Dekker’s a born storyteller

LOCAL DISCS

Secret Spot (Independent)

Melanie Dekker boasts quite 2

the résumé. As well as opening for Bryan Adams, Faith Hill, and Russell Peters, the roots-pop singersongwriter has performed in front of Bill Clinton and played shows and festivals all over Europe and Canada. In short: Dekker knows how to write a slamming country-pop tune.

Secret Spot proves she hasn’t lost her touch. A master of creating relentless earworms, the artist owes her success to keeping it simple. Relying on acoustic-guitar strums, the performer rarely adds more accompaniment than light drums, bass, and keys, instead investing her talent in catchy choruses and sing-it-again lyrics.

Dekker’s true gift on the album, though, is her storytelling. “I never heard my dad sing, but he sure likes to play music loud/likes to dance up a storm, the polite guy in a crowd,” she intones on “Te Amo Mucho”, telling the tale of how her father found his voice. Title track “Secret Spot”, meanwhile, intimately describes a route through the trees to the edge of a beach—a map that seems to correlate perfectly with the singer’s home in Deep Cove.

Secret Spot also sees the artist dabble in more diverse instrumentation. Standout track “Memories of You” shimmers with an aching electricguitar riff and Dekker’s artful vocal acrobatics, while “Better When We Do” offers a playful take on female self-love with jazz chords and velvety trumpet accents.

Dekker isn’t transforming the genre on her new record—but that’s never been her goal. Rather, the album offers a master class in roots-pop at its very best—and a must-listen for any Vancouverites looking to make a mark on country music.

> KATE WILSON

Still, “Warble” shoots its paisley postpunk through with some truly dazzling guitar violence and “Picture in My Mind” leaves you forever regretting you never owned Fluevog shoes and a majestically moussed pompadour in the ’80s.

Retro in the best of ways, the only thing that would make Hi-ranger better is someone releasing it either on glorious black vinyl or, even better, hand-lettered cassette.

> MIKE USINGER

Secret Spot.

> JOHN LUCAS Stories From the Northwest (Independent)

The increasing consensus among 2

Vancouver creative types is that this city has lost whatever soul it once had, which explains why Facebook has become an all-purpose forum for folks announcing they’re pulling up stakes and leaving town.

If you’re among those loading up the U-haul in search of new territory, Saltwater Hank would make a pretty fine neighbour.

Based on the cover art, the singersongwriter might easily be mistaken for an East Van post-hipster, his horn-rim glasses offset by the kind of mustache that guarantees priority entrance at the Biltmore.

More likely, his look is unironic Prince George legion regular, which makes sense considering the songs on Stories From the Northwest would go over smashingly on meat-draw night.

While his name suggests someone obsessed with sea chanteys, Saltwater Hank’s obsession is old-time country. Hank Williams Sr. received no shortage of play around the house during the singer’s formative years— not only on record, but also performed by his grandfather, dad, and uncles. That gives you a good idea what to expect on Stories From the Northwest, which was recorded in one night on reel-to-reel in the basement of a Prince George church.

Backed by an ace cast of players on fiddle, lap steel, upright bass, and banjo, Saltwater Hank gets high and lonesome on the bare-boned “Coyodel #2” and revs things up for the bluegrass burner “Bog Cranberry Picking”.

The only way “Moose Hunter Blues” would sound more authentic is by coming out of a circa-’32 Randix OTC radio, while “Old Hazelton” smells gorgeously of spilled blood and backyard-still bourbon.

Still not convinced that life’s better in Saltwater Hank’s neck of the woods? Consider that the beautiful album opener, “Ballad of Maud Watt”, is salted with lines like “The pelts are like gold and the rush is on.”

Don’t mind that later on in the tune Saltwater Hank sings “There’s a man standing there at my log-cabin door/ He wants to give to the rich and steal from the poor.” Being from modernday Vancouver, that’s something you’ll be more than familiar with.

> MIKE USINGER LOIG MORIN

La Rivière (Independent)

Those who remember the Youtube 2 phenomenon of individuals dancing to Pharrell’s “Happy” in home videos across the world might recall seeing Vancouver’s contribution—a montage of city dwellers throwing shapes in front of urban landmarks and the North Shore mountains.

Few know, though, that the film was produced by French expat and North Van musician Loig Morin. Like his 2012 album Lonsdale— which was named in honour of his new home—the video showcases the location that has acted as a muse for much of his work.

Now, with his brooding new release La Rivière, Morin leaves the topic of Metro Vancouver behind.

Despite being written almost entirely in French, the album is as welcoming to nonfrancophones as polyglots. The atmosphere of La Rivière is as important as its lyrics, weaving rich drones and textures behind Morin’s sultry, half-whispered words. The title track sets the tone for the record, blending female backing vocals with experimental buzzing sitar plucks and soft, drawn-out synth pads. “Derrière la Tempête” exists in a similar vein, with Morin’s Nick Cave–esque baritone underpinning a bass-driven riff at once moody and loungey, while “Près de l’arbre” forms its sonic complement—the third in a trio evoking a similar smoky atmosphere.

Adding depth to the record are the unexpected “Tanger”—a song that explores the vibe of Morocco with shimmering instrumental samples and bouncing percussion—and “We Used to Be”, a heartfelt piano ballad with string and accordion accompaniment.

A testament to music’s ability to cross all cultures, Morin’s record is both accessible and highly listenable. The perfect soundtrack for the close of winter, La Rivière mixes elements of light and darkness with a rare aptitude.

> KATE WILSON