When All Else Fals, Play Canasta
Pure and sparkling tunes conquer the heart in Canasta's latest release
Canasta
The Fakeout, the Tease and the Breather
Released on May 08, 2010
Canasta does something seemingly simple, but deeply complex. To the ear, their sound is clean and gleaming but it takes a deeper appreciation for their dedication to elicit this impression. This six-some centered in Chicago has been hard at work, honing in on the baroque pop genre culminated by throwing a group of assorted and keen musician’s minds together. Canasta has expressed the initial uncertainty of sound they would produce initially, but as a group of six disciplined musicians with various backgrounds and influences, the collective result is fancifully ornate.
At the fore, “Becoming You” brings Canasta’s baroque pop pureness to life. This seven minute prologue comes on slowly and leaves you picking up your jaw in amazement. “It’s awfully clear to me, this will be my final chance,” sings Matt Priest, lead singer and guitarist, certainly not referring to the album—this album most likely will sky-rocket their fan base. Halfway through it has only reached half its potential as only half of the members are included in the jam. At nearly the five-minute mark this song transforms from walk to run. The capability of six instrumentalists to work with dynamics is easy to attain, but to do it in a way where as the sound isn’t overwhelming or convoluted isn’t quite the walk in the park it comes off as. Their effortless demeanor is just that and nothing else, because off the surface this band works hard together.
Priest’s striking voice complements the compositions with an unadulterated and crisp tone. Priest’s voice, a blending of Benjamin Gibbard of Death Cab for Cutie and Colin Meloy of The Decemberists, approaches you in a welcoming and safe manner.
“Mexico City” is a bright and modern unification of baroque pop foundation and country undertones. Kicking it off with a steady and danceable beat always creates a good song. The keyboard plays an electronic backing to the drums joined by Priest’s always flawless voice. More and more join in to the baroque disco thumping along. Violinist and vocalist, Elizabeth Lindau shows off her talent on the violin with the smooth strokes mixed with some quick staccatos, creating an edgy classical beat of their own.
Canasta does baroque pop with hints of country concretely, but “Appreciation” is an exception, focusing more so on the country than what they know. I ‘appreciate’ their efforts, but the final outcome clashes with their overall consistent baroque pop wonder. This track contorts Priest’s voice to that on a country ballad. No other song exhibits this quality of over toned country and it only bewilders. The country influence pushes the baroque pop aside as opposed to the other songs where just the opposite it happening so perfectly.
“Choosing Sides” finds the epitome of baroque pop with Elizabeth Lindau accompanying Priest in a vibrantly colorful fashion. Each member complements each other though, not just the voices. The guitar playfully intermingles with one of the most exuberant violin solos since the electric violin solo in “Revenge of the Nerds.”
High Point
Optimistic and lively blends of baroque pop and country mastered by regimented musicianship.
Low Point
Some of the tracks work against this album, focusing more on a country edge and less of their polished baroque pop stylings.
Posted by Daniel Wehrli on May 13, 2010 @ 12:00 am