Eight years have passed since the unveiling of Glory Under Dangerous Skies, a satisfying if cautious and which was celebrated at the time as the return of the so-called Canadian alternative (or “big shiny rock” if you prefer). Whereas The Tea Party was at the same time offering The Ocean at the End, the excitement – at least, within the CHOM FM crew – was warranted.
End of the Ocean
At last, nearly a decade later , David Usher has found time in his schedule (the guy is an author, artistic director and so on; his journey is fascinating) to record again with his friends, and the work turns out to be (a bit) refreshing.
The end of the ocean… and the rest?
Musically, we remain on incredibly well-known and beaten ground. Without necessarily rehashing its glory of yesteryear, Moist still opts for a devilishly contemporary and conventional direction. It's rock you stumble upon while going from one radio station to another on a roadtrip. Correct, nothing more.
Where Moist stands out is precisely through the pen of Usher who, visibly, is more than inspired by his Climate Clock(davidusher.com/climate-clock), this “countdown” towards global warming carried out with a teacher from Concordia University. To make a long story short: Moist does eco-anxiety rock here denouncing hyperconsumption (with a little more subtlety than Don’t Look Up, however). I'll sell you the punch: Usher points to optimism and the common front…at times.
End of the Oceanwill not convert new fans, but will at least comfort the unconditional music lovers of the project. It's already won.
< p>Won't Stand Down
Muse forsakes (a tad) electronic tweaks to return to its true trademark: epic pop rock, hymnic and also cheesy, even pretentious (on the choruses, at least). As for the verses, Matt Bellamy, as usual, croones on a pop rock mixture flirting with electro and which even echoes the famous Sails of AWOLNATION ( it's not a compliment). Won't Stand Down may only appeal to fanatics of the group, as the new single falls between two chairs. Too bad.
Timing! A few weeks after a “conflict” opposing her, in particular, to the influencer Elisabeth Rioux, Alicia Moffet launches a firebrand which could well be a mercurial response to the stampede… against a backdrop of rhythmic pop R&B à la Charlotte Cardin , like it should be. In addition to echoing the artist behind Phoenix, Moffet interprets a text probably composed in a hurry as it is based on a simplicity that boils down to swinging middle fingers at the refrains. Moffet remains convincing, of course, but we expected better.
The pop singer and actor returns to work behind the microphone almost four years after I come back to you, an album acclaimed for its subtle pop songs as well as its stripped-down ballads. Superstitious, Marc Lavoine? For this 13th album, the artist is cautious, then opts for a logical continuation and even goes so far as to rely more on more conservative pieces. Note: a strange dichotomy inhabits the title-track even though it is the most appreciable of the work (it is the most original) and the most gloomy (because Grand Corps Malade participates in it and brings absolutely nothing to it interesting).
COUP DE ❤
Brother The Cloud< /em>
A decade (!) after his second solo LP, Eddie Vedder finally returns with a new single announcing an album – Earthling, at to be released on February 11 – closer to the rock of Pearl Jam than to his ukulele pieces. Opting for an almost grunge rock on a background of mourning which will certainly please his fans in their forties, Vedder also takes the opportunity to surround himself with other big names in alternative rock of the 90s, including Chad Smith (Red Hot Chili Peppers). . Predictable, therefore, but well done and strangely reassuring. A platitude which, obviously, does good this week.