One of our favourites bands, Mauno, put out a video, as band members Nick Everett and Eliza Niemi get a surprise while delivering parcels. As directed by Max Taeuschel, it can be jarring and surprising, much like the band’s music.
““Take Care” is a play on words,” says Niemi, “it’s about caregiving as a woman, and also about saying goodbye. It is about filling the role of taking care of someone and self-identifying through that, while simultaneously resenting the expectation of having to do so. The chorus begins hinting at waiting for a relationship to finally feel reciprocal, and ends with the reveal of me actually waiting for it to fall apart / knowing all along that it was doomed.”
The Halifax band returns, picking up where they left off with 2017’s ‘In Tension’. Testing the boundaries of contemporary rock, they push out in a bubble of their own creation, warping r&b to their will.
Nova Scotia singer-songwriter Blue Lobelia (aka Rachel Bruch) presents a delightful piece of sophisticated pop. A jazzy vibe and a breezy rhythm whisk you along, as Bruch delights with incredible self-harmonies.
Quaker Parents is the experimental project of Toronto-based (by way of Halifax) artist/musician Mark Grundy (Heaven For Real). “Pageant of Close Foes” spins out in almost stream-of-thought fashion, but there is enough pop-folk sense to hold things together.
Pale Son is the solo project of Halifax’s Andrew Glencross. One descriptor of his music is “outsider”, which makes him an insider at Irregular Dreams. Ambient but purposeful, “A Glowing Pink” features text by Proust. Yeah, we be classy…
We dig stoner rock, so Worst Part are a no-brainer.
Review by Adam Cantor
Juice Girls is an apt name for this band. Their songs are full of sweet hooks, almost always the the vocals doubled up. Everything is set back with a warm, hallway like reverb. During the first couple of songs I felt somewhat poetically transported back to things like being at school dances, in the passages outside the gymnasium, listening to the music echoing from afar. The voices are there, but they are also not quite there. The hardness around the words and their meaning is softened so that it is not so much about content as it is about feeling.
A lot of different sorts of pop innocence are conjured up here. Many of the songs evoke girlish pop of the late fifties and early sixties. The thickness of the sound sometimes reminding me a little of Phil Spector in the innocent days, before he started running with pistols and growing his hair out like one of those sheep you read about in the new now and then that has been evading the shears and hiding out in the highlands.
Other songs have more of an edge. “Ghoul Gal”, which I liked a lot, comes in a bit heavier on the synth. “Milk Me Tall” starts with a crunchy bit of guitar chord. We drift from Phil Spector into the Ramones, or Shonen Knife, or something. I don’t want to just spend the review comparing shit to other shit. On the one hand, yes it is good to place things into their music context, on the other hand it’s good to see things as their own entities. A new plant is a new plant, regardless of whatever old plant you grew its clippings from.
“When she comes” has a fun bit of harmonica in it. It reminded me of listening to harmonica in the Montreal subway—those mournful blown notes bouncing this way and that along the warren like complex of tiled walls before reaching my ears. “Castor Soap” was charming, too. It was a mix of the aforementioned sugar pop sound mixed with a bit of the beguiling samba opening of “Girl from Ipanima. I don’t know if that was deliberate or not, but it is there. My review in short is: this is a delight of an album, and it will be great on your summer playlist!