Alina Orlova: Laukinis Šuo Dingo (2008)

Any of you who commonly listen to 'foreign' music have probably heard of Alina Orlova. She is a young Lithuanian songwriter, specializing in the jazzier side of folk music. I should imagine that most readers of this blog are familiar with the style of music, but the style isn't necessarily what matters-- it's the talent. And Alina Orlova has talent.
She is among the many artists of the modern day who found their fame through demos released on the internet. Alina Orlova is no Justin Bieber, however. All of her songs-- on Laukinis Šuo Dingo and otherwise-- are magnificent compositions. Orlova possesses a unique voice, with the ability to be equal parts spectral and saccharine, and the fact that I can't understand a bloody word of the lyrics means that the entire mood of the song centres around her voice and her piano.

Laukinis Šuo Dingo is Orlova's debut, and is a few years old. You can, however, expect this year's Mutabor to be making the rounds of Top Ten lists, come December.

Laura Peek and the Winning Hearts: From the Photographs (2007)

You may have noticed some absence on my part. This wasn't due to laziness or forgetfulness, but rather to a sort-of disinterest toward every album that came my way. My past few months have been spent listening to the same Gaze albums on repeat and obsessively researching the Russian Revolution.

This changed when, a few years too late, I happened to hear the single off of Laura Peek's debut: Stand Right There. While I typically approach new albums with a music elitist's disapproval, the song had my instantly in love, and instantly making a purchase-- and one of my better purchases in ages.

The best terms I could use to describe this album are charming; quaint; sweet; but not in the same manner that one looks at twee. There is a peculiar sort-of old style class here, brought out by Peek's literary lyrical style (the one that makes me swoon). Her piano playing is lively, her voice sweet and girlish, and her subjects a tad on the darker side, creating a fun and dancey contrast.

Oh, and The Verdict is about Nabokov's novel Lolita, which charms me immensely.

The Diskettes: Weeknights at Island View Beach (2005)

The internet doesn't want to provide me with much information on this group, but here's what I know: The Diskettes are a darling Canadian twee band with dual male and female vocals. They also happen to be the some of the most fun you'll find in your media player.

Weeknights at Island View Beach is a definite pick-me-up album: it's cheery and charming and simple. They are comparable to other twee groups, yes, but there's a peculiar and different sense of inelegance that makes the whole thing just that much sweeter, more endearing.

As the word 'twee' implies, this album is adorable. Don't miss out on this gem.

The Beards: Funtown (2002)

Being a British Columbian, it is in my very nature to follow Lisa Marr around like a lost puppy (due, of course, to her role in the wildly popular Vancouver pop act Cub, active in the 1990s). Funtown is a particularly special album, however, because it also features Muffs frontwoman Kim Shattuck.

The two women's track combine beautifully on Funtown, making it almost impossible to distinguish the fact that they were penned by different writers. And the songs? Delightful and danceable pop/punk (and an actual combination of pop and punk, not the mess of teenaged angst that seems to have that title tacked onto it). It is something like a cranberry tart, with its perfect combination of sweetness and bite and can be easily adored by fans or either or both genres.

Good Luck: Into Lake Griffy (2009)

I could simply type "sounds like Nana Grizol", and Sheesha would be onto this like it was wearing a Chekov costume. But unfortunately for myself, more people than just Sheesha read this blog. So I will go into a little more detail. Good Luck is an all-star band (just like Nana Grizol) featuring members of bands like Matty Pop Chart (not like Nana Grizol). They are part of the Plan It X and No Idea records collectives, like other bands such as Defiance, Ohio. It is a very worthwhile record, and you should download it right now, and purchase the vinyl because it is apparently made out of different pieces of broken vinyls melted together apparently, but I don't know for sure because mine is still in the mail. Alex out.

Ballboy: A Guide for the Daylight Hours (2004)

I cannot help but find myself surprised that this band has attracted so little attention. Ballboy have been active since the late nineties, were a favourite of John Peel, and are absolutely delightful.
The highlight of this band is, by far, the lyrics, which are truly some of the greatest, wittiest words I've heard in a long time. I have caught myself chuckling aloud, in public, and oh, right, this is the band responsible for song titles like 'I Don't Have Time to Stand Here With You Fighting About the Size of My Dick' or 'I Lost You, But I Found Country Music', and if that doesn't have you sold, well, you're probably a lot higher brow than me.

