Blue Hawaii, Arbutus Records and many of their Montreal counterparts all began with the same breath in early 2010. To date Blue Hawaii has released an 8 song EP: in May of that year, "Blooming Summer" (Arbutus, 2010) was recorded following the pair's travels in Central America. It frames a time of warmth and novelty, featuring dense female harmonies, tape saturated synths, guitars and drum machines. Eventually Ra - returned to her role in BRAIDS, touring constantly, while Ag - moved to Europe, treading deeper into dance music, electronics, and production.
The two decided to make "Untogether" in 2012; they began recording on New Years Day in Vancouver and intermittently worked on the project until summer broke in Montreal. The music followed their winter in Canada, it became colder, more introspective. It again captured a time and place, but instead of a dense saturation of love and excitement, this record reflects the vast world of self-awareness and delicacy. It takes for its subject the question of belonging, despite overwhelming space.
Musically, the production on the album is more spacious and physically it was recorded in separation. Despite this, it belongs together in its final form. It demonstrates successful creative process in a pair who composed apart, and in doing so it is a meditation on communication: how technology and art influence modern human relationships. It contains the vast space of two years passing, including watching their Montreal scene change as some launched into international success and others turned deeper inwards. Here, the album finds the conflict of separation / belonging to one's self and community
The duo notice that throughout the changing social and personal landscape which is one's twenties, these divided notions and people somehow stay together. Even the name Blue Hawaii suggests a kind of melancholic, jaded paradise, but a paradise after all. It is because - or perhaps in spite of - these disjointed intersections that the record is called "Untogether."
Blue Hawaii's Tenderness searches for the meaning of closeness in our highly-connected world. Central to the record is the contradictory power of technology: people are at once alienated and brought together by its use. With immediacy of communication we can feel close without ever having to be truly tender to each other.
After taking a 4 year break from writing and producing with each other, Ra and Agor rekindled their creative flame in 2016, writing music about an unrequited relationship Ra was experiencing with someone mostly online, constantly battling these contradictory feelings of distance and closeness. As record flows from one song to the next with skits, phone calls, acoustic demos, real life samples and quiet left-turns, she discovers that happiness is derived not from others but from something immaterial within herself. She finds validation without the need for the other - a valuable lesson whether in real or virtual reality.
After having released their critically acclaimed debut Native Speaker in 2011, BRAIDS have returned with a new 12" single In Kind // Amends. Out June 11th on Arbutus Records, the 12" features two singles from their forthcoming sophomore album, as well as two exclusive b-sides.
The first single "In Kind", hits the pinnacle of the group's songwriting as a four piece. Written live, it is a layered and emotionally raw saga. The second single, "Amends", is a strong contrast, and shows the group's exploration into electronic and dance music. Filling out the 12" are two exclusive tracks that explore the textured and atmospheric side of the band - the subtly percussive "Near Enough" and the mesmerizing "A Dawn in Me".
After having released their critically acclaimed debut Native Speaker in 2011, and hot off the heels of their 12" single In Kind // Amends, BRAIDS have returned with their new LP Flourish // Perish out August 20th on Arbutus Records.
After 18 months of touring in support of Native Speaker, along with the departure of a band member, the group secluded themselves in their Montreal studio for a year of writing and recording. While Native Speaker was written in an organic and live environment, the group sought to explore a more introspective and electronic approach to songwriting. Sonically, the songs from these sessions are delicate and tight, yet thoughtfully open up to the rich lushness reminiscent of their older material. Lyrically they are honest and vulnerable, demonstrating the group's emotional growth and maturity since their last record.
With Flourish // Perish, BRAIDS marks an exciting new partnership with Montreal-based label Arbutus Records.
Braids are a three-piece experimental pop band from Montreal.
To record their third album, Deep In The Iris, Braids decamped to a series of retreats in the mountains of Arizona, Vermont, and upstate New York. Surrounded by nature in all its warm vitality, the longtime bandmates strove to shed the fabric of their day to day relationships, being bare and vulnerable before one another. What resulted is Deep In The Iris, their strongest record to date - powerful, yet fragile; immaculately sculpted, but deeply human.
Raphaelle Standell has always had a formidable voice but rarely has it sounded as vital, focused, and powerful as it does here. True to the process that birthed it, the record explores a number of heavy subjects, including pornography, abuse, and slutshaming. Standell's emotional vulnerability becomes a triumphant weapon in its own right: scything through wrongdoing and shame with equal aplomb, and clearing the way for the many others who will find resonance in the bravery of these lyrics. Written from a place of inspiring strength and unblinking lucidity, the lyricism of this record is a cathartic gift.
