#pralbum

Track Listing:

1. Backroads 2. A Little Longer 3. I'm Sold 4. Follow You Anywhere

It’s been a long-awaited return for Fawkes & Hownd. Five years prior saw their debut in Balancing Act and a single released shortly after. I’m happy to say they haven’t lost their congeniality and charm.

The four songs were written during a 2023 trip by music (and life) partners Justin Kelley and Phöenix Lazare, and later recorded in Qualicum Beach at Barnhouse Sound Studios. They’ve grown as musicians and people since their last release, which is reflected in their new music.

“Backroads” is relaxed and playful. An homage to both Kelley and Lazare’s childhoods on the coasts of Massachusetts and British Columbia, respectively, it speaks to the idyllic landscape and livelihood they bestow on their residents (“Backyards and picnics / Following footprints / Sparklers spray like fireflies”). The slower pace is perfect for the song’s ‘cruising with the windows down’ vibe, with soulful vocalising between Lazare and Kelley.

Kelley has the vocal lead on “A Little Longer,” fitting as he initially wrote the song ten years ago before it was re-worked by the duo. It emits the universal feeling of holding onto the emotions and positive memories of a just-ended relationship – heartbreak whilst material items bring a sense of comfort and peace. There is more of a cinematic, sweltering feel, but it remains grounded with the use of acoustic guitar. It’s a wistful, reflective piece and stands as my favourite from the EP.

“I’m Sold” is a beautiful look forward for the pair. It dreams of children, a dog, a lake view, next door neighbours, and ample family time. The personal storytelling never fails to make a mark for Fawkes & Hownd. Amidst the wish factor is the idea that future plans can change with time and more life lived (“I never thought I would take it slow / But as of late it’s all I crave”). In sound, the song is compelling with roots and Americana at its core. Their voices blend together seamlessly in the chorus and in some verses, Lazare’s upper register a gracious and soft echo.

I was pleasantly surprised by “Follow You Anywhere” and the 70’s rock influences. The added groove to their folk mainstay was refreshing. Sweet and simple in narrative, it speaks to their love for each other and a bond that can carry them to new and unexpected places. In addition to acoustic guitar (Lazare) and electric guitar (Kelley), the release features Atom Lazare on drums and Sam Schuette on bass. Their additions help create the full sound in the song, building on the bright and controlled energy from the vocals.

I’m left inspired by Backroads. It is smooth and purposeful in all the right places. Fawkes & Hownd are kindred spirits and tonally, there is an immense warmth and consideration in their music. I’m glad to see them back with further experiences to share and musicianship to showcase.

Backroads is available on Spotify and Bandcamp.

Written by: Chloe Hoy

Track Listing:

1. Intro 2. Little Trouble 3. What's The Point of Saying Sorry 4. Good & Bad News 5. Swing Like This 6. You're In Yr Mind 7. Interlude I 8. Crop Circle 9. I Can't Just Stop 10. …1 More Day …1 More Night 11. Bad Routine 12. Why U Asking Now 13. Happy For Me 14. Interlude II 15. I'll Wait

This is the second full-length album release from Baby Jey, an indie-pop group based in Edmonton. This is an album to zone out to, with sounds that are ambient, complex, and fittingly to the themes, otherworldly. It is almost dream-like in the melody; an ethereal and hazy mix. It’s somehow mellow yet also upbeat – you can hear this as chill background noise, or really get into the production and careful assembly. The mixing and time measures are considered with care and far more complicated than many albums, leading to an interesting and unique result.

Crop Circles is almost a concept album that echoes an unlikely combination. There are Alberta tropes – cowboys and farms – alongside aliens and UFOs. It’s a fun concept, also fusing in emotions and personal experiences that speak from the heart. Many of the themes are less about extraterrestrials and more about winter, memories, lost love, and dwelling on the past. But the space influence can’t be denied in the music and in the radio clips sampled. 

Several interludes are sprinkled through — a feature I enjoyed and would love to see on more albums of this genre. These are actual radio broadcasts alluding to UFO investigations and the titular crop circles found in Alberta back in the 80s. It adds to the old-timey element: many of these songs, especially the instrumental parts, sound timeless. It has a modern sound echoing Tame Impala or MGMT, but some of these riffs echo songs from the 80s, or even back to the 50s. The era and style is ambiguous. I don’t know if that was intentional, but it adds to the distinct and ambitious vibe here. 

