THE WHITE WIRES - WWII

Though we've yet to see it firsthand, we've been hearing reports over the last while of a great movement happening right now in our nation's capitol, with a network of groups making the type of catchy garage-punk that our own city is so starved for. Bands with names like The White Wires and labels like Going Gaga Records (with their slogan "the power poppe shoppe") releasing a steady stream of 7" singles and limited edition LPs. It all seemed to good to be true, but we now have the new White Wires album WWII in our hands as proof, and let's just say we're going a little gaga ourselves.

"There's a little place that I want to go/I could take you there if you let me so/Come on, pretty baby/Run away with me tonight" is the album's first line, and a good indicator of what to expect: simple but great lyrics that you can sing along to, a basic guitar/drums/bass setup playings songs with so many hooks that you'll be anchored to your stereo. This Ottawa three-piece writes catchy tunes with such ease, they've almost got it down to a science. Released by Dirtnap Records, The White Wires have much in common with another band on that label, the sorely-missed Exploding Hearts. They both tattoo their influences on their arms, while still coming up with enough fresh ideas to be worth listening to. On "Popularity", frontman Ian Manhire sings about listening "to the sound of the bands today/and you wonder what it takes to make the grade". It's a question worth asking, but with WWII, The White Wires have crafted an album that definitely makes the grade.

FREDERICK SQUIRE - March 12

For anyone who has followed the career of Fred Squire over the past decade, you'll know that he's involved in a lot of other people's musical projects, but he's never been one to promote his own solo material. So it's a bit of a shock that we've even got to the point where he has an album of his to sell you. We've got Blue Fog Records (Andre Ethier, Castlemusic) to thank for putting it out, but first, a round of applause goes to Fred himself for actually sitting down and making this beautiful record.

While there are quite a few readily available albums to feature his talents, including several albums and EPs from Shotgun & Jaybird (the group he co-fronted with Shotgun Jimmie from 2003-2007), as well as Julie Doiron's latest album I Can Wonder What You'll Do With Your Day, Mt. Eerie's Lost Wisdom, and last year's Daniel, Fred & Julie record, Fred has always kept his solo output to small runs of CD-Rs—sometimes as few as 50. In fact, this album started off much the same way, as a CD-R being sold on a Daniel, Fred & Julie tour earlier this year. Now that it has a wider release more people will get to hear the tremendous talents of this Ajax, Ontario native.

It's never made clear what the significance of the date March 12 is, though to hazard a guess it could be the day the album was recorded. It's not impossible to believe the whole thing was done in a day or two, but the quick fashion in which it was made would explain a lot. After spending many years on the road playing other people's songs, perhaps Fred felt it was time to let himself be heard. He certainly pours a lot of himself into the lyrics—on "Old Times Past New Times", he sings about "decisions that I've made". The song "The Future of Tradition" was written as a response to the traditional tune "Frankie & Albert" (covered on last year's Daniel, Fred and Julie album); the words are written as a back and forth exchange between Albert, singing from his grave, and Frankie, moments before her execution. Tying it all together is Fred's understated piano, guitar, and voice. There's no studio trickery to be found here—in fact, on the back of the record's sleeve he lists every piece of equipment he used to make the album. All in all, it's a refreshingly honest album, created entirely by one person at his home. Don't skip over it; it's one of the year's best.

DIAMOND RINGS - Special Affections

Not even with some kind of super-duper, newfangled model of crystal ball could anyone have seen this coming three years ago. That John O'Regan—up until quite recently still known only as the frontperson of somewhat quirky indie rock group The D'Urbervilles—would create a synth-pop alter-ego that is on the verge of taking over not just Toronto, but the American and British underground as well, is pretty unreal. But riding on waves of gasping, fumbling praise, O'Regan's Diamond Rings project is doing just that. 

The word 'project' feels appropriate here, if only because this music is certainly well-planned and thought-out. He has masterfully matched his slick, DIY bedroom dance-pop with an immediate image. Borrowing from Bowie and Adam Ant, O'Regan's bold rainbow and neon make-up is an androgynous glam stroke of simple genius—well-matched to the music, highly recognizable, but also recognizably homemade. You can tell he worked on this look via bathroom experimentation and just plain 'what if?' fun.

