Late last year, Winnipeg band Vikings released their 7 song self-titled album. Looking to capture the sound of their electronic pop, the trio (Josh Youngson with brothers David and James McNabb) worked with fellow Winnipegger Andrew Yankiwski of Precursor Productions to mix and master the album. Having formed in 2011, this is the first release for the band and follows a number of opening slots for The Lytics and Twin Shadow as well as festival slots throughout the province.
Vikings gets off to an energetic start with frenzied synths and distorted vocals of “Strange Days”. On the bouncy “Open Up Your Eyes”, the band tries to out Cut Copy Cut Copy and more than succeeds on the expansive “Great Abyss”. The only misstep comes with the first two verses of electro R&B ballad “Save Me” which comes off really creepy before redeeming itself in the second half. That minor quibble aside, Vikings’ debut sparkles throughout.
While living in the Notting Hill area of London in 2000, I dated a girl who lived in Islington. Every wintry, late Sunday night for months I would travel from the North to the West on the tube, always stuck waiting on the outside platforms of Edgeware Road Station. Mostly I would be alone in the station as the wind whistled through, freezing in a jacket that was not equipped for those tunneled blasts of cold air. At that time, I was still using a discman with a handful of CDs in my bag for the journey home. One disc that I remember specifically from that time was Super Furry Animals’ Guerilla. I bought it at HMV in one of their 2 for £20 promotions. While I never fully committed to loving it, the album definitely had its share of highlights including “Do Or Die”, “Wherever I Lay My Phone (That’s My Home)”, and the firm favourite of “Northern Lites” which would get replayed several times.
I haven’t really dipped too much further into SFA’s collection even though nearly every release lands them much critical acclaim and a guaranteed spot in many yearend polls. Last year I finally got around to picking up Rings Around the World. I didn’t know any of the songs, except that as usual, they were well received upon release. A year after buying it, I just got around to listening to it.
Much like Guerilla, to these ears it has its moments. “(Drawing) Rings Around The World” is a catchy sing along that I’ve had in my head for days. “Sidewalk Surfer Girl” has a pretty ace chorus as does “It’s Not The End of The World”. Too much like Guerilla though, there are a handful of songs that are just a bit off base. The last half of the otherwise upbeat “Receptacle for the Respectable” when it descends into distorted shouting is awful as is the electronic whig out at the end of “No Sympathy”… before it leads into the classy, string laden “Juxtapozed With U”.
As much I try to avoid greatest hits collections, SFA for me might be more of a singles band for me. I don’t find their weirder elements to be as compelling as their straight forward indie pop songs. Having said that, used record/CD shops will continue to be a well-planned out stop in most new cities I travel to and in there, there will always be Super Furry Animal discs that need the home that I can provide…. As long as the price is right.
At the tail end of Dum Dum Girls’ debut, I Will, there appeared a cover of the Sonny and Cher track “Baby Don’t Go”. In the hands of Dee Dee Penny, the mid tempo 60s pop nugget was turned into a yearning torch song. It is this sophistication that drives most of the new album, Too True. Opener, “Cult of Love” features a reverb drenched, spaghetti western guitar line. Elsewhere, a touch of The Divinyls infects the vocals of “In The Wake Of You” and a programmed drumbeat drives punchy rocker “Little Minx”.
A close touchstone to Too Truewould be Hole’s third album, Celebrity Skin. That was the point that Courtney Love left behind the post punk of earlier records and got more in touch with her inner Stevie Nicks and Carole King. Working with Richard Gottehrer and Sune Rose Wagner (The Raveonettes), Dee Dee forges a similar path on her third album. ““I’m reckless at night, I’m sorry for days” intones “Are You OK?” followed up by the album’s dreamy title track, “Too True”. Clocking in at almost exactly 30 minutes, Too True makes every minute count and easily lends itself to repeat listens.
Back in 2010, LA band Warpaint were much buzzed about in the indie rock community. Their debut album landed them festival slots at Glastonbury, Coachella and Lollapalooza. This time around, veteran producer Flood (U2, Depeche Mode) handles the production for the all-female band’s self-titled sophomore effort.
Notably, the band wrote the songs together working them up from various jam sessions. This shows in first single “Love Is To Die” where the rhythm section locks in tightly, continuing a groove started with the aptly named “Intro” and “Keep It Healthy”. A 90s trip hop influence is all over the atmospheric “Feeling Alright”.
Most of Warpaint takes on a haunting quality (“Biggy” and “Hi”) but on “Disco//very” the hushed vocals are replaced with disco beats, a shouted chorus and a menacing bassline. Not sounding like anything else on the record, this really stands out. There is much to like on Warpaint, however, there are a handful of tracks that aren’t quite hypnotic or ethereal enough to be truly memorable which lessens the overall impact.
Back in October, New York duo Cults released Static, the follow-up to their 2011 self-title debut. Most articles at the time of Static’s release centred on the fact that it was formed in the midst of Madeline Frolin and Brian Oblivion’s break-up. A quick scan of song titles can attest to this – “Keep Your Head Up”, “I Can Hardly Make You Mine”, and “No Hope” are just a few examples.
While the reviews at the time were generally positive, the album seemed to get lost in the big fall release schedule. This is a shame as while not being a huge leap forward stylistically, the 60s influenced indie-pop is still intact, Static is a more consistent album than the debut. Both “I Can Hardly Make You Mine” and “Keep Your Head Up” bristle with energy with the latter being a stomping battle cry. “Always Forever” sees Frolin singing at the top of her vocal register to an updated early 60s beat whereas “We’ve Got It” recalls the sound of the swinging late 60s. While “Go Outside” will certainly be the song they are most known for, Static adds considerable punch to Cults’ (hopefully still) growing catalogue.
Late last year, Winnipeg band Vikings released their 7 song self-titled album. Looking to capture the sound of their electronic pop, the trio (Josh Youngson with brothers David and James McNabb) worked with fellow Winnipegger Andrew Yankiwski of Precursor Productions to mix and master the album. Having formed in 2011, this is the first release for the band and follows a number of opening slots for The Lytics and Twin Shadow as well as festival slots throughout the province.
The Light Appears 