Polaris Music Prize: And the winner is...

With a profound amount of self-reflection and musical analysis over the past few months, I have diligently observed every facet of the Polaris Music Prize's 10 nominees in 2009. I have heard everything from thrashing hardcore punk to marvelous hip hop to glamorous indie rock n' roll. But what this prize boils down to is talent: an unbiased approach in discovering the most talented act in Canada this fiscal year. With careful thought and undying appreciation, I humbly thank every artist in Canada this year for continuing to make this country musically relevant and for making 2009 a year in which, much like the years previous, beautiful sounds were made.

For the 2009 Polaris Music Prize, my vote of confidence goes to...






Patrick Watson, Wooden Arms













Overall: 8.6/10
Sound: 10
Quality: 9
Lyrics: 8
Impression: 8
Production: 9
Tilt: 7.5

More than any artist in recent memory, Patrick Watson and his eponymous band have established themselves as one of the most brilliant acts, not only in the country, but far abroad as well. This status is well affirmed in their latest effort, Wooden Arms: a work for which I cannot say nearly enough. Musically and lyrically, you'll be hard strapped to find something more creative this year.

Watson continues to delve deeper and deeper into a genre known as Dream Pop: a variety of music comprising both creative instrumentation and a surreal, ethereal atmosphere. Bands like Sigur Ros, Broken Social Scene, Mew and many others have all contributed to this growing scene. The result is an elaborate juxtaposition of deeply orchestrated music layered over lyrically relevant and intimate folk. While for some this combination could spell a recipe for disaster, for Watson, this musical symbiosis adds a great deal of profundity to his sublime repertoire.

On first listen, the tones of this album indicate a connotation of sadness. On songs like Traveling Salesman for example, the use of strings and muted trombone summons visions of a world struggling to make ends meet. However, when we witness the astounding vocal harmonies and dulcet tones of the banjo on tracks like Big Bird in a Small Cage, we realize that Watson can still enlighten us with a quaint story and a deeply rooted folk spirit. Additionally, Watson's creative spirit never fails to shine through. On the magical Beijing, the piano/string combination emits an eerie, Tim Burton-esque symphony in which Watson plays the bicycle to further establish the mood.

Functionally, however, this album will leave some with something to be desired. As astounding as Watson's style and music prowess is, the listener doesn't experience as much growth as was experienced with Close to Paradise. The heavy hits on this album capture incomparable feelings in the listener, yet songs like the title track and Man Like You feel somewhat tacked on and uneventful when compared to the stellar outbursts of Where The Wild Things Are and Fireweed. Development in Watson's ability to create a stellar work from start to finish are still in question, but the bumps on this road are minimal compared to the smooth, scenic stretches.

There was a time where Patrick Watson's music was an amorphous blob. We were able to see the general idea of what was going to come out, but realistically, there was no definitive shape. This raw talent made him and his band incredibly interesting to listen to: you never knew what to expect from them from track to track. However, with Wooden Arms, Watson has defined the corners of his musical blob. We are starting to see solid shapes and beautiful constructs within its walls. We don't have to look quite so hard to see what is truly beautiful about what we are experiencing. The biggest thing about Wooden Arms is that upon listening, you know it's beautiful. You feel how captivating this work is with every note and every word. For that, I feel another Polaris will be in the works for Mr. Watson and company.

Polaris Music Prize: Inexplicable Snubs + My Top 5

As with any award ceremony, the nominees are always extremely debatable. While art for art's sake is always appreciated, the Polaris Music Prize did exhibit a few undesirable snubs. An unfathomable amount of music is surfacing from Canada and to include it all would be a daunting undertaking, but certain bands included in the short list didn't even remotely contain my seal of approval.

With this continuation of my series on the Polaris Music Prize (up to the actual event taking place on September 21st, 2009), I will elaborate on just a few of the unforgivable snubs from this year's short list:










Japandroids - Post-Nothing
Canada's equivalent to Dinosaur Jr. Musically, this band is a powerhouse. Brian King and David Prowse comprise the entire ensemble and rip unfathomably powerful guitar and incredibly up-tempo drums into the skulls of all willing to listen. Their lyrical content is a little suspect, but as is any band still in university. Their sound is raw, thought-provoking and genuinely wonderful. Expect brilliant things for years to come.










