Vancouver by Matthew Good

I am not going to lie, I have sort of been dreading doing my write up/review/whatever for this album. Most people who know me, or regular readers (both of you) know what Matthew Good is my favourite musician, so I was worried that I would come across as bias (at best) or a gushing fanboy (at worst). But here we go, I'll give it a shot.
His eighth full length album (counting back to the Band) is, as you can probably tell from the title, about Vancouver. Though it is not the theme of the album, but more the backdrop. It is both a love letter and a critique; as someone who has lived here his entire life, Good doesn't shy away from what is wrong with the city, but it is also clear that he cares about its ills because he loves it so.

First single "Last Parade" kicks the album off, and all ready you can tell it is going to be a bit more grandiose than the last few albums; more in line with his first solo outing, Avalanche. It also kind of introduces the theme of the album, when he spits out "It feels like time to fuck or leave" but then assures us with the chorus line "Baby, ain't it good to be back home?" It transitions nicely into "The Boy Who Could Explode", which builds from an almost haunting beginning to a soaring chorus, and even though it runs just over seven minutes, it manages not to get to boring or repetitive. Which actually happens a few times in the album, as it's only ten songs but just shy of an hour long. "Great Whales of the Sea" starts ominously, and appropriately, enough with some thunder, rain and soft whale-sounding calls before the song creeps in, for a very muted first half. The whales return mid-song before exploding into a climactic and energetic finish. I only wish it were longer; it is packed with great songwriting, yet somehow manages to be the shortest song of the album (and the only one under four minutes). Next up is "Us Remains Impossible", one of the more catchy tracks that could easily be the next single. "On Nights Like Tonight" is a bit moodier, and incredibly powerful & heartbreaking. You can feel the raw emotion as the song almost grinds to a halt for the pleading "just sit tight and I'll make my way to you" followed by the chorus "If I'm not on time / Remember that I tried". It all culminates with a beautiful swell of strings. The atmospheric "Volcanoes" follows, another slow build to a soaring chorus and is followed by "A Silent Army In The Trees", quite possibly the most powerful song on the album. It presents the disillusioned soldier who does not at all resemble the heroic fantasies of youth, lamenting "Never thought I'd live to see see the day, I'd be / Afraid of little kids playing in the streets". And the fantastic rise and fall of the music does nothing but add to the tragic beauty. "Fought To Fight It" is the most high energy and balls-out-rock song of the album, with a harshness to the music and Good spitting the lyrics through grit teeth for the verses, but ringing out with unparallelled confidence in the chorus. The album draws to a close with two absolutely epic songs. "The Vancouver National Anthem" times in at almost seven minutes, and is, as you may expect, the probably the only song "about" Vancouver, with lines like "We all live downtown / We all die downtown / Step over ourselves" evoking certain areas of the city. It is also, again as you would expect, very anthemic and grand. The incredibly ambitious "Empty's Theme Park" brings the album to an amazing close. With it's raw emotion, magnificent strings and subdued energy which is always just bubbling at the top, it does more with it's nine and a half minutes than many bands do in a whole album.
"Tell me will I dream?
And tell me will it be serene?
Or tell me will I stay
With my feet in exactly the same place?"

As with a lot of his work, Good's lyrics are still his best asset. From vague & intriguing to poignant and everywhere in between, that is the lynch pin of the album. Which is, of course, not to say that the music isn't top notch as well. It is still identifiable as Matthew Good, but he hasn't stopped taking leaps. It may sound reminiscent, but never repetitive.
Do I think of Vancouver so highly because I am such a Matthew Good fan? Or am I such a Matthew Good fan because of albums like this, which I am going to go out on a limb and call my favourite of the year? I would like to think that because I am so enamoured with his music, that gives me a much more critical ear to it. All I know for sure is, I can't wait to see what is next.


Download Great Whales of the Sea

Download On Nights Like Tonight

Download A Silent Army in the Trees

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Do Make Say Think @ Biltmore -- 02/06/10

I didn't know how close I was to doom. This show kind of snuck up on me, and due to my own fault (and ticketmaster's utter failure) I wasn't able to get advance tickets to the show. And then I find out advance tickets were sold out! Luckily, there were some available at the door and we got there early enough to ensure tickets. And I am glad I did, because this was an experience I would not want to have missed.

The show started a little early, surprisingly enough, with Ohad Benchetrit taking the stage and talking about how the show was going to be a "moon landing" since there was a curfew and they had to be off at 11. He also mentioned the "format", for lack of a better term. Since all three bands were variations of Do Make Say Think, there would be minimal time for reorganization between sets. It was actually pretty cool the way they did it, and the result was two and a half hours of almost constant music. Which is especially nice on curfew shows like this.

