By: Courtney Miller and Justin Stevens
Head of the Herd – Birds on the Roof
Birds on the Roof is local Vancouver band Head of the Herd’s third album, and is a follow-up to their hugely successful 2013 record, By This Time Tomorrow. Lead vocalist Neu Mannas and co-founder Clay Frank have created more of their signature bluesy alternative rock tracks to accompany their storytelling lyrical style.
The album was recorded in four different locations — Wales, Georgia, England, and Vancouver — with five different producers: Ian Davenport (Band of Skulls), Ben Kaplan, Mark Neill (The Black Keys), Garth “Gggarth” Richardson (Red Hot Chili Peppers), and Head of the Herd’s very own Mannas. They went to such lengths because, according to the band in a press release, “whatever is best for the song is the path we take [. . .] We knew these songs were special, and would go to any length to get that across.”
Birds on the Roof is a brilliantly crafted showcase of Mannas’ unique, gravelly vocal ability. It’s chock-full of extensive musical riffs that show the talent and ability of both Mannas and Frank. Featuring everything from punchy bass lines to sultry rock and heartfelt, melodic slow songs, the album will satisfy whatever musical craving hits your palate.
“I’m a Mother” is the perfect introduction song to Head of the Herd’s style. Musically tight with choice instrumental spotlights and a hint of rebellion — “Don’t you tell us what to do / we will always fight” — it sets the tone for the rest of the album.
The up-tempo, danceable “Live for Love” follows with stellar bass and a groove that leads you nicely into the slightly more upbeat rock song, “Every Single Day.” Don’t let that track fool you, though. Soon enough, it gets back down to the rock of the matter.
“Gone Too Far” and “The World is at a Loss Without You” are the more ballad-type numbers on the record. Melodic, rhythmic, and soulful are the best ways to describe these tracks. “Giving Tree” and “This Could Be a Trap” channel the feel of By This Time Tomorrow’s “Take Ten Steps” and “Elizabeth” with its high-tempo, catchiness, and energetic angst.
All in all, whether you’re partying or staying in, studying or looking to jam out, Birds on the Roof is an excellent companion. –CM
Emilie & Ogden – 10,000
For Emilie Kahn, it all started one fateful day when a harp was wheeled into one of her choir sessions at music school. Immediately drawn to its distinctive shape and sound, she craved to know more about the instrument and the wonders it held.
On a whim, Kahn went in search of harp lessons; pursuing a gut instinct that this instrument in particular was inherently unique from the others she had played in the past. After only a couple months, she purchased an Ogden brand harp, and the rest, as they say, is history. Kahn dreamed throughout her teens of producing an album one day, and now the Montreal-based songstress has seen her dream materialize with her premiere album, 10,000.
Emilie & Ogden’s 10,000 bears a striking resemblance to something you might hear in a Starbucks coffee shop or an independently produced film by Zach Braff. The album encapsulates the feeling of a soft affectionate daydream and the warm embrace of a lover. Emilie & Ogden’s beautiful instrumentals are a sweet serenade of evocative bliss and longing that will leave listeners thoroughly relaxed and all the more thoughtful.
Every verse and chorus paints vivid and spurring imagery; each song is a story unfolding to its listener. The title track and opener of the album does not disappoint, and sets the tone for the whole experience. Songs such as “White Lies” and “Nothing New” show off a masterful unification of well-written lyrics coupled with magnificent harp instrumentals. The concluding lullaby, titled “Dream,” which draws the curtains on the melancholy LP with a pleasing note.
As a whole, the album is seamless; each song follows after the other, never feeling out of place. If it has one fault, it is that not every track stands out on its own. While there are no poorly produced tracks on the LP, there are no exceptional songs that truly stand out from the whole experience, with exception of the song “10,000.” Regardless, it is at best a nitpick in the end, which does little to sully the melodically moving premiere album.
Simply put, Emilie & Ogden dazzle in their debut leaving their audience with the best kind of longing that can be achieved: the yearning to hear more. –JS
The Zolas – Wino Oracle
Wino Oracle successfully blends electronic-influenced sounds with The Zolas’ familiar piano-and-guitar harmonies. The Vancouver-bred group seems to discover a new tone to display on each of their albums that not only keeps old fans wearing out their CDs, but also attracts indie-rock listeners from across the globe.
This album is the band’s first entirely self-produced collection, worked through at pianist Tom Dobrzanski’s Monarch Studios. With new members Cody Hiles on drums and DJ Abell on the turntable, this is a time of change and excitement for the band, which is reflected in the music.
The addition of a DJ to the lineup throws a bit more pop into the self-categorized “piano prog-pop” that The Zolas are famous for. The synth has a defined, almost subtle, presence in the melodies. The best way the music can be described overall is colourful and cheerful with melancholic undertones: the at-times hard guitar is balanced out by the ever-present piano, along with lead singer Zachary Gray’s vocals. If this release foreshadows the upcoming full-length Swooner accurately, longtime fans and newfound listeners alike might find themselves going so far as to pre-order the LP.
Compared to 2012’s hit “Knot in My Heart,” the most recent single “Fell in Love with New York” boasts the incorporation of synthetic beats that perfectly complement Gray’s distinct voice. Guitar plays a prominent role in both these singles, although the strings in “Knot in My Heart” portray a rawer image. The new single keeps up with the optimistic vibe of Wino Oracle, and this time the guitar provides a more organic feel. It almost sounds like hand drums come in at the chorus, adding a borderline tropical energy that is carried throughout the song by the synthesizer, whereas the 2012 song had slightly denser — although very engaging — verses.
Their previous full-length albums Ancient Mars and Tic Toc Tic both contrast this release nicely and prove that The Zolas are constantly evolving. Less piano presence than Tic Toc Tic, and more pop than DJ-less Ancient Mars, Wino Oracle keeps up with the times and provides a breath of fresh air at a time when many popular tunes fail to stand out. –JS
