Ottawa-area rockers Elementals are at it again, and they’re pulling no punches. The group have just released their follow-up to their acclaimed 2015 debut I’m Not Here, I’m Not Real, and it’s a real banger. Mother Nature and Her Bipolar Tendencies is a seven-track onslaught of fuzzy guitar riffs, booming bass lines, and percussive thunder, and it’ll leave you wanting more.
So here’s the story. These guys were getting ready to record the album in Chesterville, and two weeks before their bassist parted ways with the band. I’ve known these guys for a few years now, and they’ve always been really tight, so one can imagine how difficult it was for them to wade through the mess and confusion right before hitting the studio. Guitarist and vocalist Cody Smith and drummer Jamie Speck persevered, and rallied the troops to keep on schedule and get the tracks recorded.
“Mother Nature and Her Bipolar Tendencies was supposed to be a happy experience — a five day getaway to the country to record what we felt were the best songs we’ve written to date,” they explain in a Facebook post in December of last year. “But true to its title, the universe had other plans for us. But one thing remained the same — we believed in these songs. We needed to record them, if not for anybody else, for ourselves. We went in the studio as a two-piece and what followed was almost therapeutic.”
“It made us tighter not only as a band, but as friends too. Moving forward we picked up two new members so that we could play the songs live as they were meant to be.”
The two new members weren’t present during the recording sessions, but Sheehan Jordan (Tenenbaums/Duck Toys) and Duncan Reitböck (Django Fett) officially joined the band afterwards and were, without a doubt, the perfect fit for the job. It’s a beautiful thing to see great musicians come together on a project, and their decision to add these guys to the lineup pretty much guaranteed that audiences would feel the full force of Elementals live.
Mother Nature and Her Bipolar Tendencies clocks in at 32 minutes long, but it doesn’t feel like 32 minutes. But I’ve listened to it three times today, so maybe that’s why. The album explodes off the starting line with “Medicine,” which for my money is the best song they’ve ever written…yet. It’s a long one at over five minutes, but about half way through they break it down and the bass and guitar go off on a tangential onslaught. It feels like Fugazi meets Pavement, or something.
While a lot of the album is heavier, grungy rock and roll which we all know and love, there are a lot of moments that slow it down. There are a lot of emotions here, and Cody delivers his lyrics strained through raspy vocals in a way that makes you feel what he’s feeling. Not many singers can convey that emotion, especially in a recording. Both “Angel Static” and “Beautiful Day” start with a clean guitar, and build to a crescendo and taking the listener for a full ride. There’s no rushing these songs, either. They are fully conceptualized and thought out, and in doing so the band is able to tell the stories much more effectively.
“24” is the lighter-hearted track on the record, a sort of reconciliation for a lot of the anger on other tracks. It’s what “Here Comes Your Man” is on Doolittle by The Pixies. Because, why not?
I hope that we can be cool / yes I hope that we can be cool / so farewell, so long / be good
“The Feeding Hour” cranks the throttle one last time, and then the record ends on a more peaceful note with the appropriately-titled “Adieu.” The whole thing is a great example of a band staying true to themselves and their roots, but not staying stuck in a mould and writing the same songs as before. It takes time to write albums like this one, and the range of emotions and experiences come across clearly.
We’ll be keeping an ear out for any new shows they announce in the spring, but in the meantime we’ve included the full album stream below for you to check out. Mother Nature and Her Bipolar Tendencies can be purchased on Bandcamp digitally, and the vinyl is available at record store around town. You can also stream it on Spotify and Apple music. Enjoy!
Sills & Smith chose the first day of the first month of 2018 to release their much-anticipated sixth studio album called Maps — Burned or Lost. The duo, which is composed of Ottawa singer-songwriters Jeremy Sills and Frank Smith, have spent the last few years getting together material for the new album, which spans an impressive 70 minutes over fourteen tracks.
This album’s strengths are many, but the two key pieces that stand out are its grandiosity and its breadth in sound and styles. Deciding on a fourteen-track record is rather unusual by today’s standards, particularly in the streaming economy that craves instant gratification. The first thing I thought when I saw that it was going to be such a long listen was “uh oh,” only because I’ve heard records before that have a lot of filler, which doesn’t tend to add much to the concept as a whole. Some bands try to cram as much as they can in to one album, because it is, after all, cheaper and less work to record a bunch of songs you’ve written in one go.
