Noisy punk duo Deathsticks recently released their first video as a band for their new song “Finger Food” off their yet to be released EP Deathsnacks.
Originally from Peterborough, guitarist Matt Post and drummer Laura Klinduch now call the nation’s capital home, and the Ottawa scene is certainly better for it. The video revolves around the band breaking vinyls and using them in various ways such as throwing them against the side of a house, smashing them with a hammer, flushing them down a toilet and using them as a drum sticks or cymbals. They also light three different candles with pictures of dogs on them, one by one, throughout the video to ultimately have them all lit on a coffee table. Not sure what it represents, if anything, but they are pretty cool candles.
Watch the video below and catch them band live when they release Deathsnacks while opening for B.A. Johnston and Steve Adamyk Band on April 27th at House of Targ, details here.
The video begins with clips of Jon and various members of the Flying Hellfish out on tour making you think this will most likely be a tour montage video. Instead we are treated to the band rocking out on stage wearing their now signature Hawaiian shirts, a tribute to JS Belleau—a member of the Ottawa music scene who left us too soon.
Most of the video was shot during the band’s set at Pouzza Fest 2017 in Montreal by the very talented Jonah Aspler. It is a lot of fun to watch the band playing on stage to so many familiar faces in the crowd even if it isn’t in Ottawa. And it is awesome to watch Richard Barrie (Positive Charge) give Jon a big kiss and later when Jon cheers the crowd with his tall boy of PBR.
Watch the video below and come live a live Jon Creeden & the Flying Hellfish performance for yourself at their Stall album release show this Friday April 6 at House of Targ supported by The Creeps, Finderskeepers and Joe Vickers, more details here.
Ottawa’s neo-soul six-piece, Slack Bridges, just dropped a video for their single “In the Drought” off their very well received debut album Joy of Joys.
The video perfectly captures the realities of living in one of the world’s coldest capitals. The band, all except lead singer Matt Gilmour, can be seen huddled together indoors (in the wonderful speakeasy at Union Local 613) playing games and having a few drinks to escape the frigid weather outside. It all starts out fun while the band plays poker, but gets a little more heated when they shift their attention to Sorry. I love that they also find time for some Dungeon and Dragons.
Meanwhile Matt can be seen walking around town in the cold singing to the camera as he considers the difficult decision to cut ties with those who don’t have his best interests at heart. As Matt works his way through various neighbourhoods in the snow-covered city, one of my favourite stops is watching him sing while walking across the Hammer St. pedestrian bridge over the Queensway. The video finally culminates with Matt joining the rest of his bandmates in the speakeasy to much rejoicing.
The video was shot by local cameraman and director extraordinaire, Luca Fiore, who has previously worked with Juno award winners and other local greats like The Love Machine and The White Wires.
Check out the video below and be sure to catch Slack Bridges in April when they take to the stage at the second annual Bangers and Mash soul music festival in Ottawa.
We finally got around to checking out the latest release by Ottawa’s own Worn Robot, called Worn Robot 3.
The 19-track album, their third, starts with the first track “More Than You Know” sounding reminiscent of the brooding darkness of Elliot Smith but then quickly shift to more of an industrial and heavy sound in the second song, “Astral Leaf.” Then just as you get used to the change of pace, the next track is right back to those sombre acoustic sounds for a few tracks.
The fifth song, “Glitch in the Shell,” revs up the intensity again with its instrumental industrial edge, taking the listener to a completely different place. The harsh breaks between songs and the changes of pace becomes a noticeable pattern throughout the album. The experimental pieces that appear every couple songs gives the impression of an alter-ego creeping out of everyone once and while, taking some risks and pushing the limits of his thoughts and sound. It really keeps listeners on their toes, and I am very intrigued to see how this plays out live.
A song that really stuck out after a couple of listens, through, was “How Many More Times” with its acoustic-grunge feel to the chord progressions and the sound of fingers sliding between chords. The first slide gave me chills. The song also really flows well into the next instrumental, which is heavier and a little more rocking but still grunge-laden in sound. You really don’t hear enough instrumentals in that style.
Worn Robot 3 was definitely influenced by grunge but there is also those aforementioned industrial elements and even some modern hardcore that breaks through. I encourage you to carve out some time in your busy schedule and actually sit down and take in this album from start to finish. This album is an experience, not just ambiance.
