TODOR KOBAKOV - Pop Music

You never really know your neighbours, do you? I mean, sure, us Torontonians know that we have a really solid indie scene—one that spans everything from video-game punk to carnival-esque avant-jazz. But how many of you really knew that we had our very own Chopin lurking in our midst? Perhaps that has something to do with the fact that Todor Kobakov's most well-known contributions to our music scene were as one half of the pop duo Major Maker—they're responsible for that uber-catchy Maynard's candy jingle. In other words, it's okay if this one catches you by surprise. Kobakov may appear to be coyly acknowledging this past by calling his debut solo piano effort Pop Music, but it's more than a gag. To start, two indie-pop vocalists in Emily Haines of Metrics and TV On The Radio's Tunde Adebimpe contribute vocals to a pair of tracks. But with or without these vocal turns, he has made a rather populist album. With each track hovering in the three to four minute range, Kobakov makes sure to never overstate his talents or his ambitions, favouring tight, eloquent narratives over bombastic showmanship or drawn-out melancholy. Furthermore, his titles all offer direct windows into the themes of each piece. If it all sounds like I'm suggesting he's recorded a sort of Solo Piano for Dummies, then a thousand apologies, because Pop Music is no such thing. Rather, it's Solo Piano for the People—an album that is as humble and unassuming with its great gifts as it is generous. Simply gorgeous, timeless stuff.

CANAILLE - Potential Things

Released on the same day and label as the previously reviewed (and also excellent) 5 Pieces by Muskox, Potential Things is the debut disc from Canaille, the latest jazz combo to feature the exceptional Jeremy Strachan. Whether tackling a live cover of Coltrane's immense behemoth Ascension, blowing solo improvs based on Pollock-esque paintings, or wailing percussive themes in syncopation with a dude banging buckets, Strachan is an intelligent and ferociously searching talent. For Canaille, he is surrounded by a truly resourceful crew, including saxophonist Colin Fisher and Muskox leader (and Soundscapes staffer—hey, we've got a right to be proud!) Mike Smith on double bass. Compared to the immediately discernible ambition of Strachan's past projects, Potential Things is a bit of a straight-shooter. It seemingly does not bend rules so much as adhere to a well-established template within the world of jazz, but that's what makes this record great—it's steeped in a love, respect, and knowledge of what made so many classic albums work, so much so that an afternoon spent listening to it quickly finds me flipping back and forth between it and Mingus Ah Um, This Is Our Music and Miles Smiles with a feeling of total joy. Like all of those recognized classics, Potential Things is the sound of a group of musicians engaged in spirited but aware dialogue, and listening in to these proceedings is a real privilege.

MUSKOX - 5 Pieces

Mike Smith's Muskox finally make the leap to full-length (and -sized, as all-out triangle-tesselated packaging deservedly flaunts the fact) status with 5 Pieces, their first for Alex Durlak's Standard Form imprint (also home to Canaille and Feuermusik, among many other interrelated acts) after three consistently impressive 3" CD-Rs self-released over as many years. The ensemble's since likewise grown, now counting cellist Erika Nielsen among its ranks.

Disciplined but lyrical and delicately driving, Smith and company continue to temper tricky rhythms and time changes with lithe melodic lines that brainily intertwine, often returning to state the head motif after an adventurous, involved digression. A truly progressive crossbreed, Muskox straddle genres with the grace of a much less brawny beast.

(Muskox perform at the Music Gallery Thu. Oct 29 with Canaille and Damian Valles. Tickets are $10 at the door, and the show starts at 8:30pm.)

DO MAKE SAY THINK - Other Truths

For a long time now, the Do Makes have been one of the best bands this city has to offer. For close to fifteen years, they've been a model of consistency, producing five instrumental albums of poetic beauty. And while their origins can be traced back to a time when nearly every second indie band sounded like either Tortoise or Mogwai, they've escaped the burnout of 'post-rock' not only unscathed, but as potent as ever. Even their sixth full-length's most seemingly self-indulgent sins (like making a four-song album of ten-minute tracks, each named for one of the action verbs in the group's name) can't derail such a fine record. That's because Other Truths encapsulates the full range of this group with disarming candour and directness. It's remarkable how songs so long and meandering can maintain a connection with the listener at all times. And unlike their early days (which do still contain incredible songcraft), the group is far less likely to rely on easy tricks of dynamics, instead flexing their equally attuned, but far more subtle compositional muscle. They've yet to make even a mediocre record—and I for one wouldn't be surprised if they never do.