But that’s not the case here. Sills & Smith are veterans, and they knew what they were doing from the start of this process. Once the listener warms up with an excellent trio of opening tracks—”On the Edge,” “Kings,” and “A Freight Train”— one gets the sense that this album is meant to be listened to slowly. Why rush? They really slow things down on “Maps”,”Waves,” and “No Measuring,” and once again this song grouping transports the listener into a certain somber mood, encouraging us to really listen closely and use our imaginations to discern the detailed imagery embedded in their lyrics. The album carries on at this pace, with the exception of the groovy and upbeat song “Miss Us,” as Sills & Smith take us on a journey down their river, leisurely floating along until we near the end.
Upon listening to the whole record, it becomes apparent that Sills & Smith really explore their musical influences. Their self-described experimentation with “pastoral folk, trippy indie rock, and progressive rock” only touches on the surface of the substance on Maps—Burned or Lost. The album’s foundations are built on Canadiana folk music, with Sills’ guitar work that is sometimes rugged, twangy and blues-driven, while at other times reverb-laden and melodic. The two work off each other wonderfully, working in tandem to provide a full and rich sound the whole way through. We can also thank the one and only Phillip Victor Bova (who also plays bass, keyboards, strings, and Hammond organ on the album) for helping achieve the desired result, as the textured soundscapes allow the listener to drift away in the stories being told.
Sills & Smith offer us a great start to 2018 here in Ottawa, with an album that is sure to please listeners of all sorts of musical tastes. So sit back, relax, and push play below.
Maps — Burned or Lost is available on Bandcamp, iTunes, Spotify, Amazon, and CD Baby. The digipak CD edition (designed by Grace Smith) will be sold online and in select box stores by mid-January.
Ottawa’s New Swears are better known for their catchy garage rock and crazy partying on and off the stage than for helping out their community, but this holiday season the boys are giving back and it isn’t even court-ordered!
New Swears have just released two previously unheard songs called “Illuminati Knights” and “Happy Birthday” on their bandcamp website with all proceeds going to local organizations For Pivot’s Sake and Girls + Skate 613. Both of these worthy causes seek to provide access to skateboarding opportunities for the youth of Ottawa through product donations, mentorship, program enrollments, and more. Have a listen to the track below and help support these two great initatives that do a lot in the nation’s capital.
And if that wasn’t enough, staff from the local skateboard shop Birling will be hosting a raffle at the New Swears New Years Eve bash taking place at the 27 Club on December 31. Birling co-owner Adam Wawrzynczak says the raffle will have “juicy prizes” and of course all proceeds will be going to For Pivot’s Sake and Girls + Skate 613. “This charitable aspect of a New Years Eve party is sure to warm your heart and may even soften the blow of a violent hangover to take you into 2018,” added Adam.
Two cool tracks for two great causes and even more giving as you ring in the new year. Well done New Swears.
The band may only be a couple years old, but Slack Bridges already feels like a well-seasoned veteran of the music scene here in Ottawa. Even though the band is fresh off the release of its debut full-length Joy of Joys, it has already sent shock waves throughout the capital.
This is what happens when musical masterminds from all corners of Ottawa’s music community come together to present something altogether original, breaking new ground by fusing hip hop, soul, and jazz fusion influences into tracks that burst at the seams with ear-pleasing tones. After only a few shows and the release of their first EP in 2016, Slack Bridges quickly caught the year of large-scale festival organizers as they got included on lineups at RBC Ottawa Bluesfest, TD Ottawa Jazz Festival, House of PainT, Ottawa Race Weekend. They also were the main attraction at last year’s independent festival called Bangers & Mash, a soul-focused weekend-long party co-organized by band member Garett Bass himself.
Slack Bridges performed at this year’s House of PainT Urban Art Fest this past August. Photo by Kelly Morrissey.
Joy of Joys is indeed a full album. It is a front-to-back trip that explores different soundscapes and textures, pleasing listeners with dance-inducing bangers like “In The Drought” as well as teasing us with down-tempo ballads such as “Smile.” Guitarist Chris Elms puts his dexterous guitar work on full display throughout the ten-track journey that is Joy of Joys, from providing grimy and emotive riffs that explode off the record in “Jungle” to sultry tones that seduce the listener deeper into tracks like “Apologies.”
