Tag: Canadian Bands

BURN THE LOUVRE – Album Review: “Silhouettes”

On By EclecticMusicLoverIn Reviews9 Comments

Burn The Louvre are a Canadian indie rock duo based in Hamilton, Ontario, and consisting of Jordan Speare (vocals, guitar, ukulele, drums & percussion) and Sean Cooper (guitar/vocals). I first featured them on this blog this past April, when I included one of their songs “Driving in the Rain” in a Fresh New Tracks post. I provided some background about how the act began as a duo consisting of Jordan and his brother Dylan, and released two EPs in 2014 and 2017, But by 2018, Burn the Louvre became Jordan’s solo project, at which time he began work on a full-length album Silhouettes with the help of his friend Andrew Billone, of indie rock band Silvertone Hills, on lead guitar and bass. The album was recorded, mixed & mastered by engineer/producer Mickey Ellsworth, who also played synthesizers and additional percussion, and sang backing vocals.

Rather serendipitously, after he and Mickey finished recording Silhouettes in late 2018, Jordan received an email from guitarist Sean Cooper, in response to an old “musicians wanted” ad he’d forgotten to take down. The two immediately hit it off, and began jamming together on the already-recorded songs. Jordan recalls “The way he was able to come up with his own unique leads to songs that were already recorded, giving them different nuances while maintaining the vibe of each song…I mean, I don’t think we’ve ever had a bad practice. I felt this was a perfect opportunity to re-imagine Burn The Louvre as a duo and I am very happy he wanted to be a part of this.”

Photo of Jordan and Sean by iamnenkan

In early 2022, they decided to finally release Silhouettes, initially as 11 separate singles at the rate of one song per month over a period of 11 months, beginning in January with “Wish We Were”. They ended with “Honolulu”, which dropped simultaneously with the full album on November 29th. The songs, all of which were written by Jordan, explore the emotional minefield of young romantic love and relationships with extensive, relatable lyrics, delivered in his laid-back conversational singing style, and accompanied by catchy melodies and fine guitar work. Burn the Louvre’s music style is hard to classify, but can best be described as a pleasing and eclectic blend of punk, pop, rock’n’roll, singer-songwriter and folk.

The title track “Silhouettes” is one of more melodically interesting, starting off with an energetically-strummed folk guitar that’s soon joined by a tasty bass groove. The song seems to end at around 1:46 minutes, then starts up again and continues for 30 seconds until it seems to end yet again, only to start back up at a slightly slower pace. Jordan has an interesting sing-song vocal style, with an offbeat sensual drawl that’s quite endearing. Here he emphatically croons the lyrics about a doomed love affair: “Silhouettes in the yellow moon. Fell a little too hard and they split in two. Raw, a little out of tune. Beautiful and broken, but try not to swoon. Oh you…was disinterested until I heard her say ‘So nice to finally meet you’. Autumn eyes and sweet perfume. My heart might’ve skipped just a beat or two. That little black dress and those ruby shoes. Okay…was all that I could say. I sense there’s heartache on the way.“

On “Wish We Were“, Jordan wistfully sings of a simpler, more innocent time when he was younger and things didn’t seem so heavy and problematic: “Well sometimes, I wish that we were younger. Turn nineteen in the early summer, with nothing but blue skies and moonshine spilling outside on a Wednesday night. Alone in the dark, such a beautiful sight. If only sometimes. But if we’d met before. Would you still be knocking on my door if you lived down the street? Would you just want to be friends with me? I’m wishing I could have the time back that I borrowed. Yesterdays are overrated, show me the tomorrows.” I love the song’s upbeat bouncy groove and jangly guitars.

On the lovely ballad “Driving In The Rain”, Jordan sings of driving through a rainstorm to see his girlfriend, with whom he has a troubled relationship: “I’m 15 minutes out, the sky is darker than her hair. And all Beck’s “Modern Guilt” has got me way too self-aware. The weather’s getting worse, man it’s really coming down. It’s just the second verse, but I think I’m gunna drown. Conventional conversation is ringing in my ears. I want to kiss her in the rain, so I can’t see the tears.” And “Lost With You” has a retro early 60s “malt shop” vibe, with a fun rockabilly quality in the guitars.

One of my favorites is “Nice Guy“, a lively post-punk rocker that has Jordan lamenting about how his good manners seem to go unappreciated by a girl he likes: “Really think that you don’t like me. Well, I’m sorry if I’m just too polite. Really wish that I could be an asshole. Blame my Mum, she’s the one who raised me right. But I’m sick of being the nice guy. I’ll give you my coat when it’s cold outside. Yeah, I’m so sick of always being the nice guy. It’s a phase I still haven’t got over, I’ll try, yeah I’ll try.”

