by Olivier LaRoche
With their debut LP, Ontario band Heaps deliver a pleasantly crafted and versatile indie-rock sound. Very much a continuation of the indie-rock trends that defined the 2010’s, their sound lies somewhere between the music of Foster the People and that of The Killers.
Continue reading “Album Review :: Heaps :: What is Heaps”
by Olivier LaRoche
On his self-titled sophomore album, multi-instrumentalist Sen Morimoto offers a slick fusion of jazz-rap and soulful art-pop, mixing in various elements from across the musical genre spectrum along the way. The Chicago artist’s background of saxophone is made clear right away, on the opening track “Love, Money Pt. 2,” as well as his knack for a funkier sound, like on the track “Deep Down.” The guitar and keyboard sounds differ on nearly every song, making for a genuinely engaging sound that remains hard to pin down.
Continue reading “Album Review :: Sen Morimoto :: Sen Morimoto”
by Myles Tiessen
Coming out of the ferocious Vancouver punk scene, Lié dives headfirst into a chaotic, exciting, and confident album, which brings the listener into a world of tight-knit thrash-punk, ushering you along an energetic journey. At the same time, you try and hold on for dear life.
Continue reading “Album Review :: Lié :: You Want it Real”
by Isabella Soares
The rise of the Covid-19 pandemic has affected people in various ways, especially in the arts/entertainment scene. With tours cancelled and album releases postponed, musicians were challenged to innovate their way of creating music and promoting themselves. While many would say that their experience under quarantine has been far from positive, there are others who were able to see the light at the end of the tunnel. To singer-songwriter Heather Thomas, these months in isolation gave birth to a new music identity that was free from genre restrictions and remotely collaborative. The musician, formerly under the name ATLAAS, has chatted with Stylus Magazine about the wake of her new persona called Diaphanie, and how quarantine made her reevaluate the next steps in her career.
Continue reading “Artist Feature :: Diaphanie”
by Mark Teague
Indistinct Conversations, the latest release from Toronto’s Land of Talk seems, from the outset, to be the kind of dreamy folk album that typifies mid-afternoon festival stages in the hot sun. “Diaphanous”, the first track, is a fitting title to describe not only the song, but the overarching sound of the album. Yet, as the tracks maintain a pronounced lightness, the content begins to reveal a complexity that is not fully realized until the final songs.
Continue reading “Album Review :: Land of Talk :: Indistinct Conversations”
Review by Ryan Haughey
Hopeful or disheartening – which way does Leith Ross sway? Their debut EP Motherwell is simultaneously melancholy and faithful. Motherwell’s faith in the goodness of life is refreshing – Ross’ tender-hearted lyricism is organic and magnetic. This live-off-the-floor recorded EP dives earnestly into memories and deep, clever thoughts.
Continue reading “EP Review :: Motherwell :: Leith Ross”
by Lily O’Donnell
I don’t think any new, quarantine released music has made me as nostalgic for late nights spent dancing then this EP. I can close my eyes and see myself, dancing, arms wrapped around my friends, smiling. Baseball Hero has brought me back to a time I had almost forgotten and I couldn’t be happier about it.
Continue reading “EP Review :: Baseball Hero :: Salvation Mountain”
by Margaret Banka
Unless you are a musician or work with sound, chances are that the recording studio is as intriguing a place to your imagination as it is to mine. For us mere mortals, recording studios are a deep chamber of mystery where art somehow becomes encapsulated, mastered, and shared with the rest of the world.
Continue reading “No Fun Club: A Tour of the Freshest Face on the Winnipeg Recording Studio Scene”
by Mark Teague
In an age where music is engineered to ensure at least thirty seconds of playtime – the necessary amount to be paid out through Spotify – beginning an album (even an EP) with a spoken word track is risky, yet Jamboree’s Room pulls it off with unflinching confidence.
Continue reading “EP Review :: Jamboree :: Room”
by Grace Hrabi
Next To The Sun, the latest release from Chicago-based musician KAINA (pronounced Kah-e-na), is an exploration into the struggles the artist has faced growing up as a first-generation Latina, born and raised in the United States. Her Venezuelan and Guatemalan background influences not only her musical styles but also her lyrics, which are honest and hopeful, keeping the listener open to the reality of her life experience throughout.
Continue reading “Album Review :: KAINA :: Next To The Sun”
