Noisy punk duo Deathsticks recently released their first video as a band for their new song “Finger Food” off their yet to be released EP Deathsnacks.
Originally from Peterborough, guitarist Matt Post and drummer Laura Klinduch now call the nation’s capital home, and the Ottawa scene is certainly better for it. The video revolves around the band breaking vinyls and using them in various ways such as throwing them against the side of a house, smashing them with a hammer, flushing them down a toilet and using them as a drum sticks or cymbals. They also light three different candles with pictures of dogs on them, one by one, throughout the video to ultimately have them all lit on a coffee table. Not sure what it represents, if anything, but they are pretty cool candles.
Watch the video below and catch them band live when they release Deathsnacks while opening for B.A. Johnston and Steve Adamyk Band on April 27th at House of Targ, details here.
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!
The video begins with clips of Jon and various members of the Flying Hellfish out on tour making you think this will most likely be a tour montage video. Instead we are treated to the band rocking out on stage wearing their now signature Hawaiian shirts, a tribute to JS Belleau—a member of the Ottawa music scene who left us too soon.
Most of the video was shot during the band’s set at Pouzza Fest 2017 in Montreal by the very talented Jonah Aspler. It is a lot of fun to watch the band playing on stage to so many familiar faces in the crowd even if it isn’t in Ottawa. And it is awesome to watch Richard Barrie (Positive Charge) give Jon a big kiss and later when Jon cheers the crowd with his tall boy of PBR.
Watch the video below and come live a live Jon Creeden & the Flying Hellfish performance for yourself at their Stall album release show this Friday April 6 at House of Targ supported by The Creeps, Finderskeepers and Joe Vickers, more details here.
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.
We finally got around to checking out the latest release by Ottawa’s own Worn Robot, called Worn Robot 3.
The 19-track album, their third, starts with the first track “More Than You Know” sounding reminiscent of the brooding darkness of Elliot Smith but then quickly shift to more of an industrial and heavy sound in the second song, “Astral Leaf.” Then just as you get used to the change of pace, the next track is right back to those sombre acoustic sounds for a few tracks.
The fifth song, “Glitch in the Shell,” revs up the intensity again with its instrumental industrial edge, taking the listener to a completely different place. The harsh breaks between songs and the changes of pace becomes a noticeable pattern throughout the album. The experimental pieces that appear every couple songs gives the impression of an alter-ego creeping out of everyone once and while, taking some risks and pushing the limits of his thoughts and sound. It really keeps listeners on their toes, and I am very intrigued to see how this plays out live.
A song that really stuck out after a couple of listens, through, was “How Many More Times” with its acoustic-grunge feel to the chord progressions and the sound of fingers sliding between chords. The first slide gave me chills. The song also really flows well into the next instrumental, which is heavier and a little more rocking but still grunge-laden in sound. You really don’t hear enough instrumentals in that style.
Worn Robot 3 was definitely influenced by grunge but there is also those aforementioned industrial elements and even some modern hardcore that breaks through. I encourage you to carve out some time in your busy schedule and actually sit down and take in this album from start to finish. This album is an experience, not just ambiance.
We’ve been chomping at the bits to share Shadowhand‘s debut LP Through the Fog with the world, and that day is finally here. The Ottawa band is releasing the album through Record Centre Records, and it will be available in vinyl format and online. We’re also very excited to present the album release party this Saturday, March 10th, at St. Alban’s Church along with The Heavy Medicine Band and Merganzer.
Through the Fog is a nine-track effort, rolling through the peaceful lulls and buoyant peaks throughout. It is, more than anything, a warm album, and full of rich and robust tones. The allure of Brandon Allan Walsh’s bass lines is undeniable, as they sink deep into the listener and carry the songs from start to finish. Jamieson Mackay and Matthew Corbiere have a chemistry on guitar that elevates their clean, reverb-laden tones. Sean Tansey’s subtle and rolling drums stay in the background for much of the album, but occasionally the barrage of percussion crashes forth like waves breaking against a shore.
