BeatRoute Magazine BC Print Edition July 2018

Busdriver - electricity is on our side CAVURN - Rehearsal Emily Donohue - Melancholia Good Lovelies - Shapeshifters
Busdriver
electricity is on our side
Temporary Forever
Regan Farquhar, who performs under the
appellation Busdriver, is a rapper and producer
from Los Angeles known for bullet-quick rhymes
and an experimental nature. His latest release,
electricity is on our side, showcases some of his
most avant-garde work to date, rooted in jazz and
cosmic proweness. Consisting of 23 tracks for an
astounding 82 minutes, the record is an eclectic
backdrop of resonance and jingle. Those who have
taken note of Busdriver’s previous releases (this
being studio album number 10) will be familiar
with his goofy, yet intellectual brand of West Coast
hip-hop. However, what really sets electricity
on our side apart is Farquhar’s distinct, affected
crooning style. This is most evident on the title
track as well as the album’s single, “Right before
the Miracle,” where he seamlessly delivers his
staggered brand of swing with atonal runs over bebop
rhythms and saxophone solos. An absolutely
creative effort with a gusto for diminishing the
boundaries between genres, electricity is on our
side is best served with an open mind.
• Tory Rosso
Good Lovelies
Shapeshifters
Independent
The Good Lovelies are back with Shapeshifters —
the perfect title for a record marking a major shift
in their sound. The trio from Ontario delve more
deeply into the pop element of their folky roots,
likely attributed to working with producer Daniel
Ledwell (Fortunate Ones, Jenn Grant). Although
former producer, Les Cooper, remains by the
Good Lovelies’ side and is credited as a co-writer
on the record. The lead-off track setting the tone,
“I See Gold,” reflects optimism and perseverance
through struggle, a reminder we humans are never
really alone. Light-bright lyrics and rhythms stream
across the record with melodic flair the band is
known for filling out each song — charming as
always. Shapeshifters offers a new exploration
of genres for the group and is undoubtedly an
evolution in the trio’s catalogue.
• Sarah Allen
CAVURN
Rehearsal
Blood Harvest Records
On Rehearsal, their first widely public album
release, CAVURN invoke images of their namesake
through three tracks of foreboding, gritty death
metal. Hailing from Bellingham, Washington,
the band entwines murky, demonic vocals with
a perfect highlight of throaty-thrasher screams,
inciting nothing but pure dread that traverses
through a melancholic core of bass and vocals,
otherworldly transitions and full-throttle riffs
orchestrated executed with perfect timing. Unlike
many metal bands, CAVURN give life to a feculent
sound without seeming forced or ostentatious.
Rehearsal’s atmospheric tensions slither through
the psyche, awakening shadows of the mind. At
just over 20 minutes, the drama is over all too
soon. Nevertheless, it’s a suitable addition to a
brash party playlist or reading your favourite
macabre titles by candlelight. Rehearsal is an
exciting release for anyone who prefers their metal
rooted in guttural earthiness over high-range
radicalization.
• Amanda King
Emily Donohue
Melancholia
Refresh Records
At first listen, Melancholia may be a somewhat
misleading name for an album full of lush, electroflavoured
indie ballads. On her third album,
Seattle-based singer-songwriter Emily Donohue
dishes out relatable lyrics on love and losing it
over a background of mellow, atmospheric guitar
and energetic drum beats. Although the lyrics are
a little more subdued on some tracks, the overall
tone brings the word ‘hopeful’ to mind. The title
track is certainly more introspective and gloomy,
with Donohue asking herself if it’s too late to
change and be who she wants to be. Other tracks
deal with feelings of rootlessness and being set
adrift — things everyone has dealt with at some
point in their lives. Donohue’s voice is throaty but
smooth, reminiscent of Florence and the Machine,
and she uses it to excellent effect. Her emotions
come through on every track of Melancholia
without sacrificing technical skill.
