The Flying Museum Band

On page 231 of Come As You Are, Michael Azerrad’s excellent biography of Nirvana, released just six months and four days before Cobain shot himself in the mouth, the following paragraph can be found:
Yarrrrragh [is] a Gaelic word that refers to that rare quality that some voices have, an edge, an ability to say something about the human condition that goes far beyond merely singing the right lyrics and hitting the right notes. Semiologist Roland Barthes called it “the grain of the voice.” Either you have it or you don’t. Robert Johnson had it, Hank Williams had it; these days, it’s people like the Screaming Trees Mark Lanegan and Kurt Cobain.

Some singers don’t have a lot of grain but get by anyway. Jeff Tweedy can get hoarse when he wants to (I’m thinking here of when he yells “I can’t stand it!” on Summerteeth’s opening track, or the cigarette smoke lingering in his lanyrnx when he rasps “distance has no way of making love understandable” in “Radio Cure”) but his default modes are either relaxed croon or confident whisper. The closest Mark Knopfler ever gets to a rasp is probably in “Where Do You Think You’re Going?” – an excellent song about a jealously possessive and possibly violent husband telling his wife she’ll never escape him. James Taylor (whose finest hour is with the aforementioned Mark Knopfler in “Sailing to Philadelphia”) couldn’t rasp if he wanted to. He a remarkably smooth singer.
But smooth singers aren’t the subject of this rant. This is about yarrrrragh. And Russell Holley’s got the yarrrrragh, in spades. Reluctantly taking the helm as the lead singer after the departure of Sam Catalfamo for 2008’s Among the Hurons, Holley’s been fronting the band ever since, with his yarrrrragh most prominent on modern lo-fi classics such as “As Big As Cats,” “Lean Ways,” and “Mt. St. Louis Moonstone.”
The new record’s pretty slick though, easily their most hi-fi and also their most crowded release, instrument-wise, since their 2007 debut. On that album, piano and violin surrounded the standard rock instruments - bass, guitars, drums - in the mix, all of them clamouring for space and attention, a la Exile on Main Street-era Stones, whereas the new record is rammed with saxophones, organs, synthesizers, and piano courtesy of newest member David Lavkulik, a utility man who plays a billion instruments but never crowds out the rest of the band. Like drummer Mike Lynch, he plays to the songs, not to show off his (considerable) abilities.
Smoke & Variety is both the chronological and spiritual successor to 2012’s career highlight Swiss Chalet. They’re both five song EPs. They both take their names from establishments. And the title track of S&V even winkingly references “Bag of Bones” from SC.
So it’s a hi-fi record and the song arrangements are correspondingly meticulous. Hear the bass switch to quarter notes in the pre-chorus of “Moment of Lucidity” to make the chorus hit that much harder, or the gorgeous breakdown at 2:15 of the title track. (The former moment is a wistful fist-pumper, the latter evokes Kaputt-era Destroyer.)
The greatest FMB songs (for my money, or tragic lack of it, “Tuesday,” “Black Canoe,” “Kentucky Fog,” “Sault Ste. Marie”) always have a streak of sadness to them, an emotional heft often found in songs by bands who play countrified rock. But although they haven’t really been a traditional country band since the first album, they’ve brought that genre’s wistfulness with them across the years. And as good a singer as Holley is, he’s an even better lyricist, and though his words rhyme, they never lapse into laziness or cliché. From the sly references to regional locations like Jack’s Backyard in “Canadian Shield,” or the nod to Zeppelin in “Wishin’ On A Wildheart,” (the band has actually always had a keen awareness of classic rock, see the “Slight Return” of “Great Lake Loons” on their sophomore album) there’s always a sense of bad weather coming, of imminent rain, or of promises unfulfilled. But despite their attendance to the sad violence of life, there’s a sense of celebration in the songs of FMB too, an optimism that manifests itself almost blatantly on the new record. The songs are celebrations of the band’s natural chemistry and of the chords themselves. The songs bring daylight in a minor key.

