Mental Health

Growing up in Canada, if you had an inkling towards rock… you’ve cranked the mop-topped compatriots of Sloan. An early, vivid, memory of myself and music was sitting in a friends house with the sirens of Sloan’s Money City Maniacs blaring out of the speakers… over and over.

Which brings us to Vancouver band The Good in Everyone:

“After how long and contentious the process of naming [our previous band] became, I decided to take a more systematic approach this time around… I wrote a list of song names from some of my favourite bands that I thought could double as good band names, and settled on The Good In Everyone, which is the name of a Sloan song. I love Sloan.” – Nick Russell in an interview with Y57 Media.

Borrowing their name from a Canadian rock staple, The Good in Everyone aren’t far off from squeezing into Canada’s indie-scene.

The band, consisting of the same members of former Vancouver band Mercy Years, consist of Nick Russell (guitar/vocals), Ben Mott (guitar), Laura Genschorek (piano/synth/vocals), Jamison Gladysz (drums), Olivia Sharpe (guitar/vocals), and Matt Gostelow (bass).

Unlike the trap indie rock sometimes falls into, The Good In Everyone’s music’s instantly accessible with it’s soaring melodies (main and counter) along with the driving rhythms provided by Gladysz. The 4 song album clocks in just a shade over 16 minutes, but momentum never stalls throughout.

The album finishes in a whirlwind with Shambolic, showing off all the band’s strengths; from the rhythm right down to the beautiful point-counterpoint between the vocals of Genschorek/Russell and Sharpe. The vocal styles, along with the songwriting, are what provide awesome depth. It’s a treat to hear their vocal tones contrast Mott’s wicked counter-melodies.

Even though this iteration of the band is relatively young, The Good in Everyone definitely deserve to be in Canada’s indie rock “playground” alongside bands like Rah Rah and The Rural Alberta Advantage. Heck, maybe one day a young up-and-coming band will be drawing name-inspiration from TGIE.

Three Songs to Check Out: Hell, there’s 4 on the album, just put the whole thing on repeat! Special shout-out though to 2 tunes, being Shambolic and Manning Park.

Written by: Matt Williams - Music Momentum

As thousands flocked to English Bay to gorge on the remains of food carts and check out the fireworks, a modest—though nonetheless enthusiastic—crowd gathered behind the doors of the Biltmore Cabaret on July 26. Inside, The Good In Everyone were busy sound checking for the release of their self-titled EP party.

Kicking off the show were first openers Alea Rae, who, upon completion of their first song, earnestly proclaimed to the crowd “Oh God, that felt satisfying.” The trio, comprised of frontwoman Alea Rae Clark and counterparts Patrick Farrugia on guitar and Jeremiah Ackermann on percussion, fuse cool, atmospheric tones with warm, folksy progressions, echoing the likes of Daughter or The Jezabels.

Though performing a lyrically strong collection of songs that were varied, textured, and engaging, it was their shadowy rendition of Arcade Fire’s “Afterlife” that took the night. Piecing their set together with a mixture of endearing, self-deprecating banter, Clark proved to be a dynamic force, vibing well with the crowd. As they continue to find their sound, I have no doubt Clark will only gain ground in the Vancouver scene.

Perhaps the most established artist on the bill, Lisa Joyce, otherwise known as Joyce Island, was next up to take the stage. Even with a less than attentive crowd, Joyce was nonetheless commanding. Pulling out a striking set complete with punchy guitar and effusive vocals, this one woman band produced a unique construction of lush, hazy Canadiana.

Regardless of Joyce’s southern-tinged charm, it became painfully apparent that the crowd had grown more concerned with what was on tap than what Joyce was crooning.
The Good in Everyone came out roaring, seamlessly snatching the attention of the audience and focusing it back on the stage. Sonically, I’ve come to expect the band’s signature sprawling aesthetic, consisting of an enmeshment of the rock sensibilities, breezy pop, and folksy tones found scattered throughout their EP. I was not disappointed.

