Bend Sinister | On My Mind
Killbeat Music
4/5
Bend Sinister’s five-song EP, a prelude to their upcoming full-length album, will whet listeners’ appetites of what is to come. The band has wisely chosen a short mix of fun and upbeat songs in anticipation of their next release.
“Give it a Rest” starts off the album, and draws the listener in for what promises to be a short but rewarding listen. “Please Say”, while not lyrically profound, is a rare moment of enjoyable repetition. Dan Moxon’s vocals on the final, and perhaps saddest, track manage to evoke an emotional range without pulling the EP away from its largely positive vibe.
Instrumentally, On My Mind presents a strong and united front. The guitar riff on “The Road Divided” especially stands out, but the band excels at balancing traditional instruments with the more electric key work Moxon does. The pop feel of the album benefits from this ability to maintain a more natural music sound, and comes across as a rich and happy listen.
—Eleni Armenakis
Paper Beat Scissors | Paper Beat Scissors
Tune Core
4/5
TIM CRABTREE MAKES up the one-man show that is Paper Beat Scissors, though his album has had help from a considerable list of people. Before relocating to Halifax, Crabtree was a member of British band Sitting Still, but his latest release, a self-titled debut album, is largely the effort of one person.
The emphasis of Paper Beat Scissors is on haunting, sometimes strained, vocals, guitar string picking, and melancholic lyrics. The addition of other instruments, such as violins, trumpets, trombones, and French horns, adds an intriguing layer to Crabtree’s lamentations.
The second track on the album, “Season’s Rest”, sounds like the work of Glen Hansard and Marketa Irglova in the movie Once, an expected echo given the fusion of cultures Crabtree’s move exposed him to. The growing influence of the East Coast in Paper Beat Scissors allows for the darker nature of some of the songs while reinforcing strong vocal work. Crabtree’s ability to balance the wide range of instruments with his own voice creates a stunning debut album.
—Eleni Armenakis
Chiddy Bang | Breakfast
Parlophone
4/5
THE DEBUT STUDIO album of American hip-hop duo Chiddy Bang is a clear indicator they’re off to a good start and they’ve hit the ground running.
The album is so solid it’s nearly bulletproof. Featuring some awesome tracks, like the dance inducing “Handclaps & Guitars”, “Out To Space”, and the pseudo-soul sounding “Ray Charles”, it’s evident there are few low points in the album.
The only time the album drags is somewhere in the middle. The record is filled with strong and original beats and music to back the rapping, but the songs sandwiched in between are more ordinary. Thankfully, Chiddy Bang comes back for a strong finish and creates a solid album. Everyone should look forward to more from these two in the future.
—Brennan Bova
Dale Murray | Dream Mountain Dream
Come Undone Records
1/5
WITH HIS LATEST solo album, former Cuff the Duke member Dale Murray tries to be a little bit country and a little bit rock and roll, but unfortunately it ends up just being a lot of bad.
Murray’s voice is not well suited to country music, and on an album that predominantly resembles traditional country sounds, this presents an obvious problem. Where a more interesting voice could add depth and feeling to songs, Murray’s voice falls flat and weak.
The other unfortunate trait of this album is it tries to walk the line between country and rock, but simply just stumbles and falls—a lot. Rather than meld the two together like some bands have managed, Dream Mountain Dream only gets lost in the void between the two.
—Brennan Bova
Jordan Klassen | Kindness
Independent
3/5
JORDAN KLASSEN’S LATEST release, Kindness, isn’t necessarily great, but it’s not mean to you either. The four-track EP is short, abrupt, and the songs sound relatively similar. Serving as a preview to his upcoming fourth album titled Repentance, the disc features a glockenspiel, guitar, piano, ukulele, and percussion instruments. While the album clearly needed more production or kindness to be put into it, this is true of most indie EPs.
Putting aside the technical shortcomings, the indie-pop, folk record’s tracks are solid, and individually, they’re all good to listen to. If nothing else it gives an idea of what Klassen’s music could sound like with a little more time and effort. It’s worth some attention, just don’t go in expecting a well-polished masterpiece. Who knows, maybe Klassen will repent with his next record and deliver an ace.
—Brennan Bova
