2021 Releases That "Slipped Through The Cracks"
Slipped Through The Cracks
2021 was a year of serious growth for the Cups N Cakes Network. We more than doubled our volunteer team and were able to cover more Canadian music than ever before. Unfortunately, even with our expanded efforts, there are still some excellent releases that we missed. Today, our year-end coverage will look back at some key albums and EPs that we failed to cover in 2021. Your day just got better, please enjoy digging into our list of releases that “Slipped Through The Cracks.”
Bebe Buckskin
Captain Medicine // Self Released
Standing at the nexus where the Northern Muskeg meets the Mississippi Delta is Bebe Buckskin, a vibrantly vintage Nêhiyaw artist who proudly brings the full cultural weight of her Indigenous heritage to bear in her approach to classic 70’s era blues, soul, funk and rock.
Not content to simply ape the sound of classic soul from the confines of a local studio, for debut LP Captain Medicine, Bebe and her stellar backing band went straight to the source of soul to capture the authentic vibe of the records she clearly adores, by recording at the legendary FAME studio in Muscle Shoals, Alabama. The sound of this studio, steeped in the lore of the golden era of recording, has been instrumental in the success of such luminaries as Aretha Franklin, Wilson Pickett and Otis Redding. There’s a talismanic quality ascribed to the Muscle Shoals sound, and it clearly informs the music laid down on Captain Medicine.
Blessed with an earthy, soulful voice firmly in the Stevie Nicks/Janis Joplin vein, Bebe also comes correct with one of the most accomplished backing bands I’ve heard on an indie release. These guys aren’t mere dilettantes playing at the blues, they come heavy, with crisp, funky brass arrangements, searing guitar work and simmering organ, backed by an incredibly tight rhythm section. In a genre where musicianship is definitely scrutinized, there’s a definite sense that Bebe and her band have gamely risen to the occasion and brought their “A” game into the studio famous for having one of the hottest house bands of all time.
In addition to this, the whole effort is massively elevated by the strong thematic current of Indigeneity present on the record, most notably in the amazing mid-album collaboration with The Medicine Tail Singers, a Choktaw/Creek vocal group that lends a wholly different take on soulful singing to the affair. It’s a meeting of worlds that makes the utmost sense, a cross cultural exchange that serves as a heartfelt reminder of the power of music to synthesize various cultural elements into a rich and rewarding tapestry.
- Shaun Lee
Comet Control
Inside The Sun // Tee Pee Records
Today I learned that gleeful stoner rock exists. All the hooks, fuzz, toms, harmonies, riffs, and of course tone. Tube tone. As in, today, at tube tone town, we have a sale on tube tone. Elements of Elevator to Hell, Kyuss, Deep Purple, King Gizzard and the Lizard Wizard, The Charlatans, and general 90s grunge, this album is somehow both refreshingly novel and a throwback at the same time.
It’s vibe is a spicy chicken sandwich that keeps on getting hotter each bite. You’re at a tailgate party. Cold beer. Marijuana. Cold beer. You look down, it’s a persian rug. You look up, you’re in your family basement in the 70s. The walls are fake wood panelling. It’s low lit with a couple yellow bulb lamps and the air is kind of smoky. The coffee table in front of the patterned couch is cluttered with cans and magazines.
Maybe the right word for this music is unabashed. It’s honestly a challenge here and there for me because it shamelessly encroaches on the cheesiest bits of psychedelic rock and roll and reminds you not to be so frickin pretentious and cool all the time. Just admit you enjoy good solid fuzzy riffs now and then. Admit that good music in this genre can still happen post Hendrix.
In fact there is not a track on this record that is not thoroughly enjoyable if you allow it to be. The writing, performances and arrangements are brilliant on each track. Wailing organ, intricate percussion, beefy riffs, fluid drumming. Eight solid jams of transcendental psychedelic rock with gentle melodic vocals and sweet harmonies. Fuzzy drones to feel in your bones.