Vocalist Matt Gilmour’s infectious deep vocal prowess is an undeniable x-factor in this band, and without detracting from the group’s talents, his voice and persona are front and centre on the record and the stage. You wouldn’t first think of him as a former member of bands in Ottawa’s punk and hardcore scenes, but his influences are many. His appreciation for R&B and hip hop rhythm come across immediately, and his unique vocal tones and style lend perfectly to the rest of the band’s impressive instrumental chemistry. Not to mention his subtle moves on stage give crowds even more to scream for (see video below—just wait for it).
All in all, Joy of Joys is the record Ottawa needs, wants, and will cherish. The band spent a lot of time and energy into crafting their identity, sound, and style—and it shows. It really feels as though they took a “why stop here?” approach to this record, and the seamless inclusion of brass parts from local visionaries Ed Lister and Julian Selody exemplifies the level of musicianship this band is operating at. And this is only the tip of the iceberg.
Be sure to pick up Joy of Joys on vinyl at local record shops around town now, which they recently released on November 11th at a sold-out show at The Rainbow. It is also available digitally here.
Watch their Shot in the Dark performance and stream Joy of Joys below.
The band has been making waves in the nation’s capital since forming in 1998 and their latest releases sees them return to their pop-punk and Ramone-style jams. As a born and raised Ottawan, I have had the luxury of seeing and hearing the Riptides for years. It is great to have the first full length Riptides album in nearly a decade as they had focused on releasing a bunch of splits over the past few years with bands such as The Dwarves, The Apers, and The Connections.
The 18-track album only features two songs over 3 minutes in length, as it focuses on quick catchy tracks leaving you wanting more. One of my highlights of the album are the great local references such as “hanging out at Brewer Park” and “going to Barbarellas’s after dark.” I always find it very special when I can connect to the location or a person a band is singing about, especially after years spent signing songs about other towns other than your own. That local touch always strikes a chord is the very best way.
One of the perfect examples that the band hasn’t lost touch with it’s pop-punk roots after all these years are the back-to-back tracks of “Homing Missile” and “Happy Ever After.” The first is full of analogies and about being locked in on love as the title suggests, and the second is all about lost love and how there will be no happy ever after in his life due to breaking up. You can’t get much more pop punk than trying to secure love and being destroyed after losing it. What is great is even after doing it for nearly 20 years, The Riptides do not come off gimmicky or fake, just true veterans of the scene.
My favourite track might have to be “Someone Just Like You” which has almost every element I love to see in a song. It features claps, duet vocals, a relatable story of attraction out at a show, catchy chorus and then on top of that they make a guitar sound like they are joined by some brass on the track. Just love it.
I’ve said it before, and I’ll say it again—one of the most rewarding parts of this job is discovering new artists making music in town. That is certainly the case with the young and aspiring singer-songwriter named Christine Jakel, who I crossed paths with at Bar Robo last year when she played with her other project, Grace Note. Her talents are immediately impactful, and draw listeners in like a tractor beam through the headphones or on stage. As someone with a degree in classical voice from the University of Ottawa and lifelong piano training at the Royal Conservatory of Music, Christine’s kind and modest demeanour struck me as endearing given the sheer level of skill and experience contained within her. Thus, I took a mental note and made sure to keep an eye on her music-related ventures.
Fast forward a year or so, and Jakel announces that she’s releasing a solo EP called Satellite Moons, once again at Bar Robo, on September 30. It came as no surprise, and it seemed to only be a matter of time before she explored her solo songwriting in a formal studio setting. While I’ve only heard a couple songs off of the upcoming EP, my initial impression is that she has a musical “sense” about her that is well beyond her years. The songs weave between genres and influences, as certain polarizing elements of jazz and folk are somehow drawn together and melded with one another in her songs.
Her vocal prowess is put on full display, as Jakel seamlessly reaches the highs and lows of her octave—and everything in between—with laser-sharp precision. The rest of Satellite Moons is sure to contain more treats for us to hear. In the years to come, Ottawa should prepare itself for Jakel’s inclusion into a group of local women such as Kathleen Edwards, Catriona Sturton, and Lynne Hanson, just to name a few, who have consistently shown that they are a force to be reckoned with in the Ottawa valley and beyond.
I caught up with Jakel this week in advance of the Satellite Moons EP Release, which takes place at Bar Robo on Saturday, September 30th at 8 pm. She will be joined by Mike Giamberardino (drums), Szymon Szańczuk (bass), Dean Watson (electric guitar), and Charlotte Esme Frank (harmonies) on stage, along with opening acts Grace Marr and David daCosta. Tickets are $13, and include a download code for the album. Find more information here.
