Ephemeral

Maximalist Canadian pop enthusiast Rich Aucoin has made a name for himself with his over the top stage performances, his interesting way of promoting releases (like his cross-Canada bike ride supporting his first EP), and the fact that he had 500 musicians and singers on his 2011 album, We're All Dying to Live. It would be easy to look at all this and think that he's trying to hide some less than interesting music behind all the stunts, but his nomination for a Polaris prize for We're All Dying to Live puts that idea to rest, as does his excellent 2014 album, Ephemeral. Designed to be played in unison with the 1979 claymation version of The Little Prince, the record is an uptempo electronic indie pop essay on life, belonging, and belief that is uplifting and inspirational, even when it's a little melancholy. Aucoin comes off like a lo-fi Andrew W.K. in a Day-Glo hat instead of a dirty white T, singing plaintively and inclusively. He surrounds himself with fewer people this time, but still goes in for big choruses sung with massed vocals in a happy, I'm from Barcelona style. Mixing very real vocals with chopped-up vocal samples, churchy organs with blippy synths, and chattering drum machines with pounding real drums, his arrangements are always interesting whether he's aiming for the dancefloor ("They Say Obey") or the stratosphere ("Four More Years"). Plus, he's always ready to let loose a wild fuzz bass freakout, which is always fun to hear. It feels like this album meant a lot to Aucoin; his passion is splattered all over the place, seeping through his vocals, pouring out of the guitars, and galloping alongside the charging rhythms. It's the work of a guy who has ideas and can barely keep them under wraps, and when presented in such an entertaining fashion, that's a good thing. Even if he sets the gimmicks and stunts aside, Aucoin will likely never be just another boring musician, and if he keeps making records this good, he'll end up with a very impressive body of work.