M through Z

MAYOR McCA- "Me is He"
Any album that begins with A Beginning is going to be interesting. And it ends with An End, to boot. There are some beautiful songs on this record, coming from a performer many associate with pure wacked-out silliness. That said, there's a good mix between the more contemplative numbers and the
mania for which Mayor McCA seems to be better known. Perhaps he's looking to expand his voting base. I Didn't Think You'd Stay, The Girl I Do Not Knew and I Don't Know Why are melodic ditties which would stand up in any singer/songwriter's arsenal. Just earnest enough. There is a Beatles-y thing happening on a couple of numbers, especially the aforementioned 'I Don't Know Why' and 'I Don't Read the Newspaper'. Not that there's anything wrong with that; there's a reason they're still the
greatest band in the world, no matter what Mr. Gallagher says.

'I Love the Summer 'Cause I Love The Women' be-bops its way into your heart and then your psyche. It's silly, but so, so true. "'Cause summertime comes when wintertime goes, and all the girls start takin' off their clothes." There has been talk of a video for this one. Much Music will eat it up. It's the feel-good thing. Or something like that. Another frenzy is the 'I'm Getting Fat/I'm Getting Skinny' combo. I had been tempted to think this was a concept album. Only after these two numbers I had absolutely no clue what the concept should be. This album is by in a flash. It clocks in at just over 33 minutes, but
seven minutes of that (or so) are dedicated to an uncredited exploration of CA's political views, set to a lo-fi backbeat. Is this fusion? McCA is breaking down the barriers. More power to him. And yes, apparently he did run for mayor in Hamilton. His campaign song has a kazoo solo.
(Sonic Unyon)
review by Yawd Sylvester
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MODEST MOUSE- "Sad Sappy Sucker"
These are all the songs that this band made before they became popular and signed to a major label and all that. I like the cover art, it's so indie-rock. So K Records. This album is a good addition to your collection if you've always been a fan of Modest Mouse (ie; you heard them on Brave New Waves years ago before everyone knew they were cool). Some of the songs are enjoyable because they're simply great tunes, while others are enjoyable because they're totally lame. It's fun to listen to somebody's basement/bedroom recordings. (K Records)
review by MFerris
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THE JOEL PLASKETT EMERGENCY- "Down at the Khyber"
This is a love record, so what was that about the three-eyed baby? Is track 3, Maybe We Should Just Go Home, a drug song? Fuck the Rolling Stones, this is as psychedelic as Joel Plaskett's ever been. The trippy effects really add some bite. There should have been more then just a few dots and dashes here and there. "Sock hop," now that sounded cool. I got sick and I got sicker, no, just a little nauseous. You can almost see Joel dancing.
(Brobdingnagian Records)
review by Kevin Rossi
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PRAM - Somniloquy
Pram are bliss. Simply put, Pram create beautifully ecstatic lovable songs. Pram use all sort of different aesthetically pleasing instruments (ie; theramin, trumpets, keyboards, you name it) to create wonderful songs that make me want to live in a commune of animal lovers. Singer Rosie has an unbelievably endearing voice (while it works for me, it probably doesn't work for all), and she writes the incredibly cute lyrics such as "Teaching snails to make pears/Coating with plastic an elastic world/The essence of a thing cannot be bottled/But bottled up you are/As if life frightens you" (from "Mother of Pearl"). This release includes several re-mixes of previously released tracks. Now all I want is for Pram to tour in Canada. (MergeRecords)
review by MFerris
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THE ROCK *A* TEENS- "Sweet Bird of Youth"
From the moment the Rock*A*Teens 2000 album "Sweet Bird of Youth" was put in my player, I was confused. Is this a copy of some lost Dears album that was *not* given to the public but given to me completely and utterly by accident alone?! If so - I love it! If not, I love it!

The Rock*A*Teens are made up of a foursome --half from Cabbagetown and the other half hailing from Athens Georgia (not counting the beautiful duet on SBOY with solo artist Shannon Wright on "It's Destiny"). They have been putting out albums since 1996 beginning with their first release s/t on
Daemon Records and moving on to release a 7" record on Chapel Hill's Merge. Now 3 albums later here they are, fully cocked and ready to go.