We’ve been chomping at the bits to share Shadowhand‘s debut LP Through the Fog with the world, and that day is finally here. The Ottawa band is releasing the album through Record Centre Records, and it will be available in vinyl format and online. We’re also very excited to present the album release party this Saturday, March 10th, at St. Alban’s Church along with The Heavy Medicine Band and Merganzer.
Through the Fog is a nine-track effort, rolling through the peaceful lulls and buoyant peaks throughout. It is, more than anything, a warm album, and full of rich and robust tones. The allure of Brandon Allan Walsh’s bass lines is undeniable, as they sink deep into the listener and carry the songs from start to finish. Jamieson Mackay and Matthew Corbiere have a chemistry on guitar that elevates their clean, reverb-laden tones. Sean Tansey’s subtle and rolling drums stay in the background for much of the album, but occasionally the barrage of percussion crashes forth like waves breaking against a shore.
Their dreamy and unhurried approach gently takes us for a journey through the unknown. Even in the eight-and-a-half minute long “Light of Afternoon” the band begins at a languid pace and builds up the energy that climaxes around the 5 minute and 30 second mark, and then pulls back with an ambient and daydream-like conclusion. Jamieson’s soft, raspy voice melds seamlessly with the instrumentals, and fans of Destroyer and The War on Drugs will undoubtedly fall into his vocal style with ease.
Shadowhand recorded Through The Fog at a home near Ladysmith, Quebec in two sessions in fall 2016 and winter 2017. It was largely recorded live off-the-floor, and engineered by artist and producer Arturo Portocarrero, with some sporadic overdub sessions in Ottawa. Mixing was done by band member Brandon Allan Walsh and mastered by Philip Shaw Bova, with beautiful album art done by Haley Wolk.
Listen to the album below, and be sure to come out to see them at the album release party at St. Alban’s Church this Saturday, March 1oth. Doors at 7:30 pm. Physical tickets available at Compact Music, The Record Centre, and Irene’s Pub, and online tickets can be purchased here.
Hull’s post-apocalyptic romantics, Scattered Clouds, are back with a new video for their track “5xx,” and the track itself is available now on a limited edition of 100 cassettes on Boiled Records and digitally on their Bandcamp page.
The footage for the “5xx” video was taken from projections by Ottawa’s own Hard Science, whose glitchy analogue style is distinctly recognizable. The band describes the video as a “performance within a performance,” in which the video was mixed, mangled and ripped to shreds using old circuit bent video equipment (Tachyons + Vortex Decoder) and captured to on a VCR.
The video itself starts off with a loop of a dark highway distorted through the video equipment, synced perfectly to the pulsing rhythm which sounds as though it could be an audio glitch in and of itself. However, after a few seconds of what could have been a scene from Lost Highway, the instruments come in and the video switches to Jamie Kronick and Philippe Charbonneau’s performance. The mirrored images, colour transformations, and distorted video are perfect examples of how Hard Science takes viewers into his time machine and creates a world around us that is truly encompassing.
Philippe’s dark, swelling bass lines and brooding vocals command the listeners’ attention and his vocals draw us in closer into the void toward the end of the song. It ends in total chaos. Scattered Clouds continue to demonstrate their potency, demanding that listeners stay engaged much like a soundtrack to a David Lynch film.
Valois have released their new album We’re All In This Together But You, which is their follow up to 2015’s Love Dies But You Won’t. Valois is the brainchild of multi-instrumentalist and producer Charles Hoppner, and has been ongoing since 2012.
We’re All In This Together But You builds off of Valois’ recognizable stripped-down synth-pop sound, and is informed by influences like Prince and Of Montreal. Their sound is rounded out with the addition of full live band containing singer Shannon Murray and drummer Don Rankin since 2015. While the key aspects of Valois’ dark, experimental minimalism still provide the skeletal framework for the album, there is a distinct movement towards brighter and more upbeat compositions. The arrangements contain melodic flourishes and layered instrumentation that transport us back to and era when VHS and The Sony Walkman ruled all.
