There’s one thing consistent about the three full-length releases from Mat Klachefsky’s Boats project – that the discs sound big, lush and hyper produced in all the right ways thanks to Ryan McVeigh’s production, the mixing of Dave Carswell (New Pornographers) and the mastering of Noah Mintz (Broken Social Scene). Peppered with Klachefsky’s Superchunk on helium vocals, poppy guitars, a horn section and keyboardist Ashley Roch’s subtle melodies, Fairway takes its listener on another absurd trip involving video game sandwich parties (Animated GIFs) and laid back Sunday jams (Advice on Bears). The biggest pair of tunes has to be Sad Legs and O Telescope, which blur together to create a medley Dave Fridmann would be proud of. If Boats ever wants to become They Might Be Giants and put out a kids album, this writer is certain it would be a success. (4 out of 5)

Boats play darling, sometimes manic, sometimes dreamy electro-pop music. Their arrangements are synth-heavy and full of jangly guitars and simple, danceable drums. Musically they are not dissimilar to other like-minded pseudo-pop groups: Clues and Deerhoof come to mind.

Where Boats really shine on their new record A Fairway Full of Miners (February 5, 2013) is in their bizarre lyrics and album concept. There are 12 songs on here, and they all come in similarly titled pairs. See for example: “O Telescope” and “O Jumbotron,” or “We Got Pillows And Blankets” and “We Got Tables And Chairs.” The reason for the paired analogous titles is not entirely clear, but it’s an interesting idea, at least creating an “I see what they did there” head nod. And speaking of Internet memes, the band tends to be rather obsessed with digital culture. First single “Getting Worst.jpeg” borrows part of its title from the familiar image format, and the hilarious “Animated GIFS” uses silly Internet animations to tell a story about getting old and losing your friends (I think… it’s a little all over the place).

While Boats is musically and lyrically entertaining, your enjoyment of this music will hinge almost entirely on how much you like singer Mat Klachefsky’s high-pitched, histrionic vocals. Boats is not unlike Frog Eyes in the respect that they are defined by their leader’s unique vocal presentation, that and Klachefsky’s performance is not dissimilar to Carey Mercer. His vocals could also be compared to Shawn Knight of Child Bite, or even Satomi Matsuzaki of Deerhoof at his mellower moments. If you are into unique vocals you will probably really like it, but if you like songs you can easily sing along to you may not like it as much. Don’t let the vocals scare you away though, this is a pretty fun record and they will grow on you even if you don’t like them at first.

Boats are currently on a Canadian tour to promote A Fairway Full of Miners, including a Hamilton date at The Casbah on March 24. Mark your calendars – it’s bound to be a fun show.

Artist: Boats

Album: A Fairway Full of Miners

Label: Kill Rock Stars

Rating: 8.1

The great Nigel St. Hubbins of the band Spinal Tap once said “There’s such a fine line between stupid and clever.” Boats, the indie pop group from Winnipeg straddle this line like a circus tight rope walker. Their eclectic songs that span the universe of the layman, set them apart from rock star clichés. A Fairway Full of Miners is the band’s 3rd full length release, and it sees the band establishing that not only do they walk that fine line, but more often than not it sees them offering us infectiously hooky and clever pop songs.

The album starts large with a building epic “Animated GIFS”. If you’re new to Boats sound, this song sets the tone of where you the listener and the band sit. The song builds and builds, never resorting to choruses, even if there is background vocals that bellow “And all your friends will turn to shit” early in the song. The clever baritone background singers appear again, but the song never relies on them, they pop up at times later in the album but never when you expect them. “Great Skulls” is another catchy pop song which, like the others, really features the distinct high voice of singer Mat Klachefsky. It enables the songs to open up, but still seem rooted and interesting. “Advice on Bears” is a ballad about bears, it’s simple, and has a great payoff at the end when Klachefsky croons “Just remember they’re more afraid of you, than you are of them”. “Sad Legs” four songs in, still sees the band mixing it up, this time starting it up with a beat driven song that builds again, and like before has a great climax payoff with Klachefsky belting “I’ll kick at this machine till you come back to me.” I’m not really sure what he’s talking about there, but the phrase played over in my head after I first listened to the album when I was playing pinball later that night. “O Telescope” is mid-point-freak-out on the album. It’s under two minutes and might be the loudest, and acts as a bridge for the second half. “Advice on Bioluminescent Bears”, “We Got Pillows and Blankets”, and “We Got Tables and Chairs” brings back the light poppy sounds, slows things down, and even though they don’t jump out as being as interesting as the beginning of the album, they’re a good contrast. “O Jumbotron” ramps it back up again as an ode to the large screen that one might find themselves when looking for that brief moment of glory. I can only assume that they’re talking about perhaps being high in the rafters at a Winnipeg Blue Bombers game where fans are known for their rowdiness. “Getting Worst.jpeg” is a driving song that elaborates on the themes of the album which is the minutia one finds about getting older in the modern electronic age. “The Salteen Coast” ends the album on a simple contemplative note, capping a wide spanning eclectic album.

