#pralbum

Track Listing:

1. pavilion 2. motavia 3. handedness 4. zugzwang

glaswegians is the solo instrumental project of Michael Elder, based out of Vancouver. quaternary was written over several years from 2017-2020, and mostly recorded from his home during the pandemic. This is a follow-up release to 2017’s severance, which also featured lengthy tracks. 

Despite being only four tracks, this album is a hefty hour and two minutes long. By nature, it is not necessarily an easy listen. There are no lyrics or vocals to be found, and there are literally dozens of instruments used to create an entire symphony. Throughout there are all sorts of complex, varied time signatures – entire songs hidden within each section.

Almost fifty(!) instruments were used in the final recording, ranging from electric guitar, piano and drums, to orchestral sounds like the cello and harpsichord, to the more obscure euphonium, omnichord, and Akai EWI 5000. I’m mind blown that all of them were played by one person – Michael himself. Aside from additional drum production by Jordan Elder and mastering by Angel Marcloid, this entire album was a solo endeavor. glaswegians is a project that could easily be the work of twenty people, all done by a single individual. 

“pavilion” is a light track with a heavy psychedelic sound. It’s very cheerful all around; I could see it being played by Electric Light Orchestra, especially the ending. Sections of it sounded like Rush or Pink Floyd – indeed, the primary influence for this EP was 70s prog artists like Mike Oldfield, King Crimson, and Camel. There’s a rising sound throughout; it takes a while to get to the climax, but when it hits, it leaves an impression of the sheer magnitude that is to come. 

“motavia” is still quite upbeat, though not as much as the previous song. The middle features a lot of minimalist, slow piano work. It would not be out of place in a classical music hall. Some of it even sounds like a lullaby, something soothing to drift off to. I felt relaxed and inspired after finishing it. "motavia” is a song to get oneself focused; a mood lifter during hard times. It would also fit right in with many video games, grinding another level or finishing that quest.

“handedness” has an old-timey feel. I could see some of this being played in an old Disney film, or scoring a quirky black and white French film. Despite the old-fashioned angle, it has a timeless, universal approach. Later parts could be used in a sample or riff for a totally different genre as rap or EDM beats. The ending is in contrast to the middle: almost maximalist with a powerful, booming finish. Truly an epic conclusion, like something you’d hear as the final notes at a concert.

We close with the most cosmic and strange of the tracks. “zugzwang” is extremely fast for most of its runtime. It really feels like listening to a jazz band jam – so many moments that make this being the work of one person remarkable. There’s a lot of passion and funk present, particularly in the last five minutes. One could be forgiven for feeling as if they’re in some kind of sci-fi movie, flying across space with Sun Ra. 

Having listened to this album several times, I was able to find new things to enjoy every run through. There’s so much going on; the ambience and sheer craft means you’ll love listening to it twice, thrice, or ten times. I can’t say I listen to hour-long symphonic instrumentals on a regular basis, but quaternary helped me appreciate the stylistic approach. It’s an awe-inspiring, ambitious EP clearly made with love and care. It took several years to create, but the end results are well worth it. 

Written by: Cazzy Lewchuk

Track Listing:

1. Life of the Cursed (Intro) 2. Have a Good Time 3. Paradise 4. The Calisthenic Dirge 5. Babylon 6. Here I Am 7. Little Bit of Blood 8. I’ve Earned Everything I’ve Got 9. Wage Slave Hymnal 10. Bottle Street 11. Keep On Walking 12. Life of the Cursed (Outro) 13. End of the World

Walker & Wylde bridge soulful, feel-good folk-punk with dark realities in new album, Secondhand Existential Crisis. A working-class mantra of an age marked by violence, anxiety, and radical optimism. Warm, comforting lyrics resonate with collective concerns. Dynamic melodies make it a nuanced listen that will leave you feeling energized and understood.

The album carries an endearing, grassroots sound, drawing comparisons to AJJ and Violent Femmes. The Montreal-based band wrote the album on a west-to-east coast journey to find the “answer to life.”