Deep In The Iris, out April 28th on Arbutus Records.
Braids are a three-piece experimental pop band from Montreal. In the spring of 2015 they released Deep In The Iris, their standout third record. Companion is the band's latest 4 track EP, written during the Deep In The Iris sessions, and completed during a burst of creative energy in August 2015.
Here Braids use the palette of Deep In The Iris to paint decidedly different vistas - joy, disaffection, thunderous explosion to delicate introspection, the minimalistic power of Companion to the patient blossoming of Sweet World.
Distinct in their own right, these 4 songs are not to be dismissed as b-sides, outtakes, or the lesser of a group of songs. Though it uses Deep In The Iris as a compositional guidepost, Companion is a breathtaking journey all of its own.
Crying High is the new project from Toronto born multimedia artist and psychedelic crooner, D Kleiser. The album is called â™¬. You can call it "Music" if that's easier. It was produced in Montreal by D Kleiser, and is a wonderful introduction to the proud world of Kleisonia, and all the artifacts of its inward adventures.
Although Crying High is a new project, Kleiser has been producing weirdo bedroom pop albums for 11 years. By 2014, while greyhounding between Toronto and Montreal for shows Kleiser and friends began The Rotating Cassette Carrousel project, an ongoing mixtape compilation of demos and home recordings from across Canada. From this, Kleiser began crafting a new and more theatrical solo act that would ultimately become the 'Karaoke'eko' cassette, then 'The Story of Pop Music', and finally, after learning from and improving upon each of its proto-formsâ€¦. CRYING HIGH.
Crying High is vapornoir from Montreal: disco and ebm slowed down beyond dance utility and used as the framework to support late night phone confessional vocals that sing heartbreak, joy, catharsis, pleas and attitudes of gratitudes. Crying High broadcasts little alternative pop pata-communications into the void in an attempt to forgive it. Sifting thru the mp3 junk yard of 20th century pop culture to cobble together something pretty. A personal exercise in Memehommage-as-Shadow Work, â™¬ comes complete with a solid and timeless moral, simply put: learn to love yourself or you'll die.
Marooned in a world of 24-hour status updates, Doldrums - aka Toronto native Airick Woodhead - is out to reclaim a space for the individual in a hyper-connected society. Fusing classic pop melodies and electro-hallucinogenic freak-outs, Doldrums' androgynous voice floats on a sea of chopped up samples and primal percussion to create the perfect soundtrack to nostalgia infused solitude. Beginning in 2010 as a series of videos and websites posted for fictional bands under various pseudonyms, Woodhead gained notoriety in Toronto as 'Doldrum' through performances at Everlasting Super Joy, his studio and DIY venue co-run with members of DD/MM/YYYY.
2011 marked his continued rise, with a burst of 7" releases and a VHS mixtape of original music videos. Notably, his interpretation of Portishead's 'Chase the Tear' came to the attention of the band, and it's inclusion as the B-side to the track's single on XL led to the release of a debut EP, Empire Sound, through cult London indie No Pain in Pop. An integral part of the Arbutus community since it's inception, Doldrums is one of the first acts to join the Arbutus family since its initial roster in 2010.
"I'd like to be as un-mysterious as I possibly can," Graham Van Pelt says. He's about to release Time Travel, his first record in the four years since he moved from Montreal to Toronto, and he's no longer Miracle Fortress, or Inside Touch, or any of the aliases he's used to record over the years. He's just Graham Van Pelt.
With the perspective of leaving a longtime home, of watching old friends change and familiar places become unrecognizable, came a recommitment to an emotional honesty in Van Pelt's songwriting. Time Travel's eight songs are a tangle of friendships and feelings. Moving backwards and forwards in time, they occupy a space of elegant melancholy.
Immersing himself in the work of house music legends like Larry Heard, Vincent Floyd and Maurizio and the fragile disco of Arthur Russell, along with contemporaries like Jessy Lanza and Kelly Lee Owens, Van Pelt built the album from the bottom up, rooting every track in the crude sequencer of the Roland SH-101 synth, a decades-old dance music totem. The result are melodies that are simple but affecting, anchored to deep, wandering basslines.
Time Travel is a renewal of Van Pelt's vows with dance music, and with the genre's pulse of synthesized melancholy. It's a heartrending rush, as emotionally direct as a sweaty, jaw-clenching 3am hug.