Interview with Christine Jakel
Can you talk a bit about how has music been a part of your life growing up?
Both my parents took it upon themselves to expose me to music growing up. My dad has been obsessed with jazz ever since I can remember and used to play jazz guitar in his spare time. There are some artists whose CD’s are deeply ingrained into my system from having listened to them so often: George Benson, Chet Baker, Diana Krall, Miles Davis and Oscar Peterson, to name a few. I’ve probably heard Autumn leaves thousands of times because my dad used to practice it relentlessly. He was also the one who introduced me to Joni Mitchell, now my main source of inspiration for songwriting. Her song Big Yellow Taxi was the reason I started playing guitar. Wondering Where the Lions are by Bruce Cockburn was the next song I learned. He was another artist that I heard a lot of growing up because of my dad. My mom was the one who made sure I was taking classical piano lessons starting at a young age and shortly after we moved to Ottawa, she enrolled me in an arts high school (De La Salle) where I chose the voice program and subsequently became actively involved in its various vocal ensembles, while being trained as both chorist and a soloist.
You explore many sounds and themes in your music. What is most important aspect you focus on when composing a song?
For me songwriting always begins with lyrics and melody. The song craft and the overall message of the song are as important to me as the music itself. This is also what I listen for in other artists’ music. I find that I am most drawn to songs that are cleverly thought out but also genuine and direct. This is what I aim for when composing my songs. Overall atmosphere, chords and instrumental riffs come are there to enhance those elements.
What was the Shot in the Dark experience like for you? Can you describe it for those who may not know?
It felt great to be a part of something that I knew was contributing to the local music scene in a positive way. Not only did I get one of my own songs recorded and filmed for the first time, but I had the chance to hear and meet so many talented local artists that I never would have discovered otherwise. In a way it acted as a spring board for me as a newly emerging musician because it led to more opportunities for shows and collaborations.
The performance itself was unlike anything I have ever done before and I don’t think it’s one I’ll be forgetting anytime soon. When I came on, Dean made the call to remove all amplification and to bring the audience close in around me, so there was zero background noise and I could feel everyone watching and listening to me intently. It was terrifying in the best way (I don’t think I’ve ever felt so exposed), and I couldn’t be happier with the result! (video available below)
What reaction or emotion do you hope to evoke from those listening to the new EP, Satellite Moons, for the first time?
I hope that anyone listening finds something they can relate to in my songs and feel moved or inspired by even if it’s just in a small way. I also hope to send an empowering message to other women out there who may feel intimidated or out of place taking up space or making themselves heard in the music scene. From what I’ve seen, the industry could really use more female representation. Knowing this reality is partly what fuels my work. Furthermore, I would love for people to perceive the depth in my songs and to hear beyond something that’s “cute” or “pretty.” Those are two words that I’ve been called my whole life, that bother me when they are used in a belittling way (whether intentionally or not), and that I’d like to break free from at least in the context of my music. This is why I’ve made sure to include some angry songs on the record.
Do you have a memorable concert experience that you can recount that perhaps influenced your music?
This past March I had the opportunity of seeing The Staves play live at the Bronson Centre. I was floored by how polished their performance was and by the wide range of soundscapes they managed to create using their voices and various instrumental skills. What I particularly like about them is that they stray from the traditional lead-singer vs. band setup. Each member plays an equal part in the singing and the balance between their voices shifts from one song from the next in fascinating ways. Their sound is very much contingent upon them gelling as a team. For me, the experience of hearing them opened doors to new realms of possibility when arranging music, which made me want to go home and write songs immediately.
Is there one venue or city that is on your bucket list to play? Why?
I am open to the possibilities of where my music might take me. Playing music is what makes me happy. Whether it’s in a noisy bar or the NAC or at an intimate gathering, I am grateful for any opportunity to share my work, the more unexpected the better! Short term, however, I do currently have my sights set on Megaphono. I have so many good memories from attending the festival as an audience member and it seems like something I’d like to experience and be a part of, hopefully as a performer this year.
What’s the next step for you musically?
In the next year I am hoping to gain regular instruction at guitar and to lock in a few more hours of practice per week than I usually do. Everything I know so far, I taught myself, besides the odd trick I picked up from my dad and my uncle, and there is so much I have yet to learn about the instrument. This would give me a whole lot more to work with when writing songs, which I intend to continue doing as much as possible. My goal is to have enough songs written by next summer to be able to start on an album. I already have a few on the go.
