Sound Culture videos

The King Has Gone Home (Brent Cobb, Providence Canyon review)

Posted on by Tim Kuefler

A distinct sound. A fun time. Something for everyone. That’s what this album offers.

 

Brent Cobb – Providence Canyon

released May 11, 2018
******** 8/10

Brent Cobb is an American singer, songwriter and musician who plays country music tinged with Americana, southern rock and outlaw leanings. To-date, he has released three studio albums – No Place Left to Leave (2006) Shine on Rainy Day (2016) and Providence Canyon (2018). Now if you are wondering why the gap between his first album, and his second album, it’s because No Place Left to Leave was recorded on the Beverly Martel label with his established producer cousin Dave Cobb.

During this space of time, Cobb moved to Nashville in 2008, landed a songwriting contract with Carnival Music Publishing, and began writing for prominent artists. Namely, Luke Bryan, Miranda Lambert, Kenny Chesney and a whole host of others. When he released an EP in 2012, he was able to leverage it into performances opening for Blake Shelton, Sara Evans, and other well-known artists. And then Cobb landed a spot on Dave Cobb’s compilation record Southern Family. When he finally got onto major label Low Country Sound, he was able to release a major studio record, earning himself a Grammy Nomination and deserved attention.

How’s that for exposition?

Now let’s consider his third record, Providence Canyon.

This album continues the trend of overt Americana notes, and has a distinct conversational tone, often focusing on where he’s been, where he’s going and what he loves about his hometown. Filled to the brim with details about old rifles, fallen friends, and monetizing the freedom of the road, Cobb is just as comfortable crooning about red clay walls (Providence Canyon) as he is reflecting on his time with Willie Nelson (Come Home Soon), and there is a spirituality contained in each track to boot.

Of course there are songs like Mornin’s Gonna Come and Sucker For A Good Time that focus primarily on sleeping around and the consequences of it, like say the reality of running into the girls boyfriend the morning after. Another common theme to be sure, but his presentation has a great indie country flavour, and fits in perfectly with the overall tone of the album.

Another great track is his ode to Wayne Mills, and the first single of the album. King of Alabama is a particularly eclectic tribute to his late comrade and yet another reminder of where Cobb comes from. Which as mentioned features strongly throughout the whole record, but I think it’s less of a thematic tool and more a demonstration of his character and what he cares about.

When we get into the final song, Ain’t A Road Too Long, it’s been quite a journey. But Cobb doesn’t pull his punches here either. This is probably one of my favourite songs as it is an especially haunting exploration about what happens when you life a life on the road. The natural ups and downs, but more importantly, the way an escape form becomes a job.

These are gritty stories that manage to work well across Cobb’s already established choice musical styles, and there is even some funk found in the middle of the album with .30-06. Yet another great track that talks about a wife’s infidelity and a jealous threat using a classic hunting rifle as weapon of choice. That said, I’m also partial to High In The Country and Lorene as they call back to 1970s outlaw country.

Pros: It sets the bar even higher then his last album did, and save a couple weaker tracks, it is a really solid listening experience. King of Alabama and Ain’t A Road Too Long are great 2018 summer songs.

Cons: For whatever reason, the backing vocals and the tone of both If I Don’t See Ya and When The Dust Settles are a little mundane for me, and don’t have any staying power.

Runtime: 34 minutes

Points of Interest: …

This is the kind of album that is immediately enjoyable, but also bears some weight as you spend more time with it, giving it a natural progression and lots of layers to unpeel. But that is the way that Brent Cobb writes, he’s happy to share intricacies of his life, if it means a more intricate song can come out of the labour. Yes, these are well-worn themes, but what makes them inspired comes from the delivery method, Cobb focuses on things he cares about, and so that makes them interesting to the casual listener.

theories Summarized

Okay here are my final thoughts.

If a musician can open up for Chris Stapleton and still retain their stage presence, then that is an artist worth listening to. That, and super producer Dave Cobb is the  voice behind both artists. Brent Cobb’s Providence Canyon is an album of both internal and external geography, and it never sounds preachy on either front. A definite add to your collection.

