Chad VanGaalen - "Weighed Sin"

One of my all-time favourite humans, Chad VanGaalen, released Shrink Dust, his fifth full length, at the end of April and I'm ashamed to admit that I've only just begun to really appreciate it. I may have been distracted by all his other endeavours: his work with Viet Cong, his new Instagram account, and Zooosh, his comic series for Chart Attack. Every couple of years, VanGaalen pulls back the curtain and let's us take a look at all the weird stuff he's getting up to. Most of the time, I just sit back in awe.

Shrink Dust is less punchy than some of VanGaalen's previous releases but it moves slow and steady through the same kind of sophisticated songwriting that touches the best tracks of his catalogue. Along with its alt-country vibes, the songs on Shrink Dust have a natural flow about them: a clear contrast to the disjointedness that, for better or worse, has defined VanGaalen's previous full lengths.

Perhaps because of their intended use in an unfinished film project, the songs on Shrink Dust consistently tickle the imagination with bizarre imagery and shifting first-person perspectives. If it weren't for the disturbing confessions of its grotesque, pitiable character, "Monster" might as well be a campfire sing-along for kids. The stoner jam "All Will Combine" shifts between eerie verses and the spacey, organ-fuelled sounds of its celebratory chorus. Other beauties like "Lila," "Hangman's Son" and "Weighed Sin" (see the video above) follow in the tradition of songs like "Molten Light" (from Soft Airplane) and "Sarah" (from Diaper Island), blending VanGaalen's creepy brand of melancholy into the kind of earnest folk ballads that tug on your heartstrings and don't let go.

Churchin' up with Chad VanGaalen

One of my favorite Canadian musicians offers a few comments on the fact that more and more indie shows are happening in churches. It's a weird trend, but a good one. The feature--a promo for VanGaalen's third album,  Soft Airplane (2008)--is done by CBC Radio 3 and just so happens to be set in Edmonton; I'm pretty sure that the building featured in the opening shot is a United Church that I've attended.

Retro-spective: My favorite albums of 2011 (10-6)

This year I've gone a little overboard in my exhibitionism. Alongside the usual long-winded review you'll find original illustrations for each of my ten favorite albums. Some draw on a particular song, others are straightforward portraits; still others aim for something more personal and evocative.

In a year crammed full of nostalgia--from Destroyer's 80s homage to The Horrors' big-haired shoegazing, not to mention the forceful return of early 90s guitar rock via The Pains of Being Pure at Heart, Yuck, etc.--one album stood out for in its effort to draw this kind of memory work--and its politics--into question. But alongside PJ Harvey's meditations on nation and violence, other artists pushed through familiar territory to produce new sounds. Earlier this year, James Blake had the press swooning with his dubstep-infused R&B and Colin Stetson channelled something chaotic and primordial with his multiphonic saxophone, while both Annie Clark (St Vincent) and Chad Vangaalen entered the ambivalent spaces of domestic life with tragicomic results. With every year it becomes more difficult to narrow down and organize a list of my favorite albums--I've pared it down from thirty or so. Strong releases from stalwarts like the Dodos, Wild Beasts, Bill Calahan, The Roots, and Stephen Malkmus require some mention, as do new discoveries like Iceage, Dog Day, Main Attrakionz, Braids, the Weeknd, Shabazz Palaces, Peaking Lights and Jessica Jalbert. For many it was the year of Bon Iver, a charming enough folk-singer who turned out to be incredibly polarizing (producing among some of my friends the longest Facebook debate I've ever taken part in). Meanwhile, Radiohead fans had to grapple with a surprisingly weak showing from a band whose fans have come to expect nothing less than game-changers--besides a viral video, it seemed less an RH album--less a cultural event--than a blip.

I've split the list in half, with the first five following below. I'll try and post my top five in the next several days.

