Catriona Sturton is a household name in Canadian music and beyond—her masterful blues guitar and harmonica stylings combined with her angelic sweetness are the trappings of a true musical powerhouse, a fact undeniably demonstrative in her live performances. Her songwriting, in juxtaposition to her inundated playing, is deliberate and subdued, yet both offer a sort of honest intimacy that rattles and soothes, an experience similar to getting socked in the gut while someone tenderly strokes your hair. It’s often too much for audiences’ hearts to handle and I’ve had the pleasure of bearing witness to that collective heartbreak on two separate occasions, with a third opportunity coming this Friday, April 13th at NAC Fourth Stage on a double bill with Alberta singer/songwriter, Liz Stevens.
This show will be markedly different than any previous iteration of her solo work in two signifanct ways; for the first time she will be backed by a band and, perhaps more startling, Sturton will be playing violin publicly, something she hasn’t done since she was a child. I spoke with her about what inspired these changes as well as what else she has planned for Friday evening.
Interview with Catriona Sturton
Can you tell me a little bit about your history with the violin and how you came to pick it up?
I played the violin for years as a kid. My grandfather was the local fiddler in the Irish village that my mum was from (he was also the seventh son of a seventh son!). I liked the idea of learning fiddle music as a kid but ended up taking classical violin lessons. I wasn’t a great student (ok, I was kind of terrible; I once showed up to a lesson with an empty violin case) but am now thankful that it gave me a good musical base. I used to think that I never fell in love with playing music ’til I discovered the harmonica, but I’m realizing now that I have really deep feelings for the violin.
What sparked the resurrgence?
I went on tour with The Noisy Locomotive and played with Trevor Pool and Ben Nesrallah, who accompanied me on violin on several songs. Since then, I knew there was something magical about the combination of violin and harmonica. I kept thinking I should find a violin player to tour with in the future, then one day I decided that I should try to play it myself.
What was the most challenging part?
My experience was that it wasn’t like riding a bike at all…. it felt like a very new instrument even though I had played it for a long time when I was younger it felt very new to pick it up again. Part of that was I had to hold it in a different way to be able to play harmonica at the same time. The fun part was that I kind of used the harmonica as a teacher to show me what I wanted to do on the violin. I do like a challenge though, so there is something grounding in being humbled.
Did you experience an awakening of sorts?
Last year I went to learn Irish music from my uncle and it made me really wonder why I hadn’t tried to learn some sooner. At that time I was playing songs on the diatonic harmonica and he also gave me an accordion. But starting violin made me feel really strongly and deeply that I should be connecting more with this side of my family’s musical heritage.
Do you feel vulnerable without your guitar?
Very much so!!!!
You’re working with drummer Ben Deinstadt and bassist Kristy Nease now, a departure from your usual solo performances. What brought you all together and how did you manage to find cohesion as artists?
I have been working as a one person band for 5 years. While working on arranging my songs, it became apparent that some of them have pretty idiosyncratic structures, which kind of explains why it was sometimes hard for me to explain what I wanted from other musicians in the past. I met Ben Deinstadt through GINNY’s Lesley Marshall and had heard he was interested in touring. When we started to get together to play music it was just for fun and we became good friends in the process. I was really impressed with how much attention he would put into learning little details and arrangements for the songs and I also loved how some of the parts he came up with weren’t what you’d expect at first but fit the songs in a way that it now feels weird for me to not hear them. And he helped me fix a bunch of my gear! He’s great! I think he’s a bit of a secret weapon, he said some people he knows don’t even know he plays the drums, but I can’t imagine that will be for long.
I have played with Kristy since I first started to seriously consider playing guitar and harmonica at the same time. She’s a real inspiration to me as a musician. One of the very first tours I did was with her, years ago, in Nova Scotia. She’s solid as a person and a bass player, and I feel very lucky that she can join us for this show. I think she’s in 5 bands at the moment, I’m not sure if this makes 6! I was standing next to her at a show and saw how intently she was watching the bands play and I didn’t even know if she played music, I just had a feeling based on how tuned in she was that she’d be great to play with. Years later she’s a great friend and I feel so comfortable playing with her.
I’ll also have Birdie Whyte and Sal Valley as special guests. They are two gems of songwriting in Ottawa and we’ve just started to play together, the three of us.
