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