Posts Tagged ‘Paradise’

Jenn Grant expands to a galactic realm never before explored by the songwriter with Paradise, this time Grant points the compass towards the epic and intimate and explores a new depth of sound.

“I wanted to explore new soundscapes,” Grant explains when describing how piano came to be the primary song-writing instrument. Grant created new shapes and colours with an array of new instrumentation and song collaboration with producer Daniel Ledwell. “I thought about my singing much more. I feel like I am a completely different artist from when I began performing. I don’t feel like I really heard my own voice until recently.

Paradise feels personal and emotive, but it was born from a vantage point of watching as the world flexes amidst great joy and sorrow. Through her lyrics, Grant tells us of the world she watches from a distance, touching on global themes like love, growth, faith, longing, sex, death and reinvention. 

With the International success of Compostela, Grant spent three years touring the world and playing to over 300 audiences, both festivals and in concert settings with sold out shows from London to Vancouver. Finally coming off the road, Grant retreated to the secluded studio by her home in Lake Echo, Nova Scotia. What emerged was the album “Paradise”  an album that sees a new dimension in Grant’s songwriting with new depths of sonic beauty and melodic landscapes, touching upon balladry, R&B and electronic music along the way.


“Galaxies” is the first single from Jenn Grant’s upcoming album ‘Paradise’ which is came out on March 3rd, 2017.

Paradise’s songs reach out with world-weary awareness, that’s most evident on lead single “Galaxies,” a song that is the aural equivalent of star-gazing. “I pictured people standing at the edge of the earth, hands outstretched, asking, ‘What is bigger than us, than any of this?’ Grant says.

Jenn Grant’s voice and songwriting has been celebrated the world over by critics and industry alike. Described as one of the ‘best singers in the world’ by her ongoing collaborator, Buck 65

WHITE LUNG – ” Below “

Posted: December 7, 2016 in ALBUMS, MUSIC
Tags: , ,

White Lung fans were caught off guard by Paradise. It wasn’t the same pissed-off punk band they remembered from 2014’s crushing Deep Fantasy. Instead, the band experimented with a few new tricks this time around, namely, third-person storytelling, a poppier sound, and some full-on singing from frontwoman Mish Barber-Way, as opposed to the angry snarls she’d become known for. While White Lung’s core DNA is still intact on Paradise, the record is a fun exploration of what they can do with it. And for a band testing ambitious new territories, they pulled off a surprisingly cohesive record that sees them pushing their limits with ease and confidence. It’s impossible to say where White Lung will go from here, and that’s the way they like it. The high-octane punk band from Vancouver brought its buzz-saw guitar sound and unwavering vocals to the CBC Music studios for a five-song session of Polaris-worthy material. You’d expect a band named White Lung to have some vocal chops — and indeed, singer Mish Way-Barber is a commanding performer.

White Lung — Paradise

White Lung used to be a hardcore band. They made brash, unapologetic punk music that confronted its listeners by drowning them in assertive, nofucksgiven attitude. But on Paradise, White Lung prove themselves to be capable of so much more than that. This is an album that transcends anything the band released before; the hooks are heavier, the production is cleaner, and Mish Barber-Way’s vocal range is bigger. “Every new record should be the best work you’ve ever done,” she told us in our cover story. On Paradise, that offhanded comment doesn’t sound boastful or empty. It’s a statement of fact Mish Barber-Way … and her crew of Vancouver punk ruffians whip up a gloriously hostile racket, sharpening the raw attack of their 2014 breakthrough, Deep Fantasy. The songs gain a mammoth melodic crunch thanks to guitar whiz Kenny William, who sounds like Johnny Marr with his cardigan on fire.

Every now and then, there comes a band that reminds you why you fell in love with rock & roll in the first place. In 2016, White Lung was that band, and “Paradise” was the record. It’s a synthesis of everything that I love about the genre and its many subsets– soaring pop hooks, thrash-tastic riffs and drumming, gleaming post-punk atmosphere, and lyrical narratives. Like Japandroids and Titus Andronicus, White Lung have set the gold standard for rock music in the 21st century.



Following the critically acclaimed 2014 LP Deep Fantasy, punks White Lung are back at it with their fourth studio album “Paradise”, out now via Domino Recordings.

Coming in at a succinct yet powerful 28 minutes, Paradise is simmering with desire and pain, love and beauty, and in typical White Lung fashion a journey that travels at a seething urgency, unrelenting until the album closer (and title track) ‘Paradise’.


