BeatRoute Magazine BC Edition February 2019

Malibu Ken - Malibu Ken Millencolin - SOS Panda Bear - Buoys
voice sounds bland and flat fairly often and the songwriting only
sometimes justify this focus on the barebones.
On album standout, “Inner Monologue,” the percussive sound of
Lennox’s sliding fingers on the neck of the guitar and heavy breathing
bake in a bevy of effects while his voice bounces between dipping
into a lower register and remarkably harmonized shocks of a higher
range that punctuate the track’s hook. On other tracks, Lennox flirts
with an interesting textural idea before quickly abandoning it, only
to return to his frequently repetitive vocal melodies. Most of Buoys is
restricted rather than liberated by his minimalistic approach.
• Cole Parker
Phaeton
Phaeton
Independent
From the mountainous stronghold of Kimberley B.C., Phaeton
charges forth with their first full length album offering an epic
progressive metal listening experience. This self-titled album
showcases an instrumental endeavour that doses the imagination
with scenes of shiny sci-fi fantasy, grave adventure and the
impending interference of an unknown mystical power. Inventive
throughout, Phaeton tells its story by swapping between bright,
technical arrangements, ominous battle riffs and foreboding war
drums. Each song playing like a chapter of a novel, the listener
gains further omniscient perspective into the universe Phaeton
has created, watching the events unfold from above. The album
creates a sense of good versus evil taking place in a futuristic world
with the fate of humankind hanging in the balance. Blasting the
listener with layers of intense progressive metal over dreamy operatic
chants, piano pieces and sounds of the ocean, Phaeton churns out a
heart pounding, head banging album that brings the audience on a
journey deep into a world not of this realm.
• Trevor Hatter
Said the Whale
Cascadia
Arts & Crafts
Vancouver based indie trio Said the Whale continue to outline
their West Coast sound with the aptly titled Cascadia. The JUNO
award-winning band consisting of Tyler Bancroft, Ben Worcester and
Jaycelyn Brown bring together more than a decade of musical talent,
following up their 2017 album, As Long as Your Eyes are Wide.
A piano riff, a strum on an acoustic guitar and eclectic keyboard
sounds introduce Cascadia. It begins with “Wake up,” a satisfying
beat complemented by twinkling piano notes, followed by
“UnAmerican,” a head-banging electric guitar rhythm. The songs
cascade into ten tracks that showcase the band’s broad indie music
capabilities; an excellent introduction for any person unfamiliar
with Said the Whale. Cascadia hits its stride with songs “Moonlight”
and “Love Always,” graced with music and poetic lyrics relatable
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to anyone experiencing love’s mixed blessings. “Gambier Island
Green” closes off Cascadia with a nostalgic ambience and beautiful
composure, ideal for any romantics pining for a past love.
• Lauren Edwards
Seer
Vol. 6
Artoffact Records
Vol. 6 is Seer’s most fully realized work to date. The Vancouver-based
doomster’s signature elements can still be picked out – bluesy stoner
riffs, moody Americana, eerie ambience and, of course, doom, baby,
doom. All those bits have had time to simmer and ferment, the
flavours intermingling and complementing one another, swirling and
bubbling into a thick, satisfying stew. The stoner repetition is more
selective and, thus, more effective. The ritualistic, ambient moodsetters
are more pronounced, more powerful.
Bronson Lee Norton’s commanding vocals exude confidence and
charisma, perfectly giving voice to the heavy metal doom swagger
of the music. The decidedly more menacing vibe introduced on
Vol. 5 is maintained in this latest chapter, and is improved upon,
in and of itself, and by its enmeshing with the existing sonic pillars
outlined above. Best of all, the darker approach does not sacrifice
any of the stomping, headbanging fun, it just means there’s more
of it now. As great as this latest offering is, there’s a sense that Seer’s
masterpiece still lies ahead. In the meantime, Vol. 6 is the latest and
weightiest step in what is proving to be a consistently impressive and
adventurous musical pilgrimage.