And speaking of solo artists who just don’t know how to quit what they know, Brendon and I have a Sound Culture video on Caribou’s The Milk of Human Kindness. Dan Snaith is a mathematician, composer and musician that makes electronic music to melt your ears to.

And if you like either of these album reviews or both of them, please like and share the video, and of course, please subscribe to the blog and channel for more awesome theories on the arts! Tomorrow I have some thoughts on Batman Ninja.

Tim!

Post-it Notes (Jeff Rosenstock, POST- review)

Posted on by Tim Kuefler

Making music isn’t something for everyone, but everyone needs music in their life. When economic anxiety has become the new buzz term to describe the state of western nations, then I think it only makes sense for an artist to come on the scene and shake things up.

 

Jeff Rosenstock – POST-

released March 23, 2018
********* 9/10

Jeff Rosenstock is an American musician and songwriter hailing from Long Island, New York. He’s been involved in a ska band (The Arrogant Sons of Bitches), an indie rock group (Kudrow), and a musical collective (Bomb the Music Industry!). It was only six years ago that Bomb the Music Industry! split up and Rosenstock had to decide what to do with himself. After a bit of deliberation he launched his solo career in 2012.

In those six years he has released three studio albums, We Cool?, Worry, and POST-. POST- was released digitally on January 1, 2018 to the surprise of so many people. It has since been issued through Polyvinyl and to generally favourable reviews – Most of the songs were created shortly after the 2016 presidential election and reflect Rosenstock’s disenfranchisement with national pride, non-confidence in people, and disbelief in himself.

it’s equal places angry and fun, something we could all do with in 2018. While that sounds incredibly daunting–and like a really tiring listen–the album’s most impressive trait is that it makes all that vital work feel joyous and communal

USA tells a story about the never-ending civil war of America, having never ended but instead become even more charged over time. It’s a strong opener and features lines like “we’re tired and bored” and “et tu USA” which smartly sounds like F U USA. Then we have Yr Throat and Powerlessness, which have a subtle taste of hope about bridging communication, but ultimately raise doubt whether America is worth the trouble.

Continuing this trend are All This Useless Energy and Beating My Head Against A Wall. Both tracks are strong indicators of what happens in the face of futile odds. Most surprising to me though is Let Them Win. A song about the importance of working together to combat evil behaviour and focus on we instead of you and I.

TV Stars reminds you of a Billy Joel song, and even has a reference to piano-playing, but most importantly there is a theme about loneliness and the fear of it, throughout the track. This also shows up on the next song, Melba, which it is probably the most happy song of the lot, and hilarious if you pay attention to the lyrics. Oddly enough it also reminds me of another song – I’ll have to get back to you on what that is exactly.

Pros: The energy of each song is amazing, and how Rosenstock manages to inject fun into such sweeping epics of ideas is something I haven’t seen in a while. Tackling difficult topics comes naturally to him.

Cons: Rosenstock is a victim of his own success. It mimics Me Too! but unfortunately isn’t quite as interesting as that initial outing.

Runtime: 40 minutes

Points of Interest: It was written and recorded mere weeks before it’s January 1 release date. Most of it  was recorded live onto tape, giving it a very lo-fi and earnest sound.

Now all that shared, POST- might not be Jeff Rosenstock’s best work to date, but it is far and above more entertaining/meaningful then so much other music that’s been released this year. This is a spiritual successor to other punk concept albums like American Idiot and The Monitor. It’s heartfelt, DIY, modern punk music, and I think it’s pretty damn accessible too.

theories Summarized

It’s cathartic and painful, bright and worrisome –  an anthem of economic anxiety as it were. POST- was given away for free on New Years Day, but I’d happily pay for it a second time if I were given the choice. It’s that good.

And speaking of albums I would happily buy a second time if it ever came up, Brendon and I have a great video review on the 2005 debut album Silent Alarm. This is essential Bloc Party listening and it features so many danceable tracks on it. Definitely worth a sit down. Or twenty.

I can’t believe that album is over a decade old already, but it was easily in my top five records for that year, and has been on heavy rotation ever since!