“My feet caught the walking need when I was but a twig / So I take only what I need and I need nothing big / Except for the keys to everything, the answers to our life”

Blue Jay Walker and Ixc Wylde deliver catchy and charismatic vocal melodies in “Paradise.” Joyful stomping drums support lightly layered strums. A playful and lively beat jumps and jigs while lyrics describe the bliss and blues in the pursuit of happiness.

“Babylon” shifts into reluctant power. Walker and Wylde’s voices remain strong and clear, pleading for climate justice: “The weeping willow trees have been cut down by disease / To build a thousand towers where they fell / The river’s on its knees / Begging mercy, please.” Rich backup vocals from Sky Coombs strengthen the somber and spirited message.

“Build your towers tall / Never will Babylon fall”

Wylde’s harmonica melodies shine beautifully in the slow burner, “Here I Am.” Strings rise and fall in delicate and dynamic waves. Tender tavern music – with a smart lyrical edge.

“Here I stand, old and bitter / My wicked fingers ache and creak to pull the old strings taught / How could I beat a higher bidder / I gave to you my best years and you told me they were naught”

“Little Bit of Blood” strikes with funky bass, bouncing drums, and snapping strums. Fun, boisterous con man vocals perform stellar satire: “I’ve got everything / I just need you to believe / Buy in, eat it up / I’ll fix it all with a smile / And a little bit of blood.” The tune soaks in its villainy, revealing populist power dynamics with wicked appeal.

This message is further reaffirmed by the “I’ve Earned Everything I’ve Got” interlude featuring a soundbite of Richard Nixon.

A stand-out track from the album, “Bottle Street,” follows the plight of the unhoused: “What do you mean that it ain’t our home / Take our tents, our tarps, our hope / Make up signs so the tourists know.” Injustice interweaves with Arya Nasr’s vibrant saxophone. Walker and Wyldes’ vocals deepen with determination.

“A beacon shining hope for more than / A brief respite, just a moment / We all wondered could it last then / I saw by-law roll through heaven”

Secondhand Existential Crisis is an ambitious and exciting adventure. Walker & Wylde pair potent societal commentary with heartfelt, energized folk-punk. Persistence, honesty, and vulnerability pay off for diamonds exploited in the rough.

1. 11:11 2. Rise Up 3. Pirate Song 4. Not the End 5. Ordinary Day

Effervescent and personal, Ben Barnes’ Songs For You is a debut to be proud of. It’s a compelling collection inspired by moments in Barnes’ life, his own dreams and ideas, splashed on a canvas coloured with piano and rich instrumentation. A release that is unconfined to a specific sound is the most liberating; shades of jazz, 70′s nightclub disco, gospel and contemporary pop, all tied together, but by the same token exist apart.

We’ve previously discussed the sophisticated soul behind “11:11,” a wish of happiness for a loved one, an endearment of respect and acceptance. “Rise Up” has a spiritual tone, comfort in knowing that the sun will rise once again. A new tomorrow is something to hold hope and anticipation in. Barnes looked to gospel hymns for inspiration, it’s a song that speaks to and for all. His voice inflection is on full display, power that builds as the track moves forward.

It brims with longing, to be found and heard, or to recapture magic of the past. I love the citing of nature’s elements – the beauty and pain they can bring, much like any matter in our complex lives. Overwhelmed and wistful, stylistically it finds a balance that is emotional and on its way to recovery. The string arrangement is heavenly, adding vigor in both the high (and low) places. 

There’s a playful, discothèque feel to “Pirate Song” and the pursuit of a “swashbuckling pirate woman” by a poor, lonely man. It’s very jubilant – lyrics that reference Tinkerbell and Captain Hook, a sail out to the seven seas (and perhaps Notting Hill, but I’d need confirmation). The gang chorus of “Heave ho, blow me down” is immensely fun, as if a band of pirates joined together for a musical number while they plotted their next mission. It’s big band reminiscent, but also has a colourful RnB flavour to it. 

“Not the End” is admittedly inspired by John Lennon’s infamous quote, ‘Everything will be okay in the end. If it’s not okay, it’s not the end.’ I think that embracing the cliché and universal motto serves him well, however, it’s for that reason sweeping and soulful. The organ and brass arrangement adds affection and warmth, a gentle hand offering support and a friend if needed. It encourages listeners to take that additional breath and time; the world will open for you.

