Nap Eyes continue to grow on I’m Bad Now, which is being branded as the third chapter of a trilogy. This one is unlike any trilogy known to man because they saved their best work for last.
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Self described as post-post-punk, this Vancouver band layers fuzzy synths and piercing guitar over a tight groove to make moody, yet danceable music.
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Fitness' debut album, “-ing” (pronounced dashing) is a wild ride that sucks you in immediately and threatens to never let go.
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An ability to write tracks that explode into sweeping crescendos while maintaining their fun-filled pop sensibilities is a gift that Shred Kelly hold over the heads of their contemporaries.
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Jonathan Kawchuk doesn’t disappoint as he uses the tools in his toolbelt to craft an impeccable album inspired by nature.
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Squids is an Edmonton four piece that is hard to pin down. They exist in a realm of odd time signatures, reverb and electronic experimentation.
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Five years after Rollie Pemberton (aka Cadence Weapon) delivered his Polaris short listed Hope In Dirt City, we finally get another offering from Edmonton’s former poet laureate.
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Sometimes it can seem like folk-rock acts are a dime a dozen, on Heavy South, The Utilities rip apart that sentiment and rise to the top of the heap.
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Over the four songs found on this EP, The Mothercraft deliver heavy riffs over a thunderous rhythm section while peppering solos that call for bedroom air guitar antics.
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The return of the Wet Secrets helps fill a void for danceable, punchy, pop music in Canada.
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If hooks could kill, make sure your standing beside The Dudes when war breaks out.
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Caves’ new full band dynamic has propelled them to being one of the most exciting bands in Saskatoon.
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For years Edmonton’s Pigeon Breeders have fuelled the experimental scene within their city and beyond. They pushed the envelope by creating odd ambient soundscapes that are pleasing to the ears while sounding completely foreign.
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It’s extremely rare that a band’s first release is a statement of perfection in their genre. Such is the case with Beach Body’s debut EP entitled Plain Life.
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Crickets is the fifth release from Ora Cogan and is easily her most ambitious. It ventures into many territories, but could be best described as dark experimental-folk.
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Moving Bodies debut album thrusts this young Edmonton band to the upper echelon of the rock scene.
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Jazz has been stagnate for too long. The genre has been kept down by old musicians set in their ways and unwilling to the explore new ideas within the classic jazz ethos.
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Painted Fruit’s sophomore album PF II comes with the announcement that the band no longer exists. Bands come and go all the time but when a band shows intense growth between releases it’s hard not to feel cheated by their demise.
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After a five year hiatus, The Deep Dark Woods have risen from the grave with a new sound.
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Dan Bejar has never delivered a clear theme to any album. His lyrics are always open to interpretation so one inevitably relies on the instrumentation to set the mood for each Destroyer record.
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