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Best tunes of 2012: #4 July Talk “Paper girl”

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I originally came across the video for “Paper girl” quite by accident, while searching for something else, and was so enthralled that I thoroughly forgot what that something was. In the video (and the song), Peter Dreimanis and Leah Fay, the nucleus of July Talk, play upon multiple levels of dichotomy: rough/smooth vocals, ugly/cute attitudes, old/new sound, male/female gender identities, and well, you get the picture. The video pits the vocalists (and their alter egos) against each other, him loud and brash and her delicate but defiant. It’s fun to watch play out again and again.

July Talk are an alternative rock band based out of Toronto, Ontario, Canada. The story of their formation in the bio that used to appear on their website smacked of the stuff of legend: boy hears girl singing in a smoky bar in the early hours of the morning, decides she’s his muse, tracks her down and they form a band. They rounded out said band and sound with Ian Docherty (guitar), Josh Warburton (bass), and Danny Miles (drums). The group has released three studio albums since forming in 2012, each garnering them more and more fans, but in my opinion, neither of the latter two can touch the excellence and originality of the self titled debut.

Much of “July Talk” mines another era for its blues infused chaotic sound but brings its anachronism into the new millennia. The growling and gnarling Tom Waits interplay with the bedroom confessional popster that holds her own is a story that runs throughout the album but “Paper girl” as track three is the shining example. It takes the Pixies’ loud-quiet-loud structure to extreme, seesawing between dirty and aggressive guitars and drums and angelic keyboards. And just like the duelling vocals in a certain song by The Pogues, the Dreimanis and Fay personas rail and thrash at each other, just before they fall passionately and resignedly into each other’s arms.

“Yeah, it must be hard
To watch your body growing old”

 

“And I’ll be laughing in your head until I want to stop
And if you think it’s your turn to explain yourself, it’s not”

It’s a song for turning up loudly when there’s no one else around and for singing along with to both parts because neither is right and neither is wrong but together they work.

For the rest of the Best tunes of 2012 list, click here.

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Best tunes of 2020: #28 Elephant Stone “Hollow world”

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Elephant Stone is a Montreal-based psych-rock quartet that was formed by bassist and sitar player Rishi Dhir back in 2008. I got into them pretty much right from the start because I loved Dhir’s work with The High Dials* and was more than a little sad when I heard he had left that group.

Elephant Stone’s 2009 debut album, “The seven seas”, had me sold immediately and had me trying to convince all of my other friends to give the band a go as well. I got to see them live at the now defunct Zaphod Beeblebrox here in Ottawa back in 2010 and then, three years later, I saw Dhir perform live onstage with Beck at Montreal’s Osheaga festival. Indeed, Dhir’s sitar work is well known and sought after in the psych rock circles and he’s collaborated, either live or in studio, with the likes of The Horrors, The Black Angels, The Brian Jonestown Massacre, and the aforementioned Beck. He even created a psych-rock supergroup of sorts called MIEN and released one self-titled album in 2018, that included the work of The Black Angels’ Alex Maas, The Horrors’ Tom Furse, and The Earlies’ John-Mark Lapham.

But I’ve strayed off course a bit here. Rishi Dhir is the driving force behind Elephant Stone but he’s also always had a great team behind him. Each of the group’s five albums have been critically acclaimed, and each has told a different story. On their 2020 album, “Hollow”, Dhir and his band are reaching out to a dystopian world of disconnected and unhappy souls, one that was inspired by the impacts on our society by social media.

“We long to feel less empty inside our hollow world
These hollow days bring so much hurt”

These are words from the opening track, “Hollow world”, but if you weren’t paying attention, you could be forgiven for thinking the message more uplifting than that. The song is a dreamy and technicolour piece of paradise, one that refracts blinding shards of light in all directions. Much like the best of Elephant Stone, this smacks of what The Beatles might’ve been had George Harrison had more sway at the height of his Indian classical music fascination. It is bright pop and sounds young, joyful and hopeful, especially when Rishi brings out his daughter Meera Skye Dhir to join him on vocals to close things out. Genius.

*Another excellent Canadian indie rock outfit out of Montreal with a psych rock influenced sound.

For the rest of the Best tunes of 2020 list, click here.

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Best tunes of 1993: #20 Spirit Of The West “And if Venice is sinking”

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Three important life events happened in the fall of 1993 and they will be forever linked in my thoughts and memories. First, after taking a year off after high school, I started my first year of post-secondary education at York University in Toronto. Second, I finished my road lessons with Young Driver’s of Canada and passed my road test in the sleepy town of Port Hope, Ontario, beating the implementation of the new graduated licensing rules by a mere two and a half months. Finally, I purchased a CD copy of “Faithlift”, the sixth and most recent (at the time) album by Canadian alternative folk rock band Spirit of the West.

The reason they are linked for me is because I decided to continue living at my parent’s home in Bowmanville while attending that first year of university to save money. And after getting my driver’s license, I switched my mode of travel from the long and tiring GO transit bus voyage to a sturdy and slightly more comfortable Chevrolet Chevette borrowed from my mother. It was a trek I made three times a week and took more than an hour each way by car, so almost 20 hours of music listening time. That CD was pretty much immediately recorded to cassette tape to be played on the deck in my mother’s car and it was on many of those trips in October and November that I fell in love with “Faithlift”.

My introduction to Spirit of the West came with their previous album, 1991’s “Go figure”, an album that saw the group add a drummer and transition from a mostly folk-influenced outfit to something that blended the sound with rock. “Faithlift” completed their transition to a rock band with only some hints of the folk sound remaining. It became the group’s best selling album and this, mostly off the back of least rocking tune on the album: “And if Venice is sinking”. It is their highest charting single, is these days runner up to their best known song*, and also happened to be my fifth favourite song when I counted down my favourites by the group on these pages back in 2017.

As I mentioned in that post, “And if Venice is sinking” is a joyful tune, perfectly reflecting the elation and wonder frontman John Mann and his new wife, Jill Baum, must have felt as they explored the winding laneways and bridges of Venice for their honeymoon. I can certainly attest to this feeling, given that my wife and I also spent part of our honeymoon there, exploring that living museum and falling in love with the galleries, the churches, and the piazzas – the trifecta of art, history, and food. Just like Mann and Daum, we didn’t want to leave, believing we might never see it again.

“And if Venice is sinking
Then I’m going under”

The song is as much a carnival as its subject. It dances and prances along the cobblestone streets, a parade led by the pace-setting tuba, but followed closely behind by Linda McRae on the accordion and Hugh McMillan on the mandolin. The rest of us just gather in behind, joining our voices to that of the incomparable and unforgettable John Mann.

*At least, here in Canada.

For the rest of the Best tunes of 1993 list, click here.