Herohill

Reviews:: Dave Marsh The True Love Rules

noreply@blogger.com (ack) — Thu, 24 Jul 2008 15:21:00 +0000

web site :: label

It's very fitting that the first release of Joel Plaskett's new label, New Scotland Records, is a musical journey that pays homage to the greats that have influenced us for decades. Joel received critical acclaim for his voyage back to high school and the tales of two friends starting a band and now it seems Emergency drummer and solo artist, Dave Marsh is happy to reminisce as well.

But unlike Joel, Dave isn't looking back on those formative, awkward, angst filled years (although Backstreets Thread and The Way We Live Today definitely hit on the same era, just without the smiles) through narratives. Instead he plays with the sounds of the musical greats like Bowie, Strummer, Iggy, Bell/Chilton, Davies. It's easy to see the influence they have on Marsh's song writing, but with the flourishes from modern peers like Joel Plaskett, Peter Elkas, and Matt Murphy, the mix of old and new helps Marsh's work evolve into much more than another dusty rehash.

They say you have a lifetime to write your first record and Marsh, who has been playing rock n roll for over two decades, uses his debut as a melting pot for the styles and inspirations he's picked up on his wild ride. Whether it's a Bowie-esque melody and delivery on Forsaken By The Beautiful People or the cocksure swagger of The Way We Live Today you can't help but picture Marsh on stage wearing a huge smile. Consequently, True Love Rules is a perfect retrospective for so many music geeks. Ten years ago, would I have focused on the delicate AM radio undertones on the beautiful I Know Nothing Anymore? Without question the answer is no, but the subtle sunshine grabs my ear as much as the infectious bounce of Darling You, Nothing Else Matters.

Over the course of the fourteen songs, Marsh lets his lover know that "nothing else matters" and admits that no matter what anyone else thinks,"true love rules." I know he says both in a romantic context, but Marsh could easily be talking about his relationship with music. Being a full time touring artist is a lot of blood, sweat and tears, and often means watching the odometer turn on long drives after tiny club shows in no name towns.

The thing that keeps you going is the music and the need to create and after spinning Marsh's new record, his love of music can never be questioned. There are no fake messages or trendy effects or layers, and Marsh's sincerity that shines through. As a result, The True Love Rules is a collection of songs that are fun, deep, diverse and seem like they've been always been a crucial part of who you are.

MP3::

Dave Marsh - Backstreets Thread
Dave Marsh - I Know Nothing Anymore

Live:: Finally More Summersonic Recap!

noreply@blogger.com (naedoo) — Thu, 24 Jul 2008 12:05:00 +0000

A number of things have conspired to keep me from getting this stuff up, but I'm sure since we posted our initial recap plenty of people have been sitting eagerly by their feed reader waiting for the next installment. Well wait no longer, we've got a couple un-released songs from In-Flight Safety, a couple energetic numbers from Tokyo Police Club, and 3 classic jams from The Weakerthans. Enjoy.

MP3::

In-Flight Safety - Cloudhead
In-Flight Safety - Crash Land
Tokyo Police Club - In A Cave
Tokyo Police Club - Tessellate
The Weakerthans - Civil Twilight
The Weakerthans - The Reasons
The Weakerthans - One Great City!

Video::

In-Flight Safety - Cloudhead

In-Flight Safety - Crash Land

Tokyo Police Club - In A Cave

Tokyo Police Club - Tessellate

The Weakerthans - Civil Twilight

The Weakerthans - The Reasons

The Weakerthans - One Great City!

Reviews:: The Avett Brothers Gleam II

noreply@blogger.com (ack) — Wed, 23 Jul 2008 15:44:00 +0000

I made mention of the lead single from The Avett Brothers new EP - Gleam II - earlier in the week, but Scott and Seth really deserve a bit more press after sitting down with the new release. For new fans of the band, the songs on Gleam II might seem like a drastic change of style. Gone are the rawkus, rollicking numbers. Gone is any sort of bass. Gone is most of the energy you equate to the NC band.

In their place are graceful, emotional confessionals that burn with a quiet intensity. The common themes are the same; love, death and family, but the delivery shows restraint and growth. A twinkle of piano, dueling guitars and banjo provide the most fragile supports for Seth and Scott to sing over and the result is incredibly powerful.

Most people are looking forward to the band's major label debut with Rick Rubin, but this EP is a perfect thank you for the fans that have followed the band over the years. The songs are sing-along waiting to happen; ones you play with your friends when the guitars come out after too many drinks and restraint gives way to bliss. Chances are working with Rubin will make these small town boys into big city stars that open for even bigger stars, but when you sit down and listen to Gleam II, you remember long family drives, growing up and falling in love and getting run over for the first time.

MP3::

The Avett Brothers - Murder In The City

Reviews:: Jakob Dylan Seeing Things

noreply@blogger.com (ack) — Wed, 23 Jul 2008 13:22:00 +0000

web site

I'm as shocked as anyone, but I am thoroughly enjoying the new record from Jakob Dylan. I hated the Wallflowers and honestly never paid Jakob much mind. But when I heard Rick Rubin was going to be on the knobs for Seeing Things, I was interested to see how he was going to guide Jakob. Would we travel a vast, desolate landscape full of emotions and gentle guitar picks or see Rubin filling out the arrangements, resulting in a huge solo rock record.

Thankfully - although most of his former fans would probably differ in opinion - we get the former. Dylan offers up a collection of stripped down, political tracks destined to find ring true in the ears of the working man. Rubin simply embellished the subtleties, let Jakob's voice steal the spotlight and the results are terrific. Given his name and father's legacy, I can see why Jakob was reluctant to jump into folk tales (even after this release he says his songs aren't social commentaries more just ideas and words), but his voice really works well with the messages he presents and he sidesteps the tendancy to name names and place places.

His words seem timeless; "I know that soldiers are not paid to think, but something is making us sick" or "of snow covered beaches, junkyards of diesel and bombers named after girls" are the type of images that could be from 1940 or 2008. It's a simple representation of a society at war, and that's what adds the weight to these soft songs.

The record moves like so many of us, trapped in despair at the state of the world but trying our hardest to believe that it can and will get better. The "light making it's way on up the mountain" shines brightly, but every day the mountain seems to be getting more and more unclimbable. We've become a culture of slogans and familiar imagary, one that holds onto hope while living in a situation that gets worse and worse every day and surprisingly, Dylan seems to voice this better than most.