His clever songwriting is strongly evident on “Easy“, a song about how love and relationships could be easy and stress-free, but we often have a way of over-complicating things: “Well, it could all just be so easy. Uncomplicated, apparent, simple too. It could all just be so easy. I’m so easy, yeah but so are you. Open my mouth, make a fool of myself. Could almost hear her falling back in love with someone else. You’re my last cigarette, it’s too bad for my health. Your love is cancerous and I’m just trying to kill myself.” The jangly and shimmery guitar work is terrific, accompanied by nice bass groove and subtle keyboards and percussion.

“Dumb” is a rousing rock’n’roll gem, with twangy guitars and a catchy, toe-tapping beat. The tongue-in-cheek lyrics speak of wishing his ex-girlfriend ill: “I’d rather see you under the sea than see those big green eyes staring back at me. I’ll give your best to your new boyfriend, and let him know that he won’t ever see your face again“, but then admitting his threats were meant in jest: “I’d never hurt you, honestly. I’d never hurt you purposely, You’re lucky I’m not as dumb as I thought I was.” And on the sweet jangle pop song “Hey Stacey“, he sings of how he loves and misses her: “Hey Stacey, is there something wrong? You know I’d do my very best to make it right. I really thought that you might like this song. It’s kinda dumb, but it’s the best I’ve got tonight./ Trying so hard not to blow it. But has anybody ever told you you’re beautiful, but you don’t even know it?“

“Alison” is another sweet tune, this time with a bit of a doo wop vibe and featuring added vocals by Stephanie Deshane. The poignant lyrics speak of two wounded souls, seeking a bit of love and solace in each other’s arms, even if only for a night: “And Alison, you know I’ve been struggling trying to put my life together. She laughs and says, ‘mine’s not much better’. But Alison, I want to thank you for listening. Now, she’s not likely to stay, but I know I won’t soon forget her.”

The final track “Honolulu” is a deeply personal one for Jordan. He explains: “‘Honolulu” is a song I wrote for my first girlfriend Gillian for her birthday. We’d always joked about running away to Honolulu one day, so I wrote this song about the idea of doing just that. To be honest, I really wasn’t the best boyfriend, but I did some things right and this song is definitely one of them. After opening the album with ‘Silhouettes’, which is a song about the aftermath of our relationship from my perspective, I felt it was fitting to close the album with ‘Honolulu’, a song about when times were great.” Appropriately, the song opens with a Hawaiian ukulele riff, accompanied by subtle bass notes. Halfway into the track, the tempo ramps up to a jaunty, head-bopping groove, with a strummed guitar joining the ukulele and bass while Jordan croons “Well I can’t say, I’ve felt this way before. My heart is on fire, yeah. It’s not a holiday, this is a getaway. Gill, hop on the plane and we’ll leave right now for Honolulu… feels so far away.”

Silhouettes is an enjoyable album from start to finish, filled with charming songs dealing with the ins and outs of love in a lighthearted, realistic way. Jordan and Andrew’s guitar work is terrific throughout, and the songs are all expertly-crafted and engineered, giving the album an outstanding quality of sound. Nice work guys!

Connect with Burn the Louvre:  Facebook / Twitter / Instagram

Stream their music on Spotify / Apple Music / Soundcloud / YouTube

Purchase on Bandcamp

THE EMBER GLOWS – EP Review: “Where Spirits Play”

On By EclecticMusicLoverIn Reviews7 Comments

I recently learned about Canadian rock band The Ember Glows when they followed me on Twitter. Based in Montreal, the four-piece consists of Richard Bunze (lead guitar), Kevin Hills (bass), Martin Saint (vocals, guitar and keyboards) and Dan Stefik (drums). Friends since their teens, all are seasoned and accomplished musicians who were previously members of Montreal bands Room Control, Repo, Scene Noir & Citylake. With a shared love of 60s psychedelic rock, late 70s post-punk, 80s new wave and 90s British indie, what started as a side-project for each of them eventually became everyone’s music priority, and The Ember Grows was officially born in 2019.

Photos by Bryan Gagnon

Influenced by an eclectic array of artists ranging from Echo and the Bunnymen, Simple Minds, Nick Cave, The Cult, The Verve and Black Rebel Motorcycle Club to The Mission, Interpol and The War On Drugs, their dynamic sound is characterized by strong hooks, richly-textured intertwining guitars, muscular driving rhythms and resonant vocals. They released their debut five-track EP Passerby in March 2021, then followed this past June with their outstanding single “SILENT LOVE”. On September 23rd, they dropped their second EP Where Spirits Play, which I’m reviewing today.

