The 2013 Polaris Prize is fast approaching and with it, the usual controversies and hyperbole: who made the longlist, who was left off the shortlist and the arguments about over who wins the thing. But here at Bearded G Music, I’ve cut through all the chatter and niceties: it’s nice to make the longlist is nice, but it’s the shortlist everyone remembers. It’s a yearly top ten of the best music to come out of Canada, usually with a strong indie rock slant.
What follows isn’t so much what my ballot would look like (although it’s quite close), but what I think the final shortlist will look like. Remember: it’s not a January to December award, but one that goes from June 1, 2012 to May 31, 2013. With that in mind, let’s take a look into the future!
Metric – Synthetica (Metric Music Intl) – June 2012
Metric’s latest is slicker than their past efforts, occasionally sounding like it was beamed in from the 80s: the retro-sounding keyboards, Emily Haines’ computerized voice. But I mean that in a positive way; it’s their best record since Live It Out. Maybe Synthetica’s cycle has come and gone – it was released just too late for last year’s list – and Stadium Love is played like a dozen times at every Blue Jays game, but I assume this record will get a lot of love from the Polaris Prize voters.
Metz – s/t (Sub Pop), Oct. 2012
A pounding, brutally loud band, Metz is one of the most formidable-sounding bands out there today. There’s a ton of stuff to love on this: the way they rush over a listener with waves of distorted guitar, the shot at Broken Social Scene in their press kit, the great video for “Wet Blanket”. I’m not sure if the Radio 3 crowd considers them hip enough, but I feel like this record delivered on a primal, aggressive level that Japandroids just started to approach.
AC Newman – Shut Down the Streets (Last Gang) Oct. 2012
The third album by the principal songwriter for the New Pornographers (and the first solo album in four years), Newman’s latest has him sounding more and more like a 70’s songwriter and not just because he name checked Gerry Rafferty as an influence in an interview with The Huffington Post. It’s nowhere near as bombastic as the Pornographer’s loudest tracks (or even Newman’s solo work). It sounds like he’s taking a more adult course now: it’s a little slower, a little more introspective and full of horns, flutes and Nek Case’s backing vocals. It reminds me of Josh Rouse, actually. There’s no way this doesn’t make the shortlist.
Mac DeMarco – 2 (Captured Tracks), released fall 2012
He released two albums in 2012 but he saved the best for last: the iconoclastic DeMarco packs 2 with off-kilter rock. There are songs about his favorite smokes, what he wants from a girlfriend and fucking with the neighbours. It jangles in all the right places, doesn’t take itself seriously and damn, if he doesn’t have one of the most distinctive guitar sounds in rock today.
K-os – Black on Blonde (Crown Loyalist/EMI), Jan 2013
To be fair, I didn’t really care for this album: it’s overstuffed, rambling and uneventful in all the worst ways: the track where Emily Haines’ guests is musical Ambien. Then again, I find K-Os insufferable sometimes (the copy for this album compares him to Kanye, Frank Ocean and The Weeknd, which doesn’t seem fair to them) and he gave the worst live show I’ve ever seen, but in some corners, he’s one of the greats of Canadian hip-hop. For that reason, I think it’ll be the record that fills out the shortlist and finishes near the bottom.
Tegan and Sara – Heartthrob (Warner Music Group, Jan. 2013)
I’ve been a fan of Tegan and Sara for years and over the years, it’s been fascinating to watch their sound has constantly evolve: they went from chugging rock to new wave to acoustic pianos. On this, they fully embrace dance music, making a record that drips with energy and tension. Their material’s as strong as it’s even been too: I Was A Fool is them at the top of their game. It’s a virtual no-brainer to make the shortlist.
Two Hours Traffic – Foolish Blood (Bumstead), Feb. 2013
For the indie rock purists, there’s always Two Hours Traffic. It’s fun guitar rock, the kind of album you’ll hear on the PA at American Eagle and find yourself enjoying it. Personally, I think “Last Star” is the standout cut. I don’t think it’ll win – it doesn’t stand out to me over Newman, Tegan and Sara or DeMarco’s albums – but it’s a solid bet to crack the shortlist.
Hayden – Us Alone (Arts & Crafts) Feb 2013
The latest from Hayden is a nice bag of tricks: he rocks out on “Rainy Saturday”, turns moody and desolate for Instructions and does a great Neil Young impression for “Blurry Nights”. I can see it being a little too singer-songwriterish for some tastes, but I think its Hayden’s strongest album yet, no small feat considering his back catalogue.
Young Galaxy – Ultramarine (Paper bag), April 2013
The latest from the prog rock-ish quintet is full of poppy keyboards, dancey rhythms (“Fall For You’s” a good example) and expanding from the dream pop of their first two albums into a chillwave-informed, more general poppish sound. It’s not hard to imagine a track like “New Summer” popping up on a mixtape alongside Toro Y Moi, Washed Out or even Mr. Mister. It could’ve been a risky move, but I think they pulled it off admirably and given us a summer jam to boot.
The Weeknd – Trilogy (Republic Records), Sept 2012
This is the one that seems like the longest bet to me. Not because the music’s decent or even just good. It’s quite the opposite: I think this compilation of his three mixtapes is fantastic, equally energizing and moody, dark and fun. It staggers between the fun of the party and the battered remains of the next morning. But it’s a compilation, which could cost it some points, and one of the three mixtapes made the Polaris shortlist the year before last, which may disqualify the record. Still, the jury could do much, much worse than to give this a spot on their shortlist.