Even more than that, it is a look that makes great sense when one gets around to listening to his great songs. There's a real 'butterfly from a cocoon' feeling one gets from Special Affections. From the slowly emerging beats of opener "Play By Heart" through to the the brisk "whoa-oh-oh"s of early breakthrough single "All Yr Songs", this catchy album bears a tangible level of personal discovery—as though you're hearing in real time the sound of his colourful persona delicately climbing out of the beige everyday-ness of indie rock. It is perfect pop music that points to that specific, chrysalid moment of change, acting it out in both figurative and literal ways. O'Regan chronicles these changes with plainspoken vocals that sound experienced, bored and overwhelmed all at once. And of the record's ten tracks, at least half of them are full-on hits. 

It's enough to almost make one sad that it's getting so much attention; that it feels posed to live out some kind of accelerated lifespan and die in front of our eyes. But regardless of how long O'Regan can keep this up and have it resonate, at this moment in time, it totally does—he's living that moment with as much vitality and daring as a person can muster. You can't ask for more than that.

JIM GUTHRIE - Now, More Than Ever (Expanded Edition)

Where does the time go? Has it already been seven years since we last heard from Jim Guthrie? Of course, we haven't been completely devoid of his music. He collaborated with Nick Thorburn in Islands back in 2005, and then paired up again for Human Highway in 2007 (where his contributions really are worth hearing for any starved fans). There was also last year's excellent rarities compilation from his old band Royal City, and if you were really paying attention, you may have heard his distinct vocals and arrangements in the odd television commercial or movie soundtrack. However, the world has been waiting for another solo album proper, and though this isn't it, the expanded reissue of Now, More Than Ever still deserves our attention.

Born and raised in Guelph, ON, his first two full-lengths (1999's A Thousand Songs and 2002's Morning Noon Night, which followed a number of independent cassettes) were lo-fi pop done right. Using an interesting array of instruments (most notably an original Playstation console), Guthrie developed an utterly unique sound, one which he abandoned nearly altogether for his third album. Bringing in a band made up of fellow Royal City member Simon Osbourne, Evan Clarke (ex-Rockets Red Glare), multi-instrumentalist Mike Olsen and Owen Pallett (pre-Final Fantasy), Guthrie completely dropped his lo-fi electronic sound in favour of something far more lush. Pallett in particular shines throughout—his violin arrangements nearly steal the show, especially on the instrumental title track. Still, the lyrics are the real prize here; Guthrie is an expert at saying a lot by with a little. On opener "Problem With Solutions", he sings "the longer the hesitation, the smaller the celebration." Seven years on, those words still resonate—don't hesitate any longer, get this album now.

THE GOLDEN DOGS - Coat Of Arms

Others get greater plaudits, but no other band in Canada have set themselves as heirs to power-popsters Sloan and The New Pornographers as The Golden Dogs have on this third album. And while their buddies in Zeus are currently seen as the relative heavyweights, I dare say that it’s The Golden Dogs who have upped the stakes in the game of thrill-ride pop/rock. Zeus’ Carlin Nicholson and Mike O’Brien produced Coat Of Arms, while Neil Quin played guitar on the Dogs’ last record, and this connection leads one to join the dots regarding their mutual love of ELO-esque texture, as well as the more prominent use of piano here, which helps drive songwriter Dave Azzolini’s increasingly rock-classicist tendencies. Much in the same way that Supergrass had recently opened themselves to a wider palette, Azzolini covers new ground for the band on Coat by working with a slapback reverbed vocal (“Dear Francis”), quoting Leonard Cohen (“Travel Time”), and channeling Split Enz (“Lester”), all without sacrificing the fervour that characterizes their hyper sound. 

The trademark shared vocal duties of Azzolini and not-so-secret weapon Jessica Grassia continue to cause the pair to push their throats into exhilarating wail range, particularly on “Permanent Record”. Grassia’s role as the band’s Neko Case (“Movie’s Over”) is a fairly obvious point of comparison, but make no mistake: in this writer's opinion, The New Pornographers have neither been as good, nor as consistent as this in a few years. 

(Get your copy of Coat Of Arms signed when The Golden Dogs play a free in-store here at Soundscapes on Thu. Sep 23 at 7pm!)

