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.