“Hideout High” is a story song, with plenty of yarrrrragh, about an unnamed man who may or may not have blown up his old high school (the requisite classic rock reference here being Neil Young’s “Mellow My Mind.”) Stefan Kupych’s first turn at a lead vocal on “Moment of Lucidity” is fuckin’ great, and he hits just the right blend of emotional vulnerability and technical proficiency (the trademark of all great singers), usurping what was his greatest FMB moment to date, those brilliant backing vocals in “Sault Ste Marie”. Closer “Uptown Kelly” finishes the album on a high note, building and building toward a gorgeous climax. Lavkulik’s parts match the mood of each song, or of particular moments in the songs, his sax happily swooning at cheerful junctures, turning somber and sweet for the downbeat parts. Founding member/lead guitarist David Contin is relentlessly melodic on this record, singing killer backup vocals (as always) and playing lead lines that could be sung if his guitar ever breaks at a show (and given his enthusiastic stage presence, this is a real possibility), while Mike Lynch, the steady backbeat of the band since 2010’s Dufferin Succotash, shows off his smart and subtle musicianship by doing what he always does, playing the drums tastefully and sensitively. His fills in “Wishin on a Wildheart,” in particular, are brilliant, particularly when the tom fills match the rhythm of the vocals toward the end of each verse line. The chorus of that song floats radiantly, anchored by a gleaming ride cymbal.
Comparisons to Springsteen are probably inevitable given the prominence of saxophone on Smoke & Variety, but that would be lazy. The songs are the band’s own, free from the shadow of their progenitors, though always acknowledging them. The band has always, always prioritized songs over production, which is why, hi or lo fi, the songs take the front seat, so it should surprise exactly nobody that the record is freakin’ stellar. Following this band (and sometimes collaborating with them, as on the abovementioned “Tuesday,” a song I am proud to have played on) over the years has been really rewarding, like watching an exotic animal grow older and assert its reality against the world, each album another checkpoint in the long long pilgrimage to Perfect Discography, cuz yeah, the journey is supposed to be better than the destination, according to the compendium of clichés, but if the albums can be thought of as destinations unto themselves, aural vacations via a series of connected islands all within swimming distance of each other but still discrete regions with their own atmosphere, texture and colour, they are alluring and beautiful places to be - from “Civil War” straight through to “Uptown Kelly” - always bigger than they initially seem, always revealing some mysterious sonic avenue, some golden nugget of ear candy, something (and a lot of things) immediate and inviting that make you want to come back again and again. And live there. And fish there. And always, always find a reason to stay longer. - Little Ghost Recording Co. - Danny Lindsay

Smoke & Variety is an excellent EP from The Flying Museum Band. There’s elements of Americana-folk-pop mixed with some catchy driving power-pop that blends together well and produces a very enjoyable listen.

The title track opens the EP with a burst of saxophone and sustained electric guitar. Once the band enters, there are traces of alt-country, Cars-like synth, rapid guitar countermelodies and a catchy harmonized chorus. Towards the end, a screaming saxophone trades off with pounding drums before the song releases the final tag. “Moment Of Lucidity” starts out with Springsteen-like power chords and saxophone hits before moving into an Elvis Costello-like New Wave song. The chorus is teased and delayed by a verse, but comes out swinging when it does arrive. An elegant guitar solo leads to a flurry of choruses that are accompanied by organ swells. “Hideout High” has a Replacements like feel. It’s a catchy power-pop song complete with harmonized saxophones over organ and melodic bass. The song closes out by jamming out an extremely innovative guitar solo.

“Wishin’ on a Wild Heart” opens with a sweeping organ before a chime-y guitar takes over. When the vocals enter there’s an Uncle Tupelo/early Wilco vibe in the delivery and lyrics accompanied by some nice harmonies throughout and a slight tip of the hat to Maya Angelou. There are many great elements to this song including an exceptional saxophone solo which is the peak of the song, though the song does meander at times and could be slightly shorter.

The EP closes with “Uptown Kelly,” initially teasing a free-jazz piano and saxophone exploration before moving into a driving pop song. The screaming lead guitar that soars through the anthem-like fist-pumping chorus and takes over at times is a nice complement to a great vocal delivery. They both take turns passing through saxophone builds and synth textures.

Overall, the EP contains all the right ingredients: good songwriting, performances and production. The vocal harmonies blend well together and the saxophone has some very great moments throughout of melody and support, but the lead guitar shines the brightest and is an excellent asset to this band.

The Flying Museum Band

Smoke & Variety
self-released; 2015

3.8 out of 5

By Mike Przygoda - THE EVEN GROUND

Time for a Canadian band again, and one that stands out considerably among what's been posted as of late. The Flying Museum Band is an Americana, or Canadania they they've charmingly tagged it, band. Country style twang and soulful singing but this didn't stop them from throwing in rock guitar riffs, abundant horns squealing as if in a jazz concert and lacks nothing in pop hooks. You'll see, it all falls together most admirably, perhaps most beautifully in "Wishin' on a Wild Heart," at least to my ear. - SpaceRockMountain

My Canadian Music Week began on Wednesday night at The Cameron House seeing talented Toronto outfit The Flying Museum Band. There were only about 20 people on hand, most of whom seemed to be friends of the group members, but this is a lineup deserving of more attention with a musical style that at times reminded me of Blue Rodeo and The Band -- though with lesser vocals and harmonies. The playing was tight, the songs were solid and the keyboardist/saxophone player added depth to the material with his contributions. - Steve McLean

Toronto alt-country rockers THE FLYING MUSEUM BAND recently sent us an email and boy are we glad they did. Their new EP has been on regular repeat here at The iM and now it’s time to share it with you.

