Posts Tagged ‘Hamilton’

It’s only been a few months since Ontario-based dream popster Ellis released debut album Born Again, but Linnea Siggelkow has been keeping busy by learning to play some of her favourite songs. The aptly named “Bedroom Covers” EP is available to stream today via Royal Mountain.

The three-track release features covers of Taylor Swift’s “Lover,” Dinosaur Jr.’s “I Got Lost” and the Used’s “Buried Myself Alive,” giving each of the tracks a makeover that falls in line with Ellis’s shoegaze- and dream pop-influenced sound. Ellis has also shared a new video for her “Lover” cover, which features dreamy footage of people-free landscapes and urban landmarks.

In a statement about the EP, Siggelkow said:

I haven’t been feeling very inspired to write lately. The world is feeling equally chaotic and slow, my mind feels very strange, so I have focused on learning other people’s songs and it’s been sort of a nice break.

I wanted to cover songs by artists that have influenced me musically and as a songwriter. I love Taylor Swift’s to-the-point lyricism about her feelings, the relatability of her songs. Dinosaur Jr. is just such a cool band and J Mascis is one of my favourite guitarists. I’ve been practicing a lot more than I usually do, working on scales and trying to improve my technical skill — I want to be able to shred like J! And the Used was such a huge band for me growing up, Bert McCracken writes perfect emo songs that have stood the test of time.

Listen to Ellis’s full “Bedroom Covers” EP

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Released July 7th, 2020

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Ellis (aka Hamilton, Ontario dream pop artist Linnea Siggelkow) is released her debut album, Born Again, via Fat Possum. On Wednesday she shared another song from it, “Saturn Return,” via a Michael Pugacewicz-video for the track. The full-length debut from Ellis, “Born Again” takes place in spaces both intimate and vast, ordinary and near-mythic: warm beds and lonely church pews, restless cities and desolate forests and the furthest reaches of the cosmos. Produced by Jake Aron (Snail Mail, Solange, Grizzly Bear) and recorded partly at Aron’s Brooklyn studio, Born Again arrives as the follow- up to Ellis’s debut EP The Fuzz—a self-released, self-produced effort that promptly led to a deal with Fat Possum Records. In a departure from the viscerally charged dream-pop of The Fuzz, Born Again unfolds with a mesmerizing subtlety, gracefully spotlighting Ellis’s unhurried melodies, starkly confessional lyrics, and the luminous vocal work she’s shown in opening for artists like Soccer Mommy and Alvvays.

Siggelkow had this to say about “Saturn Return” in a press release: “‘Saturn Return’ is an astrological term for the time in your life where Saturn literally returns to the same place in it’s orbit that it was the moment you were born. The first one happens in your late twenties, and it’s a time of radical transformation. I am in mine now and have been feeling it big time! I wrote this record while reflecting on all the ways my life is changing, reconciling things from the past and making space to move forward.”

Previously Ellis shared Born Again’s first single, “Fall Apart,” via a video for the track. Then she shared another song from it, “Embarrassing,” via a video for the short track. Then she shared another new Born Again song, “March 13,”

Jake Aron (Snail Mail, Solange, Grizzly Bear) produced the album, which was partly recorded at his Brooklyn studio. Born Again follows Ellis’s debut EP The Fuzz, which she self-produced and self-released in 2018.

As Born Again’s title suggests, the album partly deals with questions of faith. Siggelkow is the daughter of a traveling book salesman and a piano teacher. “I grew up Christian and was quite devoted to faith up through my late teens, but I started challenging that once I got to university,” said Siggelkow in a previous press release announcing the album. “Since then I’ve been trying to redefine who I am and where I stand and what I think about these things on my own, and that journey very much played into the songwriting on this record.”

“Saturn Return” from Ellis’s debut album ‘Born Again’

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The Dirty Nil is sharing a stripped-down version of the band’s new single “Done With Drugs,” an infectious track about people who want the world to know they’re kicking a bad habit.

“I see a lot of people who are trying to stop doing cocaine or stop drinking rivers of liquor, or stop eating lots of s**tty fast food,” explained frontman Luke Bentham, in a release. “On Facebook, I see these posts from people declaring, ‘I’m done with this!’ — they’ll have a six-paragraph post about how they’re changing their lives.” He sings: “They been good / they been sweet / but now it’s time to get clean / I’m done with drugs / I hope they’re done with me … Maybe I’ll try origami or jujutsu / and walk around IKEA with you / ‘cause I’m done with drugs.”

