Album Review: Chron Goblin – Here Before

Chron GoblinHere BeforeGrand Hand Records

Ascending from their role as local skatepark punks to that of Canadian psych-rock tastemakers, Calgary’s legendary curb-grinding garage band Chron Goblin isn’t the same old thrash ‘n’ grab outfit they once were.

Here Before, marks a deliberate recalibration from the hard-rolling crew as they crank the production values to eleven on volatile numbers like “Giving in to Fun,” “Slipping Under,” and “Out of My Mind.”

Singer Josh Sandulak’s raucous vocals and poetic lyrics are thrust into the spotlight as never before and his confident, yet bitter, mouthfuls come washed down with an unerring supply of acidic guitar riffs and dexterous rhythms. Haunted by a shared history and infectious back catalogue, the group navigates a jagged path through the dank underbrush on “Oblivion” before diving into the lazy river of the lumbering “Giant.”

Intricate, intentional and gritty to the bone, Here Before challenges the maturing quartet to supersede their former selves with dangerously divergent compositions; including eerie banshee ballad “Ghost” and pugnacious ripper “War.” The defining wallet-chain swagger, bluesy breakdowns and ballsy bravado that set them apart from day one may remain the same, but Chron Goblin’s best just got a whole lot better.

Best Track – Giant

by Christine Leonard

12th, September 2019 in • Record Reviews, MUSIC

Festival de Musique Emergente 2019 Preview

Festival de Musique Emergente 2019 Transforms Sleepy Quebec Town into a Partygoers Paradise

By Christine Leonard

Your last chance to soak up the sights, sounds and “je ne sais quoi” of summer, Festival de Musique Emergente (FME) is a music and arts festival that is as famous for its idyllic lakeside location as it is for the wide range of breakout and established artists it has been platforming over its 17-year history.

Mushrooming in scope and impact, the envelope-pushing event has grown from presenting a dozen artists in its first year to welcoming over 70 artists to the 2019 installment. While FME has evolved with the times, co-founder and programmer Pierre Thibault firmly believes that the vision and values behind the multilingual music showcase have remained unaltered.

“The original mission of the FME was to make room for marginal projects shunned by commercial radio in Quebec,” says Thibault. “We wanted to focus on this counterculture. We also wanted to invite alternative projects from all over the world to reach an audience that now knows that the independent music here is of the same calibre as the one found abroad.”

The 8-hour Cannonball Run North from Montreal to the festival’s verdant Abitibi Témiscamingue region will see some 20,000 festivalgoers head deep into the province’s heavily forested backyard. There they will take in four days of open-air and indoor performances by the likes of DJ Kid Koala, …And You Will Know Us By The Trail of Dead, Daniel Romano, Material Girls, Atsuko Chiba, The Sadies, Half Moon Run, The Young Gods (Switzerland), and The 5, 6, 7, 8s (Japan) to name a few.

“It’s good to go out on the road with friends in Quebec, and to discuss culture, politics, love, and many other relevant things while going on a weekend of crazy concerts,” says Thibault. “It is unifying to make the way from Montreal to Rouyn. We meet in convenience stores, gas stations, grocery stores, SAQ on the road and we take off, ready for another dimension — the FME!”

And if you find yourself torn between what shows to attend — that’s all part of the plan.

“We really like the small and medium format rooms that leave you with multiple decisions to make during your weekend,” says Thibault of the schedule. “I think that missing a good concert to see another one that was chosen at the same time is the true definition of a good music festival.” To make matters even trickier, Thibault shares that there’s some geographic sleight of hand at play: “We changed all the street names of Rouyn for the event so that the festivalgoers trust their ears to find the concert halls!”

Discovery is indeed the name of the game when it comes to navigating the unique musical experience that is FME.

FME takes place August 29 to September 1, 2019 in Ville de Rouyn-Noranda (Québec).

29th, August 2019in FEATURED, MUSIC

Album Review: Torche – Admission

Torche

Admission

[Relapse Records]

Miami sludge-slingers Torche open the floodgates to a tide of bludgeoning downstrokes and impenetrable riffage with Admission.

