I was immediately intrigued by the Toronto based four-piece band Mango Reinhardt based on their name. I am a massive Django Reinhardt fan, and while the music in no real way resembles his, I would say this music is on par in terms of cool vibes. Mango Reinhardt is a sultry mix of surfy pop rock and a little ’60s psych thrown in. The music is moody, crafty and even a little mysterious. You'll get the sense that the three songs in their self-titled album Mango Reinhardt could be plucked from a Tarantino flick.
"Smoke and Fire" is the first track on the album and it sets the bar high. You're immediately introduced to the cool and trippy bass from Lisa Liskovoi and poppy drums from Katelyn Plant. Then comes Emily Copeland with her dangerously chic deadpan vocal style. She oozes sensuality and mischief as she winds her words around the surfy guitar riffs from guitarist Will Boire. The best way to describe this song is that it sounds like a ’60s surf movie combined with a murder mystery. Up next is "008," which happens to be a lovely tale about a crappy man, and leave it to Copeland to do it with panache. The narrative is so rich in this song that whoever it's about will have no problem being aware this is a song about him, and I LOVE that. The lyrics in this song are no doubt my favorite, because they are blunt and unapologetic about the savagery. This one is a little slower in pace and really leans into the psych elements of the group's abilities. The last track is "Paulie" and once again, we get another savage tale about a crappy human being, which is fine by me. This has a little bit more of a tragic and ominous vibe. The lyrics aren't as pointed as they are more melancholy. This is a great track for being in a self-pitying mood, and in today's landscape, there's nothing wrong with having a song for that. I would've liked to have had three completely different moods for each track and that might be my only complaint. The fact is I love all these songs. The audio treatment of the music is spot on. The album was recorded and mixed by Matthew James Rideout, the mastering by Guillermo Subauste at A&B Studios in Toronto. The aesthetic of this album is unmistakable and they committed fully to making this album sound like a period piece. While you get that vintage sound, it's still has a modern crispness to it which I think keeps the album sounding relevant and it also gave every contributor their due. For me, this album is too cool to pass up. I had to buy it. This band is incredibly cool but at the same time is accessible to anyone. You don't have to struggle to "get it.” It's a pretty smooth drink of vintage musical fun.
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