(Tickets are now on sale to see DMST perform at Harbourfront Centre's Enwave Theatre Sat. Dec 12 and Sun. Dec 13.)

LULLABYE ARKESTRA - Threats/Worship

With their signing to VICE guaranteeing increased exposure of this awesomely married bass and drums duo, a certain Death From Above has been mentioned more than a few times in press relating to the Lullabyes. But if these two remind me of anyone wielding four strings and some cylinders in the name of rock, it's now-defunct, deliciously ridiculous Fargo, ND BMX-noise freaks godheadSilo. While DFA1979 were basically locked-in heavy dance rock (effectively foreshadowing Jesse Keller's future in MSTRKRFT), GHS played rock as though they were in the midst of a grand mal seizure. Lullabye Arkestra share this kind of reckless nature, and much of it starts with the drumming of Justin Small—although much improved, Justin is still a loose drummer, inspired to follow tempo in the most primal of ways, resulting in music that stalks with seasick determination, like the Terminator if he was drunk.

Over top of this shifty structure is then laid slab after slab of molten bass riffage. Kat Taylor-Small is viciously skilled on her instrument, and the combined effect is relentlessly fun and thrilling—kind of like godheadSilo. But the ace up Lullabye's sleeve is the fact that these two are married, which, rather than being some coy novelty, is maybe the most compelling thing about them. That's because Justin and Kat play music and sing like they're falling in love, over and over again, in the most carnal, violent, and honest ways possible. They're the coolest rock couple since Jon Spencer and Christina Martinez, and us Torontonians are damn lucky to call them our own.

VA - Friends In Bellwoods 2

Friends In Bellwoods 2 is a two-disc compilation of new or unreleased songs by mostly Toronto-based musicians, and is a follow-up to the first edition, which was released in January 2007. All proceeds from the albums (which total over $11,000 so far) go to the Daily Bread Food Bank. If you look at the 40 artists featured on FIB 2, you're sure to recognize plenty of them. The folks who put the album together (Ohbijou's Casey Mecija and James Bunton, with Out Of This Spark head honcho Stuart Duncan) have done a formidable job of filling the ranks with acts such as Final Fantasy and Great Lake Swimmers, rising stars like The Rural Alberta Advantage and Katie Stelmanis, and newcomers like Hooded Fang and Sylvie Smith.

Even if you're already familiar with everyone on these discs, you're sure to find some surprises (The D'Urbervilles' exciting take on Timber Timbre's "Magic Arrow" definitely caught all of us offguard). Other highlights include Sandro Perri and Ryan Driver's contribution (billed here as Double Suicide), as well as Canadian Wildlife, Jenny Mecija of Ohbijou's delicate first step as a solo artist. For an album attempting to document a time and place, it is surprisingly cohesive (the fact that most of the songs here are quiet acoustic or piano numbers certainly helps the flow). Years from now when I'm looking back at this time in my life, it will be these bands providing the soundtrack to my memories, so it's nice to have them all in one place.

STILL LIFE STILL - Girls Come Too

They may be young, but they had to have known it was coming. As soon as this East York band inked a deal with influential indie Arts & Crafts and brought Broken Social Scene leader Kevin Drew in to help produce their debut, the tidal waves of comparisons to BSS were inevitable. I guess this review is kinda following suit as well, but truth be told, Still Life Still don't really sound that much like Broken Social Scene. I mean, sure, it's not like they're Coldplay or anything, and they've certainly nicked Drew's penchant for profanely tender lyrics and sexual double entendres. But if neither A&C or Drew were involved, I'd have linked them closer to the Tokyo Police Club model myself. But who cares about all that—is the record any good? Exuberant, endearingly sloppy yet tightly constructed and well-written, Girls Come Too is certainly an above-average slab of college radio-ready rock. And yet, like so many of its genre predecessors, its worthiness really comes down to the whims of the listener—in the mid-nineties, I thought St. John's/Halifax trio The Hardship Post were the bomb, but it was kind of hard to fault someone else for thinking it had all been done before; they just struck a chord with me. How Still Life Still will evolve is anyone's guess, but this is one honest, fun and giddy album. If you come to the party and check your cynicism at the door, you'll find only open arms and good times.