The EP features four songs, including “SILENT LOVE”, with lyrics written by vocalist Martin Saint, and music collectively written by the entire band. It was recorded at Closet Studios in Montreal by Daniel Karrasch and John Gurnsey, and produced by Karrasch. The beautiful photography and cover artwork was done by lead guitarist Richard Bunze.

Where Spirits Play opens with “TOMORROW’S THE DAY” a song about someone who recognizes they need to change some of their behaviors that are holding them back in life, but lack the will or drive to follow through, keeping them on an endless self-destructive cycle: “Tomorrow’s the day things turn around. You’re haunted by the words out of your inner voice. You might fool the gallery, but you always had a choice./ Tomorrow’s the day things turn around. Just like you said the day before. When you swore no more, no more, no.” The song blasts open with a barrage of super-grungy riffs, which are soon joined by jangly guitars, gritty bass and thunderous drums that don’t let up for the song’s four-minute duration. Though a bit flat in spots, Martin’s commanding and clear baritone vocals remind me of the late Scott Walker of The Walker Brothers.

“MIRROR” is an intense and stunning song, with biting lyrics that seem to speak to the never-ending death and destruction mankind has rained upon one another and the planet, unable or unwilling to stop: “Suburbs crawl where rivers once ran. A nation’s sins live on streets across the land. Our lost romance, as warriors sweat and dance, and break the mirror. And we crack… No country right or wrong. Clear your conscience in a protest song. Plant your flags upside down, where a stolen child’s ghost haunts the ground.” Richard and Martin’s intricately layered grungy, distorted and chiming guitars are spectacular, while Kevin and Dan’s flawless bass and drums keep the propulsive rhythm rampaging forward.

On “SILENT LOVE“, the guys combine a powerful driving Simple Minds-esque groove with lush instrumentation a la The War on Drugs to create a robust cinematic soundscape that’s truly exhilarating. Once again, the complex, intertwining guitar work and production qualities are impressive, and Martin’s impassioned vocals sound their best here. Essentially a love song, the lyrics are directed to a loved one who’s going through personal turmoil, assuring them he’ll be patient and supportive, and give them as much space and time as they need to heal: “Whenever you close your eyes, whether near of far, I will let you be. But I will stand guard when you wake up in tears. After dreams crossed your defenses I’ll be here to give you space and silence. Now there’s nothing left to do except wait for you. Now there’s nothing left to give except silent love. As you sit and gaze at the stars above.”

The longest track on the EP, “HIGH FEVER” is a guitar-lover’s delight, overflowing with a jaw-dropping maelstrom of jangly, grungy and wailing psychedelic guitars. Of course, the throbbing bassline, tumultuous percussion and screaming industrial synths are all pretty amazing too, adding to the song’s overall explosive impact. The song seems to be about being besotted with a woman, wondering whether you’re in love or just deeply infatuated with her beauty and sensuality: “Her eyes light every dream she rules, like two sparkling jewels. I’ll dive in her mystery and feel real arms around me. Is this love or is your fever running high, running high?“

To sum up, Where Spirits Play is a great little EP that packs quite a powerful punch in just four tracks. The members of The Ember Glows are all outstanding musicians, with the collective skills and experience to successfully coax the best possible sounds from their respective instruments. I love their music, and hope we’ll be hearing more from this talented band soon!

Connect with The Ember Glows:  Facebook / Twitter / Instagram

Stream/purchase their music on Apple Music / Soundcloud / Bandcamp 

New Song of the Week – BEALBY POINT: “Talk To Me”

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After being unable to perform live or even see one another during most of 2020, Vancouver, Canada-based alt-rock band Bealby Point are having quite a productive 2021. Starting with the release in February of their debut single “I’m So Bummed Out Right Now” (which I featured in a Fresh New Tracks post), they followed up in April with their second single “Telescope”. On July 15th, they dropped their third single “Talk To Me“, which I’ve chosen as my New Song of the Week. All three songs will be included on their forthcoming EP, due out later this year.

Named after their favorite beachside vacation spot, Bealby Point consists of four childhood friends, Jack Armstrong (lead vocals), Jordan Studer (bass), Clayton Dewar (lead guitar) and Zack Yeager (drums). Drawing inspiration from fun times spent at Bealby Point, the guys aim to create music “that captures the most cherished memory of your favourite summer and turning it into the perfect sound.” Their buoyant, high-energy garage rock sound has earned them favorable comparisons to The Strokes.

As with their previous singles, “Talk To Me” was recorded with veteran producer Matt Di Pomponio. About the song, the band explains “It’s about balancing heavy emotions with stifled logic – doing something you have reason to believe is wrong, but it feels right because you want it. The track follows a pair who previously revealed their intimate feelings to each other. Now, they have closed off their real feelings and resist the urge to speak from an open heart, in order to save themselves from the perceived consequences of revealing their true thoughts. They long for things to go back to how they were.”

