Tag: Calgary AB

The acclaimed New York-based electronic duo and JOVM mainstays Sofi Tukker — comprised of Sophie Hawley-Weld and Tucker Halpern — have been widely celebrated for an inclusive, global take on electronic music that thematically is centered around self-empower, unity and liberation. The debut single “Drinkee” received a Grammy Award-nomination for Best Dance Recording — and they continued an extraordinary run of success with their full-length debut, Treehouse receiving a Grammy Award-nomination for Best Dance/Electronic Album.
Building upon a growing international profile, the duo’s releases have gone Gold or Platinum on every continent on this planet, excluding Antarctica. They’ve played sold out shows and festival stops across the planet, and they’ve performed on some of the world’s most beloved shows including Italy’s X-Factor, the UK’s Sunday Brunch, Russia’s Late Show and Japan’s BuzzRhythm, The Tonight Show Starring Jimmy Fallon and most recently Good Morning America.  Additionally, the duo have a long-held reputation for being passionate activists, who have raised funds an awarenesses for a number of different causes including Planned Parenthood, The Trevor Project, and March For Our Lives.
Slated for a September 20, 2019 release, DANCING ON THE PEOPLE EP is the duo’s much-anticipated follow-up to their highly-successful full-length debut. And the EP’s latest single “Purple Hat” is a joyous, club banger that stars with a breezy Brazilian Tropicalia intro before quickly turning into a thumping club banger centered around tweeter and woofer rocking low-end, a funky, strummed and looped guitar line, an enormous, crowd pleasing hook and Bhangra-like percussion while Hawley-Weld and Halpern trade vocal lines about a wild and joyous party, in which the attendees let go of pretense and facades and let their freak flags proudly flow. It’s a joyous song that says “come all, be yourself — and most important, shake that ass and show ’em what you working with!” Considering the hate and opposition we’ve been inundated with over the past few years, this song feels necessary.
“We wrote ‘Purple Hat’ the day after our first Animal Talk party,” the duo explains. “We started throwing these parties to bring back the wild and inclusive dancing vibe to the nightclub experience. Tuck was literally wearing a purple hat and a cheetah print shirt, people were climbing on top o people, it was over-sold and sweaty, our favorite people were packed in the booth, everyone was loose AF and feeling themselves. It was wild. Every Animal Talk party since then has been like that, and we wanted to capture that raw feeling in a song. If there was a song that included everything we are about, this would be the one.”
The duo will be embarking on a lengthy North American and European tour that they’ve dubbed The R.I.P. Shame World Tour to support the release of their new EP to close out the year. This tour, Hawley-Weld and Halpern are on “a mission to kill shame one loose dance party at at time.” Up-and-coming Aussie dance pop act Haiku Hands and DJ/producer LP Giobbi will be opening for the acclaimed JOVM mainstays for all of their North American tour dates, which includes an October 24, 2019 stop at Avant Gardner’s Great Hall. You can check out the tour dates below, along with a link to buy tickets. 
This tour finds the duo supporting the National Alliance on Mental Illness (NAMI), of the nation’s largest grassroots mental health organization decided to building better lives for millions of Americans affected by mental illness and their local affiliates. $1 from each ticket sold during each US stop will go to support NAMI and heir programs and services through PLUS1. For the Vancouver show, $1 from each ticket sold will go to support Urban Native Youth Association (UNYA)’s Native Youth Health and Wellness Centre, providing culturally-relevant, welcoming, accessible health and wellness services to Indigenous youth. The centre is a safe, accessible health clinic, where Indigenous youth can feel comfortable seeking support for their physical, mental, emotional, and spiritual health. And in Calgary, $1 from each ticket sold with go to a local organization that supports mental health initiatives, bringing dignity, equity, and access to communities who need it.
Tour Dates:
North American Headline Tour
10/2: Calgary, AB @ The Palace
10/4: Vancouver, BC @ Commodore Ballroom
10/6: Portland, OR @ Crystal Ballroom
10/7: Seattle, WA @ Showbox SoDo
10/9: Oakland, CA @ Fox Theater
10/10: Los Angeles, CA @ Shrine Expo Hall
10/13: Tucson, AZ @ The Rialto Theatre
10/15: Dallas, TX @ Granada Theater
10/16: Austin, TX @ Stubb’s Waller Creek Amphitheater
10/17: Houston, TX @ White Oak Music Hall
10/19: New Orleans, LA @ The Joy Theater
10/21: Atlanta, GA @ Terminal West
10/23: Washington, DC @ 9:30 Club
10/24: Brooklyn, NY @ Avant Gardner Great Hall
11/17: Mexico City, MX @ Corona Capital
European Headline Tour
11/20: Dublin, Ireland @ Vicar Street
11/22: Manchester, UK @ Gorilla
11/23: London, UK @ Electric Brixton
11/25: Frankfurt, DE @ Gibson Club
11/26: Amsterdam, NL @ Paradiso
11/27: Rotterdam, NL @ Maassilo
111/28: Paris, FR @ Elysee Montmartre
12/1: Hamburg, DE @ Markthalle
12/2:  Cologne, DE @ Carlswerk
12/3: Munich, DE @ Technikum
12/5: Vienna, AT @ Arena Wien
12/6: Bern, Switzerland @ Bierhubeli
12/9: Zurich, CH @ Harterei Club
12/10: Brussels, BE @ Botanique Orangerie
​​​​​​​12/12: Berlin, DE @ Tempodrom
Advertisements

