LUCIE IDLOUT

ARCADE FIRE

www.arcadefire.com

Back in 2005, ARCADE FIRE was labeled "Canada's Most Intriguing Rock Band" in a cover story on the Canadian edition of Time Magazine. Time has a long history of prognostication where pop culture is concerned, the home edition's early endorsement of Bruce Springsteen coming to mind. On the eve of the release of Arcade Fire's self-produced second album, it will be interesting to see if the promise of their debut has legs.

Arcade Fire is intriguing, as odd as it may seem to use such an adjective to describe a rock band. Is Arcade Fire part of some grand scheme to effect some major change in...something? Probably not, but there is a richness in their sound that makes critics squirt pudding, which may feel world changing. 

The band plays deceptively simple, mid-tempo pulsation rock, sweetened with violin and synth, infused with a touch of traditional music, often through the accordion. That would all be interesting, maybe less than intriguing, but the sound is elevated by ultra-confident arrangements and the ultra-appealing voices of the husband-wife team of Win Butler and Régine Chassagne. There is additional potency in the feeling one gets that every player in the band - and Arcade Fire will post up a football team worth of musicians - is collaborating in an organic way. There is nothing canned about this band, it's all fresh and highly competent.

The cast of players includes Richard Reed Parry, Tim Kingsbury, Sarah Neufeld, Jeremy Gara and Win's little brother Will Butler. Of that lineup, Parry and Neufeld are also principal players in Montreal's exotic The Bell Orchestre (also featured on this page), a real testimony to the caliber of players in Arcade Fire. The Bell Orchestre recorded its first album in the same studio, and at the same time, that Arcade Fire was recording theirs. There was cross pollination of players, and probably more. The Bell Orchestre became an opening act for Arcade Fire, with Parry and Neufeld in both lineups, as Arcade Fire became the bigger commercial success.

Arcade Fire signed with Merge Records in 2004 and released their first LP, Funeral, inspired by a year that saw a number of deaths in the families of the band members. It may have seemed like a sober choice of title, but their landing caused ripples. Arcade Fire quickly established itself as must-see fare. There is a lot of integrity in this sound, some pure inspiration, though Régine Chassagne's vocals will occasionally bring to mind those of fellow aesthete Bjork. In fact, the association is closer than you can imagine. Bjork and Arcade Fire share the same management team. 

The inclination is to focus on the cohesiveness one hears in the Arcade Fire sound. You sense these people get each other. There is a kind of intimacy about the way they work, like they have found home turf. Régine is from a family that fled Haiti, and the dictator Duvalier, in the 1960’s, eventually settling in Montreal. Win was an itinerant musician who showed up in Montreal around 2002, found Régine, and started a songwriting partnership. The carrot-topped Richard Parry joined in, adding multi-instrumentation, and he recruited former bandmate Tim Kingsbury, and the Bell Orchestre studio chemistry increased the sound in sophisticated ways. Jeremy Gara stayed to play the drums, after being brought in for the first album sessions, and Sarah Neufeld stayed to play violin, both as full members of the band.

Arcade Fire performed on Saturday Night Live this week, adding to previous appearances on The Late Show With David Letterman and Austin City Limits. It is not hard to be swept away by the freshness, and the largeness, of their sound. It will be interesting to see if the follow-up album and that kind of television exposure puts them on the cover of Time stateside.

ARCADE FIRE: Win Butler, Régine Chassagne, Richard Reed Parry, William Butler, Tim Kingsbury, Sarah Neufeld, Jeremy Gara, Owen Pallett

Arcade Fire MP3s can be heard at their MySpace site at http://www.myspace.com/arcadefireofficial  

Edmonton, Alberta – Stony Plain Records has announced the signing of acclaimed blues singer/guitarist Rory Block and the September 30 release of her label debut, Blues Walkin’ Like a Man: A Tribute to Son House. The new CD features a special guest appearance by Rory’s long-time friend John Sebastian, who contributes harmonica on three tracks.

Rory Block was a 15-year old guitar prodigy when she first met the legendary Son House in 1965 backstage at a well-known Greenwich Village club. “Son House virtually radiated a golden light,” Block remembers of that first meeting. “I learned a deep lesson about the power of the music which became an inseparable part of me. Later, I had a chance to play for him. I will never forget his amazement as I played Willie’s Brown’s ‘Future Blues.’ He was asking people, ‘Where did she learn to play like this?’”

That meeting helped set a teenaged Rory Block on the blues path that has brought her international recognition as (Guitar Extra proclaimed) “one of the world's most important preservers of the roots of American music...a national treasure in the form of an uncompromising mature blues artist.” The New York Times summed up a Rory Block performance by stating: “Her playing is perfect, her singing otherworldly, as she wrestles with ghosts, shadows and legends.”

