B.A. Johnston, Elaquent, and Doreen
B.A. Johnston
Werewolves of London, Ontario // Chud-O-Rama, Transistor 66
Out of all the bar shows I’ve gone out to (and I’ve gone to a lot), none of them have made me witness and embrace the absolute bonkers antics of Hamilton icon B.A. Johnston. He has the uncanny ability to make you really not care that you’ve heard the exact same stage banter when you saw him before the pandemic, and the six months before that show, and the six months before the show before that show. It’s almost cult-like the way we always eagerly come back to watch him gradually remove his multiple pullover sweaters and make the patrons and bar staff down a drink in 30 seconds (don’t tell the AGLC). But this isn’t a show review, this is an album review, because our Lord and Saviour has a new collection of nearly twenty short numbers out this year by the name of Werewolves of London, Ontario.
Like 2019’s The Skid Is Hot Tonight, the cover goes all out with a Drew Struzan-esque collage of nostalgic characters that Johnston almost certainly doesn’t have the rights to (so you’d better buy his merch next time he’s in town in case he gets hit with a lawsuit), but this time with B.A. getting a surprisingly suitable wolfman makeover along with Bob McKenzie. But this isn’t an album art review, this is an album review, so let’s get to it already.
Like B.A. Johnston’s previous releases, the majority of tracks are fast-paced acoustic and midwest-style indie rock numbers with the occasional 80s-style electropop number, but this time he also veers into hard rock with “This Pink Eye Has Got Me Down”, power pop with “My Neighbour Dug a Fire Pit” and ambient with the closer “The Cannon Logo Will Get Me Through Tonight”. The most surprising break from the formula, however, is in the lyrics of “GM Can Sit on It (Oshawa 2018)”. Whereas every other track has the expectedly silly themes of dramatically quitting Tim Hortons and enjoying the mindless action of wrestling and B-movies, this track is a straight protest song, with B.A.’s lyrics taking the same crass, meter-defying approach but in a much more serious tone and his voice conveying a rare flash of genuine, humourless anger by the end of it. A personal highlight track for me is the catchy synth-pop number “I Don’t Buy No Government Weed (Still Buying from Steve)” that is sure to become a new live staple featuring an unusually melodic chorus and the gruff tone that people who have only heard him live will recognize, not to mention the lyrics most likely to split your stomach on this album.
If for some reason this wasn’t already obvious to you, I recommend everyone from British Columbia to Newfoundland check out Werewolves of London, Ontario and do their part to make B.A. Johnston the most famous name in Canadian music. And with that, I’ve nearly reached my word limit.
- Ty Vanden Dool
Elaquent
Long Drives to Nowhere // URBNET
Well, summer is upon us again—time for longer days, hot sunny days, and great new releases. I'm excited to see what people share in the warmer months; always an interesting contrast from the cold weather releases. Today I'm working from a sunny spot in Toronto's Trinity Bellwoods Park, an excellent setting to get lost in a new record. Recently I've gotten lost in the latest work from Toronto producer Elaquent and their forthcoming self-produced sixteen-track LP, Long Drives to Nowhere, via URBNET.
Elaquent is a skillful beat maker, crafting thoughtful sonic landscapes that take you on a journey and encourage the listener to forget what they're doing for a moment and enjoy some calmness, some stillness. Long Drives to Nowhere introduces the listener to Elaquent's warm blend of instrumental hip hop, jazz, and electronic music. Using mainly samplers and drum machines, his sound is atmospheric and conceptual. He has previously collaborated with notable artists such as a l l i e, Oddisee, Guilty Simpson, and Blu.
The track "Move On, ft Rugawd'' stuck out to this reviewer for its fantastic melody and steady but intoxicating rhythm. This song hosts a highly palatable vocal track delivered by featured artist, Rugawd, who helps elevate this song and take it just where it's supposed to arrive. This song reminded me of a more laid-back version of Triathalon, which was a significant plus for this reviewer. This song felt layered and dense while playing with a lot of the same sounds and melodies throughout, never deviating too far and keeping the listener in a comfortable spot.
Elaquent dropped the first single from this record in March, entitled "Fairy Tales (feat. Mileena)". Elaquent describes their new single in the following manner. "Fairy Tales was a fun song to make with a friend I've wanted to work with for a long time. The piano sample spoke to me with some great emotion, and Mileena killed it with the vocals."
Elaquent is dropping Long Drives to Nowhere on June 17, 2022, and for anyone interested in lowkey instrumental hip hop, laidback R'n'B, something to mellow you out after a crazy day, or the perfect chillout tune to pair with your sun-drenched Lake Ontario sunset, look no further than Long Drives to Nowhere.
- James Cuvilier
Doreen
Feral Bloom // Self-Released
Doreen’s newest release Feral Bloom is a powerful post-punk fever dream. Just listening to the album you can hear the eclectic tastes of all three of these guys. It's very goth, very artsy, but it stops short of being pretentious and instead opts for a genuine musical experience which I’m sure anyone would be able to enjoy. All the band members have been in local Edmonton bands for years, so their skill is not something to be doubted, listening you can tell the mastery that they’ve achieved and have put on display for you and I. The songs have a slower pace to really let the intricacies and abnormalities sink into your skull.
The bass in this album I would describe as pungent, you can both hear and feel every pull of every string and every note. And as a bass player myself I can appreciate the variety of tones and sounds that the bass as well as the guitar are able to play with. The guitar, synth, and bass are so distinct and separate from each other but so cleanly work together, but of course none of this would be possible without the steady hand of the drummer. The drums keeping everything in tandem with odd time signatures, This is certainly an album where the instrumentation is as integral as the vocals which are filled with self-reflective and reminiscing lyrics. This album is best described as British, although they’re all Berta’ boys the influence of bands like Joy Division or the Cure are certainly present, especially in the sort of English accent that’s sung throughout which delves further into the sort of melancholy feeling present throughout Feral Bloom.
My favourite track on the record is probably the title track. It’s by far the longest song on the album at just under 6 minutes, and it is a very well utilised 6 minutes. “Feral Bloom” is a very sombre song, with almost depressive vocals. And while the lyrics (available in their lyrics zine on bandcamp) don’t make much sense to me, they still feel insightful, each word cuts deep, and leaves you looking back on your own life. It’s very distinct in its atypical time signature, with the powerful words being said later to have them hit that much harder.
All in all, Floral Bloom by Doreen is one of the best and most unique albums I’ve heard this year. With its emotive vocals and lyrics, pronounced bass, iconic guitar and synths, perfectly accompanying drums, odd time signatures, and overall distinctly bittersweet energy emanating from all of those combined.
- Artemis Peaslee