And remember, if you liked what you saw, and/or enjoyed what you read, please click on the like button, and even better, subscribe to the channel and my mailing list! I’ll be back tomorrow with a film review on The Shape of Water. A divisive film, yes, but I have an interesting theory on why it actually deserved to win so many Academy Awards.

Tim!

Better Be Starting Something (Our Lady Peace, Somethingness review)

Posted on by Tim Kuefler

Fifteen years ago, I had an opportunity to see Our Lady Peace live at a festival and while I took it upon myself to watch them, I never really appreciated it. They were alternative rockers in an open sea of rock and roll, and their music was good, but not great, in my limited opinion.

mp3s hadn’t completely overtaken the musical landscape just yet, but it was becoming more common for smaller musicians to get attention, and more and more Canadian musicians were cropping up. 

Now, after twenty-six years of activity, are they still relevant?

 

Our Lady Peace – Somethingness

released February 23, 2018
****** 6/10

Our Lady Peace, sometimes known as OLP, are a Canadian rock group that have their roots firmly planted in Toronto. Headed by founding member Raine Maida (vocals, guitar), and longstanding members Steve Mazur (guitar) and Duncan Coutts (vocals, bass), Somethingness is their ninth studio album, and the first since the departure of twenty year drummer Jeremy Taggart, and new comer Jason Pierce.

As I mentioned previously, I’ve seen this group live before, but I have not been much of a fan in their lifetime. This might have stemmed from defiance on my part, refusing to vote with my money simply because a rock group was Canadian, but as I look back on their catalogue, it occurs to me, that these guys really have contributed to the current rock landscape. Maybe not as influencers, necessarily, but by association with with major acts – Foo Fighters, Goo Goo Dolls, Stone Temple Pilots, and Big Wreck all come to mind.

It’s not a particularly innovative album, but as Maida states on opening track Head Down, “I’ll find my place in the sun,” which a mid-tempo song, and a good indicator of the pace to expect for the majority of the record.

Embracing their skill with guitars and penchant for coded lyrics, songs like Ball Of A Poet and Hiding Place for Hearts demonstrate that sound well, and are welcome additions to the album. What I found most surprising of all was how great of a job Drop Me In The Water does of demonstrating the groups strengths, and showing a new generation why their sound was beloved in the 1990s and as a great alternative to the dance-rock and indie folk of the day. Nice To Meet You‘s lyrics are uplifting and topical.

When we get to the last two songs, Let Me Live Again and Last Train, it takes a bit of effort to become reinvested, but Last Train is the most experimental of any of the songs on the record, and a strong point to end on.

 

Pros: As stated already, singles Nice To Meet You and Drop Me in the Water are excellent, as they raise the emotional bar enough to resonate with a broader audience, and they are technically sound too. But best of all is

Cons: Towards the back half of the record, we listen to some even more subdued tracks – Missing Pieces and Falling into Place. These songs feel at odds with the emotional tone set up in the first half of the record.

Runtime: 33 minutes

Points of Interest: OLP initially decided to split the album up into two volumes, releasing the first EP back in August 2017, but after some consideration a full-length album dropped February 23, 2018 which is the subject of this review.

I wish Last Train would have been an opening track, and influenced more of the record. To be considered as a final thought, is frustrating, to be perfectly honest. I would’ve probably written this album off with out it, Drop Me In The Water, and Nice To Meet You in the mix. I hope this is the start of something, rather then a middling effort at the end of a career.

theories Summarized

At the end of the day, I’m not sure I can fully endorse this album for the average music fan. It’s great if you already know about Our Lady Peace, but if you are looking to try them out, I would direct you to Naveed or one of the other first four albums in a heartbeat upon personal reflection.

That said, I do have a Canadian album that I can easily and happily support. The sophomore effort from k-os, an artist who should be considered a national treasure at this point. And if you don’t believe me, I brought Brendon along to show you the finer points of the record.

What a gem he is. I’ll leave it up to you to decide if I’m referring to my co-host or the artist in question! For now, I’ll listen to The Love Song on repeat. 

