(photo: Autumn de Wilde)

It feels odd to be putting up a review of Wilco (The Album) now, even though today is the album’s official physical release day.  Back on May 15, I wrote about Wilco making the album available in high- and low-res streams on their site to thwart the album’s leak.  Still, unless you found yourself a leaked copy of the album, that’s been the only way to really listen to the music, which isn’t as conducive to enjoyment as actually playing it yourself.

For Wilco fans, Wilco (The Album) feels like a personalized birthday gift, complete with hand-made greeting card and specially chosen wrapping paper.  From the opening love-letter-to-fans “Wilco (The Song)” through to the fourth track “Bull Black Nova,” there’s something to appease fans of Being There and A.M. Wilco and fans of Yankee Hotel Foxtrot/A Ghost Is Born and Sky Blue Sky.  Those first four songs feel like a sequential journey through their back catalogue, whether intentionally or not, leading listeners to “You and I”, where Jeff Tweedy duets with Feist.  It is a plaintive and sweet song; the vocals sound as if they were recorded while Tweedy and Feist were standing face-to-face, hand-in-hand, under a canopy of twinkling lights, the band dress in matching gold-lamé suits positioned behind them on a gymnasium stage.  That’s all good, by the way.

From there, Wilco (the Album) feels like Wilco (the band) have rediscovered Wilco (the spirit).  Much less introspective and experimental, the six remaining songs take the refrain to “You Never Know” to heart.  As Tweedy sings “I don’t care anymore/I don’t care anymore,” you sense the shackles of expectation and responsibility falling from their ankles.  They cut loose, play free, and make some of the best music of their career.  The dramas of past recordings, the addictions to pain killers and pressure from the public seem like a forgotten memory.  The album’s recording was finished prior to the death of former band mate Jay Bennett, which I’m sure must have affected Tweedy; I can only wonder how that incident may have influenced the album if it had not been finished yet.

Wilco (the Album) is a perfect entrance point for new fans, and a great gift to those who’ve been following them for years.  It manages to be the perfect balance of past, present and future, and the epitome if the gift that keeps on giving.  Thank you, Wilco, it’s just what I always wanted.

MP3: Wilco (with Feist) “You And I”
Myspace: Wilco

The kiddies are out of school for the summer, and the weather this past weekend was picture postcard perfect.  I spent as much of it outdoors as possible, and have the sunstroke to show for it.  The soundtrack for my fun in the sun was the excellent Arts & Crafts Sampler Volume 6, from venerable Toronto label Arts & Crafts.  Not only does the sampler include some fantastic tracks from recent releases by Los Campesinos!, Apostle of Hustle, and Brendan Canning from Broken Social Scene, it also has a brand new track from current QBiM heartthrobs Zeus!

“Fever of the Time” is slated to be one of the tracks on Zeus’ debut album, due later this year.  Special thanks to Bryan from Hero Hill for pointing me in the direction of this free–Yes, FREE!–download.

MP3:  Zeus “Fever of the Time”
Myspace: Zeus

(photo: canvasmedia.ca)

I would be remiss if I didn’t mention that my favourite track on the sampler is brand new material from an eternal QBiM heartthrob, Amy Millan.  She has a new solo album titled Masters of the Burial, scheduled for release September 8.  Correct me if I’m wrong, but me thinks me detects the dulcet tones of one Leslie Feist in the backing vocals, no?

MP3: Amy Millan “Bruised Ghosts”
Myspace: Amy Millan

As today is my last official day of work for the next two months, things may get a little quiet around QBiM.  I will post regularly, but it may not be daily (or maybe it will be, who knows), but please do stick around.  We’ll be celebrating our third birthday in a few weeks, and we’ll definitely cover the Polaris Music Prize shortlist announcement next week, and who knows?–there may be a few surprises along the way.

(photo: thirdsiderecords.net)

I’m a sucker for anything tha remotely sounds like, or reminds me of New Order, and, though I hate to introduce any new artists by way of comparison with an already established act, the opening  moments of “Charlotte’s On Fire” by French-English group Cocosuma could very well be a lost Peter Hook bass track looking for a home.  It finds one nestled amongst the velvet tones of singer Amanda (no last names please, we’re European) and the slow pulsing beats thrown down by her male counterparts Michelle and Chad.  Along the way, the song mutates, taking on a chilled-out, Air-like vibe and ends up being a tasty little piece of pop-song candy.  Which is somewhat appropriate, given that the band naem sounds like it could be the name of a candy bar.

Cocosuma have had a string of albums released at home, but We’ll Drive Home Backwards will be their debut release on these shores.  I wish I had a copy of the album to give to the first person who correctly identifies the pop culture reference the band borrowed the album title from, so let’s just say the first person to comment below with  correct answer will get a special prize pack from yours truly for their efforts.  It won’t include a Ferrari, though.