Klachefsky’s song writing style coupled with his voice ultimately make these songs quite memorable, and even if the voice starts to grate on you, you won’t be able to help yourself to groove to the hooks. Boats who have been climbing the Canadian indie scene will most likely be the new kids on the charts this year. They might even be distinct enough to breakthrough down south.

- Michael Unger

A roundup of interview that we did leading up to our CD Release Show for “A Fairway Full Of Miners,” Feb 2nd 2013 at the West End Cultural Center in Winnipeg.

The Metro
The Uniter
CBC Radio 3
The Manitoban
Northern Transmissions
Songfreaks

There’s one thing consistent about the three full-length releases from Mat Klachefsky’s Boats project – that the discs sound big, lush and hyper produced in all the right ways thanks to Ryan McVeigh’s production, the mixing of Dave Carswell (New Pornographers) and the mastering of Noah Mintz (Broken Social Scene). Peppered with Klachefsky’s Superchunk on helium vocals, poppy guitars, a horn section and keyboardist Ashley Roch’s subtle melodies, Fairway takes its listener on another absurd trip involving video game sandwich parties (Animated GIFs) and laid back Sunday jams (Advice on Bears). The biggest pair of tunes has to be Sad Legs and O Telescope, which blur together to create a medley Dave Fridmann would be proud of. If Boats ever wants to become They Might Be Giants and put out a kids album, this writer is certain it would be a success. (4 out of 5)

Another fruit from the fertile indie grounds of Canada, Winnipeg’s Boats ‘ music is a mix of feel-good indie-pop and quirkiness that often strikes a great balance between the two — even when it sometimes steps into cartoonish territory.

What controls this balance — even more than the music itself — is singer’s Mat Klachefsky’s vocal performances. Klachefsky has a knack for playing with his vocal strings in a way that gives him a strangely fitting, high-pitched androgynous voice — although, sometimes, he also does some sort of pirate impersonation or uses his regular vocal output.

This allows the band to change the dynamics of a song on the fly without really having to tone down (or up) the music. The technique works great for songs like the slow-paced ‘Chrome Eyelids’ (one the record’s high points) and ‘Summercamp vs. The Fake Moustache’. Sometimes, though, it’s taken a bit to the extreme — especially on the record’s faster songs — a move that yields results that would be right in place as the score for a Looney Tunes cartoon (‘Haircuts for Everybody’).

Musically, the band’s cut from the same cloth as bands like Mock Orange and Chin up, Chin up. The guitar sound borrows its fair share of influence from indie-pop staples like Built to Spill and Modest Mouse; and the synth sounds reflect a love for 80s new wave. Still, some folk undertones and cheerful vocal harmonies are thrown into the mix to give the sound a personality of its own.

In the end, If you look past its sometimes overindulgent wackiness, Cannonballs, Cannonballs is a fine indie-pop record — the kind that, due to its quirkiness, might take a few listens to grow on you. Who knows, you might even end up enjoying Klachefsky’s ocasionally over-the-top vocal excitement.
(4 out of 5)

Despite the scattered press in attendance, Boats’ acoustic Trinity Bellwoods set had an impromptu vibe to it. Setting up shop under a tree on a breezy afternoon, the stripped-down Winnipeg outfit played utterly charming, minimalist arrangements of their whimsical pop; punters on blankets applauded politely. Armed with an acoustic guitar and John Darnielle-ish vocals, singer Mat Klachefsky held the audience rapt regardless of the passing cars and children. While the park is always filled with strumming troubadours, Ashley Roch’s playful glockenspiel and handheld keyboard legitimized the ad hoc show. Benefiting from brevity, it was a short and entirely enchanting gig. – Scott Tavener