Despite the cosmic, futuristic blend, there’s a lot of earthiness and old-fashioned sounds in this record. It mixes country and folk music with synthesizers and drum machines. Overall it is loud – every song is booming with prominent rhythms and beats that really pop.

“Swing Like This” is very catchy and will be in your head long after it finishes. Every song here is fun and dance-worthy, but this one stands out. Even the lyrics are all about dancing — twisting your hips, “swing so mesmerizing, left foot to right.” This is perhaps the most traditional 'rock' song here – a little less cosmic than the others. It’s just a merry good time. 

“I Can’t Just Stop” is a highlight of the album. It is a song full of anguish, clearly expressed in the vocals of singer Jeremy Witten. It tells the story of a dark and cold weather and the aftermath of a relationship. More intimately, the namesake refers to how the singer can’t just move on (“my love is not a switch that I can just turn off”). It’s a heartbreaking track, with the backing riffs featuring minor chord sounds that beep in sadness. Paradoxically, it’s also very upbeat for most of its runtime. The great saxophone solo that it finishes on is jolly – as the sax tends to be – yet still captures that lingering emotion of regret. 

Crop Circles is a ride through space, time, and the inner mind. I’ve not heard something like this in a long time, and found myself immersed in this strange yet captivating fusion. This is an impressive and heartfelt release. It was my intro to Baby Jey – but you can definitely consider me a fan now!

Written by: Cazzy Lewchuk

Track Listing:

1. Crystal 2. Full of It 3. Never Live This Down 4. Feeling This 5. Pipes on the Inside l 6. Pipes on the Inside ll 7. Pipes on the Inside llI 8. Weeks (Years) 9. Electrical

Teenage Art Scene's latest release Pipes on the Inside fuses indie rock with 80s synth pop, new wave, and electronica. Bold, colourful shapes and meticulous attention to detail merge in a collection that feels like it belongs in the Fallout video game series. Victoria’s Rupert Yakelashek adapts in this exciting musical journey, presenting an array of genres that gracefully fall into place.

From the spacey opener “Crystal,” with its swooping synths, nasally vocals, and gritty electric guitar melodies, to the retro relaxation of “Full of It,” with its light percussion, sad words, and hopeful layers, each song is stylishly surreal.

“Never Live This Down” chimes in with a Depeche Mode tone. Clean guitar riffs support an echoing, amused voice: “And I’ll express that you’ve made quite a mess.” Standout track “Feeling This" provides a beachy goth essence with lingering horns, deep guitar strums, and 90s rock. “You're the pinnacle of what I could achieve / If I didn’t give up so easily.” Sharp, faded synth entrances charge a trippy soundscape.

Metallic notes soar and urgent bass floods “Pipes on the Inside I.” A sonic machinist, Yakelashek cultivates a fascinating audio field. Frantic percussion transitions into stronger beats. The conjoined song “Pipes on the Inside II” is lighter, almost dainty. It integrates sweet, haunting bells with rubbery bass. Third edition “Pipes on the Inside III” switches gears. Speedy and tenacious, gritty guitar cuts through contagious synths. “This Anthropocene makes it so hard to glean / I can feel the pipes on the inside.”

With gentle, catchy hooks, “Weeks (Years)” grooves with stacked synths. Playful use of high and low pitches makes for a fun auditory experience. Nostalgia and reflection of time emerge from the piece: “More than anything combined / the weeks and years we left behind.” A sly and sneaky undertow adds lightheartedness to an otherwise somber message.

The last song off the album, “Electrical,” sparks neon melodies and embodies a glamourous, youthful 80s vibe. Rigid vocals exude confidence and weave through the tune with swagger: “You seem like such a spectacle / I can’t help but notice you’re electrical.” Robotic reverb brushes against pixelated notes and bouncy guitar. Intriguing mystery exists in a colourful synthetic haze, while arcade noises diffuse energetic retro charm.

Pipes on the Inside is a trendy development in Teenage Art Scene's evolution. Rupert Yakelashek's willingness to intertwine genres results in a cohesive yet abstract collection. The union of eclectic aesthetics with vintage technology creates a multifaceted music adventure that showcases creative growth. Pipes on the Inside breaks away from usual patterns while staying true to Teenage Art Scene's artistic vision.