MP3: Cocosuma “Charlotte’s On Fire”
Video:  Cocosuma “Charlotte’s On Fire”
Myspace: Cocosuma

At the time of writing this post, I’m just arriving home from a work function, where I first heard news about the death of Michael Jackson.  In the middle of this gathering, I pulled out my iPhone and Googled the self-proclaimed King of Pop’s name only to confirm the news that was spreading through the room.  The first Google hit was the L.A. Times, which provided enough details for me to understand what had happened to Jackson.  It wasn’t until I was in the car on my way home that I stopped to think about all the media outlets that would be clogged with Jackson stories.  I could just imagine what my Twitter page would look like when I got home to my computer, or how many of my “friends” on Facebook would have a comment about his passing, and it made me sad.  Jackson’s life had always been a media circus and freak show of the highest order, that I will not deny.  Over the last 10 years or so, much of his past accomplishments have been overshadowed by trials and accusations, and very, very odd behaviour, to the point where many people stopped respecting the man and simply marvelled at the myth he had become.  Now, on the day of his death, I got the sense that–even before I turned on a TV–he would be at the centre of a media frenzy that wouldn’t know whether to cannonize him or crucify him.

I can’t blame the world for wanting to know what happened to Michael Jackson today, because he truly was a global figure beyond compare.  People will want to know.  What sticks in my throat, though, is that I know amongst the sincere media coverage and tributes that will be made, there will also be opportunists trying to capitalize on nostalgia.  It’s already happening; according to a tweet I just read you can already buy Jackson RIP t-shirts online.  That’s just wrong.  I wish, for the sake of his family, the world and the media would just stop for a minute, take a breath, and realize that a man has died and left a hole in the private lives of those he was closest to that can’t compare to the one he left in his public life.  Give the Jackson family some room, some time, some peace of mind, and let them come to terms with their loss.  We don’t need souvenir t-shirts to remember and immortalize Michael Jackson; he has single-handedly ensured that his life and legacy will live on in his abence all on his own.  No one in the public realm has had as much control and drive as Jackson did on his own life.  As much as he confounded people, he touched many and inspired even more.  I’m sad to hear that he is no longer with us, and I wish his family peace and comfort in their time of sorrow.  He will truly be missed.

MP3: Rufus Wainwright “Hallelujah”

At 11:59 P.M. EST tonight, my last official act as a member of this year’s Polaris Music Prize Jury will be executed, and my top five choices from this year’s long list will go towards narrowing the field down to 10 albums for the short list. Discussions between judges in our online group have ranged from the defense of certain album’s being on the list, to rallying cries behind long shot favourites. I say with great certainty that when the chips land where they will, our top 10 albums will be a reflection of the diverse Canadian music scene, and the broad range of tastes of the jury members who’ve helped in determining the nominees. I would love to go on and be a member of the grand jury who will pick the winner the night of the Polaris Gala (September 21, in Toronto), but that’s yet to be determined, too. There will be plenty of time for discussing the 10 when they’re announced July 7; today I feel compelled to take a quick look at some of the albums that I’ve not looked at in this forum, and possibly turn some QBiM readers onto a new diversion.

Super-charged, both musically and politically is Toronto band Fucked Up, whose The Chemistry of Common Life is a voracious punk album that truly is a high watermark for the genre. I initially thought that this would be the most intense album on the long list to listen to, but in all actuality it’s not (I’ll tell you which one is later). For all of its bluster and blast, The Chemistry of Common Life is a very melodic album that grows on the listener. Like a deep drag on a joint, Fucked Up hits you hard between the eyes and then dissipates into a fine numbness that soothes and settles your nerve endings while simultaneous firing hundreds of neurons in your brain. MP3: Fucked Up “No Epihany”

So, what is the “most intense” album on the long list? I’m giving that distinction to Tim Hecker’s An Imaginary Country, based on the sheer mind-fuck experience I’ve had listening to his ambient electronic instrumental compositions. Hecker’s work was nowhere near my radar before his name showed up on my list, but I’m certainly glad I’ve been exposed to his work. I hesitate to call the 12 tracks on this album “songs”, but there is clearly a musical through-line amidst the noise and swelling sub-sonic rumbles that pulse through his work. Atmosphere is everything, and the experience of listening to An Imaginary Country alone in a dark, intimate space was akin to a psychedelic-induced hallucination where I crossed a vast alien continent by foot, covering miles in a single step. MP3: Tim Hecker “100 Years Ago” Myspace: Tim Hecker

Neither of these albums will make my final top five ballot. Neither will 33 other discs, many of which I consider to be excellent albums, and one of which was actually on my long list ballot earlier this month (oh, I bet you’re just dying to know which one is off my list, but I think that’s going to have to wait for another post). When the chips fall where they will, all 40 of this year’s nominated artists–shortlisted or not–deserve our love and respect. They stand among giants, and we, the music consuming community, are basking in the glow of their amazing accomplishments.

It’s been a pretty good year, if you ask me.