hi...
well james our beloved listmanager and i were talking the other day and
there seems to be a lack of record reviews on sloan net lately...
well even though these are old, maybe there's a few of you who still don't
have these albums and might wonder what some kid thinks of them. jes' my
dumb opinion...printed originally in vox magazine, we don't want to break
any sort of copyright regulations...
tara, struggling writer (my jacket zipper is stuck and i can't get out...)
Hardship Post *this was a review i did from the promo cd, before "the"
Somebody Spoke
Sub Pop
You know how once in a while you run into a friend you haven't seen for a
long time and suddenly you develop an urge to show them how much you have
changed? You want to show them all the new things you've learned, how
different you are from the person they thought they knew. _Somebody
Spoke_, the first full-length release from Maritimes-based Hardship Post
comes across as an example of this type of urge. Their Sub Pop debut
(what is it with that label and Canada's east coast scene?) isn't quite
what one might expect from the Hardship Post we've come to know and love.
The album opener is appropriately enough titled "New Wave". It's about
half a beat slower than the sort of song they might be expected to offer
right away. The guitar sound on this track piqued my curiousity since it
wasn't a Hardship Post sound, yet it was still really familiar. This
could have been a stellar track were it not for the high pitched backing
vocals which are somewhat of a detraction. "Let's all ride the new wave,"
coaxes vocalist Sebastian Lippa. Indeed, let's ride it.
(*note - i take it back, i actually *like* mike's backing vox now...)
"Garbage Truck" takes a good minute and a half to really kick in. When it
does, wow. Snap, crackle, POP! Unfortunately, as is the case with all of
the tracks, it's very short. The entire album clocks in at just
thirty-one minutes for 11 songs.
The contrast between the soft quiet parts and the full-on rock out
sections in "What a Day" (the first one) is what makes it a fabulous
song. It's an ideal song for Hardship Post to play live when it looks
like those crazy kids need to breathe every few minutes or so. It's at
this point in the album that I always start thinking "ok, so the guitar
sounds different, but at least I can rely on Sebastian's vocals to remind
me of that old sound." Wrong.
Track four, "Capabilities," is sung by the bassist (*note - at the time)
Mike Pick. It sort of trudges along and it's the only song I'm glad is so
short. Thankfully, the other song by Pick, "My Secret Life" is a lot
better. It has that late seventies AM radio feel to it. Give it a few
listens, it should grow on you.
It's as though Lippa, Pick, and drummer Matt Clarke (*note - yeah....)
are saying "Hey, we're not who you thought you could peg us to be so
early on in the game." At the same time, they don't appear confident
enough to show everyone the new Hardship Post for more than a few moments
at a time.
By track five, "Watchin' You," listeners should be able to determine why
the new Hardship Post guitar sound is familiar. It's got that undefinable
yet unmistakable "Canadian" guitar style; go listen to any Tragically Hip
or some old Pursuit of Happiness and you'll know what I mean.
(* seb and mike were mildly horrified when i told them that)
There are three sweet and slow songs on _Somebody Spoke_. The first one
to show up, "Your Sunshine," is beautiful and vaguely reminds me of "All
of the Law", an old Psychedelic Furs song. Bizarre. "Just for a little"
and "If I..." are also quite sweet and feature strong vocal performances
by Lippa.
It shouldn't be too hard to distinguish between the two versions of "What
A Day" as the second one *rocks* with a capital r. It's in the vein of
"Silver Suit" (without the nod to devo) or "Colourblind". I only wish it
was longer, it always leaves me breathless and wanting more.
"Slick Talkin' Jack" has already been released as a seven-inch and is
merely an OK song by Hardship Post standards. (*note- was i drunk? it's
wicked) While I'm still using a negative tone, I'll mention how
disappointing it was to not find "Rooftops" on their new album. It's
probably their finest unreleased song. One can always hope for B-sides.
A lot of people have been hoping that this will be the album to put
Hardship Post into the big leagues. I'm not so sure that's going to
happen. The combined results of an album with a rather different sound
and the bands' refusal to play old material live will mean one of two
things. Either they'll end up alienating their still-growing fanbase, or
they'll have the satisfaction of knowing that they made it on their own
terms.
Despite the criticisms, I do recommend this album wholeheartedly to any
of their fans and to those who like pop spilled all over their rock.
_Somebody Spoke_ aims to please, especially if you are no longer "under
the influence of" Hack or Moodring.
*****
Rick White
Elevator To Hell
Sub Pop/Cinnamon Toast
Rick White is a production maniac and a songwriting machine. Not only has
he put his magic touch on releases by groups such as the Monoxides and
Hardship Post, put out multitudes of albums, EPs, and singles with his
band Eric's Trip, but he also continuously writes and produces music on
a solo basis. Up until now, these solo projects have ended up in the hands
of a select few. With the release of _Elevator to Hell_, hundreds of
listeners get to see the really fucked up side of White. Frightening,
isn't it?
I think we'll never see the day when he creates a song that would sound
good on a car radio. For this I am grateful. As is his style with Eric's
Trip material, the songs on this album are created from start to finish
in a completely unorthodox fashion.
The music on _Elevator to Hell_, a vinyl only release, ranges from
minimalist (single notes on the guitar and handclaps) to overwhelming
surges of noise. Disturbing, apologetic, naive, angry, confused - all of
these words describe the tone of his lyrics.
One might say White has found a way for his feelings of disorientation to
transcend his lyrics and to express them in the way the music is written
and recorded as well. Confusion as a cohesive theme can be aesthetically
pleasing if it's done right. _Elevator to Hell_ is proof that he knows
what he's doing.
