Tag: Broken Social Scene

Now, if you’ve been frequenting this site over the past few months, you would have come across a couple of posts featuring the Halifax, Nova Scotia-born and based electronic music artist and indie rock artist Rich Aucoin. Aucoin has spent time as a collaborator and guest musician inches older brother Paul’s band Hylozoists before developing a reputation as an attention grabbing solo artist; in fact, his  2007 debut Personal Publication EP was a concept album designed as an alternative soundtrack to How the Grinch Stole Christmas. He supported that effort by going on a cross-Canada tour entirely by bicycle to raise money for Childhood Cancer Canada. After he completed his solo tour, he rejoined Hylozoists on their town; however, because of a sudden shit from regular, strenuous exercise to virtually no exercise, Aucoin eventually suffered through an iron deficiency. Once he recuperated, he went on another solo tour, running partial marathons between stops to raise money for the Canadian Cancer Society.

During both of his early solo tours, Aucoin spent time writing and recording the material, which would comprise his 2011 full-length effort, We’re All Dying to Live, an album that featured over 500 guest musicians, including Sloan‘s Jay Ferguson, You Say Party‘s Becky Ninkovic, The Meligrove Band‘s Michael Small and Rae Spoon. The album was long-listed as a nominee for the 2012 Polaris Music Prize, with the music video for “Brian Wilson is A.L.I.V.E.” winning a Prism Prize in 2013. Building upon a rapidly growing profile, Aucoin then released his critically applauded, 2014 effort Ephemeral. 

Slated for a March 16, 2018 release, Hold EP is Aucoin’s first batch of new, recorded material in over 4 years, and as you may recall the EP’s first single “Release” featured live drumming from Broken Social Scene‘s Justin Peroff in a sprawling yet propulsive, club banger that draws from house music and boom-bap era hip-hop, centered around laws of arpeggiated synths. The EP’s second single “The Middle” was swooning track that may remind some listeners of M83, as it possessed a soaring hook that evokes an earnest and swooning yearning.

The EP’s latest single “The Fear” continues in a similar vein as its predecessors as it’s a jangling and rousingly anthemic instrumental track consisting of propulsive drumming, shimmering and arpeggiated synths, jangling guitar and chopped up vocal samples — and interestingly enough, the track manages to be a trippy synthesis of club banging electro pop and anthemic indie rock.

Aucoin’s PRESS ON tour to support Hold EP will feature him bicycling from city to city to raise awareness for mental health — with the Canadian artist raising awareness for mental health by bicycling from city to city and donating 100% of the tour proceeds to Mental Health America and The Canadian Mental Health Association. The tour will include an tour opening stop at Brooklyn’s newest venue Elsewhere. Check out the tour dates below.

 

Tour Dates:
2/27: Brooklyn, NY @ Elsewhere
3/26: Los Angeles, CA @ Bardot
4/6: Phoenix, AZ @ TBA
4/11: Flagstaff, NM @ The Hive
4/19: Albuquerque, NM @ Burt’s Tiki Lounge
4/26: Amarillo, TX @ The 806
5/3: Oklahoma City, OK @ The Root
5/4: Norman, OK @ Opolis
5/11: Little Rock, AR @ TBA
5/16: Memphis, TN @ Hi-Tone
5/23: Nashville, TN @ TBA
5/31: Knoxville, TN @ Birdhouse
6/20: Washington, DC @ DC9
6/23: Baltimore, MD @ The Crown
6/26: Philadelphia, PA @ PhilaMOCA

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New Video: The Vivid Animated Visuals for Rich Aucoin’s Swooning, New Single “The Middle”

Rich Aucoin is a Halifax, Nova Scotia-born and based electronic music artist and indie rock artist, known as a collaborator and guest musician of his older brother Paul Aucoin’s band Hylozoists — and as an attention grabbing solo artist. Aucoin’s 2007 debut effort, Personal Publication EP was conceptualized as an alternative soundtrack to How the Grinch Stole Christmas, which he supported by going on a cross-Canada tour entirely by bicycle to raise money for Childhood Cancer Canada. After he completed his solo tour, he rejoined Hylozoists but during a sudden shift from regular exercise to virtually no exercise at all, the Halifax, Nova Scotia-based electronic music artist and musician suffered through an iron deficiency. But after recuperating, he went on another solo tour, running partial marathons between stops to raise money for the Canadian Cancer Society.

During both of his early solo tours, Aucoin spent time writing and recording the material, which would comprise his 2011 full-length effort, We’re All Dying to Live, an album that featured over 500 guest musicians, including Sloan‘s Jay Ferguson, You Say Party‘s Becky Ninkovic, The Meligrove Band‘s Michael Small and Rae Spoon. The album was long-listed as a nominee for the 2012 Polaris Music Prize, with the music video for “Brian Wilson is A.L.I.V.E.” winning a Prism Prize in 2013. Building upon a rapidly growing profile, Aucoin released his critically applauded, 2014 effort Ephemeral. 

