Body Lens/Dana Gavanski
Body Lens
BL Mini // Independent
Body Lens are back with a surprise sophomore release in the form of a short, 4-track album called BL Mini. Building on their brand of sinister yet funky post-punk/no-wave sound of their 2018 self-titled debut album, the four tracks on this release further prove that this Lethbridge group has serious musical chops and are arguably one of the most exciting bands in Alberta currently.
There is something very cult-like in how the lead singer not so much sings, but lays down sermon like proclamations during the songs that forms the foundation of all tracks. The tight yet playful rhythm section further coats the gloomy tracks with swagger and dread confusing the listeners (in the best way possible) about whether they should be stroking their chins or shaking their hips. The album highlight “Ikon” which made its debut on the Cups n Cakes Compilation Vol 1 back in 2018 fits perfectly well on this release. The slithering baseline and cracking drums provide a solid counterpoint to the rapturous vocal styling, which when combined together becomes somewhat of distinctive characteristic of this group. Additionally, the spartan production also gives the tracks a bewildering, fever dreamlike quality as every instrument feels and sounds like it is in the right place and that there are no unnecessary effects or walls of sound diluting the sonic message.
BL Mini with its 4 tracks clocks in at just over fifteen minutes, but it packs a thunderous punch.
- Piyush Patel
Dana Gavanski
Yesterday Is Gone // Flemish Eye
Like many independent artists, Dana Gavanski first tested the waters by releasing an EP, but she fully embraces the purpose of the LP with her new album, Yesterday Is Gone. A debut full-length is a recording artist’s first opportunity to fully introduce themselves to a listener, to make a strong first impression, and to develop their own sound while also paying homage to the influences that inspire them. Yesterday Is Gone finds Gavanski with more space to freely express the incredible wide range of her talents.
After the release of EP Spring Demos in Sept 2017, Gavanski desired to sharpen her songwriting skills and spent time at a writer’s residency in Banff, Alberta, exploring what it takes to “write a good song” and work towards creating “something bigger”. She emerged from the retreat with a deeper understanding of the art of being alone and applied it to her songwriting. Newly single and newly living in Toronto, Gavanski felt disconnected from home and from others and it was during this period of self-reflection and loneliness that songwriting was a grounding experience. She devoted ‘office-like hours’ in her bedroom to songwriting - and began to craft what became Yesterday Is Gone.
What makes this record truly exciting is that we get to witness Gavanski blossoming into her own artist while also confidently honouring her influences from the 50s, 60s and 70s. That’s not to say that the album sounds dated - it is commendable when each song is just as comfortable on a playlist next to The Beaches, Florence and the Machine and Sharon Van Etten as it is next to The Beach Boys, The Mama and the Papas and David Bowie.
On the opener, “One By One”, a repetitive guitar strum is joined by a high pitched three-note melody, before her comforting, relaxed voice slides into the mix, reflecting melancholy on loss: “one by one, I think of how he’s gone, as the sun has drawn for the day”. After a soft but serious greeting, a swirling organ increases in intensity and Gavanski’s hypnotic vocals, partner with a plucked guitar for a brief spell, before the organ sustains and the drums bounce into a poppy, summer-in-the-60s rhythm. Both the band and the listener relax, recognizing that this album is not going to be thirty seven minutes of straightforward sadness. Instead, on Yesterday Is Gone, Gavanski is making the most of difficult personal experiences, and together with co-production from Sam Gleason and Mike Lindsay, is serving up a funky, full pitcher of perfectly prepared pink lemonade.
Punchy, expressive cymbals crash in minimally perfect ways, jumping out twice during the hooks of “Catch”. As if conducted by Ziggy Stardust, the LP’s second track - a 70s psychedelic-pop, shoulder-sway inducing standout - stops you in your tracks and invites you into the room, to dance along with Gavanski and see what other surprises she has up her colourful sleeves (a few of those sleeves can be seen in the video for title track, “Yesterday Is Gone”). Gavanski’s vocals are a highlight of the album. Her voice weaves effortlessly in and out of harmonies, and her vocal control, evident in her enunciation and use of dynamics, honours the lyrics so that the words can be fully appreciated.
Yesterday Is Gone is a comforting album that is a perfect companion for these trying times. Gavanski is speaking with us, not at us. And if we have trouble accepting that the times are changing, listening to this album will bring us solace and some welcome sonic surprises for the time being.
- Greg Torwalt