10. Chad Vangaalen - Diaper Island (Flemish Eye) 

It's not his best record, but it's probably his most consistent. If you like restrained guitar noise and conventional folk-rock this is the Chad Vangaalen album for you. It's full of moments that can only be described as "heartwarming" (but in Vangaalen's imagination, I'm sure this kind of description gets at something more perverse or grotesque than sentimental). Although it pays lip-service to domestic topics like child-rearing, relationships, etc., Diaper Island is still full of the wonderful weirdness, humor and creativity we've come to expect from Vangaalen. This illustration is based on one the album's more frenetic tracks, "Freedom for a Policeman." The song would be a straightforward punk jam about a violent encounter with the law were it not for a hilarious bridge/breakdown, where the policeman's blows slow down and we become privy to the psyche of an agent whose enforcement of the law is momentarily suspended--suddenly, at the level of fantasy, something sappy and pathetic comes into view. That's my take, anyway. Vangaalen's at his best when transforms the familiar into something strange and surprising.

9. James Blake - James Blake (Universal)

I'm not usually one for singer-songwriters, but James Blake is in a separate class. A poppier dubstepper, Blake introduced me to the wonderful world of sub-bass--his album also convinced me that I need a new stereo/soundsystem to appreciate the depth of his sound. It all sounds effortless. Sure, it's pretty music with a wide appeal, but each of the songs on Blake's debut retains a degree of darkness that keeps his music compelling, mysterious even.

8. Destroyer - Kaputt (Merge)

Dan Bejar has been kicking it for nearly two decades. In my mind, this is his best album since 2001's Streethawk: A Seduction. Those of us who've been craving layers of ambient brass and woodwinds over top mid-tempo electro beats can pass out with smiles on our faces. The much-hyped 80s motif has found an appropriate home in Bejar's well-oiled hands, and the result isn't so much sentimentalized nostalgia for a wasted decade as it is reminiscence of parties we were too young to appreciate.

7. St. Vincent - Strange Mercy (4AD)

"Forgive the kids for they don't know how to live." It could be a simple accusation, but St. Vincent's Annie Clark spends the greater part of her third album accepting responsibility and dealing with the crushing guilt of her own failings. Part of what makes her so compelling is the feeling that she really shouldn't have to do so--that she's constantly reacting preemptively against what people think of her. Songs like "Cheerleader" "Neutered Fruit" take a confessional, prayerful tone that's anything but comforting: she's constantly putting herself into question, at one point memorably imploring a surgeon to come cut her open. The whole thing seems like a perverse, sacrificial offering--not so much an apology as a window into her own twisted psyche. Strange Mercy is "strange" for a variety of reasons: musically, it's adventurous and unconventional; lyrically, it's honest and evocative. But despite her best efforts to lay bare her own depravity, Clark seems unable to produce anything that's not beautiful, or at the very least, compelling. Indeed, it's strange that this confusing existential mess could be delivered with such force and candor and still require mercy. For Clark, the error of self-interest--manifested in her own guilt-ridden account of despair--is always there, lurking in the shadows. As with Terrance Malick's recent film Tree of Life, Strange Mercy succeeds in showing us how productive the traditional dialectic between nature and grace can actually be. "It's not a perfect plan," she sings on "Champagne Year," "but it's the one we've got."

6. Cymbals Eat Guitars - Lenses Alien (Memphis)

Along with a handful of well-recieved albums from the past year (such as those from The Pains of Being Pure at Heart, Yuck, etc.), this album sounds like it could have been released fifteen years ago and would have had no trouble finding an audience. (Here is where I would normally list a bunch of bands that New York's CEG sounds like, but it's obvious enough.) But as nostalgic retreads of the 90s go, this is by far the most dynamic and well-crafted. It's also the most melodic guitar based rock record I heard this year. The songs on Lenses Alien are the kind that harness and transform the abrasive energy of teen angst into sheer catharsis. That description's a bit overstated, but so is my subject matter. For all the missteps (such as "The Current") and cringe-enducing lyrics (that more often than not resemble bad high school poetry), I'm won over by the unapologetic delivery of Jeremy D'Agostino's vocals. Sometimes he sounds like Conor Oberst in the worst way; other times his belting sounds like a real exodus.

