Top Ten 2016 - Year in Review

1. Regina Spektor – Remember Us to Life

If Bleeding Heart was a promise, then this album is delivery on that promise. Expanding on those pitch-perfect vocals and the magical piano fingers, Ms. Spektor has wrapped them in creative and full production. This album has depth and covers a wide spectrum and it hits on all fronts, from singing to storytelling to grabbing you right in the chest and squeezing very hard. Take Sellers of Flowers alone... Even before her live show made me dizzy with wonder this album had already secured its rightful spot here.

2. Donovan Woods – Hard Settle, Ain't Troubled
Donovan is a wordsmith which is obvious even from each 140 characters out of @donovanwoods but when he pairs this with his guitar picking the synergy carries you off and the strings on this album make it transcendental. A devastating romantic, he can express not just one emotion but an array of inner turmoil in a tangible three minutes. It’s not just skill, it’s masterful.

3. Bon Iver – 22, A Million

Even having guiltily read some of the pre-press reviews of the album and the Eaux Claires Festival live debut I was still unsure upon the first listen. Yet, I was compelled to try again. And again. The challenge quickly paid dividends in being a thoroughly engaging and dynamic record. Boundary busting and all the other terms that have surrounded this release, it is without a doubt a true piece of art. Justin, I’d be happy as hell to stay for tea.

4. Basia Bulat – Good Advice

Basia, your confidence is showing and it’s making you glow. That luxurious voice of yours is in top form and the full band backing that you’ve surrounded it with is making my dreams come true. For all the warm feelings I have for each previous album this is the point where all that potential comes together. It’s a breakthrough and I wish for it to break you through so you can continue to push yourself and deliver the goods for ages to come. Thank you for this Good Advice.

5. Pup – The Dream is Over

After screaming along to the self-titled at as many shows as I could get myself to I was entirely resigned to the sophomore not quite living up. And yet I was completely wrong and feel like a dummy for doubting Stefan and co. for even a moment. From the first time I heard DVP to the millionth time I threatened loved ones with “if this tour doesn’t kill you, I will” and those are just the first two tracks of this blast of a record. All the props these dudes are getting are fully deserved. No pressure on that third album, fellas.

6. Wintersleep – The Great Detachment

With the top tier group of musicians in this band it’s no surprise that their output is so consistently excellent. It’s not that they are doing things that are entirely new but more that they do them so goddamn well. Whether building tension, packing punches, or excising demons they are on top of the game. Circumstances have not yet allowed me to witness The Great Detachment live so for now I will put this album on again and close my eyes.

7. John K. Samson – Winter Wheat

Further building my case that John K. is the best lyricist in this country (even with some stiff competition right here on this list) he takes that and wraps a wonderful musical experience around it. His strongest solo effort to date, surely with thanks to a few of his former rock counterparts who play alongside him here. In this post-Weakerthans world it’s reassuring that John will continue to enthral us with each lyric, each line, transporting us around the country in a perfectly worded phrase. I’ll even forgive the grammar on Postdoc Blue’s “so your presentation went terrible” because you wrapped up Virtute, even if it wrenches my heart.

8. Aidan Knight – Each Other

Delivering the full length follow up to Small Reveal that I was fearful might not be coming. Aidan lays this work out with precision and detail that allows it to whisper right where it should and burst just as it needs to. It is a river ride that washes over and engulfs the listener until you find yourself back on the beach, wet yet warm, full and refreshed.

9. Okkervil River – Away

Moving at the pace that Okkervil wants to move. It’s lovely, from the sweeping music to the poetic lyrics, without even realising the fine points I am compelled to return to it over and over.

10. White Lung – White Lung

A roar from front to back, this album is short and strong. Led by the fierce female vocals and that wandering electric guitar it just surges along with the only complaint being how quickly it finishes so you just flip it on again from the start. A real fresh breath.