Songs seem to end abruptly with the sound of a guitar hitting the floor
and then suddenly surge up again. Just when you least expect it, it's all
over. It's as though the very structure of each of his songs is a
metaphor for his personal experiences. If you listen carefully to some of
the lyrics, you can hear references to his uncertainties regarding the
status of particular relationships.
While White is responsible for most of the music on the eighteen song
album, he is joined occasionally by Mark Gaudet (Eric's Trip's drummer),
Ron Bates of Orange Glass, and Tara Landry. Landry, who also goes by the
name Tara S'appart, is indeed the one referred to on the _Love Tara_ disc.
It's hard to avoid making comparisons of Landry's vocals to those of
Julie Doiron of Eric's Trip on such tracks as "My Head". Landry comes
across as unsure with her low monotone but her singing has some gentle
and sweeter qualities on the edges.
Outstanding tracks include "Everything Made More Sense", "Three More
Weeks" (sounds like Fleetwood Mac), "Made For You" (fuzzy growling
guitars), "Morning Clouds" and "Physically Unaddictive Mind Change".
If you find White's work in Eric's Trip to be harsh, inaccessible, or
just rather unpleasant, you should stay away from _Elevator to Hell_.
It's self indulgent and at times borders on pathetic, but sometimes
that's a good thing. An album for the sleep-deprived, co-dependent loser
in all of us. Brilliant and amazing.
****
The Super Friendz
Mock Up, Scale Down
murderecords/MCA
If you like Sloan, you're sure to love the Super Friendz. This retro-pop
Halifax outfit was started up a few years ago as a Sloan side project by
Chris Murphy and his brother Matt. All fourteen tracks on _Mock Up, Scale
Down_ sound pretty much like outtakes from _Twice Removed_. That's right,
pal, this whole scene is incestuous, but that's ok, too.
Just kidding.
First of all, Matt and Chris aren't even related. Second, the Super Friendz
are an actual real band, not some lame side project. Third, Chris Murphy
is nowhere to be heard on this record. And finally, as difficult as it
may be to believe, the Super Friendz pull off the retro thing better
than Sloan. No joke.
This album is a collection of fourteen cleverly crafted pop songs. No,
not just pop songs. There are many elements to the music Drew Yamada,
Charles Austin, and Matt Murphy produce. There is a definite nod to the
sound the Beatles and Byrds pioneered in the late sixties, hints of Neil
Young and the Replacements, plus a bit of country twang (honest, that
can be a good thing). These guys have all done their time in various pub
rock outfits like Blackpool and Leonard Conan, as well, and it shows in songs
like "Down In Flames" and "Undertow".
It's nearly impossible to talk about the Super Friendz and not mention that
super sweet pop (you know, like root beer) thing happening all over the
place. There may be a sad wistfulness in the lyrics of songs like "10lbs",
"You'd Better Call", and "Fireflies", but it is always counterbalanced by
gorgeous, hopeful vocals (all three take turns at lead) and infectious
guitar hooks.
Even the most bitter track, "Rescue Us From Boredom", stays beautiful
thanks to the amazing vocal harmonies Austin and Murphy provide. It's
a song most music fans should be able to relate to. Austin's lyrics
capture the spectrum of emotions felt by both a pop idol who can't
possibly meet his fans expectations ("Why do you love me/I don't love you")
and the disappointment and desperation his admirers feel ("We need you
to rescue us from boredom").
"Come Clean" and "When They Paid Me" have already been released on the
_By Request_ 7''. These new versions sound a bit slicker and lose a bit
of the spontaneous edge that made them so charming on vinyl, but are still
solid numbers nonetheless.
"Karate Man", "Rescue Us From Boredom", and "Fireflies" have also been
recorded for an earlier, limited-release cassette entitled
_Sticktoitiveness_. These new versions demonstrate the potential
the Super Friendz have always had for writing amazing pop songs.
"Fireflies" stands out as the most improved number, with its
heartbreakingly beautiful vocals shared by Yamada and Murphy.
The album is closed with a quiet, reflective song performed by Yamada.
It's an unlisted track, so it's kind of like a nice little surprise left
for the listener.
murderecords' finest release to date should leave listeners with a
bittersweet sense of joy. At the same time, _Mock Up, Scale Down_ should
also remind them how special simple pop songs can become in capable hands.
****
i thought i'd throw in Lisa's review of Pluto's cd just cause they have
some similar qualities to a lot of the east coast bands you all love so
much...
Pluto
Cool Way to Feel
(mint)
Why be a star when you can be a planet? Why listen to anything else when
you can listen to _Cool Way to Feel_, the debut CD from Vancouver's
favourite power popsters, Pluto? Thirteen songs of full melodic pop and
screeching guitars which will brighten up your day and bring a new
meaning of happiness to your life. Well, something like that anyway. Ian
Jones' and John Ounpuu's vocals are nicely highlighted throughout the
whole album and remind me somewhat of a raspier Sloan. At least four of
the songs on the CD are from earlier seven-inches released on Mint,
Popgun, and Shake records respectively, but their best songs, "It's
Over", "Locked and Loaded", and "Paste" are all unreleased gems. "I can
taste the glue holding the smile upon my face" is a sample lyric and
although it sounds pretty caustic, the music keeps the album upbeat.
_Cool Way to Feel_ should rightfully garner Pluto a loyal following and
hopefully get them some deserved attention across the border and
internationally.
I mean, why be a planet when you can be a star?
(Lisa Wilton)
kay the end
tara
