New Music: Hard Science – Dreaming in Stereo
Those who have been to shows in Ottawa long enough are probably familiar with the name Hard Science. However, chances are you didn’t know that the name associated was associated with music. Arturo Brisindi, a.k.a. Hard Science is an artist who has become known for his work with modular analog and video synthesizers over the years. His visual creations often take the form of projected video on walls, ceilings, and stages, and create breathtaking visual landscapes for us to bask in. While this is a world that I am admittedly not particularly familiar with, I have seen his work at events and can attest to its ability to transform a room. Those of us who grew up in the 80’s and 90’s probably experience some nostalgia when watching his visualizations – I’m talking Windows ’95 era stuff. He has also created a video for a song on the soundtrack for the critically-acclaimed music documentary, I Dream of Wires featured on Netflix.
Hard Science has more up his sleeve. He is set to release his debut LP Dreaming in Stereo on Thursday, June 15, at Bar Robo. The album is a collection of tracks that have been produced from 2008-2016, a project that spans the better part of a decade. Dreaming in Stereo balances catchy synth pop with some experimentation, as Brisindi takes us on a sonic tour of his imagination. As we wander through the knobs and wiring in his brain, we find more than just drum machine loops and synthesizer effects. Hard Science draws us in through “pop,” but exposes the listener to a range of sounds produced from vintage equipment. These layers are also infused with interesting vocal samples and divergent arrangements, ultimately making it an album that is accessible enough for average listeners unfamiliar with this kind of production, but also complex enough for the hardcore gear and sound connoisseurs.
I had a chat with Hard Science about the new album, have a read and listen below.
Hard Science will be releasing the album at Bar Robo on June 15, doors at 8pm. Dreaming in Stereo will be available in vinyl at the event, as well as online through Analog Kitchun Records and streaming on Bandcamp.
Interview with Hard Science
Can you explain briefly how this album came to be?
The album really flowed from my vintage synth collection and all the exploring that I did as it grew (I guess you could call it gear-driven?). It all started back in early 2009 when I scored a Roland Juno 60 and a Roland Jupiter 4, along with 707, 909 and 808 drum machines. Throughout the years, I acquired more and more of these classic vintage synths, drum machines and tape echoes. With every acquisition came a new song. With every song came the urge to get more synths. Synths are sort of like chips; you can’t have just one.
Starting around 2012, I got into video and took a bit of a break from working on the album and music in general. Most of the groundwork for the album was done, with the exception of vocals and non-synth instruments. These parts came together between 2013 and 2015 with the help of Caleb Abbott and Olexandra Pruchnicky (vocals), along with Jason Redmond (bass), and Jose Palacios (guitar).
Unsure of what to do, and doubting that people would even like it (what would any self respecting artist be without crippling self doubt?), I put it on the back burner for a few more years. It wasn’t until this past winter that I decided to release the album, with a little push from my friends Grant Young, who released the vinyl edition on his label Analogkitchun Records, and Max Harwood, who offered to design my album cover out of the blue! I can honestly say that without Grant and Max, this album would still be sitting on my hard drive. So here we are, 9 years after recording the first song, and the album is finally out there.
What do the worlds of analog video and synth music have in common?
Quite a bit actually. Video synthesis uses some of the same fundamental building blocks as audio synthesis. It’s not uncommon, specifically in the modular video world, to see oscillators, mixers, modulation sources like LFOs and envelopes, VCAs, and filters. The main difference between audio and video is the frequency range. Audio is limited to 20Hz to 20,000Hz, whereas video signals can go up into the megahertz! Overall though, the methods used in modular video synthesis are almost identical to those of audio subtractive synthesis.
Can you talk about the synth scene in Ottawa?
The Ottawa synth scene is starting to hit its stride. With things like the Switched on Synths series and SOSFest at House of Targ this weekend, Possible Worlds’ Producer Meet-up Series, Not Normal, National Drone Day, synth meets, plus a bunch of other events popping up here and there, we’re starting to see a lot more engagement and comradery. With the Ottawa Synths Facebook group, people from all over Ottawa/Gatineau have a place to mingle, talk shop and sell their wares. I’m seeing collaborations between members and friendships forming. It’s a beautiful thing.
