Having reserved this slot on our posting calendar for a dedicated new album feature, once September rolled into October, selecting just one record from the influx of fresh releases brought forth quite a dilemma. What justification could we present to choose one highly touted release over another? Quite simply, we could not – even when dismissing any personal favoritism from the equation – so instead, will divvy up the editorial space accordingly. We may not be able to dig as deeply into these albums as we’d like, but sometimes, less truly can mean more – and most importantly, our consciences remain clear knowing that nobody has been overlooked today.
Les Hay Babies, “Tintamarre”
This fourth full-length studio album from Moncton, NB Acadian band Les Hay Babies is formally released today, meaning it is oven fresh and raring to be sampled. With a flair for Cajun meets country, sprinkling elements of classic pop-rock on the side, the trio of Julie Aubé (vocals/banjo/guitars), Katrine Noël (vocals/ukulele/bass), and Vivianne Roy (vocals/guitars) run convincingly with the Cajun influence on this outing.
During a wintry rehearsal in 2023, Katrine half-jokingly asked why they could not find time to get this album recorded, and that they should go to Louisiana or something. Like many Acadians, the trio felt a deep connection to Cajun culture, and acted on their instincts immediately, booking flights to the Bayou that same evening – adding during a recent Paste Session interview that as Acadian people migrated south from Canada through the US, the word ‘Acadian’ gradually (with the help of that southern drawl) evolved into the word ‘Cajun, hence the deep-rooted connection between two cultures roughly 2000 miles apart.
“Tintamarre” perfectly captures the band’s Louisiana sojourn and story, offering a thematic narrative of pan-Acadian identity, culture, and joie de vivre – where new experiences and friendships result in ten new songs that are incredibly fresh, yet distinctly familiar. Pull open a recipe book for this trio’s music, and you’ll find vocal harmonies and old-school guitar twang ever present – but with this latest chapter, there’s an extra dousing of deep south style “fais do do” seasoning that adds plenty of spice and flavor.
Need a quick intro – check out: “Pas façon de tomber”
Julian Taylor, “Pathways”
When Toronto blues-soul rocker turned folk troubadour Julian Taylor releases new music, you can bet your last dollar that we’re going to take notice. Clocking in at a relatively short 30-minute run time, “Pathways” finds this 4xJUNO-nominated artist joining forces with co-producer Colin Linden (Blackie & the Rodeo Kings) to candidly capture how Taylor approaches handling his own litany of ever-lingering burdens.
As witnessed by Taylor’s last two Americana albums, the relentless search for answers to deeply burning questions held close to his chest has led to some of his finest songwriting to date – as we discovered with “Seeds” (from “Beyond The Reservoir”) and “Human Race” (from “The Ridge”). And here with “Pathways,” we find the artist delving deeper still, articulating those raw memories, emotions, and long-lingering thoughts into compositions once more – ever contemplative, ever compassionate, and always insightful. “On this record, I’m sharing the struggles we all face, and I’m trying to make it better through these songs,” Julian shares. “I know I can’t change the past, but I do continue to dwell on it sometimes.”
Per Julian’s press release, the album lays down the long, winding trail that leads its listeners toward finding their own personal Zen amidst much internal discord – summarized by Taylor with three simple words; righteousness, acceptance, and enlightenment. “Even though I don’t know what the future holds, I’m going to keep on keeping on, just like Bob Dylan said,” Julian adds. “And to keep going in an honest way, and in the best direction we possibly can. And me, well, I’m still going.”
Need a quick intro – check out: “Pathways (ft. Allison Russell)”
Mia Kelly, “To Be Clear”
Pulling out yet another oven-fresh release, this long-awaited sophomore album from emerging Gatineau, QC folk-blues artist Mia Kelly was pinned firmly on our radar since hearing news of the project during a festival appearance just over twelve months ago. And having road-tested a few of the album cuts during that show (“Bonefish Boys” / “Oleander”), it is fantastic to now have the fully produced studio versions to enjoy once more.
First coming to our attention a couple of summers ago, with her breakthrough single “Kitchissippi,” we quickly learned of Mia’s love for river surfing – so could not resist a smile when hearing “Remedy River” previously, and now finding it as a new album track. Co-produced with Jim Bryson at Fixed Hinge Studio (mastering by Philip Shaw Bova), the ten tracks that form “To Be Clear” perfectly showcase Mia’s talents – notably the ease with which she switches from tender balladeer to all-out blues rocker. Spend a little time with “South Went The Bird” for the former, then skip to “Lone Dog” if you want to hear some notable pipes – both vocal and the brass variety (courtesy of Brian Sanderson).
Raised on the Ontario/Québec provincial line, Mia comfortably performs in both English and French, so the inclusion of her recent French language “Si j’étais franche” single can be found here, along with “Rideau tombe,” itself distinctly Québecois, ambling along like a trotting horse, and equally at home here amongst its Anglo counterparts. “This album shows my vulnerability … and tell important stories,” Mia shares. “We wanted to produce this album so that the instrumentation elevates the lyrics, letting the stories shine through. I’m so proud of this record.”
Need a quick intro – check out: “Watercolour Girl”
The Heavy Heavy, “One Of A Kind”
Okay, okay – this is the only non-Canadian album featured here today, but we really cannot ignore this outstanding debut full-length album from Brighton, UK retro-rockers The Heavy Heavy. Released back in early September, here we find a band (founded by the duo of William Turner and Georgie Fuller) who have very quickly established and endeared themselves to the North American market.
Receiving critical acclaim for their 2022 “Life and Life Only” EP – and fueled by some heavy rotation on SiriusXM radio – the band offer an authentic time-travel adventure back to the late 60s/early 70s with their distinctive Fleetwood Mac / Rolling Stones / Mamas and Papas sound. Expect plenty of fuzzy guitar tones, vintage organ, era-appropriate bass lines, and of course, some stunning collective vocal harmonies. No punishment can ever come your way if you file this record away amongst your Led Zeppelin and Stevie Nicks albums – in fact, it will likely feel quite at home there.
Just mentioning Zep leads nicely into the album track “Dirt,” in which William’s guitar riffs pay homage beautifully to those of Jimmy Paige (go spin it, trust me). As for the recent single, “Happiness,” expect to be whisked away to sunny SoCal – go ahead, pinch yourself, because this one could convincingly be cranked from a Cadillac Eldorado cruising down Sunset Strip back when “Vietnam” was a daily media headline. Fabulous music from one of the finest emerging acts to hit these shores in a long time. Don’t delay – stream it, spin it, get your fix, and dust off those bell bottoms when they perform in a town near you.
Need a quick intro – check out: “Happiness”
Photo Credits: Elizabeth Landry (Les Hay Babies) / Steph Montani (Julian Taylor) / Jen Squires (Mia Kelly) / Official Website (The Heavy Heavy)
The British guy that crossed the ocean and crash landed in central Pennsylvania (to quote Greg Keelor, “And I wonder what am I doing here?”). As the youngest of four siblings, exposure to music from a very early age nurtured my passion and appreciation for many musical genres. Continuing to discover some amazingly diverse and talented musicians based in Canada, I gravitate to live music experiences and remain devoted to spreading the word about such a vibrant music scene.
