Eamon McGrath, Cat Clyde, and Still Depths
Eamon McGrath
Liar’s Paradise // Cassettes Records
Like a lot of things I mull over, it’s usually over some coffee. Today, I’m sat down with a shot of espresso (with cinnamon. What can I say? I like a little kick to my coffee) as the word document lies open on the laptop. As the effects start to set in and I become a little more alert to the day, I’m thinking back to the album and the overall experience of Liar’s Paradise. The beginning of 2023 marked a familiar prolific pattern for working musician Eamon McGrath – in his Cassettes Records imprint, he released seven (yes, seven) albums DIY-style to the world via band-camp, various streaming platforms, and perhaps most importantly, in a limited physical copy edition sent out to those lucky enough to grab one before quickly selling out. Cassettes Records plays a significant role in this DIY aspect to McGrath. Back in the mid-2000s, he released a limited edition ltd run of CD’s in Edmonton. For years, the label itself remained dormant. However, New Years 2022 brought about a resurrection of the label within a tumultuous musical landscape. An unfortunate force weighs down on working musicians today: the rising costs of production, the issue of masters and ownership (just look at the history of the legal battle between Taylor Swift and Scooter Braun), and an overall ‘survival by the fittest’ nature of the scene has dramatically shifted the way musicians market themselves today. Take into account the independent artists or those bands just starting out, it already feels like an impossible task just to put some music out there. So where does McGrath fit into all this? With Cassettes, the control is with the artist. A middle finger is pointed square at the beast that is the industry and for McGrath, taking back control is the ultimate form of artistic freedom. “Take it from me,” he writes in an email. “I’m paying my rent putting out records and touring and I retain ownership of everything.”
‘DIY punk’ is an attitude McGrath carries in the type of work he produces. What else can you say about an artist that seems to always be on the move either on a cross country tour (for the latter half of 2021 and throughout 2022, he toured promoting his album Bells Of Hope and less than a year later, is back on the road across Ontario and Europe in promotion for another album released later this month: A Dizzying Lust) or obsessively writing, producing, and releasing music? The guy just doesn’t quit; the compulsion for both movement and his refusal to play ball with the ‘paint by colours’ aspect to the industry is a theme that carries well into Liar’s Paradise. Self-described as a “continuum between Lucinda Williams, The Stooges, and R.E.M”, the album is a collaboration with July Talk’s Danny Miles. Tracked during an Omicron lockdown, all eight tracks were recorded remotely in McGrath’s home in Toronto and Miles’ house in Hamilton. A first listen will tell you the album sits at a breezy 31 minutes. It’s a quick soundtrack for a walk. Or a commute. Or a load of laundry. However, with the freezing temps at the time of the first draft in writing this, I had the chance to really pause and hunker down with the album.
Where do we begin?
The first thing you’ll notice with McGrath is the literary quality to the work he puts out. Genres may shift – themes, instruments, releases etc. are all malleable components to the bullet train that is his body of work. But one thing remains relatively consistent: lyrically, his songs have a story-telling nature to them reminiscent of artists like Johnny Cash or Neil Young. This narrative structure is apparent in three standout tracks: “Liar’s Paradise”, “Idea of North” and “Shortest Day”. Heartbreaking. Self-soothing. Wistful. Once again, McGrath dusts off his guitar, shifts genre, and dives headfirst from the wild ride of In the Valley of The Shadow of Death and into the folk blues.
