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January 1, 2009
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2009-01-01 
Reviews - CD
Aerocar Model Four
The Sweetest Lie
(Independent)

B

Aerocar Model Four

FM-approved metal. Aerocar Model Four plays the kind of radio-ready hard rock that will please fans of Disturbed, Shinedown and Godsmack. The riffery is fierce, the vocals soar and the all-around sound is very tight, but in the end it just isn't my cup of joe (like Mindless Self Indulgence, "I like my coffee black, just like my metal") and serious metalheads probably won't find a lot to headbang to either. That said, V. is an anthemic fist-pumping number that would sound hella good erupting from The Zoo's speakers.
— Jared Story
Steve Bell
Devotion
(Signpost Music)

A

Steve Bell

At the risk of sounding blasphemous, this disc could be a liturgy in and of itself. Taking eight songs from Manitoba songwriter Gord Johnson and two others from Gayle Salmond and Byron O'Donnell, Bell creates what he describes as an "arc of worship" with this peaceful song cycle. Beginning with a plain-spoken call to God for love and inspiration, Devotion explores, simply and exquisitely, all aspects of Christian devotion. Secular listeners, as ever, may be turned off by the unadulterated passion of the lyrics, but music fans will love Bell's soft vocals and careful guitar accompaniments.
— John Kendle
Julie Biggs
Passions: Art of Seduction
(Ruby)

B+

Julie Biggs

Julie Biggs is a classically trained soprano/ mezzo soprano who teaches at the Manitoba Conservatory of Music and Arts. But don't let her qualifications mislead you - this is not a 'classical' recording. If anything, this vocal treatment of love, lust and longing wouldn't have sounded out of place played back to back to back on Jürgen Gothe's old DiscDrive program. Want some familiar refrains in a classical mode? Then check out Julie's readings of Clair de Lune, Bizet's Habanera or the operatic strains of Y Soy Ardiente. Each song is made plush here, without being overly lush.
— John Kendle
Cheering for the Bad Guy
Cheering for the Bad Guy
(Independent)

B+

Cheering for the Bad Guy

Cheering for the Bad Guy play that hard luck, hard liquor, hard done by form of country. It's a classic sound and CFTBG do it well, crafting a melancholy album ideal for a miserable Winnipeg winter day. Tunes such as Admitting Defeat and Maryland Motor Hotel sure won't cheer your cold ass up, but they do provide the perfect soundtrack for wallowing in self-pity. Despite the sad sound, there is one really humorous track. "Jesus ain't my lord, he's my drinking buddy" proclaims singer Sheldon Dean on Jesus is my Drinking Buddy - a story of sharing some drinks, some smokes and some pills on a Sunday night with the Son of God.
— Jared Story
The Civil Disobedients
Sell Your Soul Until You Can Buy It Back
(Independent)

B+

The Civil Disobedients

is a fairly new addition to Winnipeg's music scene, its members are not. Jeremy Williamez (guitar/vocals), Doug Darling (bass/vocals), Jonny Kirouac (guitar/vocals) and Troy Strattner (drums) are seasoned vets, having gigged with local notables such as Tequila Mockingbird and Pretty Train Crash over the past decade - and their wealth of experience shows on this outing. These are technically proficient tracks peppered with prog and metal influences, and the whole thing is tailor-made for rock radio. Overall, an accomplished, cohesive debut.
— Jen Zoratti
Crosstown Rivals
Crosstown Rivals EP
(Independent)

A-

Crosstown Rivals

Crosstown Rivals is an arty four-piece that makes sloppy, synthy indie rock, packed with shout-along gang choruses and hiccupy vocals that vaguely sound like the perpetually hoarse, nicotine-stained pipes of Strokes frontman Julian Casablancas - basically, exactly the kind of music I'm a big sucker for. But while comparisons to a certain pack of hip, New York garage rockers are certainly warranted, the similarities start to disappear after the first track. With break-neck drums, crunchy guitars and herky-jerky keys, this is an impressive debut from an exciting band worth keeping an ear out for. Check out Chest and Hands and Friends and album opener Bright Idea.
— Jen Zoratti
Scott Hinkson
The Torrent Sessions
(Independent)

