Maiwah makes its own kind of R&B
Groundwerk remixes one of its own; Lee Rosevere watches the skies; Alex Maher sounds like a pro
MAIWAH In Amongst the Ferns (Independent)
Since the Weeknd put Canadian 2 R&B back on the radio, Bandcamp has experienced a glut of badly mastered, off-kilter copycat albums. Trust us. We have to listen to most of them.
Very rarely does a local record stick out as a world-class example of the genre—which makes up-andcoming four-piece Maiwah’s debut offering even more remarkable.
A DIY album that sounds anything but, In Amongst the Ferns is immersive. With powerful harmonies, piano swells that pan around the listener, and artfully reverbed guitar bends, first track “All This Distance” introduces the sound palette that defines the record. Seamlessly merging acoustic instruments with choppy synths, the song is poised between decades, blending soft 1960s jazz vocals with modern production techniques.
Carrying only select elements from one song to the next, In Amongst the Ferns is characterized by its versatility. “Frozen Lake”, for instance, is a delightful interplay between Stranger Things-esque ’80s synths and singer Kristie Mccracken’s mature lyrics, which, when juxtaposed with the following track, “Blindfold”, reveal the group’s flexibility. Buoyed by big rock choruses, the song lifts the tempo of the album and refocuses its sound on sweeping electric-guitar chords and live drums.
Concluding with “Highest Hill”, a bass-driven tune that leans towards the four-piece’s pop roots, Maiwah’s debut offers a master class in how to fuse electronic, indie, and R&B elements into a cohesive and original sound. > KATE WILSON
IAMFOREST, LUMIERE, DIANA BOSS IM U R—FFL Remix EP (Groundwerk)
Whether it’s a battle of the 2
bands, a freestyle rap clash, or duelling jazz saxophonists, everybody loves a good musical contest. Just look at how the weirdly sadistic American Idol managed to stay onair for 15 years.
Recognizing that there’s more to rivalry than a winner-take-all bloodbath where the greatest sob story is the victor, however, the recently launched Vancouver label Groundwerk appeals to the positive side of competition. Believing that the best music often comes from peers pushing and encouraging each other to work harder, the local collective runs regular remix contests for the city’s producers to rework music from another Vancouver artist.
Taking a shot at local star IM U R’s track “FFL” are iamforest, Lumiere, and Diana Boss: the first three artists to have their winning songs released on the Groundwerk imprint.
Retaining the vibe of the original, iamforest’s approach adds a soft dubstep bass line to underpin the track’s reverbed synths. Warming I M U R’s melancholic vocals with playful melodies and a sunny beat, the artist’s dreamy interpretation reimagines the track’s scolding lyrics in a softer setting.
Taking inspiration from the original’s soft trap hats, Lumiere’s chilled-out remix is built on a downtempo-cum–hip-hop beat, fleshed out by impassioned piano chords and soft synth pads. Propelled by its dynamic contrast, the track oscillates between subtle variations in energy, drawing out the emotion of IM U R’s mix.
Diana Boss, star of Groundwerk’s debut release, steers the track in an entirely new direction. Creating a bouncy, four-on-the-floor rhythm, the pair transforms the original’s melancholy atmosphere into a fidgety dance track, complete with dramatic strings and Rhodes keys.
Showcasing the up-and-comers of Vancouver’s electronic-music community, Groundwerk’s IM U R—FFL Remix EP proves that local artists should not just be competing with each other, but vying with international producers for the spotlight. > KATE WILSON LEE ROSEVERE
Trappist-1 (Happy Puppy)
It’s hard these days to refrain 2
from obsessing over shitbag right-wing politicians, both south of the 49th parallel (we’re looking at you, Donald Trump) and on this side of it (hi there, Kellie Leitch). However, it pays to look up—way, way up—because other recent news might prove more consequential in the long run.
On February 22, scientists revealed the discovery of four exoplanets around TRAPPIST-1, bringing the total number of terrestrial planets orbiting the ultra-cool dwarf star in the constellation Aquarius to seven. You don’t have to be Neil degrasse Tyson to know that this is kind of a big deal.
Vancouver musician (and CBC Radio producer and on-air personality) Lee Rosevere seems to think so. He was so impressed by the discovery that he spent last weekend writing music for each of the planets in the TRAPPIST-1 system, releasing it as an album on Bandcamp the next day. How each of the seven tracks relates to its namesake exoplanet is anyone’s guess, but each piece has a discrete musical character. “Planet B”, for example, is a droning ambient number fit for a Planetarium show; “Planet D” is a spare piano number that sounds a bit like a Music for Airports outtake; “Planet E” splits the difference between new age and chillwave by introducing a drum machine and shimmering synth effects to the proceedings.
Sadly, getting to TRAPPIST-1 would take 39 years, if we had the technology to travel at light speed, which we do not. So, don’t expect to leave Earth behind in the hands of the Trumps and Leitches. If you care to fantasize about blasting off to Aquarius, though, Rosevere has your cruising music taken care of. > JOHN LUCAS
ALEX MAHER Aether (Independent)
Sometimes the world gets so 2
overwhelming you just want to kick back at home with a cocktail, fire up a roaster, and chill until it all seems better. Alex Maher seems like the kind of guy who can relate.
The Vancouver music-scene veteran first surfaced in Flannel Jimmy in the late ’90s, later forming hip-hop fusionists DNA6 in the ’00s. Aether showcases his classy rebranding as a one-man band who performs live over loops and beats with guitar and saxophone.
Considering he’s not exactly new to the game, it shouldn’t surprise that Maher comes off like a polished pro, with “No One Else” made for heat-hazed summer sunrises and “Say 2.0” giving cheeba-fried jazz a reggaefied backbeat.
Add in the harmony-heavy “The Light” and you’ve got great go-to music for your next road trip down the California coast, especially that stretch between Westport and Little River where the Pacific Ocean shines like an endless sea of diamonds. Then again, you could also just stay home, cue up the smooth-sax jam “Submarine”, fire up the bong, and make it a double on the Yellow Bird front. When the smokey-voiced Maher sings “I’ve been hiding from the sky/staying home and getting high,” you’ll have no trouble relating. > MIKE USINGER