The song opens strong with a wonderful swirling guitar riff, accompanied by a superb rhythm section, courtesy of Zack’s assertive thumping drumbeats and Jordan’s prominent chugging bassline, which is fucking fantastic! The dual guitar work by Clayton and Jack is brilliant, highlighted by what I’m guessing is Clayton’s blistering guitar solo in the final chorus. Jack’s colorful, emphatic vocals are marvelous, with a hazy lo-fi quality that reminds me a bit of The Strokes lead singer Julian Casablancas, even when they soar to a falsetto. We can feel his exasperation when he implores his partner to just communicate with him in an open and honest fashion: “Talk to me and I’ll talk back. I never lied to you. I don’t want that. But if you have to lie to me then I’ll lie back. And that’s the back and forth I can’t stand.”

“Talk To Me” is a terrific song, and with three excellent singles to their credit, Bealby Point have firmly established themselves as one of Canada’s best indie bands. Hell, they now rank highly among my own favorite indie bands as well. I look forward to hearing their upcoming EP.

Band photo by Sam Fazio, and single artwork by Quinlin Gustin.

Follow Bealby Point:  Facebook / Twitter / Instagram

Stream their music:  Spotify / Apple Music / Soundcloud / YouTube

Purchase:  Bandcamp / iTunes / Amazon

New Song of the Week – Matlen Starsley Band: “Makin’ Good Time”

On By EclecticMusicLoverIn Reviews6 Comments

Hailing from beautiful Vancouver, Canada, the Matlen Starsley Band are a five-member collective of seasoned and accomplished musicians who came together in mid-life to recapture some of the energy and passion that got them into the music business to begin with, and in the process create some great music. Comprised of Dennis Matechuk (lead vocals), Kevin Star (guitar & vocals), Don Lennox (bass & vocals), Jim Wesley (drums) and Darryl Hebert (keyboards, guitar, accordion & vocals), all are either former or current members of the Bryan Adams Band, The Ray Roper Project, Bad Moon Riders, Touchdown, Fandango, and Bad Allen and the Muscle Cats. Collectively, they’ve played thousands of shows in venues ranging from intimate clubs to major festivals in front of 20,000 fans, and bring a wealth of experience to the creation of their engaging style of music drawn from country, blues, roots and Southern rock.

In July 2019, they released their terrific debut album Rollin’ Again, which I later reviewed. Unable to tour or play live during most of 2020, the guys spent time writing and recording songs for their second album, due out later this year. The first single from the new album is “Makin’ Good Time“, which I’ve named my New Song of the Week. The song is a rousing Southern rocker, with feel-good lyrics about going out on the open road, experiencing freedom from responsibilities, and feeling the sun on your skin and the wind in your hair. “Wind on our backs, nothing but blue sky. Ain’t got no destination. No time or place we got to be. Makin’ good time, just gettin’ away.“

Musically, the song features the band’s reliably awesome mix of bluesy and slide guitars and jaunty honky-tonk piano, enhanced by a spirited horn section that really dials up the energy level. Dennis’ warm, earnest vocals are backed by the delightful Chandra Russell, whose soulful croons add some nice texture to the track. I love the many little touches the guys employ in their songs, like Kevin’s slide guitar mimicking a rolling train when Dennis sings the lyric “We’ll go down to the station tonight, we’ll hop on up when that train rolls by.” It’s a fine song that makes for a good time indeed!

Follow them on: Facebook / Twitter / Instagram
Stream their music:  Spotify / Apple Music / Soundcloud
Purchase:  Bandcamp / iTunes / Website

ECHOSEVEN – Single Review: “I Am the Tree”

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When I last featured New Brunswick, Canada-based alternative metal rap group ECHOSEVEN on this blog this past May, it was to review their explosive debut single “Everything”. Both they and I were pleasantly surprised when the review received hundreds of views, especially given they were a relatively new band and this was their first single. They quickly followed in June with a second single “Gunnin”, a melodic and introspective rap-rock ballad. On September 30, they dropped their third single “I Am the Tree“, a more traditional metal rock sounding track.

In the five months since I wrote about them, ECHOSEVEN has undergone a few changes in lineup, with a new second guitarist and bassist. The band now consists of Stefanie Roy on vocals & guitar, Darrell Vautour on rapping vocals, Justin Larracey on guitar, Allon McCall on drums, Dylan Osmond on guitar, and Mike Brooks on bass. About the new single, the band explains: “‘I Am the Tree’ is about not letting your demons win. It’s about realizing your past and present life may not be perfect, but when it comes to persevering, you have the strength of a lion.”

