Begonia, Cold Water, and Only A Visitor
Begonia
Powder Blue // Birthday Cake Records
God herself has blessed us with twelve new golden rules and has titled them Powder Blue. This angelic baby arrived February 24 and is possibly one of the best albums to come in 2023 - we haven’t even hit Spring yet.
I have to admit I was in doubt this album could top Fear. Begonia’s last album was the soundtrack to my days for quite some time, so I was in disbelief that a collection of songs could be any better. That changed as soon as I heard the song “Crying”.
Powder Blue starts acapella, with the track “Chasing Every Sunrise”, similarly to how Fear begins. I really like this approach, as it feels like a mental pallet cleaner. Whatever you were listening to before is washed away as she sets you up to take in the rest of the album. With each track, Begonia shows how she is continuously perfecting her craft and experimenting with new sounds. Powder Blue includes a lot more production than her previous work, bringing in funky beats and cool synth sounds, specifically in “Heaven” and “Married by Elvis”.
There are a couple of tracks that stand out to me as pure magic – “Crying” and “Bleeding Heart”. When I listen to these I think about the evolution of Begonia and the importance she holds in my life. Watching her grow musically and come into her own has quickly made her one of my biggest influences – Tough time making decisions? The answer is always WWBD (What Would Begonia Do?).
“Crying” comments on growing up with societal body shame and kicking it in the ass. Pairing the poetic lyrics with glorious choral harmonies throughout the song, Begonia’s talent is showcased in a way no other track does on this album. Contrasting the song “Crying” is the absolute bop “Bleeding Heart”. This one instantly turns up my sass-o-meter and gets me strutting around the house with pure confidence. The instrumentation compliments Begonia’s voice so well and adds the extra flare this track encompasses.
I could go on for days about this album, but I’ll wrap it up here. Begonia is experimenting in ways that are going to lead to some pretty sweet things – I can’t wait until I get to experience it live in all of its glory. I hope you get to as well.
- Holly-Anne Gilroy
Cold Water
Instead, I am an Oriole // Grimalkin Records
If I was forced to choose one word to describe Cold Water’s new album, or be forced to solely listen to Milli Vanilli until the world’s end, it would be UNPREDICTABLE. Why the hell do you say that Branton? Oh, well thanks for asking and allow me to elaborate.
I love Cold Water because the band, and their sound does not comfortably fit into a designated genre. I believe they have roots planted in the Country garden; however, the growth has transitioned into Indie-Alternative. Batting first for the LP is the title track, Instead, I am an Oriole. A straightforward 4/4 track with beautiful steel guitar and ear catching frantic drum fills. After soaking in this track, I thought, okay, I’ve got an idea what the album will be.
Nope, “Cosmic Offering” played and this was the first instance unpredictable entered my little brain. The track is a 10 minute banging vamp which travels many sonic roads, including harmonized guitar lines, and haunting basslines and vocals. All laid atop a drum beat which holds it all together.
Then there is the poetic movement of “Wide-Eyed '' and my favourite lyrics on Instead, I am an Oriole - “We become wild grass spreading far, distanced from the past, but I know, I don’t know how to hold back ghosts. But, I know how to open my eyes.” My takeaway is we are a product of our past no matter the distance we travel to get away from it. But, in the end, we have the self awareness to open our eyes and realize who we are. Beautiful lyrics which made me search and think!
As the final track “Wild Aster” plays out the album, it is a reminder the band loves to play loud and make your damn head nod! I would love to see these guys play live, they have a contagious energy that would undoubtedly last for days after.
Cold Water managed to capture an essential element for creating an album - playfulness. To me, it is evident band members: Kevin Stebner, Connor HD, John Hadley, and Andrew Hume enjoyed creating Instead, I am an Oriole together!
- Branton Langley
Only A Visitor
Decay // Mint Records
In my many years spent hanging around art schools that I don’t actually go to I’ve heard a lot of discussion about what is and isn’t “art”.
Most times it goes like this; someone will roll their eyes, stare off into space and say, “I could do that.”
It’s a rude comment with only one response: “But you didn’t”
I think of this while listening to the new album Decay by Vancouver’s self described “art pop” band Only a Visitor.
I’m not saying their art is worthy of a snide comment from some egomaniac balancing a tiny beanie on the tippy top of their head —far from it.
I was just so taken aback by the obvious artistry from a group using what amounts to pretty much the most standard musical setup. Guitar, drums, bass, keys, and vocals in perfect harmony.
Art pop (however that could be defined) is definitely on the rise. Last year’s records by Jockstrap or Alex G could definitely fit the moniker, and even more mainstream acts like Mitzki, Billy Eilish, or the return of Kate Bush and Bjork make it seem as if we’re in the middle of a golden age for experimental music.
That being said, it shows impressive restraint and a huge amount of skill to make music that’s this untreated; where the art in question is the composition itself rather than the use of massive hard drives worth of samples or billions of dollars in boutique pedals.
Jeff Gammon’s bass riffs play coy around sunshiney keys by Robyn Jacob with both taking turns dipping into pop hooks without ever fully diving in.
Drums by Kevin Romain sizzle and pop over long stretches of time —more than a few tracks clock in just past or shy of five minutes.
By the climax of most Only a Visitor songs I was left wondering how we got here, it’s just that seamless.
Emma Postl and Celina Kurtz drift in rounds, scat, and soar into harmony while lyrics explore themes of time, space, consciousness, nature, or any other nerdy yet beautifully paradoxical meanderings.
The entirety of Decay strikes a few familiar notes for those of us old enough to remember early 2000s Arts & Crafts bands like The Most Serene Republic or the endless stream of west coast art school bands that categorized that decade. It’s fitting that Decay found its home on Mint Records, the label that helped shape the 00’s Canadiana sound in the first place.
Only A Visitor are clearly a sum of their parts. As experimental as they are traditional, as subtle as the small but crucial act of seeds popping. Artsy enough to draw Björk comparisons, but disciplined enough to leave the industrial metal grinders far away from the guitars.
This is a band that leaves listeners thinking, “Shit… I couldn’t do that.”
- Blair Colwell