That sounds so incredibly special! I mean, though you live in Ottawa, we are rarely gifted with a chance to see you perform and it sounds like this Friday is going to be particularly incredible!
I try not to play in Ottawa too often, so that I have time to prepare and pull out all the stops when I do! This time I’ll have a Wheel of Fortune, made by Montreal artist Emily Comeau and props made of my art by Ottawa’s Kate Greenland (who performs as Mabel Beggs, solo and in Aiken and Beggs).
Not to mention the addition of Liz Stevens on the bill!
I can’t wait to hear Liz live. Her voice blows me away but I’ve only gotten to experience it on video and recorded. She has such a great ability to capture nuance and feeling. There is a video of her singing Wicked Game by Chris Isaak that is devestatingly moving.
You are also a visual artist, creating the most sunshiney of illustrations. Your smiling heart is almost a signature of sorts. You create artwork for others upon request seemingly just to brighten others days. What drives you to spread such positivity? Is it something you consciously curate or is it something you feel comes to you naturally?
It’s funny, when I first made a website my friend, Jason Cobill, who designed it, suggested I have my drawings on it. At the time I wasn’t sure how they fit with the music I was making. I write a lot of quiet and very moody songs. But the drawings I make definitely have a light and funny quality to them. I started making drawings online for people when I got a scholarship to an online group where my role was to be a cheerleader in exchange for doing the course for free. I really enjoyed tuning in to where someone was at and trying to see if I could draw something that would encourage them in that moment. I discovered an app I could colour in the drawings with and it all clicked for me. I started drawing more this year because after I got a concussion sound really bothered me and after months of laying pretty low I think I needed a creative outlet.
My favourite drawings to do by far have been for people by request, or when they ask for one for someone they care about so I’ve kept making more and more. It makes me happy to be able to do them and I feel lucky when I get to tune into people caring about each other. For example, parents might ask for one for their kids, or people will ask for their friends or partner. In the moment when I’m drawing I get to feel that love and it is really beautiful. I haven’t really considered myself to be an artist but I have started to get a number of commissions, which I really appreciate because it has really encouraged me. And I’m starting to make merch with my art. The first ones will be at this show, I have some pins.
You mentioned you had suffered a concussion that impacted your ability to play music. What was it like coming out of that? What have you learned from the adaption process?
I got rear ended this summer and hit my head on the steering wheel. It threw me for a big loop because one of the most difficult parts of it was that I became hypersensitive to sound, to the point that it made me nauseous. I had trouble if more than one conversation was happening at a time. And bright lights were too much. Basically everything that you have at a show I couldn’t handle. It was kind of heartbreaking because I had worked really hard for 5 years and was feeling like I was starting to build some momentum with my music career and then had to face not knowing what the process of recovery would look like. I had to lie in the dark with sunglasses on and my windows covered up.
The part that turned out to be the hardest for me was that my ability to read and respond to people was really affected. So, little things like talking to someone after a show was a huge challenge, let alone trying to talk to lots of people, which is actually a really big part of playing shows. The other thing that crept in later was that being rear ended made me feel cautious about driving, which is a huge part of touring. After moving through all kinds of challenges in the past few years and working really hard to keep unafraid and a positive attitude, I got kind of swamped.
One thing I realized throughout it all was that it is very scary to be vulnerable, and I think being kind of reduced in this way made me take more risks in writing songs that were more open about challenging times. And it made me want to move away from having a wall of sound that I had aspired to with a big amplifier, harmonica tone, and one-man-band posturing I used as a bit of a defense mechanism while touring solo. I mean, I still like to play loud at times! But it made me appreciate more how brave it can be to really open yourself up. In some ways I think I have started to connect with people on a deeper level after going through a few things and kind of having no choice but to reflect them in where I was at.
While difficult to comprehend how someone’s artistic well could possibly be mined deeper, the fact that someone so accomplished as Catriona continues to take artistic risks that bring us closer to her is a rare gift afforded to an audience: a gift you can receive this Friday evening if you believe in love and magic. Tickets are available a the NAC box office, or can be found online here.
