Posts Tagged ‘Quebec’

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Montreal’s Yves Jarvis follows up of last year album with his first new release of 2020, in the breezy, softly lilting new track, “Victim“. Jarvis’ light touch belies the song’s heavier, more harrowing subject matter, which he says reflects negotiating “a tightrope walk between victor and victim”. Beautiful, affecting stuff, and hopefully a harbinger of a larger release from Yves Jarvis sometime in the near future. On the heels of his gorgeous new single from last month, Montreal’s Yves Jarvis shares another one from his just announced new full-length, coming this fall. Sundry Rock Song Stock is out September 25th on ANTI- Records.

“Sundry Rock Song Stock’ is my upcoming album out on September 25th and on Vinyl November 13th.

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Releases September 25th, 2020

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Ghostly Kisses is the dreamy pop music of singer songwriter Margaux Sauvé. Today is the release of “Never Let Me Go” EP. We’ve put a lot of work in these songs, we explored ways that we never did before. The music is now yours! , Thank you to everyone involved.

Composed mainly on her travels, “Never Let Me Go” is a 22-minute concentrate of dreamy, intimate and emotionally charged music. Margaux Sauvé called on Louis-Étienne Santais for the production, with the collaboration of the producer and engineer of his Alex Ouzilleau.
She details each of the pieces of her EP.

Call My Name
For Call My Name, Louis Étienne and I wanted to explore more organic sounds and feel human depth. Drums, a string quartet, electric guitar and harp were recorded to add a greater dimension to the piece, cinematic sounds and a little oriental touch.

Lydian
I wrote Lydian more than two years ago. She talks about following her instincts, listening to an idea, pursuing her dreams. Making music in life as a career is an idea that grew in my mind for several years before becoming clear. The moment I realized it was a great relief. This song is about that moment.

Barcelona Boy
Louis-Étienne and I were in Barcelona during the Catalan crisis in 2017. One evening there were a lot of protests outside and we decided to stay in our apartment and not go out. We always travel with my little Yamaha keyboard reface CP and that evening we started playing in the apartment. That’s where Barcelona Boy started.

Where Do Lovers Go?
Where Do Lovers Go? Talk about my last breakup. For several months, I was in a kind of denial and I tried to convince myself that the situation could get better and that we could reconcile. Where Do Lovers Go expresses the last attempt at reconciliation and negotiation, the desire to find the other halfway.

Stay
The song Stay took me a long time to write. She also talks about this latest breakup, but more about the moment I finally accepted that despite the sadness, it couldn’t work.

Ghostly Kisses’ Never Let Me Go will be available on all platforms on June 5th. In a moment of great challenges and pain, I wish that we could all be kind to one another

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Released June 5th, 2020

Composition: Margaux Sauvé, Louis-Étienne Santais
Lyrics: Margaux Sauvé, Vann Delorey

Special thanks to the musicians who played on the album.
String quartet: Caroline Béchard, Jany Fradette, Marie-Claude Perron, Suzanne Villeneuve
Harp: Marie-Rose Lehoux
Guitar: Antoine Angers
Mandoline, Acoustic Guitar: Charles-Auguste Lehoux
Drum: Alex Kirouac

Leif Vollebekk: Off the Grid

The best drum machine always is a human being,” says Leif Vollebekk, underscoring the organic aesthetic of his fourth LP. With the soulful New Ways, the Montreal native aimed to escape “the grid” of modern music production: rejecting rigid metronomes in favor of the wavering pulse of a drummer, recording live to tape instead of endlessly editing in software. “The computer or the click track is a robot, so you’re working within robotic time,” he reflects. “You can be human within it, but I want the human to be on the outside.” New Ways exudes humanity. Over the fluid, oceanic piano chords of “Never Be Back,” Vollebekk alternates between a raspy Ray Charles moan and rapid-fire Kendrick Lamar triplet rhymes—occasionally just ahead of or behind the beat, depending on where the groove takes him. “It’s basically only about the feel,” he says, noting the record’s discarded placeholder title, The Way That You Feel. Given how gracefully these songs flow, it’s surprising to learn the album nearly didn’t exist.

Discouraged by the collective shrug that greeted his first two LPs, a pair of folky projects more blatantly inspired by his formative hero Bob Dylan, Vollebekk contemplated pivoting to another career altogether: “I thought, ‘If this doesn’t work, I might hang it up for a little while,’” he recalls. “Nobody needs another record, and I don’t need to keep recording when people aren’t coming to the shows.” He decided to go out on his own terms: Ignoring any kind of outside perceptions of his music, he wound up crafting his 2017 breakout, Twin Solitude, a set of “chill” ballads that generated an influx of Spotify streams, TV syncs and a shortlist nod for the prestigious Polaris Music Prize. New Ways, then, was built on the foundation of that goodwill. He wanted to “connect with people,” to be less meditative and “solipsistic.” So he used a bare-bones recording process that broke down almost every barrier between artist and listener: In the studio, he played and sang accompanied by a live drummer, later embellishing the tracks with unobtrusive bass and strings to “shape” the atmosphere. Having “cleansed his palette” of balladry, he moved away from “ethereal” sounds into a vibe slightly more upbeat, tighter sounding and direct. “For the longest time, I thought I wasn’t supposed to have feel,” Vollebekk says, reflecting on his sonic evolution. Now that feel is everything.

what we say in private

Montreal, Quebec-based musician Alexandra Levy — who records and performs as Ada Lea— is also a painter and visual artist, and traces of her many creative abilities run throughout her debut album “what we say in private”, a beautifully colorful collection of profound pop songs to be released later this summer via Saddle Creek Records .

