Photograph by Jason Halstead
Provincial is John K. Samson’s first full-length solo album. Collecting re-recorded versions of songs from his previously released EPs City Route 85 and Provincial Road 222, along with a few extras, the Weakerthans’ frontman finds himself able to explore a bit musically and indulge in a bit of weirdness.
Not that anything here would be particularly out of place on a Weakerthans album, but the subject matter is certainly more varied, and as a whole the album is more subdued. Most noticeable is ‘http://www.ipetitions.com/petition/rivertonrifle/’ formerly known as ‘Petition’, which is less a song and more a plea to get hockey player (and fellow Manitoba native) Reggie Leach into the Hall of Fame. ‘Stop Error’ is much improved on this record, as Samson’s solo vocals evoke more pathos than the awkward choir found on the EP. Though the Call of Duty 4 shout-out is still a little jarring. ‘The Last And’ is as good as ever, and the knowledge that it was inspired by the relationship of Edna Krabappel and Seymour Skinner only improves that. As for the new songs, the clear stand-out is ‘When I Write My Master’s Thesis’. More upbeat than the rest of the album, still name-dropping video games (take that Lana del Rey), anyone who’s been in grad school can relate to the light at the end of the tunnel Samson presents here.
With Samson’s body of work, it’s strange to call Provincial a debut, but in any case, it’s a successful one. Now get to work on that all-Virtute concept album, Samson.
John K. Samson – Cruise Night
John K. Samson – When I Write My Master’s Thesis
John K. Samson – Stop Error
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Photograph by Jon Bergman
With no obvious favourite as in past years, we here at Ca Va Cool were left to our own devices when choosing the ten best albums of 2011. Much like the first half of our list, the top ten features a stylistic array from the year’s offerings. Plenty to enjoy, from sincere and contrived chill vibes to literary-rock, dubstep to soft-rock verging on quiet storm, and our first top album to be a debut. As always, thanks for reading. See you in 2012.
10. Handsome Furs – Sound Kapital
Dan Boeckner and Alexei Perry seem forever changed by their travels throughout Eastern Europe and Asia. They’ve created a sparse, yet pulsating album in Sound Kapital, inspired by the kids in regions of the world who love music so much that they risk imprisonment by making it. The album is dark, loud, and penetrating with a focus more on beats and vocals than the duo’s earlier, more guitar-based offerings. Boeckner’s voice remains simply one of the most authentic and powerful around, and one only has to see the Handsome Furs live to witness their commitment to the music and those that inspired it. Songs like ‘Serve the People’, ‘Cheap Music’ and ‘No Feelings’ seem to embody not only the headspace they were in when creating the album, but make me believe that the demise of Wolf Parade was worth the tears. — Christian Kraeker
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Photograph by Anna M. Campbell
As Ca Va Cool concludes its fifth year and the arbitrary music-ranking period of 2011 comes to a close, the gang assembled (virtually) once again to bring you our twenty favourite albums of the year. The bottom half of our list features riot grrrls old and new, an R&B resurrection, and, interestingly, most of the Philadelphia rock scene. Stay tuned for the conclusion of our list with the ten best albums of 2011, when we get around to it.
20. The Rural Alberta Advantage - Departing
Arriving in the dead of winter early this year, Departing lived up to high expectations by not really departing at all from the rock ‘n’ nostalgia formula that powered the Rural Alberta Advantage’s 2009 debut Hometowns. A new batch of crafty songs from Nils Edenloff continues to blur the line between homesickness and heartbreak; Paul Banwatt’s manic beats continue to provide the gasoline. Feeling more and more comfortable in their shoes as a dedicated three-piece ensemble, Edenloff, Banwatt, and keyboardist Amy Cole focus on what they’re best at: compelling, unpretentious indie-folk drawn through the emotional mesh of all that we must leave behind. Plus some kickass drums. — Josh Penslar
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Photograph by Vanessa Heins
It’s been a busy few years for Hey Rosetta!, Newfoundland’s premier indie music export. They’ve become a fixture on the Polaris Prize shortlist and toured their ambitious Can-rock virtually non-stop, though judging by their multiple sellout crowds at the cavernous Phoenix in Toronto this week, the country is still in the mood to hear more. In that spirit, I joined frontman Tim Baker and cellist/guitarist/utility outfielder Romesh Thavanathan on one of the band’s rare days off for a traditional Toronto burrito lunch. Read on if you’ve ever wondered about the hidden gems of the St. John’s music scene, or how to start a rock band without owning an electric guitar, or what kind of burrito a true Newfoundlander enjoys.
Hey Rosetta! – Yer Fall
Hey Rosetta! – Welcome
Josh: First things first. What kind of burritos did you get, and why?
Romesh Thavanathan: I got the large halibut, because I’m a baller.
Tim Baker: I got the small halibut, because I’m not a baller, or at least less of a baller.
Josh: With a couple days off in Toronto before your next show, what are you getting up to?
Both: Recovery. [Laughs]
Tim: It’s been a long run and a long time since we’ve had any days off. I think the last time we had a few was a month and a half ago, when we got to Australia.
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Photograph by Chris Graham
Who are Library Voices? They are a seven-piece pop group from Saskatchewan whose new album Summer of Lust should be popping up on a number of Best of 2011 lists. They are fun-loving literary types who will probably kick your ass at shot chess. They write with one foot in the 1960s and the other in the not-too-distant future. In short, they’re a bit like Vampire Weekend, except that they’re Canadian and don’t give you a mild urge to punch them in the face.
As they endeavour to spread their name (memorably misremembered by a friend-of-a-friend as “The Shushing Librarians”), the live act should help. Library Voices bring serious weapons-grade energy to every show. Eoin Hickey-Cameron (above: top centre), for example, isn’t a bassist out of Central Casting lurking in the corner in a hoodie. He’ll jump up on a monitor or kick drum, get soaked with sweat by the end of the third song, trade stupid faces with the sax player, flop his hair back and forth like a really gross shampoo commercial—and there are seven of these guys. The notoriously dance-averse Horseshoe crowd at their recent Toronto show even showed moments of bopping and swaying, if not, you know, actual dancing.
I sat down with 28.6% of the band, namely songwriter/synth player Mike Dawson and guitarist Brennan Ross (above: far right and far left, respectively), to talk about audiobooks and how to get kicked out of one’s apartment.
Library Voices – Generation Handclap
Library Voices – If Raymond Carver Were Born in the 90′s
Josh: How’s the tour been so far?
Brennan Ross: It’s great. It’s hard to really tell when it started—it’s been sort of perpetually going on. We went out to Victoria and Halifax and back, we’re starting to go into the States.
Josh: How do you find it touring in the States as a Canadian band?
Mike Dawson: It’s sort of like starting over. We’ve been feeling really well accepted when we meet people down there, when they discover our band, but people aren’t aware. In Canada people are a little spoiled because having access to bands from the States is second nature. They might as well be from down the road. It’s not the case the other way round—because there are so many incredible bands in the States, they’re not always so aware of what’s going on in Canada. So in that capacity it sort of feels like a first tour sometimes, building crowds and meeting people, sleeping on the floor at the sound guy’s house. With his six roommates. But it’s awesome. It helps you keep yourself in check.
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