Their dreamy and unhurried approach gently takes us for a journey through the unknown. Even in the eight-and-a-half minute long “Light of Afternoon” the band begins at a languid pace and builds up the energy that climaxes around the 5 minute and 30 second mark, and then pulls back with an ambient and daydream-like conclusion. Jamieson’s soft, raspy voice melds seamlessly with the instrumentals, and fans of Destroyer and The War on Drugs will undoubtedly fall into his vocal style with ease.
Shadowhand recorded Through The Fog at a home near Ladysmith, Quebec in two sessions in fall 2016 and winter 2017. It was largely recorded live off-the-floor, and engineered by artist and producer Arturo Portocarrero, with some sporadic overdub sessions in Ottawa. Mixing was done by band member Brandon Allan Walsh and mastered by Philip Shaw Bova, with beautiful album art done by Haley Wolk.
Listen to the album below, and be sure to come out to see them at the album release party at St. Alban’s Church this Saturday, March 1oth. Doors at 7:30 pm. Physical tickets available at Compact Music, The Record Centre, and Irene’s Pub, and online tickets can be purchased here.
Valois have released their new album We’re All In This Together But You, which is their follow up to 2015’s Love Dies But You Won’t. Valois is the brainchild of multi-instrumentalist and producer Charles Hoppner, and has been ongoing since 2012.
We’re All In This Together But You builds off of Valois’ recognizable stripped-down synth-pop sound, and is informed by influences like Prince and Of Montreal. Their sound is rounded out with the addition of full live band containing singer Shannon Murray and drummer Don Rankin since 2015. While the key aspects of Valois’ dark, experimental minimalism still provide the skeletal framework for the album, there is a distinct movement towards brighter and more upbeat compositions. The arrangements contain melodic flourishes and layered instrumentation that transport us back to and era when VHS and The Sony Walkman ruled all.
“The synthesizer’s an amazing instrument,” explains Hoppner. “You can design the actual sound, and generally a lot of my favourite music—David Bowie’s Low, Kanye West’s albums from Graduation onwards, Prince, Of Montreal—is pretty synth-heavy but always with a more human edge. I listened to a lot of industrial and post punk when I was younger and also hung out at Soybomb in Toronto a lot where I’d be exposed to different hardcore and post-hardcore bands every night. That might have a less obvious effect musically but the attitude, political engagement and musical power have stuck with me.”
“I think that more recently, hearing Thanya Iyer and Fet.Nat and Bowie’s Blackstar really take jazz into new spaces really pushed my songwriting into a space that had a more rounded, jazzy feel in parts. At the same time I’ve always loved really aggressive, abstract guitar playing – Adrian Belew, Neil Young, etc. – and I think the humanity of a really emotional solo on an instrument that you can bend and slur the tone at will really creates an awesome contrast with synth-heavy music – and that’s the appeal of a lot of post-punk to me like Wire and PIL – there’s synths but it’s not synth-pop.”
Hoppner’s unrefined and raw vocals are half the charm of this band, as he seeks to build narratives and weave stories with his lyricism rather than trying to perfect his pitch. There are echoes of Morrissey in his songwriting, and the lyrical literalism he employs is simultaneously melancholy, subversive, poetic, and refreshing. This is exemplified many times throughout, but you don’t need to look further than the first line of the opening track “Easy To Love” to get a sense of what I’m talking about: “I’m easy to love, but hard to keep loving / You’re in my heart, but my head is too troubling”
“Lately, I really enjoy approaching music from a standpoint of writing upbeat, catchy pop tunes that have a much darker more subversive edge once you start peeling back the layers,” Hoppner explain. “That’s why I love glam—it’s like literally applying makeup to songs to hide and smooth over aspects of the truth in a way that makes the whole truth come into sharper, more dramatic relief. I was really determined to write about the world around me more—like how Heartsparkle is about the barriers a lot of women I know face in the art world—but these circumstances kept forcing the songs to become more insular and I think that is better.
“Glitter started as a pretty generic pro-genderqueer song inspired by the weekend I saw and met PWR BTTM (and basically had a minor breakdown from feeling inferior) but when Ben was outed as an abuser it became much more of a personal and oppositional thing—about identity, self acceptance, with just a passing nod to how much I regretted spending any emotional energy on that band. A lot of the songs evolved in that way and became more personal while still referencing what’s going on in the world—I don’t think it’s possible to separate the personal and political in 2018. It was a very cathartic record to make and I let myself take creative risks I wouldn’t have let myself do five years ago.”
