Tag Archives: Meligrove Band

Meligrove Band, ‘Bones Of Things’: Not Like Sloan

Meligrove Band

Meligrove Band

It’s time to separate the “Sloan” from The Meligrove Band.

Meligrove Band bassist Mike Small says comparisons between the two veteran Can-indie bands are no longer relevant.

“I don’t think we really sound much like them,” Small explains during an interview about the Meligroves’ fifth and newest album, Bones Of Things. “There was a point where we kinda did [sound alike] because we were copying the same ’60s bands that they had previously copied, but, like, when it comes up I want to say, ‘Which Sloan album?'”

Brian O’Reilly, the Meligrove Band guitarist who replaced the band’s former guitarist Andrew Scott in 2009 — an Andrew Scott who’s different from the Andrew Scott in Sloan — attempts to answer Small’s rhetorical question.

“The Sloan album that sounds like KISS or the Sloan album that sounds like The Beatles?” says O’Reilly. “Grunge Sloan?”

“The hardcore seven-inch Sloan?” Small continues. “As a lifelong Sloan fan I can say that Sloan changed so much.”

“Sloan don’t even sound like Sloan anymore,” O’Reilly adds. “And I don’t know if you’ve sounded like Sloan since, like, 2001.”

There certainly are similarities between The Meligrove Band and Sloan. Both are four-pieces and both have multiple songwriters. Both have mastered the art of high-spirited jangle rock and both are survivors (17 and 23 years, respectively) of a Canadian music scene that’s ruthlessly unforgiving to those whose names aren’t The Tragically Hip, Nickelback or Blue Rodeo.

That said, Small has a point.

The Meligrove Band aren’t like Sloan. They’re their own band. And Bones Of Things ably continues the distinct sonic path Small, O’Reilly as well as band members Jason Nunes and Darcy Rego have created for themselves over the years.

The 10 songs on Bones Of Things sound far more like logical progressions — lineal descendants — of a sound and vibe established with the band’s now-classic 2006 adventure-rock album, Planets Conspire.

A large part of that probably has something to do with having By Divine Right’s Jose Contreras involved in the mixing, recording and production of Bones Of Things, Planets Conspire and 2010’s Shimmering Lights album.

Indeed, buzzy new song “Don’t Wanna Say Goodbye” could easily be the flipside to By Divine Right’s “The Slap.”

“It’s possible,” concedes Small. “We’ve worked with him [Jose] so much and we started working with him because he was a big influence on us.

“It’s super-comfortable him and us having worked together for awhile now,” O’Reilly adds.

A big part of Bones Of Things sound can be attributed to an instrument neither Sloan or By Divine Right have really ever utilized — the mandolin. The small member of the lute family features prominently on multiple Bones Of Things songs. The genesis of the mandolin rock was simple, says O’Reilly.

“Darcy got a mandolin,” he says. “Darcy’s full of songs…”

“He was saying, ‘I did the demos on the mandolin, but obviously when we do this I’ll do them on guitar,'” says Small. “And we were all like, ‘No way man, these sound cool.'”

If anything, it’s given an Out Of Time-era R.E.M. feel to the new Meligrove record.

“‘Disappointed Mothers’ sounds a lot like ‘Losing My Religion,'” says Small. “I hadn’t thought of this before. It sounds like a guitar player picking up a mandolin and singing.”

Another song, “Woof,” is a peculiar bit of fiction-become-reality inspired by the band’s “Really Want It” music video from 2011.

“We made this music video with a lot of fake merch and there was this guy doing an unboxing video,” starts Small. “It was this stalker-y ultra-fan who had all of our merch. And the guys who made the video made all this fake stuff, too.

“Shampoo… all of these fake products … all-surface cleaner, all the weirdest merch you could think of. Anyway, there was one point where he’s like, ‘I have their entire discography’ and it showed all our real albums, but then the pile of CDs kept going with all these things, one of them was Spritz Something with a hand holding spray paint. One of them was called Woof, the word ‘woof’ in dripping bloody letters and a German shepherd’s mouth wide open. And I think Jay got this idea, ‘What if we write a song called “Woof”?’ If a seven-inch ended up happening we could do this thing where fiction becomes truth.”

So they made the song… a uniquely Meligrove Band song. Because they’re their own band.

The Meligrove Band will perform as part of the What’s In The Box? holiday concert series on Saturday, Dec. 27 at the The Drake Hotel. Also on the bill are Lay These Knight, Seas and International Zombies of Love.

Leave a comment

Filed under Music

Meligrove Band’s Many Musical Connections

Meligrove Band

Meligrove Band

The Meligrove Band have long been an act I’ve been quite fond of. Their Planets Conspire album a few years back was amazing and their live shows are solid, high energy affair.

They’ve just put out a zesty new album called Bones Of Things, which I used as an excuse to interview the band about how integral they’ve been to the Canadian indie rock community.

To see what I mean, head over to Huffington Post Music Canada by clicking here.

