Kent McAlister & The Iron Choir

Say you are at a party, chatting up a nice young gal or guy, jumping from topic to topic in an effort to get to know one another. If you are reading this site, there is a good chance that music holds a large place in your heart. With that in mind, upon meeting a new person, the topic of music probably takes a few minutes at most before entering the picture. Humorously enough, when you ask someone what type of music they listen to, the response is normally generic. Most of the time, I hear something like “Ah, I listen to everything but country.” Unless you are situated down south, I have found from past experience that this is the most common reply to a very common question. Dull or not, is it tough to blame them? After all, mainstream country music is nearly as unbearable as glittery MTV pop music. That certainly does not mean that there are no quality artists in the genre to be found though. They just require a bit more looking than others.

With this in mind, it is entirely ironic that one of the best and most underrated country groups are not from the south. In fact, they are not even from the United States. Honestly, I did not know there was a thriving scene beyond the borders as well. As it turns out, Kent McAlister & The Iron Choir hail from East Vancouver, British Columbia. Canada? Yeah, I am just surprised as you are. While the country has largely been known for its gracious output of gloomy post-rock engineers and popular indie-rock acts like Arcade Fire and The Stills over the past few years, Canadian artists continue to prove that there is not one genre that is too foreign or intimidating for them to conquer. While Kent McAlister & The Iron Choir are the first of its kind I have heard from Canada, I remain optimistic that their stylistic bravery will push forward a new scene in their native country where music defined unrighteously as “Americana” or “country” will find a new following of fans and talented artists who think alike. However, before I go on any further, I should hold my tongue. With all this talk of country, it is clear that Kent McAlister & The Iron Choir are hardly the stereotypical classification of a country band. Despite it being their largest influence, vibes of folk and adult alternative are heavily prevalent throughout the majority of their songs.

For those who fall easily in love with the incorporation of poetic brilliance and captivating melody, it is also worth noting that Kent McAlister & The Iron Choir carry a heavy admiration for the works of Leonard Cohen. While you could easily look to their cover of Cohen’s great “Hey, That’s No Way to Say Goodbye” as an example, the respect demonstrated for the legendary songwriter throughout Kevin McAlister & The Iron Choir’s sophomore album, The Way It Rolls, is evident on more songs than one. Despite a variety of fantastic originals, the cover manages to be my favorite track on the album. The four-piece manages to incorporate contemporary aspects of production in “Hey, That’s No Way to Say Goodbye” without it sounding overproduced or desperate. While Cohen’s artistic nature has always led attempted covers to be a somewhat sensitive issue, it is gratifying that Kent McAlister & The Iron Choir are talented enough to showcase the original beauty of the song in an even more expansive form; it is the direct opposite of a disgraceful cover. With backing female vocals supplementing a variety of acoustical guitar progressions and hushed percussion, the relaying of Cohen’s classical tale involving lovers brought together by fate, struggling with the realization that even destiny is not flawless, is relayed just as beautifully. “I’m not looking for another as I wander in my time,” McAlister sings with a deep, tender hush, “Walk me to the corner, our steps will always rhyme.”

Regarding the other eight tracks (all originals) on The Way It Rolls, they are nearly as exceptional as “Hey, That’s No Way to Say Goodbye”. If you are a sucker for plucked acoustical arrangements, bursts of trumpets, and a country-folk feel, you should find instant satisfaction in “Old Bandolier”. Led by Tim Tweedale’s trumpet and McAlister’s deeply resonating vocals, the song maintains an innocent charm that takes solace in the simple, yet overlooked, aspects of life. “So when I get home tonight, you’ll have a steak done just right, and a long scratch behind those ears,” he begins, “My darling, my dear, bring my old banjo here.” The album’s self-titled track, “The Way It Rolls”, is a fun tune with distinct shades of rockabilly becoming a driving force With Craig McCaul’s bass corresponding faultlessly with Brendan Krieg’s drums, McAlister implements several impressive slide guitar techniques in a track that contains aspects of rich enjoyment, intuitiveness, and originality. With the latter part of the song evolving into a few Western-style guitar licks worthy of Pulp Fiction, the song also maintains enough diversity to be much more than a fun break in the alb - Obscure Sound - A Music Blog - 2007

Say you are at a party, chatting up a nice young gal or guy, jumping from topic to topic in an effort to get to know one another. If you are reading this site, there is a good chance that music holds a large place in your heart. With that in mind, upon meeting a new person, the topic of music probably takes a few minutes at most before entering the picture. Humorously enough, when you ask someone what type of music they listen to, the response is normally generic. Most of the time, I hear something like “Ah, I listen to everything but country.” Unless you are situated down south, I have found from past experience that this is the most common reply to a very common question. Dull or not, is it tough to blame them? After all, mainstream country music is nearly as unbearable as glittery MTV pop music. That certainly does not mean that there are no quality artists in the genre to be found though. They just require a bit more looking than others.

