Brian Borcherdt
The Remains of Brian Borcherdt Vol. 2 (Dependent, www.dependentmusic.com)
Didja ever notice there's this huge abundance of honest, heart-felt, no bullshit SONGS coming out of our native Canada these days? Of course you have'”you're reading a Wavelength review. You're on the level'”you know what's pulling your leg behind your hanoead and what's not. You can feel it'”we've got the A.F., B.S.S., C. van G., the H.C.'s, the A.C. (Newman), another A.C. (Adam Cotton, hey!), miss F., the N.P.'s squad, B.B. here, the big ol' H. '”yeah, that's who, Hayden'”who might've just started all of this lovelorn trooping during that other, bigger H., Halifax'”plus a heaping pile more singing strugglers struggling in song, some of them happily sitting back undiscovered, doing beautiful things for themselves alone; others gigging, recording, trying and trying, remaining unnoticed if only because they can't demean their vision enough (or afford) to promote their souls for ten-spots of compact disc pressing money, though these modest love slaves to self-expression will all be right back at that plant once they have enough to print the next batch'”and, most importantly, all of these fine player's many, many, beautiful, big-hearted non-musical playin' fans (worldwide?? no shit!). So whatta we got here, kind folks, all of us? Enough beautiful, big-hearted indie-lovin' folk to fill a mighty fine island (or Republic of Safety), that's what, dude.
So say his name, then, with me, twice, to let me know you care: Brian Borcherdt, Brian Borcherdt. A third? Why not: Brian Borcherdt. Shit, the dude has the sad melodies and judgmentally honest lyrics to impress the worldwide indie community with monthly internet hours to spare, and I hope he does it. The man's already got behind cyber-rap star Beans with his bad-ass trash-tronica act Holy Fuck, and his songs are burning up indie charts and hearts like love letters set to cinder for need of freedom'”suitable because this is cathartic stuff, wrenching out of the plum guts of this dude's writhing psyche and put out there for the taking'”So at least he's found some supporters, by George.
Borchie's songs on this second volume are two years old, and even though they actually sound like they're from two years ago (what kind of hyper-accelerated times are we living in, anyway?) and nothing here is quite as rustically pristine, inspirationally stirring and magnificently grandiose as his brilliant Moth suite from, gee, two years ago now, this second Remains collection's still erupting with heart. A bit drearily dragging and sad at times, but so is living in a city, right? Brian Borcherdt hails from Toronto; you can hear it in his songs'”weary, isolated and crying out with intimacy. That sounds like Toronto to me. '“ Kevin Hainey
File next to: Your heart medicine, piles of letters from past lovers.

Boris
Akuma No Uta (Southern Lord, www.southernlord.com)
So you're probably well aware that droned-out stoner metal is this season's hottest musical sub-genre, momentarily pushing aside disco-punk, psych-folk, noise-rock, outsider music and Brooklyn psych as the be-all end-all in the cool-kid spectrum of the experimental indie limelight. Doomy drone-metal bands like sunn o))) and Khanate seem like they might just get big enough to be able to make their rent on time. Even Dylan Carlson was able to shed enough of the guilt the Kurt & Courtney documentary must have laid on him to reform '˜90s fuzz-drone purveyors Earth and do some gigs again and Skullflower (who started all this drone-metal business in the early '˜80s when all of that power electronics appropriation business was going on) is in top gear again on their new Orange Canyon Mind release for Crucial Blast. Yep, if this were a perfect world, Budgie would get a full deluxe reissue deal from Universal, sunn o))) would headline Lollapalooza AND Glastonbury (remember Orbital?), and Japanese power-trio Boris would be on the cover of Rolling Stone, being hailed as the band who are resurrecting that old man with the bundle of sticks on his back we so flippantly refer to as rock and roll. This is because Akuma No Uta combines Boris' many styles'”droning sub-bass tones, four-on-the-floor garage rock anthems, and bloozy extended jams'”into one palatable listen that coolly moves from one to the next. Akuma also marks out exciting new Boris territory with its jagged rawness, which feels much more alive than the festering ebb-tonations of last year's ever-so-slightly middling Amplifier Worship. Plus the cover is a modest, whimsical take on Nick Drake's Bryter Layter. Still wondering why Southern Lord is putting out some of the best shit around? Because we have entered the drone-metal forest and it's not gonna get clear-cut, not while there are bands like Boris to hug its trees, not ever. '“ Kevin Hainey
File next to: early Budgie, Zoobombs CMW bootlegs, Asva.

