On the new record Equus Caballas, the band is lusher than ever with the very 80s production and Emma Proulx’s effortlessly cool and stunning vocal delivery.
Squid’s tertiary album Cowards is a transformative masterpiece that is as expressive and instrumentally dense as it is dark and poetic, with Ollie Judges’s crawling lyrics written from the perspectives of all sorts of Terrible People.
There is nothing like hearing a record that reminds you of something you can’t put your finger on. Geese frontman Cameron Winters’s debut solo record, Heavy Metal, made me feel nostalgic and yet totally memorized by the originality and frenetic looseness of Cameron’s performances.
Juanita Stein is poetically drifting forward into her own creative world on every song off her wittingly Beautiful new album, The Weightless Hour.
Fate And Alcohol is a refreshing take on a band’s final album, and it feels like some of the band’s strongest material yet.
Overall, this album is incredibly complex, and listening to it with an analytical ear is necessary; while I appreciated the instrumentation, the lyrics and themes of the record are interesting yet, at times, come across as a little lacklustre and confusing thematically.
Always Happy To Explode is a really interesting and creative album by one of Canada’s most inventive and creative bands.
During this album’s half-decade process, the band has evolved their songwriting into a much more mature and experimental realm.
This album perfectly blends poppy and uplifting songs with acoustic and melancholic songs fitting together on this wonderful new album.
I do respect the band’s ability to not really give a shit about what people think and have a good time writing music with their friends, and that attitude is apparent on this album.
This album sounds like Nate was having a lot of fun while making it, not sticking to any rules or letting it become too serious.