Crystal Eyes, St. Arnaud, and Jordan Klassen
Crystal Eyes
The Sweetness Restored // Bobo Integral
Kudos to Calgary dream pop outfit Crystal Eyes for knowing how to start an album off right; opener “Wishes” from sophomore LP The Sweetness Restored hits like a rock straight to the dome, shot from a slingshot wielded by Robert Smith. It’s an absolute sugar rush, coming across like the hit single from the soundtrack of an 80’s blockbuster about disenfranchised misfit teens.
From there the album progresses towards richer sonic territory, with the melodramatic shoegaze dreamscape of the fittingly titled “Like A Movie.” “Don’t Turn Around” continues in this vein, with a progression strongly reminiscent of Jesus and Mary Chain, overlaid with chiming post punk guitar, throbbing synth and a thunderous, mechanical drum pattern. Lead singer and songwriter Erin Jenkins possesses an immediately compelling voice that renders any vocal passage into an instantaneous pop hook; Gossamer, glassy and emotive, without any of the self-conscious vocal affectations that tend to plague a lot of indie rock lately. Even at its breathiest, as on the delightfully trippy “I Still Believe in Love” there’s a visceral force behind it that places it in a class way above that of singers who conflate frailty with delicacy.
It’s all rounded out by an absolutely phenomenal band who clearly have an understanding and appreciation for Jenkin’s own songwriting influences. There’s a real cohesiveness in the sound that gives the impression that the band is composed of folks with some deep knowledge of musical history. Without sounding overtly retro, they manage to evoke a veritable smorgasbord of influences from French 60’s pop through shoegaze, psych, post punk, synthpop and no wave. Jordan Tettensor is a bonafide guitar hero in the making, clearly cut from the same cloth as Johnny Marr, and lends every track a real edge of excitement, while bassist Scott Munroe brings the pedigree established by his work in post-punk titans Preoccupations, meshing perfectly with the thunderous percussion provided by drummer Kenny Murdoch, who somehow manages to come off sounding like the full drum line of Adam and the Ants all on his lonesome. It’s all expanded upon by being generously spackled with lush vintage synth sounds courtesy of Munro and Joleen Toner, late of weirdo electronic psych group Sleepkit, and clearly someone with decent taste when it comes to keyboards (fuck yeah, Theravox).
Production wise, it’s a coup, especially the vocals, which just sound absolutely huge, particularly with regards to the epic album closer “No Heaven,” the kind of big, anthemic climax song that every good album deserves to end with. Instruments mesh and lock in a precise balance over a panoramic musical landscape that begs for headphones, and harmonies stack upon harmonies of harmonies, making for the kind of anamorphic cinematic listening experience that feels like the sonic equivalent of a 35mm film, with the emotional scope to match. It’s also fun as hell, with danceable, funky sugar pop tunes that the band seems to be having a great time with (I noticed more than the occasional whoop of joy in the sonic blend). I highly recommend a listen, I suspect Sweetness Restored will be winding up on my best of year list, and I don’t imagine myself being alone in that sentiment.
- Shaun Lee
St. Arnaud
Love And The Front Lawn // Fierce Panda Records
St. Arnaud is one of my favourite bands to exist in the Western Canada music scene right now. Giving a good name to Edmonton and Calgary alike with its patchwork of local talents, there is no bad time to listen to their music – especially their newest release Love And The Front Lawn.
Beginning with “Cle Elum, WA”, admittedly one of my favourite songs off this album, you are stopped in your tracks by the creative genius of the lyrics. The unique and elegant way Ian writes is absolutely memorable and wonderful. There is such a delicate beauty and playfulness that lines the clouds of melancholy, intertwining the heart flutter and squeeze that comes from an unhappy situation with the lightheartedness and inevitability of hope.
These themes of hope, love, and time pass in and out of every song on this album. It is a collection of soft and creamy, fun and levity, reality and a created world. Ian has a way of keeping you grounded in the here and now, while also lifting you up into this carefully crafted fantasy version of life. One where you want to kick off your shoes and run into the reckless waves of the ocean, dance under the streetlights while it rains, and happy cry while driving down the highway after your first kiss. This album feels so human. So whole and welcoming. I have listened to this on repeat since its release and I cannot see that changing anytime soon! It is dance-y, funky, full, and rich. It is a sure-fire way to pull me out of a slump or a bad mood.
Ian’s words paint a picture in your mind that even the emptiest of imaginations can watch come to life. If you have ever watched the movie Ratatouille and know the scene where Remy eats the cheese and the strawberries together and bursts of colour pop and explode deliciously around his head – then you know the exact feeling of listening to Love And The Front Lawn. It is a true feast for the ears. It is such a feel-good album that explores questions we all ask, feelings we all experience, and utilizes every instrument to seemingly its full capabilities.
I am so impressed by this album and absolutely mesmerized by the skill and ability of the vocals and the instruments. This is a terrific band that really honed in on what they wanted this record to sound like and pulled it together exquisitely. It’s evident that there was time and space carved out to create these songs. I know that if Remy were to listen to this album, he would give it 5 out of 5 stars. Chef’s kiss!!
- Krystle McGrath
Jordan Klassen
Glassolalia // Self-Released
Jordan Klassen is spot on with the description of his sound: “fairy-folk”. His new album Glossolalia is a lullaby in its entirety and will make you feel alone in the wide universe, yet not at all lonely. With peaceful acoustic guitar, enchanting strings, and graceful harmonies, the album skillfully balances intrigue and simplicity as it weaves through each song.
Released April 8, 2022, the album is ten tracks long and just under forty minutes. Klassen worked on the album in Vancouver, BC, with Jonathon Anderson at Protection Island. Glossolalia is Klassen’s seventh album released, and is absolutely his best one yet.
Starting off on hopeful and feel-good song, “Milk and Honey” came out as the first single on October 28, 2021. This track is definitely in my top three favourites on the album. I imagine listening to this track surrounded by endless sea or lush forest, feeling encapsulated by the expansiveness of the earth and Klassen’s delicate harmonies. Following the release of the first single came the songs “Carried Away”, “Niko”, and “Ash Wednesday”, each displaying the diverse sound Klassen’s “fairy-folk” can have.
If you only listen to one track, I recommend “Pangea”. The song shows off Klassen’s skillful song writing skills while he moves the spotlight from the acoustic guitar to the euphoric string section. With the phrasing of the instrumental melody and relaxed percussion, the song reminds me of Canadian folk artist Andy Shauf. Not only do the instrumentals seem to follow Shauf’s recognizable structure, but the vocals almost mirror his perfectly as well. If you are a fan of Shauf’s, you will absolutely appreciate this song.
Klassen shared some thoughts about Glossolalia on his Instagram following the release and said the album is about “space in between, about longing for more but wanting to hold on to what you have.” He explained the album as a “stream of consciousness, just letting whatever’s inside come out into the light.” This album is one you do not want to pass by. Block out forty minutes, close your eyes, and let Glossolalia sweep you away to a serenity like no other.
- Holly-Anne Gilroy