The song storms through the gate with a juggernaut of Metallica-esque shredding that continues unabated, serving as the relentless driving force propelling the song forward. Into this sonic mayhem the band embeds a throbbing bass line, then tops things off with more guitar, furiously pummeling drumbeats and a deluge of crashing cymbals to create an intense wall of sound. Stefanie’s deep, smoky vocals have a rather subdued feel that contrasts sharply with the dynamic instrumentals. At first they seemed almost too low-key for the heavy music, but the more I listened to the song, the more appropriate to the lyrics they felt. No screaming is necessary to convey the strength and perseverance described in the powerful lyrics:

When all the smoke clears, I will show myself in truth
Without restraint, I’ll smash the disbelief right out of you
No walls can block my way I’ll crush them all in turn
Faced with the eyes of hell, I’ll make your evil burn

Caressed by guiding light, I’ll face my pain with dignity
and if I fall I will fight
I know no misery, I know no secrets to this life
For I am strong – I’m the tree.

I charge unto the path and none stand in my way
just try and catch me, I’ll reveal my sharpest claws again
my roar will echo through the mountains and the sky
Crowned like a lion, I will let your blood run dry

Follow Echoseven: Facebook / Twitter / Instagram
Stream/purchase on Spotify / Soundcloud / Apple Music / Bandcamp

THE HONEST HEART COLLECTIVE – Single Review: “Linework”

On By EclecticMusicLoverIn Reviews6 Comments

The Honest Heart Collective is a rock band based in Thunder Bay, Ontario, Canada. Though they’ve been around for several years, I just learned about them when they reached out to me about their wonderful new single “Linework“, which dropped on July 17. As I always do when writing about an artist or band I’m not familiar with, I checked out their back catalog and was impressed by their high-energy and melodic style of rock’n’roll and honest songwriting addressing the eternal challenges of life, love and relationships.

Formed in 2013 by brothers Ryan and Nic MacDonald, The Honest Heart Collective now includes Jay Savage and Kevin Heerema. Their music is heavily influenced by their shared love of artists such as Bruce Springsteen, Catfish and the Bottlemen, Johnny Cash, The Gaslight Anthem and Frank Turner. They’ve released quite a lot of music over the past seven years, including the albums Liars Club in 2015 and Grief Rights in 2018. They also recorded an EP Cash in 2016, a terrific four-track tribute to Johnny Cash. I highly recommend that my readers check it and their other music out on one of the music platforms listed at the end of this review.

The Honest Heart Collective

The band states that “Linework” “is about shared history, acceptance, and coming to terms with how your relationships change. It’s a familiar scenario where you find that you’ve drifted away from someone that was close to you, without realizing it when it was happening. You come to terms with it because you’ll always have those memories from the times you shared. Not everything is as permanent as tattoo ink. Try to stay in touch and make time for your friends as best as you can. Everyone’s busy these days – different schedules, different cities, different everything. Something as simple as sending a text or setting up a lunch date goes a long way. It might not be just like the old days, but it’s still important.”

“Linework” was co-written by all four band members along with Derek Hoffman, who also produced and mixed the track. Mastering was done by Dan Weston. With it’s exuberant riffs of chiming and jangly guitars, lively bass line and smashing drumbeats, the song has a feel-good anthemic quality that makes you want to stand up and cheer. Ryan’s plaintive vocals beautifully convey the mixed emotions of looking back and reminiscing over good times and missing the friends who’ve faded away, yet remaining optimistic about the future and vowing to make an effort to cherish those around us.

I really identify with the lyrics, as I too have seen some friendships that felt vital to my life at a certain point in time gradually fade after one of us moving to another part of the country, leaving a job, or some other major life change. It’s sad when looking back, but it just happens to everyone. “You had some of your own/ Now, they run around just like you / With a look in their eyes I’ve seen so many times / When we punks yeah we were fools / We’ll always have these damn tattoos / But it’s a little too late now / We had to find our way and it’s okay that we slowed it down / Though the ink may fade / Our hearts stay the same.”

The recording and production of “Linework” was funded in part by a grant from the Foundation Assisting Canadian Talent On Recordings, Canada’s private radio broadcasters, and the Government of Canada.

Follow The Honest Heart Collective:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Apple Music / Reverbnation / YouTube
Purchase:  Bandcamp / Google Play / Amazon

ECHOSEVEN – Single Review: “EVERYTHING”

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Echoseven Everything

ECHOSEVEN is a heavy alternative metal rap group based in New Brunswick, Canada. After a tentative start in 2016 as a music project of drummer Allon McCall and guitarist Justin Larracey, the guys got serious about their music in 2019 and began recruiting more members to form a legitimate band. By early this year, ECHOSEVEN’s lineup was complete, and in addition to McCall and Larracey, now includes Stefanie Roy (Lead Vocals/Guitar), Darrell Vautour (Rap Vocals), Andre Leblanc (Guitar) and Jamie Warren (Bass). They’ve just released their debut single “EVERYTHING“, and it kicks!

