Awoo by the Hidden Cameras

After a roll in the hay for a smaller part of the decade, the Hidden Cameras, a lavish Canadian pop-folk ensemble, will release their newest effort Awoo, out on Arts & Crafts. 
Another notch in the Canadian indie-pop totem pole, The Hidden Cameras offer nothing more than folk-drenched lollipop numbers on their latest release Awoo that spring from an adrenaline-pumped Polyphonic Spree to a coked-up Cornershop. After four tracks of fast-paced confusions, The Hidden Cameras slow it down with the violin-laden “Fee Fie”- a storybook tune perfect for early morning PBS hippie cartoons. They continue on their high-pitch yellow brick road for the rest of the album, breaking only once to let in a surf-inspired instrumental number that seems to hold up the best on this 13-track catastrophe of anti-folk-but-yet-it’s-folk imposture.  
But what’s more scratching-the-head curious is the label singer-songwriter Joel Gibb, who fronts the Hidden Cameras, attaches to the bands music- “gay church folk music.” It’s hard to find what’s so obviously “gay” or “church-like” about their music- the harmonic, echoing vocals could take the place of a pipe organ but falls short of the eerie remnants of religious window montages hovering over believers. And the “gay-ness” of it all- from the lyrics to the song titles- seems to be only an extension of Gibb’s personal lifestyle choice, which is of no bother. But to label the Hidden Cameras’ music as “gay church folk music” seems as preposterous as saying my t-shirt has a theme song- mainly because their music can only be labeled as “bad attempts at stimulating the anti-folk crowd.” 
In short- The Hidden Cameras should stay hidden.


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