Written by: Jenna Keeble

Track Listing:

Tiny Machines

Resolutions

Simon the Doubter

Michelle

Tuesday Morning

Let’s Get Together Soon

Cold Air

It’s Just Been a Hard Year

This is an album Brendan has put a lot of clear expression, emotion, and effort into. The production, particularly for a solo artist, is smooth yet detailed. It reminds me of Sufjan Stevens: very soft, sad, and reflective in a personal way.

There are little details in the background of the production best appreciated on headphones. The rhythm time and the horn section are examples of the subtle engineering. There's some deep bass, mellow guitar, and rising sounds that I took in more with every listen.

A major theme is the singer's grief following the loss of his father. Other subjects intertwined include the juxtaposition of fun and happy memories while grieving, and the toll Covid and quarantine took on his psyche alongside the world. 

"Tiny Machines" starts off very slow before a rapid tempo change halfway through. This runs parallel with the lyrics – the contrast between trying to sleep and the symphony of thoughts occupying Brendan's head. It's an interesting and even jarring entrance with the sudden shift in style, but it sets the atmosphere for what is to come.

"Resolutions" was my personal favourite from the album. It's upbeat, detailed, and probably the most "fun" of the tracks considering the context. It's also the happiest of the stories told here. Amongst seemingly endless grief there is joy, beauty, and a meaningful connection in the world taking place. It is sparks lit up, metaphorically and literally amongst the final minutes of New Year's Eve. 

The third track echoes the content of "Tiny Machines," both featuring feelings of being restless and out of control, trapped and confused, "floating away." There's some good rising trumpet halfway through, and the guitar riff stands out for being rapid. The tempo syncs up to the themes of stress – as if the guitar is a pounding heartbeat.

"Michelle" is the story of the singer's sister and his perspective on their shared loss. He reflects on their distance and failed connection. He also describes how she is processing the grief during all the other stressful aspects of life, like motherhood. While very sad in context, it also ends on a note of hope – unconditional love and support.

The string section/riff on "Tuesday Morning" is genuinely moving. One finds themself lost in sadness just from the sound of that violin. It is met with lyrics of depression, of not being able to leave your bed. All that while dealing with a dying loved one, and the guilt felt of suppressing the grief and miserable feelings. 

"Let's Get Together Soon" is the tale of running into an old friend, and the understanding that comes with seeing the relationship in a new context. It's a very human story that most people go through at some point: feelings of regret in a dissolved friendship, and thinking about things you wish you'd done differently. The story describes the friend pulling away after the death of their father, and the narrator's realization and empathy of their behaviour in the aftermath. We all get older, lose loved ones, and have social relationships come and go. Brendan has captured the feeling not just lyrically, but musically and emotionally. You can really feel what's going on, almost as if it's happening to you personally.

"Cold Air" is another track reflecting on past memories, happier times, and that special feeling of being out with friends one particular night. Of course, the feeling is interrupted by a wave of grief and the narrator departing. As he walks home, he reflects on his circumstances ("What the hell am I doing here?"), aging, and what comes next. It's another wave of mixed feelings most of us go through at some point – all the more striking when processing loss. You can practically feel the cold air in the lyrical description.

The final track is simple lyrically and musically. It concludes stating the obvious – "It's Just Been a Hard Year" and the absence that comes with losing a loved one is overwhelming. Where do you go? What are your blessings? Are you processing the grief properly? When will you feel better? These are the questions the singer asks himself, and they have no easy answers. 

2021 is a deeply personal album crafted with beauty and integrity. It isn't exactly something you can dance to, and one should be in the right headspace to listen to it. Nevertheless, it's lovely and cathartic. 

Written by: Cazzy Lewchuk

Track Listing:

You're My Man

Gold Ring

Cognitive Dissonance

Another Day

Goodbye

If It Makes You Feel Any Better is the self-titled debut EP by a four-piece band based in Montreal. Indie rock with a punk mix, it is 25 minutes of channeled grief, regret, and expression. This has a very 90s sound – sort of emo and vintage indie. I could see myself listening to this in a basement show 25 years ago, moving and moshing to the post-punk tunes. 

All of the songs are very smooth. The whole EP is a lament, often sad, perhaps even to the point of bleakness. It’s somewhat dry, yet a lot of passion exists deeper inside. The music and lyrics were clearly written tapping into a melancholy mindset.  A bitter and basic tone undercuts the lyrics, both in their subject matter and vocal inflection. These words come from the heart, mostly made up of shorter and repetitive yet impactful sentences. 