New Music: Wye Oak, Chad VanGaalen

Of all the stuff I've been listening to over the last month it was Wye Oak's new album Civilian, in particular, that carried me through to the end of the semester. It's a soothing, satisfying record: cohesive and gentle, but incredibly cathartic and uncompromising at the same time. It's the kind of record, in other words, that you'll want to listen to all the way through. This is going to sound like the worst kind of cliche, but for me, Wye Oak have found a paradoxical balance, the fullest expression of which can be found in the alt-rock of the early 90s (I have no problem admitting that the closer an album comes to mapping fragility and aggression simultaneously--like, say, Siamese Dream or Rid of Me--the more likely I am to embrace it). So it's a little creepy how much this album seems suited to my tastes.  Wye Oak's second proper LP highlights a stunning vocalist (Jenn Wasner), ample feedback, grungy breakdowns and lyrics with vaguely religious themes. For instance, there seems to be an ongoing dialectic between Creation and Evolution in Wasner's lyrics that's oddly compelling. Musically, things appear relatively stripped down (the band performs as a two-piece), but every so often Wye Oak's sound becomes incredibly expansive. I've posted my favourite track ("Dog Eyes") below. It rocks pretty hard.



 I've also been enjoying Chad VanGaalen's latest (fourth, I guess) album, Diaper Island. It appears to be tied together by themes of domestic life, but no worries: there's still plenty of weird stuff going on. Musically, however, it's significantly more well-behaved than his previous albums. That's not necessarily a bad thing, especially for those of us who loved Women's Public Strain (produced by Chad last year). Most of the press surrounding the album has emphasized its straight forward rock aesthetic, but Chad's been toeing that line as long as he's been putting out records. He's reported to have submitted over three albums worth of post-Soft Airplane material to Sub Pop for this album, so we'll have plenty of b-sides to look forward to. The record is out May 17, and is currently available for streaming via Paste. I've devoted a lot of time to Chad's previous records, so I'm not going to get ahead of myself and call this his best; then again, I'm not going to pretend that Diaper Island isn't awesome, and I'm sure I'll be posting on it again. The song below is a real stunner. This ain't Bob Dylan's "Sara."



I should probably also mention some of the big guns.

Yes, Panda Bear's Tomboy makes good on the hype, and, personally, I think it betters 2007's Person Pitch. While we're speaking of albums that improve on their predecessors, I've also been enjoying the latest effort from Seattle's Fleet Foxes (Helplessness Blues) and tUnEyArDs' (yes, the mixed cases are intentional) second album, w h o k i l l. In the coming weeks, I'll be looking forward to new music from the Antlers, Wild Beasts, and Gang Gang Dance.

grunge kids

Tonight Chad VanGaalen played at the Park Theatre. It was a brilliant set, half of it made up of new material. He said he was a bit embarrassed to still be touring with Soft Airplane, which hopefully means there will be a new album next year. The new material sounded great, but I was said to hear so little from his previous albums (Infiniheart was totally absent, and he only played a couple songs from Skelliconnection). It was a heavy show, and Mr. VanGaalen was as talkative as ever. He played the theme from "Friends" and discussed his bowel situation. He even consented to a request for "Poisonous Heads." Grunge is on its way back. It's about time.

My interview with him for Stylus is finally up.

And here's my review of his latest release.

I've also started doing artwork for the Uniter.

For some odd reason I've joined a curling team. Our first practice is tonight. Only one of my teammates has curled before. But I do have a pretty wicked collection of sweaters that I'll be showing off every game. I've never really understood why some people have such a deep love for curling, but I've been told that our rink has a very affordable bar. You can drink beer while you huck rocks down the ice at other rocks. I also recently discovered that you can drink beer while you play golf. It was a revelation. What most of us consider boring, lazy sports (usually involving middle-aged white men) often involve alcohol consumption (not simply after the game, but during!). This is slowly starting to make sense.

+ + +

Lately, I've started reading the theologian Paul J. Griffiths' blog, which is updated with suprising regularity. His reflections may be brief but they're never short on insight. Griffiths is the Warren Chair of Catholic Theology at Duke. I became aware of him when he gave the 2005 J.J. Theissen lectures at CMU. Later published by CMU Press, The Vice of Curiosity: An Essay on Intellectual Appetite remains the best lecture series I've attended, not to mention the strongest book of theology CMU Press has published. A staunch Augustinian, Griffiths, in a recent post, approaches the current debate in American politics over universal access to healthcare in this way:

Faced, then, with a proposal to reform healthcare in the USA, you will advocate what you advocate and oppose what you oppose not because of calculations about outcome, but because of beauty. On this ground, everything is clear: access to healthcare is a right, a condition for human flourishing; a system that makes access contingent upon features extraneous to being human — such as having paid work — is ugly. Attempts to redress the ugliness by insurance compound it: insurance is part of the ugliness, not part of the beauty. The proper solution, the one to advocate with passion, is universal free access. That is the starting point.