THE WOODEN SKY - If I Don’t Come Home You’ll Know I’m Gone

I've been listening to The Wooden Sky's new album If I Don’t Come Home You’ll Know I’m Gone pretty obsessively since I got my hands on it last Thursday. It was perfect timing too, since I was about to embark on a 7-hour bus ride to Montreal and I was in desperate need of some new music for my trip. So there I was, early Friday morning, departing Toronto in a cramped bus with loud chatter all around me and a storm brewing outside, when I put on my headphones and pressed play on the first track, "Oh My God (It Still Means A Lot To Me)". I closed my eyes and readied myself for sleep when I heard the first line of the song: "Wake up you're getting old." That one line perturbed me enough that I knew I wasn't going to be getting any rest on this trip. It was okay though, because the album kept me engaged enough that time just flew right by. It strikes a perfect balance between quiet, contemplative songs and rollicking sing-alongs, with just the right amount of twang as to not scare anyone away. It's got a sparkling and polished sound courtesy of Howard Bilerman (Arcade Fire) and Chris Stringer (Timber Timbre), but it never comes off as cheesy or dishonest. Instead, if you're anything like me after listening to this album, your impression of The Wooden Sky will be that they're a very talented group of young men with fantastic voices, excellent musicianship, and a knack for coming up with memorable melodies. Don't sleep on this one.

THE RURAL ALBERTA ADVANTAGE - Hometowns

When I was in Grade 4, my geography class did a unit on the provinces of Canada. As a sheltered child going to school in small-town Ontario, I had a severe lack of knowledge about the rest my country. Learning about capital cities and the climate doesn’t really give a curious nine-year-old boy much real insight into what it’s like growing up in northern Quebec, coastal Nova Scotia, or rural Alberta. That’s why I wish my younger self had Hometowns, the debut album from The Rural Alberta Advantage, an insightful document packed with more lessons than any textbook. While Canada’s fourth-largest province (thank you, Grade 4 geography) is the literal subject of each of these songs, the themes and stories are universal and timeless. Singer Nils Edenloff is an expert at conjuring up romantic images of life growing up in the prairies, and though I never lived there myself, the situations and stories are still very relatable (Joel Plaskett's 2005 concept album Ashtray Rock would be an suitable comparison). Throw in charming backup vocals care of Amy Cole and outstanding drumming from Paul Banwatt, and you've got yourself a batch of tunes that will be hard to get out of your head.

TIMBER TIMBRE - S/T

Timber Timbre has long occupied a place in many hearts--a secret, dark, mysterious place, somewhere near the left ventricle, maybe. His first two releases, Cedar Shakes and Medicinals, were raw, atmosphere-soaked, rural woodsy songwriting at its best. For his latest self-titled set, Taylor Kirk steps calmly out of the wilderness and into the studio. With bold organ lines and warm guitar tones, he once again wows us with his spooky melodies and haunting vocals. Timber Timbre is one of those rare artists who manages absolute continuity between releases, yet adds plenty of variation to keep us fascinated. This album is sure to secure his spot in the old left ventricle, and hopefully finds him nestling into some new hearts, too.

This review first ran in January 2009 upon the release of Timber Timbre on Out of this Spark. On June 30th 2009, Timber Timbre is being re-released on Arts & Crafts, and will appear on vinyl for the first time.

ROYAL CITY - 1999-2004

This presumably final release to bear the Royal City name couldn't have come at a better time. Ten years after the band's formation and five years after their demise, 1999-2004 is a bittersweet offering for fans of the dearly departed Guelph quartet. Originally publicized in 2004, many thought this compilation of unreleased demos and rarities would never see the light of day after the closing of their label Three Gut Records in 2005. Thankfully, earlier this year Asthmatic Kitty announced they would be releasing the album--a fitting resting place for the band, alongside their friend and admirer Sufjan Stevens. Everything fans know and love about the band shines through in these songs, from singer Aaron Riches' gentle voice and plaintive lyrics to the subtle performances from the rest of band (which also included Jim Guthrie, Simon Osborne, Nathan Lawr, and later Lonnie James). It's an immaculate package which will help fill a void for all Royal City fans, but also give new listeners a chance to discover a band that is too often overlooked or forgotten. Here's to C-I-T-Y, Royal City.