What can newcomers to this kind of music/performance expect from the album release?
I’m a fan of pop music, so I try to make music that’s catchy and accessible. But at the same time, I’m a stickler for tone and atmosphere, so I try my best to add a very specific character to my songs. A lot my songs have that eighties feel to them. Nostalgia is a huge factor for me. I’m a child of the eighties, and there’s just something about that wobbly, drenched-in-delay synth sound that grabs me like nothing else. That and a heavy dose of gated reverb on the snare.
For the album listening party at Bar Robo (June 15th), we’ll just be putting Dreaming In Stereo on the loudspeakers for all to enjoy. It’ll be pretty laid back. For my SOSFest set at Targ (June 16th), I’ll be performing a whole new set of songs that aren’t on Dreaming In Stereo, but are still a similar style.
PINE gets set to release ‘Pillow Talk’ EP June 10
For an Ottawa band that has only been around for the better part of two years, PINE has already experienced some major success. Not only has the band toured extensively in the US and Canada, in March of this year the band also announced that they were being signed to No Sleep Records. No Sleep is an independent label based out of Huntington Beach, California, known for having harboured such acts as Balance and Composure, La Dispute, The Wonder Years, Touché Amoré, and many more. Needless to say, being signed to a label such as No Sleep Records is a tremendous feat for a young band from the humble capital of Canada.
PINE is on the verge of releasing their first EP through No Sleep Records, an emotional five-track effort that spans genres and bring the listener into a world free of sonic boundaries. Their songs “Viable” and “(Un)rest,” which can be steamed below, are raw and untethered pieces that use intricate instrumentation and emotive lyricism to create a powerful experience for listeners. I caught up with guitarist Holden Egan to talk about PINE’s new direction and their new album Pillow Talk.
PINE will be releasing their EP Pillow Talk at House of TARG on Saturday, June 10 along with guests Safe To Say, Heavy Hearts, and Kamen. The physical album will be available in limited edition pink vinyl. Advanced tickets are $10 and can be purchased at Vertigo Records. Doors at 9pm. Presented by Spectrasonic.
Interview with Holden Egan of PINE
The band announced the signing to No Sleep Records a few months back. How does it feel to be part of that family?
It feels awesome. Ever since I knew of No Sleep Records, Topshelf Records, and Run For Cover Records, and the bands associated with them, I’ve always wanted to be on one of those labels. It feels really good to be at this stage.
The single “Viable” is an emotionally jolting song that grabs listeners right away. Can you talk about how that track came to be?
It’s a funny story with that song! Our drummer Joey had written a song a few years before he was in the band, and when him and I moved in together we started pre-production on a few songs and he pulled that one out. I thought, “Woah, that actually works pretty well with some riffs I have.” So I worked on it, dissected it, and spun it backwards, added some riffs and jammed on it a few times. We recorded it in my bedroom and ultimately we had to leave that place because our roommate at the time didn’t want us to do music anymore. We toured with that song when we did our split with Dead Leaves, and we had a different lineup then so the song sounded a lot different, too.
So when we went to record it for this EP, Cory Bergeron (who mixed and mastered it) had a few great ideas on how to spice it up and bring it to the next level for this album. He made it a drum and bass intro and it kicked in with everything.
Having heard that song, what can listeners expect when diving into Pillow Talk as a whole? Are there some themes that resonate throughout?
The theme revolves around the struggles being in relationships when you’re younger. Cory and Darlene are both in touring bands, and the song “(Un)rest” is a song about dealing with being in a relationship and alone, away from your loved ones. It’s hard, especially when touring in the US where texting is expensive.
Your sound obviously has some roots in emo and post-rock of the 2000’s. In your mind, what attracts you to making music like this?
I think it has to do with our appreciation for soundscapes and production. When we’re touring, we’re always sitting and dissecting songs together and talk about why they’re good. We try and write music that takes little aspects like that and translate it in our own way the way we like. For example, I like a lot of post-rock and shoegaze. But our guitar player listens to a lot of singer-songwriter and progressive stuff. Our drummer listens to Mac DeMarco and the Chili Peppers, and Darlene listens to bands like Lydia and Sufjan Stevens. There’s a lot of diversity in the EP’s tracks. We’re not confined to just one sound, we incorporate different things into each song. We even have an acoustic song at the end, because we all like acoustic tracks with piano, cello and additional instrumentation. We all get off on that stuff.
