Elijah Jimenez-Clarke Writing

Bridges and Powerlines

National Fantasy

Crash Avenue

4 out of 5 Stars

One of Brooklyn’s favourite indie-pop groups returns after two years in the studio, with their newest LP, National Fantasy. Bridges and Powerlines are no new-comers to the New York music scene, with their first EP being released ten years ago now, back in 2006; however they have had a particularly eventful last couple years. Building their own studio in a Harlem cellar, where the bulk of National Fantasy was recorded, as well as opening a successful live music venue in Brooklyn, the last two years have been busy to say the least. Bridges and Powerlines have definitely developed a recognizable sound for themselves. Taking inspiration from genres such as electronic, indie-rock, and new-wave, to develop their own unique brand of dance-rock.

Taking the group’s past work into consideration, National Fantasy isn’t exactly a significant development when it comes to aesthetics. The similar production and structure will surely satisfy all of the group’s fans who love their style and simply crave new material. If any fans however were expecting some new and exciting elements and growth, National Fantasy may not be the group’s most memorable release to date. It must be said though that this LP does really show us how Bridges and Powerlines have perfected their style, and it is quite a consistent piece of work from start to finish.

Bridges and Powerlines have become experts at harmony, and weaving guitar, bass, and keyboards seamlessly into exciting and up-beat grooves. Every instrument is at the same time the group’s rhythm section, as well as the leads. For the most part there is no stand-out element, everything chugs along steadily with the beat of the song, creeping in and out of harmonies, or doubling another track to create heavier rhythms. This type of composition acts as a great foundation for the new-wave reminiscent vocals, featuring plenty solid harmonies and catchy melodies. This is not to say there isn’t occasionally some great instrumental melodies as well, but Bridges and Powerlines primarily focusses on creating great grooves; dance potential is key here.

The LP opens with two notably strong tracks, the first being “The Twin” which gets the dance vibes started right away. Opening with one of the longest vocal-free runs of the album, here the group showcases how well they can layer elements, and reminds us of their affection for electronic music. Multiple synthesizers, a steady electronic drum beat, and a ton of reverb on everyone else, makes for an up-beat and dreamy welcome. Following, we have the title track, and first single of the album, “National Fantasy”. A simpler arrangement, focussed on a clean guitar track, and vocal harmonies from start to finish. This track is moodier than the opener, but the contrast is very suitable and it makes for a pleasant addition.

Similar compositions and sensibilities are definitely used throughout the album; however there are a few tunes that stand-out with particularly unique arrangements. One of these stand-outs being ”Xoxoxo” which features a more complex drum beat, a grimy low-end synth acting as the bass, and a couple of really interesting guitar parts which play off each-other and the synthesizer perfectly.

Bridges and Powerlines have perfected a sound for themselves on National Fantasy. It may be similar in many ways to their past work but there’s nothing wrong with a group mastering their craft. National Fantasy is a consistent and meticulously composed collection of indie-dance songs, and we’re excited to see where the group takes things next.

Fatal Jamz

Coverboy

Lolipop Records

4 out of 5 Stars

A tribute to all things Glam; Fatal Jamz returns with a 10-track nostalgia trip through all the lush splendors of one of Rock ‘n’ Roll’s most memorable eras. Fatal Jamz is not the first musical effort of creator/songwriter Marion Belle. The L.A. Pop enthusiast has been performing and writing for years, gradually gaining a following as an eccentric and flamboyant frontman to keep an eye on. Now after multiple Fatal Jamz releases over the past few years, Belle gives us Coverboy, his most confident piece yet.