New Video: Watch Up-and-Coming Canadian Act Mauno Go Through a Bizarre Endurance Test in Visuals for “Vampire”

The Halifax, Nova Scotia-based band Mauno’s forthcoming album Really Well is slated for an August 2, 2019 release through Tin Angel Records, and the album, which was recorded at Chad VanGaalen’s Calgary, Alberta9-based studio reportedly finds the band — Eliza Niemi (vocals, bass), Nick Everett (vocals, guitar), Scott Boudreau (guitar) and Adam White (drums) — exploring the creases in intimacy, authenticity and labor and their preoccupations with the nature of creative labor, relationships and the self under capitalism. But while rooted in serious, daily concerns, the band notes that their critiques are filtered through a lens of the absurd, which gives them a playful, ridiculous air. “There’s something about humour and laughter that is very subversive and deeper than I think a lot of people realize,” the band’s Eliza Niemi says in press notes. “With these songs, I was trying to sort of dance on the one.” Adds the band’s Nick Everett, “There’s a double meaning to everything. You have to leave space for people to think. Where is the place for the listener if they’re not going to contribute their own thoughts or their own interpretations?” 

Really Well’s latest single “Vampire” is a slow-burning track centered around shimmering guitars, shuffling drums, plaintive vocals and a soaring hook that recalls 120 Minutes-era like alt rock while being a playful and uplifting song that focuses on the pride and utter ridiculousness of being in creative labor in a capitalist world. 

Directed by Max Taeuschel, the recently released video stars the band’s songwriting duo Eliza Niemi and Nick Everett in a bizarre endurance test, in which they’re challenged to continue performing the song while exhausting themselves on stationary bikes. Shooting the duo over an uninterrupted hour or so in an empty gym, the video’s surreal and absurd quality is a bit of an unsettling contrasts the song’s uplifting tone, Interestingly, the video also serves a deeper metaphor for being a musician and promoting your creative work — in other words, you work hard and never seem to feel as though you’re going anywhere. 

HERO is an up-and-coming Calgary, Alberta, Canada-born, Montreal, Quebec, Canada-based electronic music producer, multi-instrumentalist and electronic music artist. With the release of “Dirty Work” and “The Juice” off his forthcoming Dirty Work EP, the Canadian electronic music artist and producer emerged into prominence both nationally and elsewhere. “Dirty Work” received praise from the likes of MTV Latin AmericaComplexbooooooom tv and others while, “The Juice” was featured in an episode of HBO’s Insecure; in fact, the song was so well received that they actually wrote HERO into the script, with a character referring to him as “the black Daft Punk.” 