You can almost feel the depression being channeled alongside the singer. This is not a happy, upbeat listen. It’s a tribute to lost innocence, simpler times, and how the simplest things (even “breakfast food”) can trigger a lot of tough feelings. I could almost call this EP nihilistic – it certainly doesn’t offer a lot of hope or goodness amongst its themes. Of course, not all music has to. It’s entertaining for those who enjoy that style, and there’s certainly a lot of effort and talent put into each song.

In these five tracks, the entire life cycle is spanned. We hear stories of the past, reflections of the present, and speculation on the future. Childhood memories, current headspace, and notions of having children and growing old are all found. Some of the themes are intense – tough stuff about grief and loss. Watching our own loved ones lose their loved ones is rough, and the feeling is captured well tonally. 

These are mellow riffs sprinkled with more rapid, upbeat changes periodically.  The melodies are definitely the highlight of the release. There’s a lot of feeling invoked by the guitar work; the minor key riffs, the often distorted rhythm. The underlying tune is smooth and simple, but will be punctuated by breakdowns and sudden rapid, rising sounds. Every track has a moment or two like this, where the key suddenly changes and the whole band really shows their chops. This is especially present in the middle of “Cognitive Dissonance” and the last two minutes of “Goodbye.” 

If It Makes You Feel Any Better is a thoughtful effort by a group establishing themselves. While never overtly cheerful, it’s an enjoyable and powerful release. It will have you pausing, maybe even reflecting and truly feeling along with the singer. It’s an impactful release, one sure to stay with you long after the last song. 

Written by: Cazzy Lewchuk

Track Listing:

1. Battle Cry 2. Deluge 3. Demon Queen 4. Veil 5. Darkest Part 6. When It Gets Light 7. Sun Interlude 8. Transmission / Lost Causemonaut 9. End Transmission

Space Queen is an all-female trio from Vancouver. They create music that can be described as heavy, psychedelic space rock. Nebula is their second EP and longest release yet. Full-length songs are mixed with under-a-minute interludes to create a quality anthology of work. 

It's really just a jam. A very smooth work that never feels rushed or too drawn out. The sound and style are timeless—it honestly could’ve been recorded at any time over the last 50 years. I was impressed that the group is only three people; it really sounds like more members creating everything with this kind of complex style. It never feels lacking or too simple. If anything, it may be too rapid for listeners who like slower, less intense music. This is a release meant to be rocked out to, played loudly and listened to with passion. It's definitely not background noise.

Lead vocalist Jenna Earle has a very calming, mellow voice that can only be described as reassuring. Her pitch provides a nice contrast to the shredding guitar work – also courtesy of Jenna – that switches from pulsing slow beats to a pure metal, complicated rhythm. Accompanying her is Seah Maister with a deep bass, keyboards, and additional vocals. There's also the varied skilled percussion and other vocals provided by Karli MacIntosh. Together, they are a confident group who play with passion.

The opening – "Battle Cry" – is an aptly named banger that pulls no punches. It's got a 90s sound to it – sort of a grunge and post-punk feel. After a brief transition track, we're hit right with "Demon Queen." It is likely the most heavy song and certainly the fastest. Not a breath or note of silence is observed in over three minutes as Jenna sings of blue blood and taking you. It's speedy and it’s fun, and from here you've got a great idea of the style going forward.

"When It Gets Light” is a pleasant track and perhaps the most complicated of the EP. Each lady really shows her chops on their instruments here. They all vibe together in a way that's really special. This was a highlight for me, and in my opinion the best of all the songs presented. 

"Transmission / Lost Causemonaut" was my personal favourite. It is the longest song and features the most instrumental work. Very cool guitar solos, thrashing percussion, and a throbbing bass all make one hell of a song. The guitar actually whirs and screeches a couple times – it's such a unique effect. It has to be heard for the full experience but at over six minutes, there's plenty to love from the opening rising bass riff to the buzzing fade out.

We close with dialogue snippets – transmissions of a man saying he went to the moon, and a repeated message: "We've heard nothing yet. We've heard nothing yet…" Perhaps it's true. If these are the sort of tunes Space Queen has to offer relatively new to the scene, I'm very excited to see what cosmic works they come up with going forward.