Land of Talk - Some are Lakes
Canada's equivalent to Rilo Kiley. Principal singer Elizabeth Powell's voice is as tortured as it is captivating; think the alt-rock equivalent of Neko Case. Throwing out all these comparisons, Land of Talk still produce fresh, intriguing material with unbelievable lyrics. Every element seems emotionally broken, but you never turn away for a second. It's been a long time coming for this band, but that being said, expect far more to come.










The Dears - Missiles
Canada's equivalent to...nothing we've ever heard before, really. Already nominated previously for their third album, the also fantastic Gang of Losers, The Dears saw a phase shift on this work. By completion, most of the band had left due to creative differences That being said, they still deliver a brilliant effort, comprised of stellar lyricism and a grand diversity of sounds. The always intriguing Dears deliver once more.

~~~

As this years nominees go, Canadian music is very well represented by each artist deservedly nominated. My hat is off to every musician who worked their hardest to achieve greatness in Canada's music scene, which is becoming increasingly tougher to break into these days. That being said, here are my top 5 selections from this year's prize, in no particular order:












1) Fucked Up, The Chemistry of Common Life:
Rarely has beauty in hardcore music struck me like in The Chemistry of Common Life. With moments of intense, almost frightening thrash in combination with moments of incredible beauty and clarity, there is something unfathomably captivating about this work. If you don't mind the edges, this is a masterful work.












2) Hey Rosetta!, Into Your Lungs (and around in your heart and through your blood):
I strongly believe it's time for Hey Rosetta! to make that final leap into the hearts and minds of Canadians everywhere. This band is more than just an indie from Newfoundland at this stage of development: they are creating full-fledged music with enormous results. Beautiful album all around.











3) Patrick Watson, Wooden Arms:
Wooden Arms is nothing short of sublime. Patrick Watson has built his career on incredible musicianship and every facet of his already brilliant career shines even brighter on this work. Tracks flow perfectly, sounds escape from all angles of your mind and when it finally ends, you have to start it all over again. Well done.












4) K'naan, Troubadour:
Troubadour is Canadian hip-hop's best work this year, bar none. A combination of relevant lyricism and infectious beats make this album soar far higher than its predecessors. K'naan takes risks, has talent, grit, passion and, best of all, staying power on all facets of his craft. This listen is impossible to disappoint.












5) Chad VanGaalen, Soft Airplanes:
My dark horse pick in this year's competition. While I praised several of the other albums higher than Vangaalen's work on my list, it is difficult to find a Canadian music journal in this country that didn't place Soft Airplanes amongs its top 10 this year and for VERY good reason. That being said, everything about this album sounds personal and brilliant. Fantastic effort.

Mosshart, White a Match Made in Heaven

The Dead Weather - Horehound

Overall: 8.1/10
Sound: 8
Quality: 9
Lyrics: 8
Impression: 7
Production: 9
Tilt: 7.5

When discussing a bluesy brand of post-punk revival, the conversation usually doesn't swerve very far from The White Stripes and The Kills. The former, fronted by Jack White, has taken Motor City blues to a big stage with grandiose guitar and intriguing lyricism instantly finding a place in the hearts of music authorities. The latter, fronted by Alison Mosshart, have burst onto the scene as a "Stripes competitor", choosing a synthesis of garage, punk and blues that has left critics speechless. While both bands play to their respective audiences, the comparisons drawn have been many.

Going back a few years, Jack White's most prolific side project, The Raconteurs, were on tour and, fittingly enough, The Kills were given the opening slot for several legs of the tour. As legend has it, one night when Jack's vocals weren't quite up to snuff, he invited Alison up on stage to perform some of the set with him. Not knowing quite what to expect, the performance was lauded for the instant chemistry between its principal performers. After that, it wasn't a surprise that several months later, at the opening of Third Man Records' (Jack's recording studio) new home in Nashville, The Dead Weather was announced.