If there were one band you could share the stage with, who would it be?
Slowdive, hands down. I would love to play with them. I’d probably cry if I found out that was a possibility.
PINE has toured quite a bit over the last few years. Is there some place that is on your dream list to visit?
This has always been a dream for me since I was like 15. Brixton Academy in London, England, is a venue I would love to play. I mean it’s kind of unrealistic at this point because it’s like a 5000 cap venue, but it’s a dream. But I’d love to play there. A place that’s a little more realistic to play is probably Manhattan. I’ve visited there a few times and I love New York City. I’d love to bring our music there and be able to say we played there, it’s on the bucket list for sure.
What can new listeners who attend the EP release at House of Targ on June 10 expect from PINE’s live performance?
I hope that they get the feel of the soundscapes we’re aiming for live. When we go to shows, we’re always paying attention to the tones. We’re all gear nerds and own lots of pedals. We’re really going for a wall of sound, and we’re not trying to make you happy but we’re also not trying to bum you out either. It’s moody, we want people to stand there and get lost in the music. It’s sort of like cinematic experiences. Slowdive uses their music to capture a cinematic moment or mood, and I guess it’s kind of emo in that way since we’re trying make you feel stuff. I’ve been in a hardcore band before and there’s a lot of aggression at shows. But I feel like our music is a bit different. We’re trying to make people feel something, and feeling soothing in some way.
New Music: One fifty five by Chris Landry and the Seasick Mommas
New kids on the block Chris Landry and the Seasick Mommas have released their debut album One fifty five.
Some of you may recognize Chris Landry from his other project the much heavier The Glorious Moonrockets or as that super friendly long-haired guy in a leather jacket at seemingly every punk and metal show in the region. But with One fifty five, Landry and his Seasick Mommas showoff that he is no one trick pony as they explore a range of country and folk sounds.
The first full track, “Writing to explain,” opens with slow guitar picking and the crisp sound of cracking open a beer. This sets the stage for a sad and lonely album tinged with country and folk songwriting of old. This is not your modern day upbeat pop-country or folk that currently floods (or should I say, clogs) radio airwaves and arena shows. This is music made from a darker and lonely place with pure honest emotion and sentiment oozing out of every verse. The steel string guitar really adds beauty to this melancholy, especially paired with Landry’s hurting yet comforting voice.
“Yukon nights” is a temporary shift away from sadness and towards the old folk tradition of telling a tale in song. The duets with Kerri Carisse (of The Yips) during the chorus really elevates the track, adding that extra dimension to the tale. Almost sounds two parents giving advice to their children of a younger generation.
If you are looking for something a little more, dare I say “pop-like,” you need to sink your teeth into the song “2 bedroom apartment” which reminds me of Wilco’s lighter side. Upbeat music with sad lyrics, nice harmonies, and great guitar work. This is especially true near the end of the song when Landry sings “I want to hear you coming in at night / I want to yell at you to turn off the lights / And I even miss those fights and I can tell you now that you were right / In that 2 bedroom apartment / You’re gone and it’s getting late / I sit and I stare and I’m starting to fade.”
After getting this close to Landry through his songs, it is only fitting that the album like a relationship ends with a break-up song. I don’t know you Laura, and I am in no way picking sides. But your leaving certainly left quite the hole in Mr. Landry’s heart.
Have a listen to One fifty five below and go hear it live this Friday, May 12th at Irene’s Pub. More information here.
Track Premiere: Shadowhand – “Passing Through”
Ottawa mega-chillers Shadowhand have released a new track called “Passing Through” which we are excited to premiere through Showbox. Shadowhand is the project of musician Jameson Mackay, and features the talents of Matt Corbiere, Brandon Walsh, and Sean Tansey. This band of buds is a local supergroup of sorts, containing members of How Far To Mexico, Lost To The River, Winchester Warm, not to mention Brandon Allen’s own project. “Passing Through” is a mellow, reverb-heavy track that has a classic feel. The clean guitar tones and exquisite harmonies make this song an instant favourite, and should translate well live.