Well put. I'd like to see Obama try using this argument.

+ + +

So Chad VanGaalen didn't win the Polaris Prize. Well, it's likely he'll be nominated again for his next album so I'm not too torn up about it. Instead Fucked Up, a harcore-punk band from Toronto walked away with $20000. They've said they'll be donating the money to a charity that spreads awareness about missing aboriginal women. Read more.

go chad go!

More incredible goodies from the man who doesn't quit:

• interview excerpt in which we discuss the Polaris Prize
• free downloadable EP of b-sides from 2008's Soft Airplane (!)
• new music video for "Metal Spiderwebs" from his newly released instrumental side project, Snow Blindness is Crystal Antz, from his electronic alter-ego, Black Mold

Black Mold: Metal Spiderwebs from Flemish Eye on Vimeo.

why Chad VanGaalen should win the Polaris Prize

Today I got to talk to one of my favourite musicians. The interview is scheduled to appear in the next issue of Stylus, which should be out in the coming month. Here's the intro/teaser:

Chad VanGaalen may be many things to many people, but one thing is certain: he embodies the do-it-yourself aesthetic at nearly every level. From self-production and designing his album artwork to building instruments and animating his own music videos, it’s difficult to think of something that VanGaalen isn’t good at. Now after three diverse albums of homespun folk rock, the Polaris Prize nominated Albertan has released his electronic side project, Snow Blindness is Crystal Antz, under the moniker Black Mold (on the Calgary-based label Flemish Eye). Stylus caught up with Chad VanGaalen to discuss his musical alter-ego, his artwork, and why it's unlikely that he'll be invited back to perform at the Winnipeg Folk Festival any time soon.

Intrigued? Of course you are. Who get's banned from Folk Fest? Well, you'll have to wait and see. All I'm going to say for now is that it has something to do with "corpse porn."

We also spent five or so minutes discussing the Polaris Prize, for which Chad's third album, 2008's Soft Airplane, is nominated. Now, I realize pretty biased, but I do not see how any of the other nominees (save Fucked Up's The Chemistry of Common Life) should even stand a chance against such a strong, engrossing album from an artist who is (arguably) Canada's best and most original young songwriter. Chad was also nominated for 2006's Skelliconnection, which should have won instead of Patrick Watson's crappy Close To Paradise. Besides, Mr. VanGaalen has also produced one of last year's best records (Women's self-titled debut) and is at work recording their follow up.

Best of all, I recently discovered that Chad VanGaalen was once a guest on David Letterman, but not as a musician. His performance here fits into a segment called "Stupid Human Tricks." Unfortunately, you'll have to wait until 2:34 in the clip until he appears, but, trust me, it's worth it.

the arrogance of spirit

I was recently asked to list my favourite records of the year-so-far. After some thought I scribbled down ten of them, in no particular order:

Veckatimest by Grizzly Bear
Bitte Orca by The Dirty Projectors
Here We Go Magic by Here We Go Magic
Heavy Ghost by DM Stith
The Crying Light by Antony and the Johnsons
Dragonslayer by Sunset Rubdown
Heart to Elk by Point Juncture, WA
Actor by St. Vincent
Jewellery by Micachu and the Shapes
I Can Wonder What You Did With Your Day by Julie Doiron