QUEST FOR FIRE - Lights From Paradise

Everything sounds better when you're stoned. It's a fact upon which far too many so-called stoner rock bands have lazily rested, whether they actually partook of the magic weed or not. Hey, when the central tenets of your style are lead-limbed repetition, fuzzed-out tones, and blurry vocalization, how much impetus would you have to break bold new ground?

So what makes Toronto's Quest For Fire more than just another pack of rockers slouching their way onto an already crowded wave? While it may not have been virgin territory, QFF's debut smartly balanced stoner rock’s need for bluesy lethargy with a sound that made the most of the band members' pedigree (one that covered everything from bar rockers The Deadly Snakes to the hardcore blitzkrieg of Cursed)—in other words, underneath the haze were well-written songs full of wounded heart, human tales and well-nuanced aggression. It was heavy for sure, but it was a lot more than that: it had real soul.

Lights From Paradise builds wisely on this formula with a similarly strong record that increases in meaning with each listen. Chad Ross’ half-awake croon in particular nails the group’s appeal, managing to sound casual, desperate, wise, and menacing, all in equal measure. And his subject matter benefits greatly from being rooted in the personal, rather than in realms of fantasy. Sure, sometimes smoking with dragons while bedding mysterious demon women is cool, but it’s nice to know that this kind of stuff can be used to explore themes not already covered by Fighting Fantasy gamebooks. So while fans of all manner of stoner rock—from Boris and Dead Meadow to even heavier fare like High On Fire—will find lots to like here, so will those who crave a little more meaning from their music. Stoned or not, this record sounds amazing.

BABY EAGLE - Dog Weather

Toronto has had one of its hottest and most eventful summers in years. If you're looking for a break from the heat and excitment, Dog Weather might be just what you're looking for. It's the type of record you'll want to put on every day for a month, like a nice new pair of boots, wearing it in until it gets comfortable.

Steve Lambke is Baby Eagle. That's his face is on the grainy cover of Dog Weather, his third album and first full-length for You've Changed Records, following 2006's self-titled debut and 2007's No Blues. Each Baby Eagle record has found Steve paired up with a different group of musicans (including John K. Samson, Christine Fellows, and Shotgun & Jaybird), giving each group of songs its own flavour. This time around he's employed the talents of Shotgun Jimmie (again), Daniel Romano, and David Trenaman and Colleen Collins from east-coast rock duo Construction & Destruction. The band does a good job of adding their own flourishes, but when all is said and done, it's all about Steve.

The albums starts off with "Day of our Departing," the longest track here and also the perfect preview of things to come. With a laidback folk-rock framework, the songs mostly act as a showcase for Steve's wordy narratives. Once based in Toronto (where he played in a little band you might have heard of called The Constantines) but now living in Sackville, NB, his new settings certainly seem to have informed his lyrics. Song titles such as "Fisherman or Fish," "River Bank Sitter," and "Thistle in Bloom" give you a good idea of what to expect. However, this isn't the case of another city slicker putting on a fake drawl and singing about subjects they know nothing about—everything on this album feels natural. There are songs about dogs and songs about the weather, and songs about a whole lot more. Small moments in our lives that pass us over but make up who we are. This record is a moment in time worth revisiting. Get it.

FOREST CITY LOVERS - Carriage

It's almost hard to believe how much Forest City Lovers have evolved in sound since their debut full-length, 2006's The Sun and the Wind. That album (which followed a self-released EP by FCL frontwoman Kat Burns) sounded a lot like other reflective singer-songwriter types: bedroom-quiet, with light flourishes of drums or trumpet on the odd track. However, with stronger melodies and smarter lyrics, it quickly placed Forest City Lovers as a band to watch. Their next album, 2008's Haunting Moon Sinking, previewed many of the new musical ideas explored on Carriage, mainly the addition of a full band, with the violin becoming a prominent part of their sound.

Well, as much as we enjoyed their first two albums, Carriage is an entirely different creature. The quiet singer-songwriter moments are almost non-existent this time around, with every song feeling all-around bigger. You can tell this is the work of a band that is comfortable playing together, with the different sounds and influences of each band member (including bassist Kyle Donnelly, violinist Mika Posen, drummer Christian Ingelevics and guitarist Tim Bruton) blending like never before. For example, the effervescent "Tell Me, Cancer," with it's summery vibes and downwright salty lyrics would have been shocking to hear on their older discs, but when placed between the grand "Phodilus & Tyto" and the electrifying "Minneapolis", it fits right in.