This is a record I would love to hear performed live. This is a band I would love to go see live. It’s not a background music record, and it would be good for it to be extremely loud right in my face. That would be an absolutely perfect summer festival experience.
- Joel Klaverkamp
CRABE
Sentients // Pantoum Records
An image of a tear shedding tri colored earth shattered and bound by a chain is the visual representation of Sentients, the newest album from Montreal punk duo CRABE. As the album starts we’re introduced to droning synths – a slow paced world building track that’s followed by an 11 track album that defies structure by creating and removing coherence at a whim and using an eclectic arsenal of sfx, horror inspired sound scapes, and unorthodox beats to form an album that provides an extraordinary listening experience.
Run on sentences aside, CRABE’s experimental approach to punk gives them a sound I’d never quite heard before. Their featuring single “Psychologist ft. Yuki B.T”, the albums second track, epitomizes this method through a classic punk sound with eclectic undertones, such as the inclusion of ricochet sound effects and chaotic time signatures. Other tracks, such as the following “16ème vague ft. Dianacrawls” sounds like something straight out of a rocky horror movie. Complete with an eerie organ, blood curdling screams, and the sound of a penetrating knife, it’s a spooky track that builds up to a badass auditory slaughter fest, a disturbingly satisfying payoff.
Now, most of the lyrics in this album are in French (except for the screams – screams have no language) and being monolingual gives me a handicap in my listening experience because, you know, I don’t know what they’re talking about, and attempting to decipher the lyrics through Google Translate would be an insult to the artist, so my experience is heavily relied on the musical tone and vocal inflection.
Luckily for me, Sentients is chalk full of atmosphere that changes from hard and upbeat to unsettling and quiet, sometimes at several points in a single song, such as the avant-garde sixth track, “Pollice verso”. This is an album guaranteed to take your ears to a place not yet discovered, and I’m blessed to have been given a chance to cover it, as had it not been for Slipped Through the Cracks, my enjoyment may have been consigned to oblivion.
- Brandon Kruze
DijahSB
Head Above The Waters // Self Released
Toronto native DijahSB’s Head Above The Waters is no less a perfect project. How this Slipped Through the Cracks, I am not sure because this is a REAL hip-hop album. The skill the emcee possesses with their wordplay and flow is a blast from the past. The way they use their voice screams 90’s rap and it’s executed extremely well. Hearing this album reminds me of listening to A Tribe Called Quest. I see inspiration or hints of Isaish Rashad even Westside Gunn. But DijahSB’s style and voice, I cannot compare to anyone. The way it mixes with the production choice of lo-fi boom-bap beats makes it really stand out. A true hip-hop fan could appreciate this album if they are open to giving it a chance. The modernness of the project is evident but it works perfectly in conjunction with the classic roots of the genre.
I would recommend Head Above The Waters to anyone but would add that when they go for that first listen, please, start it from the beginning and play it through to the very end. This is one of those albums where you can close your eyes and see the picture the artist paints for you. You’ll find yourself bopping your head like you were right there in the middle of the cypher, like this was some of the hardest stuff you had heard. It is truly special.
On this record, DijahSB gave it their all. You can hear the hunger and passion they share for the dream of becoming a true rap sensation. DijahSB is a real rapper and nowadays I find them hard to come by. Head Above The Waters stands out and I truly believe this album deserves to go down in Canadian Hip-Hop history.
- Cameron Kilfoy
Evan Cheadle
Fault Line Serenade // Victory Pool
A lush and captivating collection of baroque alt-folk tunes, nodding towards recordings from the 60s and 70s, Fault Line Serenade is the latest full-length solo offering from Victoria-based troubadour Evan Cheadle. Not only an accomplished musician, Cheadle also shows he has a real way with words, spinning his thoughtful and poetic lyrics into beguiling and contemplative scenes of personal introspection in the Pacific Northwest.
