Posts Tagged ‘Toronto’

Image may contain: 1 person

Land of Talk is singer/songwriter/ guitarist, Elizabeth Powell. All 11 songs on “Indistinct Conversations” were written by Elizabeth Powell (vocals/guitar/keys), and share the hallmarks of the Land of Talk sound: her silvery vocals; masterful, at times cacophonous guitar playing; and a stream-of-conscious lyricism—here perhaps at her most emotionally vulnerable and honest. Powell produced and arranged the tracks together with her bandmates Mark “Bucky” Wheaton (drums/keys) and Christopher McCarron (bass), and the trio recorded the album in a studio built by McCarron in Wheaton’s apartment basement.

“Indistinct Conversations” follows 2017’s acclaimed “Life After Youth”—at the time Land of Talk’s first album in seven years. The release saw praise from Pitchfork, Paste, The AV Club, and NPR Music, among others, with its singles earning additional highlights from The FADER, NPR Music’s All Songs Considered, New York Magazine’s Vulture, Stereogum, Brooklyn Vegan, Bandcamp, WXPN, and more.

http://

Releases July 31st, 2020

All songs written by Elizabeth Powell

Vocals/Guitars/Keys: Elizabeth Powell
Drums/Keys: Mark “Bucky” Wheaton
Bass: Christopher McCarron
All songs produced and arranged by Elizabeth Powell, Mark “Bucky” Wheaton, and Christopher McCarron

No photo description available.

Image may contain: 4 people, people sitting

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.

http://

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”

Image may contain: 1 person

Hannah Georgas is back with a new track “Same Mistakes”, produced by The National’s Aaron Dessner. This is the second single from Georgas in 2020, and the second to be produced by Dessner, after March’s “That Emotion”.

Georgas says of the new offering, “Over the years I’ve been recognising patterns and habits I’ve created in order to protect myself in situations that are difficult. I’m becoming more aware of how much my upbringing has had an affect on me. This song was inspired by learning how to accept the past and recognise when things come up and trying to learn to from them.” It’s sweet, solemn and soulful confession from the stars, “Same Mistakes” is modern melancholia and the beaming brand-new single from Toronto’s Hannah Georgas. The track was produced by The National’s Aaron Dessner, who also plays on it. Out care of Brassland, you can find streaming and download links for this right here, and it’s available from her Bandcamp page, too.

She adds of working with Dessner on the song, “Aaron and I tried a couple of versions of it before we found this one. I originally wrote it on guitar and I ended up finding a different arrangement for it on the piano. Towards the end of my time with Aaron, we re-recorded this – tracking piano and vocals first. He came up with a repetitive bass line and drum loop. He started playing these beautiful guitar slide parts that felt like whale calls. We were recording it in the evening and I remember listening and looking out the window and seeing a beautiful bright moon and clear dark sky. It was a really memorable and magical moment.”

Her forthcoming LP, is yet to be announced, will be her first since 2016’s For Evelyn. Hannah Georgas’ “Same Mistakes” single is out now.

Image may contain: 1 person

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

Image may contain: 2 people, people smiling, people on stage

It’s been three years since Dilly Dally released their acclaimed debut record, ‘Sore,’ and in that time, the Toronto rockers managed to tour the world and take the press by storm, only to nearly call it quits and walk away forever. Rising from the ashes with more power and conviction than ever before, the band’s new album is, appropriately enough, titled “Heaven”, and it’s a fierce, fiery ode to optimism, a distortion-soaked battle cry for hope and beauty in a world of darkness and doubt. Monks describes the songs as coping mechanisms, and the collection does indeed form something of a survival kit for hard times, but even more than that, it’s a declaration of faith in the power of music and a burning reminder that we need not wait until the afterlife for things to get better.

Monks and guitarist Liz Ball formed the band after bonding over a shared passion for explosive, grungy rock and roll in high school, and the two have been inseparable and unwavering in their vision ever since. By the time they recorded their debut, Monks and Ball had fleshed out the line-up with bassist Jimmy Tony and drummer Benjamin Reinhartz and hit a blistering stride that floored critics on both sides of the Atlantic.

For an entire year, Monks wrote alone in her bedroom every single day on a white Flying V guitar, starting first with moody drones and noise beds run through her pedal array before warming up her voice and allowing words to flow freely from her subconscious. Band members began showing up once a week to help Monks refine the material she was channeling, honing in on taut, lean structures that cut straight to the heart of things. Producer Rob Schnapf (Elliott Smith, Beck) encouraged the band to lean into the unique space their music occupies and be unapologetically themselves. Rather than smooth out the rough edges, he highlighted them, drawing every potent ounce of energy from the foursome’s swampy tones, raspy vocals, and volatile rhythm section.

Heaven opens with the dreamy “I Feel Free,” which begins as a floating, untethered soundscape before transforming into a soaring anthem. It’s an ideal entry point for an album that aims to clean the slate, with Monks promising “We’ll start it again / In a moment of silence” as she finds peace through letting go. While the music is undeniably ferocious, there’s uplift woven into the fabric of every track. The inexorable “Believe” insists on self-confidence, while the driving “Sober Motel” celebrates the lucidity a clear mind, and the lilting “Sorry Ur Mad” makes a case for releasing yourself from the prisons of anger and resentment. Escape is a frequent goal—from the bruising “Marijuana” to the epic queer tragedy of “Bad Biology”—but it ultimately solves very little, at least in any permanent way, and so the album carves out its own atheistic religion to get through the day, a faith that validates our pain as real and valid but responds with a beaming light of hope (and maybe a little bit of weed).