Slated for a March 16, 2018 release, Hold EP is Aucoin’s first batch of new, recorded material in over 4 years, and as you may recall the EP’s first single “Release” featured live drumming from Broken Social Scene’s Justin Peroff in a sprawling yet propulsive, club banger that draws from house music and boom-bap era hip-hop, centered around laws of arpeggiated synths. And while reminding me (to my ears, at least) of The Chemical Brothers, The Crystal Method and others — but underneath the club banging swagger, there’s a zen-like tranquility. The EP’s latest single “The Middle” is a cinematic yet dreamy and contemplative track that will immediately remind most listeners of M83, as it possesses soaring hook that evokes an earnest and swooning yearning. 

The recently released video by Meags Fitzgerald features hand drawn drawings, animation and live action in a way that emphasizes the both the themes and the lyrics of the song in a vivid fashion. 

Comprised of Leslie Sisson (vocals, guitar), best known as a member of The Wooden Birds, Matt Pond PA, Western Keys, Black Lipstick, Black Forest Fire, Tanworth-in-Arden, and Aero Wave, collaborations with The American Analog Set, Windsor for the Derby, Rhythm of Black Lines, RIDE‘s Mark GardenerDan Mangan, John Wesley Coleman, Snowden, and Broken Social Scene, as well as a solo artist; Rozie Castoe (bass); and Karen Skloss (drums), a member of Black Forest Fire,  the Austin, TX-based dream pop trio Moving Panoramas can trace their origins to when Sisson had returned to home to Texas to be closer to the members of her previous full-time band The Wooden Birds and her family. Sisson took on a job teaching music at School of Rock where she met Castoe, who was in an ’80s show that Sisson directed. And while this was going on Sisson was subbing on bass in Black Forest Fire with Skloss, who was a longtime friend and former graduate film school student. When each individual member’s various projects broke up, the trio of Sisson, Castoe and Skloss decided to form a band together, based on their mutual love of shoegaze.

The trio has been praised by the likes of NPRTom Tom MagazineAustin Chronicle and others, and as a result they’ve seen a rapidly growing local and national profile for their full-length album One, which possesses a sound that’s indebted to 4AD Records, 90s alt rock and classic shoegaze; in fact, the album’s first single and album title track “One” sounds as though it could have been recording and released in the 80s as the band pairs shimmering guitar chords, a tight groove, propulsive drumming and anthemic hooks with gorgeous harmonies with Sisson’s gorgeous crooning. To my ears the song reminds me quite a bit of The Sundays, The Go-Gos and even contemporary acts like Seapony. The album’s second single “Radar” is a shimmering and slow-burning ballad that employs the use of a gorgeous harmony, and sonically speaking the song sounds as though it draws from 120 Minutes MTV-era alt rock but with a subtly modern sheen. In some way, both songs evoke road trips — the sense of endless possibility and adventure; the regrets and mistakes you’re leaving behind; and the road and horizon rushing past your window . . .

Moving Panoramas will be on a rather extensive tour throughout the Spring which includes several SXSW sets and two NYC area dates. Check out tour dates below.

SXSW SHOWS:
March 13th @ Spider House (Main Patio Stage) – 2908 Fruth St at 9PM
March 13th @ The Volstead – 1500 E 6th St at 1AM
March 14th @ Boat Show on Lady Bird Lake – 208 Barton Springs Rd – 3:30PM
March 15th @  The Sidewinder (Inside Stage) – 715 Red River at 12AM
March 16th @ Hotel Vegas (Patio Stage) – 1500 E 6th St at 2PM
March 16th @ Scratch House (Backyard Stage) – 617 E 7th St at 11PM
March 17th @ El Sapo Cantina – 1900 Manor Rd at 3PM
March 18th @ Maggie Mae’s – 323 E 6th St at 12:45PM
March 18th @ Guacamole Showdown – COLLiDE on Rainey at 3PM
March 18th @ Hotel Vegas Annex – 1504 E 6th St at 6:30PM
March 19th @ Street Legal Guitars (Storefront Stage) – 2200 E 7th St at 3 PM
March 19th @ TOMS Austin – 1401 South Congress at 5PM

Tour Dates:

03/23 – Dallas, TX – Crown & Harp
03/24 – Tulsa, OK – The Vanguard
03/25 – Springfield, MO – Outlands
03/26 – Kansas City, MO – Replay Lounge
03/27 – Lincoln, NB – Duffy’s
03/28 – Rock Island, IL – Rozz-Tox
03/29 – Madison, WI – Mickey’s
03/30 – Chicago, IL – Tonic Room
03/31 – Milwaukee, WI – Cactus Club
04/01 – Fort Wayne, IN – The Tiger Room
04/02 – Grand Rapids, MI – Pyramid Scheme
04/04 – Toronto, ON – Silver Dollar
04/05 – Montreal, QC – L’Escogriffe
04/06 – Boston, MA – O’Brien’s Pub
04/07 – New York, NY – Pianos
04/08 – Brooklyn, NY – Union Hall
04/09 – Asbury Park, NJ – The Saint
04/10 – Richmond, VA – Strange Matter
04/11 – Asheville, NC – The Mothlight
04/13 – Athens, GA – Georgia Theatre Roof
04/14 – Atlanta, GA – 529
04/15 – Nashville, TN – TBA
04/21 – Austin, TX – The Scoot Inn – w/ Brass Bed
05/13 – Austin, TX – Barracuda
05/14 – Marfa, TX – Lost Horse
05/15 – Phoenix, AZ – Rhythm Room
05/16 – Los Angeles, CA – TBA
05/18 – San Francisco, CA – DNA Lounge
05/20 – Portland, OR – Kelly’s Olympian
05/21 – Seattle, WA – The Black Lodge
05/22 – Missoula, MO – TBA
05/24 – Denver, CO – Bluebird Theater *
05/25 – Kansas City, MO – Crossroads *
05/28 – Dallas, TX – Granada Theater *
05/29 – Houston, TX – White Oak Music Hall **

* w/ Nada Surf
** w/ Nada Surf, Flaming Lips, Roky Erickson, Lucero, Title Fight, Diiv

 

Comprised of Broken Social Scene‘s Lisa Lobsinger, The Beauties‘ Paul Pfisterer and Transistor Sound and Lighting Co.’s Martin Davis Kinack, the Toronto, ON-based self-described galactic dream pop trio Laser quickly won the attention of major media outlets such as Nylon, Spin and BUST Magazine with the release of “Leaving It Too Late” and “Do We All Feel It” the first two singles off the trio’s soon-to-be released debut full-length album Night Driver. Reportedly, the band’s sound — and in turn, the sound of their debut effort — takes cues from electronic and atmospheric albums and late night, country drives from Lobsinger and Pfisterer’s Toronto home to Kinack’s remote “studio in the forest.” And as a result the material on the album meshes electronic and analog elements and was written as though it were particularly designed to be the soundtrack for a introspective and meditative drive into the country.

Night Driver‘s third and latest single “Disconnect” pairs Lobsinger’s sultry yet ethereal vocals with twinkling synths, boom-bap drum programming, angular guitar played through gentle reverb, equally angular bass and a steady, motorik groove in a song that possesses brooding atmospherics while radiating both an effortless cool and a comforting warmth; after all, the song is about the disconnect (and resulting confusion) within an intimate relationship and puts in terms in a way that says “we’ve all been there at some point — and holy shit does it ever suck the life out of a relationship that may have been going well up to that point.”

 

 

 

 

 

British indie rock sensation Escapists can trace their origins to when Simon Glancy (vocals) relocated to London to concentrate on his songwriting, and as soon as he moved he asked the only musician friend he knew to help him record his musical ideas, Oil Court (guitar). Court then quickly recruited his friend, composer Max Perryment to play bass. And as the story goes, the trio spent a week of intensive songwriting sessions before deciding that they had enough musical and creative simpatico to continue collaborating together. Court’s former schoolmate Any Walsh (drums) was recruited to finalize the band’s lineup, and the newly formed quartet began writing and recording material inspired by Arcade Fire, The National and Broken Social Scene.

The quartet’s debut single received airplay from XFM‘s John Kennedy and within that year, they were touring with Imagine Dragons and played sets at Reading and Leeds Festivals. Continuing to build upon the buzz they received nationally, the quartet spent 2013 writing and recording the material that would comprise their 2014 debut, Only Bodies, which was released to critical praise from the blogosphere.

Over the past year or so, the band has reportedly gone through a change in sonic direction with their sound inching towards dance-floor-leaning post-punk. “Pyramid Scheme,” the first single off the band’s Eat You Alive possesses enormous, anthemic hooks, shimmering and angular guitar chords, thundering drumming, sinuous bass lines, and swooningly plaintive vocals. Structurally speaking there are some playful changes in tempo in a song that sounds as though its indebted to the likes of U2, Editors, The Killers, New Order and others.

Certainly, with such an enormous hooks and a dance-friendly sound, I think we’ll be hearing quite a bit from them over the next few months.