Certainly, with “Stay the Night,” the reference to the Canadian producer and artist as “the black Daft Punk” sounds and feels incredibly fitting, as the sensual and retro-futuristic club banger recalls Homework and Discovery-era Daft Punk, as its centered around a propulsive and sensual groove, arpeggiated synths, vocoder-fed vocals and an undeniable, infectious hook. 

 

 

New Video: The Cinematic and Dreamy Visuals for Rueben and the Dark’s Anthemic Album Single “Dreaming”

Led by primary songwriter and creative mastermind Rueben Bullock and featuring multi-insturmetnalist and vocalists Shea Alain, Brock Geiger, Ian Jarvis and Dino Soares, the Calgary, Alberta, Canada-based indie folk act Rueben and the Dark have […]

Born Elizabeth Lowell Boland, Lowell is Calgary, Alberta, Canada-born singer/songwriter and up-and-coming pop artist, who spent time living in Carcross, Yukon Territories, near a mountain that once offered passage to gold hunters — and was also once a preying haven for wolves; the up-and-coming pop artist has also spent time living in Massachusetts, Ottawa, Georgia and Calgary, before splitting her time between Toronto and London, UK.

Early within her career, she won the attention of Martin Terefe, who has worked with KT Tunstall, James Blunt and Jason Mraz; Sacha Skarbek, who has worked with Lana Del Rey, Adele and Miley Cyrus; James Bryan, who has worked with Nelly Furtado and The Philosopher Kings; and Paul Herman, who has worked with Dido.  The quartet of songwriters and producers invited them to London’s Kensaltown Studios to write with them; however, what they all worked on wasn’t in sync with Lowell’s vision, so they scrapped what they had and started over again with the end result being her I Killed Sara V. EP and her full-length debut, We Loved Her Dearly, which was released on renowned indie label Arts & Crafts Records. Both efforts received attention for songs, which openly focused on topics like sexual abuse, rape, abortion, women’s rights, the lack of LGBTQ rights, as well as our cultural ignorance about (and simultaneous) obsession with homosexuality.

Ultimately, Lowell’s first efforts were fueled by the need to empower her and her listeners to challenge gender conventions and inspire freedom from social limitations, rules and misogynists’ abuse of power, and to celebrate and uphold individuality — and while those are understandably heavy and urgent subjects, the up-and-coming pop artist pairs that with accessible, downright radio friendly melodies and upbeat vibes. Much like Fela Kuti and others, she’s used music as a weapon — suggesting as they did, you can challenge social norms and speak truth to power while dancing. Interestingly, Lowell remained friends with Terefe et. al. and it lead to her working with Terefe as a member of his band Apparatjik, and to her mini album If You Can Solve This Jumble. Following that, it lead to four days of writing and recording with A-ha’s Magne Furuholmen, Coldplay‘s Guy Berryman, Mew‘s Jonas Bjerre and Terefe, who she joined onstage at 2012’s Roskilde Festival.

After the release of her full-length debut, Lowell took up residency in her own studio space, where she began writing for other artists, including Icona Pop, Dragonette, Netsky, Grandtheft and Bulow, and where she also spent time working at writing, producing and practicing her craft, as well as guitar and piano (which she is classically trained), so that she could be ready for a self-financed UK tour, where she was backed by a drummer. Since then, she’s played showcases at Canadian Music Week, CMJ, Sled Island, and performed at David Lynch’s Club Silencio in Paris, headlined in Oslo and Copenhagen, opened for Chad Valley in Berlin, Padova and London; and opened for The Raveonettes in Barcelona, Bilbao and Madrid.

