Blessed Mosaic

Ben Caplan

Old Stock

Who’d have thought that aged Eastern European music could sound so accessible, thanks to some pointed modern twists? Old Stock is based upon a stage musical of the same name that Caplan starred in and co-wrote with Christian Barry and Hannah Moscovitch. That production, like the album, tells the story of Moscovitch’s ancestors, Jewish Romanian refugees who fled the anti-Semitic violence of their homeland in favour of Halifax in 1908. It’s a historic tale about immigration, asylum and bucking against bigotry that reverberates all the more in this era of open hostility to outsiders. And while Caplan’s lyrics and forthright delivery are as vivid as a novel, he and his band’s offbeat takes on the era’s sonics are what will keep you coming back. Clarinets blurt with jubilation on “Minimum Intervals,” while accordion notes linger long and hauntingly on “Intermezzo 2,” not to mention the more modern hardrocking guitar and drums juxtaposed with spasmodic horn squeals on “Plough the Shit.” All these elements mesh most intriguingly on “Od Yishama,” a time-honoured Jewish wedding song on which Caplan sings passionately while accordion notes groan with aplomb. Don’t be wary — once your ears adjust, you’ll be quickly engrossed in this intimately epic tale of yesteryear’s refugees — in part because it’s so sonically unique, and of course also because that vintage tale is sadly still so relatable today. (Rhyme and Reason, rhyme-reason.com)

I couldn’t always understand what you were sing-

scenes, Chromeo enlist a crackerjack cast of funk professionals that include Raphael Saadiq, ’90s super-producer Rodney “Darkchild” Jenkins, Mtume’s Tawatha Agee and veteran session bassist Pino Palladino. And yet, Head Over Heels’ star-making moment belongs to rising neo-soul star Amber Mark, whose chemistry with Chromeo lead singer Dave 1 is electric on standout track “Just Friends.” Music this nakedly derivative requires sharp pop instincts to be successful, and Chromeo are still able to create magic within their wellworn source material, even if they are retreading old ground. (Last Gang) POP stubby organ notes that first surprise and prompt a little added attention, before amounting to a uniquely delicious texture. “Some Sort of Sign,” meanwhile, begins with swelling horn notes and later adds scattershot percussion as L CON sings. Throughout all these tangential elements, L CON utilizes smooth electric guitar solos, alluring percussion and more to draw you in before she knocks you off-kilter with one of her left-field ideas. Her quirkiest inclination of all, however, is “You Were Right,” whose staccato synth stabs and pulsing drum machine notes quickly build into a dance track that’s practically suited for the pop charts. Better still: by making us want to dance, while also pushing us out of our comfort zones and into fun, offbeat sonic forays, L CON strikes a deft and distinctive balance that we won’t soon forget. ( Wildlife Sanctuary Sound, www.wildlifesanctuarysound.com) METAL FOLK

ing, but you got the message across.

It’s the first time on any of my works that I sang in a different language. For me, this project was an excuse to bring my Jewish identity into the fore a little bit. I have the privileged position to hide my otherness if I choose to, and pretend that I’m just a “regular, old stock Canadian.” But I do have a heritage and identity that’s more complex than that, so I wanted on this album to explore that and take the opportunity to out myself to a certain degree.

What do you think that will achieve?

Through that effort I hope to stand with other Canadians who have different cultures, different backgrounds, and to try and contribute to the cultural mosaic. with them. Beautiful Ruin picks up right where The Dusk in Us left off, charging ahead in typical Converge fashion, with galloping drums, a thick, nasty bass line and melodic yet sharp guitar work on “Permanent Blue.” They progressively ramp up the aggression with each track, bringing a more punk-oriented vibe on “Churches and Jails.” With squealing feedback and gnarly barks from vocalist Jacob Bannon, “Melancholia” is a devastating but straightforward sludgy jam. The band rip straight back into breakneck speed on “Beautiful Ruin,” closing the EP with a series of blast beats and a killer breakdown to cap it off. Clocking in at a mere seven minutes, Beautiful Ruin is a savage burst of hostility that’s over before you can really grasp what took place. (Epitaph) FOLK