I just adore “Ordinary Day” for its honest simplicity, love for another not yet ready to hear it. It’s contemporary piano pop that has an anthemic vibe, almost tragic in sound as he finds solace while she cannot. He speaks of wanting what they have to be ‘enough,’ companionship and healing together, when words fail. The strings and keys are striking in this, imploring reprieve while suffering exists for both. We wait because we have belief and greater aspirations, guided by our hearts.

He has coined his genre ‘old soul pop,’ which is fitting for the classic charm exuded through the five-track. The vocal delivery is lifting, littered with romance, ache and dreams. It’s so fulfilling to see an artist achieve a long-term goal and passion, in the process imparting that joy on others. Having had the opportunity to speak with Barnes earlier this week, we know his music is special and here to stay. 

Hopeful and imaginative, Barnes’ appreciation for his craft is clear in Songs For You. 

Track Listing:

1. Twisted in the Groves (feat. Traffik) 2. Night Shift 3. IDK 4. No. 9 5. SUSPECT 6. So What (4.6☆) 7. Waves 8. Peach Soju 9. AFAAP 10. Sauna Monkey Pt. 1 11. Sauna Monkey Pt. 2 12. Fog Rolls in, Lights Shine Out

Surrey-based saxophonist and composer Jackson Bell released his debut album, COLLAGE, in early October of 2020. A primarily instrumental assortment of previously unfinished songs, field recordings and demos have been mixed from the grassroots of Bell’s parent’s shed and his bedroom to produce this first release. This album also features Quinn Fortin on guitar, and vocals from Traffik.

“Twisted in the Groves” is appropriately titled with the twisting, contorting sound of the lengthy saxophone introduction. A tempo change comes halfway through the song, followed by piercing and powerful vocals from Traffik. What starts as a whimsical backing instrumental shifts to a groovy hip-hop mix of controlled chaos.

“SUSPECT” melds the hip-hop and jazz stylings of Bell’s talent, blending seamlessly together. This track stands out with its funky sound, which would make anyone want to groove. Using a strong hip-hop beat against the floating and fluctuating saxophone, Bell embarks on a curious exploration of his own unique mixing of genres.

“Peach Soju” sweeps in with its existential and futuristic sound. The intro to this song makes me think of old movies about intergalactic space travel, setting the scene for an out-of-this-world flow throughout the track. Its name matches the sound perfectly – lighthearted, fun and packed full of sweet, intricate flavour notes.

The album ends with “Fog Rolls in, Lights Shine Out,” which acts as the perfect conclusion to a masterfully concocted collection. There is a sense of resolution and movement towards new beginnings that ooze through the gently cascading and smoky saxophone sounds. This track is calming and mellow, but in no way boring; Bell weaves in those delicate layers of all-encompassing noise to create a song that both soothes and excites.

Bell describes the sound of this project as “an eclectic collection of electronic music mixed with jazz, hip-hop, house and ambient,” and I couldn’t agree more. COLLAGE features a complexity of layers, melding genre and pushing the boundaries of style. Not only does he work within the bounds of instrumental – Bell mixes in vintage-sounding clips of dialogue, which add narrative and further interest to his tracks.

Written by: Liz Douglas

Track Listing:

1. numb 2. over you yet 3. noise 4. money 5. tears that never dry 6. monster v.2 7. lockdown 8. lose you again 9. fighting fire with fire 10. problems 11. me and my friends 12. country star 13. by this time tomorrow 14. streets of heaven 15. don’t be afraid of the dark 16. monster v.1

Tom Odell has always been a gifted artist—an unabashed honesty in his words, somber in temperament, but a subsequent livewire not long after. It’s earned him a Brit and an Ivor Novello Award, a career that is nearly ten years old, chart-topper “Another Love” having made its debut in 2012. Odell’s monsters is a strong return – a stark contrast of vulnerability, anger, autonomy, and the ability to rise beyond the worst of times.

