Posts Tagged ‘Weaves’

Weaves released their second album, Wide Open, earlier this month, and it’s a huge step forward for the Toronto four-piece. With blasts of Americana, indie rock, punk, and noise rock all tied together with Jasmyn Burke’s uniqe alto, Wide Open is destined for best-of lists by year’s end. Here’s “Walkaway.” 

Bruce Springsteen was born to run, but Weaves would rather walk away. “Walkaway,” is the newest song from the Toronto art rockers and the next single from their forthcoming album Wide Open, certainly channels the Boss in its anthemic spirit, but it remains loose and vulnerable in a way that is all Weaves‘ own.

“Walkaway” is a more straightforward song than one might expect from Weaves; on its self-titled debut released last June, the band displayed a penchant for going down thrilling guitar-rabbit holes, such as on “Candy” and “Human.” Morgan Waters‘ nimble guitar work does feature on “Walkaway,” but the guitar lines and overall instrumentation — with Zach Bines on bass and Spencer Cole on drums — function more as structural support for singer Jasmyn Burke.

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In just five short years, Weaves have become one of Canada’s most renowned indie rock bands, their debut full-length album earning prestigious nominations for both the Polaris Music Prize and the Juno Awards. Little more than a year later, the Toronto quartet returns with Wide Open, a contemplative, expertly-crafted follow-up that greatly expands the band’s sonic spectrum without abandoning their core pop punk ethos.

The band has referred to their latest offering as its “Americana” record, a comparison that starts to make sense when it’s not taken literally. Indeed, Wide Open is a record that gathers disparate influences and styles, including a variety of roots-indebted sounds, and merges them into a surprisingly cohesive whole: the infectious power pop of “Walkaway,” the album’s centerpiece; the experimental jazz stylings of “Scream,” which features Tanya Tagaq; the Tom Petty-esque heartland rock of “Grass;” and the gentle bedroom folk that begins “Puddle.”

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Lead singer Jasmyn Burke has also sharpened her focus as a songwriter, which is most apparent on socially-conscious anthems like “Wide Open” and “Scream.” “We are living in a time when misery is just common circumstance,” she sings on the latter. “I am frozen, I’m sublime, I am searching for some fresh watermelons.” Whether they’re incorporating fresh sounds or crafting newly-inspired punk didactics, Weaves has never sounded as self-assured, or as resolutely urgent, as they do on Wide Open.

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The Weather Station  –  The Weather Station

On her fourth (and tellingly self-titled) album as The Weather Station, Tamara Lindeman reinvents, and more deeply roots, her extraordinary, acclaimed songcraft, framing her precisely detailed, exquisitely wrought prose-poem narratives in bolder and more cinematic musical settings. The result is her most sonically direct and emotionally candid statement to date. The most fully realized statement to date from Toronto songwriter Tamara Lindeman. Self-titled and self-produced, the album unearths a vital new energy from Lindeman’s acclaimed songwriting practice, marrying it to a bold new sense of confidence.

CD – Digipack.

LP – Deluxe 140 Gram virgin vinyl LP features heavy-duty board jacket with full lyrics, full-colour inner sleeve, and high-res Download Card.

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Yak  –  All I Need Is Some Sunshine In My Life

Limited to just 300 Copies on 7″ Vinyl. Renowned for the ferocious intensity of their live shows, Yak are back with the new single All I Need Is Some Sunshine In My Life. Recorded with Tame Impala’s Jay Gum Watson in Kevin Parker’s studio in Perth, the track is Yak’s claustrophobic interpretation of The Dixie Nightingale’s cult gospel classic. “A loved one departed and on the way out sent me this song, so we ended up recording a delirious version in the blistering heat of Perth,” says Yak frontman Oli Burslem. “I love the original Dixie Nightingales’ version, it reminds me of songs like Wendy Rene’s ‘After Laughter’, which I imagined was recorded in the same studio with maybe even the same people playing.” On the b-side is Yak’s take on Lee Hazelwood’s Wait and See.

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Weaves  –  Wide Open

It’s been almost exactly a year since Weaves released their acclaimed self-titled debut LP, lauded internationally for its exuberant approach to guitar pop and recently nominated for this year’s Polaris Prize. It was a whirlwind year for the band who spent a nearly uninterrupted 12 months on the road, playing festivals across the globe, and touring with their fellow 2016 breakout artists Sunflower Bean and Mitski. Propelled forward by their own momentum, which they corralled like the barely contained energy of their explosive live sets, it was a life changing-experience, and upon returning home to Toronto the band’s leaders, singer Jasmyn Burke and guitarist Morgan Waters, found themselves possessed by an irrepressible burst of creative energy.

