Well that Ariane Moffatt has always had this propensity to ambitious projects, the artist and producer go above and beyond here with SOMMM, a duo, where it associates with DRMS (Étienne Dupuis-Cloutier, who has notably collaborated with Fanny Bloom and Dumas in the past) as well as a host of guest(s)as impressive as it is unexpected, ranging from Marie-Pierre Arthur to FouKi.
Even more amazing : SOMMM stands.
“Stands” because, notwithstanding the amount of the employees — and therefore their styles and ego respectively, the thread of Ariadne weaving the work remains solid. SOMMM flowing as much as the album itself, as the selection of parts entering in the mainstream current pop flirting with the vaporwave (the cover of the LP testifies to it) without, however, pouring into the expediency grime.
Also to note : SOMMM is not that contemplation. Among these songs also planing that sunny, there are a few bombs where the pop and hip-hop blend well as Sunshine (where the collective rap Clay & Friends is involved), or Finish only, a tube co-signed by the beatmaker Ruffsound (which played Loud, Cœur de pirate, and even Dua Lipa in the past).
Another time, I poursuivrais to warn you that these parts will be the hymns of the homecoming BBQ and kitchen parties watered in the next few months, but — quarantine forces — they enfileront first loop on the FM airwaves, and many playlists of platforms online music. What is also nice, but a little bit less oozing.
An excellent job, in short !
Angel Miners & the Lightning Riders
Nearly a decade after his mega-hit Sail, the project rock pop AWOLNATION to free himself, finally, on this fourth LP. Bad news, however : it doesn’t mean thatAngel Miners & the Lightning Riders is a great album. We welcome the fact that the collective tries to shake its own status quo, echoing, surely in spite of himself, Kate Bush, Muse, as well as the more recent offerings Fall Out Boy, but the end result turns out to be heterogeneous, or even indigestible. Without being disgusting, it is devilishly without interest. For fans especially.
Six years after his first album, the trio rock local our new instruments for a new proposal that will appeal, especially, to fans of the various waves of the british invasion. Mid-way between the strike force of Be Here Now , Oasis, the sweet folly of My Generation by The Who and the sensitivity (d’Odessey and Oracle Zombies (the keyboards are to much, must say), staging is still an original work that does not stink of nostalgia. Played well, so.
I… I don’t know what to say. It is a new album from the troubadour Ron Sexsmith. This is, like, his 17th in his career. If you are not already a fan, this is not the Hermitage that will convince you, as it is in the continuity of the previous. This is not bad — far from it — but this batch is enfilerait a little everywhere in the discography of the artist. At the risk of overheating my email box, let’s say that it is of the pop folk ” nice “… in the sense that ” it is correct “, but — most importantly — it ignores well-and it goes perfectly with a task that is not listening. Damage.
Coup de coeur
THE HOMELESS GOSPEL CHOIR
This Land Is Your Landfill
Without rehashing for the umpteenth time the words of Zappa’s criticism, saying in effect that the recension of music is a practice nebula and here is a fine example. A point of view “critical” (arg), this album is a ” 3 ” or a 3.5 “. This is punk rock to the bright, no-frills, denouncing the small things of daily life, but also the tragedies and social (the global warming) with a passion, humor and desperation, contagious to the AJC and Jeff Rosenstock. Nothing very original, therefore, but The Homeless Gospel Choir comes all the same to slip into a very public and very tucked away… and my humble person by the band. Where the note is inflated, precisely. Remember, you can not prevent a heart to love, and This Land Is Your Landfill is likely to be my crush of the spring.