Another year in the books for music in the nation’s capital and another year of countless great releases. This list is in no way a complete and exhaustive wrap up of all this city had to offer, but simply a listing of the 17 albums and EPs that stood out and really captured our attention over the calendar year of 2017. Check them out below, have a listen, get out and support local music. We can’t wait to see what 2018 has in store!
Released: July 7, 2017
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 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. […] 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. — Excerpt written by Eric Scharf
Released: June 6, 2017 (Record Centre Records)
I think the world could always use some more fun and punchy garage rock, and that is exactly what this band is offering us. The simple chord structures, unflashy vocals, and lo-fi aesthetic give Telecomo a genuine throwback feel. The Detroit garage rock gods of the 80’s would surely open their scuffed, wrought iron gates for Telecomo. — Excerpt written by Matías Muñoz
Released: November 11, 2017
[…] everything Slack Bridges has put out since their inception has met a seemingly self-imposed benchmark of production and musicianship. Their debut full-length “Joy of Joys” is no exception. The album was self-produced by the band at Swell Studios and received some esteemed TLC from Phil Bova at Bova Lab Studio, and Jason Jaknunas at Metropolitan Studio. It features a veritable roller coaster of soul (I’m not gonna say soul-er coaster), both lyrically exploring themes of struggle and searching for hope, but also exploring different aesthetics and dynamics musically. — Excerpt written by Anthony Cardozo
Released on: April 22, 2017 (Record Centre Records)
Of all the bands making music in Ottawa—or even Canada, for that matter—the Heavy Medicine Band is pursuing a style and sound that is wholly their own. It’s phsyc-rock dipped in folk noir, driven by the profound lyricism and vocal prowess of Keturah Johnson. On their debut full-length ERSATZ ERA, the band weaves together texturized soundscapes that could be the soundtrack of a dream…or a really good trip. They build on and expand upon the foundation laid out on 2015’s Conduit EP, paving a path for listeners to get lost deep in their world. The intricate and reverb-laden instrumentation are a foundation of the album, often droning into the fringe of our imagination on tracks like “teeth” and “breath.” Johnson’s remarkable voice cannot be understated, however, and this band’s undeniable chemistry makes them one of the most exciting in town. — Matías Muñoz
Released on: November 17, 2017
Tapas is the name of a new hip hop trio in Ottawa, but they’re anything but rookies. The group consists of two of Ottawa’s finest MC’s—G.Grand, and Hyf—along with locally-renowned producer Jeepz behind the beats. Together they are a force to be reckoned with. Their self-titled debut may very well be one of the best hip hop records to come out of the capital in the last five years. — Excerpt written by Matías Muñoz
Released on: May 12, 2017
The husband and wife duo Moonfruits released their second full length album this year. Ste-Quequepart is a 10 song French-language folk concept album that plays like a short film soundtrack and really emphasizes the couple’s voices and lyrical content. Their beautiful and powerful voices which complement each other so well are on display from the get go in the title track. While the music and instrumentation of the album is rather simple, at times just a banjo or a guitar, you never feel like anything is missing. Much of the album is a little laid back, however my favourite song “Le Maire” picks up the pace and teleports you to a kitchen party or a campfire jam with charming clapping and great sing a long moments. Have a listen to the album Ste-Quequepart on a cold winter night, close your eyes and let Moonfruits take you away to a different place.
Released on: June 13, 2017
The final version of Potential Space was recorded on an afternoon in May, 2017, with Cameron Steacy (Organ Eyes) both playing drums and recording the EP.” You can hear some of their folk beginnings in the second song “What I Deserve,” but you can also hear Steacy’s influence throughout the EP, especially on “Again” combined with the band’s vision to really make it a fuller sound. Steacy has recorded, mixed, and mastered other Ottawa artists such as The Yips, Bonnie Doon and Fire Antlers.
Potential Space is a great starting point for a band that has already seen several members changes and has grown from two-piece to four. I really enjoy how much diversity of sound they fit into a four song release and see much potential in all the different avenues for the sound to continue to grow. — Excerpt written by Eric Scharf
Released on: May 21, 2017 (Record Centre Records)
Masks. Clouds of smoke. Decked-out pickup trucks. Skulls. These are all reasons to love Ottawa surf-punk queens Bonnie Doon. But there’s so much more to them than that. Their brand of fuzzed-out, bass-heavy sludge-rock is meant to captivate audiences and shock the senses. Their energy, weirdness, and overall “we do whatever the fuck we want” attitudes are what really define this group as something special.