MP3::

Jakob Dylan - Something Good This Way Comes (live on Jay Leno)

Video

News:: Halifax Serves Music For Lunch

noreply@blogger.com (naedoo) — Wed, 23 Jul 2008 12:45:00 +0000

Fairly busy week for your old friend Shane, but I thought I'd take time out to do you folks a frickin' service. Well, if you live or work in downtown Halifax, I'm doing you a service, otherwise you might not care. Starting tomorrow, there will be a series of free concerts taking place at lunchtime on the Grand Parade, and the lineup is fairly impressive:

Wednesday, July 23 – Gypsophilia (gypsy-jazz)
Thursday, July 24 – David Myles (folk)
Fridays, July 25 – Brent Randall (indie/pop/alternative)
Wednesday, July 30 – Thom Swift (roots/country-blues/rag)
Thursday, July 31 – Norma MacDonald (Americana/folk)
Friday, August 1 – Ryan Cook (country)
Wednesday, August 6 – The Sakura Quartet (classical)
Thursday, August 7 – David Bradshaw (folk/bluegrass/fusion)
Friday, August 8 – Steven Bowers (folk rock)
Wednesday, August 13 – Rebekah Higgs (folk-electric)
Thursday, August 14 – Jason Haywood (country/Southern rock)
Friday, August 15 – Ruth Minnikin (Americana/folk)
Wednesday, August 20 – Mike Aubé (folk/blues)
Thursday, August 21 – Ian Sherwood (rock/jazz/folk)
Friday, August 22 – Dan McKinnon (Maritime roots/traditional)
Wednesday, August 27 – The Strangeboys (bluegrass)
Thursday, August 28 – Chelsea Nisbett (urban/R&B)
Friday, August 29 – Beyond Brazil (Brazilian folk/jazz)
Wednesday, September 3 – Kev Corbett (folk)
Thursday, September 4 – The SideCats (roots/world/jazz/blues)
Friday, September 5 – The Stanfields (folk rock/roots)

There's certainly some folks there that we've already covered plenty on the hill (David Myles, Brent Randall, Rebekah Higgs), but there's also plenty of other talent on offer. I know the weather hasn't really been ideal for outdoor concerts this week, but I'm sure there are more sunny days ahead, so keep these shows in mind.

MP3::

David Myles - I Don't Want To Know
Gypsophilia - Gyre
Ruth Minnikin - Chicken Cooped Up In Country Music
Kev Corbett - That's All Gone

Reviews:: Gravity Wave Twin Prime Conjecture

noreply@blogger.com (ack) — Tue, 22 Jul 2008 16:40:00 +0000

myspace :: web site

Every so often a CD ends up in my mailbox and I'm left wondering … "what the &%#$ is this?" Who is this person and how did they get my address? Ninety-nine percent of the time it leads to a CD less valuable than one of those old AOL discs they used to mail out to anyone with a address, but in the case of Fort McMurray's Gravity Wave, the unexpected gift was a pleasant surprise.

I'll be completely honest, this would have been a tough sell if I'd known any better. Ken Farrell, at least in the pics I've seen, is rocking a white guy S curl and plays stripped down, art heavy electro jams. Usually, those type of jams get passed on like Sammy Bhalla playing the wing denial, but Ken's music isn't simply a vessel for his creative, quirky art school styles.

No, the Twin Prime Conjecture EP is pretty stellar lo-fi electro pop. Jams like Nectar and Buffalo Jump (the acoustic, bass and ghostly, prairie plains whistle that fill out the beat on the latter sounds terrific) are infectious tracks, but Ken's able to control the pace with slower, brooding numbers like the Britrock-infused Ghost In The Machine.

I'm not sure how easy it is for a project like this to gain momentum, but he's opened for bands the Helio Sequence and Canadian talents like Laura Barrett, Woodhands and the RAA have volunteered to play as his backing band. Without a doubt, the surge of Gravity Wave is building and if Ken's music keeps progressing, he might soon be on the same level as the countless number of musicians that sing his praises.

MP3

Gravity Wave - Buffalo Jump [Twin Prime Conjecture EP]
Gravity Wave - Princess [MARTYR'S BRIGADE LP(2007)]

News:: The Avett Brothers release Gleam II

noreply@blogger.com (ack) — Mon, 21 Jul 2008 17:15:00 +0000

web site

All too often people try to make a song into something it's not. Forcing significance or emotion into a few simple strums so they can channel their own hangups and insecurities through another person's pen. Well, on Murder in the City by The Avett Brothers, the sentiments expressed will never be misconstrued.

The power of the starkly honest song hits with the force on a car crash. The purity of love, the cold touch of death, and the always stretched, but never breaking bond of family; the Avetts open up to anyone who takes the time to listen and when they harmonize the last line of - "A tear fell from my father's eyes, I wondered what my dad would say. He said I love you and proud of you both, in so many different ways" - it's impossible not to get engulfed by the rush of emotion.

Pick up Gleam II when it comes out tomorrow. If this song is any indication, the EP is destined to be one you turn to when the clouds are the darkest or the sun shines the brightest.

MP3::

The Avett Brothers - Murder in the City

Quick hitters:: The Mood

noreply@blogger.com (ack) — Mon, 21 Jul 2008 15:00:00 +0000

web site

It's a remarkable talent to craft pop songs that seem like they take no thought at all. While that might seem like a slag, I'm completely serious. Most pop that falls short is too formulaic, with sunshine and fun forced into every orifice and sounds like a tired rehash of songs from years ago.

But when I listen to the The Mood - which I have countless times in the last two weeks - almost every thought escapes my mind and critique goes out the window. I'm not sure how, but on tracks like In the Forest and Eskimo Scientist, the quintet makes you want to pogo around your bedroom but the sounds still shimmer with the sounds of California in the 60's.

Behind the strength of Marco Argiro's hooks, the quintet's new EP - Synaedthesia - flies by with touches of power pop, pop punk and straight ahead summery pop and I find myself reaching for the volume knob, unconcerned about being THAT guy driving around blaring music at ridiculous levels. No, when Corinne and Marco harmonize over sunshine filled rhythms and crunchy guitars, I just smile and sometimes that's all you need.

