TEKE::TEKE, Amos The Kid, and Yaris Paris
TEKE::TEKE
Shirushi // Independent
With such a vibrant, varied collection of reference points, TEKE::TEKE seems like a fictional band from a stand-up comic’s bit about an eccentric music lover’s favourite band that no one has ever heard of, but they are just as real as they are unique. While Flight of the Conchords teased newcomers with their reputation as “New Zealand's fourth most popular guitar-based digi-bongo acapella-rap-funk-comedy folk duo,” TEKE::TEKE could candidly boast about being Montreal’s most popular proggy-shoegaze-Brazillian psych-loving-surfy-punk rock vehicle of Japanese balladry. Their new record Shirushi covers a lot of ground, moving effortlessly through genres and moods, but somehow this wildly dynamic septet manages to tap into a hive mind consciousness in order to create a thrilling record that is both multifarious and cohesive.
Right off the bat, listeners will immediately notice the contributions of Yuki Isami, who is credited with playing flute, shinobue, taisho koto, koto, shamisen and keys, as these instruments add heaps of flavour to the guitar-based sonic spread. The album’s guitarwork is as diverse as the band’s apparent influences, providing surf rock grooves on songs like the B-52s-meets-Can track “Yoru Ni,” and prog riffage on “Kala Kala.” The guitarists take notes from John Dwyer of Osees on “Barabara” moving from grimey garage punk guitar into abstract noise bits with boisterous energy. Tracks like “Sarabande” find the drums and bass grooving on a loop that allows for experimentation from these other instruments in the band’s arsenal. Lastly, Maya Kuroki’s impassioned vocals match the diverse musical backdrops perfectly. Or could it be the other way around? Either way, Kuroki’s versatility suits the band exceptionally well as she moves between the roles of psych-rock queen, creamy balladeer and crazed rambler.
TEKE::TEKE pack a lot of different instruments into these nine tracks, but rarely all at once. The band has a superb grasp of dynamics, and each instrument in their oeuvre is given its own moment in the spotlight. They manage to flow from genre to genre with ease, keeping the changes surprising, yet purposeful. The songs never become boring, but the changes never feel contrived either. “Yoru Ni” establishes a surfy new wave groove, and then as the lyrics go from Japanese to French, the band brings things down to a simmer for a brief dream sequence before returning to the groove again. The same satisfying flow is created by the tracklisting as well. As the second track ends with a Jethro Tullian Coda, the third track begins with a subdued drum machine, joined by a tender interplay between some of the band’s orchestral components. “Dobugawa” serves as a slow dance before the crunchy pummel of “Barbara’s” punk guitar disrupts the reverie. Just as the musicians flow in and out of the mix, avoiding the exhaustion that comes from too many layered parts fighting for the listener’s attention, the band always follows chaotic stretches with calming breaks. TEKE::TEKE manage to find a perfect balance between all of their moving parts, and this is an immaculate record that deserves to be listened to from beginning to end, over and over. Featuring such a rich palette, TEKE::TEKE manage to unveil hidden strokes in Shirushi with every pass.
- Devon Dozlaw
Amos the Kid
No More New Ideas // House of Wonders
After the unpredictable success of his first EP, Winnipeg based indie rock artist Amos the Kid lost his inhibition of studio recording and began to meticulously craft what would become his sophomore EP, No More New Ideas. Amos was armed with a desire for expression, a yearning to expand his sound, and an ensemble of talented friends, including Jensen Fridfinnson of Yes We Mystic, who provides beautiful melodies in many of the EP’s six songs.
No More New Ideas takes the listener through a genre-salad ranging from the soft indie rock of “You Make It So Easy” and “Alright”, to the dark, bluesy country “I Don’t Really Know Why”, all the way into the grungey “Island Of Troubles” and the heart tugging “September Song”.
However, regardless of the genre influence, all of these songs have something in common: they’re so damn catchy. Especially the aforementioned “Island Of Troubles”, that song will be stuck in your head long after you’ve finished your sixth listen in a row. The vocals of Amos (with a verse from Jensen) lead the song’s ear worm of a verse and its Velvet Underground-esque chorus.
Like its predecessor, No More New Ideas is destined for greatness. It’s a heartfelt EP with collaborative care and thought put into the delivery of each track. It’s well mastered and produced, which complements the attentiveness given by the musicians. As an amateur musician I appreciate the execution in blending artistic expression with a catchy tune. It’s difficult to produce a song that does both seamlessly, and Amos the Kid managed to do it six times in a row. No More New Ideas deserves a listen from you, dear reader. You won’t regret it, and you especially won’t forget it.
- Brandon Kruze
Yaris Paris
Ultimate Fantasy // Factotum
Vancouver based artist, Yaris Paris, opens the passenger door of his 1996 Toyota Camry and invites us to go for a drive while listening to his sophomore album Ultimate Fantasy. A hybrid between singer/songwriter and chill-wave, his latest work guarantees a dream-like sonic experience.
The album’s vibes are laid-back and joyful as well as thoughtful, dark and expressive. Yaris Paris conceived the majority of it at night while driving his beloved Toyota. “Some of my most formative experiences with music have come while driving at night. There is something particularly memorable about sharing those moments with someone else, or in solitude. A goal of mine with this project is to provide a soundtrack for those instances, as has been done for me.”
Ultimate Fantasy is a more personal companion to the 2020 debut Real Moves. Both share that pop-oriented songwriting and glossy/ shimmery production Yaris Paris is known for, but this time his lyrics dig a little deeper into the subjects of understanding oneself and personal change. From beginning to end, you will be immersed in a colourful and melodic world that will only get better with time.
It is important to mention that, once again, all the songs in the LP were written, produced and performed (except for vocal performance by Portland’s Maria DeHart on the single “Camouflage”) by Yaris Paris himself. This allows us, in a more personal way, to witness his growth as an artist and as a person.
Now you have the chance to get to know a little more about Yaris Paris and his music with Ultimate Fantasy. Out now on cassette and digitally through Factotum Cassettes and Oddities.
- Fel Gamarra