Bentham insisted he is all for self-improvement – and he is not making light of anyone’s personal struggle.

“I’m just kind of amused and fascinated by that whole aspect of social media. Like someone will post, ‘I’m done drinking coffee!’ Okay, well then just stop drinking coffee — you don’t have to try to stop the internet for the day to tell everybody that you’re done with Maxwell House! . “I find that funny, and somewhat narcissistic. But that’s just my opinion, and I’m kind of an a**”hole!”

Bentham and bandmates Ross Miller and Kyle Fishe worked on new music while quarantined together during the COVID-19 pandemic. They have released “Done With Drugs” along with a video that intersperses shots of them performing on the stage of Toronto’s Phoenix Concert Theatre with scenes of a stadium full of fans at 1985’s Live Aid.

The track is also available on 7-inch vinyl with The Dirty Nil’s cover of Tom Petty’s “Even The Losers” as the B-side. Check out Bentham’s acoustic performance of “Done With Drugs” 

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The Dirty Nil play rock and roll.

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Debut EP from new Fat Possum signing, Ellis and a Rough Trade Shops tip for 2019. Canadian bedroom dream pop, The six-track release presents an uncommonly fully-realized aesthetic to match the strength of Siggelkow’s songwriting. Built from simple instrumentation, but deftly arranged to lend a grandeur and devastating scale to Siggelkow’s skillfully rendered laments, the release is a resounding statement from a young artist who is poised for a reception that equals the scope of her remarkable gifts. Ellis, who, after generating buzz in her local scene on the back of opening stints with the likes of Soccer Mommy, Gabby’s World, Chastity, Palehound, and Free Cake For Every Creature, garnered international acclaim with the release of a series of singles, earning comparisons to Mazzy Star, Alvvays and Slowdive from outlets like Pitchfork, Noisey and Stereogum, who marked her out as one of “a new generation of exciting songwriters.”

official video for ‘the drain’ by Ellis, from the ‘the fuzz’ EP

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EllisHamilton, Ontario’s Linnea Siggelkow—announces her breathtaking debut album, “Born Again”. Produced by Jake Aron (Snail Mail, Solange, Grizzly Bear) and recorded partly at Aron’s Brooklyn studio, Born Again arrives as the follow-up to Ellis’s debut EP The Fuzz—out now on Fat Possum Records.

In a departure from the viscerally charged dream-pop of The Fuzz, Born Again unfolds with a mesmerizing subtlety, gracefully spotlighting Ellis’s unhurried melodies, starkly confessional lyrics, and luminous vocal work.  Born Again takes place in spaces both intimate and vast, ordinary and near-mythic: warm beds and lonely church pews, restless cities and desolate forests and the furthest reaches of the cosmos. Throughout the album, those spaces serve as the backdrop to Ellis’s sharply detailed and sometimes-painful experience of self-discovery, as well as the life-changing transformation echoed in the album’s title.

Ellis takes on a heart-crushing vulnerability, laying bare her longtime struggle with anxiety and its impact on her most precious relationships. She says of the song: “This is really just an honest reflection of my struggle with anxiety and how I can’t hide it from the people closest to me. It’s about the feeling the first time someone you admire sees you in your most vulnerable state, about putting in the work to get better but still having moments of weakness. My anxiety comes over me like a tidal wave, and it feels like I am spiraling out of control. I am finding better and healthier ways to cope, to talk myself down when I can feel myself starting to fall, but it still happens sometimes even though I wish that it didn’t.”

“Fall Apart” from Ellis’s debut album ‘Born Again’ out April 3rd on Fat Possum Records.

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Canadian trio Basement Revolver are set to release their hotly anticipated debut album in August, and have this week shared the latest sample of it, “Knocking”.

Knocking is a deeply personal song for chief songwriter Chrisy Hurn, as she puts it, “I often still can’t sing it without crying.” The track details her writing a letter to her family that explored her past, things she wasn’t proud of and, in her own words, “made me feel like I wasn’t the “good christian woman” that they had hoped I would one day become.”It deals with the anger that inspired the letter, and also the acceptance, love and forgiveness that she found afterwards. Musically, it’s possibly the most mature the band have ever sounded, there’s a country-twang to the guitars alongside their usual, melody-led approach to expansive soundscapes. You could cite reference points from Big Thief to Angel Olsen and be in the right area of the musical world, ultimately though Basement Revolver shine entirely on their own terms.

