Posts Tagged ‘Ontario’

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Little Kid was formed in the year of our lord 2009. since then, they have self-recorded and self-released five albums.

Forty days and nights in that bus riding through the lights. book says to stop where the shoulder narrows on transfiguration highway. just dont dare look back for all the salt. and hanks here and tammys here and gram but no not emmy and no way is george gonna be here if tammys here but still the rest of em are all here and theyre singin and the singin is good. and when i hear it right away im picturin lindsay and her eyes blinkin and her eyes are islands sand and water and im pickin her up and carryin her around and puttin her down because it makes her happy-cry. but shes in toronto and im on the highway so for now im lookin out the window.

and i know i could hold a harmonica out that window and let the wind play it. learned that on this very bus once. but the wind only exhales so it neglects some notes and its all major and its all tonic all night. ive learned a song doesnt need many chords but all my favourites at least use more than one. so its still best to hear woman or man or any person play because unlike the wind most folks can inhale also.

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and as we drive ive been lookin for a house but it aint

releases July 3rd, 2020

Little Kid is:
Kenny Boothby – Vocals, Piano, Acoustic Guitar, Classical Guitar, Harmonica, Organ, Casio SK-1
Megan Lunn – Vocals, Banjo
Paul Vroom – Bass, Percussion, Casio SK-1
Liam Cole – Drums
Brodie Germain – Electric Guitar, Acoustic Guitar, Drums on “Transfiguration Highway” and “Losing”

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My new album ‘Good Bones’ will be out June 19th! Pre-save it at the link below and check out my new store for some sweet pre-order bundles. This album is comprised of stripped down versions of songs off my first two albums and a new tune thrown in there. The first track is out today! Listen to the acoustic version of ‘Mama Said

Cat Clyde is a new artist out of Stratford, Ontario. A fresh take on the classic sounds of yesteryear. She breathes new life into the velvety vocal, tack-piano, slide-guitar-style that can instantly walk you through the swinging doors of a packed saloon. With influences ranging from Etta James to Kevin Morby to Lead Belly; hers is a mix that goes down smoother than a neat glass of mellow Kentucky bourbon. No longer do you need to reach for your trusty sifting pan and river boots to find gold. You just need to know one name.
Her hit single “Mama Said” has over 9 million streams on Spotify alone. Cat’s debut album, Ivory Castanets, came out May of 2017. Since releasing her debut album, Cat has been on a roll. She just got off a sold out tour with JS Ondara and has also wrapped tours supporting ZZ Ward and Paul Kelly across North America.

‘Mama Said (Acoustic)’ from the new album ‘Good Bones’ – out June 19th

Tokyo Police Club by Mimi Raver

Tokyo Police Club are back and keeping it simple with their fifth studio album TPC through Dine Alone Records. They’ve captured the sound that saved them within the walls of a church and by the hands of producer Rob Schnapf. These are hymns for the young at heart. The single, Simple Dude, vocalist David Monks sings about sensations and simple pleasures as if they are new discoveries, “my skin to your skin, I can feel it coming.” In Can’t Stay Here he asserts “ I don’t know how to grow up/I don’t know how to stay young/ I just know that I can’t stay here” over Josh Hook’s rousing guitar and Greg Alsop’s free-spirited drums. It’s the perfect song for leaving home, a relationship, or your twenties while Ready to Win is a genius ode to failure, which is a lifelong experience, and just as important as success.

TPC is proof that an album can be casual but not careless. There is value in simplicity, and some of the best art isn’t complicated. TPC has a fast tempo swagger, anxious but proud. This an album you can bounce to while you find your way through too many beers and one night stands. These fast times may be fleeting, but they’re worth it.

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Band Members
David Monks, Greg Alsop, Graham Wright, Josh Hook

Released May 15th, 2020

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Los Angeles-via-Toronto songwriter and composer Lydia Ainsworth released her third album, Phantom Forest, last year, and as she works on her fourth, she’s shared a new single, “Forever,” which she says “is a song about an attempt at astral projection in order to be close to a loved one who is far away, Forever is a song about my futile attempts at astral travel

Written and Produced by Lydia Ainsworth
released May 1st, 2020

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Linnea Siggelkow, the Ontario singer/songwriter better known by the moniker Ellis, today shares her debut LP Born Again through Fat Possum Records. “March 13” followed the singles “Fall Apart” and “Embarrassing,” which were released earlier this year. “‘March 13’ plays right after the last single ‘Embarrassing’ on the track listing, and is a reflection on a night that I did embarrass myself,” Siggelkow said in a statement. “I acted badly and put someone I cared about in an unnecessary and uncomfortable situation, but refused to admit at the time that I was out of line.” While Ellis won’t be able to embark on a planned tour with Ratboys due to the coronavirus pandemic, she hopes that the record helps those who feel alone—which is a much-appreciated sentiment, now more than ever in the time of social distancing.

“march 13” from Ellis’s debut album ‘Born Again’ (out now)

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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.

Ask a dozen people to define the term “indie rock” and you’ll probably get a dozen different answers that include word combinations like “Archers of Loaf” and “Foster the People” and “indie rock is dead” . Artist: Kiwi Jr. Album: Football MoneyFootball Money is a 10-track album that has been five years in the making. The album opens with the track “Murder In The Cathedral.” Right off , I knew this was going to be a different kind of album:

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As the term has evolved over the past few decades—from its origins denoting music released by an independent record label to a vague descriptor of a certain kind of sound—it’s no wonder the words have lost much of their meaning. Make no mistake, however: Kiwi Jr. is an indie rock band. You can hear evidence of that all over their fine debut album “Football Money”, which has been released worldwide by Mint Records. (It came out only in Canada last year.) Someday, other band names will disappear from Kiwi Jr.’s reviews as the quartet further develops its sound.