Crain
Speed (Automatic Wreckords, www.crainspeed.com)
This crazy mid-90's comeback is going on right now or something. Next thing I know, there'll be like Massive Attack all over the place, but before that, we can load up on all the Crain we can handle. They came up with Rodan, and are sort of tails to Rodan's heads, which is a hilarious way of saying they sound like Jawbox came over to your house and is yelling at you and you're worried you might get hit. '“ Matt Fucking Collins
File next to: This fucking 90's comeback.

Fabienne Delsol
No Time For Sorrows '“ Damaged Goods (damagedgoods.co.uk)
This debut from one time singer for The Bristols is interesting albeit not that original. This is another release to emerge from the infamous Toerag Studios in London, a studio that was responsible for the Elephant album, by that drums and guitar duo from Detroit. Delsol originally from Limoges, France wears her retro influences quite visibly, especially those of ye-ye chanteuses like Françoise Hardy and France Gall (whose 'œLaisse Tomber Les Filles'? she covers quite brilliantly). An interesting mix of Rickenbacker English 60s beat music and psychedelia along with Delsol's sweet french-accented vocals make this an amusing listen. But generally there is nothing here that we haven't heard from other Damaged Goods artists like Holly Golightly or most of the artists on the Rainbow Quartz label. But the strength here, like a lot of ye-ye era songs, is in the singles and not the album as a whole. '“ Steven Venn
File next to: that cool 60s-loving French chick who moved in next door.

DIG!
Palm Pictures (digthemovie.com)
For 7 years filmmaker Ondi Timoner followed the rivalries of two Portland rock bands. One, The Dandy Warhols became famous quickly but weren't all that profound. The other, The Brian Jonestown Massacre was prolific, but destined for cult-only status. Culled from literally hundreds of hours of footage, DIG! is an examination of how fame can ruin an up-and-coming band or cause another to implode due to the lack of it. The Dandys go from being a cool indie band to making something akin to a Duran Duran video, jumping the shark long before they expected. In their shadow, Jonestown's troubled frontman Anton Newcombe toils away in obscurity and drug addiction while alienating his band members and sacking every opportunity for success. Ultimately it's Newcombe who will be victorious one day garnering cult status while The Dandys will end up as a footnote in the history of alternative rock. '“ Steven Venn
File next to: Jonestown revenge a dish served way cold.

The Dirty Projectors
The Getty Address '“ Western Vinyl (www.westernvinyl.com)
The Dirty Projectors is the brainchild of Dave Longstreth, a certifiable madman and genius who wrote and recorded this operetta with a huge number of collaborators including Vuk, the Finnish goth diva. The Getty Address is about Don Henley but unless you look for the references, you wouldn't know it by listening alone. Although an opera about Henley might seem silly, The Getty Address is actually very beautiful and it's a piece of music that requires a bit of time to appreciate. You really gotta sit down and listen to this shit with the lights turned low and stuff, y'know, that's when the madness takes hold. Pots and pans make rhythms that thump like ancient tribal drums and then they're remixed and layered and joined by twinkling chimes, wind and cello ensembles and a choir. The singing is much like mad ranting and it has a very hallucinogenic quality because of that. It's a continuous piece but there is some semblance of songs, however the notion is fleeting and things flow in different directions, giving this a very loose and cacophonous quality. The Getty Address reminds me of Bjork's more experimental work '“ choir, matmos slicing with the laptop, a bunch of other strange instruments and some outlandish, passionate singing. I imagine that The Dirty Projectors put on a hell of a live show. '“ Marinko Jareb aka DJ $tinky
File next to: Bjork, Microphones, and the opera section.