Another successful experiment is the swinging duet "Pocketful of Rocks" (with Born Ruffians' Luke LaLonde lending his pipes), a song we predict will become the soundtrack for many summer romances for years to come. Furthermore, the powerful chorus of "Constellation", which has Ms. Burns singing "Stitch a map of our new home/and then we'll run in that direction", could be the best indication of just how far they've come and stands amongst the album's top moments. If Carriage marks a new direction for Forest City Lovers, then we'll be running right after them.

SARAH HARMER - Oh Little Fire

Songbird Sarah has spent her solo career oscillating between exquisite adult pop and Canuck Appalachia. 2005's I'm A Mountain was a collection of the latter, so a more radio-ready vibe is in order for her first LP in five years, Oh Little Fire. If that sounds like a less-than-enthusiastic appraisal of the Harm's latest, allow me to clarify: a radio station whose airwaves were permanently adorned by her dulcet tones would be a lovely one. Indeed, it's a rookie mistake to see this lady's significant gifts as being anything like pedestrian simply because they have mass appeal. She doesn't pander. Instead, she presents herself unadorned and direct, allowing that voice to ring out like the aural Pavlovian bell it is.

Oh Little Fire bears the same casual clarity that made If You Were Here and All of Our Names such treats. This relaxed feel and the album's short running time does mean that the first listen breezes by. But the melancholic undertones of songs like "Captive" and "New Loneliness" really begin to smoulder after that, giving the record the deep touchstones it needs to fully take root. Late-album duet with Neko Case "Silverado" is a real highlight, with Harmer's timbre rubbing off on the often blustery-voiced Case. Here, the two are kicking back like friends tending to the dying embers of campfire singalong. It is a little fire, but it burns brightly nonetheless.

MAYLEE TODD - Choose Your Own Adventure

A tough one to nail down, Maylee Todd is a harpist who loves bossa, a musician who is connected to the local indie scene (The Bicycles, Henri Faberge & The Adorables, Laura Barrett, Woodhands) but certainly does not make indie music, and a (I’m assuming from her musical vocabulary) classically-trained player who dresses up like a Timbaland in Furs on the cover of this, her debut album.

Anyone who has seen the mind-blowing video for “Summer Sounds (Tunog Ng Taginit)”, which starts with her in the park (Bellwoods?) during the Wanda Sa-inspired first section and ends up with a blue-screen dance routine in space for the Stereolab-meets-Herbie Mann extended coda, has a bit of an idea what to expect here. It’s the kind of baffling combination of serious/wacky that characterized June Carter Cash as a performer, or even Frank Zappa.

But don’t be misled. This is an album full of pretty songs that spotlights Todd’s whispery voice (unless she’s yelling, of course), harp that doesn’t scream “HARP!!!” like other singing harpists, and folk-jazz backing.  A charming, whimsical and groovin’ summer record.

DANIEL ROMANO - Workin' For The Music Man

The Constantines once sang, "Work and love will make a man out of you." It seems like young Daniel Romano has taken this lesson to heart. In the past year, the native of Welland, Ontario has been incredibly busy, releasing a full-length and a split 12" with his rock group Attack In Black, playing with and appearing on records by artists as diverse as Shotgun Jimmie and Julie Fader, and forming the folk trio Daniel, Fred & Julie alongside Fred Squire and Julie Doiron (and according to the liner notes to this album, he's fallen in love, too). To top this all off, he founded his own record label, You've Changed Records, as an output for his work. The freedom of calling all the shots seems to have informed his music, as Romano has been trying something new (at least within his body of work) with each release.

Similarly to Daniel, Fred & Julie, Daniel tackles a few traditional songs on Workin' for the Music Man, including the old English ballad 'Lady Mary'—perhaps the most immediately likeable song he's ever recorded, here titled "She Was the World to Me." However, it's his originals that make this album truly worth your time. Tracks such as "Missing Wind" and "A Losing Song" (which both appeared in alternate versions on a 7" released earlier this year—also available here at our shop!) show that Romano is an excellent songwriter in his own right. Bruce Peninsula singer Misha Bower appears thoughout the album, adding some gravity to the songs.