Lowell’s sophomore effort Lone Wolf was recently released on Friday, and the album’s material focus on the power an influence of youth — particular as a teenager, but from a more mature viewpoint; from someone, looking back on their own youth as an adult, who isn’t too far removed from it. And as a result, the album thematically focuses on self-discovery while retaining the upbeat, anthemic and dance floor friendly production that has won her attention.  In fact, the album’s first single “War Face” is an infectious and soulful track centered around an arrangement featuring bluesy guitar, handclaps, a propulsive battle rhythm and an infectious shout worthy hook that brings to mind The Black Keys and Alice Merton, among others.

 

 

 

 

 

 

Now, if you’ve been frequenting this site over the past year or so, you’ve likely come across a handful of posts featuring the Calgary, AB-based indie rock/darkwave/New Wave/post-punk act Ultrviolence. And throughout their history, the band has developed a reputation for purposefully adhering to old-school DIY principles, for frequently ignoring the clichés and dictates of the music industry machine and perhaps most important, for a sound that draws from the likes of Joy Division, Interpol, Preoccupations and others.

Since the release of last year’s Black Sea EP, the band has gone through a massive lineup change with Nate Jespersen (vocals, bass), the sole founding and original member, collaborating with several members of Vancouver, BC-based indie rock band ACTORS on the project’s much-anticipated, Jason Corbett  (of ACTORS) produced follow-up to Black Sea EP, Forty Knives EP.  Forty Knives finds Jespersen and the new lineup building upon the moody, post-punk sound that first caught the attention of this site and the blogosphere — while thematically focusing on the dark and seemingly unending solitude that arises when one allows themselves to be completely isolated from the world.

Guillotine,” the EP’s first single was a hauntingly moody and atmospheric track in which the band paired jangling guitar chords played through reverb and delay pedal, shimmering synths, a propulsive bass line and metronomic drumming with Jespersen’s equally moody baritone vocals. And interestingly enough, the song managed to evoke the lingering and embittering ghosts and ill-feelings of a particularly dysfunctional and/or ambivalent relationship; the awareness of time passing by and of the built-in regret that you’ve squandered the most valuable and important commodity you’ll ever know — time;  and that feeling of stepping away from the wreckage of a lengthy relationship and not quite knowing what to do next or how to even go about it. The EP’s second and latest single “Shadows of the Thief” is a swirling and jangling song held together with an angular and propulsive bass line paired with Jespersen’s crooning baritone. And while nodding at Joy Division, Interpol and Preoccupations, complete with a rousing and anthemic hook, the song possesses a subtly bitter yet dreamy and lonely undertone.

 

 

New Video: JOVM Mainstays Ultrviolence Return with the Stark and Lonely Visuals for New Single “Guillotine”

Throughout their history together, the Calgary, AB-based indie rock/darkwave/New Wave/post-punk act Ultrviolence have developed a reputation for adhering to old-school DIY principles and for frequently ignoring the clichés and dictates of the music industry machine. And over the past couple of years, the band has caught the attention of the blogosphere — and in particular this site, for a sound that seemingly draws from Joy Division, Interpol, Viet Cong and others.

Since the release of last year’s Black Sea EP, the band has gone through a massive lineup change with Nate Jespersen (vocals, bass), the sole founding member, collaborating with several members of Vancouver, BC-based indie rock band ACTORS. Produced by ACTORS’ Jason Corbett, the project’s much-anticipated follow-up to Black Sea EP, Forty Knives EP finds Jespersen and the band’s new lineup building upon the moody, post-punk sound that first caught the attention of this site and the blogosphere while thematically evoking the dark and seemingly unending solitude that arises when one allows themselves to be completely isolated from the world.