Long-List Considerations

Andy Shauf - The Party

Anonhi - Hopelessness

Aqua Alta - Dreamsphere

BadBadNotGood - IV
Car Seat Headrest - Teens of Denial

Case/Lang/Viers - Case/Lang/Viers

Drake - Views

Kanye West - Life of Pablo

Frightened Rabbit - Painting of a Panic Attack

Jazz Cartier - Hotel Paranoia

Memoryhouse - Soft Hate

Rae Spoon - Armour

Radiohead - A Moon Shaped Pool

River Tiber - Indigo
The Strumbellas - Hope

Tuns - Tuns

Frightened Rabbit, Wintersleep - Phoenix (March 31/13)

Wintersleep
Despite a home-country crowd that seemed to be in their corner Wintersleep still had to prove themselves in the first few songs, and they proved to be up to the challenge. This quartet consists of some of the finest musicians assembled in a rock formation and so their live performance of recent songs such as In Came the Flood and Resuscitate only served to prove this fact, and in doing so win over the crowd further. There was an even newer song (Margaret?) played as well which was slightly slower and darker than the majority of their stuff but progressed nicely. Mind you there was a slight mid-set lapse, with one of the first renditions of their biggest hit Weighty Ghost that did not wow and bowl people over. However after a couple more songs in purgatory they were able to win us back over with the instrumentation and passion in their final few songs, culminating with the undeniable Oblivion. Although it was a supporting role, and songs like opener Hello Hum had to be trimmed, they still were a Canadian force and a great opener for the likes of the Scots in Frightened Rabbit.

Frightened Rabbit
There was nothing timid about these lads who came out to a rapturous response from the early sell out audience. The lead singer, Scott Hutchison, seemed at ease in his role and genuinely seemed appreciative of the love and energy pouring to the stage all night from the Easter audience all hopped up on chocolate rabbits of their own. Along with his cohorts they poured the energy back to us through the music as there was a wall of bass and guitars, with an acoustic guitar always present amongst them, and some keys and synths, plus a sixth member joined a handful of songs usually as secondary percussion like on Late March, Death March. The band had come onto my radar due to this year's release, Pedestrian Verse, and they played a number of favourite tracks from it including Oil Slick as well as what must have been older material dating back to their beginnings in 2004. Others around me ate it all up, singing along (some louder than others, many who shouldn't have been) and being delighted by the greatly entertaining band.

Partway through the set the band was excused and the lead singer played a solo acoustic number before having the electric guitarist, who at time sounded like a lap steel but wasn't, join him for the next track. During this Hutchison lost his place in the song and then stopped to have us all wave to the bunny-eared bartender who had distracted him before carrying on and having the band swarm back in to close the tune out. Speaking of closing out - the finale was Acts of Man and it is my favourite live song of the year thus far. It began even quieter than the recorded version and built up even stronger. By the time the strobe lights were pulsing so was the dynamic drumming and the guitars wailed to crescendo that saw Hutchison toss his guitar down to the stage before exiting to the sounds of reverb. Phenomenal!

Despite this climax the techs moved around the stage carefully (and slowly) setting things up for the encore which consisted of The Woodpile and Living in Colour. The very last song saw all the Wintersleep boys join them back on stage in a blissful rock'n'roll love-in.

Wintersleep - Hello Hum (Year-End Album Review)

A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.

With Hello Hum Wintersleep have created a powerhouse record. Over a decade into their career this is some of the strongest work they have put out as a band. Featuring a number of strong songs that pull you along with them, offset by more downbeat but equally grabbing material, it is a band's album. Percussion plays a huge role as it tumbles along, both steadily and creatively at the same time - even the shaker is employed well as a driving force on songs like Resuscitate and Unzipper. The opener, Hum, has a je ne sais quoi that makes it play more of an introductory role than a standalone song and properly sets the scene for the journey ahead, starting with an amazing trifecta of In Came the Flood, Nothing is Anything and Resuscitate. Not only is the music suited to be electrifying live (as it is) but also stands its own as a record of note. Wintersleep may already have a strong back catalogue but here they prove they are not resting on their laurels but continuing to push their legacy - a legacy that upon future reflection will see this this record as a highlight.

Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.

Elliott Brood, Wintersleep (Danforth Music Hall, Oct 21/12)

Elliott Brood

With popcorn on the brain, from the classic red and white striped Elliott Brood signage and white draped backdrop to the scent in the air at the Danforth Music Hall, the scene was set for a show. The trio delivered in fine fashion as all the props helped to fill out the stage. It had all the great things an EB show should have - banjo, harmonica (Without Again), filthy, seated guitar playing (If I Get Old) and heaps of shout-it-out, clap-along tunes. There were also a few additional oddities in The Banjo Song and an old kazoo "standard" Old Dan Tucker. It seemed to only improve as the show progressed, from early-on Northern Air through Valley Town, Ambassador and the crowd-favourite Oh Alberta. What else would wrap this opening act than Miss You Noooooooooooooow?!

Wintersleep

Yes, I've seen Wintersleep a lot lately - and yes they are worth it every time. Some extra production seemed to have gone into this tour too as Elliott Brood's stage was dismantled and replaced by the lighting system and two cool, large Hello Hum cover-esque stands that appeared to be translucent fogged and etched glass boxes (but were more likely wooden with neat lighting). Not only the stage and lighting but the show opened with a projected video before the five of them took to the stage with amazing album opener Hum. The set list wasn't all that different from previous shows but the musicianship was just as high, so to see amazing music performed live by skilled musicians is still a treat. 

Highlights: That ending on Resuscitate just floors ya. The reverb on Smoke once it finally drops sounds so great live. Oblivion! Closing a set with Laser Beams and then Miasmal and the Yellow Bellied Freaks doesn't get much better. Still having Dead Letter and the Infinite Yes in the tank as part of the two-song encore (with Nerves Normal, Breath Normal.)

They were inundated with requests from the audience and although they couldn't get to them all promised to be back real soon. Not a problem with me - I'll gladly do it again!

Other tunes: In Came the Flood, Jaws of Life, Archaeologists, Nothing is Anything, Weighty Ghost

Wintersleep (Edge Studios Sept 10/12)

Paul Murphy, the Wintersleep singer was out chatting with the loosely assembled group of fans on the rock in front of the Edge studios until he was called away for soundcheck (half of  Nothing is Anything). Twenty minutes later the rock crowd had assembled in front of the studio where the core five-piece edition cranked out a full version of Nothing is Anything live on the air. The three guitars soared on this forthcoming single and led them straight into current chart burner, In Came the Flood. The singer had swapped acoustic for tambo on this and the crashing ending was fantastic. Likable on-air personality Bookie seemed into it and the crowd was too so we got a bonus off-air rendition of the "anti-climatic" Dead Letter & the Infinite Yes with some stellar backing vocals from Jon Samuel, the keyboardist/guitar player. Short and sweet set - a lovely primer for their upcoming full show in October. 

Wintersleep, Half Moon Run (Lee's June 12/12)

An English band from Montreal the only criticism I have was how haphazardly they were dressed considering they were supposed to be entertaining a crowd that likely wasn't familiar with them. Rolled up cargo sweat pants? Wife beater? Unkempt, shaggy hair? Besides their appearance I was altogether impressed with Half Moon Run's live show as it translated much better live for some reason than any of the recorded tracks I've heard. A three-piece with electric guitar, keys and electric, plus a drummer who also sometimes played keys simultaneously with this drums. Both singers had dual mics, one for reverb effects. They powered along and pulled out their mini hit Full Circle mid-way through the set, including a wicked introduction on the acoustic guitar. Clean yourselves up and I'll see ya at Hillside!