The Fugue
Four Corner Races '“ Recommended If You Like Records (www.riylrecords)
The Fugue are an in your face, explosive five-piece rock band from NYC. They're loud and crazy, and apparently when they play live, shit has a tendency of getting broken and people have a tendency of getting naked. What am I, at a fucking rap concert? Either I don't get it or this sucks. Sorry, I'm not 14 anymore. '“ Marinko Jareb aka DJ $tinky
File next to: noisy shit with screaming

Great Lake Swimmers
Bodies and Minds '“ Weewerk/Misra (www.greatlakeswimmers.com)
There are many beautiful things to be heard on this sophomore release from Tony Dekker. Where his debut was more of a solo effort, here a varied palette of players actually enhances the mood and adds depth. Erik Arneson's banjo and Sandro Perri's lap steel aid quite effectively in conveying that rural isolationist vibe. Dekker has gathered here another sublime collection of quiet and fragile songs that further his examination of the existential. I would love to see Dekker and Ron Sexsmith do a duet sometime as they seem to share that certain sad-voiced kinship. Recorded this time in a church, which seems like a natural progression sonically from his grain silo-recorded debut, these songs have a lot more layers to them. But at their heart these are still poignant portraits of one man's search for meaning in life. It's a sad and beautiful world. '“ Steven VennFile next to: Iron and Wine, Mark Kozelek and other melancholy crooners.

James Taylor
Carthage Milk '“ Logistic Records (www.logisticsrecords.com)
James Taylor is one half of the duo Swayzak who had an underground hit last year with their electro flavoured single, I Dance Alone. Carthage Milk has JT traveling back to '98 and the release of Snowboarding In Argentina, Swayzak's first outing, to rediscover the deep, contemplative roots of their tech house sound. Clear, crisp microsound has never been so groovy and rolling as on the opening track, Never Really Wanted. The jumpy beats of Jackflap are enough to drive any dancer crazy with frustration while Take Me Or Break Me hits the sweet spot with a quirky buzz and melodic strings. Unfortunately, there aren't many electro influences on this album although Myoptix has a driving electro bassline that's worthy of some serious dancefloor energy. The bowed double bass sounds on Wagonlites underscore the thumping kicks with a memorable melancholy feeling perfect for rainy days. Taylor has made a very moody yet funky tech house album, a nice addition to more adventurous techno record collections. '“ Marinko Jareb aka DJ $tinkyFile next to: Moody Quarky Dance Stuff

The Keep Aways
The Keep Aways '“ Sonic Unyon (www.sonicunyon.com)
You know that scene in Swing Kids when that dude with the bum leg slits his wrists with the broken record? Well listening to this CD nearly took the same toll on me. I don't know what the fuck is going on here. It's like the music just took a dump in my ear. This is just another young lady trying to do her best impression of Brody from The Distillers while slurring her words worse than a stroke victim. The fact that there's a disclaimer on the case stating that the listener may need "to duct tape yourself to your seat in order to keep from hurting yourself" made me laugh so hard that I fell out of my chair, thanks for the heads up. This should be kept away from people who like innovative and creative punk bands...or people with functioning ears. '“ OH FRIG
File next to: your old Epitaph comps and Raw Energy Records CD's'¦or just throw it out.

Kid Loco
The Graffiti Artist (original motion picture soundtrack) '“ Sonic Unyon / Mettray Reformatory Pictures (www.sonicunyon.com)
This CD is really good for when you walk around with your headphones on and pretend that you're in a movie and that your music is the soundtrack for the movie. DJ "Kid" Loco (who looks to be at least 30'¦LIAR!) would like this album to be regarded no only as a soundtrack but also as a separate, full-length album'¦so now he's a liar, and a cheat. I actually really like this CD, but only when I'm pretending I'm in a movie or relaxing in my room. It's a really relaxed, instrumental hip-hop album (with live guitars, trumpet, clarinet and keyboard), but in the end it's just kinda too slow-paced. The Middle Eastern influences on the CD are pretty dope, but that doesn't make up for the fact that like 5 of the 8 songs sound like slightly different remixes of the same thing. Which is fine for a soundtrack (i.e.: Amelie's soundtrack and me imagining I'm a delightfully inquisitive French tart), but for a stand alone album it just seems lazy. '“ OH FRIG
File next to: Express Rising, Nobody, Asian Dub Foundation (if they had Mono).