Tight vocal harmonies characterized much of their act thanks to the soaring voices of Nick Russell and Laura Genschorek supported by expansive, hooky guitar riffs and the backdrop of pounding drums. Pacing their set well, the band incorporated a varied selection of songs from their catalog, though their rendition of “Manning Park” proved to be a highlight.

Even though fans were largely comprised of friends and family, The Good In Everyone were wonderfully unabashed, as lead guitarist Benjamin Mott jokingly called out: “Thanks, Mom; thanks, Dad!” after a particularly loud cheer had been emitted from the audience. Admittedly, there were a few missed moments where the band could’ve take the opportunity to visibly loosen up, but I have no doubt this skill will come as they continue to play other gigs. In the meantime, their performance proved that The Good in Everyone deserve a seat at the Canadian indie-rock table, probably sandwiched somewhere in between Edmonton rockers Scenic Route to Alaska and Saskatchewan sweethearts Rah Rah. But, wherever you place The Good in Everyone, it’s clear this band has set out to make its mark on Vancouver.

Written by: Missy Martin - Discorder Magazine

Drawing on influences Sloan and Broken Social Scene, The Good In Everyone has good timing. They are indie-rock in a guitar-and-drum-driven, lyrical way that is the perfect mix for summer in Vancouver: rocking, yet laid-back. - Jordana Smith, Beatroute BC

The Good In Everyone has created a very eclectic and slightly unique sound in their self-titled EP – an impressive feat for only four songs clocking in at 16 minutes total. I had never heard of them before checking out this EP, but it’s safe to say they’ve found a new fan.

The opening track, “Manning Park,” sounds similar to The Smiths, though with elements of a happier sound such as Jack Johnson. It’s a pleasant song and a good opener for the EP and perhaps live.

Track 2, “Skip Down the Stairs,” introduces a stark contrast – opening with a new, female singer. It’s a more upbeat song than “Manning Park,” and the woman has a different vocal range than the male singer–which often works to the band’s advantage. There’s little trace of the Smiths sound here.

"Whiskeyjack" can best be described as a hybrid of the two songs. Both vocalists sing, and we return to the Smiths-esque sound, though still fairly upbeat.

The final song, “Shambolic,” is perhaps the most distinctive of the EP. It’s somewhat fast-paced and once again, upbeat.

"Shambolic" is The Good In Everyone song to play during a party, or to close the night with; as such, it serves as a good album finisher.

I suppose the overall band sound is “early Smiths, except with a woman and generally a lot happier.” Nevertheless, The Good In Everyone has created an original crowd-pleaser on this EP. It’s definitely something I would listen to casually or see live, and recommend to others.

Written by: Cazzy Lewchuk - The Permanent Rain Press

By: Amanda Hather

EP – The Good In Everyone
iTunes Link – https://itunes.apple.com/ca/album/the-good-in-everyone-ep/id866434177
Release Date – April 18th, 2014
Genre – Indie Rock

Vancouver indie band, The Good In Everyone, released their self-titled EP on April 18th. The band includes Nick Russell (guitars, vocals), Laura Genchorek (piano, synth, vocals), Benjamin Mott (guitar), Jamison Gladysz (drums), Olivia Sharp (guitar, vocals), and Matt Gostelow (bass). The short, four song release shows off both male and female lead vocals giving the band a sound that isn’t very common these days.

The first song, “Manning Park”, is a male led song. I love when piano is used in songs, so the introduction to the song already had me liking the song. “Skip Down The Stairs” is a female led song with a quicker feel to it than the opening song. “Whiskeyjack”, another male led song is a slower song compared to the two previous ones, but still overall a good song. Finally, the last song, “Shambolic”, also a male led song, would be a great song to have on a road trip somewhere warm in the summer to speed down the road with the top on the car down.

All in all, the EP has that characteristic indie rock sound with the unique female and male vocals. If you like the genre, you should give this EP a listen because there is sure to be something in it for you. - Canadian Beats