Burke and Waters half-jokingly refer to the album as their “Americana” record, and while the statement is made with tongues placed firmly in cheeks, the album, without discarding the punky pyrotechnics that defined their first LP, displays an expansive and anthemic quality in songs like the opener #53 and the sweeping Walkaway, that makes the joke ring half true. The record sees Burke extend herself as a performer – moving more frequently to the center of arrangements and revealing new facets of her unique and powerful singing voice – as the band find ways to interpret the growing diversity of her expression. From the glammy Saturday night strut of Slicked, to the stripped-down, pedal steel abetted torch song Wide Open, to the searing Scream, a warped duet with Inuit throat singer Tanya Tagaq that likely constitutes Weaves’ wildest recording to date, the album captures a band for whom exploration is a compulsion making a self-assured step into the unknown.

LP+ – Limited White Vinyl housed in Gatefold Sleeve with Download.

In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized
processes in producing music. Even so, the prevailing assumption is that musicians working
under this broad umbrella must be inspired by concepts equally as electrified as their
equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this
notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites
naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough Ears, chronicles four defining
cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself,
existing in an unwitting nirvana. Smith’s music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,”
which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness
here, but it’s elevated by an undertone of gravity into something compelling and majestic that is
fast becoming Smith’s watermark. The emotional focus of side two is the vital but under reported
moment in early youth when we cross the threshold into self awareness. The subject is profound
enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s
ambition to broach subtler and deeper subjects than the average composer. This side offers up
another highlight in the form of In The World But Not Of The World which serves its subject well
with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end
pulse. Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill. This side ends with the exploratory album cut Who I Am and Why I Am Where I Am recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving. Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here. Alan Watts, another logical inspiration of Smith’s, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. “You’re not there unless you’re recorded,” Watts muses, “if you shout, and it doesn’t come back and echo, it didn’t happen.” The Kid speaks to this idea directly. As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.
2LP – Double Black Vinyl.
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Yumi Zouma –  Willowbank

Following last year’s lauded debut LP, Yumi Zouma return to Cascine with their sophomore album, Willowbank, a collection of dreamy, disco-indebted pop tracks. The album’s namesake is a wildlife reserve in the band’s home base of Christchurch, NZ, a community on the mend in the wake of a devastating earthquake in 2011. The Yumis, whose four members are scattered across the globe, reunited in New Zealand to write and record Willowbank. The result is an album that channels both the tight-knit togetherness and the unparalleled beauty of their native land. Willowbank is also some of Yumi Zouma’s best work to date, refining their effortless, windswept songwriting sensibility, while also exploring a new pallet of sounds and textures.

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Cults  –  Offering

Cults made their name in black and white. A pair of film school dropouts who burst onto the New York scene with a perfect single and a darkly retro sound, the band’s first two albums play like noirish documentaries on a lost girl group. Four years after Static, Cults returns with Offering, an exciting collection of songs bursting with heart, confidence, shimmering melody and buzzing life. The time off has given the band new energy and new ideas–Cults are working in Technicolour now. The core duo remains the same. Madeline Follin and Brian Oblivion, both 28, still live in New York. They still finish each other’s thoughts and still share a love of catchy music and black humor (this is a band that sampled cult leader Jim Jones on their first hit). But the pair have put some blood on the tracks since their breakout debut: they’ve toured the world, built a devoted audience, survived a breakup, grown up in green rooms, parted ways with their old label and made a home of their new one.

Pains album cover

The Pains of Being Pure at Heart – The Echo Of Pleasure

The Pains of Being Pure at Heart have long set the benchmark for big-hearted, idealistic pop songs. With The Echo of Pleasure, The Pains push beyond their many inspirations and embrace their role as indiepop heroes in their own right. Showcasing the deft songwriting of frontman Kip Berman, The Pains‘ fourth album is their most confident and accomplished. After three critically-acclaimed records, 2009’s The Pains of Being Pure at Heart, 2011’s Belong and 2014’s Days of Abandon received praise from The New York Times, Pitchfork, The Guardian and Rolling Stone, they have put together a collection of songs that possess a timeless grandeur, deeper and more satisfying than anything the band has done since their iconic debut.