B

Scott Hinkson

The Torrent Sessions refers to how quickly this album came together for Scott Hinkson and listening to it, one might think it's time to throw out the old adage "slow and steady wins the race." This is a well-crafted collection of pop/rock songs that doesn't sound hurriedly put together at all. Hinkson really bares his soul here, and some of his lyrics are much darker than your standard singer/songwriter fare. Music wise, the sound is richly textured, full of depth, and varies from the acoustic ballad ***** (Five Stars) to the alternative rocker Contamination Day.
— Jared Story
JP Hoe
The Dear John Letters
(Independent)

B+

JP Hoe

When he burst onto the scene in 2003 with his debut EP,The Here in Review, J.P. Hoe fast became a critical darling and his 2007 live album The Live Beta Project only bolstered his next-big-thing status. The momentum doesn't look to slow anytime soon thanks to Hoe's expansive, polished full-length debut. The Dear John Letters is a gorgeously arranged and beautifully executed set of alt-country ballads, resplendent indie pop tunes and gritty roots-rockers that showcases Hoe's ever-improving skills as a songwriter and vocalist. My only real complaint? At a whopping 17 tracks, the record is a bit bloated.
— Jen Zoratti
The Honeybuckets
Mayday
(Independent)

B+

The Honeybuckets

The Honeybuckets serve up another collection of shimmering indie pop tunes on this, their sophomore record. Mayday is one of those compulsively listenable albums, full of hummable, sugar-coated melodies and ear-worm hooks. Vocalist Tim Dymond sounds like a lost member of Broken Social Scene, and he's backed by an equally excellent band. From the catchy The Cigarette's Song to the charming La Fiesta, this is an incredibly listener-friendly and intensely likeable record. And there's no reason not to check it out - the band is giving away this digital release for free. Hit up The Honeybuckets' MySpace page.
— Jen Zoratti
Kram Ran
Criss-Cross Cross
(Wooly Records)

C

Kram Ran

It's hard to know how to review an album like Kram Ran's Criss-Cross Cross. Kram Ran (aka Mark Wohlgemuth) has created a sonically frustrating collection of arty noise pieces that feature his passionate poetry readings layered over meandering electronic soundscapes. On one hand, the record should be lauded for being so fearlessly experimental. On the other hand, it's wholly inaccessible, making it feel a bit elitist and obscure-on-purpose. Which is too bad, because there's little doubt Wohlgemuth is sincere in his art - it just seems like his art is meant for a very small audience.
— Jen Zoratti
The Kitcheneers
The Kitcheneers
(Independent)

B+

The Kitcheneers

The Kitcheneers receive an automatic passing grade for Nick Hill, a tune about the late owner/spokesman of Kern Hill Furniture Co-op. Thankfully, these bluegrass boys left the song machine on and churn out a number of pretty little ditties. Like Nick Hill, songs such as Hutterite Wine and Born in a Barn ought to put a big smile on your face, and Innocent Man, a tale of wrongful conviction, provides proof that you can play a sad song with a banjo. But the centrepiece of the album is Orphan Train, a tune by the recently departed Utah Phillips. Finger-picking good.
— Jared Story
The Magnificent Sevens
Dirty Roads
(Transistor 66)

A+

The Magnificent Sevens

Emerging from the fertile confines of Winnipeg's lovably arty and lefty Exchange District, The Magnificent Sevens are a young and committed combo whose roots, country and bluegrass mojos are broad, deep and obvious on this debut album. Recorded in a circle at the Rudolf Rocker Cultural Centre, this is not so much a studio album as it is a document of performers hitting a collective high. Vocalist/guitarist/banjo man Chris Bodnarchuk personifies the high and lonesome sound while his bandmates offer up a collective buzz and howl and roar which belies the fact this is an all-acoustic oufit.
— John Kendle
The Marquis'
Meet Me at the Mountain
(Independent)

B

The Marquis'