MP3::

The Mood - In the Forest
The Mood - Eskimo Scientist

Old School Monday:: J.J. Fad & Queen Latifah (Supersonic Ladies Edition)

noreply@blogger.com (naedoo) — Mon, 21 Jul 2008 12:45:00 +0000

All right friends, a busy weekend gone by and a busy week on the docket means I don't have much time for OSM. But we'll still bang one out because that is just how we get down on the hill.

Anyway, due to our coverage of Halifax's Summersonic festival this past week, I found myself typing the name a lot, and about half the time I wrote it as "Supersonic". That is due to the song of the same name from old school, LA female trio J.J. Fad. I wasn't actually a huge fan of the song back in the day, but it was always just kind of around, and it's always been a favorite amongst bass music enthusiasts. And if I've done nothing else on this site, I've always made sure to cater to the bass music fans. Or not, either or. So here's Supersonic from their self-titled debut, which came out on Ruthless records in '88 and was produced by Dre and DJ Yella.

There is really no connection between J.J. Fad and Latifah, as far as I know, but Petra was watching a Queen Latifah bio on TV when I started writing this OSM and I figured I haven't featured many female MC's, so it made sense to make this an all-female edition. Not sure I have to write much about Latifah, as I'm guessing that unless you live in a tv-free closet, you know who Latifah is. Most people think of Ladies First when they think of Latifah's first album, but not me, Dance For Me was always my favorite song from that album. Not sure why, but I think it might have something to do with the awesome 45 King horns on the beat. Well that and the video is very, very awesome, with Latifah's African General shorts set and the wicked black & white rap-dance freakouts. I still enjoy it, hopefully you do too.

MP3::

J.J. Fad - Supersonic
Queen Latifah - Dance For Me
Queen Latifah - Dance 4 Me (Ultimatum Remix)

Video::

J.J. Fad - Supersonic

Queen Latifah - Dance For Me

Sunday Morning Coffee:: Cameron Latimer

noreply@blogger.com (ack) — Sun, 20 Jul 2008 17:33:00 +0000

myspace

For me, routine equals comfort. I crave feeling the familiar touches, smelling the familiar smells and most importantly, hearing the familiar sounds. The last few weeks have disturbed my routine in ways I could have never imagined.

For the first time ever, I owe a bank lots of money, and will continue to do so for 25 more years. Throw in the fact my job status that is as unpredictable as the weather in an ocean side town and it's hard not to feel a bit lost at sea. Finding my routine is something I need; like dropping anchor in the safe harbour after a long trek.

After three years in the same place, visiting the same spots insignificant tasks like deciding what market I should buy my vegetables or even something as simple as a left or right at the bottom of my hill on a my morning jog seems as crucial as what colour should we paint the office or what is the most important skill to lead with on my resume if I need to start shipping it out again.

Vancouver's Cameron Latimer sounds familiar. Not in a way that he sounds like any or every other country tinged artist, more that his sound is comforting. The dusty steel notes that bend across his melancholy words makes me remember that if even for a few minutes, life is simple and doesn't need any long term thoughts or well constructed explanations.

MP3::

Empty Saddles - Cameron Latimer

Live:: Summersonic Day 1

noreply@blogger.com (naedoo) — Sun, 20 Jul 2008 15:36:00 +0000

All right, thanks to the co-operation of the weather yesterday, the Ack and I were able to head downtown and enjoy day 1 of the inaugural Summersonic Festival at the base of Citadel Hill here in Halifax. There were rumours of rain and perhaps a thundershower or two, but we only felt a few drops throughout our time there, and, like the rest of the crowd, we were glad for that.

In fact, the crowd is a good place to start. Simply put, it wasn't very big. Considering the size of the venue, and the quality of the acts, I thought the crowd would easily be double what we saw there. I'm not sure what the deal was, I know there was plenty of other music on (in fact one of the Urban stations here was putting on their annual festival yesterday too, but I'm not sure how much crossover there would be in the audiences), but perhaps they should've done more advertising for the event. But not to dwell on the negative, because the event itself was pretty awesome. It was run smooth and on time, the facilities provided were great, and the all the performers sounded great.

I'll be posting some of our footage and video throughout the day, but if you are able to head down and check out today's bill (I See Rowboats, Hey Rosetta!, The Black Keys, Wintersleep, Stars), I certainly would.

Yesterday started with local girl made good, Rebekah Higgs. Higgs has started to make a splash on the National scene - her video for Parables is getting muchmusic love - but she seemed eager to win over the local crowd. Her set, although only 40 minutes, was jam packed with smiles, energy and echobox fun.

She's a charming performer, and the full band treatment of songs like Parables and Happy real sounded thicker than the quaint electro fused recorded versions I'm so familiar with, but the density really made them stand out. She debuted a new song - Youth and Beauty - and if it's any indicator of what her next release is going to be about, we are all in luck.

Up next was the anthem driven rock songs of In-Flight Safety. The boys had been on a long hiatus, with recording and living the spoils of the Dell conglomerate, but they showed up ready to unveil new songs on the Halifax faithful. All too often bands that write booming arena style anthems are dismissed as U2 or Coldplay wannabees, but some of the new material IFS played is killer. Model House is going to be a smash hit.

My favorite part of the set was the sound the engineer was able to get out of the band. Normally, the keyboard is lost at big shows, but Daniel Ledwell's plastic ivory work was perfect and they certainly got the energy up for heat stroked crowd.

I've always been on the fence about TPC. I can see why people like them - quick, energetic snyth laced crunchers usually hit home with indie rock fans - but I kind of think the band said all I needed to hear on their first EP. I'm not saying the newer stuff isn't good, it's just the same kind of good and not really in my house of wheel.

But the bands played a long set and had kids running from the hill down to the front to bounce around and compare leggings and angular hair. But I have to admit, even this old codger was smiling when they tore through Nature of the Experiment.

And now the reason when Shane and I were stoked to be in attendance. The Weakerthans. John K. Samson is a Canadian icon, or at least he should be. He writes songs that are perfect portrayals of the common man, but crafts super catchy hooks around his well thought out descriptions and the live act that accompanies the songs is worth any price of admission. Plus, special guest Jim Bryson was on the scene to thicken up the sound.

