A good haul for Montreal
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The best local releases of the last year
The Dears
End of a Hollywood Bedtime Story (Grenadine)
While the Datsons' See! ran a tight second, the honours and accolades, the wreaths and running mascara go to the Dears and their "switched-on orchestral pop romantique." Shamelessly emotive and dramatic, their sound is equal parts Stereolab, the Smiths, Scott Walker and the Pixies. What's really amazing is that this self-produced EP, as good as it is, is really just a soundcheck for greater things to come--as their stunning, 21-musician performance at Cabaret earlier this year indicated. (Rupert Bottenberg)
5-Line Legacy
Switch EP (Indica)
As my buddy Rich would say, "95 per cent of everything sucks." So it's nice to know a local band is part of the enduring five per cent. Indeed, I've been jizzing about 5-Line Legacy all year, and why not? Carbon copies are gonna ape their unique mix of drum & bass by way of Faith No More, marinating in hip hop and reggae and wrapped in a bow of Bad Brains served on a platter of attitude, but won't come close--no pun intended. (Lateef Martin)
Obscure Disorder
2004/The Entrée/Full Circle 12" (Audio Research)
Released almost exactly a year ago, 2004 may have been the first record from around the way to get me open in 2000, and also happens to be the last. I watched the entire year go by with people rushing to the dancefloor at the slightest hint of this song, followed by two and a half minutes of booty-shakin' and neck-bobbin'. Our own Obscure was joined by the infamous Ill Bill and Goretex from Non Phixion to solidify this track as a certified banger. Encore! (Scott C)
Shalabi Effect self-titled (Alien8)
Although there was a mess of good local records this year, this two-disc extravaganza shot right by them with its psychedelic, atmospheric hootenanny. Lovingly packaged by the kind folks at Alien 8, this largely improvisational odyssey of not-so-earthly delights is an amazing feat. Ouds, guitar and a Roland Space Echo are among the gear crammed in our astral vessel as we travel over dark and forboding soundscapes without having to leave the couch. Don't forget to pack headphones on this mindblowing journey--and turn it way up. (Johnson Cummins)
The Datsons
See! (Tyrant)
Incorporating '60s British invasion, '70s mod revival and a touch of Motown from both decades, the sophomore album by this trio is unashamedly retro, right down to the--ahem--"inexpensive" production. Like a pack of parka-ed mods on scooters doing a drive-by, the Datsons relentlessly pump out energetic, melodic tunes, one after the other. With the bonus of lyrics that aren't afraid to sound literate and emotional, is there a bad track on this album?...No? See! (Lorraine Carpenter)
Fred
Everything
Everything Under the Sun (Turbo)
Miguel Graç#231;a
Soul Not Mind (Bombay)
The two obvious choices when discussing local albums of the year in house music are of course, Miguel's debut on Bombay and Fred's debut on Turbo. To be asked to choose one over the other or decide which of the two is the better volume of work is unscrupulous and virtually impossible. These two local heroes poured blood, sweat, tears and years (along with a little snow and sand) into their respective bodies of work, two musically similar yet distinctly personal collections of warm house-music magic. Miguel's is an album full of lush, beach-inspired grooves that wash over you like a perfect wave of salty water from the South-Pacific. Fred's album, like its title suggests, takes the listener from hot 'n' funky rhythms to dreamy, laidback joints to dancefloor killers. (Krista)
Geraldine Hunt Soultry, Jazzy & Sexy (Sheva-Shetar)
Montreal's hardest-working woman in R&B is joined by her equally hardworking offspring--Freddie James and Rosalind--for a disc that runs the gamut from jazz standards to old-school to contemporary funk. The disc successfully balances Hunt's classy jazz ("Autumn Leaves") against James' contemporary jams ("If You Want It") and Rosalind's dance grooves ("Supernova"). All this, plus old-school classics "Can't Fake the Feeling" and "Murphy's Law." Put this one under the tree for a real Soul Holiday. (Gerard Dee)
Steve Amirault
Rendezvous Point (Effendi)
In a banner year for locally produced CDs, picking the best was still a piece of cake. Take a vastly underappreciated bassist, Fraser Hollins, and add sparkplug drummer Dave Laing to a world-class pianist and you've got a trio of the first rank. The leader, like all great artists, just gets better and better and this trio really digs into his well-conceived music. (Len Dobbin)
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