“You harboured a coward/despite checking every hour, you still never heard him talk.” Much like the folk tales written in the late ‘60s or 70’s, McGrath writes about a real-life experience of his involving a squatter living in a shed at the back of his home. “Liar’s paradise. There’s a train at the end of the night. We’re all just sittin’ here stranded, waiting for the light.” The track is an important theme for Liar’s Paradise as a whole. It’s got the markings of the folk classics: introspection and dealing with the painful. However, what really makes the track shine is the undercurrent of empathy weaved throughout. Lines like, “Liar’s paradise is a house that never gets built. If they never finish it, there won’t be no guilt.” and “Liar’s paradise: sleeping out back in the yard. Man, if living ain’t ever been easy then dying can’t be all that hard.” carry with them a frustrated gentleness to it, reminiscent of an artist like Kris Kristofferson (also known for penning tunes about some of life’s rougher edges). It’s easy when you find yourself in a similar scenario to move on as if nothing happened. But McGrath, in poetic fashion, faces his feelings of discomfort with a sharp, empathetic eye. He asks not only difficult questions within himself but of anyone that may listen. The line about building and guilt has a ring of accusation in it and perhaps for good reason: in large scale cities like Toronto or Edmonton, the stigma surrounding homelessness remains chronic. In these ‘population of a million’ and publicly funded cities, there’s the minimal expectation that social issues like homelessness or drug addiction will be addressed. Unfortunately, we’re seeing something completely different and “Liar’s Paradise” tackles this political issue with the quiet, roaring nature of someone like Billy Bragg. It doesn’t demand. But it does encourage you to pause. Step back. Re-evaluate. In an age of anger at seemingly never-ending injustice, this track encourages empathy. It’s an important song: one about a lowly figure jutting into McGrath’s life and what happens when our own reality collides with that of another. “[Liar’s Paradise] is in reference to that fellow that was living in the back,” McGrath mentions over the phone. “When my landlord finally kicked him out, which was a really tragic experience, by the way, the guy had nowhere to go. The last I saw of him, it was about nine in the morning, he slammed like three quarters of a two liter growers cider, and got behind of the wheel of this car he was living in and drove to Peterborough. It was so dark. And anyway, I just thought of this idea that just, he was lying to everybody about what he was doing back there. […] But you think to yourself the ambiguity of what happiness is. I don't know, it's just so sad to me how this guy was living. But who am I to say that there wasn't bleeding joy that he found at some point in his life, like, whenever he gets his fix? Just suffering masquerading as happiness or something. It just was such a weird feeling being in that room when I was taken in to see it. And that's what I sort of thought to myself as I was describing it as a ‘liar's paradise’. It's just so dilapidated and ironically, kind of honest.”
If “Liar’s Paradise” is ideological wrestling at the max, then “Idea of North” is a soothing balm to a bleeding wound. Sound wise, it’s got the hallmarks of a good love song –romantic melodies, soft vocals, and lyrics that wax sentiments of endearment. “Somewhere within this box, here is lost a key that opens all these thoughts inside of me/ Alone on the waves, rained on by the days. Passing by so fast through time and space.” The simple and heartfelt nature to the tune takes on another life when the haunting vocals of collaborator Cayley Thomas comes in about a minute into the track. In contrast to McGrath’s rougher, scratchier sound, Thomas’ sound is airy and light. Combined together, magic happens. “I just collapsed somewhere, just so I could forget what circumstances brought me to this place.” It’s a beautiful, beautiful tune, one that feels almost like an afterword to “Liar’s Paradise”.
“Shortest Day” is a fascinating track. Lyrics are extracted from a poem written by McGrath’s literary parent, Wendy McGrath. “I mark a chapter each time those cathedral bells are ringing. They sing a song I just can’t bear to hear…” It was recorded in the peak of COVID (late 2021), and was described as a collaborative effort in bringing people together in a time when it was difficult to do so. Its three part collaboration between Danny Miles and the two generations of McGraths takes on a sort of familial affair. Christmases during the worst of COVID in lockdowns were hard – economically, things were tough, budgets tight. The world was frozen in survival mode. However, amongst the cold and isolation, sentiments of warmth could be felt throughout the country as zoom calls became the new tradition. “Shortest Day” echoes that idea of isolation. “For the strangers whose conversations have been lost…/ I have such love for the birds who brave the winter cold. I fill the feeders and hang seed bells from flag poles…I spent all winter in our old hometown as the season takes hold…” It’s an intense flashback to a time that feels like a lifetime ago: the rumblings of a new ‘serious cold’ back in December 2019; the first lockdown in March 2020; the introduction of masks and the murmurs of a vaccine; and finally, confusion over the efficacy of vaccines and the ensuing politicization of what was supposed to be simple science. It’s no wonder we were all lonely. “Shortest Day” captures that exhausted feeling we all felt as only a poet can observe.
Liar’s Paradise is, at first, unassuming. Upon closer inspection, there’s richness to the record that feels like another Canadian classic. It’s got heart, power, and an earnestness that all the great Canadian classics possess. There is one component to the record that, personally, I feel worth mentioning. One of Eamon McGrath’s greatest strengths is his propensity for empathy. Look back at all the records the guy has produced over the years. It’s almost like a pendulum in motion with how quickly his tendency to shift gears occurs. Always in motion. Never quite one to be pegged down. In fact, he’s the first one to admit this, as he succinctly puts it: “The minute someone thinks that I'm too much of a country singer, I want to go and make an electronic record. The minute that I do that, people think I'm weird. [then] I want to go and put out fucking basic Americana.”
However, if you move past genre and pendulum swing, you’ll begin to notice a consistent quality in his discography. A lot of McGrath’s records possess a raw, open quality to them that demonstrates a willingness to shift perspective. In my humble opinion, I think that’s the appeal of his work. He can write about an alcoholic bender in records like “Instrument of My Release” or “Guts”; or he can write about the absurdity and perplexities of the class divide in “Liar’s Paradise”. Wherever you begin your McGrath listen, whether it’s with this record or with older ones, you’re in for a treat. Music bleeds within McGrath’s veins.
