We’re pleased as punch to bring you DOMINIONATED the THIRD, part three in our ongoing series of “compendiums of classic Canadian songs covered by contemporary Canadian artists”. The concept is simple: we ask a bunch of artists to choose a favourite Canadian tune and give us their interpretation of it. The execution is mind-boggling. I can’t thank […]
Discs of the Week >>
If ever there were evidence of ‘the new normal’, Montreal based producer and DJ Kaytranada (Louis Kevin Celestin to his friends) is the shit. Count him among a small handful that instinctively knew how to harness the possibilities of SoundCloud, posting remixes and original beats up and courting attention of some heavy hitters who tapped him for production work and collaborations.
While you could say Tanika Charles’ Soul Run was born out of a relationship break-up, her personal journey leading up to her debut album would more accurately be called a life shake-up. No matter how you categorize it, Soul Run bounces back from heartache and the blues with infinite resiliency and a determined spirit.
If you’re never sure whether to laugh, cry, snicker or marvel at Public Library, then The Burning Hell has done its job. “When you’ve got reality, who needs to make up stories?” Kom asks on closer “Nonfiction”, never telegraphing to the listener whether he believes his own line. It’s no matter though; the humour of these“distorted story-songs” balances the heartache of human nature, mixing an ounce of honesty with a fraction of fiction. Public Library a priceless treasure you’d happily hold on to forever. Fuck late return fees; The Burning Hell, I love you.
Physics was never my strong suit in secondary school. Mind you, secondary school in general wasn’t exactly a walk in the park for me either, but suffice to say my focus in those formative years was on the arts more than science. No surprise then, that I didn’t recognize the Einstein reference in the title Spooky Action at a Distance, but what I most certainly did identify with on Frederick Squire’s new album is that distance, whether measured in time or space, is humanity’s best tool for putting life–both the past and present– in perspective.
The year: 2016. While many thousands are rewriting 20th century classics (blatantly or otherwise), some artists aspire to look forward. For an example of this underground breed of artist, we go deep into a home-recording studio in Fenwick, Ontario. Away from the bustling city and the ‘Music Man’ he grew tired of years ago, this location seems an unlikely place to find an artist ahead of, or at the very least, distinctly of his time. But the artist in question is Daniel Romano, and Daniel Romano has never been one to do what others feel he is supposed to, or be (either physically or artistically) where he should be.
We’ve all been to “the party”. A special occasion (or no occasion at all), with friends (or a bunch of strangers), mini ecosystems where anything and everything can happen. Any gathering where a gaggle of people Reach varying levels of intoxication has the potential for ugliness or beauty, but one universal truth about parties is that, even at their dullest, most boring moments, there’s always an interesting story unfolding. As Andy Shauf puts it, in “a city the size of a dinner plate,” over the course of one night, the whole spectrum of human emotion can occur; while many may gather in one little, drunken bubble, each person leaves with a totally different experience. Shauf’s new album, The Party, revolves around his keen observations and feelings. As he sits at the centre of the dinner plate, guests spin around him, feeling love, feeling lonely, dancing, being laughed at, dying and eventually go home.
Time stands still when Janice Weber and Kalon Beaudry set to work on Delay Our Time the debut full length from the Saskatoon duo better known as Waitress.
Like a boozy night of urban exploration, running down dark alleys and falling through underground music clubs, electro-pop infused “Crome Candel” and “Endgram” (offered in both the original version released last year and a new remix by Victoria, BC’s The Backhomes) are the kinds of songs to get lost in, lose all sense of time and place. Extended instrumental interludes, in particular the seductive chill of opener “Cry Baby”, keep the party and the groove going, while the swirling psychedelia of “Sideways World” expertly catches and cradles you on the comedown.
Though Doomsquad may have started life as a tongue-in-cheek, inside joke between the Blumas siblings, with their second full length, Total Time, the band has morphed into a mystical, semi-religious, multi-sensory experience that’s garnering devoted followers with every beat and note of music they produce.
With the minimalist of beats, Rosina Kazi and Nicholas Murray make maximum impact on Find Safety, the latest release from their ongoing musical collaboration, LAL. Murray describes the album as a return to their roots to a sample based, two-bar loop aesthetic, stripping away music industry expectations and focussing on LAL’s strength and “…what we wanted to say and what our true intentions were.”