And remember, if you liked what you saw, and/or enjoyed what you read, please click on the like button, and even better, subscribe to the channel and my mailing list! I’ll be back tomorrow with a film review on Three Billboards Outside of Ebbing, Missouri. A film which deserved more then it got at the Academy Awards. I have a few theories on what happened…

Tim!

Phasers Set To Stun (Dear Rouge, PHASES review)

Posted on by Tim Kuefler

I will totally agree that there is an ebb and flow to life. We all experience highs and lows, and whatever exists in-between, but on the surface, it’s never quite so obvious that the flow is much more internal then could ever be demonstrated. To put it another way, transitions happen constantly within our thought processes.

 

Dear Rouge – PHASES

released March 9, 2018
******** 8/10

Dear Rouge is an award-winning Canadian alternative and dance rock duo, comprised of husband and wife, Drew and Danielle McTaggart. They’ve been active since 2012, and initially met while touring under different bands. It wasn’t until after they had been married that they began the Dear Rouge brand. In case you were wondering (and I very much was!), the band name is a play on words – Danielle’s home town is Red Deer, Alberta.

PHASES is their sophomore album, released just three years after the critically successful Black to Gold. Returning this time with a more refined sound, and influenced by the places it was recorded at (Toronto, Montreal, Nashville, Vancouver and New York), the McTaggarts set out to produce an album which doesn’t actually innovate much on what came before, but instead feels more intentional with it’s themes and tonal choices.

It’s all very cheery and hopeful, except for when it’s not, and even when Dear Rouge has committed one way or the other, the other side comes through to create a feeling of warmth. This is created to great effect within the first two tracks. Wicked Thing is very much a bright song with a hopeful resonance, and yet, there is a tone underneath that loving affection can easily turn into obsession. And then that theme of obsession is more prominently stated on Live Through The Night, but that song is overtly dark and mysterious. The dance between darkness and pop continues on Stolen Days, an aching callback to youth, not knowing any better, growing up and maturing, and is very much a tribute to Drew’s late cousin.

The singles Boys & Blondes, and Modern Shakedown make up the core of the album’s hype machine, and deservedly so. They are both essential dance-rock with catchy lyrics, heavy on the synth and bass and explosive chorus’. Boys & Blondes has feminist themes and Modern Shakedown is super dark.

It’s a living breathing album, which was desrcribed by it’s creators as full of grit and gloss, and I think that’s a pretty apt description.

Pros: Each song is really and truly exciting to listen to and gives us an opportunity to pick up a torch and fight for the cause of indie pop-rock. If you really want to get a taste for this album listen to Live Through The Night, Little By Little, and The Clearing. Darker nights of pop there have been not.

Cons: Though the tone and quality of production is consistent throughout, there is very little variation from song to song, which makes it difficult to know where you are at any given point, and having to give pause takes you out of the mood.

Runtime: 37 minutes

Points of Interest: Dear Rouge spent the better part of 2016 and 2017 touring while they were writing and recording their follow-up album. Tawgs Salter, Sterling Fox, and Hot Hot Heat frontman, Steve Bays, all helped produce the record.

If you really want to compare it to other acts of today, PHASES can easily knock down the doors of other dance-rock and dance-punk progenitors. I’m looking at you The Killers, DFA, and LCD Soundsystem. Heck, even synth-pop and indie darlings like Metric, Tove Lo, and La Roux should be concerned. Dear Rouge are trendsetters and clearly cutting up the Spotify charts.

theories Summarized

Should you listen to this album? Yeah, I think it’s worth a listen or five. Don’t get me wrong, I love some Taylor Swift and Lady Gaga, but Canadian music content always feels a little bit more authentic and inventive with it’s presentation. And tastemakers are always so fashionable to boot. My theory, of course.

And speaking of tastemakers, I’ve got this really cool review lined up with Brendon Greene on the classic hip hop album from the now retired Beastie Boys. That’s right! Licensed To Ill is going to get some love this week, whether you’re hearing it for the first time, or it’s been on your brain since the 1980s, this is seriously fun music, and influential too.