“Sober Motel” from Dilly Dally’s new album ‘Heaven’ out September 14th, 2018.

PUP – ” Anaphylaxis “

Posted: April 28, 2020 in ALBUMS, MUSIC
Tags: , ,

Image may contain: 1 person, indoor

PUP is serving up a slightly different thesis on the flying insects. “Anaphylaxis” is yet another anxiety attack from the Toronto punks, this time focusing on the panic at the thought of a fatal bee sting—and the comedy of this irrational fear in retrospect.

“I got the idea for the song when I was at my partner’s cottage and her cousin got stung by a bee and his whole head started to swell up,” vocalist Stefan Babcock shared in a press statement. “His wife, although she was concerned, also thought it was pretty hilarious and started making fun of him even as they were headed to the hospital. He ended up being totally fine, but it was just funny to watch him freaking out and her just lighting him up at the same time. It reminded me of all the times I’ve started panicking for whatever reason and was convinced I was dying and the world was ending and no one would take me seriously.”

The claymation video for the track, created by Callum Scott-Dyson, is a pretty graphic depiction (well, it’s pretty tame in relation to the band’s live action videos) of the worst case scenario envisioned by the song’s narrator, pairing the song’s searing riffs and intense vocals with body horror imagery.

“Anaphylaxis” – New Song and Video! Hypochondria, paranoia, hallucinations, guitars that sound like bees! This song’s got it all!

Image may contain: 1 person

Grizzly Coast is the musical project of Toronto based indie-rock musician Alannah Kavanagh.

Dreamy guitar rock sensibilities combined with thoughtful lyricism evokes the feelings of longing and loneliness that you experience when you know you’re on the cusp of the end of a relationship. “Forever” is dynamic in its soundscape with an eclectic melody and powerful vocals. From the imaginative, yet highly-analytical mind of Alannah Kavanagh comes Grizzly Coast, the Toronto-based indie rock project with heavy-hitting instrumentation that tears up the stage and heavy-lifting lyrical narratives that compel you to think deeper.

Formerly performing as an acoustic singer-songwriter, Grizzly Coast wears her expansion into full-band territory well, having toured her powerful and effervescent live show throughout Ontario and Alberta, including opening slots for Fast Romantics, Begonia, and Exclaim! magazine’s Class of 2020. Grizzly Coast blends her trademark thoughtful lyricism with dreamy guitar rock sensibilities on her singles Half-Light Boy and High-Functioning, and is releasing her debut EP this spring.

Band Members
Alannah Kavanagh – Vocals, guitar, keys
Jacqueline Tucci – Guitar
Pavel Soltys – Bass
Dakota Wotton- Drums

Image may contain: 3 people, outdoor

You may not know Kiwi Jr., but you’re probably more than familiar with the sensations their music brings about. They might sound like all your favorite 1990s and 2010s indie bands, but you really can’t beat guitar-pop if they’ve got the gratifying hooks—and Kiwi Jr. deliver those goods and more. Their debut album, Football Money, is lyrically amusing and melodically euphoric—what more could you want from a band like this?

Just when you think you have heard every catchy hook laden song in pop history and believe there is nothing left in the tank in 2020 songs burn bright and all sparkly on tracks that make the hairs on the top of your ears reverberate like antennas.”.

Toronto’s Kiwi Jr. are probably sick of Pavement comparisons at this point, but it’s hard to listen to their excellent 2019 album, “Football Money”, and not think of Stephen Malkmus’ old band at least a little, given the slacker pop jams and singer/guitarist Jeremy Gaudet attitude-heavy delivery. But Kiwi Jr. bring to the proceedings their own bouncy pop style, more than a little Britpop flair, and style (and hooks) for miles and miles. Having just given Football Money a U.S. release in January.

http://

The Band

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

‘Football Money’ LP out now via Persona Non Grata

Dana Gavanski by Tess Roby

Dana Gavanski today announces her debut album Yesterday Is Gone, out 27th March. To mark the announce, and following on from her BBC 6Music A-listed single ‘Catch’, Dana is sharing her new single ‘Good Instead of Bad’.

Speaking about the meaning of the song, Dana explains “it’s about reflecting on the end of a relationship and how quickly things change. The desire to make up for everything that wasn’t done or wasn’t done right. The muddiness of breaking up, and not knowing if it’s the right decision. Not saying the right things, not being able to express the complexity of what we’re feeling. Things change and that’s that – not being able to turn back and undo a bad move. It’s an attempt to see from the other’s perspective and understand how hard it is for them as well. Reflecting on the intractability of certain decisions.”

Yesterday Is Gone is a co-production between Dana, Toronto-based musician Sam Gleason, and Mike Lindsay of Tunng and LUMP. On the title track, Dana Gavanski sings ‘I’m learning how to say goodbye / to let you go and face the tide / to wrap my feelings in a song’. To wrap her feelings in a song: this is the task Dana has dedicated herself to with this record. By turns break-up album, project of curiosity, and, as Dana puts it, “a reckoning with myself”, Yesterday Is Gone is her attempt to “learn to say what I feel and feel what I say” – an album of longing and devotion to longing, and of the uncertainty that arises from learning about oneself, of pushing boundaries, falling hard, and getting back up.

“Often we have to go a little far in one direction to learn something about ourselves,” Dana says. The months of solitary writing and self-doubt testify to this, but they’ve led to Yesterday Is Gone: an optimistic, steely-eyed gaze into the future.

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:

http://

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