Technically, there is a spectrum of complexity on Fault Line Serenade. On one end stands a track like “Sorrow in the Morning”, an acoustically stripped-down yet instrumentally intricate affair that showcases Cheadle’s impressive chops as a finger-picking guitarist — honed during years serving as a touring member of alternative country group The Deep Dark Woods. On these pared down tracks, guitar and voice is accented with little more than the percussive beat of Cheadle’s right hand patting on the guitar’s hollow body.
On the other side are tracks like “No Love Lost” or “I Hear The Singing”, which are layered with more ornate instrumentation, coming both from multi-instrumentalist Cheadle and from the contributions of an array of skilled accompanists who provide electric guitar, organ, piano, pedal steel, and strings. Easy to pick out amongst these are the tasteful licks and distinct Gibson SG tone of guitarist Clayton Linthicum (Kacy and Clayton). Always, there is the sweetly melancholic and steady vocals of Cheadle, who delivers his unique poetic ruminations with a nasal croon warmed with a gentle quaver.
Knowing that these songs were recorded in an analogue studio on Vancouver Island, a verdant yet periodically cold, grey, and inhospitable locale, might provide some valuable context to the listener. As a reflection of the landscape captured impressionistically on the album’s cover, a track like “Ice Water” can easily be situated as sung from a specific place and time — at the cusp of the temperamental Pacific, at times bucolic and coloured with early spring flowers, but also marked by the resigned mood of life in a harbour town, with passing ships, the rolling rhythms of the tide, and the type of heavy frigid air that can penetrate through clothing and flesh to chill the bones. From this perch on the precipice of the continent, Fault Line Serenade offers a moment of patience to sit, watch the surf churn, and maybe do a little overthinking.
- Julie Maier
Frvits
FRVITS "Stupid Era" EP // Slovenly
This EP is somewhat hard to describe because of its simplistic nature, that is true to punk music, and yet there appears to be something beneath the surface. Stupid Era by FRVITS is fast, funny, easy to listen to, and fun. It doesn’t screw around either, the EP is less than eight minutes long. It is straight to the point and simple, and yet, there is something else within it.
Listening to this EP you can’t help hear the intense care and effort put into the specific sound given in these songs. The most clear example I can give is in the first song “Magiciens Hardcore” when the guitar strings sound almost like tightly pulled springs being released, all throughout. Everything in this release sounds perfectly orchestrated without any second wasted. My favourite song on this EP is track two, “Stupid Vacation,” which opens with something along the lines of “I like fruits, fruits are good, you look so good in your hood” which is emblematic of a more punk style of writing, short simple, rhymes, easy to repeat. In music, the lyrics shouldn’t always be the vital and mainstage part of a song, at times, like with this EP. The lyrics are certainly fun to listen to and enjoyable to pick apart, but the most important part about this EP is its music.
Perfectly put together, punky, spunky, avant garde, the melodies, the instrumentation, the lyrics, general feel and mystery of this album really all come together to create a beautiful EP that will make your next eight minutes highly enjoyable.
- Kaden Peaslee
Fuck Toute
Coké Computer // Slam Disques
Coké Computer, the latest release from hardcore group Fuck Toute sees the band push their sound into new boundaries. Their 2016 self-titled debut established them as a thrashing hardcore act with a nack to pack a tonne of technical ability in a swift minute punch to your eardrums. On Coké Computer, Fuck Toute return with the same violent energy but add an array of new elements. Different ends of the album pay homage to new spectrums of influence. The band's only other album sat four songs longer yet over ten minutes shorter. The dive into longer song formats has given the band so much room for experimentation and they kill it every step of the way on Coké Computer.