With this in mind, it is entirely ironic that one of the best and most underrated country groups are not from the south. In fact, they are not even from the United States. Honestly, I did not know there was a thriving scene beyond the borders as well. As it turns out, Kent McAlister & The Iron Choir hail from East Vancouver, British Columbia. Canada? Yeah, I am just surprised as you are. While the country has largely been known for its gracious output of gloomy post-rock engineers and popular indie-rock acts like Arcade Fire and The Stills over the past few years, Canadian artists continue to prove that there is not one genre that is too foreign or intimidating for them to conquer. While Kent McAlister & The Iron Choir are the first of its kind I have heard from Canada, I remain optimistic that their stylistic bravery will push forward a new scene in their native country where music defined unrighteously as “Americana” or “country” will find a new following of fans and talented artists who think alike. However, before I go on any further, I should hold my tongue. With all this talk of country, it is clear that Kent McAlister & The Iron Choir are hardly the stereotypical classification of a country band. Despite it being their largest influence, vibes of folk and adult alternative are heavily prevalent throughout the majority of their songs.

For those who fall easily in love with the incorporation of poetic brilliance and captivating melody, it is also worth noting that Kent McAlister & The Iron Choir carry a heavy admiration for the works of Leonard Cohen. While you could easily look to their cover of Cohen’s great “Hey, That’s No Way to Say Goodbye” as an example, the respect demonstrated for the legendary songwriter throughout Kevin McAlister & The Iron Choir’s sophomore album, The Way It Rolls, is evident on more songs than one. Despite a variety of fantastic originals, the cover manages to be my favorite track on the album. The four-piece manages to incorporate contemporary aspects of production in “Hey, That’s No Way to Say Goodbye” without it sounding overproduced or desperate. While Cohen’s artistic nature has always led attempted covers to be a somewhat sensitive issue, it is gratifying that Kent McAlister & The Iron Choir are talented enough to showcase the original beauty of the song in an even more expansive form; it is the direct opposite of a disgraceful cover. With backing female vocals supplementing a variety of acoustical guitar progressions and hushed percussion, the relaying of Cohen’s classical tale involving lovers brought together by fate, struggling with the realization that even destiny is not flawless, is relayed just as beautifully. “I’m not looking for another as I wander in my time,” McAlister sings with a deep, tender hush, “Walk me to the corner, our steps will always rhyme.”

Regarding the other eight tracks (all originals) on The Way It Rolls, they are nearly as exceptional as “Hey, That’s No Way to Say Goodbye”. If you are a sucker for plucked acoustical arrangements, bursts of trumpets, and a country-folk feel, you should find instant satisfaction in “Old Bandolier”. Led by Tim Tweedale’s trumpet and McAlister’s deeply resonating vocals, the song maintains an innocent charm that takes solace in the simple, yet overlooked, aspects of life. “So when I get home tonight, you’ll have a steak done just right, and a long scratch behind those ears,” he begins, “My darling, my dear, bring my old banjo here.” The album’s self-titled track, “The Way It Rolls”, is a fun tune with distinct shades of rockabilly becoming a driving force With Craig McCaul’s bass corresponding faultlessly with Brendan Krieg’s drums, McAlister implements several impressive slide guitar techniques in a track that contains aspects of rich enjoyment, intuitiveness, and originality. With the latter part of the song evolving into a few Western-style guitar licks worthy of Pulp Fiction, the song also maintains enough diversity to be much more than a fun break in the alb - Obscure Sound - A Music Blog - 2007

If this isn’t “The year Kent McAlister gets known”, it’s only because further ahead in time, he breaks even bigger with an album even better than The Way It Rolls. And that’s gonna be tough. McAlister’s voice has developed an earthy luster that lends itself to all the heartache and melancholy his neatly-written twangers can muster. Sometimes pining, sometimes narrating, sometimes confiding, McAlister speaks the true language of country music with a band to match.
-Rick Overwater - BeatRoute Magazine - Calgary, AB, Canada - 2007