The band wastes no time getting right down to business, as the song blasts open with jagged riffs of gnarly guitars and smashing drums, anchored by a deep, chugging bass line, all of which creates an ominous vibe. Having three guitarists gives the music greater texture and depth, and when combined with the heavy bass and intense percussion, the result is an explosive wall of sound. But what I like most about the song is the presence of both a female vocalist and male rapper. The contrast between Stefanie’s haunting vocals and Darrell’s beautiful flow as he raps his verses creates a dramatic back and forth that makes for an exciting listen.

About the song, the band explains: “EVERYTHING is about going through hard times, being broken down to ground zero and finding out who your true and real friends, family, helpers and supporters are, and confronting them on their motives and intentions. When the smokes clears, who’s left standing next to you?”

“EVERYTHING” is a fine debut by ECHOSEVEN,  and I look forward to hearing more music from this dynamic collective very soon.

Follow Echoseven: Facebook / Twitter / Instagram
Stream on Soundcloud and purchase on Bandcamp

MATLEN STARSLEY BAND – Album Review: “Rollin’ Again”

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Matlen Starsley album art

As someone who passed 50 longer ago than I care to admit, acts like the Matlen Starsley Band (MSB) are an inspiration for me. Unlike a lot of musicians and bands of their vintage who are either resting on their laurels or touring with legacy shows, MSB was formed as a brand new project with the sole aim of writing, recording and releasing an album of entirely original music. As they explain on their website: “We just wanted to get a group of accomplished players together to create some great music and recapture some of the energy and passion that got us into the music business in the first place. No musical boundaries, We are letting the songs take us wherever they may lead and just letting the music speak for itself.” Last July (2019) they dropped their appropriately-titled first album Rollin’ Again, which I’m pleased to introduce to my readers.

Based in Vancouver, Canada, MSB consists of Dennis “Dollar” Matechuk (lead vocals), Kevin “Bubba” Star (guitar & vocals), Don Lennox (bass & vocals), Jim Wesley (drums) and Darryl Hebert (keyboards, guitar, accordion & vocals). All seasoned musicians, they’re either former or current members of the Bryan Adams Band, The Ray Roper Project, Bad Moon Riders, Touchdown, Fandango, and Bad Allen and the Muscle Cats. Collectively, they’ve played thousands of shows in venues ranging from intimate clubs to major festivals in front of 20,000 fans, and bring a wealth of experience in creating their lively and eclectic mix of country, blues, Southern rock and roots music. Their years of living and all its attendant facets of love, joy and pain are reflected in their honest and relatable lyrics too.

Curious that none of the band members are named ‘Matlen’ or ‘Starsley’, I asked them about the origin of their name. Not sure what to call their band, they eventually decided to take parts of each of the four founding members last names and fit them together: Matlen is from Matechuk and Lennox, and Starsley is from Star and Wesley, which I think is pretty damn clever. (Hebert joined the band later.)

Rollin’ Again kicks off with “Short Ride on a Long Haul“, a rousing song about a hookup while on the road that’s left the singer besotted by a woman’s charms, and wanting more: “When I woke up in the morning, you were gone. Now the radio’s playing a sad road song. It was a short ride on a long haul. Babe I wanna see you again. It was a blue moon on a red hot night. I’m in town, baby do it again.” Against a backdrop of driving rhythms and rolling guitars, Hebert’s spirited organ riffs are a highlight.

On “It Hasn’t Hit Me Yet“, the band delves into the blues, both musically and lyrically. The bluesy guitars are terrific, and I really like Matechuk’s clear, earnest vocals as he sings of his sadness and frustration over a love that’s slipped away, acknowledging that he’s partly to blame: “Now I ain’t ever been one to settle down. The truth is your good love couldn’t keep me ’round. But i’m here at your door, want you back, but you won’t love me no more.”

Keeping with a similar theme, the bittersweet “I Cried Today” speaks to that twinge of regret many of us have felt when seeing an old flame, wondering what could have been had things turned out differently: “I heard today you found someone who makes you happy. A good man, the true love that you’ve been searching for. I cried today. Were the tears for you, tears for me, or for the years that lie between what we had and could have been? I cried today. I got a good life, got a good love. You’re happy too, that should be enough. I’m still selfish in that way, so I cried today.” The guitars and organ work are sublime, and Matechuck’s vocals nicely convey the poignant emotions described in the lyrics. It’s a beautiful song, and one of my favorites on the album.

