Something of an annual tradition for me comes every June, right around the time the Stanley Cup is awarded: making my own Pretend Polaris Prize ballot! As a Canadian, a music writer, and a Canadian Music Writer, I find myself caring about this music award even if I like to tell people I think awards are silly.
Why this one specific award? Because I like the alliteration, sure, but I also like it because it’s an award that sets out to recognize good Canadian music. I like how it specifically focuses on the whole album, not just singles. I like how it doesn’t really consider the stage show, which is great since I don’t see half these bands play live.
And I like how it tries to go a little further than handing awards to the Indie Rock Big Boys: The Arcade Fire, Broken Social Scene, Metric, etc, etc. Previous winners have included Godspeed You! Black Emperor, Innu musician Tanya Tagaq and Francophone rock band Karkwa. I like this award and until they give me a real ballot, I’m going to keep making these every summer. So what follows are the five albums I’d have named, plus my reasons why.
M Milner’s 2015 Polaris Prize Pretend Ballot
V/A – Native North America: Aboriginal Folk, Rock, And Country 1966-1985 (Vol. 1)
Normally, various artist collections aren’t really considered. As the rules say, “Compilations of previously released recordings such as ‘greatest hits’ or ‘best of’ packages or similar are not eligible.” They allow exceptions, though, and I’m glad they do because this was a hell of a release.
For one, it opened a door to a wide range of musicians and music most people probably never knew existed. I imagine most people’s knowledge of Native American musicians starts and stops with Buffy St. Marie or Tagaq. But here’s a two-disc set just packed with great musicians: folkies like Willie Dunn or Willie Thrasher (who’s “Spirit Child” is the set’s highlight), rockers like Sugluk or the Saddle Lake Drifting Cowboys and especially the native-language music, which frankly deserved a wide release.
Which is what this package does best: it takes a selection from a wide range of artists who never really got a fair shot. Most of these songs were only recorded because CBC Radio stations needed something to play up in these communities; they weren’t records the average person was going to hear, let alone see in a record store. It’s great to have this music accessible and to imagine these guys are finally getting the recognition they deserve.
Absolutely Free – Absolutely Free
There wasn’t really too much else like Absolutely Free’s debut record last year, which is kind of a bummer since it was pretty good: krautrocky rhythm workouts, lots of keyboards and shouted vocals. It was a fresh-sounding record, one devoid of all the usual indie rock clichés: no sing-along choruses, no twee attitudes, not even a cameo from Emily Haines!
I think “Vision’s” sums the whole record up in five minutes, right down to them looking kinda bored while playing music that’s absolutely soaring with energy. I like the weird TV-from-1974 vibe, too. Here’s my full review of Absolutely Free.
Lowell – We Loved Her Madly
I think this is the third or fourth time I’ve written here about this record (see my review here), so I’ll keep it brief:
- Sharp, catchy songs that
- Smart, open-minded lyrics
- Her singing is great, but I especially liked the coughs and shouts on “Cloud 69,” the handclaps on “LGBT,” the part where she yells “Beat go!” on “The Bells.”
Easily my favourite debut record from last year and, it I’m being honest, one I’ve listened to every week (a song or two at a time) for like eight months straight and still haven’t tired of.
METZ – II
METZ’ first record was a chaotic, raucous mess that was utterly compelling and impossible to turn away from. Their followup? A little cleaner sounding, maybe, but holy moly, there’s enough energy here to power an aircraft carrier. The guitars sound like they’re about to destroy their amps, the drums like they’re pounding down the walls and the vocals are shouted like they’re the only thing that matters. It’s great! Here’s fellow Canadian writer Phil Maye’s full review of II.
Drake – If You’re Reading This It’s Too Late
Come on, it’s Drake. He’s arguably the best Canadian making hip-hop today and he’s made Canada matter musically in a way nobody else has before. So there’s that. There’s also his latest album, which is pretty good and right up with his best. Our own Michael White called it “a critical and commercial coup,” after all. This could finally be Drake’s year to win!
