Matt Epp and the Amorian Assembly - At Dawn

Matt Epp and the Amorian Assembly

At Dawn

(Independent)

rel. date: released

Hard-working local singer/songwriter Matt Epp has shown much promise over the short expanse of his career and with his latest album “At Dawn” he has reached an even higher level of creative achievement. As a small “c” Christian artist Epp always finds ways to weave his spirituality into his work and this time out, between the sweet folkie asides and the great out and out rockers there is The Lord. With his electrifying core band of Joel Couture, Antonio Lomas and Raul Bernard, Epp has come closer than ever to making his definitive statement. “Come To My House” featuring the roots-rocking Weber Brothers, uses a Neil Young & Crazy Horse meets Wilco edge to get its shadowy vibe across perfectly. It’s kind of gnarly and it works. The album closes with the very pretty “Set Sail”, evoking a hope for an empire of love somewhere over the horizon. That particular dawn may never come, but Epp surely makes you feel the possibility.

Jeff Monk

Rating: 4 stars

The Trews - Hope & Ruin

The Trews

Hope & Ruin

(The Trews Records)

rel. date: released

In a more perfect world, perhaps a world where folks were led less by their noses directly to the consistently underachieving, mainstream musical trough, a band like The Trews would be celebrated for their skills and given the keys to the kingdom. Now “Hope & Ruin”, the bands’ fifth full-lengther may not be the best album ever, but it is a set of well-built tracks that show some degree of maturity, is filled with pretty great hooks and is tracked in a way that makes sense-and it has a tonne of energy. The album was recorded at Tragically Hip dude Gord Sinclair’s studio and the result makes a strong case for hoser power in the form of timeless hooks and melodies that keep on giving after many listens. Singer Colin McDonald has the kind of tough, unpretentious rock-guy vocals that can’t be denied and delivers every song near perfectly. Play this one loud.

Jeff Monk

Rating: 4 stars

The Johnny Max Band: It’s A Long Road

The Johnny Max Band

It’s A Long Road

(Independent)

Website: www.johnnymaxband.com

Johnny “Max” McAneney is now on album number five and as far as contemporary Canuck bluesers go this one is a winner. Max has a super solid voice, kind of a less-raspy version of stateside soul/blues belter Delbert McClinton’s gravelly croon, and he makes it work wonderfully over the course of this dozen tracker. Track for track “It’s A Long Road” will withstand comparison to some of the best albums of the genre and that’s saying a lot. With a super-tight band and additional horn section making his personal and engaging adult-themed lyrics shine Max surely deserves some hefty accolades. If you are a blues fan of any stripe try and get on this road soon.

Jeff Monk

Memphis: Here Comes a City

Memphis

Here Comes a City

(Arts and Crafts Records)

rel. date: released

With their formerly austere sound now sharpened somewhat to a finer indie-pop point, duo Torquil Campbell and Chris Dumont take their collective musical vision to new heights. Not that “HCAC” is urban-sounding. Rather, the pair has made something of a light concept album that rolls out of the speakers like a wave of lingering softness. Nothing here will hit you over the head first time through. Like all albums that are destined to stay with you these ten tracks work best over a few listens and preferably late, late at night. The otherworldly, heavily echoed delight of “Five Loops” and the supple, guitar-filigreed flow of “Reservoir” confirm the somber mood yet somehow effervesce as well. “Wait!” delivers on the bands’ obvious love of New Romantic boy-pop at its most precious. There is a touch of the familiar here, yet these Memphis cats seem to be on a path that will gain them much respect amongst their peers.

Jeff Monk

Cold Cave: Cherish The Light Years

Cold Cave

Cherish The Light Years

(Matador Records)

rel. date: released

New York city’s Cold Cave ejaculate headlong into their sophomore album, the rather imitative “Cherish The Light Years”, but those modern hipsters that love to groove to mindless, dance floor-ready synth tunes will mostly find something to adore here. With it’s austere, Bad Seeds-derived cover art and menacingly themed lyrics leader Wesley Eisold makes no bones about his love for the flinty edges of life experience. It could all be a bit of glum fakery, or he and his troupe may actually be enraptured by a musical style that basically reached it’s practical popular zenith a couple of decades ago. Still, even Eisold’s exasperating sibilance can’t keep these folks from sounding like a stepchild to New Order’s offspring brought to the party just a little too late. The second half of the album retreats from the formula slightly and delves into more of an ambient churn. Truthfully, there’s nothing new here, but fans of the genre past or present will see the light.

Jeff Monk