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’s one and only butt rock band (self-described) Mushy Gushy just released their second EP called More Butter, which also happens to have “butt” in the name…
What is butt rock, you may ask. Well, Mushy Gushy’s sound can best be described as a good blend of experimental garage pop with the occasional hint of surf rock. It makes for some good time rock that makes you smile, bob your head, and maybe even sway your hips. It’s perfect for those hot summer days on the way to the beach, but also excellent for those warm summer evenings on a patio or at a cottage.
The experimental side of things is very present from the get go in the opening track “Around the Bend” from the effects on the vocals, the reverb on the guitar, the well placed whammy bars and the smattering of sound effects subtly lingering in the background.
My favourite track on More Butter is track three, “Schemestress.” This pop number is very catchy both musically and lyrically. Lines like this “I could move mountain babe I’m just going to need some time / I could guess what you’re thinking but I can’t read your mind” are simple but greatly crafted and very relatable feelings to many of us, I’m sure. That is often what really makes a song. It is not always about complicated progressions and incredible prose—sometimes the best medicine is music you can just put on and sing along with while you relate to what the writer was feeling at the time.
Now go put some toast in the toaster, boil some corn on the cob, and pop some popcorn because all the the butter you need is on this album, which can be streamed below.
Be sure to catch Mushy Gushy on the Claridge Homes Stage at Ottawa Bluesfest starting at 4 pm on Saturday July 15th. More information on passes here.
Just when you thought winter 2.0 was here for good, the fresh new electronic group Eerie Loom have brought some warm weather along with their new video for “Wakened.” The band dropped a three-track EP on Bandcamp back in March, and are hitting the ground running.
While the trio is newly formed, the truth is that they are Ottawa music veterans and have all been in successful groups in the past. Jordan David was the lead singer of acclaimed group The Love Machine and organizes parties with music.art.ppl, while Matt Gilmour was a member of the group Hamilton and currently contributes his smooth vocals to Slack Bridges. Michael Holmes was a member of the now-defunct group many Ottawans know well called The Gallop. Needless to say, they’re no strangers to music.
“The idea of Eerie Loom came about rather naturally, premised on a longstanding friendship initiated by playing shows together, but developed through a mutual respect for each other’s art,” explains David. “We have all participated in rock bands for the longest time yet somehow, through our own ventures, discovered our pop sensibilities and an affinity for compelling electronic beats. Michael Holmes acts as our main producer, but we are all multi-instrumentalists that add our various insights, riffs, progressions, lyrics, and vibes. We have all been friends who have supported each other’s projects for over a decade, so collaboration creates both fun and familiar dynamics.”
Their music conveys emotions through electronic sounds and imagery, providing listeners with futuristic soundscapes to get lost in. The group also enlisted another friend as Creative Director, accomplished designer and artist Brendan Wilson.
“Our band has a love for sonic experimentation and sound design of all kinds, but we hope to bring a novel human element to our art as there many emotional ideas that still can be conveyed through an electronic medium,” says David. “When Brendan Wilson came on board as our Creative Director, we were thrilled. He had the idea of including images of geometry, space, and futurism blended with images of a humanity that is beautiful yet strange. The combining of visuals with our sonic aesthetic produced exciting art and fun dynamics.”
The longtime friendship between each of the members provides a strong basis for chemistry, and when you’ve made music for as long as these guys have, you know how to have fun with it. The collaborative approach to their music is evident from the first beat of “Wakened,” as the drum loops and synthesizers layer together smoothly to create delicate moments that transform into powerful hooks.
“The fundamentals of the tracks are often collaborative, but our ideas are all birthed from Michael Holmes home studio, where they are developed, recorded, and mixed into fulsome songs,” says David. “Our tracks were mastered by Philip Bova (who has mastered for Feist, Land of Talk, and Bahamas, among others). They are composed and produced using a variety of analog gear. Our project is still evolving and we are still discovering our sound, which excites us.”
As Eerie Loom experiment with new and exciting sounds, the band plans to start playing more live shows and continue to release new material. Watch the video for “Wakened” below, and stream the EP for free here.
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.
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.
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.
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.
Busted limbs, broken noses, and a little bit of blood on the face is nothing out of the ordinary for Ottawa’s party punk rockers New Swears. They’ve just released a video for the track “Dance With The Devil” off of their new record And The Magic of Horses, and they crank up the gore factor to 11. That’s why we love them, along with the fact that their music will incite a party anytime, anywhere it is played. And The Magic of Horses is the band’s third full-length album, and their first with Dine Alone Records to be released June 23rd. The 10-track album is sure to be chock-full of summer party anthems with dirty melodies that beg to be blared in backyards across the country, which should go perfectly with the smell of barbecue smoke and pissed off neighbours.
The video’s timely release today also coincides with the Ottawa Senators’ first game of the NHL Conference Semi-Finals, a game which will surely have the streets packed with booze-filled hockey lovers. While we all hope the Sens avoid the kind of injuries that the band sustains in the video, we certainly wish them the best. Get amped up for the game and watch “Dance With The Devil” below, just make sure the kids are out of the room.
Don’t miss the New Swears Weekend happening at House of TARG June 23/24, they’re going full force with two record release shows back-to-back. Tickets available here.
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.