“Guillotine,” Forty Knives’ first single is a hauntingly moody and atmospheric track, which finds the band pairing jangling guitar chords played through reverb and delay pedal, shimmering synth chords, a propulsive bass line and a metronomic-like drumming paired with Jespersen’s equally moody baritone vocals. Interestingly, with my 38th birthday being yesterday, this particular song evokes something profoundly familiar — the lingering and embittering ghosts and ill-feelings of a particularly dysfunctional and/or ambivalent relationship; the awareness of time passing by and of the built-in regret that you’ve squandered the most valuable and important commodity you’ll ever know — time; and that feeling of stepping away from the wreckage of a lengthy relationship and not quite knowing what to do next or how to even go about it. And as a result, the song possesses a visceral ache.

The recently released video for the song nods at Bob Dylan’s “Subterranean Homesick Blues” and INXS’ “Need You Tonight”/”Mediate” as the video features a man on the side of the road, holding cardboard signs with the song’s lyrics; however, this man is hitchhiking with a sense of desperate urgency.

New Video: The Post-Modern Art-Inspired Visuals for Preoccupations “Degraded”

The self-titled album’s second single “Degraded” pairs their tense and angular song with what may arguably be the possess the most straightforward and hook-friendly song structure they’ve written to date; however, the song lyrically reveals itself to be full of bilious accusation and recrimination, ill-feeling and seems to evoke a relationship slowly splintering at its core, complete with the realization that as a result the relationship will be irrevocably altered; but simultaneously being a plaintive and urgent plea for understanding, for forgiveness, for the dysfunctional train ride to just stop. Sonically, the band employs synths to give their already tense material a subtle atmospheric feel much like “Anxiety;” however, the album’s latest single pushes that feeling of anxiety outward so that it becomes an enveloping fog.

Although the recently video manages to evoke a post modern painting with colors and shapes appearing as though reduced to abstraction, as the video’s director Valentina Tapia explains “The video offers an encounter with the primordial ruins of a post-human landscape, where sentient sculptural artifacts attempt to reassemble themselves piece by piece.” And while being surreal, the video manages to evoke a world splintering apart into something both unrecognizable and recognizable if you were to pay close attention, accurately capturing the tense and anxious sensibility within the song.

Initially began under the name Viet Cong, the Calgary, Alberta-based quartet Preoccupations can trace their origins to an extremely complicated six degrees of musical and personal separation as the band is comprised of two childhood friends, Matt Flegel (bass, vocals) and Mike Wallace (bass), who also were once members of Women;  Scott Munro (guitar) and Flegel were once members of Chad VanGaalen’s backing band — and while on tour with VanGaalen they had frequently discussed collaborating on a project together; and lastly, Daniel Christiansen (guitar) had once played in a Black Sabbath cover band with Siegel, Wallace,  and other members of Women.

Throughout 2015, as the band was still named Viet Cong, the members of the band unwittingly found themselves in the midst of an ongoing conversation about cultural appropriate and questions about associating oneself with names that evoke the horrors of fascism, terrorism, brutality, war, etc.  And naturally, as a result of the surrounding controversy, the members of the band decided that a name change was absolutely necessary and after some reflection and consideration, they announced that they would now be known as Preoccupations. Interestingly, as the band mentioned in press notes, when they reconvened to write the material that would eventually comprise their self-titled effort as Preoccupations, they had found themselves in a rather unsteady and uncertain state. Years-long relationships had ended and the members of the band all relocated to different cities, which made their long-held creative process of using the experiences of the road to inspire their writing extremely difficult. And when the band entered the studio without a having a central idea to consider or to guide their writing process, each member of the Calgary-based quartet recognized that for this effort, they were all about to take a collective leap of faith in which they at least had each other — and in many ways the material on the album captures the band in profound transition and feeling their way out of it as best as they could.

Interestingly, as the band’s frontman Matt Flegel explained in press notes, the album’s material draws from very specific things — the sort of things that has most people up all night, fraught with anxiety and despair. The album’s first single “Anxiety,” is as Flegel explained about the the process of natural and forced change upon the band, while on another level, the song captures the uncertain and uneasy push and pull of human relationships, including the bitterness, regret, ambivalence, frustration and self-doubt they engender. Sonically, the song possesses a subtly atmospheric sheen while further cementing their reputation for crafting tense and angular post punk that draws from Joy Division and others.