In addition to the critical plaudits she’s received over her extensive career, Rory has won five W.C. Handy Awards (now known simply as Blues Music Awards) from the Blues Foundation: two for “Best Traditional Blues Female Artist” and three for “Acoustic Blues Album of the Year,” the most recent being last year. She also tours constantly all over North America and throughout Europe.

On Blues Walkin’ Like a Man, Rory Block interprets 13 of Son House’s most powerful blues songs, including “Preachin’ Blues,” “Death Letter,” “Grinnin’ in Your Face” and Jinx Blues,” imbuing them with the visceral quality of the master, himself, channeling that energy through both her vocals and searing guitar playing.
Rory Block will tour extensively in support of her new CD, and is booked by Steve Hecht of Piedmont Talent (steve@piedmonttalent.com). For more information on Rory Block, visit www.roryblock.com or www.stonyplainrecords.com.

Stony Plain Records is distributed in the U.S. by Koch Entertainment; in Canada by Warner Music; and in Europe by Continental Record Service. U.S. publicity inquiries should be directed to Mark Pucci Media (mpmedia@bellsouth.net) / (770) 804-9555. Canadian inquiries should be directed to Richard Flohil & Associates (rflohil@sympatico.ca / (416) 351-1323

Bell Orchestre

www.bellorchestre.com

Montreal’s Bell Orchestre may be the most ambitiously original act in music today. With members including  multi-instrumentalist Richard Reed Parry (guitar, keyboards, percussion, accordion and crash helmet) and violinist Sarah Neufeld, both of the popular band Arcade Fire, The Bell Orchestre create what some describe as "Bela Bartok style Klezmer, jazz and gypsy folk," but what may sound to most like music designed to replace Pink Floyd at the planetarium. 

One can find odd promotional pieces on the Internet intimating that a night at a  Bell Orchestre show may leave one changed forever. That seems off the wall, but take a listen to their work, which has hypnotic qualities. The musicians are skillful at drawing listeners in to their elevated sound, which in lesser hands may seem simply self-indulgent. Somehow The Bell Orchestre folks tempt, intrigue and surprise in a way that can divert one profoundly. Their seduction is simple and without pretense, and certainly without self-reverence. Extended whole notes draw listeners in, pulling them away from what they were thinking, and locking them in a trance, and then there is Sarah Neufeld's extraordinarily satisfying violin sound. Performed at a high level, it is not potent so much for virtuosity as for accessibility and soulfulness. The Bell Orchestre feels at once ultra-modern and traditional, and they feel a lot like an ethos that was pervasive in the '60s, providing a sonic service to the jazz cigarette set.

Bell Orchestre is: 

• Richard Parry (bass)
• Sarah Neufeld (violin)
• Pietro Amato (french horn)
• Kaveh Nabatian (trumpet)
• Stefan Schneider (drums & percussion)

Bell Orchestre frequently includes Marika Anthony-Shaw, a violinist who also works with Arcade Fire.

There is an Interview with members of The Bell Orchestre at The Torture Garden site,  http://thetorturegarden.blogspot.com/2006/01/bell-orchestre-interview.html

Bell Orchestre MP3s can be heard at their myspace site at http://www.myspace.com/bellorchestre.

THE NEW PORNOGRAPHERS

www.thenewpornographers.com

THE NEW PORNOGRAPHERS are a Vancouver group that formed in 1997 and immediately hit it big with "Letter From An Occupant." The band claims as their influences The Moody Blues, Tubeway Army, Wings, always Wings, never The Beatles, Eno of course, you can't play ebow without sounding like Eno, Modern English, middle period post-Gabriel Genesis, The Stranglers, 10cc..."

Lucie Idlout

www.myspace.com/blueoctober  

Lucie Idlout, often identified as "Inuk Singer/Songwriter Lucie Idlout," is an interesting newcomer on the folk/blues/rock scene. It's hard to know exactly where to place her in the pop spectrum. It even seems hard for reviewers to get a handle on who she is, variously likened to Etta James, Marianne Faithful, and P.J. Harvey. No real stretch to hear the band Garbage in her track "Whiskey Breath," which sounds a lot more like L.A. than what one might imagine would surface from Nunavut, Lucie's native territory.