This new project between Mosshart and White came as a surprise announcement, but eventually grew to a new hype machine, driven by two of the greatest lo-fi garage artists of our time. Joining Mosshart on vocals and Jack on drums were Raconteurs bassist, Jack Lawrence, and Queens of the Stone Age guitarist/keyboardist, Dean Fertita. The day the band was announced, the quartet performed their debut single, Hang you From the Heavens, for all in attendence at Third Man's opening. What they heard was a smashing, blues-rich track, filled to the brim with distorted riffs and lyrics about broken, difficult love; all involved knew they had a hit on their hands.

Recorded in three weeks (three weeks!) in January of 2009, the end product is as dark, devious and debonaire as the debut single. Influences from both bands' respective styles fuse into a new kind of blues: one that is as tortured as it is powerful, as helpless as it is overbearing. For example, 60 Feet Tall is a prime 1-4-5 blues piece à la Jack White, whereas Hang you From the Heavens is The Kills in a nutshell, both lyrically and musically. Yet it's where the styles overlap that the greatest ground is broken. Songs like Rocking Horse and No Hassle Night, the combined efforts of Mosshart and White on this album, sound so astoundingly fresh. On Rocking Horse, the two bounce between a Nancy Sinatra-esque delayed guitar and a thrashing, distortion-filled onslaught to illustrate the taming of man who knows no true love by a woman who wants his. Additionally, as per Jack White again, a cover of Bob Dylan's New Pony is stellar and refreshing.

This album is organized in a similar fashion to that of a White Stripes or Raconteurs cut. The work ebbs and flows between intimate blues settings with grandiose riffs and truly catchy rock n' roll anthems. Such a transition is experienced between So Far from Your Weapon and Treat Me like Your Mother. Where the former seems like a direct biproduct from a tortured mind, the latter is empowering, aggressive and feminine, fittingly enough. Yet as powerful as the rock can be, the blues can seem repetitive at times. Where both musicians exhibit a vast amount of talent, their final product seems somewhat limited. No track on this album is no-holds barred enough to grab you by the throat and force you to listen. Eventually, I'm sure Jack and Allison will turn the knob to 11 and thrash something incomparable, but for now, much of it feels safe.

As a whole, this album is a thunderstorm. Like a heavy black cloud, it hangs over you the entire time, mauling you with gale-force winds, searing rain, thunder and lightning. There are points where it lets up a little and you think you can move again, but it's the times you're glued to your seat, surrounded by sound, that truly make this album the black and moving piece it is.

Polaris Music Prize: Art for Art's Sake

Canadian music has begun some real momentum on the world stage. Bands and musicians like Kardinal Offishall, Avril Lavigne, Nickelback and many others have developed from their Canadian roots and blossomed into full-fledged music superstars. Yet the greatest irony in the music industry still remains: defined recognition and success for musicians only occurs when they sell records. The most vapid, one-dimensional artists win Grammies and Junos when, realistically, they should never be nominated in the first place.

Enter the Polaris Music Prize. Recently, the 2009 short list for the prize, created in 2006 to recognize Canadian artists based solely on artistic merit, was announced. As judged by a panel of Canadian music critics, journalists and musicians themselves, Polaris has become one of the most reputable names in indie rock in this country. Nominees include Arcade Fire, Broken Social Scene, Metric, Malajube and many more.

Additionally, winners of this prestigious prize have made quite the names for themselves in recent years. The previous three winners (Final Fantasy's He Poos Clouds, Patrick Watson's Close to Paradise and Caribou's Andorra) have all gone on to great success, both home and abroad, after a stint in Canada's music underground. Additionally, they have gained a great deal of recognition from Polaris and the $20,000 dollar prize awarded with it; this has allowed financially strapped musicians with genuine talent a chance to develop their fan base and improve the overall quality of their craft.

I am a great supporter of Polaris for these reasons and one other: the journalistic aspect. This unbiased portrayal of Canada's greatest music each year attracts bloggers and music writers from across the country to Toronto, where through a democratic process, the most deserving act is chose. There is no preference of genre (this year's lineup has everything from post-hardcore to alternative country), nor is there any financial links between jurors and record labels, clubs, performance venues or the bands themselves; it truly is an unbiased selection of the best in Canadian music.

