For the past decade, Little Kid have quietly been one of Toronto’s most prolific bands, sharing spiritual perspectives of everyday experiences with cathartic, slow-burning folk
The town and the city, the loneliness offered by both, so different but so alike; an ache somewhere deep inside that can’t be replenished, that can’t be patched up forever. So we keep moving, both inside or out. Searching for a place that feels like home, where can hear the trains, and no the way the rain falls. Looking for answers, out where the boundaries bleed, among the lights at the edge of town that give way to the darkness surrounding. Answers we’re not even sure we’d recognise if we found them.
Little Kid was formed in the 2009. since then, they have self-recorded and self-released five albums.
The Band: Kenny Boothby – vocals, guitars, piano, organ, keyboards Paul Vroom – electric bass, upright bass, omnichord, background vocals Brodie Germain – drums, percussion, guitars, harmonica, keyboards, background vocals, lead vocals on “way past dark” Megan Lunn – vocals on most songs Aaron Powell – vocals on “a road in my mind”
Dana Gavanski is a singer/songwriter currently presiding residing in London.
As fierce as the inclement weather itself, the ethereal tones of Serbian-Canadian musician Dana Gavanski can stir a breeze and destroy like a storm. With her new covers EP Wind Songs Dana serendipitously brings focus back to her debut album, and shows an artist making the best of unfortunate circumstances and seeks comfort in the familiar strangers of her musical heroes.
The track list for Wind Songs will slowly be revealed over the coming months, kicking off with the official release of a cover teased back when Dana played her first session for Marc Riley on BBC 6 Music. “I Talk To The Wind” fit beautifully in Dana’s live shows around that time, and so when it came time for Dana to head back into the studio at the start of this year it became an obvious EP opener.
The record is a co-production between Dana, Toronto-based musician Sam Gleason, and Mike Lindsay of Tunng and Lump. While Sam helped Dana bring out the tunes, Mike’s input marked ‘the beginning of developing a sound that was closer to what I had in my head’. Though excited by the other elements of a song introduced during production, Dana and Mike were keen on ‘finding essential things, not overblowing, keeping things bare and letting the elements speak for themselves’. Not that the sheer variety of sounds and instruments didn’t overwhelm.
The album shapeshifted as it passed through the hands of Dana, Sam, and Mike, taking on different tastes, feelings, and visions. When Dana performed the songs with a band, they found new form again. She was intrigued by performers like David Bowie and Aldous Harding, who inhabit different personalities on stage, physically tuning themselves to their music. ‘
On Tuesday Hannah Georgas announced a new album, the Aaron Dessner-produced “All That Emotion”, and shared a new song from it, “Dreams.” The album is due September 4th via Brassland and Arts & Crafts.
“Dreams” is the third collaborative single between Georgas and Dessner, after “That Emotion” and “Same Mistakes.” All three songs are featured on All That Emotion.
Georgas had this to say about “Dreams” in a press release: “In my past, I have let my insecurities play into relationships and have pushed people away because I have felt like I’m not deserving of love. This song explores the idea of breaking down those barriers of insecurity and being more open.”
Georgas began working on All That Emotion about a year after her 2016 album, For Evelyn.
She had this to say about the album in the press release: “I have been thinking about what this album represents to me and it is resilience. It’s about finding hope and a way out the other side of tough situations. The hardships we go through make us grow into stronger people. The album is about healing, self reflection and getting up again at the end of the day.”
Georgas wrote All That Emotion in 2017 in her Toronto apartment and during a “month-long retreat” in Los Angeles. She started recording the album in 2018 at Dessner’s upstate New York Studio.
“Before each session, I would make the long drive from Toronto to Hudson Valley in Upstate New York.” Georgas says in the press release. “It was really special getting the opportunity to work in such a remote space with Aaron and Jon and I was always itching to get back whenever we had breaks. At the same time, I appreciated the space in between and coming back with fresh ears…. Aaron and I agreed the production needed to bring out the truth in my voice. During these sessions we musically found a new depth and, vocally, a delivery that was more raw and expressive, allowing the emotional texture of each song to shine through.”
Order new album “All That Emotion” Produced by Aaron Dessner Out September 4th, 2020
Dreamy indie folk outfit Little Kid has released an endearing new single “All Night (Golden Ring).” The soothing track comes ahead of their next studio album Transfiguration Highway which is slated for release on July 3rd. It also comes with a gorgeous matching visual that shows a serene landscape across multiple planes. “All Night (Golden Ring)” is a gorgeous duet from Kenny Boothby and Megan Lunn, who both bring strong vocals that honour their folk predecessors in a modern context. This latest effort is a poignant one that radiates comfort and reassurance amidst a chaotic year.
“All Night (Golden Ring)” is an homage and exploration to the relationship of Tammy Wynette and George Jones, a legendary yet complicated power couple from country music history. In the Little Kid iteration of the duet, Kenny and Megan croon softly over a soft 3/4 time country instrumental. The slow pace allows the rich piano chords, gentle guitar plucks, and warm harmonica tones to properly brew. Vocally, Megan and Kenny are a match made in heaven, as their voices harmonize elegantly together while the two sing about the need to create in the midst of emotional hardship. The track progresses to bring in some joyful whistles and uplifting organ chords, climaxing with a truly anthemic outro instrumental.
“All Night (Golden Ring)” takes its time excellently, allowing each intricate layer to shine for itself in fleeting moments. Its a true stop and smell the flowers kind of track, grounding and warming through and through. The meditative peace at work here is a rare gem.
When Land of Talk resurfaced after seven years away in 2017, bandleader Elizabeth Powell’s first single back was “This Time,” a song that began with the line, “I don’t want to waste it, this time.” And Powell made the most of her comeback: Life After Youth was a stunning record, a personal collection of upbeat, dreamy songs that easily ranks as her best to date. Thank goodness we don’t have to wait another seven years. Just three years removed from Life After Youth, Land of Talk are back with their fourth album since 2008,
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.
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
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.
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’sHannah 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.
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
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 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!
The Fat Angel Sings 