The overarching themes of the album, work and love, are universal, and the music follows suit. This is an album you can put on and immediately understand, which in this day and age seems to be happening less and less.

HOLY FUCK - Latin

I love swearing. Call it juvenile, call it reactionary, call it simplistic, but there's a joy, silliness, and release that comes from a good cuss word that can't be found anywhere else. And yet, despite this cozy relationship with blue words, I've had little room in my heart up until now for Holy Fuck. The blunt obviousness of the name could actually shoulder some of the blame, but that hasn't stopped me from loving Fucked Up. Nay, the real issue has been a search for the resonant core to the band's music. This Canuck quartet come complete with an enviable premise in tow—an analogue/real time take on electronic music—and in a live setting, the success of their hybrid is clear. It's loud, relentlessly groovy and quivering with creative and kinetic energy. But the same in-your-face-ness of their live sound always came off a little ham-fisted on album. After the admittedly strong, sweaty first impression, there was little in the way of hooks or memorable moments to bring you back.

Latin isn't a complete reinvention of Holy Fuck's sound—previous album LP's first single "Lovely Allen" was an excellent example of how well this band can combine chaos, rhythm and a tune—but it does take the foot off the gas just long enough in key places to allow the band to set up stronger moods, melodies and pacing. By allowing themselves a moment or two more to breathe in and reflect, suddenly the bursts of energy and noise have so much further to go when they appear. It's a tough thing to explain farther than that (and hey, maybe I'm just warming up to them myself), but everything about Latin is sharper, smarter, and more tastefully presented than anything they have done before. That's not to say that this is a conventional record—it's just an example of a great live band coming closer and closer to making a great record as well. There are still higher peaks for Holy Fuck to climb, but this is their tallest summit yet.

THE SADIES - Darker Circles

Like those old Holiday Inn commercials used to say, "the best surprise is no surprise", which pretty much applies to The Sadies' latest release. That shouldn't be read as a putdown, because it's always a pleasure to listen to the band deliver their patented and potent blend of country, garage, folk-rock and psych. Even if Darker Circles picks up where 2007's New Seasons leaves off, it's nevertheless a refinement on their previous album. In other words, The Sadies keep getting better, not to mention increasingly sombre.

The songs on Darker Circles are suffused with sadness, regret and loss, from the heartbreaking lyrics of "Tell Me What I Said" to the haunting tale of "Violet and Jeffrey Lee". There are many delightful moments to choose from here: the way the opening cut, "Another Year Again", culminates in a Bo Diddley beat-driven rave-up; the Byrds-y twang of "Postcards"; and the spaghetti western soundtrack feel of "10 More Songs", to name a few. Paradoxical as it may seem, immersing yourself in the gorgeous melancholia of Darker Circles is most certainly an uplifting experience.

BRUCE PENINSULA with MUSKOX and THE GERTRUDES with PS I LOVE YOU - 7" / PS I LOVE YOU - Starfield 7"

We are pleased to be carrying two new 7" singles featuring some of our favourite independent Canadian musicians. The orange one on the left there has an A-side with "Shanty Song" by Bruce Peninsula, which you may have heard on their debut album A Mountain is a Mouth. This time around, the track gets a beautiful new arrangement recorded by the mighty Muskox, while the singers have played a game of musical chairs, leading to some new voices sharing the spotlight. Side B continues the nautical theme with a contribution from The Gertrudes, another large band, based out of Kingston, ON. Their song's a tale of two lovers lost at sea, and is a nice buoy after Bruce Peninsula's more sombre side. PS I Love You make an appearance on the song too, which is most felt during the last two minutes, when the squealing guitar and feedback begins, giving the song a nice edge that really makes it stand out from the pack. Speaking of PS, they've got their own 7" with two brand new songs, "Starfield" and "Butterflies and Boners," a song about liking someone so much that you throw up. Both records are extremely limited-edition and come in cool silkscreened sleeves, so don't miss out!

Alternative content

ZEUS - Say Us

It’s about 12:30 on a Wednesday in December 2008, usually a dead night anywhere, but Toronto’s Dakota Tavern is an exception to the rule. A band is quickly setting up after a parade of short sets by different acts as part of Jason Collett’s Basement Revue. Their name is Zeus. A friend and I discuss maybe going somewhere else to get a drink, but as the band launches into its first song, my friend and I stop talking to each other and gravitate to the stage like classic-rock-starved zombies. I hadn’t been that impressed with a band sight-unseen/sound-unheard in a long time.