The incorporation of female vocal parts and harmonies on the album add another dimension to it. Shannon Murray’s part in “Heartsparkle” is short but potent: “Here I go every move is on display / Just undress me weigh my sins / Here I go I’m the object for your gaze / Judge my everything but I don’t fear you.” Felicity DeCarle of Sparklesaurus also makes an appearance on the album, helping Hoppner to work on melodies and lyrics on “The River.”
“Sparklesaurus is my favourite Ottawa band and Felicity is a songwriter who I really, really admire,” says Hoppner. “She’s the rare type of composer who never leaves any loose ends in her music—every Sparklesaurus song is fully formed and perfectly structured for emotional impact. And she is a really fantastic lyricist.”
Music lovers who listen closely to lyrics and dissect them will appreciate this album just as much as someone who wants to let loose and have a dance party. There is a lot to this album, even in only eight tracks. We’re All In This Together But You is worthy of some deep exploration, and is an album that should be set on “repeat.”
Valois is set to release We’re All In This Together But You at LIVE! on Elgin February 25th, and the event will also incorporate comedy and burlesque in addition to the music. Advanced tickets are available for $8 here, and there will be some for sale at the door. Be sure to stream the album below.
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’s Casa Lagarto has released their brand new EP called Shed It, a six-song trip that features thick grooves and atmospheric textures throughout.
The band is comprised of well-established Ottawa musicians Jason Barkhouse (guitar/vocals), Arturo Portocarrero (drums/vocals), Travis Kinnear (bass/vocals), Jonny Yuma (guitar/vocals), and Grant McNeill (guitar), some of whom are members of The Yips (RIP), Lost to the River, and Fire Antlers.
Casa Lagarto is the reincarnation of sorts—it was an old stomping rockabilly project that Jonny, Grant, Travis, and their pal Phil Horne had called Chero Chavo, which was active from 2013-2015. With an expanded and altered lineup, the band’s sound evolved in 2015 to become Casa Lagarto (the name being a nod to Jim Morrison and author Carlos Castaneda). With Casa’s new members Arturo and Jason coming from different styles and musical backgrounds, the group quickly rounded out its sound as a whole. To date, they’ve had plenty of action live, having shared the stage with such acts as Del Bel, Saxsyndrum, Bob Log III, Twin Peaks, Bloodshot Bill, to name a few.
Shed It truly sounds like it was written in a shack in the desert. There’s a looseness to the whole thing that makes the album easy to sink into, slowly taking the listener deeper and deeper like quicksand. The album is rich with reverb and jangly guitar tones, deep and groovy bass lines, and Arturo’s lax and unobtrusive drum rhythms resonating throughout. Jonny’s hollow strumming and deep, simmering vocals bring another dimension to Shed It, though, completing the spooky yet captivating aesthetic of the band.
According to the band, the album’s name refers to shedding the skin you’re in, or shedding the skin you’ve been. It’s a cunning reflection on the good, bad an ugly from the past, the masks we often wear throughout our lives—and a desire to burn old bridges in hopes of charting new paths towards healthier self-understanding.
Casa Lagarto might fall somewhere between Dirty Beaches and Timber Timbre with respect to their musical approach. They create atmospheric and cinematic soundscapes, building and maintaining a subtle tension throughout Shed It. The song “Desoronto,” for example, feels like the prelude to a pistol duel in a classic Western. The washed out and weary track “El Dorado” burns slowly, with instrumentation and lyrics that create dark imagery and places the listener directly into “the valley of the shadow.”
The group has already released videos for their songs “Lights Out” and “Scarecrow” (produced by Black Lab Studio), and are pleased to share a brand new one for “Deseronto” (above), which was shot and produced by Santiago Trugeda. Even more, they’re already heading back into the studio in March 2018 to start recording tunes for their next album, and concert-goers can forward to them hitting the road in the near future.
‘Shed It’ is an exclusively digital release which you can listen for free at their Bandcamp page or stream on Spotify, Apple Music, Google Play, Dezer, and all streaming sites. You can also enjoy the stream below.
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.