And well, even if you do have classier tastes, don't go and ignore this band. The music is decent, with a bit of an emphasis on drums, and the melodies are simply lovely.

Recordings of the Middle East (2008)

...No, not THAT Middle East. The Middle East as in one of Australia's best bands at the moment. I thought I would start with one of my favorite Australian bands, The Middle East. Hailing from the northern reaches of Australia (unfortunately on the complete opposite side of the country than myself), they play post-rock-ish-ambient-kinda-music with a bit of fingerplucked-folky-kinda-stuff (NB; Sheesha! Music journalism is as hard as you said it would be!). They recently won the 2009 Triple J 'unearthed' award too. Good on them.

Tada Tátà: Tada Tátà EP (2009)

Despite the Tada Tátà EP only being seven short songs long, it is packed with enough charm to sell a listener within the first seven seconds.

As the album art implies, it sounds rather a lot like cats and teapots (or, if you would prefer, like two adorable Swedish women). It is chiming and charming and short enough that I find myself playing it over and over. This is music for humming and headbobbing.
And, really, I oughn't even need to say more. If this album is for you, you'll know just by looking at it-- I sure did.

Shoes and Socks Off- From the Muddy Banks of the Melitzer (2008)

Last weekend I had the opportunity to discover someone I had heard about but had been admittedly to lazy to check out. Live music is my favourite way of being exposed to musicians I haven't heard before.

Shoes and Socks Off is the musical project of singer/songwriter Toby Hayes I wouldn't say he's a great singer in traditional terms but its timbre suits the stories he weaves with his songs. From the muddy banks of the Melitzer was released in 2008 on Big Scary Monsters and is fast becoming a favourite of mine. Fresh off tour with Kevin Devine on the BSM Christmas tour where I'm sure he garnered new interest.

You'll definitely like Muddy Banks... if you're a fan of artistes like Frank Turner or Mumford and Sons, or the punk stylings of The Gaslight Anthem, since he manages to combine both the sound of an urban storyteller and the raw emotion at home at any punk club across the UK. From the muddy banks of the Melitzer is followed by Hand-reared Suburban Piglet this features all the songs of Muddy Banks... but instead of just Toby the songs also feature additional musicians. For now though, I hope you enjoy this record as much as I have.

Elk City: New Believers (2007)

When I initially bought this album, I did not like it. I listened to it once, stashed it away, and considered it a waste of money. Some months later, I put it in my CD player on a whim and was instantly lovestruck.

Renée LoBue's vocals are charming and powerful, ideal for rock music and easy to listen to. They do, truthfully, stand out as a highlight of the album and they stand out even more next to the masses of indie pop bands fronted by weak, timid vocals. Even the tracks with sounds showing typical indie popo potential are thrown far away from that definition.

The melodies are catchy-- not quite rock and not quite pop, and oh, is that a little bit of folk thrown in?-- and the album is easy to listen to in most situations. However, it just might take a little while to grow on you.

Bruce Peninsula: A Mountain is a Mouth

The album cover both perfectly defines this album, and manages to do the exact opposite. When I glance at it, a smile is instantly upon my face, and it delivers the right emotion. Just not enough of it.

A Mountain is a Mouth is a big record. It is epic and loud, and surprisingly organized, and one cannot help but close their eyes and try to pick the voices apart. One smiles and sways along and just waits for those special, single moments they find themselves attached to. It is an inspiring record. It makes you feel good.

The songs all flow perfectly into each other like extensions upon extensions in one fourty minute track. Even when one has learnt the album it still manages to surprise when suddenly, oh, no, that's a different track. The tracks do not all sound the same, no. They are simply all of the same idea.

It's the powerful sort-of thing that sounds like what disaster movies should be, but would never make the soundtrack for one.

Christine Fellows: Nevertheless (2007)

This is a recent addition to my collection, and so I am unable to say as much about it as I would like, but I felt the need to share this, because it is something that has managed to attach itself to me.