“The synthesizer’s an amazing instrument,” explains Hoppner. “You can design the actual sound, and generally a lot of my favourite music—David Bowie’s Low, Kanye West’s albums from Graduation onwards, Prince, Of Montreal—is pretty synth-heavy but always with a more human edge. I listened to a lot of industrial and post punk when I was younger and also hung out at Soybomb in Toronto a lot where I’d be exposed to different hardcore and post-hardcore bands every night. That might have a less obvious effect musically but the attitude, political engagement and musical power have stuck with me.”
“I think that more recently, hearing Thanya Iyer and Fet.Nat and Bowie’s Blackstar really take jazz into new spaces really pushed my songwriting into a space that had a more rounded, jazzy feel in parts. At the same time I’ve always loved really aggressive, abstract guitar playing – Adrian Belew, Neil Young, etc. – and I think the humanity of a really emotional solo on an instrument that you can bend and slur the tone at will really creates an awesome contrast with synth-heavy music – and that’s the appeal of a lot of post-punk to me like Wire and PIL – there’s synths but it’s not synth-pop.”
Hoppner’s unrefined and raw vocals are half the charm of this band, as he seeks to build narratives and weave stories with his lyricism rather than trying to perfect his pitch. There are echoes of Morrissey in his songwriting, and the lyrical literalism he employs is simultaneously melancholy, subversive, poetic, and refreshing. This is exemplified many times throughout, but you don’t need to look further than the first line of the opening track “Easy To Love” to get a sense of what I’m talking about: “I’m easy to love, but hard to keep loving / You’re in my heart, but my head is too troubling”
“Lately, I really enjoy approaching music from a standpoint of writing upbeat, catchy pop tunes that have a much darker more subversive edge once you start peeling back the layers,” Hoppner explain. “That’s why I love glam—it’s like literally applying makeup to songs to hide and smooth over aspects of the truth in a way that makes the whole truth come into sharper, more dramatic relief. I was really determined to write about the world around me more—like how Heartsparkle is about the barriers a lot of women I know face in the art world—but these circumstances kept forcing the songs to become more insular and I think that is better.
“Glitter started as a pretty generic pro-genderqueer song inspired by the weekend I saw and met PWR BTTM (and basically had a minor breakdown from feeling inferior) but when Ben was outed as an abuser it became much more of a personal and oppositional thing—about identity, self acceptance, with just a passing nod to how much I regretted spending any emotional energy on that band. A lot of the songs evolved in that way and became more personal while still referencing what’s going on in the world—I don’t think it’s possible to separate the personal and political in 2018. It was a very cathartic record to make and I let myself take creative risks I wouldn’t have let myself do five years ago.”
The incorporation of female vocal parts and harmonies on the album add another dimension to it. Shannon Murray’s part in “Heartsparkle” is short but potent: “Here I go every move is on display / Just undress me weigh my sins / Here I go I’m the object for your gaze / Judge my everything but I don’t fear you.” Felicity DeCarle of Sparklesaurus also makes an appearance on the album, helping Hoppner to work on melodies and lyrics on “The River.”
“Sparklesaurus is my favourite Ottawa band and Felicity is a songwriter who I really, really admire,” says Hoppner. “She’s the rare type of composer who never leaves any loose ends in her music—every Sparklesaurus song is fully formed and perfectly structured for emotional impact. And she is a really fantastic lyricist.”
Music lovers who listen closely to lyrics and dissect them will appreciate this album just as much as someone who wants to let loose and have a dance party. There is a lot to this album, even in only eight tracks. We’re All In This Together But You is worthy of some deep exploration, and is an album that should be set on “repeat.”
Valois is set to release We’re All In This Together But You at LIVE! on Elgin February 25th, and the event will also incorporate comedy and burlesque in addition to the music. Advanced tickets are available for $8 here, and there will be some for sale at the door. Be sure to stream the album below.
The local hip-hop duo, Buck-N-Nice, are back and have been teasing us with pieces off their upcoming sophomore album EMAG since the beginning of the year.
They recently dropped a video for the first single, “Care Less,” off of the album. They hosted a video release party a few weeks back at Bar Robo, which also featured a performance from another rising hip hop group in Ottawa called Tapas. The video is simple, no gimmicks, and really lets the words shine through. That being said, the video is far from boring. I can’t help but feel that Buck-N-Nice are interrogating the viewer as the light bulb hanging from the ceiling in the small room swings back an forth. I can’t really tell who is the good cop and who is the bad cop—or maybe they’re both here to verbally rough you up.
