Code Pie: Love Meets Rage

Jer Fairall

Lush Montreal outfit travels all over the place on adventurous third outing.

Code Pie

Love Meets Rage

Artist Website:
Label: Indiecater / Flagless
UK Release Date: 2011-04-12
US Release Date: Import
Online Release Date: 2011-03-27

Initially the home recording outfit of Montreal singer/guitarist Enzo Palermo, Code Pie has greatly expanded in both numbers (the band is now a six-piece) and in sound on Love Meets Rage, the group's third album. The first half of the record is awash in the kind of lush, orchestral beauty that has come to typify the Montreal indie bands of the previous decade, but Code Pie's songs wind up unusual and all the more captivating for the attentive listening that they encourage. Note, for instance, such subtleties as the percussion ticks and warm feedback squalls that sneak into the large, colorful canvas of "Penny Lane" horns and loping strings on the shoegaze-y "Morning After", or the blink-and-you'll-miss-it mingling of chimes and acoustic guitar arpeggios on the soft, dreamy "Before I Forget". The rest of the album is similarly layered, whether offering up a convincing Wilco-meets-Sgt. Peppers mash-up on "North Side City View" or weaving in disparate sounds like a '70s-style washboard on the Sloan-like retro power pop jaunt of "Operator".

Yet for all that sweeping panorama, Code Pie is never content to languish in one sound for too long, so when the album takes a turn for the darker and moodier in its second half, it becomes a knottier, though no less interesting, listen. To hear the relative sparsity of a track like "Tunnels Run Division" after the widescreen drama that preceded it is a bit of a shock, but the band's attention to detail and colorful range remain constant, allowing the song to move, jarringly yet convincingly, from drifting ambience to an explosive, gritty rock 'n' roll rave up. Code Pie expertly renders such small touches as the skipping cello on "Heart Spit" and the drum clatter on the tense "Muddy Shoes" as tiny yet resonant flourishes. Even if all of this consequently leaves Love Meets Rage feeling like a far from coherent listen, Code Pie's trippy little wonderland is an enjoyably unpredictable place to visit.


In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Keep reading... Show less

Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

Keep reading... Show less

Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

Keep reading... Show less

A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

Keep reading... Show less

Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.