Last Friday, April 6th, we had the pleasure of presenting Jon Creeden & The Flying Hellfish LP release party at House of TARG along with The Creeps, Finderskeepers, and Joe Vickers. For us, it was a no brainer to put this one on. Great friends, great bands, and one night to remember.
Jon Creeden is one of the hardest working musicians in this town, and he’s paid his dues for years. It was a dream come true to have The Creeps on board, as they have been making noise in Ottawa since 1999 and have shown no signs of slowing down. Finderskeepers reunited after a three-year hiatus (and two babies later) to play an electrifying set. Joe Vickers, a true purveyor of genuine Canadiana folk, happened to be rolling through town, too, and he opened the night with a gripping set. DJs Captain Concussion and Ted Dancin’ (Eric and I, respectively) also spun vinyl all night to keep the part going. Check out the incredible photos by our photographer Aidan Thatcherbelow!
There is a new band in town, partners, and they are full of alt-country, twang, and heartache.
GINNY is the latest band formed in the nation’s capital with members of a bunch of other great bands. Fronted by vocalist Lesley Marshall (Bonnie Doon), guitarist Catriona Sturton (ex-Plumbtree), and bassist Kristy Nease (Area Resident), GINNY’s haunting country styling arrives just in time as we flirt with the return of spring but keep being reminded of the harshness of winter.
GINNY’s first single, “Choose the Wrong Man,” is a slow-building little alt-country number about having bad luck in love. Have a listen below as Marshall’s ghostly vocals of country singers past shines over the band’s blues-tinged and rock-influenced country sound.
The band is poised to release their debut EP on Friday March 16th at The Concorde Motel in Ottawa, supported by The Railway Hotel and Ommie Jane (details here). We interviewed Marshall ahead of the show to get a better sense of how the band came to be and what to expect of this little known venue.
Ginny is quite a shift from your other project, Bonnie Doon. What attracted you to making country music?
I drifted towards country music in the last five years. I’ve always been a big fan of folk rock and folk music but I got really into classic country when I heard Loretta Lynn, Townes Van Zandt, and Patsy Cline. They were all singing from the heart in a way that really resonated with me.
We used a Patsy Cline song “Crazy” as a temp track in one of my first films and I began to sing it a karaoke, then I started to singing Dolly Parton’s “Nine to Five” and started to really see myself in that music. I had been writing a lot of sadder and melodramatic songs since high school on a tiny air organ and they didn’t fit into the party vibe of Bonnie Doon. I fell in love with some of the romanticism of country music and wanted to learn more.
Learning the history of racism and blues and the industry’s separation of the genres that exists today—interesting stuff, but yeah, it was the emotion that was coming out of my voice that led the way. I couldn’t describe it and, well, it was friends that said it was country. I was with DJ Lamb Rabbit one day too showing her my tracks and she showed me Mary Margaret O’Hara “Miss America” and was like— “did you know that this is what you’re doing?”
The band is somewhat of a local super-group, made up of Catriona Sturton and Kristy Nease (Area Resident). How did it come to be?
Oh my gosh. Yeah, well I am a lucky duck here. I had been spending time with Catriona and Kristy as they are buds and Kristy at the time was doing a lot of Gamelan Orchestra and Catriona was starting to tour on her own. I had told Catriona about some of my songs and she mentioned she wanted to tour in the southern states the following winter and visit her friends at Dollywood with another drummer friend from a Philadelphia band The Pretty Greens and asked if some of my songs would fit as an opening act. I am a person of the variety who says yes even if I am unsure—so I said yes! Being on tour is kind of my dream state, even though it is very hard.
All this to say, I had wanted to explore working on these songs and so I brought them to Kristy to help nail down the musical framework. Kristy is a a genius with the bass and percussion so she took the demos I made and we jammed them out to the songs they are today with Catriona coming on with those heavy blues guitar riffs. The first incarnation of the band was a drum machine, an air organ, Kristy on the bass and me singing through a 16mm projector. We later added a drummer to get that classic country feel. I had always intended the project to be a newer eerie kind of country, so this show at the Concorde will feature DJ Jas Nasty on the theremin.
A glimpse at the mysterious, seldom-used venue called The Concorde Motel. Photo taken from Facebook.
And how is it working with them on this project?