A slinky bass line reminiscent of Nick Olivieri era Queens of the Stone sets the pace for the onslaught before the band drops into driving hardcore. The track bounces between punk and stoner influences before falling into a technical spectacle. Fuck Toute follow with a set of the crushing hardcore they’ve become known for, culminating with “Disco.” The track showcases a rock n roll side, even dropping dance beats into the mix before pivoting hard back into deafening blasts of hardcore. The record peaks in its final three tracks. “Lezard-humain,” the album's heaviest track screams Jesus Lizard in its dissonance and rhythms. “Fentanihiliste” finds Fuck Toute at their grimiest as vocalist Francois Gagnon drags the lyrics through a desperate shout. Album closer “Persona” ends on a slower, morose note. An opus for the band, their longest to date. The song breathes as it crescendos then sets back down. The emotive track leads to its end with atmospheric guitar whirring before a wall of distorted noise overtakes for an unsettling ending.
Coké Computer showcases a range not previously seen from Fuck Toute. While there’s familiar moments where the band wears their influences on their sleeve, they never fail to make it their own. It’s a huge evolution in their sound from their debut and an impressive testament to what Fuck Toute are capable of.
- Kennedy Pawluk
Girlfriends and Boyfriends
Fallacy of Fairness // FDH, Oraculo
Sounding like a lovingly curated mashup of new wave/post-punk greats like New Order, The Cure and Duran Duran, the newest effort from Vancouver’s Girlfriend’s and Boyfriends is loaded with great tracks primed to bring out your inner goth and make you flounce around your own personal batcave.
Produced by Felix Fung, Vancouver’s resident master of vintage production aesthetics, there’s a very diligent effort here to recapture the thin, angular vibe of classic 80’s British new wave, and the band capably rises to the occasion, sounding stunningly authentic for a group working nearly 40 years after that particular wave crested. Play anything from Fallacy of Fairness next to a classic release from that era and you’ll have a tough time telling the difference. Third track “Colour Shining Bright” is particularly noteworthy for almost fetishistically recreating the Duran Duran aesthetic right down to the gated reverb drums, broken glass guitars and stabbing synths.
This concern with evoking a specific sonic place in time might come off as mere aestheticism if it weren’t for the genuine quality of the songwriting and musicianship. It’s a fantastic batch of songs, all brought across with authentic fervor by the cold-blooded croon of bassist Grant Minor. Fallacy of Fairness is shockingly good, and I’m genuinely surprised that I haven’t heard more about it in the press. It’s definitely an LP worthy of celebration, and in light of the current boom in the popularity of post-punk, I can easily imagine these guys attaining the kind of attention achieved by Calgary post-punk buzz band Preoccupations, particularly in light of the much more approachable New Romantic overtures and comparative melodicism evident on Fallacy of Fairness. Definitely an effort worth taking a second look at, and one that only grows more fulsome with each passing listen.
- Shaun Lee
Holobody
Phosphorus // Self Released
A denizen of Montreal’s eclectic and bohemian arts scene, Luke Loseth (code name Holobody) brings to life a table d’hote of playful and beguiling meditations in Phosphorus. Painted with an enchanted brush, this record is equally warm in winter as in summer - a refuge to retreat to when there are no longer leaves on trees, when shinrin-yoku, (Japanese, meaning ‘forest bathing’) is no longer easily manageable in the physical realm.
Phosphorus begins with “Lucifer,” a kind of overture for what follows. It starts in medias res, like a wind-up toy that has just been cranked and put down on the floor. We hear snippets of what we’re in store for as Luke’s tremolo’d vocal contemplations begin to interject themselves into the swishing pulses of the song’s universe: memorable and poignant lyrical concepts, an uncanny knack for arrangement and production, and that unmistakable ‘chaotic neutral’ panache that glues it all together.
“Arc” continues to explore this world of chimes and synthesizers, chirping with a whimsical funk at first, then evolving into something more. Sounds and voices begin to stack as the song develops, creating a lush backdrop of arpeggiations that undulate beneath an irresistible synth hook to take us home. Yves Jarvis, Sufjan Stevens, and Panda Bear all come to mind - here specifically, but all over the record too. “Drift” reminds me of Brian Wilson, and is one of my favourite tracks. The way the primary melody modulates as it moves around ceaselessly beneath the vocals sounds like some kind of bewitched old Casio bossa nova-ing across the astral plane.
Speaking of catchy hooks, the single “Never Be the Same” shines like a beacon from where it’s nestled neatly in the middle of things. And Luke Loseth shines as a producer on every cubic inch of Phosphorus. Do yourself a favor and dig into the expanding and nutrient-rich Holobody matrix.
- Nick Maas
ilysm
"ytp rap aesthetics" // Self Released
If you keep your eye on the music producer Soundcloud community, you will likely notice that there is a wide variety of experimental pop and experimental hip hop taking place there these days - among many notable producers and musicians, you may run into Edmonton-based rapper and producer ilysm who is making strides with the release of “ytp rap aesthetics”. The rapper has been making rounds with their latest venture including a collaboration with the up-and-coming rap duo Rural Internet for a track offer of escape room (2021).
The mixtape plays off the contemporary sound of hyperpop, particularly in the vein of doin’ fine, Saturnultra, otm, PLEASEBENiCE, and jumbudrif. The mixtape includes some hella catchy tracks like “worth it?,” “safehouse” (with tracey brakes, AOL & girlfrompluto), and “rock out !!” (with leo pinto), ilysm displays a sacrilegious lyrical delivery track after track. Saturated with video game samples, paying homage to industrial rap pioneers Death Grips, and delivering bars with the spazzing cadence of Danny Brown, ilysm brings a dynamic debut into the ring. Though at its core the mixtape is predominantly oriented around experimental hip hop, there are moments where the release itches for more electronic pop and bubblegum bass sounds in tracks like “safehouse” and “learn 2 fly.” There is definitely an element of belligerent humour with inclusions like the “neetpack interlude,” “rock out !!,” or the odd skit interjecting at track as if to give perspective into another aspect of the artist’s work.
As far as introduction goes, ilysm scratches the surface of some real promising experimental pop and hip hop sounds. I am personally all over this kind of sound, and I am curious to see where this artist in my vicinity will end up heading - there is so much room for development already with this dynamic sound.
- Simone A. Medina Polo
kers
monachopsis // Self Released
Kers’ Monachopsis (a word I had to Google to know what it meant) is a gorgeous alt-dream pop album that plucks you out of reality for a blissful 24 minutes. Mixing strong synth, lo-fi beats, delicate and intricate piano, and just a whisper of Jazz; you can certainly tell that Kers knows what she is doing. There is an airy, fantastical element infused into every song that creates an entirely new world from the one we are living in day in and day out. The vocals and harmonies are spacious and breezy, inviting you in to really hear every sultry word she says.
An aptly named album - Google told me that monachopsis means, “the subtle but persistent feeling of being out of place”, and starting off with the first track, “Face Paint,” Kers sets the tone that this is definitely the ambiance she is about to give. A sneaky feeling that something is off, not quite right, or more bizarre than usual. It is incredible how Kerry Hickli, the mastermind that is Kers, writes about such common emotions and intrusive feelings – but does so in a way that feels magical. The concepts of depression, intimacy, loneliness, and love are all discussed in these songs, however, there is nothing common about them. It is almost as if Kers has tapped into an alternate reality with softer, wispier winds blowing through pink trees and cotton candy skies.
One particular song that stood out to me from the very first listen through is “Self Deprecation.” The lyrics pull on the heart strings with how raw and real they are; coming from a place that I have been and felt so many times. The saxophone at the beginning and the end seeps in through the ears to tickle and whisper through your bones, there is nothing I love more than a great sax solo, and this is one you do not want to miss out on!
P.S. There is also a VERY cool music video that goes along with “Self Deprecation.” Treat yourself to a watch!
- Krystle McGrath
Matt Ellis
Full Moon Fever // Loose Lips Records
What makes something ‘punk’? This is a question that has sparked hundreds of hour’s worth of drunken debates. It appears that everyone has their own subjective standpoint of the genre, and it’s great to celebrate our individual interpretations. However, when you find an album with songs called “DMT Is Good For Me”, “Rat Fucker”, and “It Stinks Like Shit”, you know that it’s fucking punk – and no connoisseur could convince me otherwise.
From Hamilton, Ontario is Matt Ellis, a musician who creates “Rock ‘n’ Roll Music for Rock ‘n’ Roll Animals”, and I couldn’t have said it better myself. Every song in his debut 18 piece record Full Moon Fever has a heavy, in-your-face, tone delivered in a quick and powerful manner, almost like your ears are getting the shit kicked out of them. Have no fear, for this is indeed a good whoopin’. From the screams of “A.C.A.B!” in the albums ninth track, “Pighead”, Matt Ellis incorporates an endearing aggression and exuberance.
I refrain from comparing artists to established acts, but I feel safe in saying this from reading Ellis’ tags on Bandcamp – there is a heavy Ramones influence in his songs, so if you find yourself enjoying that kind of classic punk vibe, then you’ll heavily appreciate Ellis’ modern take of the genre. Each song comes hard and fast – and not one makes it to the two minute mark. This allows plenty of room for varying lyrical content, from shitting on cops to drugs.
It’s cynical, it’s angry, and it’s badass. It’s punk. Matt Ellis has the balls to delve into subjects many artists would treat with more delicacy – and that’s what makes Full Moon Fever so awesome. It treats heavy material with heavy music – and I can’t think of any better way to talk about it.
- Brandon Kruze
Naya Ali
Godspeed: Elevated // Coyote Records
Godspeed: Elevated is the second half of montreal-based Naya Ali’s two-part debut album. With the first half, Godspeed: Baptism (Prelude), having been released in March 2020, the second half has been long-awaited and does not disappoint. Despite it’s undeniable Pop appeal, Naya Ali’s music is far from formulaic. Polished, lush production and an immensity of vocal range and styles are not the highlight of this project, but are instead welcome support for Naya Ali’s unique voice and grandiose vision.
While her music is firmly established in an R&B and Hip-Hop ethos, Naya Ali is not afraid of experimentation. While the first half of Godspeed was a maximalist powerhouse, Godspeed: Elevated is much more self-reflective and melancholy without losing the grandiosity of Naya Ali’s vision. This project is largely characterized by Ali exploring the doubts and trials both past and present and then snapping out of it, reminding herself and her listener that she is dope and has nothing to worry about. The end effect is a cacophony of emotions and melody both subdued and explosive in equal measure. Full of switch-ups in the beat and flow mid-song as well as between, Godspeed: Elevated is thoroughly engaging and, like much of her music, speaks to a thoughtfulness and thoroughness of approach that underlies Naya Ali’s expansive style.
Releasing a debut album in two parts is an ambitious move that demands even more staying power, versatility, and confidence than a regular debut album, and it is safe to say that Naya Ali has pulled the maneuver off successfully. Without ruining the thread or continuity of the project, the second installation of Godspeed is fresh, adds a number of new styles to Naya Ali’s already extensive catalogue, and stands incredibly well on its own.
- Devon Acuña
NEW VOGUE
NEW VOGUE // Sound Salvation Music
Montreal’s NEW VOGUE pack a punch on their self titled debut.
There’s something very contradictory about their sound. It calls back hard to the early new-wave punk sounds of the late 70s and early 80s, yet somehow it feels very modern and relevant by today's standards. There’s a straightforward punk jib to the sound that could cut toes with the likes of Jay Reatard, but the electronic/synth elements give the sound more worth than just its edge and rawness.
From top to bottom each track is super zippy reaching the two minute mark only twice, yet NEW VOGUE leave nothing missed. Each song is impeccably fleshed out with such efficiency. Gripping rhythms catch your attention, catchy vocal melodies engrain into your brain. The rest is frills that top one another, whether a lead guitar line, a synth flourish, or a variation on a hook, NEW VOGUE don't relent.