The self-titled album’s second single “Degraded” pairs their tense and angular song with what may arguably be the possess the most straightforward and hook-friendly song structure they’ve written to date; however, the song lyrically reveals itself to be full of bilious accusation and recrimination, ill-feeling and seems to evoke a relationship slowly splintering at its core, complete with the realization that as a result the relationship will be irrevocably altered; but simultaneously being a plaintive and urgent plea for understanding, for forgiveness, for the dysfunctional train ride to just stop.  Sonically, the band employs synths to give their already tense material a subtle atmospheric feel much like “Anxiety;” however, the album’s latest single pushes that feeling of anxiety outward so that it becomes an enveloping fog.

 

The band is in the middle of a lengthy world tour, which includes a second New York area stop at Warsaw in October. Check out the tour dates below.

World Tour Dates

08.21.16 – White Oak Music Hall – Houston, TX *

08.22.16 – Bomb Factory – Dallas, TX *

08.24.16 – Tricky Falls – El Paso, TX *

08.28.16 – FYF Fest – Los Angeles, CA

08.29.16 – Mountain Winery – Saratoga, CA *

08.30.16 – Ace of Spades – Sacramento, CA *

09.01.16 – Crystal Ballroom – Portland, OR *

09.02.16 – Crystal Ballroom – Portland, OR *

09.28.16 – The Rickshaw Theater – Vancouver, BC

10.01.16 – Mac Hall Ballroom – Calgary, AB ^

10.03.16 – WECC – Winnipeg, MB ^

10.04.16 – Fine Line Music Cafe – Minneapolis, Mn ^

10.05.16 – Thalia Hall – Chicago, Il ^

10.07.16 – Crofoot Ballroom – Pontiac, Mi ^

10.08.16 – Danforth Music Hall – Toronto, ON ^

10.11.16   Virgin Mobile Corona Theater   Montreal, QC ^

10.12.16 – The Sinclair – Cambridge, Ma ^

10.14.16 – Warsaw – Brooklyn NY ^

10.15.16 – First Unitarian Church – Philadelphia, Pa ^

10.16.16 – Rock & Roll Hotel – Washington DC ^

10.18.16 – Masquerade – Atlanta, Ga ^

10.19.16 – Gasa Gasa – New Orleans, La ^

10.21.16 – The Mohawk – Austin, Tx ^

10.25.16 – Valley Bar – Phoenix, Az ^

10.26.16 – The Irenic – San Diego, Ca ^

10.28.16 – The Roxy – Los Angeles, Ca ^

10.29.16 – The Independent – San Francisco, Ca

11.02.16 – Neumos – Seattle, Wa ^

11.05.15 – Brudenell Social Club – Leeds, UK

11.06.16 – Gorilla – Manchester, UK

11.07.16 – Oval Space – London, UK

11.08.16 – Exchange – Bristol, UK

11.09.16 – The Haunt – Brighton, UK

11.10.16 – Le Guess Who Festival – Utrecht, NL

11.12.16 – Botanique – Brussels, BE

11.14.16 – Pumpehuset – Copenhagen, DK

11.15.16 – Molotow – Hamburg, DE

11.18.16 – Musiques Volantes Festival – Metz, FR

11.21.16 – La Laiterie – Strasbourg, FR

11.22.16 – Klaus – Zurich, CH

11.23.16 – Magnolia – Milan, IT

11.24.16 – Quirinetta – Rome, IT

11.25.16 – Locomotiv –  Bologna, IT

11.26.16 – Suprette Festival – Neuchatel, CH

11.28.16 – Luxor – Cologne, DE

^ w/ Methyl Ethel

* w/ Explosions In The Sky