Working with Catriona and Kristy is a dream come true. Kristy has supreme work ethic and execution and Catriona is a wizard. She just kind of comes in and brings her ideas and flare with the her classic guitar sound. They both have such great taste and understanding of music it’s like breathing in and out. I feel like coming in with my voice, I have to bring a lot and do!
The release show is taking place at The Concorde Motel, quite an unusual and unknown venue to most. Can you tell us a little about it and why you chose it?
The Concorde Motel is just down the street from my partner’s house in Vanier so we started going for drinks there. The first time I walked in I was blown away by the absolute size and decor of the bar. It truly is a relic. Back in the 1970s and 80s it was one of the ‘go-to’ spots for country music as there were 6 active country clubs with live bands playing 7 days a week. Times sure have changed and they stayed open as a bar but stopped operating as a venue. Since the bid to change the whole block including the Motel into the controversial super shelter came around last year, we thought it would be a rare chance to have a show like this there.
What should people expect from the live performance on March 16?
March 16th is gonna be a full night of hanging out in the Concorde, people can play pool, and listen to the jukebox between bands and expect a whole night of great music from Ottawa Alt-Coutry Folk and Blues with Ommie Jane and The Railway Hotel opening up the night. GINNY has a full set and will be playing songs from our self-titled debut EP, but also songs on the air organ that couldn’t fit on the EP and guest performer and singer Matt Miwa will be adding his lounge singer-songwriter air.
Rose Cousins experiences life as a human. The east coast roots-balladeer dreams big, and writes big. Armed with a dynamic set of pipes, Cousins distils our species’ grandest themes into dreamy vignettes that seamlessly pivot from whisper-quiet confessionals, to titanic pronouncements.
Despite years of critical and industry acclaim, Cousins re-jigged her priorities at the end 2013. She spent some time travelling, songwriting in meccas like LA and Nashville, and got back into photography, spending hours printing in NSCAD’s dark rooms.
Last year she returned with “Natural Conclusion”, a candle-lit, epsom bath of emotive balladry. Lyrically impressionistic, she’s leaves the metaphorical heavy-lifting up to the listener. Minimalist song titles like “Freedom”, “Chosen”, “Grace”, harken to a simpler time in pop music, when a creep was a “Creep”, hurt was “Hurt”, and songs about spoon men were called “Spoonman”.
Rolf Klausener: Dream gig to open-up for? Rose Cousins: Sting, but only if I got to meet him. I’d like KD Lang, Bonnie Raitt and Adele’s audiences to adopt me.
That’s incredibly fair. Who’s your dream opening act? Drake
Heavy. I’d love to see that with my human eyes. What’s your favourite venue in Canada? This is where I say the NAC right?
Only if you mean it with your physical heart. Do you associate Ottawa with the National Arts Centre, or as having its own scene? When I started, my “Ottawa” experience was playing the Blacksheep Inn. It associated Ottawa with some of the best fans and listening audiences. Since the NAC’s program to develop new artists has been in play, it’s expanded my experience of growth as an artist and expanded the experience an audience can have of a variety of shows. It’s an opportunity I deeply appreciate.
With that, what significance does playing the NAC hold for you? It’s an opportunity to expand the idea of a show to reach new heights. Filling a grander space, not necessarily with more sound but with more ideas. This time, I’ll be bringing a string quartet along with my band.
Who doesn’t love strings!? Do you think performing arts centres like the NAC are the right place for contemporary popular music like trap or drone-metal? It makes perfect sense that the National Arts Centre would be a good place and presenter of our diverse Canadian talent.
It really does. How did the experience of writing-on-assignment in Nashville and LA affect your approach to the songs that followed? It has only broadened my skills. I adjust my approach based on what the song is for, especially if I’m writing to a brief; but, my experience as a human will always inform the way I write no matter what it’s for.
Humanity is vital. Since the early 2000’s, there’s been a marked shift in attitudes towards song placement in film and tv. For writers with solid publishing deals, syncs are an essential part of their financial sustainability. How has that shift in attitudes affected your process as a songwriter? Luckily, there will always be death, birth and breakups in Film and TV, so I don’t have to do much shifting as a songwriter. Songs in movies have always been my favourite. So, my existing tendencies lend to this shift in revenue streams.