This is the sort of crunchy keyboard and dramatic singing that you should listen to in a bathtub full of bubbles after you've had an extremely stressful day. Go ahead, sing along with them in an operatic style --it WILL make you feel better! Very miserably-happy sounding compositions that present themselves as a cross between Montreal's Hollywood babettes The Dears and wonderfully-lovely but disbanded Jonathan Fire*Eater holding (count 'em) 17 tracks so scrumptious that you could eat them alive! Bottom
line -- I really, really, loved this album and the Rock*A*Teens sound, now where's the next one? Vibraphone anyone?
(Merge Records)
review by Carly Marcoux
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ROLLER - "On Top of This World"
This Manchester-based five piece is like the band that your co-worker sings in. After months of hype, you finally agree to go to see them, not expecting much. Your expectations are not exceeded when you discover that your co-worker can't really sing. His voice reminds you of some terrible 70s band; one whose name slips your mind, but one of those awful bands that were a dime a dozen (and in fact, still are). While the music on this album is not too bad (makes me think of Elton John on such tracks as "Not Saying Anything"), it is hard to enjoy because Craig White's vocals are totally in the forefront of all of the songs. It doesn't surprise me that Roller toured with Melanie
C. (Datoga Ltd/Sonic Unyon)
review by MFerris
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LES SEQUELLES-"Et Tant Pis Si Cela Vous Deplait"
It doesn't matter that I don't understand what these kids are singing about, it sounds that good! God bless Les Sequelles! Their brand of 60's french mod pop is pretty retro (even the cd jacket looks like something circa '65), but also refreshing. This is a party record. The songs swing from one track to another concluding with a great freak-out. If you're familair with The Datsons, think of Les Sequelles as their cute and sassy younger sister. (Grenadine)
review by K Rossi
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SMOOTHER - "Chasing the Dragon"
Wow, you can just smell the desperation coming from this one. Smoother are much like their ex-label mates Treble Charger. The 1990's saw them playing pop-rock; the 21st century sees them barely hanging onto their integrity. From the first two tracks on this major-label album, it is apparent that Smoother have changed. But then you hit the third track, and the schlock-rock is pouring out of your speakers, and you become suspicious that the label-masters may have convinced Andrew (who really is Smoother, never mind the other "I want to have a sexy image" dudes on the cover) that he needs to go the way of dance music. Electronica is where it's at, man. But yeah, you can still see that old Andrew trying to kick his way out, it's just that his old boring songs now have some extra beats added to them. Wow, talk about boring. Even more boring and depressive is the stupid lyrics, such as "sometimes everybody cries". Wow, what a revelation. Thanks, buddy. This one doesn't even cut it as a coaster; the cover is too boring. (EMIdiot)
review by MFerris
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SUPERCHUNK- "Here's to Shutting Up"
Wow! Is this the new Superchunk record? Superchunk, the band who released all those high pitched screetching pop-punk records? Yes! Have you heard track three, Phone Sex? Is that some country twang I hear? Mac's voice is more fucked up then ever, but it's good...really good. These kids have finally grown up. The twelve songs on this record showcase a new level of maturity for the band. Three cheers to shutting up! (Merge)
review by Kevin Rossi
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TIGRE BENVIE-"YEAR OF THE MUTT"
Tigre Benvie is the pseudonym for Robert Benvie, former bass-player in celebrated Canadian rockers Thrush Hermit. This is Benvie's first solo attempt, in which he apparently plays a wide range of instruments including piano, guitar, drums (machine), etc. Year of the Mutt opens with the melancholic Year of the Hare, which is purely instrumental. The opening track gives some indication of Benvie's persona-he's somewhat whiny (in a glam way) and at times, he sounds depressed (listen to Maker with Cancer, a song with a beginning that reminds me of Joel Plaskett's solo work). On the whole, this is a decent first effort, with some points being deducted because of the repititive sound on some of the songs. (1.7 Publications)
review by M Ferris
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TWO MINUTE MIRACLES- "Vol. II: 13 Songs From the House Of Miracles"
There are those records that you get during the year that you know will be making your top 10 lists;that will be recieving some kind of critical acclaim;that are so damn good you just know 'something' is off if it doesn't register some kind of success level for the band that made it. This is one of those records. Two Minute Miracles is the brainchild of one J. Andrew Magoffin, the engineering honcho of London's House Of Miracles Studio...this is mentioned this in passing because the number of bands tripping over themselves to work at this makeshift locale (Tricky Woo, the Constantines, Robin Black, The Weekend, White Star Line,Gentlemen Reg, Royal City et. al.) that somehow captures the creative atmospheres of home studios like the Big Pink or Electrical Audio also might lend an indication of how these songs sound, and/or how they came to be... Vol II is the more cohesive follow up to Vol. I, the difference being with Vol. II we see the project gel into more of a band effort rather than a twisted assembly of a "drunken rogue poet". And what do we get? We get 13 wonderfully written pieces of what appears at the surface to be a pop record, but scratch the surface lightly and not only is pop genius revealed, but so is excellent, witty indie, wistful country, and experimental soundsmithing, again - masterminded by Mr. Magoffin. The first 2 tracks are sufficient to have you hooked. "Name That Song", the first track, has such a catchy chorus (think Superchunk's 'No Pocky For Kitty' swansong) that screams 'hit song', not because it appeals to the lowest common denominator, but because people who appreciate such a subjective term like 'good music',while in the minority, can still band together and sing it together. In the Canadian industry context, one will be convinced that if this does not do well, something stinky is at hand. The second choice, and the second song, 'Slow Down(porch mix)' is a stripped down ode to stripping down your pace...an ode to smelling the roses and healing your ulcers...and if music does have the power to heal then for at least the duration of the song my stomach stops hurting and the Toronto smog clears. Again - it is a number that combines all the hallmarks of good indie music...it's catchy, but it's uncompromising...and as with all Two Minute Miracles songs, there is always that underlying element of experimentation, coupled with mighty fine songcraft. Vol. II is 13 songs that clocks in at just 29 minutes and 40 seconds...so if one were to take the title literally, then maybe they've stolen an few extra seconds here and there...guaranteed however because of it's short duration, you'll be up again and hitting 'repeat'...(a vinyl version would compliment this release nicely)...in any case, this instant classic already has one anticipating the next record, but for now there is still much to discover within each song to justify repeated listens...kind of like a good book - there's always something you likely missed...
(Teenage USA Recordings)
review by Stephen Dohnberg
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ANREW VINCENT AND THE PIRATES- "A Short Trip with the Pirates"
Moving on down the dirty boulevard from where 1999's "To Thine" left off, this latest release from Andrew Vincent features a full band. Fans will recognize a couple of songs--Sleeping Bag and Grade Four--as fleshed-out versions previously appearing on the 1999 release. It's the classic Neil Young acoustic vs. electric debate again. But everybody wins. Recorded in the fine Kelp tradition, this album is a little rough and ragged around the edges. But that's okay. No one really wants to hear hometown hosers in ball caps backed up by slick drum machines; it's not real enough. And AV certainly has heart. Gary Hache, a song about an ill-fated night encounter with a ne'er-do-well taxi driver in the Capital City, is reminiscent of Lou Reed. But no one owns those three chords anyway, right?