Cut to February 2010: Zeus' debut album is out, and the tunes they played that night sound as fresh and catchy as I had remembered them. They might seem like an odd fit on such an indie-centric label as Arts & Crafts, but it’s that type of lateral thinking that has gained the label such notoriety. It’s easy to compare them to the Beatles or the Kinks, but what’s so bad about that? It‘s not easy to take such well-trod influences and make them your own. They also touch on some great hard rock riffs, occasionally married to southern rock comfort, along with the sort of group harmonies that you just don’t hear anymore. The fact that this group has three different singer-songwriters speaks volumes of their ability to work as one well-oiled cohesive unit. As their name implies, these aspiring gods of rock are getting their mythmaking off to a solid start.

(Zeus will be playing a free live in-store performance here at Soundscapes on Sat. Mar 6 @ 6pm.)

BASIA BULAT - Heart Of My Own

There are a lot of musicians in this indie world, such as Dan Deacon, whose careers are essentially only possible thanks to recent developments in technology. It's not that there's no talent there, but like some obtuse ore buried miles under diamond-hard rock, it's taken us humans a while to invent the gadgets to extract it.

Basia Bulat is not one of those musicians. She is like a five-pound nugget of gold sitting in an barely bubbling inch-deep creek. Tapping these riches is about as easy as tying your shoe—sit down on the couch next to her, give her the phone book to sing, and prepare to be wowed.

I'm not sure that one could really call it a problem, but if there's an Achilles heel to all of this, it's that this kind of prodigious talent makes it all sound a little too easy. Bulat draws from a very familiar folk template throughout Heart Of My Own, and this fact, combined with her attention-grabbing voice, threatens to reduce the songs themselves to playing a bit part.

Is this more of a symptom of an age in music that often puts a higher premium on innovation than is sometimes warranted? True, the thrill of this record—and Bulat's talent in general—is not in hearing something you've never heard done before, but in the opportunity to hear this girl sing with her quivering cannon of a voice. And even at this young age, she has the maturity to understand when to rein it in, producing some the record's most deeply-affecting tracks ("Sparrow" and "Gold Rush").

Sure, Bulat is still likely a record or two removed from making a truly classic album—one woven with the kind of experience and weight that only time can provide. But if that sounds like a slight on Heart Of My Own, it's not. This is a very good record. It's merely recognition of the fact that, for a singer this talented, the best should be yet to come.

(Basia Bulat will perform a live in-store set here in our shop on Tue. Feb 16 at 7pm.)

TREAT ME LIKE DIRT: An Oral History Of Punk In Toronto And Beyond 1977-1981

Imagine for a moment a Toronto where only bands covering contemporary hits were deemed worthy of performing in bars. Imagine this city devoid of small venues where groups could play original material in front of supportive audiences. That was indeed the Toronto the Good (and downright dull) of the mid-Seventies, when into this musical vacuum stepped in a bunch of bizarrely-dressed, artsy, noisy, rebellious misfits creating the local punk rock scene, one that came hot on the heels of New York and London's in importance.

Author Liz Worth thoroughly researched this labour of love, the first book to chronicle the development of Toronto's punk underground. All the movers and shakers of the scene were interviewed, including members of local legends like The Viletones, The Diodes, The Ugly, and The B-Girls, all offering up bittersweet recollections of making music distinctly at odds with the stagnant rock mainstream of the day. Crucial musicians from Hamilton, an important punk breeding ground giving us Simply Saucer, Teenage Head, and The Forgotten Rebels, also make up an essential chunk of the story. It's a fascinating and occasionally disturbing tale, as the Toronto scene wasn't immune to infighting, gratuitous violence, and drug abuse. Faced with hostile reactions from news media along with radio and record company neglect, it was a pretty thankless job for Southern Ontario punks to make inroads in a country resistant to their audacious music.