First up was Years, Ohad's solo project. It started with him on guitar with a trumpeteer, who left after a song leaving Benchetrit up there solo with just a guitar and looping/effects pedal. He created an incredible sound, and had I just heard it, not seen it live, I would never have guessed it was one guy. After a few songs he invited the band to come back on and help him out. It was a bit lighter and less intense than Do Make Say Think, but at the same time it was a bit too similar. Not that that is a bad thing by any means, but the songs felt like they were DMST b-sides rather than a solo project. I liked his first few songs quite a bit more, when it was Benchetrit and his guitar. Years was on for about half an hour before a five minute break for the "next band".

The second incarnation was The Happiness Project. Which isn't really the name of the band, but the "project". It is Charles Spearin's "science experiment" (as he puts it) and was actually one of the most intriguing albums I've heard this year. The project revolves around Spearin taking interview clips with his neighbours and building music around the natural cadence and flow of their voices, so before every song he would introduce the subject of the song and they would go into the song. Going into the show I was just as interested in seeing this live as I was DMST, but also kind of hesitant. It's pretty high concept, and I had no idea how it would turn out live... but me of little faith. He had the interview clips at his beck and call on his pedals, and the band wove some fantastic music with and around the voices. The most interesting was Vanessa. She was born deaf, but got a microchip and microphone inserted in her brain and at the age of 30 heard sound for the first time. The clip was about how she processed that, and again, they built around her voice magnificently. The project as a whole is pretty ambitious, and it was absolutely unreal seeing it performed live.

And after about a ten minute break, everyone came back in the guise of Do Make Say Think. They started with "Make" off the new album and played right up until they were kicked off, just after 11. And the show made me come to the conclusion that Do Make Say Think is not a band. They are a force of nature. Their albums are full of depth and complexities, and they managed to not only match that in their live show, but perhaps top it with even more depth. It helped that there were nine of them packed on the stage, complete with guitars, bass, trumpets, cornets, saxophone, keyboard, violin and two drummers. Yet despite the large numbers, and long songs, it never felt like it was "too much"; too bulky or too meandering. They hit the perfect stride, with the quiet lows balancing the epic crescendos. Crescendos that, at times, had the band going batshit insane, and melting your face with an incredible wall of noise. As you may be able to tell from my somewhat awkward attempts, it was almost indescribable how powerful they are live. Sometimes, I find, instrumental music can be difficult to get into live, but Do Make Say Think captivates you and draws you in at the first note. They are definitely an essential live experience.

Review-kus.

Originally I wanted to review every album I bought/otherwise listened to last year. Clearly, I've slacked on that. Partially cos there have been a lot of albums that, for whatever reason, I don't feel like writing a full review for. So what I have decided to do is give a few really quick reviews all at once.... in haiku form. Here we go!
And I'm almost done my reviews for 09 albums! Just a few more to go!

Skin of Evil by Blackout Beach (Carey Mercer [Frog Eyes, Swan Lake] solo project)
Theatrical tale
Of "Donna" and her lovers
Quite captivating

Download The Whistle by Blackout Beach

...And The Ever Expanding Universe by The Most Serene Republic
More focused than last
A sonic wall of awesome
The title fits well.

Download Vessels of a Donor Look by The Most Serene Republic
Or watch the awesome video for Heavens to Purgatory

Friends & Total Strangers by The Trews (Live acoustic album)
Stripped down, acoustic
Much better than expected
Shows their true talent

Download Den of Thieves by The Trews

The Zolas w/ We Are The City & Henry and the Nightcrawlers @ Biltmore -- 01/27/10

I am pretty sure half of the Vancouver music scene was at the Biltmore last night for The Zolas CD release party. Spotted in the crowd was half of Said The Whale, half of Bend Sinister, Hannah Georgas and a whole bunch more. But with three excellent bands on the bill, and for such a great price, you'd be silly not to have been there.

Henry & The Nightcrawlers were the first out, with the eponymous Henry being Henry Alcock-White of Bend Sinister. He was backed live by Tom & Zach of The Zolas, as well as Spencer from Said The Whale on drums. The sound was a bit lighter indie pop rock -- a couple times was reminiscent of Jason Collett, but not really all that similar. Some really catchy songs, and I picked up the 5 song EP they had at the show (which seemed so homemade, I'm wondering if they were pressed just for the show) and am looking forward to the full length which may be out this spring. The standout songs were Daytime Friend (which is about exactly as it sounds, a concept I'm sure most can relate to) and one which I didn't catch the name of, but featured the attention grabbing line that was something like "better to be fucked than to do the fucking". I will definitely be interested in checking them out next time they're playing.