The entire piece has a certain underground edge to it. The small room could be in someone’s cellar or damp shed in the woods. The setting creates this sense of isolation and voyeurism all at once. The song also clocks in closer to a punk song at under three minutes than the prototypical hip-hop track.
Director Patrick Lozinski did a really good job with the whole video. I especially love how epic DJ So Nice looks at the end standing over his decks scratching out the final piece of the track.
Check out the video below and keep your eyes peeled for more content from Buck-N-Nice over the coming months leading up to the release of EMAG.
Jon Creeden and the Flying Hellfish are back at it, this time with a power-packed full length LP for us to chew on. Jon Creeden has put down his acoustic guitar for now, and teamed up with his three buds to put together a new 10-track album called Stall. We’re also excited to premiere the first track,”Anxious,”off the album below, as well as present the album release party at House of TARG on April 6th along with The Creeps (!), Finderskeeps (!!), and Joe Vickers (!!!).
For those of us familiar with Jon’s music, some of these songs will be very familiar. Whether he played them in a damp basement, in a church at OXW, or one of the many venues in town, Creeden has compiled 10 of his best songs written lately for Stall. Not only that, but the sheer intensity and vigour of these songs translate perfectly from the acoustic versions, and if there’s one guy in town that knows how to write a hell of a catchy punk rock song, it’s Jon Creeden. His band mates add to the fullness of the sound, and while Creeden’s relentless guitar is the backbone, the rest of the guys are the icing on top of the cake.
Newer tracks like “Way Home” have layers of intricate instrumentation in them, and flourishes of guitar that ring out along with thunderous percussion. Songs that we’ve heard live a few times before, such as “Nailbiter,”One Coast to Another,” and “Stall” are refined and tuned to the ear’s content, and sound better than ever.
If there is one fault to find in Creeden (and there aren’t many), it’s that he hasn’t released a damn LP since Beards in 2013… the humanity! Although, in fairness, he’s released some incredible splits with The Flying Hellfish over the past few years which helped to tide us over until something longer came out. Thankfully, that wait is over.
The songs are crafted through the filter of emotion that Creeden so naturally taps into. He reaches deeper than ever to write lyrics that hit the listener right in the gut, and phrased to accentuate the powerful guitar riffs and booming bass lines which carry his words. The album finishes with a bang, as the band brings in some crowd vocals during “Coffee Shops” along with an irresistibly catchy hook in “Sensible Underpants.”
Stall will be put out in digital and physical formats (including vinyl) on April 6th, but the pre-order for it starts on February 13th. Just in time for Valentine’s Day… just saying.
It’s been just a little while since we had some fresh material from Ottawa’s own Shadowhand, and we’re excited to premiere their sultry new track “Split.” The song is the third single off Shadowhand’s debut LP Through The Fog, which will be released on March 10 at St. Alban’s Church.
“Split” is an exciting taste of things to come as we wait patiently for Through the Fog to come out. The band’s airy and restrained approach should not be mistaken for lethargy. Rather, they convey moodiness in a way that is not altogether gloomy, enthralling the listener with subtle flourishes and a wide open sound. It may be sombre, but there is a light that burns and shimmers as Shadowhand wades through the darkness.
Shadowhand’s lyrically rich songs are ever-evolving, and vocalist/guitarist Jamieson Mackay leads the charge for this groups ascension. Over the past few years, his growth as a musician comes both on stage and in the studio, and his songwriting and comfort level seem to have reached new levels. He is propped up by the brilliance of the band around him, which features the stage-hardened talents of Matt Corbiere, Brandon Walsh, and Sean Tansey.
The band will be releasing the full LP on March 10 at our Showbox Concert Series event at St. Alban’s Church. Joining them on stage will be The Heavy Medicine Band and Merganzer, which should make for an altogether dreamy night of local music (event here). They will also be playing Megaphono this Saturday, Feb 10 at Pressed.
The release will be followed by a tour of Southern Ontario and Montreal. The full tour dates are: