Place Indieface Artist - March 8th

It seems like music out of Canada has all my attention these days. Maybe there is something to the intent of that Canada Music Fund after all.

Even though his most recent music has been out since September of last year, yet another artist out of the Great North deserves to have your attention right now. Hailing from Nova Scotia by way of Hamilton, Ontario, Matt Mays is a Canadian singer-songwriter who mixes his rock paintbrush in equal parts alternative rock and folk, while dabbling along the way in the electronic arts to highlight a portrait of the artist as a young man, as James Joyce might get you to see. He previously has maintained a presence as a member of the Canadian alt-country group, The Guthries, from the late 90's through the early 2000's. Some have dubbed his sound early Tom Petty/Elvis Costello; others have seen him evolve into more of a Beck/Nine Inch Nails influenced sphere of musicality. Whatever you might hear in his music, Matt Mays is sure to bring about an enjoyable experience.

Continuing in the country-western voice of The Guthries, Matt Mays released his self-titled, debut album, Matt Mays, in 2003, but didn't make a real name in indie music until 2005 when the heavy rotation single and accompanying video, "Cocaine Cowgirl", splashed onto the Canadian music scene. It's a tune that could easily get mistaken for a mid to late 90's alternative diddy, which I just happened to get reared on. The track was off Matt Mays + El Torpedo, his first album with new four-piece backing band featuring Jarrett Murphy on guitar, Brad Conrad on organ and pedal steel, Tim Baker on drums, and Andy Patil on bass. Standouts on the release also include, "St. George's Lane" and "Time of Your Life (Til' Your Dead)", which also conjures up throwback 90's alt-rock.

All this is preface to what is before us now. Released in September 2008, Terminal Romance carries the creative spirit of Mays further than it has ever been before. Tracks like "Tall Trees" and "The Hunter, The Hunted" demonstrate the references to Petty, while the title track rides the rockin' ability of a piano into an epic, Springsteen-like jam. I realize the implications of throwing a comparison out there like this, but if you aren't a fanatical Boss fan who refuses to recognize the inescapable influence the man has had upon music, you might be able to hear me out on this one. Judgement free zone here guys ;-). Also worth mentioning is a film project/soundtrack that Mays developed in 2006. Music for the film, When The Angels Made Contact, proves as eclectic as ever while movie info can be found here.

If you've been asking yourself where you can relive the music you might be missing from yesteryear, you can get it today in Matt Mays & El Torpedo.