Self Titled
Mo Kenney
9-out-of-10
There are always going to be those artists that creep ever so unexpectedly onto your radar, quickly taking residence in your mind until you just cannot get enough. Lately for me that artist is Mo Kenney. The break out single, "Deja Vu", from her self-titled debut album was gaining momentum on the radio at work as I was blissfully ignorant, allowing it to just fill in the background of my day, until I stopped and listened. Its subconscious familiarity slapped a grin on my face and I scrambled onto iTunes to buy it.
Produced by Great Canadian musician Joel Plaskett, Mo Kenney is a far too short collection of songs that gather up a vast resource of influences compounding somewhere between pop-y folk and fuzzed out alt. jams, often incorporated into the same songs. With beautiful builds, stripped down eloquence, toe tapping rhythms, and a strong delivery, this record has all the bases covered.
I'm not alone in thinking that Kenney has been around the Canadian music scene for years suddenly finding herself in the spotlight, but I was surprised to learn of her young age as she comes across as a veteran. She expertly delivers every line on this album with a smokey voice full of conviction and constraint where desired, reminding me heavily of Cat Power. The door-crashing single "Deja Vu" is the catchiest little song I've heard in years, co-written by Plaskett, it is the "happiest" break up song with the most incredible lyrical hooks.
From start to finish and back again (a few times) I became completely smitten by these 10 songs that go by in the blink of an eye. Many spins are needed to digest the superb meal that is Mo Kenney's debut album, so please join me in digging in.
-SEAN CRAIB-PETKAU
Self Titled
The Georgia Guidestones
4-out-of-10
Named after a mysteriously placed set of stones in rural Georgia laying out the 10 principles for guiding a future society, The Georgia Guidestones is a newly formed duo, featuring producer and multi-instrumentalist Sean Karp and Australian performer Erin Brookhouse.
Their self-titled debut is a set of "Dark Pop" songs that are grounded by lyrics driven in the direction of the occult. I hear a few early 70's elements mixed with late 90's alternative goth pop, a concoction that sounds dated and redundant to me. The music and lyrics were all composed by Karp, with Brookhouse singing in a powerful tenor. I did enjoy the flowing melodics of the songs, somewhat haunting and enigmatic. The music and ideas, however, felt borrowed and worn out. As noted, dated and redundant come to mind. I feel like this record is just late to the game. Released during the popularity of Buffy the Vampire Slayer etc. this album might hold some relativity, but now its appeal is greatly restricted. Most aspects, down to the guitar tones, conjure up a feeble attempt at recreating late 1990's teenage occult culture. TGG misses the mark on today's take on dark pop, dream pop, and 90's revival.
Some of the music was good, some of the lines were engaging, but I couldn't force myself to get over the uncomfortable cliché. The Georgia Guidestones just aren't guiding me to musical bliss with this release.
-SEAN CRAIB-PETKAU