In any case, the Polaris Gala is to be held September 21st in Toronto. Each nominated band will perform a short set of selections from their nominated work before a grand audience of jurors and music fans alike, bringing everyone together for one stellar night of music. This is a night where dreams are realized and pure talent is revealed to the world. This can truly be the big break an artist needs to succeed in one of the most difficult scenes to make it. Polaris is a wonderful thing for this country and our rich musical tradition.

In any case, as it stands, the 10 nominees for the 2009 Polaris Music Prize are as follows:











1) Elliott Brood, Mountain Meadows:
Break out the banjos. Toronto's most renowned alternative country trio is back with their sophomore effort, Mountain Meadows. Delightful folky lyricism combined with a jaunty combination of acoustic guitar, banjo and ukulele make this record as delightful as it is profound.











2) Fucked Up, The Chemistry of Common Life:
Expect loudness. Toronto's Fucked Up is an experimental post-hardcore band with a serious edge. Yet for a band who screams to get their point across, lyrically, they're incredibly profound; one of, if not, the best lyricists of this year's nominees. Driving an elaborately styled aggressive, grungy experimental rock into the skulls of listeners, in only their second full length album (they mostly record EPs on 7' vinyls), this is a Canadian act not to be missed.











3) Great Lake Swimmers, Lost Channels:
Lost Channels further establishes the portfolio of one of Canada's greatest folk-pop exports. Comparable to Iron and Wine, expect a great combination of wordplay and acoustics, yet phases in and out of intimate settings in which these sounds take place. An intriguing record from start to finish, Great Lake Swimmers pull out all the stops on this one.











4) Hey Rosetta!, Into Your Lungs (and around in your heart and through your blood):
Produced by fellow Canadian Hawksley Workman, this St. John's, Newfoundland sextet has already received Album of the Year at the Verge Music awards (along with $25,000), beating out Tegan and Sara and Wintersleep. A venerable rock record with distinctly Newfie vocals and brilliant lyricism, Great Big Sea isn't the only thing musically relevant on The Rock anymore.











5) K'naan, Troubadour:
The Somali-Canadian rapper and poet returns with the follow-up to his equally lauded, Polaris-nominated debut, The Dusty Foot Philosopher. Troubadour features bizarre musical additions (such as Kirk Hammett from Metallica) but retains the same powerful lyricism and brilliant, flowing beats that brought K'naan to Canada's hip-hop forefront. As hip-hop this year goes, this is not to be missed.










6) Malajube, Labarynthes:
Following up a generational album Français-Canadien, Malajube's Labarynthes builds from the musical concepts established in 2004's Trompe-l'oeil: lavish guitar and keyboard anthems that are both pleasing to the ear and lyrically relevant. While the band doesn't capture the same magic as their sophomore sensation, they hit incredibly high highs on this record; international recognition should be soon to follow.











7) Metric, Fantasies:
Emily Haines and company return with their latest effort, Fantasies. All the lyricism and catchy dance-pop guitar one would expect from a Metric album, yet strangely a new level of maturity returns with it. That being said, Metric have another hit on their hands. Fantasies is an excellent addition this Toronto band's already expansive repertoire.










8) Joel Plaskett, Three:
As the name implies, 27 tracks spanned over three albums encompasses Joel Plaskett's Three. Minus the Emergency, his backing band, Plaskett creates a three-headed monster for himself: a rock, country and ambient-infused Nova Scotian sensation; think Canada's version of Ryan Adams. Plaskett as a songwriter is practically incomparable on this list.











9) Chad VanGaalen, Soft Airplanes:
Speaking of incomparable songwriting (and segues), Chad VanGaalen's latest record further establishes a true master with the pen and the guitar. Basement recordings, complete with distorted background noise, create an album that shines images from a broken movie projector into our minds with (ironically) brilliant clarity. Expect acoustics and banjos to enlighten once more.










10) Patrick Watson, Wooden Arms:
Already the recipient of one Polaris prize, Patrick Watson's sophomore jem Wooden Arms explores the depths of emotional connection to music, with vibrant melodies and enchanting lyrics to capture any Canadian indie's heart. Beautiful ballads, Jeff Buckley-esque vocals and a wide variety of instrumentation are to be expected, as with any work by this band; brilliant doesn't even begin to do it justice.