“A Life Worth Living” is another highlight on the album for me. Once again, the guitars and organ are great, and Lennox and Wesley do their part to keep the rhythm on a solid footing. “A Matter of Time” is a lively rockabilly tune about picking oneself up after a failed love affair, and getting back into the game: “I got what you need, if you give me half a chance / You got to come out swingin’, and learn to love again.”  The wonderful honky tonk-style piano takes center stage here.

The band returns to the blues in a big way on “We Don’t Love No More“, a sorrowful song about a relationship that’s broken beyond repair. Bubba’s bluesy guitar work and Hebert’s mournful organ work are fantastic, making this my favorite track on the album. Matechuk’s heartfelt vocals beautifully express the abject sadness contained in the painful lyrics: “I got this feeling this time we’ve gone too far. All those years have worn us down. And all those things we held so close, are the things that hurt the most. Find the words that hurt and scar. Gonna burn this to the ground, cause you and I we don’t love no more.”

MSB seem to pay tribute to Tom Petty on the title track “Rollin’ Again“, with twangy guitar riffs and a melody influenced by the Southern Rock legend’s signature sound. The song is about moving on from a relationship that was doomed from the start: “I ain’t one for laying blame. I’ll leave that to you. Now you say you want something more, and that’s something I can’t give./ All the things that were keeping me down. I’m rollin’, rollin’ again.” “Trail Went Cold” is a bouncy Country tune, with twangy guitars and harmonica, while “Sweet Touch” has a harder rock’n’roll feel, with heavier guitars and more aggressive drums, though Hebert’s organ is prominent here too.

The guys close out the album with the wonderful kiss-off “Your Love Ain’t Special“. As always, they deliver the music goods, laying down some mighty tasty bluesy riffs and marvelous organ work. All in all, Rollin’ Again is a terrific album, and a fine debut effort by this talented collective of musicians. With songs ranging from Southern rock and blues to Country and rockabilly, there’s something for everyone to enjoy on this record.

To learn more about the Matlen Starsley Band, check out their Website

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SHADOW OF EVEREST – Album Review: “The Hunting Ground”

On By EclecticMusicLoverIn Reviews3 Comments

Shadow of Everest album art

Shadow of Everest is a Canadian progressive groove metal band hailing from the beautiful city of Halifax, Nova Scotia. (I recently featured another Nova Scotia artist, singer/songwriter Guy Paul Thibault.) Formed in 2014, the band’s line-up includes guitarist/vocalist John Vriend, bassist Shaun Cowell, guitarist Andew Welsman and drummer Matt Burton. Influenced by some of their favorite hard rock bands Led Zeppelin, Black Sabbath, Machine Head, Mastodon, Tool and Karnivool, they play an arresting and innovative style of metal rock, featuring intelligent lyrics penned by Vriend and delivered with unconventional melodies, wicked riffs, driving bass lines and pummeling drums.

Shadow of Everest2

They released an impressive debut album Idle Hands in 2017, and this past March, dropped their sophomore album The Hunting Ground, which I’m reviewing today. As the album’s title suggests, the songs generally speak to the darker, feral nature inherent in each of us to some degree. Similar to their first album, The Hunting Ground opens with an intriguing instrumental track “Umm al-Maa”. Wondering what it might mean, I did a Google search and found it translates to “mother of water” in Berber Arabic, and is also the name of one of several lake oases in the Idehan Ubari Sand Sea located in the Sahara Desert of southwestern Libya. The music on this brief track consists of strummed guitar, delicate piano keys and what I’m guessing to be a cello, accompanied by sounds of wind and water that beautifully convey the sense of mystery and wonder of a remote oasis. The dark irony is that the water in these oases is too salty to drink. John commented “Imagine being lost in the desert and finding that oasis, and then drinking the salty water would be your demise.”

They next launch into “Fifty Four”, serving up chugging riffs of gnarly guitars over a foundation of buzzing bass and hammering drumbeats, and punctuated by flourishes of distortion. Vriend’s commanding vocals express a raw urgency as he sings about feelings of hopelessness and ennui: “Substituting for a lack of stimulation. Seeking out the offspring of my mind. Beneath consciousness there’s desperation that fits nicely into my design.” The title track “The Hunting Ground” at first sounds almost like a continuation of “Fifty Four”, with a similar melody and chord progression, but the killer guitar solos in the bridge and outro turn it into an especially satisfying track. Vriend passionately sings the lyrics that seem to speak to the age-old notion of survival of the fittest – ‘kill or be killed”: “Hear that wild call. Smoke them out. Rise or fall. Become what you fear.”

Here’s a great video of the guys performing the song live.