I know their might be more space between the follicles, but these "old timers" showed the young kids how a rock show should go down. Syncro axe moves, jump kicks (thanks Gregor), a huge set of hits followed by a terrific encore (hearing 2000 people scream I hate Winnipeg at the top of their lungs was a great moment) pretty well cemented the first ever Summersonic festival as a success. The new material - like Sun in an Empty Room, Civil Twilight and Night Windows actually held their own nicely amongst the crowd favs, which was great to see.

Finally - City and Colour. What can we say about the headliners? Well, not much because we only stayed for two songs. I know the kiddies love the guitar ditties Dallas Green writes, but after the Weakerthans set and the $6 cans of beer I had my fill. I will say this though, people were still raring to go as we saw people buying tickets for the band despite the lofty price tag even as we left.

So there you go. Day 1 was a banger. Day 2? Well, we will soon see.

MP3::

Rebekah Higgs - Youth & Beauty (Live @ Summersonic)

Video::

Rebekah Higgs - Youth & Beauty (Live @ Summersonic)

Rebekah Higgs - Parables (Live @ Summersonic)

Odds & Sods:: High Decibel Randomness

noreply@blogger.com (naedoo) — Fri, 18 Jul 2008 17:42:00 +0000

Ok, I didn't have much of an official post prepared for today, but it's a hot, beautiful afternoon here in Halifax, and so I thought I'd throw out a few songs appropriate for such an occasion. Sounds fun no?

Let's start with Oakland's The High Decibels. I'm not gonna front and say I know much about these dudes, but we got sent some info on them yesterday, and what I do know is they make some funky, fun hip hop that features plenty of live instrumentation. And not just instrumentation, but some blues-flavoured instrumentation, and the result is much better than I would've thought. The song we were sent is called Miss Cindy and if you are mixing drums that sound like a combo of Hey Ladies & Jimmy James with rocking blues riffs, you can rap about Cindy Lauper, Cindy Margolis, or Cindy Spillner - I don't care. Plus look at the sharp suits they are rocking, more than enough a merit a posting I would say.

The other day whilst writing my Summersonic post, I realized that In-Flight Safety were prepping a new album for release in the near future, and I thought "I should mention that". However, I didn't realize until now that I left that bit of news out entirely, so if you were planning to skip Summersonic due to lack of new IFS material, think again! Anyway, as I said, IFS are playing Summersonic on Saturday, and you can read about their new album on their website.

If you happen to be looking for musical entertainment this weekend that is Summer related, but sans sonic, Edmonton's Hot Panda are playing something called SUMMERFUNFEST tonight at Gus'. You likely recognize Hot Panda from their appearance on our Alberta mixtape, and they will be joined by Scribbler, A/V, and Murder Sounds. It does sound like a fest of fun.

MP3::

The High Decibels - Miss Cindy
In-Flight Safety - Coast Is Clear
Hot Panda - Winter Beast

Quick hitters:: Catherine MacLellan

noreply@blogger.com (ack) — Fri, 18 Jul 2008 11:11:00 +0000

web site :: myspace

It's obvious that herohill doesn't really act as the voice of the people... well unless there aren't very many people left in the world and the remaining few only listen to Golden Age hip hop, gritty blues, folk and love the banjo. But even without VIP status, I'm pretty shocked that more people didn't fall in love with PEI's (but residing in Halifax) Catherine MacLellan last year.

You might remember that last year Naedoo got a hold of her record - Church Bell Blues - and pleaded with you to take a listen. Well, as a quick search indicates… chances are you chose to ignore him. With all the hub-ub about the beautiful female singers from Canada (people embraced Feist, Jenn Grant, and Rebekah Higgs), it seemed pretty natural for MacLellan's record to be a well received.

But Church Bell Blues has kind of toiled in obscurity. Luckily, it's getting another push with a stateside release, so I figured now is a good of time as any to point you back in MacLellan's direction. I'm not going to rehash what Shane wrote last year. He hit the nail on the head and gave more than enough praise to get you interested, but I'll just say her voice and imagery are pure and honest, and the mix of electric guitar over top of the acoustic really gives some of the tracks the muscle they deserve.

But overall, her songs are traditional folk, in the realm of classic artists like Joni Mitchell, and her voice and guitar put a smile on your face as they strip away your stress. Seriously, if you can't unwind over the beautiful harmonies and nice electric solo of The Long Way Home or the get out on the open road feel of Brave Love, I hope your 50 Red Bulls and day trades are treating you well Boiler Room.

So readers... will you listen this time around? Probably not, but I'd love to see you prove me wrong and start hearing MacLellan's voice crackling through old car radios in the near future.

MP3

The Long Way Home - Catherine MacLellan

Moving day::

noreply@blogger.com (ack) — Thu, 17 Jul 2008 20:43:00 +0000

Somehow a day that should have been about as stress free as a day at the beach has ended up with my boss leaving the company and Naedoo and I lifting a bed through a third story window. Awesome! Anyway, long story short; tonight is the first night in the new home.

So how can I pass this onto you? Well pinstripe, the answer is through classic raps jams with "house" tucked into the title. C'maaan. Isn't that a catchy enough idea to get some love from the faceless hypem readers?

MP3::

Run-DMC - Run's House
Ultramagnetic MC's - Kool Keith Housin' Things.mp3
Big Daddy Kane - The House That Cee Built
EPMD - I'm Housin'
Jungle Brothers - I'll House You

News:: Rocking The Bells in TO and Vancity

noreply@blogger.com (naedoo) — Thu, 17 Jul 2008 13:18:00 +0000

Despite the best intentions, I rarely get tour listings posted earlier than the week of the shows. Not sure why that is really, but I think it's because I try not to post them too early, but then other things come up and them when I realize I have yet to post them, the show is two days away. Not the best pub for shows, but hey, I guess you get what you pay for. Anyway, all this waffle is serving as the preamble for a concert series I won't be attending, even if I wanted to. And I do want to, believe me.