Check out Swiss Chalet in the embed below. To be honest, there’s not a song on it we don’t like and we’re certain you’ll understand why after just one listen. If you’re looking for a starting point though, we suggest checking out Bag o Bones.

Now that we’ve told you about THE FLYING MUSEUM BAND, we’re off to get some chicken. - The iNDiE Machine

by Mario Gautreau

This double-dose of songs from these Toronto space-roots boys wastes no time jumping into catchy guitar leads and sing-alongs. Recorded over two days in June, the EP kicks off with the title track, Black Canoe, where a soft build-up quickly gives ways to a catchy lead guitar and sing-along verses. The band blends acoustic guitars with a chorus-soaked lead guitars that at times seem to incessantly carry on a melody, whether through the verses, the chorus, the breakdowns. The song's air is something that'll stay in the head for a bit, not because it's anything beyond amazing, but because it's one of those earworms that like to stay a while in your head, get comfortable, have a beer and pass out on your couch. The song's ending features the seminal fade out chanting, where everything rocks a little more and attempts to bring the listener in the sway.

On the flip side, the second track, Lean Ways, seemingly rids itself of any conventional melodies, plunging a bit more into a spacy exploration of sound. Through a nice nod-along beat and pairing of chords, the vocals and lead guitar each go on their own tangents for a bit. Together, they emit a slight dissonance that's a bit hard to tell if it's intentional or not. The transition into the chorus feels a little forced, or rushed. Here and there, notes seem to fall a bit flat, though one vocal melody resonated Neil Young's, while at times reminding me a bit of Millencolin's Nikola Sarcevic, but slightly off cue. While there are no angular time signatures or screwy melodies, there's a sense that something is out of tune.

The EP, from what I can tell, is a departure from the band's previous sound, where heavier tinges of bluesy folk and Canadiana country give the impression that the band would lend itself to a wider array of ears, to a few more beers and an assortment of foot stomps. Their website is pretty impressive and amusing, and I would recommend everyone to venture on it just a little. - Noisography Reviews

"From the breezy and rustic melodies of their earlier recordings to the more urgent, polished pop of their recent output, this decidedly grounded Toronto band will put a grin on your mouth area." - Danny Lindsay

OVERALL RATING: 8/10

Tonight I learned that The Flying Museum Band make tight southern roots rock with a gospel folk twist and they look good doing it. They have soulful witty lyrics, warm, twangy guitar licks and lovely intricate compositions. FMB has a lo-fi driven classic rock sound resembling a modern version of 'The Bands' scratch tracks. Their music is relaxed, but epic and raw.

The Flying Museum Band was performing at the inaugural creative minds collective bash at the Eton Tavern in east Toronto. It was an amazing night which included many varieties of art; music (5 bands), poetry, photography, painting and crafts. The event was some what dampened by an inappropriate or shall we say juxtaposed local, however this just made for a very interesting demographic and regardless the crowd was very into it. The Flying Museum Band took the stage and donned their light up Christmas hats at midnight. Some of the the crowd had dispersed but the remaining party troopers where instantly drawn in by their down tempo style full of pining grooves and popping rhythms.

These guys delivered everything I want in my process of new music discovery, new music with an instantly classic feel. The Flying Museum Bands are easily one of Toronto's best roots rock bands, I would advise you to attend their next gig. - Round Table Radio

By Jason Schneider
On the surface, this Brampton, ON five-piece seem like just another in the ever-growing field of young bands turning to country rock as a means of escaping the tedium of the suburbs. But what the Flying Museum Band offer on their third disc is nine tracks that are more preoccupied with conveying heart and humour rather than authentic country chops. Combined with the album's decidedly lo-fi recording approach, the overall effect is akin to the clubhouse charm of Bob Dylan and the Band's Basement Tapes. It's hard not to smile at the sentiments of songs like "Mount St. Louis Moonstone" and "Frank Sinatra's Lamborghini," while "The Ballad of Louis Riel" is a nice encapsulation of Chester Brown's groundbreaking historical graphic novel about the controversial Canadian hero. Dufferin Succotash certainly isn't polished, but like any mutt without a home, it's hard to turn it away from your door.
(Independent) - Exclaim

"A sonic spiritual of roots-country-folk, a southern-tinged collective that makes you want to cry out, alleluia, I have seen the light. A gritty folk jam straight from Torontopia." - The Lonely Vagabond