To her, music and visual art are different vessels for communicating similar ideas. Levy’s appreciation of female artists — including the writer Sylvia Plath, visual artists Frida Kahlo and Eva Hesse, and musicians Karen Dalton and Nina Simone — provides inspiration and guidance, informing her use of multiple artforms as tools for self-expression. Whether it’s creating music or art, “It’s a world that I can build around me and sit inside,”she says.Through all her work, Levy explores the concept of womanhood as it feels and looks to her, as well as love and how it transforms over time. She doesn’t shy away from exploring uncomfortable and painful emotions, either. With the brightness of love, strength, and hope contrasted with the darkness of loss, suffering, isolation, and abandonment, the Ada Lea album what we say in private is a varied and vivid record that constantly seems to shift in the light, bringing together all the intricate influences she’s collected over the years.

what we say in private began with a need to document the ending of an important romantic relationship. Following a tormented period of staying up all night (sometimes days at a time), frantically painting or writing songs as a means of coping, she journalled for 180 days in the hope of finding herself again. She conducted this period of analysis and introspection in private, like most of her creative pursuits, and the process eventually resulted in a rebirth: a rediscovery of self and a new sense of freedom and self-acceptance.

These chaotic feelings and the resulting catharsis are deeply felt in the final recording of what we say in private. Levy wanted the Ada Lea album to feel like a journal entry from those 180 days as she cycled through emotions. Throughout, she expresses feelings and thoughts that all humans experience behind closed doors and alone, but are conditioned to keep to themselves. This is reflected in the lyrics, the artwork, and the songs — together forming a public exhibition of deeply private matter. The album is a collection of raw, confessional, and at times messy emotions, presented to a society that can fear such realness, often favouring the uncomplicated, curated, and manicured.

Levy delivers something very special on what we say in private. Bold and daring, but also gentle and vulnerable, the album finds new ways of presenting its vision from one inspired idea to the next, a big leap into the wider world with passion and exuberance.

Released: July 19th, 2019

woman, here

The way we talk about gender in the music business hasn’t seemed to progress at all over time. “Female-fronted” is still the way bands get pitched to me from publicists, while “all-female” is too frequently cited as something of a gimmick to set a typical rock act apart “Woman Here” is practically what these exploitational press releases promise, though Ada Lea’s new single “woman, here” is the quiet inverse to this declaration, a modest, mildly wonky guitar-driven number in which the songwriter recognizes in the chorus that “[she] can’t be a woman here” (nor “over there”)—whether she’s referring to her industry or anywhere else seems irrelevant.

Less than a year after the release of her highly-acclaimed debut album, “what we say in private”, Montreal, Quebec-based musician Alexandra Levy – who records and performs as Ada Lea – returns in early 2020 with a new four-song EP which acts as a bridge between what’s come before and where she means to go next.

A mix of both the old and new, the “woman, here” EP takes its name from a brand new composition recorded recently in LA with Marshall Vore ( Phoebe Bridgers, Better Oblivion Community Center). Perhaps her most direct work to-date, the new song offers a beautiful glimpse into the bold new chapter of Ada Lea. “I went to LA and recorded the song in a day and a half with Marshall,” Levy says of the song. “The writing and recording of this song happened like magic.”

Aside from the title-track, which is shared here alongside a raw and captivating demo version, the  woman, here EP also offers two previously-unheard recordings from the what we say in private sessions, in the form of the reflective and melancholy ‘perfect world’, and the sparse and dream-like ‘jade’, which was inspired by a John Updike short story.

A fascinating glimpse behind the curtain, Levy says that the new EP should be seen as being “like a second cousin” to  what we say in private. “We included the songs that we still felt close to,” she explains, “but didn’t seem to have a place on the album.”

Ada Lea – “woman, here” from the EP woman, here, Out 27/03/2020

Montreal’s Elephant Stone was formed in 2009 by sitarist/bassist Rishi Dhir. As one of the most highly sought out sitar players in the international psych scene, he has recorded, performed and toured with Beck, the Black Angels, Brian Jonestown Massacre, the Horrors, and many more.