Both lyrically and musically, Andrew Vincent has a charming way of casually weaving in references to rock legends past and present. Grade Four gives more than a passing nod to Quiet Riot, while referencing David Lee Roth, Motley Crue, Kiss, and rugger pants. The strong lead-off track, Girlfriend's Dog, alludes to Paul Simon's Me and Julio. It's comforting, in a nostalgic sort of way. And remember the first time you found a hidden track on a CD? There's one of those here, too.

The high point of this album is the endearing straight-up rock anthem 'Ladies, Ladies, Ladies', about a houseboat trip down the Rideau River from Ottawa to Smiths Falls. Complete with hand claps and screaming guitar licks, if this one doesn't make you smile and pump your fist maniacally in the air then you just may not understand what Andrew Vincent is all about. But if you do get it, then you're sold. And that pretty much sums it up. The latest release from Andrew Vincent lives up to its name. It's a short trip. But a good one.
(Kelp Records)
review by Yawd Sylvester
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RUFUS WAINRIGHT- "Poses"
Being a fan of boys and pianos, I'm always on the look out for an album to constitute the removal of my Ben Folds cds from my stereo. While there is no doubt that this Montreal can sing and play the ivories, there is something missing in the formula. Wainright's voice holds much appeal, but his songs are simply too boring. His second lp opens with the promising "Cigarettes and Chocolate Milk", which is a catchy little ditty. But by the time we hit the title track (# 3), we're confronted with what I classify as "adult contemporary". While that may be exciting and enjoyable to some, it doesn't hold my interest.
(Dreamworks)
review by MFerris
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WEIGHTS AND MEASURES- "Tonight, The Lower Abdominals"
Are we all sick of these sub genres and sub-sub genres (post rock, slo core,emo-mathrock);use of cities as a touchstone for a style of sound (Chicago, Seattle, Houston), and other items that make reviewers eager targets of readers ire? As a reader I know I am, but as I writer I also know two things that can tear us one way or another: that we have to assume that the reader has not heard the band, or inversely, that the reader is MORE that familiar with the band...a simple little paradox that I invite the public to help us find a solution for. It's also for this reason that PhD level Chicago-style math post - rockers Weights And Measures are sick of all the obvious comparisons...but what are we to do? As they say - "if someone mentions the city of XXX again...". Poor kids. The fact of the matter is, W&M are so proficient and intelligent at what they do that distinction is obviously deserved, and their frustration is justified. OK, that granted...W&M present us with an EP of 6 killer tracks, tracks that are frenetically paced, thoughtful, and exhausting...like Einstein on crystal meth or Voltaire on an LSD peak. They stick to the standard instrumental equation of gtr/bs/drums, and if you've ever seen them live, you'll have noted how effortless they make it look...despite how impossible it might sound. And with such wonderful titles as "My God Can Beat Up Your God" and Yes As In Meaning No, it's clear that a sense of humour is just one more element that makes them a cut above. Acerbic, acidic, punishing, and choleric...skim the unfortunate references at the beginning of this review and you'll know whether this is your scalding cup of tea. W&M are quickly establishing themselves as this millenium's touchstone for said sub genre, but sub genres aside, and like so many of the bands that do get criminally punished and pigeonholed with these various labels, it is also a dangerous precedent to accept it, because it allows folks to overlook that so often these bands are actually breaking some subtle new ground. Weights and Measures are doing just that.
(Matlock Records)
review by Stephen Dohnberg
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