The first full-length release on Lolipop records was recorded over the past three years in a penthouse in L.A., and the result is an authentically retro collection of polished tunes. The album opens with one of the strongest feel-good songs of the bunch. “Jean Paul Gaultier” catches our attention, opening with soaring guitar harmonies that would make British Glam Rockers The Darkness proud. The track keeps your head bobbing along with a steady rhythm and the kick drum perfectly pounding along with every note in the vintage bass line. Then into a killer sing-along chorus this album opener effectively shows us what aesthetic Coverboy is all about. The title track “Coverboy” keeps the vibe going with more great dreamy melodies, retro synths and guitars soaked in reverb. Fatal Jamz reminds us in following tracks, however, of its New-Wave sensibilities, with tracks like “In My Car” and “Rookie.” The dual guitar opening to “In My Car” along with the simple drum beat would feel at home on an album by The Cure. “Rookie” is another really strong track, actually being a re-release of a fan favourite from 2013. Big drum fills and chiming synths layered over Belle belting out “She’s a Rookie Girl!” at the chorus makes for another memorable sing-along moment.

Belle really holds nothing back on this album; as he sums up aptly in the opening lines of “Lead Singer:” “I’m a lead singer, and baby I give you my heart.” Another strong addition to this collection; opening with some of the most infectious head-banging guitar of the album. There are, however, a couple points in the later half of the album where the retro rock-star tribute is laid on so thick we cross over from charming to a bit cheesy. On tracks like “Nikki Sixx” and “Gigolo,” for example, it’s hard to find anything too memorable other than a few silly lyrics. The album does, however, bring us back in with “Rookie,” and the final track “Touch The Flame,” which is the closest we get to a power ballad. It really does work as an effective closer; with a big chorus and a wailing guitar solo that sounds like it’s been held in the past nine tracks, just waiting for this final moment.

Coverboy may lose us for a couple moments but it really is a solid piece of work and an impressive reanimating of a past aesthetic that so many retro artists have failed to effectively capture. So don’t overthink it; play it loud, and get used to hearing the name Fatal Jamz more often, because this guy does what he does well.

View article on The Spill Magazine here: http://spillmagazine.com/spill-album-review-fatal-jamz-coverboy/

Tokyo Police Club

Melon Collie And The Infinite Radness, Pt. 2

Mean Beard/Dine Alone Records

3.5 out of 5 Stars

One of Canada’s most reliable Indie-Rock groups returns with its second release of 2016. Tokyo Police Club is back with its EP Melon Collie and the Infinite Radness, Pt. 2. This five-track collection of songs is the second we have received from Tokyo Police Club this year, as just back in April we were given Melon Collie and the Infinite Radness, Pt. 1. Now part two of the Smashing Pumpkins-inspired collection (the inspiration only going as far as the title) displays nothing groundbreaking for TPC. It does, however, provide another enjoyable bunch of feel-good Rock tunes filtered through the familiar style and Pop sensibilities Tokyo Police Club has become so well known for.

It’s undeniable that the boys in TPC have a gift for melody and have really become masters of composing polished and ultra-catchy Rock songs, with a strong Pop influence. The band has set a high standard of song-writing for itself, and every track it releases may not quite meet that standard to become as memorable a piece as some of its past work. This is the case with certain pieces of Radness Pt. 2, but there are, however, still a couple songs that do feel worthy of being added to the roster of TPC favourites.

“My House” is a strong opener, giving off strong Weezer vibes as the distorted guitar chugs along steadily beneath David Monks’ recognizable vocals, which sound virtually unchanged since the group first emerged in the members’ teenage years. The song progresses in typical TPC fashion, bringing in falsetto backing vocals and keyboards all leading into a big sing-along chorus. This big earworm of a chorus is what seems to be missing from some of the other songs on this EP, but we do find another all around strong song with the track “Awesome Day.” A more mellow addition rooting its rhythm primarily on an acoustic chord progression, this track keeps its arrangement simple and showcases the group’s song writing, making it a pleasant addition. Although these songs do come to mind as standouts, other songs on the EP have strong elements as well; for example the opening bass line on “Hang Your Heart,” which acts as the foundation to a really great groove utilizing harmonized backing vocals and a great guitar lead.

Sure, Melon Collie and the Infinite Radness, Pt. 2 may not be TPC’s most memorable work from start to finish, but it does provide a couple solid new additions to the band’s catalogue and I’m sure it satisfied all their fans excited for new material. So for now we’ll enjoy our favourites and eagerly await what the guys come up with next.