Lucie is a muscular presence, a growling singer, who isn't always pitch perfect but seems on point with authenticity. She has talked about her struggles to be seen as a rock singer, as opposed to some ambassador of native culture. In fact, her first album, E5770; My Mother's Name - the title refers to a past Canadian government practice of referring to the Inuit by number rather than by their Inuktitut names - was a balance of Lucie's rock self, but built incorporating some traditional sounds. As a cultural move, it was sensitive and appropriate. There aren't that many Lucie Idlout's surfacing from the small Inuit community, and her deference was well received. Lucie was awarded Best Female Artist at the Canadian Aboriginal Awards for her debut release.

Lucie has been vocal about her desire to not be viewed as anything other than a rocker, and has vowed her sophomore release will show that. In a recent Toronto Sun interview she said - "We've taken all the cultural elements out, so people can no longer confuse what we're doing for anything but rock 'n' roll," Idlout says. "I can't tell you how many times we've been billed as a world music band, and then we show up to the blue-rinse crowd and we're the devil.

"It drives me crazy. I'd like to do whatever style I feel like, on my own terms. Right now it's a process of breaking things down so people move away from cultural stereotypes. Later on, if I want to return to the cultural stuff, that'll be my prerogative."

The new release is due any time, and it will be interesting to follow. Lucie is a legitimate songwriter, skilled in the use of imagery and provocative in her word choices. It is the quality of her voice that most fascinates. I mean, how many 20-somethings get likened to Etta James? Or Marianne Faithful, for that matter? She'll get the cultural aspects of being an Inuit rocker put in their proper perspective eventually, so she and everyone else can concentrate on what an arresting presence she is.

Lucie Idlout has toured extensively through Canada, Europe and the United States. Idlout at one time was seen every Thursday night on television sets across Canada as host of Buffalo Tracks, APTN's talk and music show.

Lucie Idlout MP3s can be heard at her myspace site at www.myspace.com/lucieidlout.

In 2004, the song "Birthday", off Lucie's debut album, appeared in the film Crime Spree, featuring Harvey Keitel and Gérard Depardieu. Her follow-up album, Swagger, is slated for release in the winter of 2006.

RON SEXSMITH

www.ronsexsmith.com

For more than 15 years, Toronto's RON SEXSMITH has won the admiration of an impressive string of big name talent, including Elvis Costello, Sarah McLachlan, Radiohead, Bill Frisell, Gordon Lightfoot, Elton John, John Hiatt, Rod Stewart, Chris Martin, Paul McCartney and Bob Dylan. He has landed his well-crafted tunes in movies and television shows (most recently NBC comedy "Scrubs"), he tours extensively and enjoys a solid fan base, but he has not been a hit maker to date. The laurel wreath of respect he wears is that of a "songwriter's songwriter."

The picture on the right, which is about as expressive as Sexsmith gets, is remarkable for its apparent lack of irony. What you see, and what you hear, is what you get with Ron. He shares with Brian Wilson a kind of guileless quality that lends angelic power to his otherwise simple offerings. Sexsmith is nowhere near the composer that Brian Wilson was, nor does he aspire to be. One senses it is beyond his desire to range. He specializes in the sensitive guy with acoustic guitar sound, which is now being emulated in huge doses by Ben Gibbard with Death Cab for Cutie. Upon first exposure to Sexsmith, one might think one has stumbled across a children's act, so gentle is the approach, so quiet. Sexsmith gets his mileage out of observation, confession and honey-dipped sensitivity. He never stops tugging at your heart, exploring with wince-inducing innocence those places a guy should come away from feeling soiled, but Ron never does. He is either a coated cowboy, or retarded. Or maybe he is just an incredibly morose guy, like Elliott Smith, with an uncanny knack for mimicking the essence of traditional balladeering, like an Austin savant. Whatever, one doesn't sense there is going to be any real change, just a continuation of the pathos and melancholy that has defined his sound.

Besides, if it isn't broke...

Ron has been nominated for this year's Juno Awards for "Songwriter of the Year" (All In Good Time, Never Give Up, Hands of Time) and "Adult Alternative Album" for Time Being. The Juno Awards will be held on April 1, 2007 at the Credit Union Center in Saskatoon and will be broadcast live on CTV. Nelly Furtado hosts. - from his website.

Time Being, released in 2006, is Ron Sexsmith's 10 album. Sexmith has been winning Juno awards off and on since 1998.