+ + +

On the academic front, just finished reading Umberto Eco's metaphysical detective novel, The Name of the Rose, which was first published in the early 1980s and indirectly responds to critical debates in the field of semiotics. I'm writing a paper for my course in medieval literature that compares Eco's use of detective genre conventions with Geoffrey Chaucer's Wife of Bath, whose prologue develops a sustained critique of the practice of "glossing" (an technique employed by clerks to guide interpretation by filling a book's margins with commentary, often offering a directive explanation of authorial intention) in medieval manuscripts. In both texts, the mutually constitutive roles of reader and text are embodied (by the detective and the trail he follows in Eco's novel and by the clerk and the Wife of Bath in Chaucer's text) and shown to be contingent--their relationship comes from what Eco's detective, William of Baskerville calls an "arrogance of spirit." In this way both texts question the basis of textual authority. As you can probably tell, I had some fun writing this paper. Writing about detective fiction isn't new to me. It's a great way to enter into a discussion over narrative and how meanings are constructed, especially when one is open to a specifically theological horizon. Two years ago, I took a course on the portrayal of detectives in fiction and film where we read stories by Poe, Doyle, Chesterton, Christie, Sayers, and what has become one of my favourite books, Paul Auster's New York Trilogy. Films were also a large componant of class and I'll have to revisit Jean-Jacques Annaud's 1986 adaptation of The Name of the Rose.

The Polaris Prize long-list has just been posted. Could this be Chad VanGaalen's year?

forthcoming from chad vangaalen

Black Mold - Snow Blindness Is Crystal Antz

Out 8/11 on Flemish Eye

This weekend, Women are playing at Winnipeg's Lo Pub, with Library Voices and Old Folks Home. The headliner's self-titled debut, produced by fellow Albertan Chad VanGaalen, was one of my favourite albums from 2008. Since it came out, Women have been everywhere, filling out venues in across Europe and NA. And yet, this is their (correct me if I'm wrong) third show in Winnipeg in less than 12 months. I'm glad they like us. There's no presale, so you better hurry on over because I'm positive this is going to sell out. 8:00pm. Damn, that's early. How did these guys become so popular practically overnight? Oh yeah - that's right. That link right there leads to one of the most crystal-clear pop songs from last year: brief and saccharine. And one of them's a Reimer!

+++

Currently enjoying...

JULIE DOIRON
I CAN WONDER WHAT YOU DID WITH YOUR DAY
I first saw Julie Doiron perform when she opened for Feist as part of Winnipeg's 2005 Juno celebrations. It was great show. Two solo sets from two of my favourite female songwriters. I was smitten. The only problem lay with a bunch of idiots who wouldn't shut up during Doiron's introspective set. She was quite irritable actually and obviously thrown off by their disregard for her performance. A couple years later she'd release 2007's brilliant Woke Myself Up, which marked a turning point of sorts for her. Just prior to Doiron's work on the album, she began to reconnect with her old band, Eric's Trip (required listening for Canadian indie kids), and started to revisit a heavier sound. The reunion led to a handful of tours and a new studio relationship with former bandmate Rick White, who has returned for I Can Wonder What You Did With Your Day. In the past, I've made the common mistake of confusing Julie Doiron with Cat Power's Chan Marshall. “Blue” and “Lovers of the World” from I Can Wonder... are perfect examples of their similarities. Both songs feature a lazy, graceful vocal approach that wanders over fractured guitar chords and sparse percussion. These days, however, Doiron's work isn't only superior, it moves well beyond those comparisons. Her vocals will forever possess that frail, almost defeated, spirit – which, often as not, is exactly what makes her more upbeat songs work so well. It's that kind of bittersweet sentiment that fills out Doiron's latest effort. Her penchant for introspective ruminations on the most ignorable parts of everyday life is still very much alive. She's still just as endearing as ever (I also recently discovered that "endearing" just happens to be the name of her label) and the grungier sound of a song like "Spill Yer Lungs" suits her quite well. Blending past and present, I Can Wonder What You Did With Your Day isn't only one of Doiron's strongest albums to date, it's further proof that she's currently among Canada's best songwriters. Recommended listening, indeed.

+++

In other exciting Canadian music news, I'm going to be interview Bryan Webb of the Constantines for Stylus Magazine this Saturday. Judging from the interviews I've seen him do, I've got to ask the right kind of questions or there are gonna be a lot of awkward pauses.

a taste of indulgence to come

Either more inspired thanks to the usual flurry of year-end blog activity, or empowered by the presence of my top ten list in Stylus magazine's year end feature, I couldn't resist starting things off with the albums that have driven me into seclusion over the last 12 months. Why anyone cares at this point, I'd love to know.

