New Adds

Hey there, some goodies in at the station these past few weeks:
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Ought – Sun Coming Down (Constellation Records)
Post-punk rockers from Montreal.
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Julia Holter – Have You In My Wilderness (Domino) (Digital Add)
Holter’s follow up from her 2013’s widely celebrated Loud City Song offers up her beautiful textured pop in Have You In My Wilderness.
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U.S. Girls – Half Free (4AD)
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Family Band – Family Band ’15 (Egg Paper Factory)
Talia Boguski, Josh Boguski, Raff McMahan, Alex Lavoie bring sweet experimental pop from Montreal.
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ADDS this week:
Doug Hoyer – Dream Life (Self Release)
Ought – Sun Coming Down (Constellation)
Family Band – Family Band ‘15 (Egg Paper Factory Records)
Dune Rats – S/T (Ratbag Records/dine alone records)
Jerusalem in My Heart – If He Dies, If If If If If (Constellation)
LITA – S/T (hello/distribution select)
Telstar Drugs – Sonatine (Egg Paper Factory Records)
UUBBUURRUU – Swamp Ritual (Kapuano records/dep)
Bring Me the Horizon – That’s the Spirit (Columbia)
The Dears – Times Infinity Volume One (Pheromone)
Animal Nation – It’s Good to Be Us (Urbnet)
The 20/20 Project – “Tapes and Crates” (Urbnet)
Rosie & the Riveters – Good Clean Fun (Self Release)
James Kasper – Small Town Gods & Devils (Self Release)
Buckman Coe – Malama Ka ‘Aina (Tonic Records)
Thee Ahs – Names (Kingfisherbluez)
Julia Holter – Have You In My Wilderness (Domino)
New Order – Music Complete (Mute)
(Bold = Cancon)

Review: Tame Impala – Currents

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By Glen Essnew balance outlet boston

Tame Impala’s third album is quite the departure from the psych rock vibes of their previous two releases, Innerspeaker and Lonerism. Instead of the guitar driven, feverishly paced style that was the classic, Tame Impala sound, Kevin Parker dials down the strings in place of synths and catchy bass lines. From the very first note the album is reminiscent of an old school, almost fuzzy psychedelic dance album. Lead track, “Let It Happen”, uses a crackling guitar as an afterthought while gifting most of the spotlight to a groovy, swaying synth line. From there, things slow down, with only the occasional upshift, with most of the songs exhibiting a weighty, droney bass-line and walls of synthesizers, the album is almost caught in two minds, between a chilled out, trippy vibe and a funk infused dance album. With “Nangs” and “I’m a Man” on the more mellow, slower side, balanced out by the groovy “Less I Know The Better” and the distant echo-y “Reality In Motion”.

With Parker’s Lennon-esque falsetto singing voice merely adding to the relaxed, trippy vibes that wind their way through the record. Currents is laid back, far more so than 2012’s Lonerism and it isn’t afraid to slow it down and take it’s time, mirroring Parker’s lyrics, that chronicle a circular journey of introspection and self doubt that ultimately doesn’t seem to end in epiphany. There is no doubt that the tone of the album was shaped by Parker’s break up with Melody Prochet of Melody’s Echo Chamber. Parker very rarely addresses the actual relationship itself, most openly referring to it on “Eventually” and “Past Lives”. For the most part, however, his lyrics are centered very much on his own sense of self, his own definition of what makes him tick; a hazy concept that he frequently double guesses and demonstrates much doubt over, while feverishly looking forward to an almost mythical “Instance” where everything clicks into place and he can leave behind all the weighty emotional anchors that are dragging on his air max 90

Barring those few moments where Parker let’s loose and fully explores the foot tapping, head bobbing, hip swaying swagger of a Soul/Funk fusion fed through a Prince-styled prism; Currents is a remarkably quiet album for Tame Impala, with the music sitting back, stretching out and letting it all trickle out instead of forcing it out in a rush. Always taking his time, and taking each song to it’s very limits, Parker’s production is as smooth as they come, absolutely no part of Currents seems hurried. And yet, I can’t help but think that those moments where the rhythm pulsates faster and faster and the song builds into a delirious climax, those are the moments that really stand out. The shining moments on Currents are all the more upbeat, groovy, dance-able tracks, in particular, “Let It Happen”, “The Moment” and most impressively, “The Less I Know The Better”, which is up there for Song Of The Year, in my mind at air max shop

Glen also hosts Rhythm & Rhyme on CIVL 101.7FM on Friday’s from 4-6

New Adds!

