The Province

Five things to know about Violet, Gold + Rose

Vancouver-based singer/songwriter David Ward’s latest album influenced by classic funk, blue-eyed soul

- STUART DERDEYN sderdeyn@postmedia.com twitter.com/stuartderd­eyn

David Ward is a singer/ songwriter who has based himself in Vancouver, London and Berlin.

Violet, Gold + Rose is his third full-length release and follows on the success of his last album, Transition­ing. His music is influenced by classic funk, as well as elements of the blue-eyed soul made popular by bands such as Simply Red. In other words, it’s pretty pristine.

Here are five things to know about his third album, Violet, Gold + Rose:

1 THE SINGLE-ULAR PATH

Leading up to the release of the full-length album, Ward dropped a single a month for 13 months until the release. This is a method many musicians are making use of as they try to build buzz for actual albums in this contempora­ry singles-driven market. The strategy certainly lends itself well to social-media marketing, and it enables potential new fans to take in an artist’s work bit by bit.

2 MEGA-PRODUCTION

Violet, Gold + Rose is spectacula­rly well-produced. Perhaps that’s because it was mixed and mastered by Grammy Award-winning Russell Elevado. His track record includes working with D’Angelo, Alicia Keys, The Roots and Erykah Badu. Any/all of these could be reference points to Ward’s smooth neosoul.

3 NEON PALISADES

There are 33 musicians on the album, including a full orchestra and Kamasi Washington vocalist Patrice Quinn. These are put to full use throughout the song cycle. But it’s the super-interestin­g descending guitar lick that opens this track and the super-slinky groove it establishe­s that makes this the first standout song. Instantly familiar, the song is not derivative.

4 JESUS HOLLYWOOD

Few things make me smile more than hearing artists who aren’t afraid to embrace the big symphonic sounds of Philadelph­ia soul and its almost disco-like danceabili­ty. Ward has a club-floor jamming piece with this one, complete with unexpected near-Pink-Floyd-ish guitar jams two thirds of the way through. That was a surprise. A pleasant one like the bass and brass vamp in Banging on My Drum.

5 DAVID WARD, OCT. 18, GUILT & CO

You can hear a strippeddo­wn version of Ward and his backing crew at Vancouver’s home of soul, R&B and some very tasty cocktails. He’s in Toronto (Oct. 21) and Montreal (Oct. 26) before he likely heads back to England and Europe. Give a listen to the sessions on YouTube.

ALSO SPINNING THIS WEEK:

AARON PARKS LITTLE BIG: AARON PARKS LITTLE BIG (ROPEADOPE SELECTS)

On the followup to his 2008 Blue Note Records album Invisible Cinema comes the new album from keyboardis­t/ composer/bandleader Parks, and his latest unit is smoking. Right off from the opening track, Kid, guitarist Greg Tuohey establishe­s that he’ll be searing his mark all over this album, while the rhythm section of drummer Tommy Crane and electric bassist David (DJ) Ginyard Jr. prove able to slink by (The Trickster) or get busy (Digital Society) with equal ease. At 15 tracks, Parks has plenty of time to explore his interests and this includes a big romantic streak with the slow ballad Mandala being a highlight. I haven’t heard a synth solo that sensitive since Joe Zawinul in Weather Report. HIGH ON FIRE: ELECTRIC MESSIAH (EONE)

It’s been three years since Luminifero­us became this Oakland metal trio’s best-received album of their career. Given the band’s power-thrash trio style, that lead guitarist Matt Pike named the album in honour of the late Lemmy Kilmister should come as no surprise. That said, High on Fire are more inventive than Motörhead were, with songs boasting strong doom chording or the ripping classic Bay Area thrash of Freebooter. Play loud. KRISTIN HERSH: POSSIBLE DUST CLOUDS (FIRE RECORDS)

That Hersh was a ripping guitarist in Throwing Muses and 50 Foot Wave might have been forgotten somewhat given the acoustic work and more cerebral book and album projects of the past decade. LAX will change that in 3:50.

Her voice sounding like she gargled steel wool and the production just raging with dirty reverb, the rocker establishe­s the tone of Possible Dust Clouds. Even when the acoustic strums in on Halfway Home, it’s underlaid with vocal multi-tracking and noise that will have grungeera fans smiling. Loud Mouth is a standout example of why the term “alt-rock” actually ever existed. LIVING WITH LIONS: ISLAND (BLOOM RECORDINGS)

The third full-length album from this Vancouver punkpop outfit is full of all the kind of pump-the-air anthems and melodic hooks you would expect from the genre. Lead singer Stu Ross left in 2012, founding member Chase Brenneman took over vocals and Craig Spelliscy joined as the new guitarist. Then the drummer needed back surgery, Brenneman tore his abdominal wall howling and — yeah — if songs like the lead single Tidal Wave sound a bit more angst-ridden than past material, there is a reason.

Nov. 24, Venue Nightclub (w/the Flatliners)

 ??  ?? Vancouver pop singer David Ward has released his third full-length album Violet, Gold + Rose, following on the success of Transition­ing.
Vancouver pop singer David Ward has released his third full-length album Violet, Gold + Rose, following on the success of Transition­ing.

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