While we let this album slip through the cracks when it first came out, NEW VOGUE’s debut has put the band heavily on Cups N Cakes radar. Most impressively the album marks a debut from a band that has truly found their sound. Often debut albums can lack cohesion. From open to close NEW VOGUE are set on their track. The band flaunts their influences proudly and the result is a unique blend of punk that is refreshingly modern yet so familiar.
We love it. You love it. And we can't wait to see what NEW VOGUE gives us next.
- Kennedy Pawluk
Ohama
My Electronic Country Album // Minimal Wave
My Electronic Country Album is a project from Ohama so ambitious and impressive that it hardly slipped through the cracks, but towered imposingly as I cowered beneath it. After completely missing the boat on Tona Walt Ohama’s tremendous undertaking after its release in February, I did manage to catch up with him for an “In Conversation” interview in the summer to help wrap my mind around how the album came to be. MECA is a collection of spoken word tales matched up with covers of beloved country tunes. The twist, and fans of Ohama will know, is that it is all performed with synths and video game sounds.
Convincing someone to turn this album on is always challenging, and it gets even more challenging the more you describe it. Earlier this year, in reference to MECA, I quipped that it “would please country and synth haters alike.” It’s easy to turn your nose up at the idea of this project, which I was certainly tempted to do, but the richness and authenticity of the tales will grab you by the ankle and pull you into the life and times of Tona Walt Ohama before you know it.
These aren’t just tender tales of the homestead. Ohama uses the new (to him) frontier of country music to be vulnerable like never before and open up about some tremendous traumas that steered the course of his life from abundance on the farm into tumult on the streets. MECA at first appears to be a fun twisted take on unexpected genres, but it quickly turns into an epic heroes’ journey and shocking #MeToo confessional that has stayed hidden for decades.
Sonically astounding and narratively lavish, MECA unfolds like a movie and will leave your jaw on the ground. It’s easy to let MECA slip through the cracks if you keep your mind closed to its unconventional approach, but once you turn it on, its grandeur will overcome you and you won’t be able to shake its heft from your psyche. Few albums, especially one so experimental, have managed to move me like MECA did earlier this year. Don’t let it slip by you any longer.
- Clay Geddert
Thierry Larose
Cantalou // Bravo musique
The sole occasion I took a long journey to play in a bar in Montréal led to Thierry Larose and I stumbling upon each other’s existence (and subsequently acknowledging said existence via following each other’s Instagram). Fast forward a year and a half later, and roughly on the anniversary of the first worldwide COVID-19 lockdowns, Thierry released a brightly decorated album called Cantalou.
At this point I should admit that my knowledge of French essentially amounts to grade-school classes I only somewhat cared about and the French side of cereal boxes without the limited aid of Google Translate, and as such I can’t tell my fellow Anglophones what a “cantalou” is. But I do understand music well enough to know whether I like what I’m hearing, and I definitely do when it comes to this album, consisting of ten tracks of guitar-driven pop that, more often than not, trades high energy for a relaxed and laid-back feel (the title track being one notable exception to this rule). Between the colourful palette of the cover art and promotional material and the aesthetic of the songs themselves, Cantalou adds itself to the long list of indie releases that are unambiguously modern but also serve as a love letter to the visual and audible stylings of the 1960s. The sheer sunniness masks the sadness that resonates in some of the lyrics including the opening lines, “S'empare de moi la maladie / La maladie du siècle / La certitude qu'on meurt d'être né” (“The disease seizes me / The disease of the century / The certainty that we’re dying of being born”) in the opening track “Club Vidéo”.
Cantalou is a great enough album that no amount of French illiteracy should make you shy away from giving this a listen.
- Ty Vanden Dool
In case you missed it, our 2021 year end coverage began on November 23rd with “Best Cover Art.”