It’s an album that reflects the band’s most joyous moments while maintaining Berman’s candid and critical lyricism, free of the self-abasing insecurity of youth. “The album is loving. The music is heavier, more expansive,” he says. “To me, songs about love shouldn’t be thought of as light. Love is big- sometimes it’s emphatic, overwhelming or simple – other times it’s tense, anxious or just exhausting. But at its best, it makes you want to be something better.”

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Miracle Legion  –  “Annulment”

First ever live album by Miracle Legion, Annulment was recorded during the band’s 2016 US reunion tour. Most of the album comes from a show at Codfish Hollow, Iowa plus tracks from the Bellhouse, Brooklyn show. Double CD with 25 songs

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Richard Thompson – Acoustic Classics 2

A continuation of the Acoustic Classics series, this collection features acoustic renderings of classic songs from the Richard Thompson catalog, including some previously recorded by other singers, some only available in a band format, and some only existing as cover versions.

3LP – Triple Gatefold Vinyl comprising Acoustic Classics II and the Acoustic Rarities albums.

Weaves

Weaves “Wide Open,” the follow up to the Polaris Shortlisted, self-titled debut, will be out October 6th! 

You can pre-order vinyl and cd above. First 100 US vinyl pre-orders are blue haze colored vinyl. Limited edition . Buzz Records is releasing the album in Canada and Memphis Industries rest of world. Weaves have said

“We debuted a new song at last night’s Polaris Music Prize gala alongside Tanya Tagaq – it’s called Scream”.

We don’t want to say featuring Tanya Tagaq because she is a force! A friend! And a mentor! This song was written out of necessity in a way. Feeling lost in the world and just releasing negative energy and Tanya just made the experience of creating Scream so special. She is such a beautiful, raw artist. So happy to have collaborated with her on this one.

The lineup: Jasmyn Burke (vocals), Morgan Waters (guitar), Zach Bines (bass), Spencer Cole (drums).

Weaves are a fantastic, noisy, and infectious rock band based in Toronto, Ontario. In 2016, Buzz Records released Weaves self titled debut album and it went on to be regarded as one of the finest records to ever come out of Toronto and was recently shortlisted for Canada’s top music prize . Singer and songwriter Jasmyn Burke, guitarist Morgan Waters, and drummer Spencer Cole, the band just announced that their follow-up record, “Wide Open” will be out October 6th,

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Weaves have announced a new album, Wide Open. It’s due to be released October 6th via Buzz, Kanine and Memphis Industries. Listen to the first song to be available, “#53,” a. In a press release, singer Jasmyn Burke said, “It felt right to try to represent my own experience in the world while knowing that everyone in my age group is poor or having a tough time with life in one way or another, so I was thinking about how to blow those feelings up into these kinds of songs. Blowing up a regular life into something like an anthem. In a way I was thinking about it like Bruce Springsteen, but in a lot of ways my experience of the world couldn’t be less like Bruce Springsteen’s.” They will be embarking on a tour beginning in August with stops throughout North America, then the UK, and Europe.

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#53 is the first single from our sophomore LP “Wide Open” out October 6th, 2017 via Buzz Records, Kanine Records, & Memphis Industries.

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There’s a humor at the heart of  Weaves sound that makes each song sound as if it’s smirking. But no matter how hard you search for it, that joke won’t reveal itself. On the Toronto outfit’s debut album,  they zip through the 11 art-rock tracks, each more sporadic and jolting than the last. On “Candy” and “One More”, guitarist Morgan Waters and drummer Spencer Cole create a delightful cacophony akin to Deerhoof. They throw in slide guitar, skip downbeats, and zig zag around traditional rhythm structures, accenting the genius side of insanity, even when relatively in row on “Human”. At the front of it all is Jasmyn Burke, elongating words on “Birds & Bees” or “Coo Coo” to complement the plunging bass. The four-piece constantly sound like they’re on the verge of exploding, a dozen colors of confetti prepped to shoot from their cores in a way that even the most familiar listener won’t expect.Image result

Come the end of the record, you start to figure out what it is they, and their songs, are smiling about. It’s a shared sense of energy amid a lack of structure, a grin at the unknown, a smile before leaping off a cliff. Weaves are creating pop that distorts its own intentions — and they’re as surprised by the songs’ twists as you are.