If this isn’t “The year Kent McAlister gets known”, it’s only because further ahead in time, he breaks even bigger with an album even better than The Way It Rolls. And that’s gonna be tough. McAlister’s voice has developed an earthy luster that lends itself to all the heartache and melancholy his neatly-written twangers can muster. Sometimes pining, sometimes narrating, sometimes confiding, McAlister speaks the true language of country music with a band to match.
-Rick Overwater - BeatRoute Magazine - Calgary, AB, Canada - 2007

Calgary-born, Vancouver-based songwriter Kent McAlister’s new album, The Way It Rolls, is a quantum leap ahead of his 2005 debut, Memory Replacer. While that first album was a sweet slice of smoky country, McAlister and his band The Iron Choir have locked into a spicy play-it-again alchemy on their new album.

Featuring just nine songs, McAlister wisely chose to go for quality over quantity. And what quality it is. While his trademark rootsy purée is still boldly in evidence, The Way It Rolls takes adventurous chances with time changes, breaks, and a fetching mariachi feel that wanders in and out of the melodies. McAlister’s formal studies in jazz are also put to good use in a manner that trims rather than tramples the feel.

Topping divine slices of pedal steel and trumpet are McAlister’s frictionless vocals, snuggling up to music that wears its pop, country and jazz influences sewn tastefully into the seams, just out of sight but not quite out of ear. And while it’s always risky to cover a songwriter like Leonard Cohen, the band’s wistful, breezy treatment of “That’s No Way to Say Goodbye” soars.
-Mary-Lynn Wardle

- FFWD Magazine - Calgary, AB, CANADA

Calgary-born, Vancouver-based songwriter Kent McAlister’s new album, The Way It Rolls, is a quantum leap ahead of his 2005 debut, Memory Replacer. While that first album was a sweet slice of smoky country, McAlister and his band The Iron Choir have locked into a spicy play-it-again alchemy on their new album.

Featuring just nine songs, McAlister wisely chose to go for quality over quantity. And what quality it is. While his trademark rootsy purée is still boldly in evidence, The Way It Rolls takes adventurous chances with time changes, breaks, and a fetching mariachi feel that wanders in and out of the melodies. McAlister’s formal studies in jazz are also put to good use in a manner that trims rather than tramples the feel.

Topping divine slices of pedal steel and trumpet are McAlister’s frictionless vocals, snuggling up to music that wears its pop, country and jazz influences sewn tastefully into the seams, just out of sight but not quite out of ear. And while it’s always risky to cover a songwriter like Leonard Cohen, the band’s wistful, breezy treatment of “That’s No Way to Say Goodbye” soars.
-Mary-Lynn Wardle

- FFWD Magazine - Calgary, AB, CANADA

I get a fair share of promo cds these days. I have devised this system so that each cd gets its fair listen, and as a result it can be a month or more after receiving a cd ’til I actually listen to it. However, when I noticed Kent McAlister’s new cd contained a cover of Leonard Cohen’s “Hey That’s No Way To Say Goodbye”, that was as good a reason as any to bump it to the front of the line.

Kent McAlister and his Iron Choir are coming out of BC by way of Alberta, Canada. Apparently, The Way It Rolls is the band’s sophomore effort. following 2005’s Memory Replacer, and comes in at a mere nine tracks, and with such a short release, the band lends themselves no room to stumble. A lackluster track or two, and this album could find its way to the back of a cd rack pretty quickly. Luckily, the guys pull it off. Feeling to me like a variation of Lyle Lovett, I would say these guys are writing some of the best Texas swing/country North of Austin, with a little Canuck mixed in for decent measure.

Check this disc out. Should Nashville ever get the corporate pecker out of its posterior, these boys could be on their way.
- ninebullets.net

I get a fair share of promo cds these days. I have devised this system so that each cd gets its fair listen, and as a result it can be a month or more after receiving a cd ’til I actually listen to it. However, when I noticed Kent McAlister’s new cd contained a cover of Leonard Cohen’s “Hey That’s No Way To Say Goodbye”, that was as good a reason as any to bump it to the front of the line.

