Ulteriors: Album Reviews

trip-hoppy beat allowing the fuzzy but perky bass to shine. As the film pulls into the home stretch, “Stoned II: Funeral Pyre” kicks into overdrive, with distorted guitars blaring like air raid sirens before being joined by the rest of the cacophonous ensemble. The members of Mahogany Frog are no strangers to musical experimentation, and some locals will recall their entrancing take on David Lynch’s Dune, performed at the Good Will a number of years ago. We can only hope that their reinvention of the Ocean’s Eleven soundtrack is imminent, but for now, it’s simply exciting to have two studio releases from them in such a short time. Many listeners might be wondering if it’s necessary to watch the film to fully appreciate the music on offer here – I suppose that is debatable, but I found the audio journey to be cinematic enough on its own. Sam

Doucet

Ulteriors

NIGHT COURT NERVOUS BIRDS! TOO

It’s grimy, it’s catchy, and it’s distorted. Vancouver power trio Night Court’s newest record is everything you’d want from a punk release. Throughout its short runtime, Nervous Birds! Too presents sensational melodies that cut right through the lo-fi, greasy guitar riffs, creating an electrifying listening experience. Each song is a short breath of fresh air, just enough to make you pound your fist and bang your head. As a whole, the album is perfectly paced, from the birds chirping early on the opener “Afraid of the Dark” to the laissez-faire attitude of the closer “Where’s Waldo.” Every song will leave you captivated in a different pocket of the band’s carefree punk sound and attitude, and their versatility is a huge reason for this. A new sonic palette of raw, dirty, and melodic punk is presented on every tune, making the album a sampler of sorts, showcasing the various directions the band can take. Since the same disillusioned vocal delivery and blissfully messy guitar work permeates the whole record, it manages to remain cohesive in its exploration of so many different melodic avenues. Having a dozen short songs spanning just over 17 minutes can be a risky recipe, but Night Court’s songwriting actually turns this into a strength. Instead of sounding underdeveloped, each song sounds like a short glimpse into the singer’s mind, nothing more than a few thoughts. The distorted and sometimes tinny sound coupled with the sharp feedback of certain tracks works in perfect harmony with this facet, making each song sound purposefully rushed and blurry, in a very tasteful manner. Songs like “Shitty Confidential” and “Sorry Syndrome” are other great examples of what makes this album flow so well. One song is about having nothing to say, while the other is about being “sorry for being sorry.” They are both written in the same cynical voice and recorded in the same lo-fi manner, so they fit together quite well with the rest of the record, even though they could not be any more different topically. On Nervous Birds! Too, the band strikes a fine balance between identifying a cohesive punk sound and varying it enough to make the album a roller coaster ride of disenchantment and melancholy. Olivier La Roche

BLUNT CHUNKS BLUNT CHUNKS EP

How can we work through regret and self-deprecation in the wake of trauma and emotional upheaval? This question is what Caitlin Woelfle-O’Brien, explores on her debut EP Blunt Chunks. Also performing under the name Blunt Chunks (a peculiar idiom), WoelfleO’Brien stares vulnerability dead in the eye and accesses nothing less than genuine candor. That dedication to vulnerability gives Woelfle-O’Brien the freedom to explore delusory feelings of inadequacy and remorse on the carefully crafted EP. “I don’t know how to love you without going red,” sings Woelfle-O’Brien on the opening track “Body Rush.” “I’m sick of writing eulogy’s in my head/I’m dreaming of death” marks a somewhat confounding moment in “Body Rush.” Up until that point, the track is an ode to young love, sexual exploration, and all things that give your stomach butterflies. The ethereal song floats lovingly until the second half hits an emotional brick wall— painting the song’s canvas lyrically with a bloody red. Sonically, the cosmic music touches on Americana and feels partially reminiscent of Fiver’s approach to country music. As a whole, Blunt Chunks is an indie record that wades into the waters of other genres. Whether it be light country, singer-songwriter, or garage rock, Woelfle-O’Brien explores the recesses of her mind and uses a diversity of musical styles to represent the emotional upheaval. While some forays work better than others, the variety keeps the all too short EP compelling and consumes your attention. Possibly the most divergent track the best. “BWFW” shifts gears and turns Blunt Chunks into a masterclass in garage rock. The best and most surprising aspect of “BWFW” is that even though it sounds sonically disparate from the rest of the EP, it retains the same emotional laments as the rest of the record. The grunge bop comes out of left field and gives Blunt Chunks the vitality it deserves. “BWFW” shows that Woelfle-O’Brien can only wallow in lethargic ennui for so long before the anger breaks through the surface and unyielding rage takes over. “Am I going backward or forward with you?” Woelfle-O’Brien repeats through the song. The song’s emotional whiplash is represented by searing guitar solos, saturated vocals, and one hell of a climax. Blunt Chunks ends with the antiresolution song “Part Of Me.” “I want to know what’s right for me, and I want to see things clearly,” sings WoelfleO’Brien. Rather than indulging in anemic platitudes, Woelfle-O’Brien settles into the unknown. She clarifies her desire to be a better person despite the emotional trauma and is okay with not being perfectly okay. There are no easy answers on Blunt Chunks. Myles

Tiessen GEORGIA HARMER STAY IN TOUCH

The niece of well-known Canadian singer-songwriter Sarah Harmer, Georgia Harmer brings a similar brand of mellow indie-folk to her aunt’s style on Stay In Touch. Mixed in with this influence is a strong indie-rock sound that brings a quite entrancing facet to the album, showcasing Georgia’s talents as a vocalist, guitarist, and songwriter all at once. Backed by a band of jazz student friends, Harmer paints each song into a fleeting, emotionally charged picture with the lyrical richness and instrumental depth you’d expect from such a combination of musicians. Sweetly intricate instrumental passages, soaring pop-rock melodies, and heartfelt, vulnerable vocal performances are scattered across the record to create a sublime package of indie musicianship and songwriting. It is quite a debut full-length project for Harmer. The Toronto-based singer of only twenty-two kicks off the record with the intimate “Talamanca,” a delicate showcase of her vocal sensibilities paired with a graceful guitar, creating a warm and welcoming opening to the album. Immediately after comes “Headrush,” pulling you out of the dream world introduced by the opener with its determined drums and fuller sound. Rather than being jarring, this transition simply outlines the versatility of Harmer’s sound, raising the stakes for the rest of the record. This alternating pattern of softer and more energetic songs continues for the next few tracks, giving the album a captivating atmosphere that just keeps

dragging you in with every slight shift. Harmer’s vocals and guitar continue to shine on the track “All In My Mind,” a power-pop anthem that injects a jolt of life right near the middle of the album. Later in the tracklist, the folkier sounds start to mingle with the driving indie-rock of other tunes, like on the songs “Homes” and “Top Down.” It’s here that Harmer shines brightest, laying gorgeous vocal melodies and sunny riffs over the entrancing drums of her backing band on “Homes” and building an ethereal swell during the length of “Top Down,” culminating in a grandiose ending in pristine indierock fashion. The closing track “Just The Feeling” sees the album come to a close much in the same way it began, with a dreamy guitar-laden ballad. This time though, the sound is much hazier, as if we are left watching the artist ride off into the golden sunset after singing us her songs, giving the album a perfect sense of closure. Olivier La Roche

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