I've got some pretty good ideas of why Wintersleep's club gigs are as amazing as they are but the full effect escapes me. For starters how did such talented musicians all come together in the small city of Halifax? I have to figure that they began as mediocre musicians and in their decade-plus together have pushed each other to the levels that they are now at. Every member is a stellar musician and when they rock out in the middle of a song it can be transcendental. Having been together so long they are making some of the best music of their career as Hello Hum is one of their strongest releases in band's history and easily one of the best Canadian albums of this year. Not only is the album amazing but it translates live too - opener Hum also opened the set, followed in order by single In Came the Flood and no one in the just about sold out Lee's Palace was complaining about new material. That being said people sure did appreciate the inclusion of Archaeologist and Weighty Ghost (so good!) too. Really it is difficult to pick out highlights as the catalog their are culling from is great and the wizardy with which they bring it to life makes the entire thing a sight to be seen. I greedily count myself lucky that they have not blown up beyond club proportions yet as their club shows are such treats that I find myself beaming at multiple point throughout. The build and pay-off of Welcome to the Night Sky and main set closer Miasmal Smoke & the Yellow Bellied Freaks gives most any live song out there a run for its money. And when a band can come back from a stellar set and encore with the likes of Orca, a singalong to Dead Letter & the Infinite Yes and then close it all down with Jaws of Life, you know you've witnessed something special.

Other songs:
Resuscitate
Murderer
Smoke
Nothing is Anything (Without You)
Oblivion
Permanent Sigh
Laser Beams

CMW: Wintersleep, twice! (Rivoli, Horseshoe, Mar 24,'12)

Rivoli 10pm


Describing the appeal of a Wintersleep show cannot do it justice. Seeing them on this night, even playing primarily entirely new songs, had them shoot up on my ranking of them, both live and as a band. This isn't a case of low expectations either.

To a probably-full house at the Rivoli these five Halifax men took to the stage with new songs to sing. The opening song employed two pairs of hands on keys, keyboard and synths, and the singer with his hands empty, thereby removing three guitars (and bass guitars) from the mix and giving a more swirling background sound. They would pick up their instruments from here on songs new and old but it showcased the confidence and innovation that is still infused in this group that continues to produce with higher and higher quality. With four lauded albums on the books and their latest in the bag (no mention of release date just yet) they had no issue starting with three brand new tracks before rewarding the CMW audience with an acoustic-including version of their biggest commercial hit, Weighty Ghost. This hit everywhere it needed and we weren't restless through the next two hot off the studio offerings. Helped that they were of high calibre as well, plus their drummer is simply a treat to watch. Not wanting to completely alienate the less-open-minded of the crowd they pleased by capping off with a full-on rock-out on Lasers followed by Oblivion. This closer had such an affect that I immediately charged from the set and slapped down my money next door at the Horseshoe to see them do it again.

Horseshoe 11:30pm

There were two sets between, including a high energy, high enjoyment one from Two Hours Traffic but my giddiness was guided by the thought of Wintersleep coming to do it again. There was the possibility of a complete rehash with nothing new to offer but I had a feeling that the crowd excitement in the room might draw them out a little more. Besides this was the Horseshoe and it was their headliner.

They did in fact open with the same as the previous and the second may have been as well but this time it was especially impressive. From here the set diverged with Resuscitate and even the mid-set Weighty Ghost now had an electric guitar in the singer's hands where an acoustic had been earlier. Yes, I sang along.

Fighting off some guitar troubles we were treated to a new, old addition to the set in Archaeologists before a new, new song. Slowing the pace they then played what is sure to be a favourite once Hello Hum drops called Nothing is Anything. This got them on track to finish this extended set strong. They were in their element on Lasers and carried that into the still-appreciated the second time, Oblivion. The one positive about The Constantines breaking up is that the Canadian rock bands are feeling compelled to play tribute to them as I've seen many covers lately with this rendition of Young Lions matching the Cons' usual live intensity. Is there a better Wintersleep finale than the sonically awesome Miasmal Smoke and the Yellow Bellied Freaks? The driving quality of this song, which swells as it ebbs and flows, carries the listener on a journey to bliss. 


Calls for an encore, practically unheard of at CMW, rang out and made an amusingly awkward moment when we were still cheering minutes later and the band returned to the stage. However they were there to retrieve their gear only and smiled but waved off the encore cheers.