Affer forging his way through “a dark period of mental health” over the past couple of years, his emotion is potent, a heavy heart and mind splashed onto his latest work. Odell explores and experiments on this record. I can’t fault an artist for new inspiration, even if I’m, at times, caught missing his ‘signature’ piano-laden singer-songwriter. “numb” is the first introduction to the disconnect and pain, experimental in sound and a fraught intensity that rivals that of the Joker (with less theatrics).

He’s taken inspiration from the likes of hip hop, electronic and bedroom pop, citing a fondness for the stylings and lack of boundaries for the genres he’s shied from in the past. I love the approach to “noise,” which is more of an interlude, very much giving the impression of a quick demo done right. Choppy and intermittent, it draws an eerie connection between news and politics, influence and society – “They sell me dreams / they sell me doubts / they sell me that thing we just talked about.”  

“money” is casually narcissistic, while “lockdown” is life in isolation, dreams (and fears) always in question. It’s got this layered, textured air that is progressively harder to comprehend. I suppose it’s the nature of the unknown and time meshing together. Touché. There is power behind “monster v.2,” the title track written about attempting to overcome panic attacks. An inner strength that displays love and a brave face, it’s accompanied by the best of synths and electronic beats, spacious and sophisticated. “lose you again” draws parallel to an older era Odell, a heartbreaker, upbeat piano ballad over a fractured relationship. Lyrically, it shines; a painstaking cry while maintaining a stoic persona, a call to toxic masculinity and the idea that outwardly expressing emotion is weak.

In a shift of mood, the poppy “me and my friends” is a form of carefree escapism. Its group vocal chant is quite fun – a welcoming addition to the collection so far. “by this time tomorrow” has a fairy-tale charm. I can just picture a protagonist wrongfully separated from their star-crossed lover, yearning for a way to find their way back to one another. Simple but prominent piano accents this beautiful track.

Oh my oh my, “streets of heaven” is going to be a show stopper, there’s no question. Drawing narrative from the mass shootings and unjustified hate in our world, it remembers those lost, and how hard it is to move on. It’s this poignant, gospel-influenced anthem. Odell’s delivery over “we’re just a bunch of kids / we didn’t have to die” is soul merged with tragedy.

He comes full circle with “don’t be afraid of the dark,” gentle guitar and instrumentation to bring a lighter, airy feel to a positive end. You can quite literally hear birds chirp in agreement. A rugged piano solo takes the reins at song’s end, a gesture that won’t go unnoticed to balance its absence earlier on.

Odell muses about himself and the world as much as he listens, states that brood, cherish, show erraticism and discontent. Feelings and values are not black and white, stagnant or lucid, and he shows listeners the magic in a journey that is as bold as his newfound sound.

Track Listing:

1. Discovery 2. Metamortality 3. Anabasis 4. Tear Down 5. Hatemachine 6. Blood for Blood 7. Crush Depth 8. Baptism 9. Neophyte 10. Mindbreak 

Sculpt yourself from the past and go beyond death with Metamortality, the latest album from The Evan Williams Project.

Told in a sequence with immersive interludes, the collection of songs tells the story of a person who undergoes self-hypnosis to release themself from painful, intrusive memories. It’s hard rock chiseled into sharp curves, and this time, clearly influenced by religion.

The mind behind the music, Scott McGowan, works as an audio broadcast technician for his church. It’s compelling to hear how he brings his faith into the lyrics and melodies of the tracks. The album cover depicting crying stone angels is gorgeous.

The Evan Williams Project has improved sound quality and production with Metamortality, compared to previous album HATEMACHINE (check out our review of the latter here). This makes sense since the project started as a way to create backing tracks for live performances from previous songs.

Title track “Metamortality” aggressively demands answers to escape a cage of emotions. The drums and guitars are heavy, galloping along charismatic vocals reminiscent of a preacher. Layered background vocals add determination and desperation – softening white hot rage.

“Anabasis” throws you into the deep end. It’s dreary but hopeful. Slow plucks of guitar accompany piano, as lyrics lament about a metaphorical self-death that leads the way for a transformative rebirth.

“The pain turns to ache, and the next thing you realize / The wound isn’t healing, you’ve been desensitized.”

The next songs – “Tear Down,” “Hatemachine,” “Blood for Blood” and “Crush Depth” – are all remakes of songs from his previous album HATEMACHINE. “Baptism” and “Neophyte” are also remakes, coming from Take Two, the first full demo The Evan Williams Project created.

McGowan is a firm believer in failing miserably to learn how to succeed and has more plans to remake songs to improve them.

A 32-voice choir and full orchestra congregate in “Mindbreak,” the last track on the album. It’s an epic, cinematic finale as the protagonist decides how to deal with the thoughts that torture them. Starting off slow in pace, the song builds up mystery and suspense.

“May be time to let go / What the hell do I know? / I came from Zero.”

The callback vocals are crystal clear and remind me of sea shanties. This is my favourite song off the album; it’s catchy and strangely uplifting.

Metamortality is about molding your memories to self-actualize. It encourages listeners to dig into darker aspects of their psyche and create motivation from within. Inspiration is around us all the time, even in the darkest of moments, and McGowan argues the secret to closure is nestled in there as well.

To live is to learn.

I’m excited to hear what The Evan Williams Project learns next.

Written by: Jenna Keeble

Track Listing:

1. Ode to the Lonesome 2. Dirty South Blues 3. Blue Front Cafe 4. Hard Time Killin' Floor Blues 5. Magnolia 6. Lady Heroin 7. Just Jive 8. Cypress Tree Blues 9. Yes Ma'am 10. Hey Mr. Devil

In case you didn’t already know, Vancouver is now home to Bolton, Mississippi singer/songwriter, Robert Connely Farr. His full-length album Dirty South Blues was released in late 2018 – recorded in our very own Lethbridge, Alberta. The Rebeltone Boys include Evan Ushenko (lead guitar), Tyson Maiko (bass), Kyle Harmon (drums) and Michael Ayotte (keys).

Something old and something new. Farr collaborated with his blues mentor, Jimmy “Duck” Holmes, to create “Just Jive,” and also included his own cover of Skip James’ “Hard Time Killing Floor Blues.”

In this album, Farr voices his disagreement with the political, societal and religious stances of the Southern United States. The title track shows this in lyrics such as, “Take me back to the Dirty South, Lord / where the devil makes his whiskey and crosses burn,” and “Take me back to the land of cotton / old times there are not forgotten,” commenting on past ways and the discrimination of people that continues today. With a sturdy drum beat and the country twang of electric guitar, it’s a powerful song both lyrically and in rhythm.

“Just Jive” is a refreshing and upbeat song that cuts nicely through the weight of the other tracks on the album. Incorporating a song like this shows his diversity in both instrumental sounds and vocal ability. Even though it has a much different sound, there is a distinctive flare that Farr integrates into the song that allows it to fit the feel of the album.

“Magnolia” starts with deep acoustic strumming and echoing vocals that create a haunting atmosphere. The lyrics are statements on equality and remark negatively on Confederate ideologies. The song begins, “Heading down Highway 49 / Down near Hinds County lines / I see a rebel flag flying high / I hang my head and sigh,” which paints a picture for the kind of imagery and beliefs splashed onto the Southern landscape.

“Blue Front Cafe” is a comment on religion in the Southern United States. “Now the preacher man he come to take me down to the church / tried to lay his hands on me / I put him in the dirt,” Much like “Dirty South Blues,” this song has that electric guitar element that gives it more of rock edge, despite being a slower song. The drum beat gives the song an almost sultry feel to it, which contrasts Farr’s rugged vocals perfectly.

“Hey Mr. Devil” is the final track and is one of the slower tempo songs, as well as the longest song on the album. The sound is so smooth and is really one of those songs that just makes you want to sway to it. The lyrics read, “Hey Mr. Devil / won’t you send my baby back this way / she ain’t never been gone this long / I fear she gone to stay.” The instrumental fade at the very end of the song works well to bring the album to a clear conclusion. You can also watch the music video for “Hey Mr. Devil” on Robert Connely Farr’s Youtube channel now.

Dirty South Blues is an album that successfully covers real issues, and the Southern Blues genre is what makes the stories flow so flawlessly. The controversial topics that Farr discusses is accentuated by the raw sound of the tracks.

Written by: Liz Douglas 

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