A prelude to fear, the first cut, “From Here,” surveys an urban wasteland through eerie melting harmonies before the divine onslaught of “Submission” strikes an authoritative stance that strains and heaves over what it has conquered.

The uphill battle continues as Torche dives into the deep end of the groove mine, demonstrating what 15 years of grinding down their rough edges sounds like. Wall-high guitar surges and stealthy percussion reflect the punishing summer heat, while oiled up “Slide” and pyroclastic “Time Missing” model their muscular mortal physiques.

Power and restraint collide as “What Was,” “Extremes of Consciousness” and “Infierno” wrestle against internal strife and social self-immolation. Even still the cascading crescendos and cool fluidity of “Reminder,” “On the Wire,” and “Changes” prove hardy enough to bear the weight of Torche’s soft underbelly.

One of the bright spots that parts the album’s apocalyptic clouds, the beautifully intricate title track pierces polluted heavens and heart with brilliant streaks of inspiration. A pensive but passionate album, Admission radiates an ominous sadness that descends directly from the seasoned band’s realization and appreciation of life’s impermanence.

By Christine Leonard

Best Track: Submission

Torche perform in Vancouver at Venue Nightclub on Saturday, Sept. 14

 01st, August 2019  

in • Record Reviews, MUSIC, REVIEWS

Yamantaka // Sonic Titan - Dirt - Interview

Yamantaka // Sonic Titan:
An Explosive Force Of Nature

by Christine Leonard

Photo by Richmond Lam

Like the sound of the sky rending open, Toronto-based progressive art-rock collective Yamantaka // Sonic Titan enters the summer festival season. They are a musical meteorite streaking towards the planet’s surface and an explosive force of nature. The genre-bending experimentalists will be staging their psychedelic space-metal operas at Canadian dates including Yellowknife’s Folk on the Rocks, the River & Sky camp-out in Field, ON and Victoria’s Phillips Backyard Weekender.

Holding a mirror up to the status quo, Yamantaka // Sonic Titan appropriates elements of pop, rock and heavy metal and blends them through influences gleaned from Buddhist, Haudenosaunee and First Nations traditions, along with their own mixed Asian-European heritages. Embedded in manga art, video games and science fiction themes, their enthralling tracks are ablaze with socio-political commentary.

DIRT, their latest album released in 2018, is no exception. The album revolves around the story of abandoned turtle starship, Anowara, and the heroine Aentsik’s quest to collect the final remnant of arable soil. It’s the same edict the ecologically-minded band has espoused since the beginning: “If the trees die, we die,” says founding member and percussionist, Alaska B.

“I think we are concerned about the same things any reasonable person should be concerned with: anthropogenic climate change, plastic pollution, overuse of antibiotics, animal extinction, unsustainable agriculture, pollution, corporate and government surveillance Indigenous rights, human rights, transphobia, sexism, racism, homophobia,” continues Alaska.

“Our music is often interpreted to focus entirely around the cultural identity politics, but the lyrical content and themes in our art all deal with the suffering of living beings, environmentalism and the inevitability of death.”

It’s a tall order for humanity, let alone a fringe-dwelling Canadian rock band, but if anyone’s up to the challenge, it’s the self-defining, fire-spitting, world-shaking, dirt-venerating music collective and theatre company who has earned the surname Sonic Titan.

Yamantaka // Sonic Titan perform Thursday, July 11  at 9910 (Edmonton), Saturday, July 13  at The Palomino (Calgary) and  Sunday, July 28 at the Phillips Backyard Weekender (Victoria)

08th, July 2019 

in • Alberta, FEATURED, MUSIC

Album Review: Abbath – Outstrider

Abbath
Outstrider
[Season of Mist]

Abbath Doom Occulta is the corpse-painted face and venomous voice of black metal in his Norweigan homeland. Born Olve Eikemo, the 45-year-old multi-instrumentalist has famously served as Immortal’s lead vocalist, lyricist, guitarist, bassist, guitarist, keyboardist and drummer.

An extreme and extremely versatile artist, his eponymous offshoot metal project, Abbath, recently reformed with a fresh lineup and a renewed sense of purpose.

The aggressive quartet’s current incarnation attacks Abbath’s sophomore effort with rapid-fire percussion, caustic vocals and power guitar onslaughts. Plunging headlong into the heat of an epic fantasy battle, the album fuses the new wave of heavy metal with rhapsodic melodies and Abbath’s own dark philosophies.