Rock The Bells has to be the premiere hip hop festival on the scene today (is it the only hip hop festival I know about? Perhaps, but it's still stellar). This isn't news to most I would guess, but it is hitting Toronto and Vancouver for the first time this year, and the lineups are really quite incredible, so I thought I'd post it up. I mean have a gander at just the headliners:

A Tribe Called Quest(!)
The Pharcyde(!)
Nas
Mos Def
De La Soul
Rakim
Method Man & Redman
Raekwon & Ghostface

A reunited Tribe (the whole squad, Jarobi included!) and the return of the Pharcyde? Rakim? Yes, yes, and yes. This is not even to mention some of the other acts scheduled, of both the solid underground and up & coming variety (Immortal Technique, Murs, Dead Prez, Jedi Mind Tricks, Wale, The Cool Kids, Blue Scholars). I know not all of those acts are at every show (check the site), but the list is really quite impressive no matter who's playing where. So if you're in any of the cities below, I'd start warming up your finest b-boy stance.

Sat    7/19     Chicago, IL
Sun    7/20     Toronto, ON
Sat    7/26     Boston, MA
Sun    7/27     New York, NY
Sat    8/2      Miami, FL
Sun    8/3      Philadelphia, PA
Sat    8/9      Los Angeles, CA
Sat    8/16     San Francisco, CA
Sat    8/23     Denver, CO
Sat    8/30     Vancouver, BC

MP3::

Rakim - Guess Who's Back
Method Man & Redman - Tear It Off
The Pharcyde - Drop
The Cool Kids - Action Figures
A Tribe Called Quest - Oh My God (Remix)

Reviews:: Factor - Chandelier

noreply@blogger.com (naedoo) — Wed, 16 Jul 2008 18:10:00 +0000

Saskatoon producer Factor is likely a solid example of how the internet (and blog-olas like this here one) can help spread about an independent artist and their projects. I say this because I've gone from thinking that the only Factor in Canadian music was this grant, uhh, granting, organization, to covering two of the prairie producers albums within the last month. And I'm inclined to think this is a pretty good thing.

As I was rectifying my ignorance to his past work, I quickly realized that Factor is one of hardest working producers west of Ontario, and after having the chance to sample his work, I can see why. While his production songs retains a very distinct hip hop feel, Factor doesn't rely on sampling the same old loops and breaks to get the job done. He's also a man who enjoys spending some time on the keys, and as such he layers plenty of piano and keyboards over his drums, but he also experiments with plenty of other sounds - guitar riffs and vocal samples are often used to great effect.

Guest vocalists are also used with aplomb on Chandelier, with a roster of folks who might not be known to your average Joe, but would certainly turn heads amongst enthusiasts of indie west coast rap. With names like: Awol One, Halifax expat Josh Martinez, Moka Only, Freestyle Fellowship vet Myka 9, Kirby Dominant, and Epic, this album could turn those heads on either side of the 49th parallel. It bears mentioning that there's also a track with Sadat X on this album, which is just plain awesome no matter where you reside.

The thumping One Record is pretty damn catchy, despite it's fairly simple drum & chime makeup, and the chopped vocal sample is a welcome touch. I like this one a lot. I was pretty sure I recognized, the odd, high pitched vocals on Home Again. That is due to the presence of Nomad, who was also on Touch & Nato's album, and although I described his work there as "one of the worst choruses I've heard in a while", his odd style works better over Factor's 80-ish beat. Pray has a semi-sinister, guitar laced beat and features Ceschi, who sounds like Lyrics Born would sound if he was Anticon. And depressed. Or something.

Songs like New Day and Wait And See show Factor has the skill to keep the listeners interest on instrumental tracks, but he also knows how to tailor his production to the MC he's working with. The dark vibe of More Rude Than Handsome is a perfect match for the brooding temperament of Awol One's song about girls getting nude for love, but that is followed up by the bongo-laced pep of The Leen, which works well for Josh Martinez's sing-song effort. And he serves up a vintage, east coast-inspired banger of a track for Sadat X, which is just what he should've done.

So, thanks to the magic of the internet, I'm not only familar with Factor, but so are you. Still not feeling like you know him? Did I mention he's owned and operated his own label for the last ten year? Or that he's heading out on tour with indie faves Islands? That better? Now if you enjoy skillful production matched with talented, abstract lyricists, I suggest you go ahead and get yourself a copy of Chandelier and take that getting-to-know-you process even further.

myspace :: label :: buy album

MP3::

Factor - One Record
Factor - More Rude Than Handsome (Feat. Awol One)

Moving Day:: Malcolm Holcombe

noreply@blogger.com (ack) — Wed, 16 Jul 2008 16:03:00 +0000

myspace

Malcolm Holcombe's gruff voice contrasts the beauty of this song, which has more or less become the theme song for the last six months of our life. Nic and I have made sacrifices, taken risks because we wanted to be around our best friends, closer to family, and have a backyard instead of some shit cookie cutter condo we couldn't afford even if we wanted it.

Holcombe's last record - Gamblin House - was slept on by way too many people, and most certainly deserves a spin or two while you enjoy a sip of brown on your back deck.

MP3::

I'd Rather have a Home - Malcolm Holcombe

Moving Day:: The Rest

noreply@blogger.com (ack) — Wed, 16 Jul 2008 14:38:00 +0000

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Today is moving day. I'm trying to work my real job, lift crates and boxes, set up my record player and still give the good people what they want. As a result, what you get is a series of quick hitters that are blaring through the new house as Nicola and I unpack, instead of the normal ramblings herohill has been forcing on you for the last half decade.

The first song setting the tone for the day is the new single by Hamilton's The Rest. Apples & Allergies is undoubtedly the most surging, invigorating track I've heard in weeks. Basically, the track builds and builds until the song seems to breath with you, pulsing blood through your veins. Just when you are about to explode, the band takes their foot off the gas and slows down with some twinkling of the ivories, finger picking and lovely strings, before lurching forward again with an epic conclusion.

If ever a song made you feel the immortality of youth, Apples & Allergies is it. Looking out over the water from our new deck, this song is truly bringing life to the day.

MP3

The Rest - Apples & Allergies

Quick hitters:: Jon & Roy

noreply@blogger.com (ack) — Tue, 15 Jul 2008 16:15:00 +0000

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Life here has become increasingly hectic. My wife and I close on our house today, and the drama and headaches that result are piling up. The next few weeks are going to amount to moving, cleaning, and owing copious amounts of money.

