New music: Propagandhi, Miley Cyrus, Marius Neset, London Philharmonic Orchestra

Winnipeg Free Press

06-06-2025

Propagandhi
At Peace (Epitaph)
In the eight years since Propagandhi released its 2017 masterpiece, Victory Lap, the world has experienced a global pandemic; horrific wars in Africa, the Middle East and Ukraine; noisy, wilful ignorance giving rise to neofascist populism; and the impending cataclysm of climate change.
It's not a pretty picture, and Winnipeg's favourite punk/metal/progressive/thrash outfit pulls no punches in its latest collection of 13 tracks, all of which wrestle in some way with the notion of how to go on while everything around us goes to hell.
Bassist Todd Kowalski's songs (he sings five) explore the bankruptcy of spiritual longing in the midst of horror (Guiding Light, God of Avarice), decry the pillage of the natural world (Fire Season), and lament the desperation of those who must flee one oppressive circumstance for another (Day by Day).
Guitarist-vocalist Chris Hannah, meanwhile, offers up satirical juxtapositions, such as asking, on Cat Guy, what you'd do if faced with the choice of saving only one of a drowning baby Hitler or your drowning family dog; or setting a first date at an amusement park about to be obliterated by nuclear apocalypse, as on Prismatic Spray (The Tinder Date).
When he's not holding a funhouse mirror up to the world, Hannah injects several wry asides into his withering criticisms, but as ridiculous as modern living might be, he's not without hope. On Something Needs to Die but Maybe It's Not You, he issues the ultimate challenge: 'But you were sent here with a gift. What will you do with it?'
As ever, the band's exceptional musicianship amplifies, underlines and accentuates the scorched earth of the lyrics. Hannah, Kowalski, guitarist Sulynn Hago and drummer Jord Samolesky are a virtuosic unit, capable of roiling, Sabbath-esque riffs, pummelling, explosive thrash metal, Tipton-and-Downing guitar interplay, and expressive, dramatic dynamics which, on this record, are accentuated by tempos that aren't always full-on.
★★★★ out of five
Stream: At Peace; Rented P.A.; Day by Day
— John Kendle
Miley Cyrus
Something Beautiful (LABEL)
For longtime Miley Cyrus fans, her ninth studio album is bound to live up to its name. It truly is Something Beautiful.
Over the years, the Grammy winner has demonstrated that she is unequivocally a pop star. She's also a dedicated student of contemporary music history and various genres, something she's made clear through her love of performing cover songs and across her diverse discography.
On Something Beautiful, Cyrus proves that she is most in her element musically when firmly holding onto those myriad identities, weaving together an inventive tapestry of pop, rock, electronic, disco and even funk — such as on the album's soulful, heartache anthem, Easy Lover.
Most of Cyrus's album comprises ABBA-channeling earworms; End of the World has a piano riff that screams Dancing Queen, but she balances '70s nostalgia with belting vocals and wide-ranging instrumentation throughout.
Something Beautiful is accompanied by a musical film of the same name, which will première this month at the Tribeca Film Festival. The aptly named first track, Prelude, is a narrated introduction, which gives the wrong impression that the album only serves as a score to the film. It stands on its own.
That's because most of the 13 tracks reflect Cyrus's work over the past two decades. More to Lose, for example, is a big-hearted ballad that sounds like it could have been featured on a Hannah Montana soundtrack, though her vocals and musical sensibilities have matured. Walk of Fame — her upbeat collaboration with Brittany Howard — also harks back to her early discography.
In many ways, the record is a return to form for the 32-year-old, whose pop reputation has always been in tension with her interest in other genres. But she also demonstrates how her sound has evolved and expanded over time.
★★★★ out of five
Stream: More to Lose; End of the World
— Krysta Fauria, The Associated Press
Marius Neset
Cabaret (Act)
Norwegian saxophonist Marius Neset is a major force in the jazz world. He has albums that cover a wide spectrum, especially his genre-crossing work with several symphony orchestras.
Cabaret is a departure from recent releases in using the quintet format to express a sometimes hard-edged fusion sound described in notes as 'boisterous.'
The band has Elliot Galvin on keyboards, Magnus Hjorth on piano, Conor Chaplin on electric bass and Anton Eger on drums. Things get a bit more complex as Neset also plays EWI (electric wind instrument), which is not widely used these days, although years ago several artists such as Michael Brecker increased its popularity for a while. It expands the saxophone sound with a synthesizer effect that is quite powerful.
The album starts with a bang with the title track and a tune called Hyp3Rsonic Cabar3T. This is flat-out driving punk/fusion reminiscent of Weather Report or Brecker's past works. When coupled with totally current harmonic and rhythmic effects, wonderful solos and overwhelming energy the enjoyment is solid.
Neset's solo on Quantum Dance is simply spectacular. P11 is a beat-driven bit of cheek that confirms the fun these guys are having.
Then there are the counter tunes. They are beautiful melodies such as Song for Maja and Forgotten Ballet, building from gentle openings into complex tunes that display the breadth of the talent. The Ocean is an evocative tone poem appropriately named in mood and execution. It builds and flows wonderfully.
Neset recently got married, and the final track Wedding in Geiranger is a very cool commentary on an important event. Beginning with solo piano it builds to a triumphal conclusion — a terrific end for a terrific album.
This is a joyous reflection of a major talent with major help saying very clearly, 'Here is some heartfelt happy music for you. Hope you like it.'
We do.
★★★★★ out of five
Stream: Lizarb, Song for Maja
— Keith Black
London Philharmonic Orchestra
Rachmaninov: The Bells & Symphonic Dances (LPO)
The London Philharmonic Orchestra kicks off its 20th anniversary celebrations with the first of three recordings being released May and June: Rachmaninov: The Bells and Symphonic Dances, with the venerated ensemble led by principal conductor Edward Gardner.
Its first offering features a live recording of the Russian composer's orchestral suite Symphonic Dances, Op. 45, his final major composition, dated 1940 and written entirely while living in the United States.
Gardner's crisp direction infuses the opening movement, I. Non Allegro, with rhythmic acuity, with the striking alto saxophone theme further heightening the work's fundamentally Russian soul. Another highlight is the subsequent II. Andante con moto, its initially halting waltz with shifting metres growing increasingly more agitated until its final, scampering wind and string motives.
The more sombre finale, III. Lento assai — Allegro vivace, including excerpts from the Russian Orthodox liturgy, and Dies Irae, medieval chant for the dead, roils with dynamic and timbral contrasts.
Also included is choral symphony The Bells, Op. 35 inspired by Edgar Allan Poe's poetry and featuring soprano Kristina Mkhitaryan, tenor Dmytro Popov and bass-baritone Kostas Smoriginas joined by the London Philharmonic Choir. It offers another opportunity to hear the composer's well-crafted orchestration, as during the opening I. Allegro ma non tanto, with crisp harp, piano, celeste and glockenspiel effects conjuring 'silver sleigh-bells.' Other highlights include the more darkly hewn III. Presto ('The loud alarum bells') with its long steady crescendo while the finale, IV. Lento Lugubre ('The mournful iron bells') — including a final, soaring flute solo — ultimately delivers repose and comfort from Poe's 'quiet of the tomb.'
★★★★½ out of five
Stream: Symphonic Dances, I. Non Allegro; The Bells, I. Allegro ma non tanto
— Holly Harris