Flexibility is key! So, how do you separate the “songwriting for me” Rose, from the “I’m gonna nail this sync” Rose? I don’t.
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:
Ottawa folk troubadour Claude Munson is almost ready to release his new album, titled The Silence Came After.’ Although it has been six years since his full-length debut and the Storm Outside came out, we’re more than excited to share the first video and single off the upcoming LP, which is the song “Saluted by the Light Outside.”
The video suits Munson’s sound and aesthetic to perfection—it’s earthy, intimate, harmonious, and invokes emotive imagery and textures. The video was directed, filmed, and edited by Alexis Zeville and filmed in Québec’s mystical Laurentians. It captures shots of light and smoke breaking trough the trees, nature, and walks in the wood. There is a simplicity to it, and the contemplative story effectively underlines the song’s narrative.
Mountain Eyes has just released his debut full-length album aptly titled The Beginning to the world. It is the project of Ottawa native Steven Gravelle, a musician whose “earthly folk” sound is turning heads.
The Beginning is an impressive feat for a relatively new artist on the scene. It feels relaxed the whole way through, and Gravelle comes off as a songwriting veteran with a deep catalogue. The 10-track album is carefully constructed, and each track moves in and out from one another gracefully. At no point is there disjointedness or rigidity—the common thread is harmony and flow, which binds everything together.
The songs are existential in nature, asking questions about our place in the world and exploring the connections between each other. They are emotional compositions, keeping the listener engaged, but also reflective. The pensive nature of Gravelle’s songwriting is what makes his entire approach work so well, and it coalesces beautifully with The Beginning‘s wide open sound, soft reverb, delicate instrumentation.
It is impossible not to hear bits and pieces of David Bazan, Bon Iver, and Destroyer in Mountain Eyes’ music, as he incorporates electronic instrumental and vocal aspects into parts of his tracks. While this contrast might seem as though it wouldn’t work, it does… and really well. It’s the perfect soundtrack for gazing at the stars on a clear summer night, or keeping your feet warm by the fire on a chilly winter evening in our cold city. Gravelle offers his hand to listeners wandering through the dreamscape he creates. At times it is flush with warmth and beautiful imagery, but there are also haunting moments that will leave the listener with goosebumps.
The Beginning was recorded at Shoebox Recording Studio, a cozy spot that many great artists in town have chosen to work with on albums. Stream The Beginning through Spotify and Apple Music now, and watch the video for “Dreaming” below.
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.
Gatineau’s Outside I’m a Giant is set to release their much-anticipated debut album in Wakefield, QC, on Saturday night. The ambient folk trio was founded in early 2016 by Canadian singer-songwriter and guitarist, Jérémi Pierre Caron, and have made their presence in the Canadian music scene known by their inclusion on bills at CityFolk Festival, Black Sheep Inn, the legendary Horseshoe Tavern, and venues scattered along the east coast while on tour.
Their debut record, Point Comfort, is the culmination of many of these early band experiences. Their hard work over the past two years has led them to the Black Sheep’s stage once again, this time celebrating the release of the spectacular 12-track effort. Its influences are likely numerous, but it is impossible to listen to Point Comfort without hearing—and feeling— the brooding, simmering echoes of Leonard Cohen embedded in their work. While Caron’s songwriting takes a more direct approach, the contemplative storytelling and enthralling musicianship ooze from this record in a similar way to Cohen’s body of work. One may simply find themselves sitting in silence in the moments after the record finishes, ruminating.
The intricacy and scrupulous instrumentation that is woven throughout Point Comfort is made immediately apparent, and the cinematic qualities that each song contains evokes moving imagery draped over emotions. Caron’s deep, rumbling vocals compliment the storytelling and instrumentation beautifully, grasping the listener in a comforting way while guiding us through the tumultuous journey. It some ways it is reminiscent of The National’s Matt Berninger, and Caron similarly utilizes his vocal prowess in ways that indulges the eardrums without overpowering the gentle instrumental moments, or distracting from the tapestry created by the strings.
If you’ve never had the chance to catch Outside I’m a Giant live, there’s no better place to see them than the Black Sheep Inn tonight in Wakefield. Ticket information can be found here, and at $10 each, it’s a steal.