It's days like today when part of you wishes you were still able to relax, take trips to the beach while you worked a dead end job every summer. Sure, the end result is more than worth it and I mostly hate all teenagers, but with the house, the migration of my company, and fighting the flu life hasn't all warm apple strudel these last few days.

Anyway, we did manage to make it out to Hubbards for a birthday party, but family commitments meant we missed out on a nice swell and body surfing session. Most people are shocked to find out Halifax has pretty consistent waves, and you can get on the ocean more than you'd expect. Another place you might be shocked to find out has great waves is Vancouver Island. Tofino is well worth the journey from the Couve to ride for a morning.

So it's not surprising that Victoria would have some artists inspired by the whole Brushfire gang. Jon & Roy plays those funky acoustic, bongo heavy jams that you'd expect to hear in a surf video and while they might fit in with the Jack Johnson crowd - the tints of reggae on tracks like Moonlight will definitely hit home and the duo references the beach and the sea a lot), they are more rooted in that Mason Jennings style folk that's full of Southern charm (listen to Little Bit Of Love and you'll get my drift).

But I don't want to pigeon hole these Victoria artists. As you settle into the 15 songs on Another Noon (which admittedly is probably three too long), you realize Jon & Roy aren't just simply writing infectious, derivative grooves hoping for a radio smash. Instead, these songs drift by like a relaxed summer day, inviting the daily grind to fall to the wayside.

They won't end up on ipods/zunes all over the world (although the ukulele ditty High on a Hill is super catchy and it's easy to see why the title track got used in a commercial), as the songs are rarely quicker than a beach side saunter, but songs like Oh Please are perfect for setting the mood for a day where your only plans are to do nothing at all.

MP3::

Another Noon - Jon & Roy
High on a Hill - Jon & Roy

News:: First Annual SUMMERSONIC Festival This Weekend

noreply@blogger.com (naedoo) — Tue, 15 Jul 2008 13:38:00 +0000

Chances are if you're in Halifax you've already heard about the outdoor music festivus going down this Saturday and Sunday at the garrison grounds of Citadel Hill. If you haven't, I can tell you it is being put on by the folks from label/promotion company Sonic Entertainment (hence the clever name), and you find all the details here. Or I suppose I could just quit being such a fest-tease and just tell you the details, which are as follows:

Saturday, July 19
2 p.m.             Gates open
4 p.m.             Rebekah Higgs
5 p.m.             In-Flight Safety
6:10 p.m.       Tokyo Police Club
7:45 p.m.       The Weakerthans
9:15 p.m.       City and Colour

Sunday, July 20
2 p.m.             Gates open
4 p.m.             I See Rowboats
5 p.m.             Hey Rosetta!
6:10 p.m.       The Black Keys
7:45 p.m.       Wintersleep
9:30 p.m.       Stars

You have to say, that's a pretty solid two days of Canadian music right there (with a couple Akronians chucked in for good measure). In The Weakerthans and Stars, there's not one, but two Polaris nominated acts on the bill (perhaps one that people don't much agree with, but hey, that's a discussion for another time, or perhaps another blog), and I don't mind admitting I've wanted to see Jon K. Samson & Co. for a while. Tokyo Police Club, City And Colour, and Halifax's own Wintersleep are three of the more buzz-worthy "indie" acts you'll find in Canada, and although I know next to nada about them, the Black Keys are a fairly big name themselves. On top of that you, can add some top notch East Coast up and comers (remember us fawning over ISR last week? Well find out what all that fuss was about for yourself), and you have two solid lineups.

So score some tickets now, and if you're there Saturday and spot two older dudes looking surly about all the loud crazy kids, it's likely the Ack and I.

MP3::

Tokyo Police Club - Centennial (Dntel Remix)
i see rowboats - In Cars
The Weakerthans - Civil Twilight
Hey Rosetta! - There's An Arc
Stars - Celebration Guns (Camouflage Nights with Kevin Drew)

Interviews:: Mike Feuerstack - AKA - Snailhouse

noreply@blogger.com (ack) — Mon, 14 Jul 2008 17:43:00 +0000

We had a chance to ask Mike Feuerstack (Snailhouse) - Canadian song writing's best longtime, unknown artist - a few questions. He's been putting out records for years, each one seemingly better than the one prior. Lies on The Prize just came out, and it's easily on my list of Best-of for Canadian music '08.

So, sit back, relax and enjoy.

HH:: Musically, the new record - Lies on the Prize - seems to have some of the warmest, happiest tracks I can remember hearing from you. Was that a conscious decision or just an indication of where you at these days?
MF:: I'm inclined to think that this record just has a broader scope. It may have some of the happiest, but it also has some of the darkest and most cynical work I've done. I can't say it was conscious, but I do think I became aware of it as it unfolded, and decided not to edit away the extremities while working.

HH:: Lies on the Prize, at least in my mind, is also the most accessible Snailhouse record to date, but I wonder after 10 years of writing songs, do you still think about writing records that will splash on larger audiences or is it more about making music that you are proud of?
MF:: I hope you are right. If so, I'd like to think that it's purely a function of becoming better at what I do. Although many of my ideas are unusual, it's never been my intention to alienate listeners. I want a big audience - what artist doesn't?

HH:: Trying to put your career arc in perspective, do you still feel driven to write songs or do you find yourself thinking, well, I guess it's time to sit down and write a new record?
MF:: Songs just come. If anything, I worry that they'll stop. I average about one record every 3 years, which is not terribly prolific. I am hoping that not worrying about it is the best way to handle the issue. I'll only know I've done something wrong if the songs stop coming. The discipline for me comes in when I have to turn all of the fragments and ideas into songs worth listening to.

HH:: You worked with Jeremy Gara on this record. I would imagine that since he's a talented musician that is used to fuller arrangements, he probably had a few ideas that were different from yours. Was it hard to give up control or did your experiences working as a hired gun for other bands help you form a comfortable working relationship?
MF:: I don't think I'm a control freak by any stretch of imagination. I can be particular in some instances, and Jeremy is very respectful of that. Other times I have no idea what I want and his input is invaluable. We are old friends and mutual fans. we have a brotherly affection for one another, so it is easy to collaborate. We've played together for many years. We've played in bands together, worked together, hung out, hell, even lived together. If making this album wasn't a fun thing for us to do, we wouldn't have bothered. That said, Jeremy worked insanely hard, and brought a lot to the recording.