Newcomer The Marquis' plays a deliriously upbeat mix of folk, bluegrass and alt-country - the perfect soundtrack to nights spent around a campfire at Birds Hill. But it's not just the fiddle, mandolin, harmonica and banjo that betray where these boys are from. Lyrically, this six song set is deeply informed by Manitoba - the rollicking roots-rocker Meet Me at the Mountain refers to Stony Mountain Penitentiary - evoking images of mile roads and endless skies. Musically, it's a bit safe, perhaps - vocalist Kevin Kratsch's youthful, clear-blue-sky vocals will sound even better with a bit of wear and age - but there's charm and potential here to spare.
— Jen Zoratti
Sierra Noble
Possibilities
(turtlemusik/Maple)

A

Sierra Noble

Sierra Noble has long been a 'hot property' on the Manitoba music scene - a teenage fiddle champ with a winning grin and a spitfire stage presence. But how do you take a fiddle prodigy and turn her into a career-oriented performer? In Noble's case, her handlers are following the Alison Krauss model. Sierra has learned to be a singer as well as a fiddler and she's had some great co-writers working with her, from Alannah Myles' muse Christopher Ward to our own Chris Burke-Gaffney, Keith Macpherson and Jaylene Johnson. The end results are pleasantly surprising - especially the beautiful title cut, Possibility.
— John Kendle
Bryce Pallister
RDY 2GO
(Independent)

B+

Bryce Pallister

Big things lie in store for this farm boy from Portage la Prairie. On RDY 2GO Bryce Pallister displays a Nashville-ready sound and a Keith Urban look, a country combination that will score him more than a few honky-tonk women. With Pallister's clean-cut tone, the music definitely has that new-country vibe, but traditionalists' interests should be spurred also by the inclusion of some old-tymey instruments (banjo, dobro, pedal steel, fiddle). All in all, RDY 2GO should be the latest soundtrack to a small-town social near you.
— Jared Story
Paper Moon
What Are You Going to Do with Me?
(Endearing Records)

B+

Paper Moon

Essentially a taster for the band's upcoming full-length album, this five-song EP is nevertheless a reminder of what a delight Paper Moon can be. Fronted by Alison Shevernoha, the Winnipeg pop group is a purveyor of the kind of dreamy, harmonic indie pop that always seems to conjure smiles and toe-tapping in listeners - no matter the subject matter. The title cut is the featured track of the five here (We Can Take the Long Way Home is basically a snippet, while These New Friends of Yours is a remix), and it's a dreamy romp shot through with catchy, harmonized choruses.
— John Kendle
The Jeff Presslaff Trio
Red Goddess
(Uncontrollable)

B+

The Jeff Presslaff Trio

Trombonist/pianist Jeff Presslaff moved here from the States in 1997 and quickly became one of the more colourful additions to the local jazz scene. On this Trio disc, Presslaff focuses on piano compositions that span his adulthood, and relies on young bassist Julian Bradford and former Duhks percussionist Scott Senior to push and prod him into the effervescent sparks that shine from each of these tunes, which are mainly deconstructed blues outings that rely on their rhythmic hearts to maintain their structures. This won't be the easiest jazz album you'll ever listen to, but if you meet its challenge it will be satisfying, again and again.
— John Kendle
Quinzy
These Nautical Miles
(Independent)

A

Quinzy

When Quinzy released One Boy's Guide to the Moon in the summer, I wrote in these pages that the EP - the first in a series of three - was a tough act to follow. Happily, the second instalment has far surpassed my expectations. Unlike its tight, punchy predecessor, These Nautical Miles is a big, roomy record, full of epic builds and atmospheric arrangements. With its driving bass lines and sprawling, soaring choruses, this seven-song set showcases a band that isn't afraid to work outside its three-minute pop/rock framework (see: the 10-minute Polywater). That said, this is hardly an unfocused outing - Fell In Love With The Enemy boasts one of the best melodic hooks I've heard in a while.
— Jen Zoratti
Tha Rupness Monsta
Support Your Local Talent EP
(Independent)

B+

Tha Rupness Monsta

Jason Russell, aka K-Rup$on of the Moonshine Kru, is Tha Rupness Monsta, a double-threat producer/MC who proudly proclaims he's from "tha North Coast, the hardest coast, on the top - where it's cold and nobody gets props." True that, but indies like Rupness don't stay in the game for 14 years for the industry props or the dollars (hah!). Rupness is a warrior who loves his game, and he's perfected his low-key production style, relying on head-bobbing, easy-to-handle beats, and focusing hard on making sure his in-yer-face flow is heard and happening.
— John Kendle
Rebel Yell
Greatest Hits
(Independent)