View article on The Spill Magazine here:http://spillmagazine.com/spill-album-review-tokyo-police-club-melon-collie-infinite-radness-pt-2/

Junior Boys

Kiss Me All Night EP

City Slang Records

4.5 out of 5 Stars

Hamilton’s favourite Electro-Pop duo is back with another mesmerizing addition to their collection. After dropping its first album release in five years this past February, Junior Boys keeps the tracks coming with its Kiss Me All Night EP. This EP is Junior Boys at its best; a collection of retro synths and samples intricately layered over pulsing electronic beats, all brought together with Jeremy Greenspan’s vulnerable yet soulful vocals.

The boys in Junior Boys have always been electronic music purists in a sense. With so many classic synthesizer tones, it wouldn’t be surprising to discover they had raided Kraftwerk’s studio for all their analogue gear. Junior Boys, however, is not stuck in the past, as it utilizes the layering of these classic tones to create modern grooves and hypnotizing beats. Also, the element of Greenspan’s tender vocals makes any of Junior Boys work fit for any current dance playlist. Kiss Me All Night is four tracks long and it is Junior Boys doing what it does best from start to finish.

The opening track “Yes” is a great example of how Junior Boys layers and builds upon a beat to create magic. Each piece of the puzzle comes in one at a time, beginning with a particularly rigid beat, then bringing in some warmer tones along with the first verse of soulful melodic vocals. After this verse everything starts creeping in; additions to the drum beat, bass, more dreamy synths and modulators. By the end of the track it is impossible to focus on one single element; it all becomes one and it’s hypnotizing. “Some People Are Crazy” is another standout track, and it really opens up the space right from the start. With a fragmented drumbeat echoing out as the warm soothing synths join in, along with a muted bass it sounds almost like the whole thing was recorded underwater. This song builds as they all do, but it’s rooted in the dreamy tones it begins with and it doesn’t lose our attention throughout the five-minute-plus serenade.

Kiss Me All Night is a great piece of work from start to finish. There may be a track or two that stand out but this is definitely a collection of songs to enjoy the whole way through. Junior Boys has always flown under the radar to much of the world, but with the consistent strong material the duo has put out this past year, that may all change.

View article on The Spill Magazine here: http://spillmagazine.com/spill-album-review-junior-boys-kiss-night-ep/

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Client Profile for Audio Blood:

Beau’s All Natural Brewing Company, or just simply Beau’s, is an award winning family run craft brewery. Beau’s was founded by father and son team, Tim and Steve Beauchesne, in 2006, and since then has become a favourite brand for beer drinkers throughout Ontario. Best known for it’s award winning flagship brew, Lug Tread, Beau’s has built its reputation for clean tasting quality beers, that you don’t have to be a beer connoisseur to enjoy. The Lug Tread isn’t the only Beau’s beer you can get ahold of though; the small brewery has released countless unique batches ranging from German black lagers, to citrusy IPAs, and even a milk stout co-created with Canadian comedian Tom Green. Although truly exceptional, Beau’s beer is not the only reason they have become such a well known brand over the past years. This small team of dedicated and self described “fiercely independent” individuals have utilized their success to really give back, through supporting a large number of charitable works and independent arts. Beau’s also hosts an annual Oktoberfest in Vankleek Hill, Ontario, where their brewery is situated. This event grows in popularity every year. The combination of fantastic food, drink, and Canadian music really sums up what Beau’s Brewery is all about; and with over 95,000 dollars being raised for charity this year you can’t help but fall in love with the values, good times, and tastes that Beau’s is becoming so well known for. Pick up a four pack of their trademark 600 ml bottles, and there’s no doubt you’ll catch the Beau’s fever.  

