Category: New Release
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.
The last time we heard from Thomas, the super swoon-worthy “Kissing” flirted its way up to the #20 spot on our list of the best songs of 2013. This album takes everything that was special about that song – breathy soul vocals, smooth 80s synths, a playful sense of humour – and expands it into a full-length gem of a journey.
We especially can’t get over the confident strut of “Shy” or the earnest declarations of love on the chorus of “Gather Round.” The songs come with some assists from musical friends like DIANA‘s Kieran Adams, Prince Nifty/Matt Smith, and Bernice‘s Robin Dann. But this is fully an album that could only come from the talented and inspired mind of Thom Gill. Sign us up for his fan club!
You can find the album over at Thomas’ Bandcamp for the ever-wonderful price of PWYC.
DETH Records is an exciting new label founded by SINS in Toronto. With an impressive roster of electro-goth type acts, they chose to showcase that talent with the release of DETH VOL. 1, their first compilation album. The main single from that is an, of course, excellent collaboration between their two flagship acts: SINS and Vierance. Check out the video in all it’s gothy glory, then go and buy/stream the comp. We foresee exciting things coming this way from DETH.
So far this year, JFM has released a full-length cassette, split 7″, and music video. Not sure how he does it, but he’s back again with Moult, his second album this year and first for Italian imprint Concrete Records. JFM is in fine form here, showcasing eight otherworldly beat-laden vignettes full of jagged vocal stabs, clipped kicks, and bruised celestial backdrops. It’s the perfect follow-up to Squat, which, as you may recall, we are rather fond of.
Pick up a copy of Moult from Concrete Records today!