HH:: A few questions about all things Sappy. How surprised/touched were you by the terrific tribute record they put together and did that project help reinforce that your songs made an impact to countless musicians and you keep you motivated?
MF::I'm well aware how rare an honour something like that is - it's very touching. It's also totally surreal to listen to. It amazing to hear my songs filtered through friends, fans and kindred spirits. There are some really creative and exciting performances on there, but I can't really comment on the songs. Ha.

HH:: The impact your songs have had on artists is pretty obvious, so I wonder, what influences and inspires you?
MF:: I wouldn't assume that it's obvious to everyone, but again, I'm touched that some people think so. What inspires me is probably not that different from anyone else who makes art. It's always different: Sometimes it's a film or a book. Sometimes it's a recording. Sometimes it's a windy day, or a BBQ with friends. Sometimes it's a daydream or a nightmare.... always different. It's a hard question: where does hunger come from? Or tiredness? I think of the desire to write songs in the same way sometimes.

HH:: You are scheduled to play at Sappyfest, as part of a terrific block of songwriters. How important is it for Canadian musicians that Festivals like Sappyfest exist and are there any acts you are looking forward to seeing?
MF:: Sappy is always a lot of fun - and an amazing line-up of performers. I can't comment overall because I don't seem to play many festivals. Sappy is really cool for me personally because it's a huge gathering of friends, old and new. The same is true for the music: there are many old favourites I can't wait to see again and there will be a bunch of new bands I have yet to hear.

HH:: Things have changed a lot since you started making records. How do you feel about the way digital era, blogs and downloading changed the way people discover and consume music?
MF:: Well, there are two sides to every story. I lament the way the creative arc of the album can sometimes get lost. People tend to discover things song by song. When I began listening to music, I would save up to buy an album. I'd have to actually take my time to choose what I wanted and then I'd have to take my time to get to know it. It made for more of a relationship between artist and listener. Some music takes time to grow on you. Now there's more of an "impress me" situation. We sample half a song or two, and the judgment is made. I miss the artifact - hard copy with artwork. it's less disposable than digital files.

The upside is that many many many more people do get that introduction, which may or may not lead to a performer/listener relationship. In a way it replaces radio as a means of reaching people. This is a great thing, because radio was never available to most artists. Now it's very easy to allow the curious listener to find you. The question has now become "How do you make people curious?"

Music is now so cheaply made and cheaply acquired, that it's going through a phase of devaluation. The "market" is so saturated - I hope that people see this as a call to make better and better music and put on better and better shows. It's time to let the intrinsic value speak.

HH:: So you are given the chance to play a show with any two bands. Who would you choose?
MF::Menudo and The Rolling Stones. All ages show!

MP3::

Dollar Signs - Snailhouse

Old School Mondays:: Audio Two (What More Can I Blog? Edition)

noreply@blogger.com (naedoo) — Mon, 14 Jul 2008 12:51:00 +0000

This week the Ack came with an OSM request: he suggested we feature songs that sampled the voice of the legendary MC Milk Dee of the Audio Two. It sounded like a plan to me, as I'm in for pretty much anything Audio Two related. However, although it seems like it should be easy to find some solid old school jams that sample Milk, but I honestly can't find any. And this is even after checking the wiki page for Top Billin', which has a full page of songs that sample it. Unfortunately those are mostly modern songs, and in fact the only song I would've used was Everlast's The Rhythm, but I've already used it before.

Well, no worries, luckily we're a tightly run ship, and we always have a plan B waiting in the wings. The Ack's response when I told him his original idea was going to be a challenge: "well i should have just asked for more audio two, as you stole my tape :)". Smiley emoticon or not, this is a charge I take seriously. All I did was accept a few of the Ack's tapes when he was liquidating them ages ago, saving them from being sold or ending up wasted in the hands of some chump (do I still have them you ask? Yes, yes I do, Audio Two's I Don't Care: The Album included). Hardly stealing, but that isn't really the point. The Ack wanted some Audio Two, and I realized we'd never posted Top Billin' before, so it was a done deal. So Top Billin' and I Don't Care from What More Can I Say it is.

Audio Two is just one of those golden age groups that many, many people have an almost irrational love for. Brothers Kirk "Milk Dee" Robinson and DJ Nat "Gizmo" Robinson (also brothers to MC Lyte) make up the crew, and they were signed to their father's label (First Priority Music). DJ Giz is solid on the tables, but Milk Dee is one of the main reasons for that love. On paper, he doesn't seem to have the recipe for a super-MC: high-pitched voice, most lyrics delivered in a hyper yell, and lyrics about how much money he makes. But in practice, man, it is near impossible not to love Milk's style. It's pretty much the main reason why Top Billin' is one of the top 10 rap songs ever. Don't get me wrong, the huge drums made from chopping Impeach The President and the awesome "Go Brooklyn" sample on the beat are classic for sure, but Milk's delivery makes almost every line on the song a notable quotable.

I get money, money I got
Stunts call me honey if they feel real hot
That's how it is, you can ask Giz
I stole your girl while you were in prison
Jail, for MC assault
You was jealous it's all your fault

Just merely a taste, but have a listen yourself, no doubt you'll recognize almost every second line from another song. I could likely say the same thing about I Don't Care, which isn't as well known, but it contains the line "I got speakers, the size of your girl, boomin the room and, shakin' your world" which I've always enjoyed. Machine gun drums and Milk going off, pretty hard to beat really. Enjoy both of these, and check out the video for I Don't Care, which was always a favorite of mine.

MP3::

Audio Two - Top Billin'
Audio Two - I Don't Care

Video::

Audio Two - I Don't Care

Reviews:: Alejandro Escovedo

noreply@blogger.com (ack) — Sun, 13 Jul 2008 12:20:00 +0000

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Alejandro Escovedo has many reasons to be happy and undoubtedly that sense of joy shines through on this new record. From the opening blasts of his trusted guitar on Always a Friend, you see that he's shaken free of some of the darkness that (understandably) encompassed his life lately and wrote songs that are not only a loving look back to past years, but also an appreciation of where he is now.

