roses and Super Friendz. Propulsive rhythms and hypnotic guitars are the main appeal here; the vocals make it that much better. This is one of many acts on these lists that I long to have seen live this year. (I saw them cold several years ago and they blew me away.) <br /><br />Bandcamp <a href="https://corridormtl.bandcamp.com/album/junior" target="_blank">here</a>. <br /><br /></span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ARlYyefSZgo" width="320" youtube-src-id="ARlYyefSZgo"></iframe><span style="font-family: arial; font-size: medium;"><br /><br /><i>Why it didn’t shortlist</i>: It’s always a mystery which franco acts crack the shortlist, which doesn’t happen often enough. This is yet another year without any franco representation. When Bon Enfant didn't make the long list, I put Corridor on my shortlist ballot.<br /><br /><br /><br /><br /><b>Veteran MIA:<br /><br /></b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VQyrKysVvHk/X4nWzhkI2jI/AAAAAAAALxg/wZNBzefIyG8vlEFyyN7VnkYUhxIjV9GzgCLcBGAsYHQ/s700/dears.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><b><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-VQyrKysVvHk/X4nWzhkI2jI/AAAAAAAALxg/wZNBzefIyG8vlEFyyN7VnkYUhxIjV9GzgCLcBGAsYHQ/s320/dears.jpg" /></b></a></div><b>The Dears - <i>Lovers Rock</i> (Ting Dun)</b></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">When Murray Lightburn put out such an incredible solo album just last year, called <i>Hear Me Out</i>, I wondered if he would resurrect the ever-imploding Dears. But at his age, it's important not to mess with the brand and name recognition. Sadly, very few people heard that solo record. And as this record proves, there is still a lot of life in the Dears, where Natalia Yanchak is the only remaining member from their breakthrough 20 years ago. </span><span style="font-family: arial; font-size: large;">"Since all these years / is it still the same old song?" he asks. Maybe it is, but these are some of the best songs the Dears have ever written, starting with </span><span style="font-family: arial; font-size: large;">"The Worst in Us," the kind of melodic anthem they often excelled at, with a surprising and danceable bridge taking a left turn in the middle of the song. There are more orchestrations here than they've used since 2011's big-budget <i>Degeneration Street</i>, although <i>Lovers Rock</i> was recorded at their home studio and at Hotel 2 Tango (and Sam Roberts dusts off his violin for the occasion). Jake Clemons of the E Street Band (and Montreal transplant) elevates the lovely "Stille Lost" with his soaring saxophone, while some of the softer moments here ("Play Dead," "Is This What You Really Want," "Too Many Wrongs") are the most stunning. For a band that always resisted obvious Smiths comparsions, there are some decidedly '80s-sounding Johnny Marr effects on the guitars here, but at this point in time, with such a rich and varied career behind them, the Dears don't have to be so defensive. The closing track threatens "We'll Go Into Hiding." Let's hope not. </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">Bandcamp <a href="https://thedears.bandcamp.com/album/lovers-rock" target="_blank">here</a>. <br /></span><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/iHTtofRMS0M" width="320" youtube-src-id="iHTtofRMS0M"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: arial; font-size: large;">That's all, folks. Thanks for reading. Thanks for listening to new Canadian music. </span></div><div><span style="font-family: arial; font-size: large;">Again, you can watch the Polaris "gala" on Monday night <a href="https://www.cbc.ca/music/events/polaris" target="_blank">here</a>. I'll be equally happy if either U.S. Girls, Pantayo, Witch Prophet or Junia T takes home the prize, but there's no way I'm making any kind of definitive prediction this year. </span></div><div><span style="font-family: arial; font-size: large;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">P.S. If you enjoyed my book <i>The Never-Ending Present</i>, you should <a href="https://www.macleans.ca/culture/gord-downie-returns-not-for-the-last-time/" target="_blank">read this piece</a> I wrote for Maclean's about Gord Downie's new record. </span></div>mmmbarclayhttp://www.blogger.com/profile/04600641576471505917noreply@blogger.com0