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POTTERY – ” No. 1 “

Posted: December 12, 2019 in ALBUMS, MUSIC
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After a solid performance at this year’s South By Southwest and tours opening for Parquet Courts, Viagra Boys, Oh Sees and Fontaines D.C., Montreal five-piece Pottery released their debut EP No. 1, recorded in just over two nights and cut live to tape. Crediting Orange Juice, Josef K and DEVO as influences, Pottery blend the whimsical, danceable and the arty leanings of some of pop and punk’s greatest groups. The instrumental “Smooth Operator” is a slinky opener, evolving from a cool and collected bluesy strut to an anxious punk freakout. Another somewhat rootsy tune “Hank Williams” is unexpected, but it’s one of the peppiest country-punk tracks since Iceage stomper “The Lord’s Favorite.” “The Craft” finds their eccentric post-punk at its sharpest and most cartoonish. Their wonky percussion, frisky vocal snarls and lyrics of life’s rat race result in freakish art-pop profundity

The chorus to “Hank Williams,” Pottery’s debut single, is “Hank Williams does speed for the first time.” Apparently, a musician trying out for the band said that’s what the song sounded like, and it’s as good a way as any to describe their sound — not exactly country, but old-school psych-pop and post-punk spiked with a shot of decidedly modern creative energy. Recorded two years ago in a two-day marathon session, their debut EP No. 1 is a vibrant snapshot of musical clay taking shape. And if their live show is any indication, their next release is gonna be a sweet-ass vase.

 

“The Craft” from ‘No. 1’ EP out now on Partisan Records and Royal Mountain Records.

It’s hard to classify the sounds of Ada Lea’s “What We Say in Private”, as it mimics the playful intensity of Angel Olsen’s “Shut Up Kiss Me” on opener “mercury” before unraveling into Big Thief–like existential folk on the ensuing “Wild Heart.” The reason for this, perhaps, is Alexandra Levy’s scrapped plan to split the record down the middle between tracks she identified as “sun songs” and those she classified as “moon songs.” The result is a blending of the two on songs like “The Party,” which begins with an inherently lunar acoustic tranquility before the chorus’s glowing ambiance sets in around the two minute mark. More experimental elements shine through across the album via spoken-word postscripts, distorted vocal samples, ambient blips, and—her evident strong suit—lo-fi crescendos, for a truly unique feel.

Montreal, Quebec-based musician Alexandra Levy is also a painter and visual artist, and traces of her many creative abilities run throughout her debut album what we say in private, a beautifully colorful collection of profound pop songs. Throughout, she expresses feelings and thoughts that all humans experience behind closed doors and alone, but are conditioned to keep to themselves. This is reflected in the lyrics, the artwork, and the songs — together forming a public exhibition of deeply private matter. The album is a collection of raw, confessional, and at times messy emotions, presented to a society that can fear such realness, often favoring the uncomplicated, curated, and manicured.

“The Montreal singer-songwriter’s debut album uses heartbreak as the springboard for an innovative brand of indie rock that’s both fiery and introspective.

Ada Lea, what we say in private (Saddle Creek)

This week Wolf Parade returned with a brand new single, “Against the Day.” It was shared via a video for the track. It’s the band’s first new song since their 2017 reunion album Cry Cry Cry. The song is out now via Sub Pop Records and you can watch the video below. “Against the Day” features alternating vocals between Dan Boeckner and Spencer Krug and Scorpion Dagger directed the video.

Band Members
Arlen Thompson
Dan Boeckner
Spencer Krug

 

La Force will be performing at SXSW 2019

Ariel Engle is a recent addition to the Canadian supergroup Broken Social Scene, filling a role once held by Leslie Feist. Listen to her work as La Force, and you’ll hear one clear reason the band thought of her to fill the bill: She’s got that same smoky, haunting vibe, landing somewhere between detachment and almost discomfiting intimacy. To delve into “Lucky One” is to hang on her every lushly appointed, impeccably controlled word.

The music of La Force is nocturnal electronic pop, featuring Engle’s enchanting vocals over dynamic production.

Born out of the culmination of AroarA – her musical project with husband and Broken Social Scene bandmate Andrew Whiteman La Force is a deep reflection on the magic and dismantlement of motherhood; the never-ending tightrope walk of life, and death; and the re-discovery of self.

Her first single “You Amaze Me” layers seductive melodies over restrained electronics. A love song to Whiteman, “You Amaze Me” defines the tender but powerful essence of La Force. Shaped with Warren Spicer of Plants & Animals, and featuring members of Suuns, Patrick Watson, and Broken Social Scene, “You Amaze Me” crystallizes the reverent, spiritual tone of Engle’s musical being. Borrowing its identity from the tarot card representing Strength, La Force captures the bold creative spirit of an undeniable voice.

Her presence resounds on Broken Social Scene’s 2017 album, Hug Of Thunder, lending fluid, commanding vocals to the oblique anthem “Stay Happy” and leaving an indelible mark on the collective’s rousing performances. Stepping up to the role first helmed by the immeasurable talent of Leslie Feist, Engle brings La Force’s singularity to the familial energy of Broken Social Scene.