Devours, Fiver, and Sarah Neufeld
Devours
Escape From Planet Devours // Surviving The Game
30 seconds into Devours new double LP release Escape From Planet Devours I’m struck by the fact that it’s less than half way through the year and my best of list is already solidly occupied by three releases from Queer artists. I can’t help feeling that we’re finally seeing the fruits of the decades long struggle for Queer visibility in action this year, and I’m loving it. The word masterpiece is NOT something I casually toss around, but good God, the production on this album literally reaches out of the speakers and grabs you by the throat immediately. I can’t remember the last time I was so instantly sold on a record. This album very much feels like the making of a legitimate superstar.
By the time I’d reached the fourth track, the frenetic, hammering pop confection “Dick Disciple” I had already breathlessly exhaled “Jesus fuck” multiple times. This album is absolutely relentless, an aural assault packed to bursting with obscenely infectious hooks and gripping, progressive beat production that makes most of the electro I’ve heard this year sound positively obsolete. I keep waiting for a break from songs that sound like massive hit singles so I can reflect, but the merciless delivery of pop gems prevents me from catching my breath.
Fans of electronic music, especially the New Romantic variety will likely be creaming their jeans for this release, which touches of just about every 80’s aesthetic high water mark, while delivering the type of heavy production and future-punk aesthetic that keeps the album from being a purely nostalgic workout. Despite Devours’ clear passion for the music of his childhood, this record sounds completely fucking futuristic, and if there’s any barrier to its success, its that it’s easily five years ahead of itself.
My genuine hope for this album is that it also hits the ears of folks who don’t normally go in for synth/electronic music. This is in every way an album that has all the grandeur and heaviness of a classic rock album, as is particularly evident on the shoe-gazey monster “Grape Crush,” its quiet/loud dynamics very much recalling the quintessential 90’s sound before giving way to the absolutely psychotic, gay-as-fuck club monster “Yoshi’s Revenge,” and it’s relentlessly infectious “drugs drugs drugs” chorus.
Beyond the absolutely delectable songwriting and production, this album is just lyrically light years beyond anything I’ve heard since Morrissey ruled the charts. Lyrics like “Pleased to meet you, hand me a noose/I’m bald, gay, fat and depressed, how the fuck are you,” from “Feckless Abandon” and “this is not love/I just wanna get fucked” from “Memoirs of a Stretch Hummer” positively drip with tongue-in-cheek cynicism more than worthy of the Mozzer at his best, with none of the accompanying buyer’s remorse. The whole album is packed with dense, literate humour, cheeky asides, self-deprecation, and a master’s thesis worth of cogent observations on Queer culture, patriarchy and toxic masculinity.
Finally, it’s worth noting that this is Devours’ first release on his very own, brand new record label, and it very much feels like an arrival at a whole new plateau for what is, bar none, Vancouver’s most vital and engaging music act currently active, and in my opinion, Canada’s foremost delegate of Queer Excellence in Music. My suspicion is that this album is going to hit like a sledgehammer this year, and shoot straight to the top of a ton of best-of lists. Start enjoying Escape From Planet Devours now before everyone is talking about it, and also because it’s gonna take you literally months to assimilate the vast amount of absolute solid gold packed into this beast.
- Shaun Lee
Fiver
Fiver with the Atlantic School Of Spontaneous Composition // You’ve Changed Records
To tell you the truth, I’ve never been a big fan of contemporary country music. Especially what Bo Burnham described as “stadium country”, hedonistic pop music in a cowboy hat. As I hear another country singer from LA sing about his pickup truck and X brand of beer I can’t help but reminisce of the time when country music had a darker tone and a soulful aesthetic. Country was the hardcore scene for folk music, and it was awesome. I thought that age of country had passed, but Fiver with the Atlantic School Of Spontaneous Composition showed me that the heart of country is still alive and well.
