Tag: Anemone Beat My Distance

New Video: Anemone Releases Breezily Bittersweet Album Single “Memory Lane”

Throughout the course of last year, I wrote quite a bit about the Montreal-indie pop/dream pop act Anemone, and as you may recall, the act which is led by Chloe Soldevila (keys, vocals) and featuring Miles Dupire-Gagnon (drums), Gabriel Lambert (guitar), Samuel Gemme (bass) and Zachary Irving (guitar) specializes in a breezy and nostalgic take on dream pop.

Early last year, the Canadian dream pop quartet released their attention-grabbing debut EP, which they supported with a series of critically applauded SXSW shows, and some relentless touring across North America; in fact, I was first introduced to Anemone when they opened for HAERTS at Baby’s All Right.. Building upon a growing profile, the members of Anemone will be releasing their highly-anticipated full-length debut Beat My Distance on February 15, 2019 through Luminelle Records. I’ve written about two album singles so far — the breezy and sunny “Sunshine (Back To The Start)” which was built around jangling and chiming guitar lines, a propulsive, disco-influenced bass line, a steady backbeat and Soldevilla’s plaintive, ethereal vocals. But ironically, the song is centered around the hope of a brighter day after experiencing painful heartache. “She’s The One” continued in a similar vein, as it was a shimmering and ethereal track that possessed a subtly bittersweet undertone. That shouldn’t be surprising as the song focuses on two paradoxical tendencies/patterns in relationships and how they frequently work against each other: the infatuation and idealization of someone, thinking they must be “the one” until you really get to know them — and the tendency to protect yourself and stay independent, at almost all costs with the result of closing yourself off from having a profound connection with another. 

“Memory Lane,” Beat My Distance’s latest single finds the Canadian dream pop act effortlessly meshing psych pop with 70s AM rock, complete with twinkling keys, a propulsive bass line, twangy guitar and trippy layers of percussion — over which Soldevilla’s ethereal vocals sing ruminative vocals. As Anemone’s Soldevilla says in press notes, “‘Memory Lane’ is reminiscent of one’s unrepairable distance from another – the other not giving enough care to a mutual romance in an opportune time, causing both people to move on in separate directions. The outro of the song acts as a lullaby; a soothing, melodic repetition that breaths a fantasy of slowly building the inner-strength to accept that those memories can no longer be the future. Passionate events that once seemed stronger than anything slowly fade away as your inner strength grows ~ it is a powerful feeling.”

Directed by Laura-Lynn Petrick, the recently released video for “Memory Lane” was shot with grainy Super 8 Film and features the members of Anemone goofing off and enjoying a summer day at the lake and at a local farm. Some of the footage is shot with a prism just over the lens, which creates a trippy kaleidoscopic effect to the proceedings — and unsurprisingly, it looks like early promotional music videos from the late 60s and early 70s. 

Now, if you’ve been frequenting this site throughout the course of this year, you’d probably recall that earlier this year, I caught the Montreal-indie pop/dream pop act Anemone open for the acclaimed indie pop act HAERTS at Baby’s All Right. Led by Chloe Soldevila (keys, vocals) and featuring Miles Dupire-Gagnon (drums), Gabriel Lambert (guitar), Samuel Gemme (bass) and Zachary Irving (guitar), the Canadian quartet specializes in a breezy take on dream pop that hints at both psych pop and to In Ghost Colours-era Cut Copy and Painted Palms.

The Canadian act released their attention-grabbing debut EP earlier this year, which they’ve supported with a series of critically applauded SXSW shows, and some relentless touring across North America. And although they’ve been rather busy, over the past couple of months, they also announced that their highly-anticipated full-length debut Beat My Distance will be released early next year through Luminelle Records. Album single “Sunshine (Back To The Start)” is a breezy and sunny track built around jangling and chiming guitar lines, a propulsive, disco-influenced bass line, a steady backbeat and Soldevilla’s plaintive, ethereal vocals — and while sunny, the song is centered on the hope of a brighter day after experiencing something shitty and painful. “She’s The One” continues in a similar vein as the track is a shimmering and ethereal track centered around Sodevilla’s ethereal crooning and an upbeat, almost Afro pop-like sense of percussion — and much like its predecessor, it possesses a subtly bittersweet undertone. As Soldevilla explains in press notes, “She’s The One’ is about two paradoxical tendencies/patterns in relationships and how they work against each other. The first one is where you become infatuated and idealize someone, thinking they are ”the one” until you really get to know them; the other tendency is to protect yourself and stay independent. Closing yourself off from getting to know someone and potentially missing out on a great connection. ‘She’s The One’ is the prequel to ‘Bout de toi’ although it’s being released after. The mood of it, the percussions; ‘She’s The One’ came together very quickly in the studio, as we had a strong desire for an upbeat, dancy [sic] song. It brought a new energy to our set which has really shaped our live show.”

 

New Audio: Montreal’s Anemone Returns with a Deceptively Breezy and Sunny Take on Pop

Earlier this year, I caught the Montreal-indie pop/dream pop act Anemone open for the acclaimed indie pop act HAERTS at Baby’s All Right, and the act led by Chloe Soldevila (keys, vocals) and featuring Miles Dupire-Gagnon (drums), Gabriel Lambert (guitar), Samuel Gemme (bass) and Zachary Irving (guitar) specializes in a breezy and dreamy pop sound that hints at psych pop — and at points to In Ghost Colours-era Cut Copy and Forever and Horizon-era Painted Palms. The Canadian act released their attention-grabbing debut EP earlier this year, which they’ve supported with a series of critically applauded SXSW shows, and some relentless touring across North America. Now, as you may recall, “Daffodils,” off the band’s debut EP was a breezy bit of synth-led dream pop centered around arpeggiated, analog synths, an ethereal melody, reverb drenched drums, shimmering guitar lines and a sinuous bass line within a gently unfolding, expansive song structure — and interestingly, the song recalls Pavo Pavo’s gorgeous, retro-futurstic dream Young Narrator on the Breakers. 

Recently, the Montreal-based band announced that their full-length debut Beat My Distance will be released early next year through Luminelle Records, and the album’s first single “Sunshine (Back To The Start)” is a breezy and sunshine-filled track built around a jangling and chiming guitar lines, a propulsive, disco-influenced bass line, a steady back beat and Soldevilla’s plaintive and ethereal vocals — but the song’s brightness is a bit deceptive as it focuses on the hope of a brighter day, after dealing with something shitty. As Soldevilla explains in press notes that the song is about “Overcoming the pattern of falling i love with someone who is unworthy, but that you still believed it could work. I called it ‘Sunshine’ because this song should resonate positively — it’s about focusing on the bright side and coming out stronger person; daydreaming of better, sunnier days.”  (I should note that sonically speaking, the song features one of the best guitar solos I’ve heard in about a good month or so.)