The Dirty Nil | Sarin | Yu Su


In 10 years, the Dirty Nil have gone

from scrappy small-town Ontario upstarts to Juno-winning rockers with a devoted base of riff addicts and guitar worshipper­s. And while they have long been the underdogs of Canadian rock, their third album has the kind of punched-up confidence and middle-finger swagger that says they don’t intend to be underdogs much longer.

The Nil have always been hellbent on finding the world’s loudest amplifier, and they just so happened to write some great tunes while they were at it. With Fuck Art, the songs come first. It’s still a towering wall of guitar rock, but it’s built on an almost pop-oriented focus on consciousl­y tight and catchy songwritin­g. Joined again by producer John Goodmanson, the band sound even punchier than they did on Master Volume. It’s easily their most commercial­ly viable recording (even with the F-bomb title).

Cuts like “Blunt Force Concussion” and “Elvis ’77” make that abundantly clear; take Weezer’s Blue Album, throw in some heavy riffing and add Luke Bentham’s precise, commanding voice, and you’ve got a recipe for rock radio. (Hell, they’ve even layered in acoustic guitars! Those are the bigger, wooden ones that you don’t have to plug into an amp.)

What’s also noticeable about the Dirty Nil’s latest effort is their willingnes­s to dress themselves up in a variety of costumes and play rock star with no shame. The band’s flair has evolved from the boyish antics of blowing bubble gum and air-kicks to the razzle-dazzle of studded vests and pyrotechni­cs, and the music keeps pace. They’ve decided that they like classic rock, ’80s thrash metal, ’90s college-rock and modern pop-punk, and, screw it, they’re gonna do it all. They get away with it all by being good at it. Bentham is an electrifyi­ng leader, but you can’t underestim­ate the impact of Ross Miller’s thundering bass or Kyle Fisher’s pounding, crashing drums.

Created in a time of distress and despair, Fuck Art is pure escapism. Looking back 20 years from now, you’d have no idea it was made during one of the most worldchang­ing events of the past century. These are songs about normal stuff: having fun, feeling old, falling in love, screwing it up, getting mad online and having your bike stolen.

The Dirty Nil have little regard for the potential to make music that changes the world. Their only allegiance is to a big, loud tune. Art says something. For the Dirty Nil, this isn’t art. It’s rock’n’roll. (Dine Alone) fans. The live atmosphere better showcases the instrument­s, harmonies and Begonia’s vocal nuances, which all amp up the emotions. Here, Dirks brings her passionate voice full-force, whether singing softly and sensitivel­y or yelling her face off.

These elevated elements are best heard on standouts “Two Beers In” and “Put It Away.” Though they’re not typically among Begonia’s most popular songs, that may very well change after this release — an example of the impact of Dirks’ impressive live show.

With electrifyi­ng performanc­es from Dirks and her band, The Fear Tour (Live) is Begonia at her best, and really makes you feel as if you’re in the room with her, experienci­ng one of her shows. (Rex Baby / Birthday Cake)

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