Once you’ve listened to the excellent new Boats album you will realize the band hasn’t heard of the fabled sophomore slump. Matt Klachefsky and his band of the moment have overshot expectations with their second self-released album and proven that the first record wasn’t a fluke.
Cannonballs is more of the same as their debut, Intercontinental Champion, in a very good way. It is, of course, loaded to the brim with Klachefsky’s stream-of-consciousness lyrics lifted to even odder heights courtesy of his cartoon-like vocals and clattery rhythms. His main aide-de-camp, Ashley Roch, delves even deeper into her arsenal of distinctive keyboard sounds and every track will have you wondering how some particular electronic whistle, buzz or howl was created.
And while Klachefsky has broken no new ground with these tracks the solid production and flat-out creativity is invigorating and even more fun to listen to. 4 stars

The sophomore album from one of Winnipeg’s most fully-realized bands plays through like a Saturday-morning cartoon jamboree, with Mat Klachefsky’s high-pitched singing, fast-paced songs, and sing-alongs around every other corner. Most of Klachefsky’s lyrics either seem like they’re about growing up (“Haircuts for Everybody,” “Summercamp vs. the Fake Moustache Tree”) or they seem like they’re coming from a naively young point of view (“Sunrise on the Muffin District,” “Movie Scores; We Hummed”), even though they’re way too absurd for even a kid to think of. But whether you’ve got an inner-child to appeal to or not, most songs chug along to the shuffle of a keyboard’s preset drum pattern or some oddly propulsive drum beat, making them intrinsically happy. And Klachefsky and co. have come in and made them catchy, one thing that they do quite well. If you’re ever in need of a sugar high, this album would definitely do you just as well.

It’s been a while since we checked in on the quirky synth poppers from Winnipeg. Boats! made an appearance on our Manitoba Mixtape and Mat’s awesomely named debut (Intercontinental Champ – of which Ricky Steamboat was the all-time great) was a pleasant discovery to say the least. Well, since that time it seems they’ve dropped the ! and that decision corresponds with a more mature outlook and sound.

The band still displays some Unicorns-ish whimsy, kinetic energy and quirky, discount bin synth sounds – Drinking The Lake and Movie Scores; We Hummed for example – but Cannonballs, Cannonballs! finds Mat exploring more complex narratives and the band using bigger textures and taking some risks. I’m not sure if I could have predicted Mat and his rotating cast of characters crafting a beautiful electro pop gem like Smokestack & Lucy’s Magnificent Cabaret last time out, but it’s one of many highlights on the new record.

Interestingly enough, when their last record came out I remember Dave Ullrich saying that Boats was like Arcade Fire without the drama. At the time I thought he was off his rocker, but now the comparison seems very fitting. As I let TV Scientist fade into the heavier drums of Summercamp vs. The Fake Moustache Tree, feel the thump of Chrome Eyelids or settle into the catchy Our Athletic Friends I get swept up in the potential of this young Winnipeg outfit. CBCB! is only their second album, but they put together twelve songs that are powerful, but never attempt to be bigger than the instruments they use or the sounds they prefer. They don’t throw on layer after layer hoping to impress you; Boats lets you feel like you are a part of the song, and slowly builds to a climax after hooking you in early. Plus, at the end of the day I don’t think they’d ever steal my basketball.

The first time I saw Boats was back in August of 2008 at a houseshow (Apparently the photos are on Facebook). Its one of those band I was introduced when listening to Scenic Gorges on CBC Radio 3. Its been three years since their debut record Intercontinental Champion. The Winnipeg band are back again with the new album which won’t drop sometime in May 2010. The band has been described as: “The Arcade Fire minus the drama.” Their music is really fun indie pop.
When you see this band live, you will see lead singer Mat Klachefsky. That he looks like a tough guy. But when he starts singing, his voice is so high pitch and very cartoon like.
The album has the typical Boats sound of being playful and catchy indie pop rock dance tunes. I think they delve abit of the 1980s new wave dance pop sound in Smokestack & Lucy’s Magnificent Cabaret and Summercamp vs. The Fake Moustache Tree.
Since I don’t have Intercontinental Champion to compare to. This is one great fun album to listen to. It will not disappoint.