Track Listing:

1. Feel My Love 2. Makita 3. (it’s not weird) 4. Set the Tone

nightshades set a brooding and sensual tone in debut EP It’s Not Weird. Luxurious metal gradients and heavenly vocals create a dark obsession. Passion seeps through every track, shielding itself with a cool exterior.

The Kelowna-based band is composed of jack-of-all-trades Andrew Judah, Caleb McAlpine, Dylan Ranney, and Nathanael Sherman. Members rotate playing instruments, penning lyrics, and blessing the mic. Described as experimental psychedelic pop and post-punk rock n’ roll, nightshades could be the lovechild of alt-J, Nothing But Thieves and Hozier.

“Feel My Love” pines with quick, dynamic drums, deep bass, and piano. Sporadic string embellishments and a singular, maniacal laugh push and pull listeners. Desperation, but also consideration, is elegantly communicated: “Your new friends tell you what you want to hear / You pay no mind that I've been here for years.” Romance and melancholy melt in “Makita.” A soft sway of nonchalant dissociation: “Puppy eyes / On the couch when you stayed the night / Do you realize you are not the first to arrive?” Vocal harmonies cast a spell, as sharp guitar melodies build tension. The song climaxes with faded chanting and dense piano.

“(it’s not weird)” is a soothing instrumental piece. Echoing acoustic notes warm, while piano refreshes. The final track, “Set the Tone,” fuses hurt and devotion. Guitar melodies are intricately interwoven. Reverb casts a dim and secretive shadow. Exquisite layers of voice shine on moody words: “The devil you know / I’m fine, just leave it alone.”

It’s Not Weird is undeniably intriguing. It’s invigorating in an understated way. The EP is short but precise, locking in listeners. Divine singing and graceful, grunge instrumentals instill a burning desire. Cold and coquettish, nightshades oozes style.

Track Listing:

1. Bless the Moon 2. Ode to Grey 3. Reconstruction 4. Suffer the Bruise 5. Friends in the DM’s

Like all great punk, Britt A.M.’s Immolation is lyrically fierce. But its star power comes from its organic embrace with the natural world and memorable reflections on personal growth, climate change and social media. The album is an enriching brew of acoustic strings, electric melodies and soothing punk vocals. Recorded live off the floor at Pulp City Music in Prince George, BC on Lheidli T'enneh territory, Britt A.M. brings listeners a much-needed taste of the northern music scene.

“Bless the Moon” speaks to the witchy and wise. Slow, textured guitar sways with soft, rustic vocals. The song is a reinvigorating chant suspended in a cool breeze. Lyrics grapple with the existential: “Often I feel nostalgic for times that are yet to come / Yearning for when I look back and appreciate all I’ve done.” Curious melodies linger in “Ode to Grey.” Light beats softening a depressive narrative about the climate crisis: “Is the grey from the smoke or the rain? I guess we’ll see when I breathe in the breeze.” Britt A.M.’s voice is crystal clear and fleshed out by sharp harmonies.

“Reconstruction” dives into a colder tempo but still maintains an inviting warmth. Unpacking creative blockages and personal evolution, the music traverses a dusty, rugged road: “Then the years pass by and you leave yourself behind / Sloughing rough stuff, while it thickens you up / And if you land with your feet underneath you go collect those bits / And reconstruct yourself.” Vintage guitars are expertly layered in heavy and gentle strands, as subtle and supportive percussion cushion glassy vocals.

“Suffer the Bruise” is the epitome of punk. Beachy synths bridge into a sturdy, grungy chorus. Marinating in emotional anguish and societal pressures, Britt A.M.’s writing washes through like a powerful river: “To be awake without taking the whole world’s pain to make it my own / So that when I’m alone, I distract, and I scroll and I scream at the void / And the stress that comes back leaves me picking my scabs ‘til they bleed.” “Friends in the DM’s” encapsulates the audacity of men. Bouncy, call back electric melodies recount an all-too-common narrative of random online requests and unsolicited judgements. It’s an unexpected and funny surprise. A theatrical vocal performance and release of rage, in which the only option is to “BLOCK BLOCK BLOCK BLOOOOOOCCCCCKKK.”

Socially conscious with masterful song writing, Immolation strikes a resonating chord in our modern environment. Britt A.M.’s enticing vocals flow through like the fresh forest wind. Listeners trudge through despair, but find comfort in the promise of an enduring earth and determined spirit.

Written by: Jenna Keeble