Category: New Release
If you a go to a Jay Arner show, you will probably see Jay Arner. You will also probably see Jessica Delisle there, too. Now, the bandmates/humans have joined forces as psychedelic synth-pop duo Energy Slime. The newly minted group just released their debut on Vancouver mainstay Mint. The 10-track 7″(!!), entitled New Dimensional, features a song (amazingly) titled “Graham Fucks the Queen”. New Dimensional is a perfect piece of interstellar micr0-psychedelia definitely worth a listen.
While you’re at it, check out the new video for Cool Ship II where Jay Arner says he “finally realized my dream of a music video with a greenscreen where you don’t use the greenscreen.”
One of the best underground concert series in Toronto, Nite Comfort specializes in dark electronic music that skews towards the ambient and experimental. Last month, they celebrated their first anniversary with a compilation featuring many of the artists that have graced their stage, and it’s a wonderful cross-section of the city’s avant-garde synth explorers, including new tunes from Silent Shout faves Chanteclair, Sarin, Processor, and Zachary Gray. If we had to pick out a couple of highlights though, we’ll go with Dirty Inputs‘ majestic new synth epic “The Light of Day for Everyone” and Chobo‘s expansive exercise in sonic contrasts “Tingkle Away.” But really, check out the whole compilation on Bandcamp.
Dirty Inputs and Chobo both perform in Toronto this Thursday along with another Silent Shout darling, Zoo Owl, at the Silver Dollar. Recommended!
“Help me God, help me God this time.” Not a lyric that we would expect from Jay Holy, the Toronto-based gothically skewed psych-rocker. Scopolamine Dream is his first release since last year’s excellent Skeletor EP and picks up exactly where that left off: emotional pleas set to a backdrop of musical freak-outs. The title and album art reflects a troubled person trying to deal with his issues through drugs, pain, self-loathing and, apparently, God.
It is a strong statement from one of the city’s most original acts. “Buried Alive” features one of the best codas in recent memory, with an instrumental dance breakdown that we could have had go on for another five minutes. “Catacombs” might be the grooviest song on the album, but with a severe sense of foreboding through the sole oft-repeated lyric of “can’t do it again.”
Jay Holy wrote and recorded all the parts himself, an impressive feat for such thick and luscious instrumentation. That said, he seems to be embracing his live-band as of late with the release of an also spectacular Halloween Ottobre EP recorded with his bandmmates over a few days.
Both records are available PWYC on Bandcamp, and are well worth your time.
We’re delighted to feature Arrival, the latest ambient-drone release by Lindsay Dobbin. Eschewing the song-based aspects of her Broken Deer recordings, these long form tracks showcase Dobbin’s facility for working with minimal soundscapes, in style somewhat sonically akin to William Basinski’s oeuvre, or the loop-based instrumental works of Grouper or Jefre Cantu-Ledesma.
The immersive title track captures the experience of hearing gorgeous sounds from afar; the attack of each pitch becomes subsumed by the decay of its predecessor, evolving gently at glacial pace into a tapestry of harmonic resonances and overtones. Surender your undivided attention to Arrival and it may be one of the most rewarding listening experiences you’ll have this year.
Pick up a digital or cassette copy direct from Phinery.
Prolificacy and quality may often be mutually exclusive, but in the case of YlangYlang’s œuvre this clearly isn’t so: first, she kicked off the year with Blossom, a sublime collection of abstract ambient pop gems. Next was an irresistible set of ’90s Top 40 R&B covers, followed by Pyramid Island / Parallel Beaches and video game soundtrack Dream Warrior. Now we have am i being overdramatic?, YlangYlang’s latest full length album and fifth solo release of 2014. Even more intimate, fractured, and melancholic than Blossom, its intricate sound design, elegiac melodies, and dreamy, soft focus textures make for a highly rewarding listen.
Kontravoid has expanded with Votive: the new side-project from everyone’s favourite dark-wave mask-enthusiast, and we definitely love what we hear! Adding vocalist Kat Duma and more of a dance-club vibe to the proceedings makes the project more in keeping with Cam Findlay’s previous projects Parallels and Crystal Castles.
And apparently, they’ve been busy: in the span of 24 hours, the band dropped the video (above, directed by Nadia Khashan), and EP (below) and the news that they are opening for TRUST tomorrow at the Danforth Music Hall in Toronto. Really, there couldn’t be a more appropriate pairing.
We’re going go out on a limb and say that Bruce Haack is the most original, prolific, and pioneering Canadian electronic musician of all time, by some distance. A schoolteacher who began self-releasing recordings on his own Dimension 5 label in 1963, his most well-known and widely-released album was The Electric Lucifer, which came out on Columbia in 1970. Electric Lucifer Book II is the sequel, recorded in 1979, more futuristic and forward-thinking than its predecessor, but despite its merits, it’s a strange record and nobody would release it. It was finally released to little fanfare in 2001, long after Haack’s death. It’s a criminally overlooked album.
Toronto-based Telephone Explosion Records is righting some major wrongs by reissuing this lost classic, and making sure Haack’s magisterial work remains in print, and helping garner some deserved attention to possibly the best electronic album in Canadian history. Buy it here.
Montreal is a city that is constantly generating new incredible talent, and it seems like much of the new crop is collected on this compilation released by management group/distribution collective Summer Cool, which is based out of both Montreal and Berlin. One is the first in the collective’s planned biannual compilation series, and it is a stellar listen from beginning to end, a great summation of two weird pop scenes we so adore. It includes some old favourites (Magic Island, Adam Wilcox, Mathématique) and plenty of new ones, including the super-fresh Vesuvio Solo jam we premiered a few weeks back. Our favourite brand-new discoveries off this compilation are the woozy electronic funk of Noni Wo‘s “Solarstorm” and the bombastic synth-rock of COUNTRY‘s “Life-Like”. Amazing tunes both!
But there’s such a wealth here, really, and you should hear it all. One is available on cassette in a highly-limited run, or as a free digital download, both at Summer Cool’s Bandcamp.
We present to you Double Tooth. The Volume 1 seven inch record was recently released on a new sister label of Forward Music Group appropriately called Backward Music. The band have also put out an accompanying digital version that contains an additional 7 tracks of stripped down sonic slices.
It’s all a very cool journey through 60’s Nigerian afrobeat with interestingly cinematic twists of jazz, space-rock and modern music. The brand new project is composed of Robbie Grunwald (Fender Rhodes, Micromoog, Roland Juno 8, bass, guitar, glockenspiel, congas, hand claps) and Joshua Van Tassel (drums, congas, shakers, misc percussion, glockenspiel, hand claps, psycedelics). What we really fell in love with were the simply sweet analog synth lines scattered throughout. Both “You Should Buy Myself a Drink” and “One Thousand Shapeshifters” are sparse tracks that really make you groove on and trip out in a simple yet effective way.
Also, check out their live video shot in the decommissioned Halifax Stanfield International Airport air traffic controller tower (Editors Note: !?!!!?!? That’s so cool!):
Following 2013’s etwal timoun and Dezombi, RAMZI returns with BÉBiTES, a stunning thirteen track album self-released on Phoebé Guillemot’s own imprint, Pygmy Animals. Produced between spring 2013-14, this expertly sequenced collection of leftfield vignettes showcases Guillemot in full command of her highly distinguished aesthetic. Stream the entire album above and discover why BÉBiTES is yet another welcomed addition to RAMZI’s brilliant discography.