Halfaxa is Grimes' sophomore LP. Originally available as a limited CD release, it's now available worldwide on CD/LP/Digital.
Claire Boucher speaks a different language. And Halfaxa, her second album, feels like the dictionary from which we might discern just where this being comes from. Halfaxa is simultaneously more human than Geidi Primes, and yet falls deeper into a hole of mystical obscurity. The lyrics, as throughout this album, are designed to be an additional instrument, and not necessarily a device that gives obvious meaning to the proceedings.
There is a strong focus on primeval and simplistic percussion to Boucher's music, though I am apprehensive to compare it directly to club music. Even with all the fog and barriers she presents us with, at the core of her music is the human heart. There is a heartbeat in every note. Her breath is often used as a percussive element. Somehow, Grimes says more about life through her methodology than through what she literally chooses to say. Like all great world music, her sound transcends language.
Geidi Primes is Grimes' debut LP. Originally available as a free download, and a limited release of cassettes, it's now available worldwide on CD/LP/Digital.
It has a strange air of being created unconsciously while the artist herself was asleep. It is a vastly intriguing set of pop tunes highlighted by its amazing fifth and sixth songs: "Avi" and "Feyd Rautha Dark Heart", which are each frighteningly reminiscent of an unaccountable psychic experience you may have never had.
It seems like an album made for very tall people about what it's like to be very small. It calls to mind the glowering of a child king amidst the many vestments and decorations of his coronation. Listening to Geidi Primes is what its like to suddenly realize you are being watched while taking a cold shower... on the moon.
A joint release by LA's Hippos In Tanks and Montreal's Arbutus Records, the Darkbloom EP is a thrilling split by d'Eon and Grimes. Once both rising stars in Montreal's independent music scene, they produced their respective sides independently, though the project was conceptualized together.
Harnessing the dark energy of her sophomore album Halfaxa, along with the shimmering dream pop of her debut Geidi Primes, Grimes' side represents a synthesis of her two sonic personalities. Displaying a level of clarity and craftsmanship heretofore unseen in her releases, Boucher presents a stunning new collection of ethereal dreamscapes that expand her creative palette without compromising the spectral presence she is known for.
Following the Middle-Eastern-tinged R&B of 2010's Palinopsia, d'Eon's continuous, circular suite addresses reliance on technology through both lyrical content and sonic allusion - for example, "Telepathy" samples cell phone interference. d'Eon broadens his stylistic breadth through reference to a number of electronic genres - for example, he simultaneously incorporates elements of Chicago footwork and new jack swing, but surprises the listener with strange forays into bygone genres such as UK drum and bass and trip hop.
Presently available worldwide on CD and Digital formats, Darkbloom will be available on vinyl, for the first time in many territories, on May 20th, 2016.
Honey Harper is both an old and a new project. The songs were written in the past three years but they've been around for much longer. They resist temporality and eschew spatial specificity. Whether they were written on a lake in northern Ontario, a haunted hotel room in Atlanta, or in a car at 5AM in east London makes little difference as they all reside within.
Honey Harper is intrinsically honest, pure, universal country.
Composer / producer / singer Lydia Ainsworth has been secretly writing and recording songs over the past three years from bedrooms and basements between Toronto and Brooklyn. What began as pass-time sketches between composing music for film and multimedia projects has over time revealed an enchanting collection of experimental pop songs with a life of their own.
Blurring the boundaries between indie music, filmic orchestration, and electronic music, Lydia's debut "Right From Real" thrives on haunting melodies and draws inspiration from a wide range of musical sources - Verdi's Requiem, Ace of Base, Bulgarian Choirs, Bernard Herrmann, Tones on Tail, Art of Noiseâ€¦ to name a few. This sense of unexpected marriages of influence flows throughout much of Lydia's work which features use of voice sampling and string arrangements woven into a unique minimalist fabric.
Lydia Ainsworth's debut "Right From Real" will be released 09.30.14 on Arbutus Records.