There will be a tribute to Royal City happening June 26th at the Tranzac in Toronto, which is set to include performances from Andy Magoffin (Two-Minute Miracles), Chad Ross (Quest for Fire/Nordic Nomadic), Cry, Cry Papsmear, Evan (ex-Royal City) & Geordie Gordon (The Magic/Human Highway/Islands), Evening Hymns, Gavin Gardiner (The Wooden Sky), Gentleman Reg, I Am Robot and Proud, Jeff Peers (Anagram), Jenny Omnichord, Magali Meagher (Phonemes/Metal Kites), Nathan Lawr (ex-Royal City/FemBots), Scott-o-Bot (Ragg Mopp), Steven LuChuck (ex-We’re Marching On/Ohbijou), Woolly Leaves (Constantines), Bob Wiseman and more! 8PM, $10 with proceeds going to the Toronto Cat Rescue and the Tranzac.

OHBIJOU - Beacons

If you’ve lived in Toronto anytime during the last five years and you keep your ear anywhere close to the ground, chances are you’ve heard of Ohbijou. Though originally from nearby Brantford, singer Casey Mecija brought her project out of her bedroom and into the big city a few years back, swiftly recruiting like-minded individuals upon her arrival in Toronto. Since the release of their debut album Swift Feet for Troubling Times in 2006, the members of Ohbijou have been somewhat of a harbinger for those around them in the Toronto music scene. This has included hosting concerts at the Bellwoods house that various members have called home and helping organize and record the 2007 compilation Friends in Bellwoods (as well as the forthcoming Friends in Bellwoods II), a record showcasing friends of the band as well as their own individual projects. Although many of their peers have gone on to become known worldwide, Ohbijou have stuck around Toronto (while simultaneously finding time to tour Europe and the United States) and honed their craft. The years Ohbijou have spent in Toronto truly figure into their new album Beacons (Bathurst St. and Queen St. both get name checked), as do their recent travels (most of the album was recorded at a cottage on Muldrew Lake in Ontario and at the Banff Centre for the Arts in Alberta). It's been a long time coming, but the final result is well worth the wait. Beacons is a lush album, with all the beautiful melodies and instrumentation fans of the band have come to expect. Additionally, recently inked record deals at home (Last Gang) and in Europe (Bella Union) mean Ohbijou will be heard by more people than ever before.

THE WEATHER STATION - The Line

With spring finally blasting sunshine in full force, it seems like an odd time to get into the deep blissful sulk that an album like The Line can inspire, but Tamara Lindeman's performances connect with such an immediate sense of intimacy that you cannot help but be surrounded in her songs. Although The Weather Station's first full-length release is comprised of the five songs from 2007's East EP (albeit in more finely-tuned form) plus six newer tunes, it is by no means a padded revamp, but rather a continuation of the same themes. Dark banjos, bowed strings and and the ambient rustling of wooden objects dominate the rural soundscape, and immediately betray the music's origins in Lindeman's self-recordings. Although augmented by friends and bandmates, these recordings remain personal, with Lindeman's voice sinking into the arrangements as if her words alone cannot express the whole of each song.

METRIC - Fantasies

It's rather appropriate, and perhaps no accident, that Metric are named after a system of measurements. Their brand of dance-pop is so exactly produced and performed, you sense that each ingredient was added to only the most carefully considered degree. If the whole process appears a little heartless, it's to the band's credit that it's able to consistently inject these little formulas with plenty of human DNA. The instrumental trio of Jimmy Shaw, Josh Winstead and Joules-Scott Key play it tasteful, spirited and ultra-locked-in, but most of this responsibility rests on Emily Haines' petite but capable shoulders. No sweat--she hooks your ear with take after take of cool, detached, but never disinterested vocals. The opening four tracks are among the best they've turned in so far, making it an end product well worth their calculations.    

