Little Wild blast back onto the scene with BODIES

Abbotsford’s resident rockers are back from an almost four-year-long release drought, and they’ve brought new music with them. “Weeks,” the first single Little Wild released...

Hot off the press, The French Press impresses

Rolling Blackouts Coastal Fever’s 2016 debut Talk Tight delivered indie pop tunes that, despite their engaging, surf-pop brightness, came off as incomplete; a bit...

Soundbite: Loans – Self Loaning

Abbotsford punk / hardcore outfit Loans’ debut record Self Loaning is a short but comprehensive overview of the energy and potential in the band. Loans...

The Courtneys II is a little II fuzzy

Following the grand tradition of straightforward garage rock / pop outfits, The Courtneys’ latest record is full of jangly, not-quite-pop hooks and lollipop-sweet harmonies....

Mostly Autumn’s Sight of Day makes no sense

How do you follow up a masterpiece? In the case of Mostly Autumn's Sight of Day, it seems you don't even try to capture...

Whitney’s debut brings life back to country-tinged folk

Whitney’s Light Upon The Lake is one of the strongest debuts I’ve heard in a while. And somehow, it gets away with doing something...

Soundbite: Alison Krauss — Windy City

Music from a simpler time. It’s that homey bluegrass that reminds me why my hard workin’ man works long nights at the mill. It’s...

Soundbite: King Gizzard and the Lizard Wizard — Flying Microtonal Banana

After last year’s Nonagon Infinity, I was curious to see just what else King Gizz had up their sleeve, and Flying Microtonal Banana, an...

Soundbite: Ryan Adams — Prisoner

Ryan Adams’ newest album Prisoner starts out with a question: “Do You Still Love Me?” The opening track is a slow yet driving start...

Cherry Glazerr’s Apocalipstick grazes greatness

I used to love Metric. Old World Underground, Where Are You Now? and Live It Out had no bad songs on them. I bring Metric up because prior to 2012’s Synthetica (which I gave them a pass on because, even though most critics panned it, “Lost Kitten” was just too sweet to hate) the band was everything it should have ever been: a vaguely grungy indie-rock band that was unapologetic of the feminine influence Emily Haines brought in without sacrificing the fact that they actually made rock.

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