"Jimi Hendrix said you need fantasy", says Toronto's Lydia Ainsworth," to see reality more clearly." On her sublime second album, Darling of the Afterglow, Ainsworth upholds Hendrix's wisdom in the best way. Vividly imagined and richly felt, the follow-up to Ainsworth's Juno-nominated Right from Real (2014) is an album of intimate emotions projected in heightened widescreen, where yearning pop classicism and classical smarts merge with other-worldly synthetic sounds and weird-gothic R&B infuences.For Ainsworth, it represents a great leap of confdence from her prodigious debut, whether she's conjuring the crystalline harmonies and deaths-head rhythms of The Road, the lush earworm pop of Ricochet or the small-hours reverie of WLCM. Blessed with an extraordinarily supple voice, Ainsworth commits herself fully on all fronts, honouring the words of Afterglow: To play it safe is not to play at all.The album title itself came to her while she was out of her element, explains Ainsworth, living near LAs Echo Park - home to the Art Deco statueÂ‘Nuestra SeÃ±ora Reina de Los Angeles (Queen of the Angels). "Walking around the lake just after sunset at a time when I was desperate for human connection, I found comfort in this statue. She gave me the inspiration for the lyrics to the song. It was as if she was singing them to me." Pass the message on: Darling of the Afterglow is a bold, beautiful album from a voice ready to be heard.Darling Of The AfterglowAvailable March 31st, 2017 via Arbutus Records.
Michael Stasis is a songwriter and artist living in Los Angeles. Since the age of thirteen, he has written and recorded music in tiny homemade studios. As a child, Michael and his father would make toys and go for heady night walks through the rolling hills and lonely mansions of Bryn Athyn, Pennsylvania. With its own American folklore of wealthy industrialists, witches and dog-people, Michael's youth danced with an oil-to-water hatred of homework and beige pragmatism. Convinced that imagination and faith in the unknown are keys to the good life, he left home to study art at Cooper Union in Manhattan. For his first release on Arbutus, RIP III is the third in a "greatest hits" series. Largely self-recorded, his restless output (over two hundred songs) has jumped sonically and stylistically, leaving some listeners to wonder if it's the same artist at all. Stasis calls it "playlist mentality", a fractured approach borrowed from current listening patterns and dwindling attention spans. This intuitive tactic, he hopes, will keep people interested, rather than lamenting a bygone era of classic anything.
RIP III is out August 4th on Arbutus Records.
Voice Of Lovers is Daniel Benjamin's first full-length release as Moon King since his embrace of underground disco and synthpop, recorded between Toronto & Detroit following the release of "In & Out", his 2017 debut track for Montreal label Arbutus Records (Tops, Sean Nicholas Savage).
there are a lot of quick cuts and transitions and the songs are pretty short, it's meant to feel a bit breathless or disorienting, like driving around and dropping in at a few different clubs in a night. lyrically the songs are little stories from the last couple of years...... trying to live in the US as a non-citizen, listening to records at the apartment in Hamtramck, late nights out at parties like Freakish Pleasures and Macho City, trips with the crew to Montreal, being on tour during the 2016 US election, spending the holidays alone in Detroit, the deaths of George Michael & Prince and the unfinished Moon King record from 2015. it's dark and fun and a little nihilistic but ultimately positive.
Moon King is the alias of producer, singer & songwriter Daniel Benjamin. Born in Toronto, the musician recently moved to Detroit, where the musically fertile & offbeat neighborhood of Hamtramck became both his home and the subject material for a new set of recordings. Hamtramck '16 documents his arrival into a new and unfamiliar environment combined with a growing obsession for underground dance music, a sound & spirit that has always felt right at home in Detroit.
Collaborating with local artists & musicians, and having the freedom to stretch out after several years of constant touring, Daniel put together a completely new band with a sound drawing from dance music's early days, from post-disco pioneers like Klein & MBO, to the house music of Larry Heard, and up through the more pop-oriented songcraft of the Bee Gees or Prince. Daniel's attention to detail in production, and willingness to break the mold of what he sees as his own potential, have made him an interesting figure to watch. With Hamtramck '16 he has created a lo-fi pop gem that will leave listeners eager to hear what comes next.
Mozart's Sister is the solo project of Montreal's Caila Thompson-Hannant. Her new album - Field of Love - is an explosion of glittering, celebratory pop. Intense, yet vulnerable, Field of Love marks a distinct growth in her artistry, and a departure from her critically-acclaimed debut Being (2014) Writing for Field of Love began in early 2015. Reliving her childhood love of 90s dance pop, Caila wanted to capture the spirit of the era's pop song - colourful, cartoonish, goofy, but always earnest. Throughout the writing process, she maintained only one rule: follow through on every musical desire. The critique could happen later, once the fun was finished. Ditching barriers and prejudice, her aim was to make music everyone was invited to. "I wrote Field of Love at a point when I truly did feel I was floating in a field of love. Once I got going the song-writing process happened very easily. As the songs came I realized: oh I really like these. There was a naivety to them and I felt like I could really cut loose when writing".
Field of Love is out February 17th, 2017 via Arbutus Records.