One of the highlights of the album for me is the gorgeous “We Are Wrong”. I usually like when metal and hard rock bands show their softer side with a slow ballad, and Shadow of Everest are no exception here. I love the haunting melody, outstanding guitar work, and especially the sublime vocal harmonies of Vriend and guest singer Erin Crosby. Guest musician Lex Coulstring played keyboards on this lovely track. The message expressed in the lyrics seem to be that “ignorance is bliss”: “And the moments became too many. Time keeps passing on. One day we understand. The next day we are wrong.”

“Castle in the Sky” is hard-driving metal rock at its finest, with rock’n’roll overtones and more of the raging guitars this band so nicely delivers.  This song seems to be about needing to be rescued from a life of degradation and despair: “Couldn’t see the splendor from the underground. There was no will to satisfy. Pull me out of the loss and the ruin. Those broken pieces will build our castle in the sky.” The aptly-named “Dark Spiral” dives deeper into progressive metal, with interesting melodic transitions and greater use of dissonance in the song structure, not to mention fearsome riffs and Cowell’s crushing bass. Vriend’s impassioned vocals are almost chilling as he wails “How does it feel to be spinning on a tangible wave of magnificence? As an ignorant drone, completely unaware and obsessed with your own insignificance.”

The guys unleash their sonic fury on “Ravenman”, the most metal-esque (is that a word?) track on the album and another one of its highlights. It’s a monumental six minute, 49-second-long tour de force of rampaging riffs, buzzsaw bass and Burton’s speaker-blowing drums.  The hardcore backing vocals are sung by Lex Coulstring. Thought I’m not certain, my take is that ‘Ravenman’ represents the devil, or at least the inherent evil that each of us is capable of: “I know the nightmares, what they mean. What you should fear, the shadows in your head, the violence in your hand. Be not a patron to the failures of the damned.” It’s a fantastic song.

They close things out with “The River”, another epic track that seems to be about the end of the world: “The earth is parting and the vultures fly. Statues crumble while the pharaohs die. What glory lies beyond the river’s flow? We’re unaware how far this shadow goes.” As always, Vriend and Welsman deliver scorching riffs while Cowell and Burton confidently maintain the aggressive rhythm section. It’s a strong finish to a solid album of heavy hitters. The guys are all highly accomplished musicians who now have two outstanding albums on their impressive resume. I trust we’ll be hearing more great music from them in the future.

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OCTOBERS – EP Review: “Summer Waste”

On By EclecticMusicLoverIn Reviews1 Comment

Octobers EP

Octobers is an alternative/dream pop/postpunk band from British Columbia, Canada who formed in 2015. Comprising the band are brothers Nick and Joel Ellsay (guitar, synths, vocals), Hayden Shea (drums) and Liam Rhynolds (bass). They released their excellent debut Misfits EP that same year to positive reviews, also garnering airplay on indie and college radio stations throughout Canada and the U.S. The band went on a brief hiatus in 2017 after a few major life changes, but are now back and better than ever with a new EP Summer Waste.

The EP kicks off with the sunny and upbeat “California“. The song opens with a blast of drumbeats, then settles into a pleasing soundscape of chiming guitars, sparkling synths and a humming bassline that evokes images of a summer day at the beach. The pace quickens in the choruses with an exuberant jangly guitar solo and pummeling drums. The song lyrics seem to have dual meaning, with the singer possibly expressing his love for both ‘California’ a girl and the state: “Hey California. Something about ya. You are the sweetest sound. California, always did love ya. You’re the summer all year round.”

“Sunshine” has the singer pondering the love that brightens his world: “Are you my sunshine? Are you my starry sky? Are you these glowing lights, cause you burn so bright.” I love the thunderous jangly guitars and percussion, and the Ellsay brothers’ vocal harmonies are really marvelous. The sunny vibes turn darker with “Be Still“, a heartfelt plea to a loved one to try and meet him halfway, and salvage their damaged relationship: “Just be still, don’t say a word, cause you’ve been talking all your life. The tables turned, now tell me what that feels like. / Lay down your gloves, I don’t wanna fight.” Once again, the guitar work is fantastic, and the rhythm section nicely complements with pulsating bass, thumping drumbeats, and lots of crashing cymbals.

Summer Waste ends on a positive note with “Higher“, a jubilant anthem about not giving up, and reaching as high as you can to reach your goals: “Once you start you never can stop. You go higher and higher and higher. Oh yeah!” Their jangly guitars on this track sound a bit like The Cure, which is never a bad thing. Overall, it’s a terrific little EP, with a title that could be misleading as it’s anything but a waste. The lyrics, while not necessarily deep, are honest and heartfelt, and the instrumentals are all outstanding, as are Nick and Joel’s sublime harmonies. Nicely done guys!

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