BADBADNOTGOOD

Sharp - - ON THE RECORD -

IV

On their fourth ef­fort, these Toronto jazz ex­per­i­men­tal­ists tran­scend their jam­band ten­den­cies, for the first time adding vo­cal­ists (Fu­ture Is­lands’ Sam Her­ring, Mick Jenk­ins) to their bliss­ful lounge cuts. The re­sult is an LP full of ef­fort­lessly slick R&B jams, cus­tom tai­lored for your dimly lit boudoir.

Why it should win:

It’s the year’s sex­i­est record, and not just by Can­con stan­dards.

WEAVES Weaves

Take a gen­er­ous spoon­ful of peanut but­ter and jelly, smear it all over a ba­con cheese­burger, and you’ll get a culi­nary ap­prox­i­ma­tion of what these Toronto art-rock­ers’ de­but sounds like. An odd jux­ta­po­si­tion of in­flu­ences merge in a sur­pris­ingly pleas­ant tickle trunk of ca­cophonous, wonky, weird noise.

Why it should win:

It makes the gui­tar/bass/drums shtick sound in­ven­tive — no small feat in 2017.

LEONARD CO­HEN You Want It Darker

Nine decades into his ca­reer, a month be­fore his death, the High Priest of Pathos re­leased a bleak mas­ter­piece of a last tes­ta­ment. Af­ter a life­time of in­quiry, Co­hen takes stock of this anx­ious world and his time on it, let­ting out one last painful, fright­en­ing, gor­geous sigh. Why it should win:

Be­cause Co­hen is the GOAT. Duh.

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