The group is planning on releasing an album in June, as they’re in the process of mixing songs they’ve gotten together. They hope to play plenty of shows in town and tour lots, so keep an eye out for them.
Be sure to check out Shadowhand on a stacked bill tonight at Pressed, as they play along with Future States and Jeff Beam. Have a listen to the exclusive track below.
May 4 – Ottawa, @ Pressed
May 5 – Toronto, @ Burdock
May 6 – Kitchener, @ Boathouse
May 7 – Guelph @ Van Gogh’s Ear
May 12 – Montreal @ La Vitrola
New Music: Graven – Jaybird
If you were to delve into Graven’s most recent record Jaybird, you might find yourself feeling a sense of nostalgia. Graven is the ongoing alt-country/folk project of Matt McKechnie, a long-time musician, journalist, videographer… and whatever else it is he is really good at. He is supported by his band, The Dirty Hustle, who added some gritty layers and rounded out a lot of the songs on Jaybird. We walk the finely woven web of McKechnie’s memories and musings, reflections that translated into a concept for an album. Jaybird is the culmination of those efforts, and it’s a finely composed collection of folk songs that range from the delicate and solitary to the hopeful and anthemic. There is a search for meaning that lingers throughout, which is hinged to the impetus of this album – the transient nature of moments, the inescapable reality that all things in life are impermanent. The bird flies through one’s field of view long enough to create a snapshot in time, if only in the mind, and then it’s gone.
McKechnie’s stories are true Canadiana – those of longing, connection to the wild, solitude, and the ties that bind. The first track, “All Roads,” is a shackle-breaking start to the record which would be most suitable on a cross-country drive soundtrack. This energy and spirit continues through tracks such as “Edmonton Eyes”, “Big Lake, Sky Summer,” and “In The Woods of Me” which offer irresistible guitar twangs and steady, driving percussion as the heartbeat of the album.
The last half of the album’s energy takes a turn, toning things down and bringing the listener in close. “O Little Plum” is a brief yet heart-warming ode to a newborn child, taking pause to appreciate the beauty of bringing a life into the world in spite of all its cruelties and hardships. As McKechnie takes us to the end with “Lone,” we’re left to reflect on his words and compositions. That’s how this album hooks you – it is pensive and raw, untethered from the harnesses emotional apprehension. That is the power of a good song, or in this case, a good album. It draws the listener in and takes them on a journey through it all.
I spoke with McKechnie around the time of Jaybird’s release in April. Be sure listen to the album stream below and catch Graven at The Black Sheep Inn on June 15 supporting Slow Leaves and Colleen Brown. Tickets and information here.
Interview with Matt McKechnie of Graven
How did you get into music? What drove you to start making your own music and performing?
I started making music in my teens and played in various basement grunge and alt-rock bands with a rotating chorus of friends like Jeff Dixon, Brian Macdonald, Mark Richardson, and many more. But I was always a background player and never wrote much original stuff – and I wasn’t really that good at bass or guitar in my teens. I could slide my fingers around and hit good notes (most of the time).
I stuck with guitar, though, and eventually, after playing somewhat seriously with a band in the Kitchener/Waterloo area (after going to school at Guelph), I was getting into my early twenties and coming up with song ideas of my own. I was always fascinated with words and poetry at a young age, and I went to university for English, so I kept using words like weapons. They could help me describe what I was feeling or thinking at the time, but mostly, I wanted to be Billy Corgan. He was one of my songwriting/musical idols for many years.
Tell me a bit about your life growing up
My background is pretty normal, really. Born in Nepean. I grew up in a white, Christian family in Trend Arlington. I spent a lot of time playing Atari, and biking around my neighbourhood with baseball cards in my spokes while taking trips to Macs Milk on Greenbank, and to the Leslie Park pavilion for lik-a-maid and big league chew. My next door neighbour and best friend Bri had a swimming pool. I pretty much had it made.
How has your music and approach to making music changed over the years?
