Print Edition: April 9, 2014
Christina Perri
Head or Heart
Head or Heart opens with “Trust,” a simple, borderline-folksy track that serves as a calm entrance into an album that moves way too far away from folksy. Perri is on the precarious edge of folk — with simple piano ballads and a wavering voice — and mainstream pop. Head or Heart leans towards the pop, with tracks such as “Burning Gold” and “I’m Only Human” flaunting Kelly Clarkson-reminiscent “I’ve had enough” and “I’m standing up” lyrics (but always in the context of relationships). It’s a strong album that just seems to be heading in the wrong direction for Perri’s strengths. Perri’s vocals are thin and jarring when she raises it in pop-style Avril Lavigne-esque angst. Perri’s quiet songs are clearly the strongest on this album, such as “Butterfly” and “Trust.” The album is dominated by love or break-up songs, such as “Lonely Child” — which provides the album’s title “And I remember all the words that you said / That love is just a spark that starts in your heart / and into your head.” Perri does begin to break away from her tired “Sad Girl” image with “Be My Forever” (which could be a happy country song with a few twangs of a banjo), “Sea of Lovers,” and “Lonely Child.” But she needs to stay folksy, or she’ll fade into the formulaic pop masses and disappear.
Mac DeMarco
Salad Days
A couple years ago, Canadian singer-songwriter Mac DeMarco started to adjust his outward persona, with his sophomore record 2 relying more on his sincere sense of humour rather than the romantic prankster on his debut release Rock and Roll Night Club. This genuine, good buddy persona draws obvious connections to Jonathan Richman, R. Stevie Moore and Harry Nelson, artists DeMarco likely reveres. However, it is his effortlessly irreverent attitude and woozy guitars that set him apart, recording music that sounds like nothing else being released today without being a goofy novelty. DeMarco takes a decidedly laid-back approach on his latest album, Salad Days, exploring the attraction of minimalism. Salad Days features his signature mid-tempo jangle-pop and smouldering croon, but there is a clear evolution in the 23-year-old’s songwriting. The songs are refined and feature much richer imagery, exploring the double-edged sword of gaining fame on “Passing out the Pieces” and the struggles of getting a passport for his Canadian-born girlfriend on international love song “Let My Baby Stay.” Standout tracks are the poignant, radio-friendly “Let Her Go” and “Chamber of Reflection.” While “Let Her Go” features Richman-like relationship wisdom, “Chamber” is a synth-heavy track about initiating freemasons that feels like it’s moving in slow motion, as DeMarco uses these two tracks to demonstrate his developing range as a young artist.
Little Wild
Victories
Little Wild’s first full-length album opens with “Brown Vest” a Spanish-influenced blues-rock piece that powers through with as much energy as a bullet flying from the barrel of a gun. The buzz doesn’t stop there, however, as “Great Big” emerges from the cloud of dust left by its predecessor. This song plays like the soundtrack to a showdown at high noon; unrelentingly energetic, yet fun. Spearheaded by Layton Keely’s Jack White-esque vocals, this record hits like a bucket of water, waking up the neighbour, the dog, and perhaps even the dead. “Cockatiel,” however, stands out as tropical and exotic, probably as a result of the steel drum used sparingly throughout the track. Victories also belts out a rockin’ cover of “Money (That’s What I Want)” that does the original justice, while still being decidedly Wild. Pun intended. Another interesting point is the appearance of a trombone solo, courtesy of Zachary Keely. Jake Holmes and Josh Erickson, the rhythm section of Little Wild, also deserve praise, as they drive the sound forward tenaciously while channelling the energy of the band towards the listener. “Her Brother” was probably the track I found the most entertaining, as it’s just so full of energy — unapologetically going down the wrong highway lane at 100 miles per hour. One finds that Victories has a more than accurate title, as each of the 11 tracks on this high-paced, action-packed record is just that.
