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Mar.13,2005 -Mar.20,2005 |
2004 great for Canucks
As major labels are struggling to survive the indies strive
By Kerry Doole
Originally Published: 2005-01-02
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Feist's Let It Die disc one of the year's best.
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It is always rather an exercise in futility to attempt to sum up an entire year in music in one feature story of moderate length. Best to consider this a subjective look at some of the highs and lows, trends and events of the year, rather than a comprehensive survey.
2004 did not produce quite as many CD gems as the year before. In both cases, a majority of my Top 10 albums (see sidebar) were from Canadian artists. This is not down to any sense of misplaced patriotism, but reflects the current creative boom in the Canadian scene. In years past, just one or two records stamped with a Maple Leaf would have made my year-end list, but there is a happy embarrassment of riches to select from now. Almost making the list were albums from other Canadian artists like Junior Boys, Howie Beck, Apostle Of Hustle, Reid Jamieson, Herald Nix and Magneta Lane.
Once again, the vast majority of these acts are signed to independent labels. Quite simply, the cash-strapped and panicky major labels are just not prepared to invest in long-term artist development or to take risks. Hard to blame them, when their staff all wonder if they'll have a job in a month. The majors keep merging, most recently BMG and Sony. At this rate, in five years there will be just one huge major label and hundreds of independent or artist-owned companies.
There has been just the occasional success story generated by Canadian majors in recent years. EMI deserve credit for their support of adventurous, genre-hopping hiphopper k-os, and this has paid off with the brilliant, approaching-platinum status of his second album, Joyful Rebellion. If that becomes a hit in the States, the entire urban music scene in Canada will receive a much-needed boost.
On the rock side, most of the Canadian bands making it big (Nickelback, Simple Plan, Billy Talent) are signed to American record labels. They may sell multi-platinum, but they are the aural equivalent of big-budget Hollywood schlock.
The Toronto scene continues to thrive, and is now rightfully viewed by the rest of the world as a real hotbed of interesting and worthwhile music. Sure, such critical darlings as Broken Social Scene, Metric and Hidden Cameras may not be selling in the millions, but word on their talent has spread fast.
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