The Murder Plans Good Omen

 Patrick McEachnie

The Murder Plans are four guys from Ottawa, Ontario. More importantly however, The Murder Plans are four musicians, and sometimes, these four musicians play music; very well. Two years in the making, their debut full-length album Good Omens will be released on Sept. 24, with a CD release party at Jimmy Jazz in Guelph on Oct. 2 to follow.

Good Omens starts off “Someday I Won’t” a somber toe tapping, head-bobbing opener. The track can most easily be described as Constantines at an Elvis Costello based karaoke party, without sounding the least bit contrived. The highlight however, is the stark contrast it carries with the second track, “Tell A Lie.” To it’s credit, “Tell A Lie” utilizes the full band structure to it’s fullest potential, making it the first track to really stick with the listener.  Much of the record is carried by the upbeat, catchy guitar work, and 4/4 drum beats rich with reverb. That is until we get to the eighth track, “Blue Collar,” which might be the best example of a Tom Wait’s influence in modern media and as such, contains some of the darkest, most eclectic sounds on the record. That being said, this influence at no point becomes overbearing, and The Murder Plans keep it as their influence, but never their goal; at no point does this song sound even the least bit forced. The intra-band chemistry present that enables them to do this translates exceptionally well.

The latter half of the record shows a solidification of the bands self-described influences, and common comparisons, and advances them from merely a collection of these comrades to their own unique brand of Canadian Indie Rock. As such, the record itself progresses in a manner similar to the band themselves, being that coming into one’s own is an idea dealt with commonly, not only during the life of most bands, but also at multiple times during the lyrical content of this record. I highly suggest attending the record release show at Jimmy Jazz on Oct. 2, not only because it’s free but also because the next time they roll through town, they will undoubtedly be playing a larger, less intimate venue. Hold me to that.

Over the duration of this record, it has gone from the living (active) reincarnation of The Constantines to much more than just that. I find these songs have much more of a life of their own once you become explicitly familiar with them, and as such, the album sits at a noble

3.5/5

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