Dr. Joy, Bria, and Andy Shauf
Dr. Joy
Dr. Joy // idée fixe
Don’t judge a book by its cover is generally sound advice, but in the case of Dr. Joy’s eponymous debut album, the cover provides a pretty accurate road map for the sonic journey ahead. Dr. Joy, a mash-up project between Matthew “Doc” Dunn, and Mr. Joy, which features songwriter/visual artist Blob, Harrison Forman, Steven McPhail, and producer Asher Gould-Murtagh on various instruments, are not concerned with keeping things tidy. In the same way that the cover of their new album plops seemingly disparate images together, and in the case of the happy face sticker that covers the head of a purple horseman, directly on top of each other, the band relishes in unexpected instrumental pairings. Their varied arsenal helps lead the songs in various directions, sometimes simultaneously, and the group seems quite proud of this fact, citing “cubism, dadaism, Baltic disco, Italian soundtracks, and babbling brooks” as influences. Yet, as broad as Dr. Joy’s influences may be, at their core they are an experimental, yet funky, neo-psychedelic collective that seems content to jam until the tape runs out, or perhaps longer.
Many of the songs on Dr. Joy seem to start in medias res. It’s as if the listener has stumbled into a cosmic jam that's well underway by the start of the recording. Songs like “ Signed, the Body Electric “ forgo any type of introductory baby steps, instead launching right into a full-blown groove that other songs wouldn’t reach until the fourth minute. Eat your heart out, Shine On You Crazy Diamond! This is one of the elements that makes the record feel like a collection of snapshots from an extended, improvised jam; A sampler from a crazy night at the factory with Dr. Joy. The Flaming Lips are already an easy comparison for the psychedelic soup served by Dr. Joy, but at times these psychedelic snapshots feel like products from a twenty-four hour freeform jam session like the one that famously birthed The Flaming Lips’ 7 Skies H3. The album consists of songs like “No Deal,” and even “Midtown,” that follow more typical song structures, placed between groovy, and/or floaty instrumentals like “The Normals.” However, even “Midtown,” with its verses and recurring mantra, “This is not your world, this is where you are,” still breaches the nine minute mark, balancing various elements of Bowie’s Berlin period in an intoxicating reverie that never loses steam as it transcends further into Wonderland with every added instrument.
Even with a healthy dose of Floyd and Bowie popping up here and there, Dr. Joy quickly destroy any notions of being a time capsule jam band. Some of these tracks have as much in common with Animal Collective as they do with classic psych bands. Many of the neo-psych staples are here, but the music defies clean cut genre labels from the get go. The opening jam, “Weeping Facade,” sees everything from autoharp and fiddle to harmonica and melodica entering into the fray alongside the more conventional “rock instruments.” While some bands adopt a familiar instrumental palette, Dr. Joy seem more concerned with serving each song’s vision. Whatever the track needs, one of the group’s multi-instrumentalists adds it in, and an extra instrument fluttering deep in the mix is never a bad thing here. The songs are stacked with an orchestra-worth of instrumental parts, but the instruments never fight each other. In some tracks the bassline and drum beat lock into a loop for virtually the entire song while other instruments move in and out like members of an improv theatre troupe, organically borrowing the spotlight before making space for the other parts. When the groove stays intact, everything else can just provide colour over top.
With their first album, Dr. Joy have created a dense and intricate sonic landscape. The listener can easily get lost in the murky grooves, or they can focus on one of the many layered parts and discover new things with every listen. There’s a lot going on here, but the hypnotic stomp of the rhythm section, the perfect balance of floaty and frenetic instrumentation, and dream-inducing vocals make the album worth spinning over and over.
- Devon Dozlaw
Bria
Cuntry Covers Vol. 1 // Sub Pop
Bria Salmena has produced a labour of love with her friend and co-producer Duncan Hay Jennings. The duo cut their teeth touring as half of Frigs. Both are permanent members of Orville Peck's band. A half dozen songs highlight the female experience in country music. Aptly named Cuntry Covers, just because it sounded funny.
- “Green Rocky Road” (Karen Dalton)
The EP starts with this cover of a Karen Dalton track. Duncan especially liked Brian's guitar work on this track. I enjoy the light airy nature of the vocals.
- “Dreaming My Dreams With You” (Waylon Jennings)
Arguably the most well known and daunting tracks to cover. I remember my folks dancing to this waltz in my childhood. Now, as an adult, I realize the heartache needed to write such a painful song.
- “Buffalo Ballet” (John Cale)
While not a traditional country song, this John Cale cover is set in Abilene, Texas. The setting and feeling alone qualify for inclusion in this EP.
- “Fruits of My Labour” (Lucinda Williams)
Bria Salmena takes the brave approach of coming up with her own vocal treatment or another well known track by a songwriting stalwart.
- “The Sun Ain’t Gonna Shine Anymore” (The Walker Brothers)
Admittedly, Duncan says of this track, "Folks are going to hate that we even tried this one". I wasn't familiar with the original, so it's totally fine by me!
- “I Don’t Wanna Love Ya Now” (Mistress Mary)
Strong lyrical content of the rejection of sexist beliefs ties up the EP.
Bria and Duncan skillfully present this six song EP with earnest respect to the genre. Even though they consider themselves visitors, they found themselves doing right by it. All the while, the songs chosen shed a light on it's inherent misogyny and historic patriarchal nature. Who says you cannot pay respects without tearing things apart a little. Let's patiently wait for Vol.2.
- Drew Cox
Andy Shauf
Wilds // Arts & Crafts
I love surprise albums. They are sneaky and let the artist release their music without the publication aspect, which can be preferred by some. I think it takes out some of the pressure and makes the release more about the music than the hype around it. Andy Shauf’s surprise album, Wilds, came out September 24th through Arts & Crafts, following his single “Spanish on the Beach”. Sharing the same home province as Shauf, I’m surrounded by many long-time supporters of his music journey. I’ve talked to a few people about the release and it’s been really interesting hearing what everyone has to say, many sharing similar thoughts to mine.
This is one of the tougher reviews I’ve written, mainly because I have so many conflicting ideas about the direction Andy Shauf has taken his sound. I’ll state that I do like this latest release, Wilds, but it definitely took me a few listens to get to this point. I was introduced to Shauf’s music through The Party, which I think has yet to be touched by another one of his albums. Going from being an Andy Shauf listening virgin to major fan of The Party, I think I am just biased towards that first album I heard of his.
After a few listens through, Wilds has really grown on me. Shauf tones it down on the melodic instrumental lines, but gets a little experimental in other ways. He uses a constant changing time signature in “Call”, alternating between 2/4 and 4/4 in the verses, which makes for a really cool percussion line. He also lays down some impressive harmonies in this track, leaning hard into dissonance and resolving it beautifully. This track makes my top two off the album for sure, possibly even taking first place.
My other favourite track off the album is “Jaywalker”, specifically because of the catchy instrumental melody that returns a few times throughout the song. This one seems to be one of the more popular songs since the release, and I wonder if it’s because of this... Shauf is known for his fun instrumental melodies that usually follow the chorus, and “Jaywalker” follows the same structure. It seemed like the most traditional “Andy Shauf” song, so I’m not surprised that it’s been a hit so far.
I’m really curious to see where Shauf takes his sound next. I hope he continues with his catchy instrumental melody lines and leans even harder into storytelling. I really loved how he brought some of the characters from his last release, Neon Skyline, into this album, for it really caught my attention and made me feel a connection with this release that I haven’t felt before. Take a listen if you have not yet heard the album and make sure to check out those sweet harmonies in the chorus of “Call”!!!
- Holly-Anne