Kent McAlister and his Iron Choir are coming out of BC by way of Alberta, Canada. Apparently, The Way It Rolls is the band’s sophomore effort. following 2005’s Memory Replacer, and comes in at a mere nine tracks, and with such a short release, the band lends themselves no room to stumble. A lackluster track or two, and this album could find its way to the back of a cd rack pretty quickly. Luckily, the guys pull it off. Feeling to me like a variation of Lyle Lovett, I would say these guys are writing some of the best Texas swing/country North of Austin, with a little Canuck mixed in for decent measure.

Check this disc out. Should Nashville ever get the corporate pecker out of its posterior, these boys could be on their way.
- ninebullets.net

Perhaps it’s because I’m all swollen up with Canadian music pride after the Popfest or more likely, it’s because Kent McAlister brings a fantastic twist on roots music, but I am really enjoying his new record, The Way it Rolls.

Despite being only nine songs, McAlister showcases a diverse palette and a mature style. Sure he uses country jangle and Canadiana, but he has a subtle 90’s alternative, slacker route that puts a modern spin on the dusty themes without straying too far from the things that make those styles so timeless. Wow, that was a long sentence.

The opening track - Circumstantial Dues – could have been lifted from my father’s record collection. The emotion filled strings and steel work (courtesy of Tim Tweedale) contrast the guitar work nicely and any doubt about his song writing is erased within a few strums.

McAlister stays with the traditional country vibe on Losing (Always Seems To Find Me), and if you played it at the local line dancing bar, no one would blink an eye until the nice melodic acoustic break down and rollicking, heavy outro. Hopefully Kent and the Iron Choir play in Vancouver soon (December 15th actually) because this is the type of song that takes on a life of its own live.

The band switches gears on the Spanish style horns on Ole Bandolier. The lyrics, banjo and drums would just play like another country song, but adding the horns to the arrangement adds an identity (kind of with the same success as Richmond Fountaine). It’s these types of risks that really make this album special.

The success of the record continues with the fantastic Leonard Cohen cover (which I talked about here) and then slows with the mysterious A Twisted Wire. The swirling strings and echoing guitar notes set a great tone for McAlister’s reflective thoughts.

The record ends just as strongly, with The Way it Rolls (which takes on a Minuteman feel), Ballad Of The Jaded Wagoneer (a dusty trail, lo-fi noise epic of an alcoholic falling of the wagon), and It Counts for Something.

This record would be a nice addition for any fan of country fried roots records, but don’t try to force him into the genre. McAlister really tries to think outside the box on this effort. Check out the band’s myspace for dates.
- herohill.com

Perhaps it’s because I’m all swollen up with Canadian music pride after the Popfest or more likely, it’s because Kent McAlister brings a fantastic twist on roots music, but I am really enjoying his new record, The Way it Rolls.

Despite being only nine songs, McAlister showcases a diverse palette and a mature style. Sure he uses country jangle and Canadiana, but he has a subtle 90’s alternative, slacker route that puts a modern spin on the dusty themes without straying too far from the things that make those styles so timeless. Wow, that was a long sentence.

The opening track - Circumstantial Dues – could have been lifted from my father’s record collection. The emotion filled strings and steel work (courtesy of Tim Tweedale) contrast the guitar work nicely and any doubt about his song writing is erased within a few strums.

McAlister stays with the traditional country vibe on Losing (Always Seems To Find Me), and if you played it at the local line dancing bar, no one would blink an eye until the nice melodic acoustic break down and rollicking, heavy outro. Hopefully Kent and the Iron Choir play in Vancouver soon (December 15th actually) because this is the type of song that takes on a life of its own live.

The band switches gears on the Spanish style horns on Ole Bandolier. The lyrics, banjo and drums would just play like another country song, but adding the horns to the arrangement adds an identity (kind of with the same success as Richmond Fountaine). It’s these types of risks that really make this album special.

The success of the record continues with the fantastic Leonard Cohen cover (which I talked about here) and then slows with the mysterious A Twisted Wire. The swirling strings and echoing guitar notes set a great tone for McAlister’s reflective thoughts.

The record ends just as strongly, with The Way it Rolls (which takes on a Minuteman feel), Ballad Of The Jaded Wagoneer (a dusty trail, lo-fi noise epic of an alcoholic falling of the wagon), and It Counts for Something.

This record would be a nice addition for any fan of country fried roots records, but don’t try to force him into the genre. McAlister really tries to think outside the box on this effort. Check out the band’s myspace for dates.
- herohill.com