Ron Sexsmith MP3s can be heard at his MySpace site at 

http://www.myspace.com/ronsexsmith 

NOMEANSNO

www.nomeanswhatever.com

NOMEANSNO is a Canadian rock institution. They have been around since 1979 and cranking out singles, EPs and LPs since 1982 - something like 17 LPs, some once available in vinyl and cassette as well as CD. They were largely post-punk, more progressive rock initially, but clearly became influenced by the Dead Kennedys and other of their anti-establishment contemporaries, and they became more "chuggish." Their trademark has always been their disregard for the games they play, roughly music and fame, but its the disregard of a frat boy, more prank than political. They belong attitudinally to the "mocking disdainists" (or is it mock disdain?) sect of the punk era, blithe discounters of the machinery of modern life, from its commerce to its products and protocols. And yet these guys tour constantly, playing to a small but dedicated following, showing no lack of dedication to the ethic of work. They are decidedly information averse, often purposely providing its opposite. Reviewers may be forgiven if they find it all a little silly, though that's really part of the point. NOmeansno is a put-on on wheels.

The rhythmic Wright brothers have defined the sound of the band, their bass and drum work augmented by the experimentations of Kerr, who split from the band in 1991, and later of Tom Hollistan. Rob Wright has been primarily responsible for the songwriting, and vocals, such as they are, are shared.

Over the years, Rob and John Wright, Andy Kerr and then Tom Hollistan, have started to look like software engineers, but their schtick has remained the same. They have held steadfast in their devotion to non-commercial mash-ups that range vocally from rant to spoken word. 

When a band flaunts factuality the way NOmeansno does, it is hard to know if their press releases are even real. Currently they are flacking a reunion with their once business partner Jello Biafra (Dead Kennedys, the Melvins, others), who according to the band's website "is scheduled to fly to a select Canadian city on the upcoming spring tour to appear live with NOmeansno. The date will remain confidential in order to create an air of suspense. Biafra plans to reunite with NOmeansno to perform a special encore presentation of their collaborative album, Last Scream of the Missing Neighbors, complete with instrument switching. Kevin Lee and Rob Wright will swap axes and let the mayhem commence. Lead guitarist Tom Holliston is reportedly sitting out this tour as he is scouting for an undisclosed Major League Baseball team throughout spring training and in fact, may appear as a reliever in at least one game. Biafra, who was contacted by NOmeanswhatever.com for comment, could only say, "This will be rad, dude." NOmeansno was on Biafra's Alternative Tentacles label until 2002, so this is sort of a reunion.

They also have announced on their website that "guitarist/chief songwriter/baseball announcer Tom Holliston is pleased to announce he will be appearing in this spring's Dancing With the Stars reality TV show on ABC television (NTV in Canada)."  Hollistan and the Wrights all play in NOmeansno alter ego band The Hansen Brothers, for which John turns the drum kit over the another player to step out front as vocalist. Named after characters in Slap Shot, a 1977 Paul Newman hockey movie, The Hanson Brothers have been called "nearly a Ramones tribute band..."

NOMEANSNO!: Band and Crew in 2006. The band is Rob Wright (bass, vocals, some guitar, shirts), John Wright (drums, percusion, vocals, keyboards, brewing advice),
Tom Holliston (guitar, vocals, dance moves), Blair CaliBABA (Sound Modifications)
John Chedsey (Impersonations), with Ken Kempster ( 2nd drums ), Andy Kerr ( ex. guitar ), and Craig Bougie ( nothing but trouble ) - from their MySpace site.

NOmeansno released their most recent opus in August of last year, and have toured the U.S. and Europe in support of the CD.

NOmeansno MP3s can be heard at their myspace site at www.myspace.com/myspaceiswrong

DONNA LYNN KAY

www.donnalynnkay.com
Okay, so she's no longer in Austin having returned to her native Canada with an expired U.S. visa, but DONNA LYNN KAY was on the Austin scene during the recording of her Electric Blue LP, produced by Mark Hallman at Congress House studio. The singer/slide guitarist became a regular at Antone's and Threadgill's while she was in town, playing her version of Delta Blues with the likes of Hubert Sumlin, Buckwheat Zydeco and Kim Wilson.

"DLK" hails originally from Sudbury, Ontario but has lived in Europe and, most recently, Austin. 

From her website - "Musically, Donna draws from the early slide masters like Son House and Blind Willie Johnson. You will also hear the influences of Muddy Waters, Robert Petway and of course, Robert Johnson – the most famous of the early bluesmen. In a recent interview, Donna said, 'This music has an honesty and a soulfulness that reaches down inside of you. With every listen I seem to take away something new.' She continued, 'The first time I ever heard slide live was back many years ago when R.L. Burnside played the Horseshoe in Toronto. I don't think anyone can ever really replicate the playing of the great masters, but that's not the point. The secret is to find something of your own within the Music.'"

I am hoping to get MP3s of Donna's work. In the meantime, she has short samples up of songs for her next LP.