Second up was Peak Performance Project winners, We Are The City. And what can I say about them that I haven't already said? Except for tonight they seemed exceptionally awesome. Perhaps it was the venue, or playing with their friends in The Zolas, or the pressure of PPP being off, but they were insanely energetic on stage; probably the most I've seen them. And their having a blast definitely helped the music and banter. I especially liked Cayne's joke: "This coffee is so good, it blows your mind... it takes your head off... it's a de-cappuccino." The set was similar to the last few times I've seen them, but this time they handed out homemade shakers for There Are Very Tiny Beasts In The Ground (which were hilariously made from things like empty chlorine jugs). They also covered Said The Whale's Love Is Art, before segueing to one of theirs. They ended again with Astronomers for another great set.

Right then I could have left and it would have been good enough, and definitely worth the money... but there was more! The Zolas hit the stage, with Henry back out to help them out, even though he was "distracted" by Zach's homemade muffins (not a euphemism). They started things off with You're Too Cool, a song that has a reference to the Biltmore in the second line and just cranked up the energy from there. For their whole set of insanely catchy tunes, they kept everyone moving -- We Are The City jumped on stage for an impromptu dance party during Body Ash -- and involved the crowd -- the aforementioned muffins were eventually shared with the crowd, and Zach even jumped into the middle of the audience with the mic for These Days. By the end of it, just about everyone around him could be heard singing along. They finally finished things off with Cab Driver which somehow, somehow, managed to be the most high-energy-holy-shit-wow song of the night.

Again, an incredible night of music. I hadn't heard much of Henry & The Nightcrawlers before, and I'm glad I was able to catch them. We Are The City is always a treat to see live. And as catchy as The Zolas new album is, they are insanely good live.

Monsters of Folk by Monsters of Folk

The term "super group" seems to be thrown around a lot, especially as of late. And more often than not, they end up being a disappointment; a group of big name musicians banding together, then falling far short than the sum of its parts. Maybe the group members just don't "click", maybe the arrangement leaves something to be desired, but it's almost gotten to the point where "super group" is no longer a draw, but a buzz word. Maybe that's why most super groups now have the customary "don't call us a 'super group'" statement.
So when Jim James (of My Morning Jacket, using his alter ego Yim Yames), M. Ward (of She & Him and, uh, M. Ward) and Conor Oberst & Mike Mogis (of Bright Eyes) joined forces for Monsters of Folk, I was more than a bit skeptical. Especially since I love My Morning Jacket so much, but especially because I have never really cared for Bright Eyes. Sure, these artists all have similar musical backgrounds, but they are all distinct enough that you might not expect them to mix.

The self titled album starts out with "Dear God (sincerely M.O.F.)", which features each member taking parts of the song solo, which is the only time on the album you'll hear a division of their voices this blatant. First single "Say Please" sees Oberst up front in a catchy and upbeat tune, and the first time you hear them all together, any and all worries you may have had just melt away. Each song features either Ward, Oberst or Yames as lead vocals and the other two as backup vocals (Mogis sticks behind the scenes, as it were), and Ward's first track is the infectious alt-country "Whole Lotta Losin'". Oberst's "Temazcal" brings it down a with a song that lives up to its name, but things pick right back up a little with the jaunty "The Right Place", Yames' first "spotlight" song, and Ward's "Baby Boomer", a song that is nigh-impossible not to clap along to. One of my favourites off the album is, surprisingly, an Oberst song: "Man Named Truth", another fast paced and catchy song. "Goodway" is probably the most Ward influenced, though could have done without Oberst doing the spoken word outro, however he redeems himself with "Ahead of the Curve", a rich song which, again, features a great blending of vocals. Which is then almost perfected in Ward's gorgeous "Slow Down Jo". "Losin' Yo' Head" with its energetic country-funk, is the most blatantly Yames song, but then he brings it back down for the mellow "Magic Marker". "Map of the World" is another surprisingly good Oberst song -- not to pick on him or anything, but as I said, I was never really an Oberst fan prior to this album. "The Sandman, the Brakeman and Me" is Ward's great climax which finally perfects the harmonies. The perfected blend of vocals go on to end the album excellently with "His Master's Voice" -- featuring Yames, in a nice bit of symmetry.

The thing I love most about Monsters of Folk is how they all trade off duties. No one member does a specific job for the whole album, but rather everyone does everything at various times. It creates a more eclectic sound, rather than just being something like "Oh, drummer from band-x is playing with guitarist from band-y". Everything seems to flow much more naturally. There are still definitely influences from each band in the tracks, but their various sounds end up blending together so perfectly that it seems more like a band that has been together for years rather than a first-time collaboration.
And I touched on it briefly, but perhaps the most amazing thing this album does is to turn my complete and total apathy of Conor Oberst into somewhat of a liking. I am probably not going to run out and get all the Bright Eyes and Mystic Valley Band I can get my hands on, but I certainly like the man more than I previously did.


Download Man Named Truth

Download Slow Down Jo

Download His Master's Voice

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