Konono No.1
Congotronics '“ Crammed Disc (www.crammed.be)
SO, it's official: NOBODY'S the most for real after Konono No.1. THEY MADE THEIR OWN EVERYTHING FROM SCRATCH. You can stop thinking about that shit as of now (you were stupid to worry about it in the first place). Also, this record rules all other records (even the ones I like). They play thumb pianos the hardest. Their thumbs must be huge is all I can think because what the fuck. Have you heard it? It's like a wild party of thumb piano. It's huge, and it's the greatest thing ever (better than Nirvana). '“ Matt Fucking Collins
File next to: A little something I like to call COMMITMENT!

Lungfish
Feral Hymns '“ Dischord (www.dischord.com)
You know, twenty years hasn't changed Lungfish ONE BIT. But when you're simultaneously the heaviest and the pot-smokin'est band on Dischord (not to mention the only one not from DC) does it matter if your growth is comprehensible from the outside? I can't wait to have teenagers now so that when they try to sneak past me baked I can throw this on and they'll be like, "Daaaaaad!" and their friends will be like "Your parents are OK with smoking up? That's cool, man, my parents would freak."
The sad part is, pot will be legal and, justly, completely uncool by then so I will never have the chance. UNLESS YOU ALL VOTE CONSERVATIVE IN THE UPCOMING ELECTION AND SEND US BACK TO THE STONEAGE POLITICALLY.
Lungfish: neocon subversion infiltrating DC hardcore's hallowed halls? '“ Matt Fucking Collins
File next to: Time capsule 90's indie.

Mommy and Daddy
Fighting Style Killer Panda EP '“ Kanine Records (www.mommyanddaddy.com)
The East Village's electro-punk power couple are back with more sexy bass and drum machine action. I say back as this is their second release (after the very good but extremely hard to find debut, Live How You Listen). This ep once again showcases the superb yelps of the tattooed and tightly wound Edmond Hallas (sounding like the hyperactive brother of Johnny Rotten) and his partner in crime Vivian Sarratt. Sarratt plays overdriven bass while Hallas operates an 808 drum machine and sequencer. Sometimes they switch roles. Like other bass and drums duos (such as DFA 1979) they kick it even with the most modest of resources. Sarratt's voice is especially dirty and sweet on the aptly titled 'œConfection'? (with two versions appearing here). Live they're quite a party so be sure to catch them when they roll through T.O. next time if you missed their recent Drake Underground show. '“Steven Venn
File next to: The Sonny and Cher of electro-punk.

More Dogs
Never Let Them Catch You Crying '“ Monitor Records (www.monitorrecords.com)
This CD is amazing. It's really atmospheric and kind of sounds like a creepy circus mixed with the soundtrack to an old expressionist-horror movie like Nosferatu or The Cabinet of Dr. Caligari. It's really nice when people just get together and make genuinely good, original and fun music. Don't get me wrong, this isn't "dance-party" fun, but it's really nice to listen too. The most of the tracks are pretty mellow, but there are a few instances where the energy picks up, and don't think for a second that the mellow parts are in the least bit boring either. Musically, there's a lot going on here for just three guys to make, especially considering the album was almost completely recorded live, so I'm pretty impressed with how incredibly full it sounds. Aside from guitar, bass, organ and drums there's also guest-appearances from fan favorites like whistles, triangles, cowbells, blocks, slapsticks and the ever-delightful vibraphones (HOLLER!). The world is a much better place with More Dogs'¦I just hope the Pound doesn't catch and euthanize them'¦HA!'¦oh fuck...I'm a lot of fun. '“ OH FRIG
File next to: a Tim Burton starring The Black Heart Procession playing a pop band.