• Daniel Robichaud
Sneaks
Highway Hypnosis
Merge Records
For their third full length release, Eva Moolchan packs up her
minimal post-punk solo project and takes it in a new direction.
Sneaks’ previous LP’s are comprised of mostly brief, bass-driven songs
with a whole lot of (s)punk. But on Highway Hypnosis, Moolchan
lets the drum machine take the wheel. The result is a set of energetic
and playful bangers that could be played in your bedroom or at the
after-hours club.
The title track starts things off with a sample of someone laughing
and repeating “Highway hypnosis” under a beat, aptly introducing
the listener to the sample rich, experimental tracklist ahead. As
the songs ensue, so do the rapid fire hi hats and thudding kick
drums, pulling from trap, grime, even darkwave during “And We’re
Off”. Though Eva’s new stylings draw from very established and
recognizable genres, the record is far from formulaic, experimenting
with creative vocal samples and off the wall synth garnishes.
With Highway Hypnosis Sneaks takes us on a scenic detour with a
fresh, inventive fusion of pop, trap and post-punk.
• Judah Schulte
The Claypool Lennon Delirium
South of Reality
ATO Records
Picking up where Monolith of Phobos (2016 Rancho Relaxo), Sean
Lennon and daddy long legs Les Claypool are once again voyaging
beyond the horizon to an realm of pure lyrical and melodious
delights. A playful “Within You Without You” vibe pervades
throughout the psych-rock duo’s second collaboration. The watery
fairytale “Little Fishes” with its loping bass lines opens the scene with
a silliness that combines Claypool’s Wonka-esque showmanship with
scaly geometric progressions. It’s a bubble that refuses to burst as he
muses, “Gone are the days when your gender tells you where to piss.”
Pastel shades of John inevitably seep through Sean’s lackadaisical, and
at times lonely, vocals on “Love and Rockets,” and reaping strawberry
hued fields with the metallic edge of a sharpened chord. Determined
to set the world on fire, or at least to get the New Gen up on their
hind legs, title track ignites with a ‘60s tambourine shakedown and
electric organ boogie. Deep waters and whale songs beckon on the
menacing “Boriska;” a vortex of warped, nasally vocals and punkish
guitar gales that conjures the story of Forrest Gump. The quirky
biopics keep on truckin’ with the cinematic “Toadyman Hour” and
the sultry grooves of the Bukowski-inspired “Easily Charmed by
Fools.” Debatably, the most compelling and seductive daytrip of
the lot, “Cricket Chronicles Revisited” is a magic carpet ride of sitar
synths, ponderous fret paddling and multilayered reverb piloted
by the Maharishi Mahesh Yogi. This hand-clapping raga on ‘roids
distends and transcends before it ends - with a warning list of utterly
bizarre side-effects that (almost) put big pharma to shame.
• Christine Leonard
The Lemonheads
Varshons 2
Fire Records
Yes, The Lemonheads are back. Far gone from the ’90s heyday, and
even ten years gone from their last offering of covers with Varshons
(2009), leader Evan Dando is back with a crazy focused collection of
cover songs with Varshons 2. Like a 21st century Joe Cocker, Dando
lends his pop sensibilities and distinct vocal style to such artists as
John Prine, Nick Cave, Lucinda Williams, Yo La Tengo, and yes, even
the Eagles. These are deep cuts, and the songs are treated with pure
heart. Dando has a talent to see to the soul of a track, and his voice is
stronger than ever, but this is no solo effort. The “Lemonheads” that
he has assembled are no stranger to lovely harmonies, ripping guitar
solos and a killer rhythm section, and that’s no easy feat. Check the
stomping drums and face melting organ and guitar displayed on “Old
Man Blank” (The Bevis Frond). It seems Dando has been meticulously
assembling songs to express himself, as well as the people he wants
to tackle that task with. Listen to his version of the Jayhawks’ “Settled
Down Like Rain” and tell me Dando isn’t living happy ever after.
• Chad Martin
February 2019