STEAMBOAT - S/T

A run of collaborative shows at the Tranzac in the summer of 2008 with local guest-vocalist luminaries Sandro Perri, Mantler, Andre Ethier, Emilie Mover, Alex Lukashevsky and Andy Swan helped establish Steamboat's reputation as one of the most unlikely regular favourites in the venerated club's programming. Started as a project for bassist/keyboardist Matt McLaren to keep himself and bandmates busy during downtime from their regular gig with pop classicists The Old Soul, Steamboat have bypassed current trends and stuck to an R'n'B vibe best summed up by the material they proudly cover in live shows (Lee Dorsey, Allen Toussaint, The Kinks, and The Parliaments, whose early B-side "I Can Feel The Ice Melting" is included on this 6-track EP). McLaren, a traditionalist with a powerful voice and a deep well of inspiration, possesses a distinct songwriting style that reaches beyond the Dr. John/Randy Newman template. The originals here are instant classics, and the good news is that there are a whole bunch more excellent tunes to come with future EPs.

DOUG PAISLEY - S/T

I love to hear records that are simple (I find them harder to make than prog records), and Doug Paisley (also of Dark Hand And Lamplight and Live Country Music) has made one of the most ear-pleasing, first-listen-simple records I have heard in a long time. Album opener "What About Us" is so strong, one would think it's a cover--it blew my mind that this song had never been written 'til now. The British press, particularly MOJO, know his genius, and the Americans (first and foremost, No Quarter, who have released this solo debut) are catching on, so what's up, Canada? Locally brewed for Grade-A export.

HYLOZOISTS - L'Ile De Sept Villes

The tugboat-like hums, bowed vibraphone and lead melodica of intro "The Possibility Of An Island" pushes us off to I'Ile De Sept Villes. "Bras D'Or Lakes"' unison vibes and literally off-beat strings gradually churn up the pace, as the next few tunes to follow are infused with driving, O'Hagan-esque bounciness, settling into a military march keeping with the send-off sentiment of "Your Band Doesn't Have The Legs I Thought It Would". Takoma fingerpicking then pairs up with warm, fuzzy keyboard pads on "Acadia Acadia", before closer "Soixante-Sept"'s slowburn, cinematic 4/4 funk. As accomplished a producer/arranger of these instrumentals as head Hylo Paul Aucoin is, though, it's especially impressive to witness all that mallet-pounding in person, so be sure to catch their in-store here at the shop on Tue. Feb 10 at 6pm.

BRUCE PENINSULA - A Mountain Is A Mouth

Anyone who has had the opportunity to see Toronto's Bruce Peninsula play live knows the power this group holds. Their sheer performance energy has, of late, been entrancing live audiences all over the city and beyond. At first listen, A Mountain Is A Mouth may not seem to do this experience justice, limited as it is by its own static medium. Still, standout tracks like "Weave Myself A Dress" and "Crabapples" showcase the subtleties in the band's characteristically engaging songwriting, raw lead vocals, and massive yet meticulous choral arrangements. Branching out with this release from their beginnings adapting traditional folk songs, these original compositions are a lively new take on an old, beloved sound.

FINAL FANTASY - Plays To Please (10" + download)

For those familiar with the songs of Alex Lukashevsky, Final Fantasy Plays To Please may be about as comfortable as a badly fitted white tuxedo. Save for a single stuttered syllable, Owen Pallett's interpretations have very little to do with the original performances by Lukashevsky and Deep Dark United. Instead, the songs are cast in an orchestral setting that, while dense with clever arranging moves, remains quite light and whimsical throughout, with Pallett's delivery as airy and delicate as ever. The fact that this works so beautifully speaks volumes for not only the awesome skills of the arranger, but also the fundamental strength of the material he's interpreted.

TIMBER TIMBRE - S/T

Timber Timbre has long occupied a place in many hearts--a secret, dark, mysterious place, somewhere near the left ventricle, maybe. His first two releases, Cedar Shakes and Medicinals, were raw, atmosphere-soaked, rural woodsy songwriting at its best. For his latest self-titled set, Taylor Kirk steps calmly out of the wilderness and into the studio. With bold organ lines and warm guitar tones, he once again wows us with his spooky melodies and haunting vocals. Timber Timbre is one of those rare artists who manages absolute continuity between releases, yet adds plenty of variation to keep us fascinated. This album is sure to secure his spot in the old left ventricle, and hopefully finds him nestling into some new hearts, too.