• Emilie Charette
Joan of Arc
1984
Joyful Noise Recordings
Although their willingness to step outside the box
and try new things on each album is admirable,
Chicago-based Joan of Arc’s experimental rock
is definitely an acquired taste. Active since 1995,
Melina Ausikaitis replaces Tim Kinsella as the lead
vocalist here and provides a remote, somewhat
cloying delivery that lean towards having very
little to do with the melody, where some tracks
are deliberately jarring and discordant. “Punk Kid”,
however, showcases an interesting side to her
voice filled with a petulant attitude appropriate
to the title, and a thrumming baseline punctuated
by simple keyboard interjections. While “Forever
Jung,” moves like a jam session full of rhythms and
moods that ebb and flow organically. 1984 is best
described as an experience, albeit one that not
everyone will want to repeat.
• Emilie Charette
Junglepussy
JP3
Self-Released
Junglepussy is equal parts intellectual, spiritual,
sexual and goofy. She’s moving parts raised on
Lady Patra, Erykah Badu, Lil’ Kim and Missy Elliott.
Throughout JP3, she actively represents and
advocates for the multiplicity and magic of black
women in each song by asserting herself — wants
and needs first — and casting aside any man that
can’t measure up. Featuring Gangsta Boo on the
record that further informs her influences, their
standout track, “Long Way Home,” perfectly blends
Junglepussy’s fierce and finessing humor with
Gangsta Boo’s no-bullshit hardcore ways. Other
contemporary guest artists include Rico Love,
Wiki and QUIÑ that complement Junglepussy’s
brash sound but also round it out to be more
radio-friendly. But make no mistake, Junglepussy is
always the star on JP3. Her verses go double time
on “Ready 2 Ride” with each wavy pop hook, and
her endless freedom and swagger throughout the
album show she’s having fun along the way. It’s
enjoyable to watch her shine, just avoid being on
the receiving end of one of her rhyme-roasts.
• Trent Warner
Material Support
Terror Prone Nation
Aklasan Records
Those looking for subtlety won’t find it on the
latest release from Filipina-fronted NYC punk
band, Material Support. Like their 2016 demo,
Balikbayan Box, Terror Prone Nation is oldfashioned,
in-your-face punk rock — a throwback
to the genre’s angry and stripped-down roots.
Every song on the album is unabashedly political,
taking it’s cue from the Sex Pistols’ “God Save the
Queen.” Backed by aggressive, fast-paced drums
and buzzy guitar riffs, the lead singer tackles topics
such as U.S. foreign policy, police brutality, the
War on Terror and the cycle of poverty with lyrics
in both English and Tagalog. The subject matter
might make some uncomfortable, but hey, that’s
the point. When a band describes themselves
as “agitated by state repression, government
corruption, and patriarchy,” you know they’re
not here to make friends. However, the last track
on the album, “Solidarity,” is a call for people
of all backgrounds to come together, with the
reminders that, “None of us stand alone/together
we make this world our own.”
• Emilie Charette
Milk Carton Kids
All The Things That I Did and All The Things
That I Didn’t Do
ANTI-Records
If you’re looking for an album to stew in your
feelings, this is the one – when it’s necessary to
devote time to reflection. While you’re listening,
you’ll start to feel that you’re lying in a field with
your eyes closed as the clouds are casting shadows
over your eyelids. There’s a breeze that carries with
it a sadness of sorts. The impeccable harmonies
of Kenneth Pattengale and Joey Ryan pick you up,
hold your hand and walk you through your first
heartache, picking through notes that capture
everything that’s beautiful and tragic at the same
time. The dual melodic guitar riffs sound effortless,
as if the lyrics created the tandem sounds
themselves. The soft and subtle notes of John
Denver throughout All The Things That I Did and
All The Things That I Didn’t Do give it a dream-like
quality that makes the listening easy and breezy.
• Logan Peters
Mom Jeans
Puppy Love
Counter Intuitive Records
California’s Mom Jeans have quickly made a name
for themselves following the release of their
debut, Best Buds, in 2016. Originally released for
a nice $4.20 on Bandcamp, word about Best Buds
spread like wildfire across the internet — with
a particularly polarizing result. Now signed to
Counter Intuitive Records, the group is back with
a tighter collection than their last. In many ways,
Puppy Love feels like Best Buds: Part 2 — it’s got
more sick riffs, more songs about smoking weed,
more duets (this time courtesy of Just Friends’
Brianda Leon) and more trumpets. In a nutshell,
Mom Jeans have tightened their sound while
experimenting with new instrumentation and
lyrical themes. Though Mom Jeans’ confessional
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July 2018