The cool air has arrived in Ottawa, and brings with it the whispers of autumn. What better way to celebrate the harvest and changing of the leaves than a new album from Ottawa heavy-hitting folk rockers Jack Pine & The Fire? The group’s new record Left To Our Own Devices will be released this weekend, and I got a sneak peek into the nine-track effort.
Ottawa native Jack Pine (a.k.a. singer/songwriter/producer Gareth Auden-Hole) grew up in the city, but admits that his heart belongs to the northern wild. It’s appropriate that the band’s name comes from the recognizable ragged tree that was made famous by Canadian artist Tom Thompson. The band’s music continually maintains a strong connection with the wilderness, with subjects such as rushing rivers, sleeping under the stars, solitude, and the metaphorical lone wolf scattered throughout. The new album genuinely feels like it could have been conjured up and recorded in a cabin 500 kilometers away somewhere in northern Ontario.
Left To Our Own Devices incorporates the band’s trademark americana-folk inspired sound dipped in Ottawa valley twang. More than any of their previous records (which I also enjoyed thoroughly), Devices offers a more complete picture of who this band is and what they have to offer. There’s a tug-of-war between the past and present on this record, as it recalls the great folk songwriters of days gone by while offering a modern take to listeners—one that could draw them in and keep them close while Jack Pine’s story is told (probably around a campfire).
The warm sounds of Martin Newman’s upright bass provide a tender, yet sturdy backbone for the album’s more restrained tracks such as “The Run Down” and “Lone Wolf,” but his fancy finger-work is also unleashed in tracks like “Seven Generations.” Mike Essoudry’s percussion brings forth the foot-stomping element that we all know and love, and is sure to have fans clapping along to fun songs like “Credit River” during live performances. Stuart Rutherford’s twangy resonator is truly enveloping, and recalls the distant bluegrass influences that surely helped inform their music, blending seamlessly with the fiddles and guitars.
All in all, Left To Our Own Devices is a great accomplishment. It contains inspired musicianship and instrumentation, captivating themes and songwriting, and has mountains and valleys of energy that elucidate how dynamic this band really is. Jack Pine and The Fire have shown, once again, that they are masters of their domain and that they’re more than just a gritty folk-rock band with strings.
Be sure to catch Jack Pine & the Fire at Irene’s Pub this Friday, as they get set to release ‘Left To Our Own Devices’ to the world in full. Tickets are $15 adv/door and can be purchased at Irene’s Pub, Compact Music, The Record Centre, and their PledgeMusic Store here.
Earlier this summer, Ottawa’s party-punks released their third album, And the Magic of Horses, keeping alive their streak of putting out an album every two years since their debut in 2013.
We are a little late to the party on this one, but it has been a hectic summer here. The boys in New Swears signed on with Dine Alone Records in late 2016, setting the stage for more new music and a lot of touring.
And the Magic of Horses is another fun-filled record featuring tons of sing along and clapping moments, with sprinkles of mosh-inducing build ups, group harmonies, and fun riffs to carry you through the summer. The opening track “Dance With the Devil” sets the stage for the whole album, as it has a little bit of everything mentioned above. It doesn’t take much to see how they could spice it up even more and have some fun with it live.
This album goes well beyond their usual focus on all-day partying and raucous—but don’t worry, there’s still plenty of that, it’s just not the focal point of every track. The band explores more existential subjects like life, death, friendship, screwing up, and legacy. It is great progress to witness, and what is even better is how they have done it without losing their edge and fun which they have become synonymous with. I’m sure having Paul “Yogi” Granger record the album certainly didn’t hurt at all either.
I am a big fan of the closing track “Walkin’ to Rockin'” which is a great little slow burning track about their love for playing music together and rocking out. They sing “I don’t want to see another daylight unless I’m playing rock n roll, telling jokes and twisting it up, hanging with the boys on the open road.” They want to keep playing music and walk right into rock n’ roll’s warm embrace, and so do we.
Have a listen to And the Magic of Horses for yourself below and witness the evolution of New Swears.
Ottawa pop-punk group Dead Weights have just released their second full-length album, Mountain Arresting. It’s been a few years since we’ve heard new material from these guys, and we’ve been waiting impatiently ever since hearing a few of the tracks live earlier this year.
