BeatRoute Magazine B.C. print e-edition - March 2016

Heron Oblivion
Heron Oblivion
Sub Pop
Heron Oblivion’s self-titled debut is a hypnotic
trove of cacophonous, fuzz and wah-drenched
psych-rock that wraps itself in the warm, yet
menacing embrace of film noir ambience.
Throughout the first side, the band deftly
moves from an ethereal, Mazzy Star vibe, lifted
by the dreamy, distant voice of vocalist and
drummer Meg Baird, to the massive, buzz saw
dual-guitar crunch of Charlie Saufley and Noel
Von Harmonson. The album’s second cut, “Oriar”
drops like a bridge collapse, an elephant of
a riff punctuated by screaming fuzz wah that
somehow finds its way to a calm, softer place
where Baird’s voice gently soothes, if only long
enough to find us back underneath the structure’s
fall. “Sudden Lament” is a slight left turn
from the madness, surf guitars stacked against
a melody that lives slightly under the mix, only
to turn celestial in the chorus, with a wild,
MC5 instrumental break that barely holds on
long enough to lead us back to the chill surfer
vibe. “Faro” moves even further outside the
looking glass, the heavy vibrato of its intro riff
mixed with a janky clean guitar creates a weird
balancing act, driven by Baird and Ethan Miller’s
“Peter Gunn” groove, moving with all the
swagger of a rhinoceros, fully aware it needs
only forward momentum to make its point.
There’s beauty and there’s chaos; for Heron
Oblivion, there seems to be little middle
ground between the two.
• Michael Dunn
If I Look Strong; You Look Strong
Yamaha PSR-248
Non-Minutiae Records
There’s always a certain excitement that
comes from listening to a new If I Look
Strong; You Look Strong (IILS;YLS) release.
Noah Michael, the solo-artist behind the
project is probably one of the hardest working
people in Calgary’s musical community.
He’s a multi-instrumentalist with hands in
numerous projects, and his influences are
as diverse as IILS;YLS’ body of work. His past
releases have ranged from classical influences
to electronic to heavy metal and punk, and
this latest even comes with a hint of jazz.
The second track is what you might hear
if Aphex Twin took a xanax and collaborated
with Hudson Mohawke or Arca but overall
the subsonic experience is IILS;YLS’s alone.
The five-song effort is extremely diverse
but for the right listener is a fun, eclectic, and
dazzling sample of Michael’s influences and
output.
• Trent Warner
Into It. Over It.
Standards
Triple Crown Records
Into It. Over It. is the brainchild of Chicago-based
singer-songwriter Evan Weiss. In
the past, Weiss’s prolific output quantity
and raw, unvarnished lyricism earned him a
strong underground following. 2013’s Intersections
found Weiss and co. at the forefront
of the “emo revival” that saw a resurgence
in the plain-spoken, confessional rock made
popular in the ‘90s by bands like American
Football. Now, with the first wave of the
“emo revival” in the rear view, ITOT bring
forth their third full-length Standards.
Standards was written during a lengthy stay
in a secluded Vermont cabin in the dead of
winter. The results of these getaways often
result in album’s like Bon Iver’s For Emma,
Forever Ago introspective and cold. While
Standards stays in line with the thematic
qualities of ITOT’s past catalogue—relationships
and self-inspection chief among them—
it’s surprisingly the band’s most upbeat
album.
The band seems more mature, even if
it’s only been a couple of years in between
releases. The music is arpeggiated and polyrhythmic,
often sounding like a cut straight
from emo progenitors Sunny Day Real Estate’s
best work. Clean electric guitars often
lock together in complicated riffs, the drums
syncopated to them forming a dizzying bond.
If anything, Standards is acknowledgement
that relying on trends to forecast music often
leaves great bands in the lurch.
• Jamie McNamara
Lionlimb
Shoo
Bayonet Records
Lionlimb, out of Nashville, TN, is releasing
their first full-length album entitled Shoo.
The newly created band is made up of Stewart
Bronaugh, Joshua Jaegar and Angel Olsen.
Lionlimb is a resurrected project, originally
started in 2010, that was put on hold while
lead Bronaugh worked his day job. Along
with the influence from ‘70s psych-rock,
there is a clear jazz influence to the 11 songs
on this album, heard in the piano, organ, and
drum rhythms. The album opens with “God
Knows,” showing off Bronaugh’s understated
soft vocals (which is eerily similar to the
late and great Elliot Smith) and guitar riffs
that are straight out of the ‘70s. The middle
song, “Hung,” features Angel Olsen’s delicate,
serene voice, complementing Bronaugh’s.
Along with the guitar and piano on this song,
the two voices blend effortlessly together so
naturally, creating a supremely dreamy duet.
“Crossroad” closes the album beautifully with
the addition of a sprightly saxophone solo.
This last song is probably the loudest on the
album, due to this musical addition, ending
the collection of songs on a high-note. This
album in its entirety is a slow progression to
the bright sax-laden finish, but with Bronaugh’s
intimate vocals, the catchy melodies,
and lo-fi guitar riffs, Shoo is a strong and
sweet endeavor from start to finish.
• Nicole Angus
Low Levels
Low Levels
Shake Records
The late ’70s new wave explosion could be
seen as a gift that keeps on giving in terms of
keeping the punk rock art form alive and as
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Reviews
• MARCH 2016 31