Culture January 15, 2003 the other press http://otherpress.douglas.bc.ca CD Reviews Canyon Empty Rooms fimanda Aikman OP Contributor Imagine a world where the boys from Blue Rodeo are 20 years younger, have the fashion sense of Julian Casablancas, and listen to too much Pink Floyd. In this world they would probably sound a lot like Canyon. Or they would at least own Canyon’s latest album, Empty Rooms. Leaning more towards Grandaddy than Wilco, Canyon manages to bring a unique voice to the world of alt-country. Originating from Washington DC, a region better known for punks than cow- boys, Canyon is comprised of former members of Boys Life and Bluetip and fronted by Slowdime Records founder, John Wall. The latent punk/emo background of Canyon’s members inflects an edge and texture into their music that is not always present in the work of their contemporaries. On Empty Rooms, an expansive album filled with spaced-out yet down-home tales of heartache, Canyon follows up their self-titled 2001 debut with a collection of rich, graceful, and moody songs that evoke comparisons to 70s era Neil Young. Songs like “Radio Driver” and “Lights of Town’ will have you tapping your toes and crying into your beer, while sprawling feedback laced tunes like “Sleepwalker” remind you why Thurston Moore died for your sins. Proving that there is more to alt+ country than lap steel and Winona Ryder affiliations, Canyon have quietly emerged to reclaim the Wild West while Ryan Adams was busy primping for his Gap commercial. The Hummers Save The Jets Justin Ray OP Contributor One has to give props to a band with song names like “A Song For Our Pets” and “Mr. Feet Attached to Legs” and who name their album after a defunct hockey team. Or at least, one should be inter ested enough to give them a listen, which is exactly why I chose to review them first in 2003. The Hummers have already amassed five albums. Quite a feat for a group nobody has heard of thanks to their aversion to recognition. The band’s name did not even appear on their early record ing packages. What you will see when you open up the jewel case is a mini-treatise entitled “Th¢ Hummers Don't Want Your Love.” This biting exposition of pop musicians compares performing musicians to love-deficient junkies: The main motivation driving most [performers] is a quest for recognition, love or even famd Lacking an internal source of self-esteem, they require external injections at regular intervals just sq they can feel good about themselves for a few hours. The average musician is no better than a junkie even though frequent doses of adulation are a lot less harmful to their health than, say, heroin o Krispy Kremes. No doubt, The Hummers have had ample opportunity to observe junkies, performers, and junki performers since they have been performing for six years in Winnipeg’s burgeoning music scen¢ The city holds hostage a disproportionate populace of talented people with little to do but stay insid and play musical tinker toys. So what kind of music does this talented collective play while it pur posely thwarts any commercial attention? Wonderful music. HUMMERS Save the Jets is the most exciting album to come from a Canadian group lately. The sound is com pelling, and not easily described in words (perhaps some gesticulations?). To assign it a genre woulf require commingling disparate elements: space jazz; hip-hop without the hop; hula-hoop spatul rock; drunken elf polka. In other words, this is one groovy album that must be heard to be appre ciated. What I can say is that the music is largely instrumental and uses vocal samples sparingly. ] that doesn’t bother you, definitely seek out this abstract yet accessible album. Save The Jets is distributed in Vancouver by Peanuts and Corn Records. Call (604) 264-7044 fo details or visit . © page 12