I greatly appreciate that you took the time to read this review, and I hope it helps you to decide to listen to it. And if you’ve already heard it before, I trust my thoughts affirmed how you felt, one way or another! And what did you think of Brendon and my Sound Culture video review? Licensed to Ill is an instrumental hip hop record, and well worth a listen! And remember, if you liked what you saw, and/ior enjoyed what you read, please click on the like button, and even better, subscribe to the channel and my mailing list! I’ll be back tomorrow with a film review on The Disaster Artist. There’ll be more theories!

Tim!

Ukelele Anthems For Two (Vance Joy, Nation of Two review)

Posted on by Tim Kuefler

Not every album needs to be a chest bumper or a call to arms. Sometimes it’s nice for music to be nice, and reflective. A thread between two hearts, for starters.

 

Vance Joy – Nation of Two

released February 23, 2018
******* 7/10

Vance Gabriel Keogh, better known by his stage name, Vance Joy, is an Australian singer and songwriter. He signed a five-album deal with Atlantic records back in 2013, and shortly thereafter, released his instant success, Dream Your Life Away, hopping on the back of The 1989 World Tour that Taylor Swift planned that year. Everyone and their mother knows Riptide at this point, and somehow Joy managed to ride the waves of that album for four years without anyone really noticing. Pun intended.

Lucky for us though, because his sophomore effort, Nation of Two, was worth the wait. It’s not an amazing album, but there’s something to it. Featuring the singles, Lay It on Me, Like Gold, We’re Going Home and more, Joy has managed to do even better the second time around. Garnering fans and swooning hearts all the same.

What I love most about this album, as I’ve said in previous reviews, is that it’s a concept record – Nation of Two tells the story of a couple who’s world is centred around their bedroom, their car, and other memories they share collectively. Even though it’s similar in tone to his debut album, and doesn’t push strongly in one direction or the other, I actually think it makes it a stronger record, and gives this one a pass. Love isn’t always about ups and downs, fights and makeup sex, it’s a consistent feeling of companionship and connection. Flowing from one situation to the next is real life, and this album has it too.

It’s full of romance, rainy day music, good for reflection, and even post-breakup meltdowns or whatever emotive tone you’re feeling. I’m looking at you in particular Alone with Me and I’m With You. So much heat there.

And that’s not to say there isn’t some fun in there. Saturday Sun is a great upbeat track and has good accompaniment with One of These Days showing up later. These are simple love songs, rooted in the tradition of artists like John Mayer, Jack Johnson and Ed Sheeran, and while they aren’t perfect, there is a cohesive quality that works, especially with the theme.

Pros: A solid theme, some great singles that stick to Joy’s strengths, and solid transitions between tracks, help this album feel like a complete story.

Cons: Sometimes the naivety can be a bit much, and this is where Crashing Into You would be considered a weak point. Some of the worst lyrics I’ve heard so far this year.

Runtime: 45 minutes

Points of Interest: Joy has been known to work with multiple writers, and in this case the running theme is evident throughout. The song Little Boy, is a true story about the time Joy fell off his bike as a little boy.

A welcome change from the never-ending mire of romantic crooners singing about falling in love, passionate sex, and breakups, this is an album for the long-time lovers. It’s never particularly cheesy, but it always feels sincere.

theories Summarized

I don’t expect that this will be an album for everyone, and as much as I wish that were the case (because the theme is strong), Vance Joy still has some growing to do as a musician, and so it bleeds together in the end. Give it a listen, be aware of the narrative, and have some forgiveness on hand, and I have a theory that you’ll enjoy yourself.

And if that don’t tickle your fancy, Brendon and I have a rock review from a brilliant Canadian duo known as Death from Above (formerly Death from Above 1979). The Physical World is also their sophomore album, and it kicks up everything fans of the band love. If you haven’t gotten into their sound yet, here is your opportunity to give them a much deserved listen.

Thanks for taking the time to read the review, watch the video review and hopefully you’ve left a comment or two. If you liked what you saw, click on the like button, and even better, subscribe to the channel! Come back tomorrow for a film review about Thor: Ragnarok. There’ll be more theories!

Tim!