Canadian experimental pop outfit Allegories — childhood friends Adam Bentley and Jordan Mitchell — can trace their project’s origins to their members’ penchant for indulging in unconventional musical pursuits. Bentley and Mitchell founded anthemic indie rock outfit The Rest — but after doing that, they happily embraced any opportunity to indulge their more outeé inclinations and desires. 

Back in 2014, Bentley and Mitchell began writing and recording material with no clear destination in mind, dabbling in everything from neoclassical compositions to hip hop. Gathering further inspiration from DJ’ing house and hip-hop nights, the act began to create electronic music that often shifts between the mainstream and underground spectrum. 

Throughout the past decade plus or so, the duo have had extremely busy schedules: Currently, Bentley works behind the scene in the music industry. Mitchell operates a restaurant. And yet, Allegories almost always found a way to creep back into lives — even if only as a private amusement between the pair.

During that same decade or so period, the pair winnowed down 35 song ideas into their nine song album, 2022’s  2022’s Endless. Endless marked their first full-length album in over 14 years. “There’s a moment during the makng of an album, where you don’t know if you’ll finish it,” the duo say.“Endless was riddled with these cynical epiphanies. It’s unavoidable when you’ve spent over half a decade tinkering away. But as we closed in on the finish line, there was a sense that this could be the last work you ever complete. That spurs the process on, giving urgency. If you spend 14 years between albums, you want to make every note count.”

Since the release of Endless, the JOVM mainstays have released a growing collection of standalone singles, including their first cover, their take on Talk Talk’s 1984 smash-hit “It’s My Life,” which was also famously covered by No Doubt back in 2003.

The duo’s latest single “DREAMCRUSHER” a dreamy and ethereal, lullaby of a track that sees the duo meshing elements of ambient electronica, dream pop, shoegaze and experimental pop in a way that’s simultaneously mournful yet contented, anchored around a lived-in, hard-won wisdom. Thematically, the song is reflects on ambition, failure, disillusionment and the inherent hope of creative rebirth, of a new door opening towards something better — or bigger.

Initially conceived as a simple ukulele sketch, “DREAMCRUSHER” took on a life of its own through the duo’s unorthodox creative process. Without hearing any melody or lyrics, Mitchell built an entirely new arrangement, based on Bentley’s initial chord progression. Bentley then responded with a final version that drew from his original version and Mitchell’s atmospheric reimagining.

“I think there’s an almost conflicting nature to the song in both the overall narrative and the sound design,” the duo’s Bentley says, “This song embraces the annihilation of dreams but also the beauty of what grows in their place.”

The song’s title turns out to be a recurring personal moniker that Bentley uses with tongue-in-cheek self-awareness. “I have jokingly referred to myself as the ‘DREAMCRUSHER,’ not because I’m cynical, but because of my own outsized goals and working with others. who also chase wildly ambitious dreams,” he explains. “The song holds both the devastation and the quiet hope that something even more magical might emerge.”

The accompanying visual features the duo performing the song in studio, as reel-to-reel tape machines run.