Culture Reject

Culture Reject,Forces (Specific/White Whale). Guelph’s Black Cabbage was a bit of all right, as I recall, but I confess I missed bandleader Michael O’Connell’s 2008 solo debut as Culture Reject pretty much entirely. This long-gestating, six-song follow-up EP — first issued by White Whale Records in April, now available on vinyl through France’s Specific Recordings — seems an encouraging return to action, though. Opener “Avalanche” briefly had me worried Forces was gonna turn into the sort of earnest, sandal-wearing, ethno-funk horror from which I usually run screaming, but then the tune Beatled out expansively and unexpectedly during its curt-but-generous refrain and established a pattern of “deeper than you think” songwriting and arrangement that would repeat itself for the duration. I hear echoes of Mark Kozelek and Red House Painters, Great Lake Swimmers and even “post-rock” obscurantists The For Carnation in the bits I like best, Bon Iver in the bits that I like slightly less and Thom Yorke “before the robots got him” — as a much better writer than I once put it — in the airy acoustic melancholia of “In My Lovin’.” You know the “sad” you like; proceed accordingly.
- Toronto Star

Culture Reject,Forces (Specific/White Whale). Guelph’s Black Cabbage was a bit of all right, as I recall, but I confess I missed bandleader Michael O’Connell’s 2008 solo debut as Culture Reject pretty much entirely. This long-gestating, six-song follow-up EP — first issued by White Whale Records in April, now available on vinyl through France’s Specific Recordings — seems an encouraging return to action, though. Opener “Avalanche” briefly had me worried Forces was gonna turn into the sort of earnest, sandal-wearing, ethno-funk horror from which I usually run screaming, but then the tune Beatled out expansively and unexpectedly during its curt-but-generous refrain and established a pattern of “deeper than you think” songwriting and arrangement that would repeat itself for the duration. I hear echoes of Mark Kozelek and Red House Painters, Great Lake Swimmers and even “post-rock” obscurantists The For Carnation in the bits I like best, Bon Iver in the bits that I like slightly less and Thom Yorke “before the robots got him” — as a much better writer than I once put it — in the airy acoustic melancholia of “In My Lovin’.” You know the “sad” you like; proceed accordingly.
- Toronto Star

Five years after Michael O’Connell released his debut album as Culture Reject, the Toronto multi-instrumentalist has reemerged with a six-song EP and a bolstered lineup that includes new members Carlie Howell and Karri North. Culture Reject sounds a bit more bandlike than the earlier, mostly solo, work but it still relies heavily on hypnotic loops, falsetto-laced harmonies, sophisticated Latin rhythms, horns and lurking organic electronic texture.
Don’t let the punk-evoking moniker fool you – this is very smooth music. Many of the songs achieve the erudite funk Dirty Projectors often strive for: brainy and soulful in equal measure. But unlike those indie Brooklynites, it rarely sounds showy or melismatic. Forces is the kind of music that’s easy to throw on in the background, but there’s lots happening beneath the surface if you listen carefully. - NOW Toronto

After years of careful consideration, former Black Cabbage member Michael O’Connell presents jaw-droppingly great songs as Toronto, ON’s Culture Reject. With his arresting voice and unique compositional instincts, O’Connell brings friends into the fold but ultimately lets his eclectic tastes rule the roost. “Ain’t It On the Floor” resembles a classic Jim Guthrie lo-fi experiment, with Guthrie himself providing a loose, swinging percussive foundation for the quirky guitars. “Inside the Cinema,” however, is its own perfect example of irresistible lyrics, phrasing and melodies coming together to form one of the most infectious, accomplished Canadian singles of the year. There’s an overarching open ambience to every arrangement, as layers of tasteful sounds infiltrate the songs with subtlety. Just as Apostle of Hustle infuse forays to Cuba into their sound with pinches of bombast, O’Connell casually taps into the swing of other cultures, including familiar rhythms and gorgeous horns that add much texture to the Sade-esque “Overflow” and intricately mesmerising “Oh Remain.” Built for summer nights at the cottage, Culture Reject’s debut is a majestic achievement. (White Whale)

- Exclaim!!

They often say that band members communicate with each other musically during the seamless transitions, ebbs and flows of a song. It doesn't require a spoken word or even a knowing glance. Finding that natural flow is a result of each member instinctively knowing when to be inquisitive, supportive, aggressive or simply listen with an open ear. So what happens when you are a one man band and those musical conversations happen inside your own head?

For Michael O’Connell, the result is something special. The quirks and transitions he adds to his songs are like a sneak peak into an over active mind; one that is constantly embracing the world around it. Music is supposed to be derived from your influences and experiences, and with that being said, it's obvious he's lived a terrific life so far. Stepping out of the rock genre of his last band, his new project - Culture Reject - is a collection of smooth grooves, soul, looping guitars bursts and simple percussion that he's picked up while traveling the world.

The record opens with the head nodding Ain't It On the Floor, but for me it starts to blossom on Inside the Cinema. Understated hand claps, blaring horns and a distinct Latin influence power through O'Connell's staccato vocal delivery. It's not hard to picture the rural Cuban jam sessions that O'Connell joined while traveling, and see the impact they had on his song writing. Hong Kong Part 2 settles into another Latin groove that could backdrop any lounge or summer party.

That's not to say every song fits into such a tidy description; quite the opposite actually. His thoughts seem to shift and evolve, even within a single song, leaving you waiting for the next right angle turn. Museums uses most of the same elements as its predecessor, but takes on a folksier tone. The off-kilter guitar mixing with the piano, hand claps and harmonies feel more intimate than should be possible from the number of elements, but O'Connell controls it perfectly. When the horns show up, it's like a chance encounter with an old friend when you walk down the street; you simply relax and enjoy the quick interaction before continuing on your way. The surging build that follows is like the little smile that just makes your day seems better.

Overflow contrasts a poppy piano with a reggae guitar up-strum and O'Connell's falsetto and the result is as infectious as the Cleveland Brown's locker room. The tropical vibe melds perfectly into the surf culture (fans of anyone that Jack Johnson took on tour with him will eat this track up). The quick hitting HongKong Beach Part 2 uses a more Latin guitar sound behind O'Connell's vocals. Although the vocal styles are completely different, this song is one that K-OS could add to a set and no one would blink an eye.

O'Connell truly samples from the best elements of world music but still adds the crunch indie rock fans need. The mix of funk and horns aren't usually what accompanies the minor tone vocals on Fireflies are Fading and that gives the song it's punch. The melding of so many styles is impressive, especially when you consider how subtle each texture really is. It's a crazy headphone track, with sounds, voices and currents jumping back and forth across from ear to ear. This record is one that grabs you on first pass, but continues to improve on each and every listen. It's a nice change of pace for any any music lover, and a perfect way for White Whale records to celebrate 10 releases. - HeroHill

Staccato horns, handclaps, gentle double-tracked vocals, acoustic guitars, and a lead guitar melody make up the charming Culture Reject tune, “Inside the Cinema” off of the band’s recent self-titled debut album. Mixing in a handful of other instruments, Culture Reject’s Michael O’Connell crafts a soft indie-folk song peppered with pop ornamentation and Sufjan Stevens-esque instrumental accompaniment, which creates a bright, swirling listening experience. - Insane Citizen