A

Rebel Yell

When Dustin Karsin and John Vogan aren't playing drums and guitar (respectively) in River City riff-rock outfit Red Blanket, they are El Te Gringo and Critical Jam, busting rhymes in hip hop act Rebel Yell. Can rockers rap? Hell yeah! On its debut disc, the dynamite duo rolls with a lyrical flow reminiscent of Licensed to Ill. Stop Thinking, Start Drinking is Rebel Yell's Fight for Your Right. But the pair can be as poetically provocative as it is evocative. "Every single dollar you spend at the mall, helps to promote another nation's fall," raps El Te Gringo on Environmental Science. Reprazent Mutha Nature!
— Jared Story
Michael Rocznik
Seven Kinds of Smoke
(Independent)

C+

Michael Rocznik

This is a tough one. If you break it down, Seven Kinds of Smoke isn't very good. Mike Rocznik's playing is fairly sloppy, his vocals are kind of weak and his lyrics are pretty dumb. Still, there's an undeniable charm to these songs. Tunes such as Sex Pistols, Rocket Ship and the one-two punch of Smoking and Drinking could be early Nirvana throwaways and have a certain cellar-dweller goodness to them. In fact, it doesn't sound like these tunes were made for the outside world, and would sound best where I assume they were created - in a ganja-glutted garage or a bud-blazing basement.
— Jared Story
Lyle E. Style
Cutting Room Floor
(Electric Recordings/Absurd Machine)

C+

Lyle E. Style

Style is a devotee of the early days of rock and country music - particularly the singer/songwriter scene that bubbled up around Memphis and Nashville. On this project, Lyle lets his influences loose on 14 songs - nine of which are his, while the other five come from the catalogues of Roy Orbison, Buddy Holly, Waylon Jennings, Shel Silverstein and Roger Miller. Including these tunes sets a high standard and, ultimately, the disparity in songwriting is the undoing of this album. Style's songs, which are meant to be wry commentaries on relationships and the modern world, come off as more smartass than hardbitten or world-weary.
— John Kendle
Tuesday Bloom
Tuesday Bloom
(Independent)

C+

Tuesday Bloom

Oh, I hate reviewing Christian bands. You just know that the guys and girls in Tuesday Bloom are super-nice people, who, inspired by their faith, just want to spread a message of hope and peace - and because of my blasphemous bent, I'm probably going to rip into them. But should I? I mean, Marie Cormier Brunet and Janelle Krebs both possess heavenly voices and, musically speaking, everyone in the band is blessed. Also, the production is top-notch and anybody with a fondness for gentle pop-rock will appreciate this. So, I'm going to stop here, ignore the evil spirits that usually guide my musical tastes, and say if you like Christian rock, you'll like Tuesday Bloom.
— Jared Story
The Waking Eyes
Holding On to Whatever It Is
(Coalition Entertainment)

B+

The Waking Eyes

Anyone looking for another Video Sound should move on. Holding On To Whatever It Is sees The Waking Eyes takin' the hard way, discarding the simple guitar rock of its previous album and delving into deep and diverse musical territory. If Video Sound was The Waking Eyes as AC/DC, then this is the band as Queen. Like the latter, The Eyes hit up a whole selection of sounds, whether they be pop, rock, funk or electronic, and often all in a single song. While mixing multiple melodies might make Holding On to Whatever It Is a bit of rocky ride, it's a far more interesting and scenic route than The Eyes' last album.
— Jared Story
Kerri Woelke
Where We Were
(Signpost Music)

B

Kerri Woelke

Kerri Woelke's sophomore album, Where We Were, is an intimate collection of pretty, heart-on-sleeve alt-folk songs about love and love lost. In a lot of ways, the record is a victory for Woelke. Right before she was set to head into the studio, she was diagnosed with vocal cord nodules which rendered her unable to sing. With the help of steroids, the singer/songwriter was able to make Where We Were - and her honeyed voice actually sounds better than ever. Sure, it's a little hoarse and it cracks sometimes - but those imperfections only add to the record's Prairie grit.
— Jen Zoratti
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