PRETTYBOY, Sunshine & the Blue Moon, and Young Clancy
PRETTYBOY
Becky & Darlene // MUST BE NICE RECORDS
In the space of a week, PRETTYBOY, Toronto’s favourite feisty four piece have released two complementary EPs of urgent and bratty punk rock that display an extensive punk education. Musically, they pour elements of early punk rock, 80s hardcore, grunge, and a bit of pop punk, albeit with a sludgier sensibility, into a grimy king’s cup; then they stir up the swamp water and pass it around. Bashing through the macho barricades, these women tackle misogyny, and rally for body positivity, sexual freedom and consent. With the proceeds from these albums going to Sistering, “a multi-service agency for at-risk, socially isolated women and trans people in Toronto who are homeless or precariously housed,” it’s clear that these self-described “grunge queerdos'' are practicing what they preach. The guitars are distorted, but their credo is clear, and the music, which actually exhibits some impressive range between the two balls-to-the-wall EPs Becky and Darlene, is the perfect vehicle for their infectious passion.
Becky, released a week before its sister EP Darlene, is only thirteen minutes long, but PRETTBOY know that a punk band can do a lot with thirteen minutes if they trim the fat and play fast enough. The drums, bass, and guitar give Kirsten White the perfect sonic wave to ride, and she does so with style and ferocity. White flips between vocal delivery modes, and she exudes confidence in every form. On the opener “OICA,” she channels Be Your Own Pet for the hysterical rapid-fire reading of love-note-meets-diary-entry lyrics, then the band explores a hypothetical collaboration between The Runaways and Death From Above 1979. However, before there’s any fear of things getting too poppy in the anthemic chorus, White unleashes her unhinged darkside, hinting at the beast that’ll reign on songs like “Goldie.” Going from the early punk/new wave frolic of “Battlevest” to the guttural sludge of “Goldie” confirms that PRETTYBOY can transcend styles without ever losing steam or quality.
In contrast to the opening moments of Becky, Darlene opens with a head-bang-inducing shot of heavy, before letting loose at highway speeds as PRETTYBOY get out the leather jackets and make Motörhead sound cute. PRETTYBOY’s affinity for garage punk and crunchy grunge comes through in this second EP, but the heavy parts just make the high-throttle moments more exciting. Instead of Darlene feeling like an unnecessary afterthought, it earns its spot as Becky’s equal, bringing the same punk rock variety, along with spells of slower, but heavier grunge rock fury. “Grey Sue'' drifts on a sea of fuzz, and instead of breaking up the mould with sudden speed bursts, the band members hold their course, providing contrast as Joni Cassidy switches between brash and reserved guitar parts, intermittently leaning into brief noise impulses before reeling herself again. Nowhere is this restraint and patience more clearly shown than on the EP’s closer “Could Have Said So,” which begins like a distant siren song as White sings over an unimposing long note. The tender respite functions like an unexpected nap at a house party in the wee hours of the morning, but partway through the song, the band wakes the listener and reminds them that they’re still at the PRETTYBOY party, and invites them to rally for the final crescendo.
Even added together, these two EPs barely crack the half hour mark, but over the course of these twelve songs, Kirsten White, Izzy Dean, Joni Cassidy, and Kat McGouran establish themselves as a well-oiled grunge punk machine. The dynamics, the integrity, and the devil may care delivery of these releases make them impossible to ignore. When bands put out back to back releases in the same year, let alone the same month, fans can’t help but compare them, but these ferocious releases from PRETTYBOY are different enough from each other that they both carve out their own zones, while still demonstrating the same dedication to making cheeky, but crusty statements. The album covers for Becky and Darlene mimic teenage diary covers, but PRETTYBOY have something to say, and no diary can contain this fervent fury. They’ve got their battelvests on: “Make way for the girls in the back.”
- Devon Dozlaw
Sunshine & the Blue Moon
Born 2 Boogie // Majesticsilk
There's a super groovy feel to Thunder Bay's Sunshine & the Blue Moon's second full-length album, Born 2 Boogie. And with an album name like that, it's exactly what you're going to get. Reminiscent of 90's Teenage Fan Club or The Verve with a 60's brit-pop, psychedelic feel, it truly is a boogie. And from someone who believes they WERE BORN TO BOOGIE, I can vouch for the album title. It's a ray of positivity fighting against a dark world view with a tambourine and a sexy smile.
Deciding to dive deep into the album during a 10 hour road trip into interior BC, it was a good choice for road tripping music. There's an overarching feel to the album but each song has a slightly different sound. The title track, "Born 2 Boogie" is a JAM. Passionately crushed fresh wild strawberries from your grandma's garden smashed onto toast. It's delicious. "Sweat" starts off sounding like the intro to a 90's ballad and slithers its way into a trippy, bluesy vibe. "So Sad So Bad" is a laidback hip shaker.
It's hard to pinpoint any one genre to the album but one thing I can pin my finger on is that it's a solid psychedelic release from a talented up and coming band.
- Mo Lawrance
Young Clancy
SOMETHING SOMETHING TAPE // Black Box Music
Over the last year we’ve had many creative types who made the most of isolation through a focus on their art. Toronto-based soul musician and beat-maker Young Clancy is no exception, who came out with his new album, SOMETHING SOMETHING TAPE– a collection of 13 songs featuring a wide cast of featured artists. Only a single song - “GRIM REAP”, featuring Daniela Andrade - hits the two minute mark, so each track feels more like a vignette than a full length song. This is no detriment, as Young Clancy uses this to pack each track dense with individuality and style.
What’s interesting about this album's production is that it was entirely done remotely, with Young Clancy still having not met some of the featured artists. I found this surprising as the production quality never falters, retaining the heart and soul that’s found in the recording studio. Despite the distance between the artists, SOMETHING SOMETHING TAPE manages to still feel organic and genuine. This goes to show the care and consideration that Young Clancy took into creating this record.
Young Clancy uses the strengths of the recording artists to accentuate the style of each track. For example, “SAUCY”, featuring Adrian Dey, takes on the form of trap music, while the opening track “BLUES INTRO”, featuring MI Blue, is more R&B than Hip-Hop. The variety of genres that SOMETHING SOMETHING TAPE covers further exemplifies Young Clancy’s talent in conveying an atmosphere in a small spanning of time.
Each short song gives you a taste of Young Clancy’s style, and by the end of the album it leaves you hooked and wanting more. I appreciate his individuality, experimentation, and openness to explore different directions. This is an excellent album for all occasions, whether that’s at a party or in one's lonesome.
- Brandon Kruze
