by Gabriel Fars
I think that this is the type of EP you would dismiss at first. The type that you need to learn how to love. Like those tracks that you always initally skip but then when you actually give it a listen you discover it’s the best song you’ve ever heard in your entire fucking life.
Continue reading “EP Review :: middleTimes :: middleTimes”
by Myles Tiessen
“…this body of work is supposed to display the danger in isolating. While in this state, we set ourselves up to be in harm’s way by outside forces, but breaking out and embracing humility and community, you can finally transcend into a healthy trajectory.”
So writes Zoon’s Daniel Monkman in the press release for their surprise EP Sterling Murmuration.
Continue reading “EP Review :: Zoon :: Sterling Murmuration”
by Gabriel Fars
Making deals with the devil, the embarrassment of still living with your mom, being a drunken man-child–This album really is about the important things in life. The things that you think about when you’re sad and still awake late at night when all you can do is stare up at your roof and pray that your brain will shut up so that you can just. Go. To. Sleep.
Continue reading “Album Review :: Shoehole :: Magic Hate Ball”
by Sam Doucet
Jacob Brodovsky has been doing a lot of thinking. At a time when many artists are pumping out material at breakneck pace to keep their names in the conversation, and most of them are already working on their second or third pandemic-driven album, this Winnipeg troubadour has taken his time in releasing his debut full-length, the ever-so-cloyingly titled I Love You and I’m Sorry. It’s the first recordings we’ve heard from him since 2019’s Sixteen Years EP, which introduced many local ears to Brodovsky’s pensive and unhurried brand of indie folk.
Continue reading “Album Review :: Jacob Brodovsky :: I Love You and I’m Sorry”
by Jakob Sheppard
TRIGGER WARNING: THIS ARTICLE CONTAINS A DISCUSSION OF TOPICS INCLUDING ANOREXIA, MENTAL ILLNESS AND SELF HARM
I was fortunate enough to be able to ask Winnipeg’s Annaxis about her brand-new EP: CBT or “Cognitive Behavioural Therapy,” in which she brings her unique brand of dark pop with indie influences like Kate Bush, and Mitski, making the listening experience sombre yet beautiful at the same time.
Continue reading “EP Review :: Annaxis :: CBT”
by Ryan Haughey
Montreal’s sweetheart band TOPS builds on their already sparkling discography with their most recent EP, Empty Seats. After their previous full-length record, we’ve come to expect their usual driven, bubbly pop style – and on Empty Seats, the band delivers. But it’s never tired or recycled. All five songs hold something new to discover for TOPS in both storytelling and composition.
Continue reading “Album Review :: TOPS :: Empty Seats”
by Noah Cain
Like other great love songs, “I’ll Set the Fire,” the new single from Amos the Kid, makes you want to feel loved like that. It features frontman Amos Nadlersmith at his most intimate, quiet, and loving.
Continue reading “Single Review :: Amos the Kid :: “I’ll Set the Fire””
by Paul Newsom
Ghoskeeper’s Multidimensional Culture sounds whimsical, nostalgic, mystical, and weird. Variously inspired by pow wow music, the great pop bands of the 60s, and seemingly more subgenres than could be neatly listed, the record feels as complicated as it does Canadian.
Continue reading “Album Review :: Ghostkeeper :: Multidimensional Culture”
by Sam Doucet
There is perhaps no cliché more prominent in music reviews than the one of the artist who refuses to be pigeonholed into one genre. Well, dear reader, that cliché is alive and well with Jeremy Haywood-Smith, aka Jaywood’s new album Slingshot, a dreamy and dynamic collection of musings that represent his first full-length release since 2019’s Time. It’s a deeply moving record that is the result of a tumultuous few years for Jeremy, with personal and global events giving him much to reflect on musically.
Continue reading “Album Review :: JayWood :: Slingshot”
by Gabriel Fars
Released just in early June of 2022, Sentimentalist is Emma Worley’s powerful debut album. The album features several different musicians, including Ben Whiteley on bass and cello, Drew Jureka on viola and violin, Karen Ng on clarinet, Jasper Smith on electric guitar, Miles Breithaupt as well as Caitlin Comeau-Jarvis both doing backing vocals, and of course, not to forget, the one and the only Emma Worley, who did lead vocals, acoustic guitar, and vibraphone. These incredibly talented musicians and songwriters give absolute emotional depth to the album.
Continue reading “Album Review :: Emma Worley :: Sentimentalist”