Firstly, I’d like to welcome everyone back! If you haven’t already checked out our fancy new station in the new SUB, come by and say hello!
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A selection from our new adds:
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Owen Davies – Mystic (So Sorry Records/Chit Chat Records)
Toronto’s Owen Davies’ debut Mystic combines traditional folk with synthetic experimentations, producing a sort of fuzzy folk. Recommended if you like: Kurt Vile, Deerhunter, Cass McCombs.
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Coeur de Pirate – Roses (Dare to Care Records)
Béatrice Martin’s (aka Coeur de Pirate) third solo full length album Roses, experiments with english songs in this beautiful pop album. She’ll be playing at the Commodore (Vancouver) on September 19th.
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mauno – Rough Master (Self Release)
Experimental pop-trio out of Halifax. The album offers a unique pop experience as it was produced using analog and digital methods.
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Family of the Year – S/T (Nettwerk)
Hermitude – Dark Night Sweet Light (elefant traks/nettwerk)
PiL – What the World Needs Now… (Public Image Ltd.)
Safia Nolin – Limoilou (bonsound)
Chad Vangaalen & Seth Smith – Seed of Dorzon (Fundog Recordings)
Arthur Comeau – Prospare (P572)
Tami Neilson – Dynamite! (Outside Music)
evening hymns – quiet energies (Outside Music)
Quiet Parade – Quiet Parade (Self Release)
Cecile McLorin Salvant – For One to Love (Justin Time/Mack Avenue)
Y Brothers – Rise (Self Release)
Five Finger Death Punch – Got Your Six (Prospect Park/Universal)
Only a Visitor – Tower Temporary (Self Release)
No Museums – Frightening Camera (Self Release)
Andre Bisson – Left With the Blues (Self Release)
K-os – Can’t Fly Without Gravity (dine alone records)
mauno – Rough Master (Self Release)
Concealer – Feted:Fetid (Coax Records)
Martin Harley and Daniel Kimbo – Live at Southern Ground (Del Mundo Records)
Coeur de Pirate – Roses (Dare to Care Records)
Torero – S/T (Self Release)
Owen Davies – Mystic (So Sorry Records)
Grey Lands – Right Arm (Paper Bag Records)
The Ativans – Landlocked (Transistor 66)
Safe to Say – Hiding Games (New Damage)
Cardinals Pride – Those People Will Never Die (New Damage)
The Sword – High Country (Razor & Tie)

Twin Bandit In-Studio Session

One of the most exciting aspects of our move into the new Student Building here at the UFV campus (besides large windows and fair trade coffee mere steps away) is having a studio large enough to accommodate bands coming in and playing on the air. We’re proud to have had Vancouver folk duo Twin Bandit in as one of the first bands to grace our space.
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Here’s their in-studio session with us, including four songs and an interview.
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The session first aired Friday on the debut episode of our newest show, That Sound, hosted by our Director of Programming and Volunteers, Dave Cusick.
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Also, check out their beautifully shot video for the final song they played in their session, “Tides.”
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Review: Destroyer – Poison Season

By Glen Ess
Dan Bejar’s 10th album with Destroyer, Poison Season, is an album that’s full to the brim with nostalgia. Predominantly a classic, 50s style jazz and orchestral influenced, crooning album the record at times veers into a 70s rock style.
For the most part Poison Season is melancholic and contains a palpable feeling that Bejar is lost, deep in thought, almost consciously holding back the album from letting loose, as if he’s second guessing himself. When Poison Season does ramp up it resembles an old school classic rock album, mirroring the likes of Bruce Springsteen, David Bowie, Bob Seger and Billy Joel; piano driven rock that crashes down on you like a tidal wave of sound. However, such moments are rare, and the record seems to deliberately withhold such moments, limiting them to only three songs: “Dream Lover”, “Times Square”, and “Midnight Meet The Rain”. Barring these three songs, there are only a handful of moments during the other, far more jazz influenced songs where the music temporarily kicks into high gear. “Hell” and “Archer On The Beach” both contain hints of this, but not to the same intensity as the aforementioned trio of songs.
A common thread throughout the album is the use of Horns, which take center stage throughout each of Poison Season’s thirteen tracks, much like Destroyer’s 2011 release “Kaputt”.
Bejar’s vocals veer between an airy, breathlessly smooth croon – best seen on “Solace’s Bride” and “Girl In A Sling” – and a more brash, ragged, hoarse style seen during Poison Season’s more explosive moments, most noticeable on “Dream Lover”.
Of course it wouldn’t be a Dan Bejar penned album without pithy, easily quotable lines, from “Dream Lover”, we see an almost deadpan “Aw shit here comes the sun” as well as a matter of fact “you’re sick in the head”. And from Solace’s Bride he calmly and quietly goes through the following: “Stars blink, stars go wild and expire/ Stars get made from fire” which rolls of the tongue with ease. Callbacks to prior songs abound between “Times Square Poison Season I”, the album’s opener, middle track “Times Square” and final track “Times Square Poison Season II” which neatly adds to the album’s cohesion while also highlighting how much of a difference delivery and tempo can make in how a song is perceived, with “Times Square” much more upbeat and faster than the opener and closer.
Overall, Poison Season is a continuation of ‘Kaputt”. While the album is consistently excellent throughout, it also seems to be confused as to what kind of sound it’s aiming for, with the classical, smooth jazz sound at odds with the more quick tempoed soft rock trio of songs that appear almost at random across the album.
Highlights: Dream Lover, Times Square & Midnight Meets The Rain
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Glen also hosts Rhythm & Rhyme on Fridays from 4-6.