What can be said about Vancouver’s own Brass Camel? There is no denying that this quintet—originally formed as a trio and now expanded to five members—shows no sign of slowing down. They carry the legacy of hard rock, progressive rock, and funk, blending these elements with the force of a cannon blast ready to erupt at any moment.
“Everything on this new record is pure happenstance”, Daniel Sveinson explains to Philip Wilding in Classic Rock Magazine (Issue 353) for this year’s High Hopes feature. “Some days we’re a rock band putting a proggy spin on things, other days we’re writing shorter, funkier songs, or a zany Zappa one”. That sense of spontaneity is essential to Brass Camel’s identity, and it shines throughout their third, self‑titled album—fun, eccentric, and delightfully quirky.
A particularly notable contribution comes from Terry Brown, the legendary producer known for his work with Rush, Discipline, Klaatu, Max Webster, and Voivod. His mixing elevates the album into a full‑fledged tour de force. Listening to Brass Camel, one feels as though something magical and otherworldly is unfolding beyond the stratosphere.
While comparisons to Frank Zappa may be too easy, the band’s sound does evoke elements of Led Zeppelin, Yes, Bigelf, and 10cc—blended together like a vibrant, genre‑bending smoothie. With Kevin Comeau of Crown Lands joining as co‑producer, the album also reflects a strong sense of Canadian musical camaraderie, showcasing a shared spirit of creativity and mutual support.
‘Why Bother’ delivers unexpected time‑signature shifts reminiscent of Bigelf, as though Damon Fox himself were watching in admiration. The track carries forward the theatrical, dystopian flair of Cheat the Gallows, complete with a Queen‑like grandeur. ‘Can’t Say We Didn’t Try’ brings Brass Camel onto a Broadway‑styled stage, tapping into a playful, tap‑dancing energy reminiscent of Alice Cooper’s Welcome to My Nightmare, with mellotron textures drifting through its funk‑driven arrangements.
‘Everybody Loves a Scandal’ shifts from mournful to pastoral before lifting into an upbeat tempo. The song tackles the press, paparazzi, and media’s obsession with “gotcha” moments—scandals that quickly become headline fodder for tabloids like National Enquirer and TMZ. The drama escalates further in ‘Catch Us If You Can’, propelled by a fast‑paced time signature that mirrors the frantic pace of the rat race.
One can imagine animator Chuck Jones being delighted by this kind of music—perhaps even preferring it over Dean Elliott’s compositions for Tom & Jerry, or using it to score the frantic chases of Road Runner and Wile E. Coyote. Brass Camel’s sound carries that same kinetic energy, humour, and momentum.
Ultimately, it is fascinating to witness this band continue to grow, gaining strength and confidence with each release. They proudly carry the Canadian prog‑rock flag, waving it forward from where the greats left off.