I think my approach to music has basically stayed the same. I really just like working on the songs and getting better and almost having no agenda. I have a lot of music that I like and love and there are many songs that have wowed or moved me. At some point, in my late teens or twenties, I remember thinking that I wanted to get songs out into the world, too – just to see what would happen if people beyond my family and friends could hear them. But I’ve never been on any carved or shaped road, in terms of a success plan with music. I just really want to keep getting better at writing songs. How did you get together with your band The Dirty Hustle? The Dirty Hustle were all mutual friends from the Kemptville area who played in another friend’s band called Brad Sucks. Brad is mostly a successful solo artist with a huge online following, but when he plays live, they are the backbone of the sound. Ben Mullin (the guitarist) and I became friends, and he started playing guitar with me in a duo setting at some fun shows. Eventually we started jamming with Steve Gaw (bass) and Justin Purvis (drums) in Steve’s rock n’roll lair of a basement, and it all seemed to work.
Have you toured extensively?
I have toured across Canada on a few occasions. I toured once as a solo songwriter with two old camp friends (JD Edwards and Trish Jamieson), and two other times as Ali McCormick’s side-guitarist and vocalist. The road is the real-life epic journey of being a songwriter and a performer. If there’s any way to push you out of you comfort zone, touring is the real test of your mettle. You meet some weird and amazing and beautiful people on the road, and you learn to appreciate your home a lot more. You also learn to enjoy playing to a room of three people who are really listening to your songs, or a room of 200 loud, brawling drinking Calgarians. It’s all part of the story.
I don’t plan on touring anywhere until my three and a bit month old daughter is a wee bit more grown up. I’m currently looking more into building into my Ottawa community, and supporting other songwriters and creators in the area.
What’s the story behind Jaybird?
The album that loomed weightily in my mind, consciousness, soul and in the dusty sound-hole of my Sigma for almost two and a half years is finally ready for public consumption. These songs are about a very specific period in my life, and for nearly a year, I struggled with my desire to even make this album happen. Many of the songs were based on a concept that was linked to real life.
In the spring of 2013, I traveled alongside Matt Mays and his band for a few shows to film some social media videos. After 3 shows in southern Ontario, I headed back to work for my dad’s accounting company in Ottawa, and the band headed west to Alberta. 4 days after I left the band, Jay Smith (a guitarist and epicentre of the group) was found dead in his hotel room in Edmonton, Alberta. It was hard to know what to think or feel, and many of musical friends from Halifax and the greater music community were shredded. But I sort of went through that process as an outsider – as I only knew Jay for a couple of days, and we only had one real conversation about a mutual east coast friend.
In that short time, though, I saw that he affected many people in a heavy sense. It was shortly after this happened that I also separated from my ex-wife, and knew that my life needed some massive changes. And so, in the upheaval of such a mass-traumatic event, I was enduring personal traumas of my own. People seemed to be dying all around me. A great friend of my brother’s passed away that summer from cancer, along with my friend Dan’s father, and a kind man and accountant from my dad’s company. The songs of Jaybird aren’t really about Jay or any specific person – although that event is a flashpoint for the theme of the album.
In 2015, my friend Paul Myers (a longtime journalist and musician) posted a photo that he took with an iPhone app in Singapore. The photo is of a bird flying away from him, as he views it from behind – and I realized that Jaybird was about that very momentary idea. People can bring such colour and beauty and brilliance and power and creativity and inspiration and laughter and love to our lives – and in another instant, they can be gone. I started to see this truth also become evident in the seasonal nature of friendships, and how the good ones will last through storms – but the ones that weren’t very rooted or worth much weight can dissipate in the smallest spring shower. But despite the deluge, Jaybird is ready to be let out of doors from its dark, cabin basement dwelling to see the unrelenting and hopeful light of day.
15 songs were first tracked by Tom Brown and Steve Gaw in August on 2015 in Steve Gaw’s basement. Tom captured a great overall sound for the beginning of the record, and Steve recorded one of the most sonorous tracks of the record with two microphones on one take. And after this pivotal point of making the first dent, I began to see another bird – one that was flying to me. After many years of searching and waiting, I found Jillian in the fall of 2015 (October), and we clicked instantaneously and started a beautiful love relationship. And in the spring of 2016 (May), our daughter Sloan started winging her way into the world and joined us on December 24, 2016.