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Band Members
Nimal Agalawatte,
Chrisy Hurn,
Brandon Munroe

The album Heavy Eyes is out August 24th via Fear Of Missing Out.

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Formed in the honest grit of Hamilton, Ontario, Basement Revolver have seen a quick and notable ascent into the spotlight with their unique brand of 90’s infused indie-rock. The band has been able to formulate a captivating and refined hypnotic aural experience typically found with those who are well beyond their years.

Basement Revolver released their first EP in 2016 and it quickly proved to be a grand success, eventually racking up over 600,000+ plays on Spotify and nearly 100,000 plays on SoundCloud. ‘Johnny’ and their second single ‘Words’ reached the higher echelon of the Hype Machine chart while the EP has made various ‘best of 2016’ listings around the blogger community.

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Simply Saucer’s Cyborgs Revisited is an explosive time capsule from one of the great Canadian cult rock ‘n’ roll groups. Formed in Hamilton, Ontario, these sci-fried proto-punks created a sound fusing Hawkwind, The Kinks, Pink Fairies, Syd Barrett-era Pink Floyd, and the omnipresent Velvet Underground.

Originally recorded from 1974-1975, the album became a critically revered classic when it was finally unearthed in 1989 by Mole Records. Now, In The Red is proud to release the definitive, remastered double album edition featuring new liner notes by band biographer Jesse Locke, unseen images, and the complete live recordings available as a second album for the first time ever. As a means to escape his oppressive experiences while living in a practice space surrounded by biker gangs, singer and fretboard-shredding guitarist Edgar Breau wrote a set of songs filled with dystopian visions of the future, conjuring metalloid thugs, Eva Braun’s cyanide love affair, and “dancing the mutation.” With nimble-fingered bassist Kevin Christoff, clatterwauling drummer Neil DeMerchant, and electronic cosmonaut John Ping Romany LaPlante (Breau’s foster brother and answer to Pere Ubu’s Allen Ravenstine), his lyrics were launched into a sonic supernova. Their first recording session took place in the basement of brothers Bob and future superstar producer Daniel Lanois and was initially intended as a demo. Naturally, interest was non-existent for the sneering six-song set. It’s shocking how anyone could have overlooked Bullet Proof Nothing, an undeniably catchy VU-swiping anthem for the used, abused, and confused. Shelving these sessions, the band ascended into the future with 15-year-old drummer Tony Cutaia. This set off a series of gigs before the band touched down on the roof of a local shopping center!

DateMonthYear; photo credit Brooke Baker

DateMonthYear is not a band. DateMonthYear is a way of making music in the 21st century. DateMonthYear tends to make music that blends pop melodies, rock dynamics, and movie atmospheres

“While ‘March’ bears a striking resemblance to Low with hints of Cat Power, the quintet steer closer to Sharon Van Etten and Feist on ‘Numbers’. DateMonthYear is a welcome addition to any playlist and a great taste of what’s to come for the band in 2018 as they wet listeners’ appetite with dynamism, consistency and sincerity. Free, harmonious and skillfully crafted compositions. ‘March’ eludes to the process of grief and loss, delivering a strong message with hard-hitting lyrics, music and video. The band worked with local production team Bad George in Hamilton to produce and film their new music video.

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New Zealand outfit DateMonthYear has announced their forthcoming single ‘March’ on the trail of their well received single ‘Numbers’, released earlier in 2017. Based in Hamilton, DateMonthYear is a five-piece comprised of Trevor Faville, Emma Koretz, Brooke Baker, Hayely Schwass and Tyler Leet.

Hamilton, Ontario indie-rock trio Basement Revolver have quickly become the bloggers favourite. In the spring of 2016, their debut single caught on with 20+ sites, making way for a well-received EP and mini-tour that summer. A year later, the band’s second EP builds on its predecessor’s sound: wistful, reverb-heavy guitar-pop indebted to the 1990s. It also finds songwriter and guitarist Chrisy Hurn opening up, like on the lead—”a lush track that parallels the health of the mind and the heart with the earth,”

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It’s out on Yellow K Records (Japanese Breakfast) in the US and Fear of Missing Out Records in the UK.