Fiver (real name Simone Schmidt) teams up with the Atlantic School Of Spontaneous Composition (Bianca Palmer, Jeremy Costello, and Nick Dourado) to create a well crafted country album that blends meticulous construction with intuitive improvisation that sounds natural and genuine with every instrument, from the lush piano, the soft drums, and Fiver’s distinct low register vocals. Their beautiful, sophisticated tone makes it possible for Simone to sing words like “motherfucker” and “piss” without the risk of losing their aesthetic class.
The lyrics are poetic and interpretive. I’ve listened to the albums opening track “Yeah But Uhh Hey” almost a dozen times now and I still don’t think I understand what the song’s about. It’s easy to get lost in the feeling of hopeful sadness that the tone conveys. Although the lyrics may be hard to understand, the empathy forms from what Simone displays through her emotional, vibrato filled singing. That’s what I love about this album, the immense depth put behind it.
If you like the soft comfort of classic country, thoughtful lyricism and, you know, good music, then this album’s right up your alley. I can’t wait to listen to it again in my free time, and I think your mind won’t differ too far. I try not to simplify my feelings of an album, but gosh, it’s just so lovely.
- Brandon Kruze
Sarah Neufeld
Detritus // Paper Bag Records
When given the chance to review someone that I admire, I’ll be honest, I jump at the chance. If your not familiar with the name Sarah Neufeld or her work, let me fill you in.
Sarah Neufeld is probably known best for her work with Arcade Fire. Juno Award winning. Neufeld is also a founding member of Bell Orchestre. Her solo work takes classical elements and blends it with an etheric heavenly essence. It awakens the dancer in me.
The connection between dance and music is something that has always been. What really delighted me was when I found out that Neufeld herself is a dancer. Dancer turned musician from what I understand... Neufeld truly captures this connection through her music. Where dance and music coincide naturally and that was exactly how her latest release was born. Out of the brilliant relationship that dance and music have. A collaboration like no other with famous dancer/choreographer Peggy Baker. Live... this could be described as the ultimate battle between dance and music. I too once was a dancer/teacher and from dances I’ve taught, it encompasses the feeling of fire from tango or paso doble. Like they’re challenging each other to a duel. It’s definitely going to stir something in your soul and ignite your spirit. Be ready.
Here is Sarah Neufeld’s third and most anticipated release Detritus. Oh but a few more special morsels. Detritus is in conjunction with PaperBag Records in Toronto. Also Bandmate Jeremy Gara of Arcade Fire does lend his gifts of rhythms on drums, synthesizer, and adds something otherworldly with the background ambience layered throughout. You can look forward to a wide array of sounds. For the full effect please put on the headphones and release the day's worries and let this re-energize your body, mind, and spirit.
“Stories” is where it begins. The violin greets us with long slow notes almost sorrowful and then streaks of a light burst through with the sequence of notes played. It’s haunting humming in the background. Add Neufeld’s angelic voice adds a heavenly finishing touch. Balanced and brilliant.
“The Top” adds a delightful contrast. It’s fast and lively. Bright and intense. I can literally see Peggy Baker dancing to this one in my head. You feel the fire and passion. Intricately composed. I believe Sarah Neufeld is utterly brilliant and genius in anything she creates. Such a skilled violinist. She blows my mind.
“Shed Your Dear Heart” offers a spacey futuristic feel. Hints of track one are present but it goes somewhere else. Ambient humming and deep synth tones like a Stranger Things vibe. Lots of depth and a gradual intensity building up until the drums kick in. The drumming is like your heart beats. A timpani perhaps. The flute chimes in like little bursts of light.
This face off between dance and music isn’t over, it leaves one wanting more. Another listen is mandatory. This time I will experience it with my morning walk. It brings a whole new level watching the sun rise listening to Detritus another time through. I can definitely see another Juno nomination in Sarah’s Neufeld’s future. Or some other accolades or awards. This album is pure brilliance and I must thank Neufeld for her beautiful creation. Just hearing it really is a gift to my soul.
Love Always,
Green Noreen