The song “O Little Plum” is the spark of new things amidst the sorrow, and a breaking point in a long night. My super-talented band (The Dirty Hustle) definitely added master strokes to this record. Steve Gaw (bass, keys) and Justin Purvis (drums) played on nearly half the tunes, and Ben Mullin (guitar) was able to get on one, but in the end, I ended up rounding out the majority of this work on my own. My old camp friend Jason Germain (of Jason Germain Mastering in Nashville, TN) added some incredibly skillful fine-tune brush strokes to the main meat and edges of the sound, and he really put forth a powerhouse effort to get these songs finished. I hope you find some solace in Jaybird, or at least a tiny awakening. It did that for me. May it find you well – wherever you are.
New Music: LP1 by No Fuss
Ottawa power-pop duo No Fuss have released their first full album, titled LP1. This is the band’s second release – last January they put out a three-song EP appropriately named EP1. I think I’ve spotted a trend here…
LP1 is a 9-track rocker of an album with only one song clocking in over 3 minutes. The album kicks off with an infectious and sing-a-long worthy tunes called “Up To You,” which would certainly call for you and your friends to rush to the front of the stage and yell “leave it up to!” right back at them.
Chris Cook takes care of the strumming and most of the singing, while Mark takes care of the drumming and backup vocals. Chris is the lead vocals on the majority of songs, and fans of FINDERSKEEPERS and The Sir John A. MacDonalds will recognize his unique voice and style. Mark’s vocals provide an excellent balance, and compliments Chris’ well. They do, however, feature more prominently on a few songs, such as “Rat Breath.”
My favourite song on the album is the seventh song titled “Old Truths,” which I fell in love with last summer when I saw them perform it live. It really jumps out at you off the album thanks to Mark’s rolling drums setting the stage for Chris’ opening line “We’ve both got symbols of things we lost / I’ve got my pictures and you’ve got your bloody cross / But we disagree of what’s deep inside / You think it’s spirit and I think it’s empty pride.” The song really paints a great picture of the importance of perspective when thinking of religion and how people talk about it and justify their acts with it.
Have about 35 minutes to kill? Listen to No Fuss’ debut album below and go see them play live tonight as they open for Screaming Females at House of Targ – show info here.
New Music: Jack Moves – I Been Working
Photo: Take It For Granted
Jack Moves is a solo artist from Toronto, Ontario, who has recently released his new EP I Been Working, which he has been working on for the last year.
For a good amount of time Jack took part in metal bands, and in 2014 he broke away from that genre as he found it creatively limiting. Through seeing live looping performances by Reggie Watts, he became inspired to try it out himself. He says he has yet to find his footing in this whole new genre.
His Jack Moves EP consists of four songs, all created solely with his voice, beatboxing (which is also technically considered his voice, I suppose) and a looping pedal. Not to mention, they’re all original songs. The music is somewhat electronic, however, he’s not limiting it to a specific sound.
All of the songs on the EP are high energy songs that differ from one another in rhythm and key. The first track, titled “Sleeperhold,” is one that has a faster tempo, and the second track, “W.T.P” starts very rhythmically and finishes off with a multitude of layers to it, but manages to keep it harmonious. The song “Gray Morning” takes the EP down a more sombre sounding and serious direction to counterbalance the two previous songs.
It ends with a song that, if you weren’t paying attention to the lyrics, has the hint of a rock background but has a certain vivacity to it. The song is titled “We’re Not Going Anywhere” and is probably my favourite off the EP. Knowing the title of the song and hearing the lyrics makes you realize that the song isn’t exactly as positive as it leads you to believe.
All that being said, the EP is available to listen to on Soundcloud, and comes with a free download, so be sure go check out this talented live looper.
New Music: kinda, actually, sorta (an EP) by Tossin’ Socks
Tossin’ Socks, a local banjo and guitar duo, recently released their debut five song EP, kinda, actually, sorta (an EP).
The boys, Sheehan and Marc Leguerrier, play acoustic folk music heavily rooted in punk rock ideals and love. Guitarist a singer Sheehan Jordan is the lead singer of Ottawa punk trio The Tenenbaums which certainly influences the sound.