Weaves‘ self-titled album is out now

WEAVES – ” Live on KEXP “

Posted: November 22, 2016 in MUSIC
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New band of the week Weaves (No 99)

In a little over two short years, Weaves have gone from a collection of voice memos on Jasmyn Burke’s iPhone to establishing themselves as one of the most stridently individual acts to emerge from Toronto’s fertile and multifaceted DIY scene. Led by the collaborative efforts of Jasmyn Burke and Morgan Waters, the band have built a devoted audience while capturing the attention of the international media with a brand of ebullient, art-damaged pop music as difficult to categorize as it is to ignore.

The group began in a series of sessions in the bedroom of Water’s Chinatown apartment, where Waters and Burke would record increasingly elaborate demos built from Burke’s phone full of songs. They transitioned to a full band line up in late 2013, adding bassist Zach Bines and drummer Spencer Cole, and quickly set to work recording their debut EP which was released on Buzz Records in the summer of 2014. The EP made an immediate splash, garnering praise from Noisey, Rookie and Spin, and earning Weaves a “band to watch” tag from Rolling Stone. Glowing write ups of the band’s performances at that year’s CMJ from The Guardian and NME followed, cementing Weaves’ reputation as one of the year’s most exciting new bands.

Word continued to spread in 2015 with the release of their single “Tick,” ahead of the band’s first European tour, which included dates with Hinds, Dan Deacon and Pissed Jeans, and appearances at Glastonbury and Iceland Airwaves.

Weaves have been touring their debut LP for almost as long as they have been a band, the result is an album that traverses the band’s history, exploring every facet of their always adventurous approach to pop music and leaving no idea unexplored. Filled beyond bursting with hooks and possibilities, it’s the sound of a band propelled forward by the thrill of discovering the limits of their sound and gleefully pushing past them. “We’re always trying to push ourselves,” says Waters, “sometimes it feels like bands aren’t necessary, like they’re not the one’s pushing music forward, so I think we’re trying to hopefully prove that bands aren’t boring. If we are going to be a band and if we are going to do this guitar, bass and drums thing then we might as well see how much we can fuck it up.”

Weaves performing live in the KEXP studio. Recorded August 16, 2016.

Songs:
Birds & Bees
Sentence
Hulahoop
One More

WEAVES – ” One More “

Posted: September 14, 2016 in MUSIC
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Ahead of their upcoming self-titled debut LP, Weaves have shared their self-directed video for ‘One More’. Shot in New Mexico, with Jasmyn working a pink dressing gown and gold pom-poms it captures the visceral energy of the song and the band . There’s something nearly unhinged about Weaves‘ music. Some of that is in the frenetic guitar playing of Morgan Waters and the way it contrasts with the swaying-in-the-breeze feel of singer Jasmyn Burke. But then it can all turn upside-down in a hurry — the guitar becomes almost lyrical as Burke sings, All the while, the rhythm section jitters and shakes, or you may find Jasmyn Burke flat on the floor, singing toward the ceiling.

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A Toronto-based art and pop project, Weaves are a young band with just one EP and a debut album , That album has already become a favorite of mine: The group has an eagerness to try on new sounds while always remaining playful and quirky — sometimes loud, sometimes gentle and always a trip. Obe of the most interesting bands I’ve seen for awhile. The band performed two great set at End Of the Road Festival the second was a late night set probally one of the best of the festival.

WEAVES – ” Coo Coo “

Posted: September 14, 2016 in MUSIC
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This quirky pop band from Toronto reminds me of Micachu or tUnE-yArDs but less weird. Their debut EP is really good but they are even better live where charismatic singer Jasmyn Burke’s personality shines through. They were the best new band I saw last year. Also check out their 2016 self-titled LP on Buzz/Kanine/Memphis

One of the best things about Weaves is the way their music seems to deconstruct and rebuild standard rock tropes on the spot — “bent pop,” they call it. So it’s especially exciting to hear the Toronto take on straightforward hits, like their cover of a true classic, the Beatles’ “Help!” It’s a similarly fractured collection of squelches and sighs, one that exudes a different sort of desperation than we’re accustomed to from the Fab Four. They are a must see live catch them at Nottingham Bodega this saturday

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Weaves are:
Jasmyn Burke – vox
Morgan Waters – guitar
Spencer Cole – drums
Zach Bines – bass