There’s something strangely charming about Winnipeg’s Boats. The band, who released their sophomore album Cannonballs, Cannonballs!, this week, creates indie pop gems that are catchy in very unorthodox ways.

A combination of bargain-basement instruments and seemingly helium-aided vocals turn songs like “Drinking the Lake” into melodic and nerdy party anthems.

The tongue is planted firmly in the band’s collective cheek as they show a playful sense of humour. The absurd song titles alone are enough to make Pavement go green with envy.

Not every hook is as sharp as you’d like, but there’s definitely enough here to make you want to see the five-piece when they pull through your town.

Cannonballs, Cannonballs! by Boats blasts through speakers when you first hit play. Drums crash, high-pitched vocals groan and guitars scream. I will admit the first time I turned the album on I wasn’t quite prepared. I may have even gasped, hit stop and restarted the album at a tamer volume. I could probably sum up the album right there. Cannonballs, Cannonballs! takes some getting used to, but you need to give it a chance and let it breathe. I personally would not have “Movie Scores; We Hummed” as the first track because it come off a little too strong but the rest of the music falls slowly into place. If you go to Boats MySpace page and scroll down to the section asking what they sound like, it simply says “crumpled up wax paper.” I probably couldn’t say it better myself. I don’t know what or who Boats sound like. They sound like themselves, something very unique and different and ready to grab the world and make them listen!

If there were an actual “Sugar Mountain” in Winnipeg, MB, you’d surely find Boats docked at its foot. Singer Mat Klachefsky is blessed with a vocal delivery that out-adenoids both Daniel Smith (Danielson Famile) and Mac McCaughan (Superchunk) at their rheumiest. Fronting the junk shop orchestra of cheap-ass keyboards, glockenspiel, martial drums, drunk horns and gang vocals any kindergartener would go mental for makes for a piñata busting good time. Junior polka party anthems like “Haircuts For Everybody!!” and fantastic new wave epics like “Summercamp vs. The Fake Moustache Tree” deliver the kind of power pop overflow some cartoon band could build their career around. What keeps it from suffering from an overdose of kitsch are the chops Klachefsky’s cohorts use to deliver their ecstasy. Drawing friends in bands like the Paperbacks and the Western States to the party, Boats are a super-group that might solve crimes in the off hours between gigging and nap/snack time. (Majestic Triumph)

On their MySpace page, this Manitoban five-piece suggest they sound like “crumpled up wax paper.” They’re really more like biting on tin foil.

Boats! recently dropped an exclamation mark from the end of their name, but the music on this second full-length seems to demand its return. Their closest kin would be The Bicycles. They’re also a synth and sample-heavy cousin to the Blue Sky Addicts and Los Campesinos!.

When things slow down mid-album for “Smokestack & Lucy’s Magnificent Cabaret” they border on Tilly & The Wall territory. It’s difficult to notice until a few tracks in — when the fuzz subsides and some space finally emerges between notes — but electro-pop is often the basis for this cacophony.

There’s a lot to absorb here, including a backup choir with close to 20 members. It’ll take a few spins before you’ll be able to pick specific parts out of the wash of glittering pop, but Cannonballs, Cannonballs is worth some investment. 4 out of 5 stars

Winnipeg’s Boats! sound as if the disc on which their music was recorded can hardly contains their kinetically creative firestorm. Bursting with influences too obscure to mention, this band careens around these 14 tracks, leaving no musical stone unturned or quirky passage unattended to. It’s pure new-era pop and it works even after you get used to leader Mat Klachefsky’s eccentric adenoidal articulations. Intercontinental Champion hits like that morning caffeine rush and pummels you into submission with its kooky, over-the-top hooks. Absolute proof that there can be more talent in one local record store than in some entire Canadian cities.