It would be easy to start talking about everything Alejandro has seen or done; to focus on the dark clouds and shining suns that have consumed his life but when you listen to Real Animal you get hit with two polarizing themes. There is not doubt that he is celebrating life, but he's realized that time is creeping up on him and his days here get shorter and shorter. So his songs try to look forward, and even when he revisits his past, it's not with regret and doubt. Everything that has happened and everything that will is simply what life intended for him.

"We're only gonna live so long.. We still got time, but never quite as much as we think."
"We've got so much to live for, it's not too late!"

He's never been an artist that you could pigeon hole and that ever changing diversity of his songs lets him deliver a cock sure, swagger laced collection of rockers that are as real as a diary entry. Whether it's his journey into self (the vague "Why Me" he uses to open up to on Golden Bear) or the sincere tribute to another terrific musician (the heavy guitars that pick up the pace of the Iggy Pop tribute Real as an Animal), Escovedo is exposing us all to his thoughts for the world, like a musical book on tape.

I think you have to give some credit to his writing partner (Chuck Prophet) and producer (Tony Visconti) for the success of this record. Tony was able to help fantastic artists like Bowie and Bolan find that self assured style they wanted, and has helped Alejandro mix his comfortable country twang with rapid fire drums, dynamic strings (like the beautiful arrangements on Sister Lost Soul) and big guitar filled hooks.

Tony's understanding of Alejandro's vision helps the album unfold slowly and cohesively. Tender ballads like Swallows of San Juan and Sensitive Boys fit side by side with the heavier, faster licks and allow Escovedo to shift sound seamlessly without any hiccups. I'd question the decision to say he's reinvented himself yet again, as the songs are so autobiographical you can't help but think these new sounds are just a perfect culmination of who he really is. Whether it was punk, alt-country, garage rock or glam, Escovedo proves he has the chops to make all his tried and true styles sound fresh and modern, but he never abandons the roots and history of the music.

Chelsea Hotel '78 is laced with the grit and grime that encompassed the famous hotel back during the Bohemian NYC era. Escovedo revisits the turbulent time, talking freely about some of his friends and the tragedy of the drug fueled time, but you don't get a sense of nostalgia from the seasoned vet. He simply tells a story, acknowledging the cast and events and admitting that "we all moved out, and we all moved on." Instead of glorifying the events with a dramatic soft focus, his memories and thoughts are crystal clear, even when they are slightly contradicting. Moving from SF to NY to be part of something made perfect sense, even when it didn't.

Escovedo is a complex man that has seen more than most, but in the end, this is a record of a man, his stories, and his trusted guitar. It speaks to every bar band with big dreams, every snot nosed punk looking to cause trouble and stand out, and every Nashville loving troubadour with dreams of times past. Most importantly, it speaks to every music fan. Why? Because in the end, Alejandro is every one of those people and more.

MP3::

Beast of Burden - Alejandro Escovedo and Chuck Prophet (live)
Always a Friend - Alejandro Escovedo

Quick Hitters:: Verve Remixed 4

noreply@blogger.com (naedoo) — Fri, 11 Jul 2008 16:30:00 +0000

Ok, it's a lovely July Friday (it is here, hopefully it's the same where you are), and you don't want to be bombarded with news of the latest folktronic masterpiece or details of the latest Americana artist that will blow your smartly-angled fedora off. You want something to help you relax and soak up some sunshine, and so for that I give you a quick shot of Verve Remixed 4.

I'm guessing you know the deal with the Verve remix series, basically they recruit some of today's more well known remixes and electronic artists to re-work songs by the elite of jazz vocalists past. With contributions from Dinah Washington, Nina Simone, Astrud Gilberto, Sarah Vaughn, and Ella Fitzgerald, this version leans heavily towards the ladies of jazz, and that is certainly an all-star lineup, but James Brown and Roy Ayers are included to represent for the fellas. This is certainly a remix album, but the crew they assembled has done a good job allowing the singers and the vocals to remain the focus of each song, nothing feels totally re-arranged. And when you've got a lineup like this, that seems like a solid plan.

Nina Simone's Gimme Some is given plenty of get up and go by Mike Mangini - it feels like a song that would accompany a movie, "falling-in-love" montage that featured lots of walks in parks and beside rivers. Kenny Dope does his name proud on The Was A Time, lacing King James (the original!) with wicked-fast drums and all kinds of horns. Is having two Nina Simone tracks within the first five songs overkill? The urgent drums of the Pilooski Edit of Take Care Of Business would argue that it is not. The guitar-led groove of the Mocky Remix for Anita O'Day's Tenderly is really quite enjoyable. The Karriem Riggins remix of Willie Bobo's Evil Ways is worth mentioning, mainly so I can type the name Willie Bobo. 9th Wonder hooks up Roy Ayers and his beloved Everybody Loves The Sunshine with some solid guitar licks and his patented, knocking drums.

So there you are a little jazz of the remix variety for your Friday. Can't go wrong with that.

MP3::

Nina Simone - Gimme Some (Mike Mangini)
Roy Ayers - Everybody Loves The Sunshine (9th Wonder Remix)

Sappyfest quick hitter:: Woolly Leaves

noreply@blogger.com (ack) — Fri, 11 Jul 2008 12:27:00 +0000

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We are trying to showcase most of the bands for this year's Sappyfest, especially since we are making the effort to head down and beat the heat in the lovely town of Sackville. We've covered almost every act on the Sunday docket, but remarkably, we've neglected to talk about Woolly Leaves.

Who the hell is that you might ask? Well, Woolly Leaves is the stripped down, acoustic project of The Constantines keyboard man, Will Kidman. The songs he writes are about as different as you can get from the hard rocking stuff his better known project creates, but no less enjoyable. Quiet Waters is full of songs so fragile, you feel like they could break at any second. They are drenched in sadness as Will watches time pass by too quickly and heartbreak, memories and regrets linger painfully. His voice is so honest that he can do a piano only take of Rainbow Connection and you get completely swept up in the tender emotion.

MP3::

Woolly Leaves - People and the Planets
Woolly Leaves - Neverending Song

He's playing with Ghost Bees on Sunday, and by doing one of those Family Circus follow the lines type jobbies, I also see Castlemusic is playing the same day. One can only assume that Jennifer will show up to add her lovely female voice to the songs like she did on the record.