Kenneth William: I always wanted this song to start off the record. That quick synth-sounding backwards guitar sample at the beginning reminds me of a video game console turning on or the beginning of some 80s horror movie theme playing behind the studio credits.

It’s also my favourite guitar performance on the record, it’s one part straight through without any prominent overdubs. It’s also the only song that doesn’t use any MIDI sampling so I don’t have to worry about tap dancing on pedals when we play it live.


KW: This was written near the end of making the record, Lars told me I should write a song with just bass for part of it so the record wouldn’t be wall to wall guitars. The arrangement for this was all done on my laptop so I didn’t realize it was a nightmare to play live until we started practicing live months later.

The creepy high notes in the verses aren’t keyboards it’s guitar through a Earthquaker organ emulator pedal and a bunch of delay. I think this is the weirdest song on the record and that only our band could’ve written it.


KW: For this song I just wrote two very simple guitar parts that loop through the verses and had the bass switch between major and minor keys so it would alternate between feeling hopeful and sad.

To get those high sustained notes we ran through my normal pedal chain backwards, so it went from the delay pedal into the chorus pedal then the distortion. That normally would sound like a mess but since we recorded every held note separately it has this almost comforting quality.


KW: I thought having a guitar solo during the break of this song would end up being super cheesy so we hacked it to pieces in Pro Tools, pitched it up and then bitcrushed it I think. Annie Clark told me it sounded like an angry mosquito.


KW: Justin Gradin does all our album art and he told me this song sounds like Slipknot. I guess I can imagine the guy in the mask with the pinocchio nose playing garbage can drums to this during that floor tom part.

I think my guitar part sounds like A Flock of Seagulls, so I guess this sounds like A Flock of Seagulls mixed with Slipknot. That sounds hideous but this song is good.


KW: This is probably my favorite song on the record to play live. I think it’s pretty funny how obnoxious the guitar part is in the chorus. I took the bridge part of this song from this terrible techno song I made on Fruity Loops years ago and moved it onto guitars and I think it’s strange how just the sequence of notes and the arrangement make it still sound like electronic music.


KW: My original recording of this was way cleaner and haunting it sounded like a mix between My Bloody Valentine and the Wipers or something. I had a hard time with this song in the studio because the drums changed the vibe of it so much but I got used to the added energy after a while. Finally got to use the tremolo bar on my guitar for a recording.


KW: The concept behind the music for this track was to write a song that sounds like a punk cover of a Smiths song that doesn’t exist. I kept the guitars pretty bright and in the same register as the vocals for most of the song so the choruses would feel darker when the power chords come in. I like this song because the guitar parts are pretty bubbly sounding by themselves but with the repetition and the bass part they end up sounding almost oppressive.


KW: This was also one of the last songs written, we needed something angrier to balance out all the softer stuff so I came up with this. I tried to move away from writing guitar parts like this because they all sound somewhat similar to each other and one of my fears is that I’ll find out once the album is released that an identical riff was on a Hatebreed album or something and I’ll get sued. But I think this is a cool diversion from the rest of the record and I really like the outro which is made from a bunch of layers of backwards guitars and drum hits.


KW: This song is kindof a throwback, it’s the fastest song on the record at 280 BPM which is what most of ‘Sorry’ was recorded at and I used the same Space Echo delay I used on that record. All our other records ended with a song that would kind of point the way to the direction we would go in next but since this one was so varied and all over the place for us it felt right to close it with something more familiar. Hope everyone likes it, bye


If this band doesn’t blow up after SXSW, then the system is broken. “Hungry” might’ve been the best song I heard all week and singer Mish Barber-Way was a beyond powerful force on an early afternoon set on SXSW’s dreariest day. At 2013’s festival, there was some buzz about White Lung. But with the Canadian quartet embracing a pop-forward approach, their music is finally getting the recognition it rightfully deserves. This was powerful rock and roll that radiated hard enough to make the days drizzle not matter at all and it has us incredibly excited for their upcoming album, Paradise, due out May 6th on Domino Recordings. If that’s not enough, their band bio comes in the form of a Q&A with St. Vincent’s Annie Clark on their website. Talk about a co-sign.