Leave a comment

Filed under Music, Shameless Promotion

Aaron’s Top Albums Of 2006

My Brightest Diamond Bring Me The Workhorse

My Brightest Diamond Bring Me The Workhorse

This is my official Top 10 album list for 2006:

1. The Decemberists The Crane Wife
2. The Dears Gang Of Losers
3. The Golden Dogs Big Eye Little Eye
4. Sam Roberts Chemical City
5. The Streets The Hardest Way To Make An Easy Living
6. Meligrove Band Planets Conspire
7. My Brightest Diamond Bring Me The Workhorse
8. Tokyo Police Club A Lesson In Crime
9. Woven Hand Mosaic
10. CSS Cansei De Ser Sexy

When I looked at this list for the first time in seven years my immediate reaction was a reflexive “Oh God, I put them at #1?” Maybe it’s because nowadays I hunt for things more primordial than their dandy cravat rock, or maybe it’s because they’re a pillar act for Mumford And Sons fans, either way I’ve pretty much moved on from The Decemberists. Or at least I thought I did. While there’s still something undefinably cloying about them, there are some sublime moments on The Crane Wife. “When The War Came” is an unlikely companion to Led Zeppelin’s “No Quarter, and “The Perfect Crime #2,” “Yankee Bayonet (I Will Be Home Then),” and to a lesser extent, many of the other songs on the album exhibit a certain charming gallow’s humour. It’s not my #1 anymore, but it’s still probably a top tenner.

I’ve always loved The Dears as their particular brand of dark pop appeals to all my outsider sensibilities. Going back through Gang Of Losers I realized this album doesn’t contain any of my favourite Dears songs — those would be “Summer Of Protest,” “Expect The Worst/’Cos She’s A Tourist” and “Lost In The Plot” — but what the album lacks in peak resonance it makes up for with a sort of binding quality. It’s like a sonic affirmation for misfits — you’re weird, maybe a little awkward, off-putting and you know it, but you’re not alone… The Dears are with you — and these songs are the soundtrack to that feeling.

One of the great injustices in the world is that The Golden Dogs aren’t more popular. I’ve cooled a wee bit on Big Eye Little Eye — it’s probably no longer a #3 album for me — but they remain a band I’ll always be behind and one of the few bands I know have the potential to create the perfect song.

There’s a song on Sam Roberts’ Chemical City called “With A Bullet” which I consider one of the best rock ‘n’ roll love songs ever. It’s not particularly unique and the metaphors (“My love for you is as deep as a coal mine”) border on hammy, but there’s a certain genuineness about it that’s absolutely compelling. Roberts sometimes gets unfairly pigeonholed as a bit of a Tragically Hip/Kee To Bala/beer commercial rocker, and to be fair there is a bit of that to what he does, but Chemical City is more than that. There’s some pointed political commentary (“An American Draft Dodger In Thunder Bay”), some psychedelic space jams (“Mind Flood”) and some dreamy brilliant bits (“Mystified, Heavy”). I don’t know if it’s still a #4 album, but it’s definitely an underappreciated one in the Can-rock canon.

Ah, The Streets. This would be the year that I finally got Mike Skinner. It may have been the noise from the hipster set, or his awkward delivery, or my disconnect from his day-to-day world, but it wasn’t until The Hardest Way To Make An Easy Living that I realized Skinner was, and is, a master of narrative. He captures a mood, a scene, a time and place perfectly. And his sense of mischief is alright, too.

I swore Meligrove Band were going to take over the world with Planets Conspire and I listened to this album non-stop when it came out. I was wrong. It turns out people didn’t really want the sort of smart rock-pop Meligrove Band… or Golden Dogs… or to a slightly lesser degree Sam Roberts and The Dears… were making this year. I have some theories why that is, but that’s a conversation that’s more for barrooms than blogs.

If I had to redo this Top Ten list today — which I’m sort of doing — the clear #1 would be My Brightest Diamond’s Bring Me The Workhorse. Dramatic, beautiful, sad, unique, I still listen to the various songs from this album regularly. I’ve never read or researched much about its themes or the songs meanings. Instead I’ve spent all these years trying to piece them together myself. But I don’t try too hard. It’s more about imagining what the various songs are about rather than definitively figuring them out.

Nominally you could put Tokyo Police Club in that same group thematically as Meligrove Band and Golden Dogs. In hindsight it turns out I only like that robot song.

I’m not religious. Or particularly spiritual. And about the closest I get to either is the sort of admiration I have for acts like Woven Hand and its leader David Eugene Edwards as expressed through fiery intense songs like those found on Mosaic. Upon relistening to Mosaic it’s not really a Top Ten album. The idea of Edwards bellowing away his demons continues to hold a certain romance, though.

CSS? I still love “Art Bitch” and casually reference that song all the time, but it’s otherwise a forgotten album for me nowadays.

Other album lists…

2015 Top Ten — SUUNS + Jerusalem In My Heart SUUNS + Jerusalem In My Heart is #1
2014 Top Ten — Sharon Van Etten’s Are We There is #1
2013 Top Ten — M.I.A.’s Matangi is #1
2012 Top Ten — Dirty Ghosts’ Metal Moon is #1
2011 Top Ten — Timber Timbre’s Creep On Creepin’ On is #1
2010 Top Ten — The Black Angels’ Phosphene Dream is #1
2009 Top Ten — Gallows’ Grey Britain is #1
2008 Top Ten — Portishead’s Third is #1
2007 Top Ten — Joel Plaskett Emergency’s Ashtray Rock is #1
2006 Top Ten — My Brightest Diamond’s Bring Me The Workhorse is #1
2005 Top Ten — Black Rebel Motorcycle Club’s Howl is #1
2004 Top Ten — Morrissey’s You Are The Quarry is #1
2003 Top Ten — The Dears’ No Cities Left is #1
2002 Top Ten — Archive’s You All Look The Same To Me is #1
2001 Top Ten — Gord Downie’s Coke Machine Glow is #1
2000 Top Ten — Songs: Ohia’s The Lioness is #1
1999 Top Ten — The Boo Radleys’ Kingsize is #1
1998 Top Ten — Baxter’s Baxter is #1
1996 Top Ten — Tricky’s Maxinquaye is #1


Filed under Music, Recollections