Football Money is evidence they’ve clearly got the ability and the point of view to do exactly that. Until then, they’re working from a world-class playbook.

Band Members:

Brohan Moore: Drums, Backing Vocals
Brian Murphy: Guitars, Backing Vocals
Jeremy Gaudet: Vocals, Guitars, Keys
Mike Walker: Bass, Backing Vocals, Keys

Aaron Goldstein: Pedal Steel
Alec O’hanley: Backing Vocals, Keys
Hunk and Junk: Backing Vocals
Peter Rankin: Keys

Kiwi Jr. – Salary Man From the LP “Football Money” available on Mint Records (Canada) Available everywhere Friday 1/17/20 via Persona Non Grata

The Toronto punk quartet takes a giant leap forward on their second album, crafting noise rock that’s not just aggressive, but keenly self-aware. With an album in constant conflict with itself, Outer Heaven pairs the manic energy of punk with a probing intellect that reaches beyond the genre. Vocalist-guitarist Shehzaad Jiwani described the band’s sophomore effort as an attempt “to make the noise more melodic and the melodies more dissonant.” Over the course of just 10 songs, Greys oscillate between hard and soft, anxious and acerbic, but they never sound anything less than fully engaged.

Four years ago, I probably wouldn’t have included Toronto punk band Greys as a band I like. There were experimental inklings in their two 2016 releases, Warm Shadow and Outer Heaven, but they finally threw out the rulebook on their 2019 album Age Hasn’t Spoiled You. You’ll find noise-punk, post-rock, electronic and psychedelic drone wrapped up in a beautiful and shadowy package, but it’s not without moments of accessible anthemics either (“These Things Happen,” “Arc Light”).

It’s a dense listen that draws on everything from punk, noise and psych-pop to jazz, trip-hop and industrial. They sneak in unconventional influences in a way that doesn’t seem disjointed or immediately jarring. There’s a magnetic sprawl to this album, and each musical tangent is a new, charming landscape along a picturesque, spontaneous drive to nowhere in particular. Though that’s not to say this album is directionless. The driving seven-minute centerpiece, “Aphantasia,” holds the album together and seamlessly swings like a pendulum from one idea to the next.

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Maybe it’s obtuse to include a genre-defying album like this in a genre-specific list, but if the point of punk is to push boundaries and question conventional wisdom, then Age Hasn’t Spoiled You seems like a noble inclusion. Greys traverse new frontiers, musical guile that make this album an immensely stimulating one.

 

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It’s been a while but the uber talented Cat Clyde is back with a new single and accompanying video. Cat Clyde powerfully haunting vocals shine through in her latest single, “All the Black.” This soulful Canadian artist’s voice transcends generations, providing a fresh take with inspiration from Etta James, Janis Joplin, and Lead Belly. The diversity of her influences has shaped her music into an unparalleled blend of soul and folk that has found its way onto over 96,000 different Spotify playlists.

“All the Black” tells the story of an unconventional love story. From meeting someone for the first time, to falling for them, Clyde takes us on the, sometimes painful, rollercoaster of love in her latest single. The mutual feeling of loneliness between Clyde and the subject of her song is what initially brings them together. The bleak outlook of both parties in the relationship is conveyed through the lyrics: “I know you know this life is shit, but maybe I could keep you company.” Despite the collective feeling of sadness and loneliness, the two bring each other consolation by slaying each other’s demons and “kill[ing] the pain.”

I’ve got to say if “All The Black” is a hint of what is to come on a forthcoming album, this should launch her into the stratosphere. I loved the folksy-bluesy charm of her first record  Ivory Castanets but with a song as good as “All The Black,” her sophomore record just became one of my most anticipated releases of the year .

Cat Clyde has a voice that is naturally mesmerizing. Haunting, but sweet. Powerful, yet quiet. This is not just hyperbolic excitement.

The late 80’s and early 90’s were a huge influence for many new artists. But when they cite sounds from great artists like Johnny Marr, Cocteau Twins, The Cure, and the Beach Boys, you know they are on track to something great. Combining up-beat drum beats, melodic bass riffs, jingly guitar leads, and fluttery lighter-than-air vocals, Tallies gives out a soft, yet bouncy ray of sunshine not unlike The Sundays’ debut album Reading, Writing, and Arithmetic. Tallies bridges that long lost sound with yet a new and youthful take on something all their own.

Coming out of Toronto, this indie pop band recently formed this year by lead singer and guitarist Sarah Cogan and guitarist Dylan Franklin. With Cian O’Neill on drums and Stephen Pitman on bass they release their debut album via Kanine Records and Fear of Missing Out.

Jingly, jangly, and memorable, Tallies hit the mark and leave a lasting impression with their debut album.

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Band Members
Guitar/Vocals: Sarah Cogan
Guitar: Dylan Frankland
Bass: Patrick McCormack
Drums: Cian O’Neill
debut album from Toronto, Canada’s Indie pop. Memphis Industries Records.
released January 11, 2019