Kinda, actually, sorta (an EP) features four originals, with some really funny titles such as “Stroman Sucks” and “Chicken Noodle,” as well as a cover of 70’s rock band Half Japanese’s song “Put Some Sugar On It.” Both Marc and Sheehan sing on songs and while both their voices are quite different they work well together.
I love the final song of the EP, “Die Die Die (666).” It is a prime example of the overlap in folk and punk. This song could be played super loud and fast with 3 power chords and have people slamming up against each other crashing the stage to sing a long. But it can equally be just as they played it, nice and slow with a banjo and an acoustic guitar.
Have a listen to kinda, actually, sorta (an EP) below and look forward to the day when Sheehan returns from his latest adventure in Vietnam.
New Music: E/SCAPE by Drae
Photo/Artwork design by Champagne Photography.
Local hip-hop artist Andre Thibault aka DRAE recently dropped his debut album E/SCAPE.
DRAE has been producing and mixing music for artists from the Capital region, Toronto and Montreal for years, but it was now time for him to step out and take center stage himself. The 11 track release blends hip-hop, electronic and has flares of dub steps, his calling card as a producer. The beginning of the album has you thinking this is going to be pretty dark, especially the album’s first single “Nightmare.” The tone begins to shift and isn’t all serious and dark, songs like “Drink Up” and “Wild N Young” will make you want to party all night thanks to the fun beats, party lyrics and sing-a-longs.
E/SCAPE is not short of great cameos by some of our favourite locals such as Yusso, Aron the Alien and Nicholas Poupponeau of Zoo Legacy. Poupponeau features on the second single “First Time” which is an uplifting song with lyrics praising the magic of being in love for the first over a very positive and grooving rhythm, even including finger snaps in the beat. I can picture this song perfectly fitting in on the club scene and having people grinding and swinging their hair around on the dance floor.
Many people have moved on from dubstep, and while DRAE does not focus on it, it creeps in through out the album and then he drops the bass and gives you heart palpitations in “Almost Famous.” I can only imagine how hard that drop with hit you live. BOOM.
Have a listen to E/SCAPE below and if you like what you hear go party with DRAE and his boys Yusso and Aron the Alien for his album release show at Mercury Lounge this Friday November 11. More information on the album release show here.
New Music: Self-Titled by Saint Clare
Ottawa’s Saint Clare just released their much anticipated debut self-titled EP. The album features great psychedelic and garage rock with jiving keys and absolutely exceptional performance by the horns in the band, some of the best I have heard outside of ska in some time.
The first song sets the tone for the whole album with its rocking flares and blazing beat right out of the gate. That did not slow into the next two songs, including their first single “Cheatin.” My favourite track from has to be the second song “Goodbye to the Ghost” which has everything I look for in a song. It makes me reminisce, makes me feel, it transports me into his shoes, the music makes me want to dance, the chorus makes me want to sign-a-long and the song has an “oh oh ohs” breakdown. I mean, what more can you ask for?
There is a vocal dispare to lead singer Matt Saint Clare’s voice which channels The Cure’s Robert Smith. I say this as a compliment since Matthew Saint Clare’s voice has me hooked and makes me want to adorn a little more black. But don’t be fooled – this is no copy. Saint Clare’s voice is still uniquely his own and one can certainly feel everything he is going through in every song as his voice fluctuates ever so slightly driving home real emotions. All of this is topped with perfectly executed brass which I just can’t praise enough as the perfect complement to the song writing.
For those who didn’t know, Saint Clare is Matthew Saint Clare (Guitar and Vocals), Richard Jeffrey (Guitar and Vocals), Casey Comeau (Piano, Organ, and Vocals), Morgan Grant (Saxophone), Nick Di Saverio (Trombone), Ryan Shannon (Bass), and Daniel DeVries (Drums).
All songs on the new self-titled full length were recorded and mixed at Little Bullhorn Studio in Ottawa, Canada by Jarrett Bartlett, and mastered at The House of Miracles in Cambridge, Canada by Andy Magoffin.
Check out Saint Clare’s most excellent self-titled album below and go see them live this Friday, November 4 at Bar Robo for the release party (info here) or November 5 at Bistro de Paris in Montreal.