Bonnie Doon’s latest album Dooner Nooner (released on Record Centre Records) is an acid trip through and through, and will take you from heavier face-punching tracks like the opener “Haunted Life,” to wild lo-fi experiments like the closer “B-Hole.” — Excerpt written by Matías Muñoz
Released on: August 1, 2017
Mountain Arresting is a big step forward for Dead Weights, and clearly the product of a lot of work. The band strikes a balance of heavier guitar and bass parts with melodic flourishes, all woven together with rough and grumbling vocals of Jonathan Becker and Steve McCrimmon. Their signature sound comes through loud and clear on this record, as they tightened up their instrumentation even more and obviously had some chemistry in the studio. It doesn’t hurt that Dead Weights have been playing together for years, with lots of shows under their belts in recent memory. — Excerpt written by Matías Muñoz
Released on: November 15, 2017
Nightshades’ self-title release this year was their first full-length album. There has been some change in membership (Dean Morris joined them on bass) since their last release and also some slight change in sound. The band’s sound is a lot more mature and refined in all the best ways. They have kept true to their garage origins, but come at it a little cleaner and polished than past works. The track “Very Blue” sticks out in particular on the album as it appears to me to be the song that best encapsulates their transition from old to new Nightshades. “Very Blue” has many of the raw elements and darkness of older Nightshades while still very much being new and a step forward. Lead singer Mallory Giles’ vocals sound better than ever on this release and really shine on tracks “Wasting Time” and “Broken Bag.”
— Eric Scharf
Released on: June 23, 2017 (Dine Alone Records)
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 it is even better is how they have done it without losing their edge and fun which they have become synonymous with. — Excerpt written by Eric Scharf
Released on: October 13, 2017 (Record Centre Records)
Some may recognize Doug Hempstead’s voice as the dependable CBC radio traffic reporter here in Ottawa. But when he’s not on the airwaves talking about crashes and delays, he’s making music under the moniker Area Resident. The album is all Ottawa Valley, and a perfect mixture of the folk songwriting and crunchy alternative instrumentation that great artists from this area have pursued in the past. Hempstead himself is a talented multi-instrumentalist, and on stage he is the drummer lead vocalist. He is also supported by guitarists John Higney (The Flaps, Two Minute Miracles) and Paul Jensen, and bassist Kristy Nease (who also happens to be his CBC cohort). Delano draws on Hempstead’s experiences growing up in the valley outside of Pembroke and the things he’s encountered as a journalist. He expertly weaves together these anecdotes into poetic lyrics, imposing them into songs that aren’t tethered by a singular genre or stylistic direction. This album is full of life and demands to be listened to over and over again. — Matías Muñoz
Released on: October 29, 2017
The Dark Plains is a band whose members have been making music for a long time, featuring ex-members of Okara and Shotmaker, who were relatively well-known acts in the 90s post-hardcore scene. While their experience extends beyond two decades, these guys are making fresh-sounds that contains elements of punk and hardcore, but the songs take their own trajectory all together. 00001 is an album that requires deep listening, and demands one’s total attention. — Matías Muñoz
Released on: June 16, 2017
Lake Urmia is a newer melancholic queer-pop band in town that is making serious waves, and their debut album Wine Time brings together warm tones and jangly riffs for us to grab and hold on to. The album was self-recorded by band member and vocalist Elsa Mirazei, and they also mastered it along with Chris Love of Pith and the Parenchymas. This DIY production gives the album a wonderfully imperfect quality, where the listener is given a raw and unrefined collection of beautiful (and sometimes sad) songs to ingest and mull over. The unrefined aspects of this album are what make it so easy to connect with, and Elsa’s soft vocal melodies are so naturally interwoven into the instrumental parts. Fans of Julien Baker and Frankie Cosmos will fall into the arms of Lake Urmia with ease, and we’re really excited to see what this band is going to get up to in 2018. — Matías Muñoz
Released on: November 1, 2017
Cody Coyote has exploded onto the hip hop scene over the last few years, and has garnered a lot of well-deserved praise for his recording and vivacious stage performances to date. The rapper is of Ojibwe/Irish decent with ancestry from Matachewan First Nation located in Northern Ontario, and has been writing music since the age of 16. Mamawi is Objiwe for “all together” in English, and the album combines extraordinary lyricism and storytelling with a range of modern hip hop and experimental beats. The album itself is centred around reconciliation between Canada and Indigenous people, togetherness, love and unity, and tackles some difficult issue involving the history of oppression and abuse of indigenous peoples that continues to this day. Not only is this album integral in today’s political conversation surrounding indigenous rights, but Cody Coyote is following the trail blazed by Ottawa’s A Tribe Called Red and his voice is one that we should all be listening to. — Matías Muñoz
Released on: October 7, 2017
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. In 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. — Excerpt written by Matías Muñoz
Released on: June 9, 2017
PINE has released their first album 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 are raw and untethered pieces that use intricate instrumentation and emotive lyricism to create a powerful experience for listeners. — Excerpt written by Matías Muñoz
We’ve compiled a few albums that were either too short to meet our 4-track minimum, or didn’t quite fit into our top 17. Here are some honourable mentions worth listening to.
Her Harbour – Go Gently Into the Night
Gianna Lauren – Moving Parts (Forward/Record Centre Records)
Fet.Nat – Gaoler
Chris Landry – one fifty five
Positive Charge – Under Growth
Expanda Fuzz – The Last Of The Who Heads
Eddie Quotez – Otaku
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