Delivered with face-flaying ferocity, white-knucklers like “Harvest Pyre,” the wily “Scythewinder” and wildly imaginative “The Artifex” prove as intricate as they are intense. Occulta growls like a lion, pacing between the bars of solid steel and shadowy malice on “Bridge of Spasms,” cheering on the band’s hellish machinations.

Ominous and oozing with goblinesque screams, “Pace Till Death” hails the flames and traps the audience between inferno and abyss. Wrapping up their harrowing eight-song saga with a pang of nostalgia, Outstrider makes a grand exit with an amped-up cover of Bathory’s “Hecate.”

By Christine Leonard

 03rd, July 2019 / 11:13 

in • Record Reviews, REVIEWS

Album Review: Tycho – Weather

Tycho
Weather
[Mom + Pop Music/Ninja Tune]

San Francisco’s dancefloor electrocutioner Tycho (aka Scott Hansen) returns with Weather, the radiant echo to the talented composer and graphic designer’s Grammy-nominated album, Epoch (2016). Introducing a new phase in Tycho’s industrial evolution, Weather drifts into previously unexplored territory for the Billboard-topping songwriter and producer and his synonymous music project with the introduction of vocals to his digital creations.

A marked departure from Hansen’s customary computerized soundscapes, the water-testing single “Pink & Blue” dips its delicate toes into the gender-fluid, bringing iridescent swirls of colour and light to the surface.

Chanteuse Hannah Cottrell’s (aka Saint Sinner) silky smooth crooning takes the chill off of synthetic spaces, infusing Weather’s cybernetic cinema with a warm breath of humanity and soul.

Expanding on the blueprint of Cottrell’s lyrical dreams, Tycho’s latest dispatch weaves its way through organic love notes like the conversational “Skate” and sleek futuristic moments such as “Japan” without differentiating between those two modes of transmission.

It’s a remarkable synthesis of flesh and fuses. An emotionally transformative formula Tycho is only just beginning to decode.

03rd, July 2019

 • Record Reviews, REVIEWS

by Christine Leonard

Album Review: The Black Keys – Let’s Rock

The Black Keys
Let’s Rock
(Easy Eye Sound / Nonesuch Records)

It’s been a hot minute since we last heard from The Black Keys, but their heavy blues rock refrain remains the same. Reunited with his better half and percussionist Patrick Carney, vocalist/guitarist Dan Auerbach demonstrates that getting back in their brotherly Rubber Belt groove was as easy as falling off a tandem bicycle.

Recorded from scratch at Auerbach’s Easy Eye Sound studios in Nashville, Let’s Rock reportedly came together with very little preparation or premeditation. Edging away from the disco ball and asphalt sizzle of 2011’s El Camino and the polished tones of 2014’s Turn Blue, the stripped-down nostalgia of Let’s Rock offers a heartfelt tribute to the ultimate tool of the trade – the electric guitar. Irresistibly retro, yet tuned to a modern frequency, the album is already commanding the airwaves thanks to catchy-as-hell and radio-ready singles like “Lo/Hi,” “Eagle Birds” and “Go.” These three Cowtown-meets-Motown forerunners preface an album stacked with glossy, voluptuous ditties that bump ‘n’ grind like a preacher’s daughter.

Thumping bass notes and gliding vocals add sleek lines to “Shine a Light,” padded out by lux backups from guest vocalists Leisa Hans and Ashley Wilcoxson. Lonely forest mating ritual “Eagle Birds” gets down and dirty, while the stomping Austin gospel of “Lo/Hi” hits the album’s two sweetest spots – earnest storytelling and an unrelenting boogie beat that drives the drama towards satisfaction.

At peace with the past, the sugarcoated dirge “Walk on Water” echoes Auerbach’s time as “king of a one-horse town,” but you know you’re being lured in for the big come up when “Tell Me Lies” struts into Karmatown.
Yep, The Black Keys have returned to form nicely, which is most fortunate because we’ve been waiting.

03rd, July 2019

in • Record Reviews, REVIEWS

by Christine Leonard