Mountain Arresting is a big step forward for Dead Weights, and clearly the product of a lot of work. The band strikes a balance of heavier guitar and bass parts with melodic flourishes, all woven together with rough and grumbling vocals of Jonathan Becker and Steve McCrimmon. Their signature sound comes through loud and clear on this record, as they tightened up their instrumentation even more and obviously had some chemistry in the studio. It doesn’t hurt that Dead Weights have been playing together for years, with lots of shows under their belts in recent memory.
Fans of bands like Latterman, Off With Their Heads, and Direct Hit! will feel right at home with this record, although it’s appeal is vast. Those who enjoy no-bullshit punk rock with some grit will fall into Mountain Arresting with ease. Their goal isn’t to play faster, louder, and harder than everyone else—their style and approach is intentional, and it grasps the listener tightly without losing meaning or using studio tricks as a facade of perfection. What you see is what you get with Dead Weights, and anyone who has seen them live can attest to this.
It was nice of them to put lyrics up on their site, because sometimes it’s hard to hear the words since it sounds like Becker just smoked three packs of cigarettes before the recording session. But hey, I wouldn’t have it any other way. The higher register howling of McCrimmon on tracks like “House is Not a Home” offers an appealing contrast to Becker’s whiskey-soaked rumbles. And the cherry on top? Hooks of gold, yearning for crowd vocals. You might catch yourself blasting these tracks and screaming some of the irresistible group vocal parts, only to realize that you are the only one in the room.
A stand-out aspect of the Mountain Arresting are the well-crafted lyrics, words about the everyday lives we live, social injustices, and growing up and getting by in a world that’s not always fair. Earnest words in these difficult times we live in is a breath of fresh air, offering perspective about the harsh conditions around us. But there’s a sense of hope in the songs, a sense that we’re all in this together and that all is not lost. Things are fucked up, but we can help each other and pick each other up. A little empathy and compassion go a long way, and while many of the songs discuss life’s difficulties and injustices, there is an overarching sense of humanity on this album.
It is obvious that a lot of effort was not only put into writing each song, but also composing a full album with no filler to speak of. The album itself is short and punchy, and although I was left wanting more, I still felt completely satisfied when I finished listening. Dead Weights have a lot to offer, and Mountain Arresting is a tremendous achievement.
Find ‘Mountain Arresting’ on Spotify, Apple Music, and bandcamp (stream below). Be sure to catch Dead Weights live on October 17th at House of Targ along with Montreal legends The NILS and Steve Adamyk Band. Follow event link here for more details.
Ottawa has a new rock band, Galapagos, and they dropped a debut EP earlier this June.
The four-song release, Potential Space, starts off on fire with the song “Bike.” It kicks off the album with a flare for classic emo from the late 90s and early 2000s with a indie and garage flare connecting it back to the current day. Lead singer and guitarist Adam Ferris (also know as one half of the band Waxing Moon) described their sound as… “Think Ryan Adams meets Treble Charger smothered in American Football.”
Galapagos began as a folk duo that played a few shows in the spring of 2016. After starting up again last fall as a trio with a drummer, they wrote a whole batch of new songs. The EP is kind of a long time in the making explained Ferris “after some successful shows this past spring, we decided to record an EP. Due to creative and professional differences, we parted ways with our former drummer during the original recording sessions. The final version of Potential Space was recorded on the afternoon of May 20th, 2017 with Cameron Steacy (Organ Eyes) both playing drums and recording the EP.”
You can hear some of their folk beginnings in the second song “What I Deserve,” but you can also hear Steacy’s influence throughout the EP, especially on “Again” combined with the band’s vision to really make it a fuller sound. Steacy has recorded, mixed, and mastered other Ottawa artists such as The Yips, Bonnie Doon and Fire Antlers.
Potential Space is a great starting point for a band that has already seen several members change over and has grown from two-piece to four. I really enjoy how much diversity they fit into a four song release and see much potential in all the different avenues for the sound to continue to grow. I also really look forward to catching them live as I think the emotions and honesty would translate very well in an intimate setting.
Check out Potential Space below and also keep your eyes peeled for Galapagos in August as they play August 19th at Café Dekcuf with Sweet Rocket and BINOS and August 24th at Pressed with Basement Revolver.
Galapagos also participated in the Shot In The Dark Sessions, be sure to check out their live video session for the song “Bike” coming out online July 24.