Album reviews
Featured review: Hollerado
Record in a Bag, Royal Mountain Records
A
HOLLERADO’S DEBUT ALBUM Record in a Bag is exactly what it promises to be: literally, a record that comes in a bag—not because the Manotick band is a group of eco-terrorists, but because they needed something to hold all the goodies they wanted packaged with their CD. Fans that purchase a hard copy of the album get treated to confetti, stickers, temporary tattoos, codes for bonus tracks, fortunes, and, for one lucky winner, a coupon for the band to mow their lawn.
As much fun as the free stuff is, the best thing in the bag is the record itself. The band has made the album into a good show of their artistic variety—they have even included a couple of short joke tracks that are surprisingly catchy, and some spectacular pieces of power pop. “On my Own” could play on repeat for hours and never get dull, and
“Got to Lose” has a chorus that’s wonderfully melodic. Lead singer Menno Versteeg’s voice, which continuously sounds on the verge of cracking, gives the vocals a husky addition.
The band uses their pop and rock infl uences to balance out their sound. The result is an even mixture of loud rock and catchy riffs that make it sound like a wild party was happening in the recording room while Record in a Bag was made. —Eleni Armenakis
Jay Malinowski
Bright Lights & Bruises, Pirates Blend
C+
BEDOUIN SOUNDCLASH LEAD singer Jay Malinowski is making his solo debut with Bright Lights & Bruises. The album, one of the fi rst releases from Bedouin Soundclash’s new label Pirates Blend, takes on the style of the band’s past releases without much deviation. Malinowski’s voice is very recognizable throughout the record—but sadly, this is because he fails to experiment at all with either lyrics or vocal style, remaining true to the type of singing he is known for. Regardless, the album has a very natural feel due to the almost exclusive use of acoustic guitar, piano, light percussion, and Malinowski’s vocals.
The first single of the album, “Santa Monica,” personifies the California city, suggesting the place has taken on quite a role in Malinowski’s life. Beyond this track, the songs are similar but consistently personal, off ering sincere, in-depth looks into the thoughts and feelings of the artist.
Malinowski definitely has talent, but a little more experimentation was all this album needed to separate his solo work from that of his band. Though Bright Lights & Bruises is a well-composed, relaxing album, it lacks any refreshing or unique quality. Honestly, Malinowski would have done better to record the tracks with the support of his well-known band. —Anna Rocoski
Xiu Xiu
Dear God, I Hate Myself, Kill Rock Stars
B+
TO CALL THEIR sound dense and manic would be an understatement—for their 10th album, San Jose art-rock band Xiu Xiu have outdone themselves. Th is album is full of so many diverse effects, odd instrumentals, and obscure song structures that it demands multiple play-throughs to be fully appreciated. The band seems to be actively testing how many diff erent noises they can jam into every song. It’s like trying to discern a pop melody amidst a concert, set in an ’80s arcade, consisting of three no-wave, new-wave, and dark-wave bands, all fighting to be heard. Basically, this is an incredibly fragmented and sabotaged version of indiepop.
There are catchy hooks here and there but it requires close attention to hear them. There is also a dark, perverse undertone present as topics like pedophilia and family violence arise, all of which are conveyed through frontman Jamie Stewart’s delicate, spooky vocals that quiver as if he is about to cry, have an orgasm, or possibly both. Ultimately, Xiu Xiu are as much pop as Andy Warhol’s Empire was a movie and, as such, this album is more interesting than it is enjoyable. —Danyal Khoral
Ghostkeeper
Ghostkeeper, Flemish Eye
B
THE ALBUM ART for Ghostkeeper’s self-titled second album promises a fl owery, girl-pop sound; but when the CD is on and the music gets going, Ghostkeeper delivers something entirely diff erent. This Calgary-based band is far from pop, characterized instead by various folk, country, and blues-inspired sounds—but ultimately, Ghostkeeper’s songs have more of an indie feel than anything else.
Although upon fi rst listen fans may not be very impressed, or may fi nd the album too high-pitched and folky, aft er listening to the album a few more times the songs definitely get better. Ghostkeeper try not to sound like every other band out there; they push for something very unique, which comes through in their music. Listeners should value how real this record is, bypassing the fabricated sound of big-name artists like the Jonas Brothers or Britney Spears and staying committed to their indie roots. Th ough not a radio-ready hit-making machine, Ghostkeeper is a relaxing album fans can relate to. —Ashley Plume