Nassau
A Fire In the Ashes '“ Broadcast (www.nassau.ca)
I thought for sure Nassau was gonna be another suave group of generic modern rockers trying to convince me that they're British or that I should want to fuck them, because being British (you know, drunk and uninhibited) and sexed up is what the media (and Maggie MacDonald) tells me is the root of all happiness and fulfillment, but I was, as always, overjoyed to discover that these four boys have a little more up their sleeves than that'”they've got chops that rock, sheens of psychedelic overtone that somehow don't sound canned or borrowed from the Dandy Warhols or some other fourth-generation style, and a fairly wide range of interesting song ideas. I can't really make out most of the lyrics, but they're probably just self-righteous drivel anyway'”almost all rock lyrics are, unless you're Steve Earle. I caught a couple 'œNobody sees what's going on'?'s and something about 'œcasting stones into the river'? on 'œMelody Sees,'? so there's proof positive you're not gonna find any lines like 'œwhat costume shall the poor girl wear'? or 'œI was looking for a replacement when the sun burst through the sky'? on this here album. Bottom line: Nassau is a mark or two above all of those major label-funded wannabes that tripe like Jet and the Killers have paved the way for, but I still think they should have listened to a few hundred more albums before they started their band. But what the fuck do I know? Maybe they'll blow up and become the next Secret Machines. Wait, who the hell are the Secret Machines again? '“ Kevin Hainey
File next to: Secret Machines, the Ponys, the Warlocks.

P:ano
Brigadoon '“ Mint (mintrecs.com)
In the Gene Kelly musical the mythical town of Brigadoon appeared for one day once every 100 years. The latter half of this album definitely feels more like a stage musical. This release could have been two albums and maybe should have been. Generally I think this Vancouver band has got talent in spades, it's just where they put it that has to be refined. Brigadoon is a document of a band that has grown exponentially in musical terms but are still trying to find their niche. Stick to the straight ahead harmonized pop pieces and less on the pretentious wankery kids. At 54 minutes this album feels more like 80. Less songs, more focused and longer duration please (especially when rockin' the Yo La Tengo vibe in songs like'œStorm The Gates'? which gets short shrift at 3 minutes to make room for less inspired pieces).
File next to: Ida gene-spliced with The Decemberists and Blueberry Boats.

The Pathways
Productivity '“ Recommended If You Like Records (www.riylrecords.com)
The Pathways are a four-piece art pop ensemble out of Brooklyn, NY. Productivity is their first ever 7'? single despite the fact that they've been around in some form or another since the late 90's. This single is a prequel to their imminent album, Boat of Confidence coming shortly from RIYL. This three track taster is quite nice as a release in and of itself. First off, the artwork is pretty dope, designed by John Finneran, it's an illustration of four ghostly figures under a branch with a few fall leaves still clinging despite the wind. Put the record on and things get super dope. The Pathways are kinda like the Go-Betweens or Pavement. Told ya, DOPE! '“ Marinko Jareb aka DJ $tinky
File next to: artsy fartsy

Various Artist
RADIO PHNOM PENH '“ Sublime Frequencies (www.sublimefrequencies.com)
Okay, so Alan Bishop went and recorded a bunch of Vietnamese radio and then pasted it back together. THIS RECORD IS FUCKING AWESOME. Field recordings, garagey pop, intense dance music, talk radio, maudlin easy listening, radio noise and micro-harmonies go smush and come out with one of the most cohesive things I can think of in recent years. TOTALLY SO MUCH BETTER THAN EVERYTHING ELSE. '“ Matt Fucking CollinsFile next to: Fuck you, Negativland!

Various Artists
Poker Flat Vol. 4 '“ Poker Flat (http://ad.techno.org/pfr.php)
German label Poker Flat is DJ / A&R man Steve Bug's baby. As an artist and DJ, Bug is known for his minimal, yet super funky sound. He collaborated with, among many, Richie Hawtin and Toronto's now defunct Stickman Records before he started his own thing but the sound has been laid out for some time and Poker Flat has been an avenue for perfecting the formula. For more context, this label is on top of all the trends in dance and they injected the electro and acid back into shit when most people were still getting tribal, that said, it's still a predominantly tech house label. Poker Flat generally produces 12'? records, so the compilations are collections of the most stunning tracks and remixes the label has to offer and number four is simply stacked. The first disc is a straight compilation of tracks and disc two is a continuous mix by Jeff Samuel. With contributions from Martin Landsky, John Tejada tech soul man from San Francisco, Detroit Grand Pubahs (think Sandwiches), Sweden's Alexi Delano, The Martini Bros., Guido Schneider, ADJD, Jeff Samuel of Trapez fame and Bug himself, this compilation is an underground dance masterpiece. Killer. '“ Marinko Jareb aka DJ $tinky
File next to: Minimal and Funky