(4 out of 5 stars) The debut of Winnipeg-based Boats! is as animated as its linear notes. The notes feature images of cock-eyed marching bands, court jesters, and flying sharks, all of which mirror this wildly imaginative indie dream-pop record. Lead singer Matt Klachefsky’s helium-induced vocals will immediately turn off some listeners, but if this quirk bothers them it’s really their loss, as a host of talented Winnipeg musicians join in on the project — including Jay Churko (Chords of Canada), Ashley Roch (The Western States), Shaun Gibsom (The Details) and Britt Hainstock (Half Court Prayer). A collective spirit is found all over Intercontinental Champion and you can feel their energy and love for the music. Lead off track “500%” defines the album’s mood as it includes an enthusiastic choir, a host of hand claps, peculiar kid toy keyboards, and a string of shakers and dancing xylophones. The rest of the record incorporates these same elements but is not repetitive in the least as Boats! keeps you on your toes by throwing in manic rockers “You Have Nothing to Lose…” and “Scenic Gorges.” Other standouts include “Breakfast Combo” with its side order of shout-out-loud harmonies and trumpets. “Combo” is perfectly complemented by an endearing acoustic/drum machine duet “Classic Rock Weekend” and the heartbreaking closer “River Creek Lake.” Boats! Intercontinental Champion gives an atomic leg drop to Canada’s indie scene and is bound to be hailed as one of this year’s best.

It’s been years since Transistor Sound & Lighting Co. – arguably Winnipeg’s most innovative pop band ever – played a gig or even entered the thoughts of most Canadians.

Luckily, one band is here to keep their legacy alive. Boats, led by Mat Klachefsky, sounds a lot a like Transistor: they’ve got the same quirky song arrangements, the same love of the drum machine and similar high-pitched vocals.

Oh, and they also share a band member.

“When Isaac Brock was looking for a new guitarist,” says Klachefsky, explaining how Jason Churko, Transistor’s frontman, joined Boats, “he just asked himself, ‘Well, who am I ripping off the most?’ That’s how Johnny Marr joined up. It’s basically the same story with Jay and I.”

While the band does sound a lot like Transistor, even with Churko in the band they’re not complete copycats. Boats is poppier, with bouncier, more conventional songs, plus they have five guys instead of two.

But really, it doesn’t matter whether they sound like Transistor or not, since no one outside the ‘Peg likely remembers the late-90s duo.

“And that’s criminal,” says Klachefsky. “It’s criminal that their album isn’t recognized as one of those top-whatever albums of all time.”

But Boats’ debut disc, Intercontinental Champion, might one day win that distinction. Every track is solid and, most importantly, memorable, which has as much to do with Klachefsky’s songwriting as it does with his surprisingly high vocals. Let’s just hope the guitarist can keep it together longer than his idol.

“Singing high is fun, but I’m constantly going full tilt. I’ll probably be talking with one of those electronic voice boxes by the time I’m 35.”

(Rating: A)

This is such a solid indie pop record, it’s hard to believe that it’s a debut. Then again, frontman Mat Klachefsky has been working on Boats in some form since he was in Grade 8. Though Klachefsky’s high-pitched and nasal vocals definitely take some getting used to, this is a sparkling, hook-laden record sprinkled with plenty of handclaps and sing-a-long chorus lines. Though Intercontinental Champion finds an easy home in the experimental section, it recalls the sonic oddities of Modest Mouse and Wolf Parade – bands that know the rules before they bend them. With members from Transistor Sound & Lighting Co., The Details and The Western States lending their talents to the record, this is a wonderfully whimsical testament to the creative talent of the Winnipeg music scene.
— Jen Zoratti

It’s Boats! As with animal names, indie bands are using exclamation marks enormously these days. I guess it’s a gesture of joyful excitement which fits the description of the local campy ruckus rockers Boats. The band centers around Mat Klachefsky who sings a collection of whimsical songs which are self described as metaphors of regrettable childhood experiences. Intercontinental Champion bursts with warm, infectiously catchy chords and sing-a-long chorus sections. It’s almost impossible to not eat it all up and ask for seconds. A great winnipeg pop masterpiece.

1. Boats – Intercontinental Champion (self-released)

The Arcade Fire minus the drama. An album that sparkles and shines with every single song, and it is all fun without corny and majestic without being melodramatic. My favourite unsung record this past year.

–Dave Ullrich (Zunior.com)

Boats!
Intercontinental Champion
An idea-stuffed piñata of an album that sounds like Modest Mouse after a heavy intake of laughing gas, International Champion mixes melody, humour, thrift-store synths, and Mat Klachefsky’s impossible-to-take-seriously vocals. “You Have Nothing to Lose Except Your Arms and Perhaps Your Legs” features what may be the year’s best opening line in a song: “Your clothes will someday be a Halloween costume.”