The Utilities

Le deuxième album du groupe albertain The Utilities est né d’une série d’initiatives qui entourent Esper Records. Le fondateur de cette boîte, Jesse Northey, cherchait une façon de réunir des artistes dont les réussites pourraient bénéficier à toute la scène locale de la ville de Lethbridge. Sous ce projet, Northey assure une très grande partie de la réalisation des albums de sa maison de disques: enregistrement, mise en marché, promotion. « Flint » est la deuxième parution de Esper Records.

The Utilities me rappelle Wintersleep, en plus roots. L’approche du groupe devant le folk rock n’est pas nécessairement audacieuse, mais elle est aérée, permettant d’inclure des tas d’influences dans leur songwriting, dans un contexte résolument moderne. Les compositions plus vaporeuses (Rods & Cones) côtoient les pièces rock (Eyesopen/Eyesclosed), tout en conservant une belle ligne directrice, inscrite dans la musicalité bien sentie de The Utilities.

C’est d’ailleurs cet aspect qui est le plus réussi sur « Flint », laissant entrevoir le très grand potentiel du groupe sur scène. Quand les quatre membres sortent les amplificateurs sur « June 30, 2011 », chanson roots rocker dynamique, on sent The Utilities au sommet de sa forme, à travers les riffs de guitares saturées, dans la spontanéité des arrangements et dans l’esthétique Canadiana des paroles. « Flint » est parfois inégal, mais somme toute, The Utilities livre un disque très prometteur. - 500khz

It was indie rock night at the Slice, Jan. 20 with Michael Granzow, the Utilities, Medicine Hat trio The Daydream Junkies and Jesse Northey and the Dandelions.

Granzow, who most people know from the Record Holder, started off with a sedate set of originals indie-folk including most of the new Record Holders’ EP “To Sea.” He had a Weakerthans’ John K Samson thing going on throughout his set.

The Utilities were up next. This Lethbridge/ Ponoka band impressed me on my first exposure to them as I thought they were going to be another very similar sounding Said the Whale style ambient indie pop band. But they were so much more. The dual Stratocaster powered band brought together a blend of influences including a little funk, a touch of alt-country, a little Weakerthans alterna-rock, a smattering of Dave Matthews folk pop and a lot of indie folk pop. There was lots of jumping around in place, time tempo change, guitar exchanges and a variety of different styles being explored. At one point they segued into Beck’s “Devil’s Haircut” mid song, though they added a little more funk to it.

Medicine Hat’s Daydream Johnny added a much need burst of energy to a fairly mellow night. The energetic trio supplied a healthy dose of slapback echo filled, snarling late ’60s garage rock. - The L.A. Beat

Any band that can make rock music that includes banjos is really, really fine by me, and that’s just what Lethbridge, Alta.-based The Utilities do.

Their record label, Esper Records (started by Jesse Northey) has been releasing consistently good music based out of Lethbridge, first with The Record Holder, and the Utilities look to be carrying on the torch well.

One strength the band has is in lead singer Joel Stretch (who sounds like a superhero with that name), whose roots-esque vocals add an extra bit of flavour to the often-catchy instrumentals of Flint.

The album is introduced quite smoothly with “Your Complex.” The picking of acoustic guitar is complemented by drums and Stretch’s vocals. There’s also some kickass harmonica between verses. Just as it ends, “Eyesopen/Eyesclosed,” one of the album’s strongest tracks, picks up without missing a beat. The track is complex (and I always love the complex tracks), consisting of two melodies. The first half of the song is louder than usual, and the impression I got was what Radiohead might sound like if they played roots music. The second half becomes a little more poppy but no less enjoyable.

“Guilt Free Living” shows off the band’s lyrical capability in addition to some heavier electric guitar. “Eyelids” definitely comes across as more sad, and also features some awesome banjo.

Another album highlight was “June 30, 2011.” The date obviously has some significance to the band, though I’m not sure what. Anyhow, the song is probably the catchiest of all of the album’s songs, an upbeat number of a romantic nature. The chorus describes the narrator needing a camera (to take pictures of pictures so he can know his sweetheart better than she knows herself) and an easel (so he can paint her a picture of herself, making her see how beautiful he is and letting him love her more than he loves himself).

“For Winter” is a song that somehow manages to sound like a rock song even with a fairly prominent banjo.

This is a solid collection of songs and the flint has definitely ignited a spark, so to speak. You can grab Flint from Bandcamp.

Top Tracks: “Eyesopen/Eyesclosed”; “June 30, 2011? - Grayowl Point

The Utilities may be the most exciting young band in Alberta. Over two weeks ago, at Swig of Alberta, their producer, Jesse Northey, put the full length record in my hand. A day hasn’t gone by where I haven’t imbibed The Utilities in the most utilitarian fashion. Where do I begin? The youthful Joel Stretch is already a fluent songwriter, capable of tip toeing the line between folk rock and 90's indie with inimitable ease. Flint catwalks from one composition to another, sensibly weaved by Northey’s production and cohesively bound by Stretch’s unique voice. Argue Job contributor Jammingcues has already given a glowing review to the first two singles a few weeks ago so I will keep my words few and just strongly recommend our readers buy this record. Also, come see The Utilities play live in Edmonton with Alice Kos and Amy van Keeken at The Elevation Room on May 4th! - Argue Job