Client Profile for Audio Blood:

Grand Analog brings new life into Canada’s hip hop scene. This five piece group of music junkies draw influence from a wide range of genres. A well-crafted blend of old school hip-hop, dub, funk, soul, jazz, rock, and reggae result in their refreshingly unique sound that exudes undeniable energy and soul. Now veterans on the scene, Grand Analog first came to fruition in 2007 with their debut record: Caligriffiti. Featuring a huge variance in groovy genre interpretations, Caligriffiti certainly showed what GA was capable of. Their sophomore effort, Metropolis is Burning, was released to critical acclaim, further establishing their own sound and their place in Canada’s hip hop world. Now, their most recent release Modern Thunder hits harder than ever. Booming hip hop beats lay the foundation for the now classic GA sound to thrive, it’s Grand Analog at it’s best. This group’s strength however, cannot be solely described through releases, as their live show is more captivating than anything you could blast through your headphones. Frontman Odario Williams grooves with the audience in an infectious manner, while the other four fifths of GA, a truly talented group of musicians, takes every one of their tunes to the next level. Grand Analog is a musical force to be reckoned with. If you don’t know them yet, do yourself a favour and check out their live show, pick up a copy of Modern Thunder, and if you were wondering; yes, it’s all recorded analog.    

Article for Sock Monkey Sound:

The small bar located on Queen west has built itself a reputation for it’s popular electronic, or as they call it “Bassmentality” shows which have occurred every Wednesday night for the last few years. Last night for NXNE Wrongbar brought in talent all the way from the UK, with Skeptiks headlining the event. The night featured great opening DJs as always, such as local favourite Hydee, getting everyone excited for the main event. The music got progressively heavier and energetic as the night progressed, and by the time Skeptiks took the stage everyone was ready to go crazy. With last call at 4 am everyone at the bar was prepared to dance around for hours on end.

The place blew up when Skeptiks dropped their popular single “Without A Name”, and they definitely didn’t disappoint the crowd with the rest of their set, spinning ragers from a variation of different electronic artists. Everyone was left drenched in sweat and full of energy, Bassmentality most definitely satisfied their crowd once again.

Article for Sock Monkey Sound:

This past Saturday NXNE brought one of it’s biggest acts to date into the heart of downtown Toronto, when The Flaming Lips performed at Yonge and Dundas square. With other great openers such as Of Montreal, Portugal. The Man, as well as many others the square was packed all afternoon. Right around 9 though when Flaming Lips were scheduled to perform the square was overflowing into the surrounding streets.

At about quarter after 9 the show began, and with the hundreds of confetti explosions, giant colored balloons, as well as the band members emerging one at a time through the back of the stage the crowd went crazy. The fun continued as singer Wayne Coyne walked across the crowd in his classic giant plastic bubble, supported by excited fans wearing foam lips on their hands. The Lips played a great set, breaking out their classic hit “She Don’t Use Jelly” early on in the night making for a great crowd sing-along. They also played a fantastic cover of Radiohead’s “Knives Out” in tribute to everyone affected by the tragic stage collapse that occurred earlier that day in Downsview Park.

Good vibes continued throughout the night climaxing in Wayne Coyne’s giant laser shooting hands, and the epic encore “Do You Realize??”. The group left their audience in high spirits and covered in confetti, the only people not having a great time Saturday night might be whoever had to clean up.

Article for Sock Monkey Sound:

Ben Caplan and his band The Casual Smokers took the late slot for this Thursdays CMW showcase. Hitting the stage at just after 1:30 am, many members of the audience didn’t have the energy to tough it out for his set. However sticking around with the smaller late night crowd, with sore feet and the burning of sweat filled eyes was well worth it.

Caplan and his monstrous beard stole the show. His unique writing style combines the sounds of Tom Waits, with the melodies and instrumentation of a band of gypsies. Just a stripped down acoustic set, which Caplan is known for, would have been great; However the addition of his full band really made it a fantastic show. Referring to his band as a “super group” was an accurate description. The impressive musicianship and energy of his band, coupled with Caplan’s huge rumbling voice made for a truly memorable ending to the night, and definite highlight of the whole week.

With a series of crowd sing-alongs, or better yet “yell-alongs”, and mind blowing violin solos, I doubt anyone regretted their brutal Friday mornings that must have followed.