- Josalynn Lawrence
Cat Clyde
Down Rounder // Second Prize Records
This record is purposeful, strong, and sure of itself. Cat Clyde easily switches between a beautiful twang and full, string-laden drama. With nods as well to artists like Shannon and the Clams with “Everywhere I Go” and “Mystic Light”, Clyde is able to seduce and entertain any kind of listener by covering a multitude of styles and emotions so skillfully. I was taken by this record from the first listen; there was no way I could escape the clarity of her vocals and the incredible recording quality of said vocals (to say nothing of the gorgeous instrumentals). To hear the ending of every syllable and have the articulation tickle your eardrums; there is something special about that kind of intimate experience.
My personal favourite instance of this listening to Down Rounder is track number seven, “I Feel It”. The powerful, simplistic keys lay a backdrop for the clearest of vocal performances I have heard recorded in a while. It feels as though Clyde is speaking directly to you, telling the story for you and you alone. There is such power and surety in this performance. When you hear her speak the words, “I feel it”, the strength yet gentleness of the ‘t’ at the end sends shivers down my spine. It does make, you as listener feel it. Then you get into the harmonies and the violin additions that wrap around you and sweep you along a rushing river of emotion and perfectly flexible vocal tones. The deepness of this song is something that defies explanation, it is exactly what I look for in string songs and her ability to easily and masterfully reach those low notes is fulfilling and unnerving and absolutely stunning.
Listening to Clyde’s voice is like getting a deep tissue massage from a masseuse who has been in the biz their entire life. It scratches every itch and pushes out all of the sticky knots that have been causing you so much pain and discomfort. You, as listener, get to just feel the goodness, release, and admiration that comes from experiencing such carefully practised work.
Down Rounder gives off a confident, decisive view of the unfair world in which we live. Standing firmly in her beliefs and choices, you cannot question the fact that every decision made for every song was wholly intentional and expresses a necessary feeling or idea. It can be difficult to keep things interesting in an album that is ten songs long, but this truly leaves you wanting even more. There is such variety that you don’t know what will tantalize your ears from minute to minute, only that it will reach right into your soul and make you remember why you love music.
- Krystle McGrath
Artist
Best Plan For Your LIfe // Self-Released
A disgusting cacophony or genius?
Both would do just well to describe Calgary’s Still Depths and based on their latest album Best Plan For Your Life they’d probably prefer the first option.
With a quick first listen Best Plan For Your Life will definitely challenge you as the band weaves through numerous movements always favouring the noisey and dissonant no matter how they take it. It’s as you further listen and piece it all together that you start falling into the grooves and ease into the drenches of noise. You stop caring when the song falls apart and picks up on a total different path. You wont keep asking yourself how are they even making these sounds or how many guitar tracks of noise are layered in it. Or even how the hell it even still sounds like something of a song. Submit yourself to it and the disorder will shape itself. You might even sink into the noise. Maybe even miss it when it's over.
At their softest Still Depths can provide a very well written almost singer songwriter like track in “Mysty.” Acoustic takes the lead while a harmony of vocals provide a sad facade to the track. It's a drastic shift from the rest of the album until they sink their teeth into the track and a whirring note of feedback provides an uncomfortable twist. Fitting.
At their most fun Still Depths can give you a song like “Big Hill.” A repeating acoustic guitar riff circles as the driving drums give a party punk feel. Singer Justin Perdomo gives a catchy vocal performance as the song rises, falls apart to nothing, then roars into a dramatic climax.
On the extremes you get tracks like “Kibble” and “Telling Your Spouse You're Dying” taking on the more traditional route of walls of noise, while “Michelin Star” provides a more dark and dancey feel as it jumps between subdued verses and blasting choruses.
Where Best Plan For Your Life really shines is with “Top 5 Reasons Im The Shit.” Taking the post punk angle on this one, the track lies in repetition and a good groove. Perdomo takes on the role of a machismo arrogant dickhead. The track is full of cynical anecdotes of superiority like spitting off a penthouse and killing a bald man on impact or how the last DUI was the cops fault. The makings of a true piece of shit.
So maybe a disgusting cacophony and genius aren't so different? At least Still Depths make a pretty reasonable argument to it. While there is a tonne going on and a lot of extremes happening throughout, Best Plan For Your Life carves out really great moments where everything comes together in such a satisfying way. The noise of it all becomes quite cathartic. The melody of it ingrains in your mind. All packaged in one noisey unique sound. One of the koolest records I have heard in a while.
- Kennedy Pawluk