Nevertheless, they established the nucleus of Toronto's alternative/indie-rock infrastructure, and Treat Me Like Dirt recognizes the importance of such larger-than-life personalities as The Viletones' Steven Leckie, the aptly-named Mike Nightmare of The Ugly, and Teenage Head's charismatic Frankie Venom, not to mention the managers and promoters who took chances on controversial groups when nobody else wanted to come near them. They're all here in this remarkable book, recommended to anyone who cares about this city's musical legacy.

(Author Liz Worth will be in conversation with Liisa Ladouceur here at Soundscapes on Sat. Feb 13 at 5pm.)

PARTY TIME - What Have You Learned?

Party Time, the solo project of Torontonian Emma Moss Brender (also of The Pining), is an unusual handle for music as lonesome as this, but is perhaps not as strange as it might first seem. Parties are generally where friends gather to catch up, share a laugh and enjoy each other's company, but under certain circumstances, parties can be quite emotional events. Maybe you see someone you don't really want to run into, or you realize you don't have an answer when old people ask, "What are you up to these days?" Party Time's first album What Have You Learned? might not be the best soundtrack to any parties proper, but it might just be the perfect thing to listen to on that long walk home when you're feeling weird about life.

OWEN PALLETT - Heartland

Mark this as the moment that Owen Pallett truly stepped up to assume the mantle that was his. That may seem a naive—or even ignorant—thing to say given Pallett's considerable success to date. But I really can't think of another way to convey the stunningly confident triumph that is Heartland. Whether scoring indie all-stars such as Grizzly Bear and Arcade Fire or winning the Polaris Prize with 2006's He Poos Clouds, it's not as though he's been lacking feathers in his cap—even if they had all been previously under the name Final Fantasy.

Heartland bests them all, managing to make the best case yet for his savvy marriage of classical flourishes and sophisticated pop, not to mention a host of other influences. Opener "Midnight Directives" skips and shuffles like the lost twin of Bjork's classic Homogenic cut, "Hunter". Where that song was full of taut menace broken only by a gorgeous bridge, Pallett reverses the equation here—allowing the bright and spritely song to build in giddy momentum only to tumble into a subtly shady chorus. It would be a great tune on an acoustic guitar, but the layers added here are remarkable, recalling some of Rufus Wainwright's recent highwater marks for densely elaborate, but emotionally effective orchestration. And that's just the opener.

Throughout, Pallett's talent never wavers. The electro-loop constructed out of a Bach fugue that powers "The Great Elsewhere." The gently increased pressure that comes with each "I'm never gonna give it to you" of "Lewis Takes Off His Shirt." The baroque kraut of "Tryst With Mephistopholes." And did I mention that above all of this, Heartland is a concept record? It's a real testimony to the deliciously stacked aural density of this album that it'll probably take another couple months of listening to it before I even feel the inclination to process that side of it. It's a record of which Pallett should be immensely proud—I'd have put my real name on it, too.

EVENING HYMNS - Spirit Guides

Organic stuff is all the rage right now with our food and drink, so why not with our music, too? OK, maybe not, but if that was the case, I would suggest stocking the aisles of your favourite organic music shop with Spirit Guides. This nine-song album exudes a connection to the natural world—so much so that the soaring chorus to "Mtn. Song" proclaims that "the world is a mountain", while penultimate track "November 1st, 2008, Lakefield, Ontario" is an unaltered five-minute field recording of a rainstorm.

But Evening Hymns bandleader and songwriter Jonas Bonnetta doesn't just sit back and let nature do all the talking. Spirit Guides may be a lush, unhurried foray into ruminant, orchestral folk-pop—complete with the able backing of members of bands such as Forest City Lovers, The D'Urbervilles and Ohbijou (whose drummer Jamie Bunton recorded the album)—but these ruminations ain't just granola. Instead, the record embraces the grey, with tracks like "Dead Deer" and "Broken Rifle" shifting ably between brilliant light and murky menace. This gentle tug-of-war is carefully expressed by gorgeous arrangements that see the record blossom effortlessly from guy-and-a-guitar plainspeak into full-throated calls of strings and voices.

It's a record that conveys the balance of solitude and lump-in-the-throat beauty one encounters on their best hikes in the woods—moments where you go to witness nature but end up thinking more about your own place in it. In this way, the natural world this record ultimately delves into is that of human nature, its casual approach disarming you to its powers within.

(Evening Hymns will perform a live in-store set here in our shop on Wed. Dec 2 at 7pm.)