Although she's more attention for her marriage to Weakerthan's frontman John K. Samson-- who is also feautured on Nevertheless-- Fellows has a decent repertoire of her own; she composes for film and dance-- and Nevertheless is, in fact, her fourth studio album.

And so, what is Nevertheless? It is something quaint and maybe a tad quirky, packed with the sorts of sounds that inspire. The Spinster's Almanac, and Let Us Have Done With the Umbrella of Our Contagion have a chipperness that evokes images of birds-- finches and sparrows-- while tracks like The Parlour Rollers have a smooth melancholia to them-- but none of these tracks seem out of place; they do not grate up against each other or contrast too sharply. Rather, the album flows quite well, functioning the way it should: as a single art piece in itself, rather than a mismatched collection of songs.

The Besties

Well, I've been in denial up until now, but the Besties have broken up. To commemorate, here are 2006's Singer and 2009's Home Free. This is some of the most charming and fun pop out there, slightly keyboard-heavy with near perfect vocal meshing from Marisa Bergquist and Kelly Waldrop. It is quick to grow on its listeners, and these albums are destined to eventually be looked back upon as classic gems.

Amy Millan: Masters of the Burial (2009, leak)

Been a while? Why yes, it has. But today I come to you with a leak which seems to have been mostly overlooked, thanks to it leaking alongside Brand New and the Mountain Goats. I have, however, given Amy Millan much more devoted listening than either of those two albums (which is, I will admit, almost upsetting, as I am a long-time Brand New fan).

Masters of the Burial (which is officially released on September 8th) is a good deal less twangy than 2006's Honey From the Tombs. It has a much more familiar singer-songwriter sort-of sound but do not let this straying allow you to feel that it is bad.

The songs are delightful and peaceful; relaxing but not necessarily boring-- although I will continue to suggest you multitask while listening; I have enjoyed the record mostly while reading and sipping tea, but that is only because I am a pretentious brat.

Like any album, your opinion is still yours and it ultimately up to you. All I can do is suggest you give it a proper spin. And don't just listen while thinking about Stars or Broken Social Scene.
That's very rude.

Pants Yell! - Songs for Siblings (2004)

This album was, curiously enough, my first twee disc. I have some attachment to Pants Yell! because of that (although I am not terribly fond of 2007's Alison Statton).

Songs for Siblings is pretty simple, as twee goes (which can be an extremely positive point). You know what to expect-- but that makes it no less enjoyable. It's a pleasant listen with decent melodies, and I've a fondness for Andrew Churchman's vocals. Whether you fall in love with the album ort not is entirely up to you, but I can only imagine what sort of cold heart it would take to dislike it.

Chad VanGaalen: Soft Airplane (2008)

According to Last.fm, 'Chad lives a quiet life with his girlfriend and their dog in Calgary, and recently got his driver’s license.'

And I'm feeling lazy, so Wikipedia can write today entry.

Soft Airplane is the third album by Chad VanGaalen, released in 2008 on Flemish Eye and Sub Pop. It was VanGaalen's first album to consist entirely of songs newly recorded for the album; his prior releases compiled tracks from a library of home recordings he had made over a number of years.

The album's first single, "Willow Tree", reached #1 on CBC Radio 3's R3-30 charts the week of November 6, 2008.

The Sixth Great Lake: Up the Country (2001)

It seems a little bit strange to place one post between Finishing School and this album, but I didn't actually forsee today's upload when I posted Destination Girl (although, I may put up Guppyboy's Jeffersonville tomorrow, just to be consistent).

In case the above paragraph didn't tip you off, this is another album featuring Sasha Bell. Her contribution is, obviously, quite a bit smaller, but it is present and enjoyable nonetheless-- alongside fellow Essex Green members Chris Ziter and Jeff Baron.

It has a country-ish vibe to it (and I want to use this word loosely, because the definition of country has always escaped me, and it seems like no matter what I say, someone is offended).

I've had zero sleep, no coffee, and something like six cups of tea. I have no clue what I'm typing. Listen to the album; form an opinion. If you like it, buy it. If you don't, delete it from your harddrive.