A
80%
Shapeshifting is an appropriate title for Young Galaxy’s third studio album, set for release on Feb. 8. The Vancouver group tossed their characteristic lofty and harmonic vocals onto an entirely new backdrop of percussion heavy, synth-pop. The band’s first two albums were reminiscent of Arcade Fire and Velvet Underground’s echoing soft rock, but Shapeshifting brings a pop fusion sound.
The album’s only song reminiscent of their rocking roots is track eight, “Cover Your Tracks,” a sure bet for fans of Young Galaxy’s earlier work. Daring and experimental, the rest of Shapeshifting collides sharp orchestra strings with tribal rhythm—a style that is most successful in the album’s title track. The combination of background vocal harmonies and a catchy chorus riff in “B.S.E.” prove that disco is stayin’ alive in their risky new pop.
Young Galaxy certainly took note of the progression to house pop already ruling 2011’s Billboard Charts, and it’s reflected in this stylistic rebirth. While Shapeshifting may leave Young Galaxy purists stung, a new generation will undoubtedly be lust-struck by the juxtaposition of ominous lyricism and utopian pop beats.
— Terra-Ann Arnone
B
73%
The best way to describe Les Jupes debut album Modern Myths, is that it resembles your crazy, possibly schizophrenic friend, who despite their obvious flaws, you love anyway. The album is a mix of Kings of Leon with a splash of Feist, a whole lot of Great Big Sea and an unfortunate undertone of a very watered down grunge band…you get the schizophrenia reference now.
The band is at its best when it allows it’s musicality to shine through with Michael Petkau Falk’s smooth baritone voice, which resembles Johnny Cash’s famous voice, being the highlight of the album. The band manages to add spark to their music through guitar riffs, saxophone solos and most notably humming in “This Place Owes Us.” “This Place Owes Us” is easily the best song of the album, despite being unassumingly simple in its melody. The song will stop you in your tracks with Falk’s beautiful voice paired with lyrics like “There’s a man in the front seat you want to love forever.”
The band’s strength comes from their catchy and unbeatably unique lyrics. There is an entire song, “Mathematics,” dedicated to math, with treats like” I’ve been lying in bed and cutting off my hair, I look around and I see numbers everywhere.” It doesn’t make a whole lot of sense. Especially since in the next verse he is still cutting his hair, but now he is putting it into jars. But like I said they are that friend you love, but don’t understand at all.
The band struggles to have a cohesive sound, which can be endearing when out of nowhere there are hints of folk and country tones thrown in, but the emphasis on grunge is quite frankly scary. In their single “Myth #3 (The Mountain)” Falk’s voice sounds like it is out of a low budget horror movie, but once the chorus hits there is a switch to a punchy and upbeat melody. While the melody had me bopping around, I felt frustrated by the constant whiplash from the unexpected turns of the song.
The album is full of many interesting and addictive songs, but the band’s inability to create one solid sound for themselves, makes it difficult to view the album as a complete whole. But, it is the band’s debut, so there is lots of time for them to grow and tame their schizophrenia.
— Alyssa Ashton
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