This Saturday night Vancouver punk-rockers White Lung will return to New York for a sold out performance at Baby’s All Right. It’s a release show of sorts for their new album Paradise, which comes out tomorrow via Domino Records.
The new record has a more polished and bigger sound in many ways, a little shinier around the edges but still hits every bit as hard as you’d expect from them. Their live show is always a wonderful ball of hectic energy, and I expect the show at Baby’s to be a glorious sweaty mess

White Lung – Below (Official Video)

“Below” is a song unlike anything that White Lung has ever done before, and it’s exhilarating because of it. It’s the unabashed anthem on Paradise, for the band’s upcoming third album, and unlike their previous two records, there’s no hardcore influences . Maybe the switch-up comes as a little less of a surprise after the relative lightness of their first two singles —Hungry and Kiss Me When I Bleed — but “Below” approaches another level altogether: that of the straight-up pop banger. When Mish Barber-Way’s voice soars out, “You know this means nothing if you go die alone,” it’s both a rousing call to do exactly the opposite of that and a crushing reminder that maybe that’s all we’re fated for. “A broken crystal carcass reflects in all the light/ I see it fading now but it’s so bright,so bright,” she continues as she beckons us to go down below with her, “back where the sea meets the ground.” This song taps into some visceral and primal feeling that I can’t exactly put my finger on, but it makes me want to listen to nothing else for as long as I live.

“I needed to try to do a ballad about glamorous women,” Barber-Way said. It’s a song about the preservation of glamour and beauty.”
Taken from the new album “Paradise”, coming May 6th on Domino Recordings.The new track comes attached to a video directed by Richard Bates Jr. that features the band playing to an almost-empty theater save for a few Marilyn Monroe impersonators, one of whom is model Anna Lynne McCord. White Lung plays for an audience of impersonators who come to the realization that they’ve betrayed themselves in the pursuit of fame,” Bates Jr. explained in a press release. “‘Below’ is a love-letter to influential female artists from the past.

White Lung already released two songs off their new album Paradise, which comes out next week, and now they’ve released a third track. Following the poppy “Hungry” and the ripping “Kiss When I Bleed,” they’ve got “Below,” one of the band’s slowest songs to date. Singer Mish Barber-Way calls it her “Stevie-Nicks-meets-Celine Dion ballad,” and it’s definitely adding to the idea that Paradise will be White Lung’s most diverse album yet. The song has a video starring Anna Lynne McCord (Nip/Tuck) and directed by Richard Bates Jr (Excision).

White Lung will be on tour soon including a sold-out NYC release show at Baby’s All Right the day after the album comes out

White Lung

White Lung have never pretended to be pure. The quartet are banshees, pummeling their demons with speeds and screams so loud and fast that masochism matures into pleasure. Despite this, in between soberingly honest anecdotes regarding body dysmorphia, substance abuse, and trauma, White Lung are romantic. In this style, “Kiss Me When I Bleed” explores the inherent relationship between desire and disgust. “But he’ll chew through the lies for me/ He’ll suck out your eyes for me/ And I do the same,” Mish Barber-Way sings, offering stronger descriptions of passion than your typical Nicholas Sparks fare. Ultimately, love, with its unexplainable grip, is horrifying.

Barber-Way has said that to escape her place of mental content, half of White Lung’s fourth record, Paradise, is written from the viewpoint of other people. In an interview with Annie Clark, she explained that “Kiss Me When I Bleed” is about a rich girl “who falls in love with a garbage man who lives in a trailer park.” Her love is tenacious, as is her willingness to transform her lifestyle. Visceral, unsettling images about giving birth and huffing gas in a trailer become a picture of routine domesticity. It’s difficult not to read the song as an allegory for Barber-Way herself, as she was recently married. Whatever the meaning, “Kiss Me When I Bleed” is full of bliss and hope, an atypical fairytale that digs into devotion with raised fists. Taken from the new album “Paradise”, coming May 6th on Domino Records.

White Lung Announce New LP Paradise, Share St. Vincent Q&A,

The first single from their second Domino release.

Canadian punk band White Lung have will release Paradise the follow-up to their excellent 2014 LP Deep Fantasy on May 6th via Domino Records. The announcement comes with a video for lead single ‘Hungry’, which features actress Amber Tambyln clinging to youth and beauty through a number of unconventional methods — like rubbing Bible pages on her face. The clip also features a cameo from Deafheaven lead singer George Clarke.

White Lung – Hungry (Official Video) Taken from the new album “Paradise”, coming May 6 on Domino.