1. Deerhunter - Microcastle/Weird Era Cont

No album this year has absorbed me like Microcastle­, Deerhunter’s follow-up to the one-two punch of 2007’s Cryptograms and Fluorescent Grey EP. Seamlessly paced, Microcastle is driven by a nostalgic love affair with feedback and melody. Beginning with the soothing “Cover Me (Slowly),” Deerhunter’s lazy euphoria finally stumbles into the broken chords of “Activa.” But just when they appear to lose his steam, Deerhunter launch into “Nothing Ever Happened,” an impossible epic that explodes into an all-out prog-jam. Once Microcastle draws you inside, there’s no getting out.

2. Chad VanGaalen - Soft Airplane

Chad VanGaalen sounds joyfully at ease on Soft Airplane, his third album since debuting in 2005 with Infiniheart, a wonderfully dysfunctional collection of self-produced experimental folk-rock. The Calgary native dipped into the same pool of material for his 2006 follow-up, the Polaris Prize nominated Skelliconnection. Soft Airplane marks a new stage in VanGaalen’s catalogue: it’s his first offering of newly written material, recorded with an album in mind, and it shows. Amidst the garage crunch of “Inside the Molecules,” VanGaalen sounds truly content, while the sublime catchiness of “City of Electric Light” and the ecstatic electro-pop of “TMNT Mask” display VanGaalen in top form. With lyrics that fascinate and puzzle, VanGaalen’s chilling voice is unmistakable; as with his other albums, the artwork, like the music, is all his own, always twisted but eerily familiar.

3. Portishead - Third

What more could be said about this chilling assualt on the senses? Everyone makes mention of the long gap between Third and its predecessor and the fact that it sounds nothing like the smooth trip-hop Portishead helped define in the late 90s. Still, I think we all underestimated them and their ability to evolve and adapt. There's word of a Fourth on the way. I can't wait to see what Portishead does next.

4. Constantines - Kensington Heights
One of the few popular Canadian bands that still wears its punk politics on its sleeve, Constantines didn't release their best album this year, but they managed to open up their sound with an added urgency and made some intriguing theological statements in the process. Springsteen eat your heart out.

5. Times New Viking - Rip It Off

Some can't get past the audible feedback "hiss" that carries each track, but this pastiche of 90s DIY indie-rock is an indispensible testament to the incestuous nature of popular music. Loaded with melody, this helps make up for years of disgraceful major-label "punk-pop" sludge.

6. Stephen Malkmus & the Jicks - Real Emotional Trash
Post-Pavement (sigh), but engaging and surefooted - maybe a little too smooth. I don't care. Malkmus doesn't scare me off when he gets proggy and just having Janet Weiss pounding out beats is enough to make this a satisfying "prog rock" album, entact with Malkmus' usual drugged out self-reflexive jibberish - something I'll never get tired of.

7. NOMO - Ghost Rock

With their third album, NOMO had the sound I'd been waiting to hear all year. Always promised, never delivered. Ghost Rock had legs, a jazz record running through post-punk, treading lightly through the afrobeat revivalism that seemed to define this year's releases.

8. The Magnetic Fields - Distortion
First of all, its a brilliant pop album that should be recognized as such -with one of the best female vocalists around. Second, its soaked in feedback and sustains the novelty (the irony?) straight through songs that treat sex and alcohol like sacramental fixations.

9. Wild Beasts - Limbo, Panto
Chris Talbot, possesses a tight falsetto that can soar like Morrissey and a cathartic growl that brings to mind Carey Mercer of Frog Eyes. Talbot croons overtop waltzing guitars and tribal drums that never cease to sound like a death-rattle on repeat. Exhibitionists to the bitter end, Wild Beasts have discovered a cabaret in a cemetery, or in the final words of “Cheerio Chaps, Cheerio Goodbye,” they have created “a requiem in a circus tent.”

10. Nick Cave & The Bad Seeds - Dig, Lazuras, Dig!!!

Quite honestly, this is the first Nick Cave album I've really stuck with. It's worth its weight in critical acclaim, not least for the twisted nature of its concept, the gall of Cave's wordplay, or the uncanny work of the Bad Seeds.

11. M83 - Saturdays=Youth

12. Women - Women

13. The Walkmen - You & Me

14. TV on the Radio - Dear Science,

15. - Juana Molina - Un Dia