Tag: Halifax NS

New Audio: New JOVM Mainstay Rich Aucoin Releases a Dreamy, New Single

Now, over the first few months of the year, I’ve written quite a bit about the Halifax, Nova Scotia-born and based electronic music artist and indie rock artist Rich Aucoin. And as you may recall, Aucoin has spent time as a collaborator and guest musician in older brother Paul Aucoin’s band Hylozoists before developing a reputation as an attention grabbing solo artist. Aucoin’s 2007 debut EP Personal Publication was a concept album conceived and written as an alternative soundtrack to How the Grinch Stole Christmas. The Canadian artist supported that effort with a cross-Canada tour entirely by bicycle to raise money for Childhood Cancer Canada. Upon completing his solo tour, Aucoin joined his brother’s band and toured with them; but because of a sudden shift from regular and extremely strenuous exercise to virtually no exercise, Aucoin eventually suffered through a debilitating iron deficiency. Once he recuperated though, 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. We’re All Dying to Live was long-listed as a nominee for the 2012 Polaris Music Prize — and the video for “Brian Wilson is A.L.I.V.E.” won a Prism Prize in 2013. Building upon a rapidly growing profile, the Canadian electronic music artist released his 2014, critically applaud album Ephemeral. 

Released today, Hold EP is Aucoin’s first batch of new, recorded material in over 4 years, and the EP features the sprawling and propulsive club banger “Release”, the swooning M83-like “The Middle”  and the jangling, club banging electro pop and indie rock amalgamation, “The Fear.” The EP’s latest single “The Dream” is a slow-burning track in which Aucoin’s tender falsetto is paired with twinkling keys, a sinuous bass line, bursts of handclaps, bursts of mournful horns — and in some way, the song seems to evoke something that the song’s narrator longs for, but deep down knows he can never fully achieve; in fact, there are countless times in which it seems as though much of what you’ve desired or felt you deserved is often out of reach, and that such things leave lingering and embittering reminders. 

Interestingly, as Rich Aucoin explains in press notes. “‘The Dream’ is a song about the contentment we can feel at an individual level when daydreaming or imagining a different world. It’s not about the achieving of making that world come to reality but looks at the various therapeutic benefits from such an endeavour. Whether it be imagining a time where you are not heartbroken, in an estrangement, or in conflict with the changes in your life, that power to picture yourself beyond the given moment is a useful tool for accepting the way things are and getting to that new spot, ‘The Dream.’”

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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. 

New Video: The Lush and Meditative Visuals for Rich Aucoin’s “Release”

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 solo artist. His debut effort, 2007’s Personal Publication EP was conceptualized as an alternative soundtrack to How the Grinch Stole Christmas and he supported the release by going on a cross-Canada tour entirely by bicycle to raise money for Childhood Cancer Canada. When he was finished with his solo tour, he joined Hylozoists on a tour, but after a sudden shift from regular exercise to visually no exercise at all, Aucoin suffered with an iron deficiency; however, after recuperating, he went on a solo tour, running partial marathons between stops to raise money for the Canadian Cancer Society. 

During both of his early solo tours, the Halifax, Nova Scotia-based musician recorded 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 the EP’s first single “Release” which, features live drumming from Broken Social Scene’s Justin Peroff is a sprawling yet propulsive, club banger centered around layers of arpeggiated synths and thumping beats. Interestingly, the track finds Aucoin drawing from house music, and boom bap-era hip-hop in a way that’s reminiscent of The Chemical Brothers, The Crystal Method and others — but underneath the club banging swagger, there’s a zen-like tranquility.

Directed by Dave Hung, who may arguably be best known for his work on Kanye West’s “Famous,” the recently released video for “Release,” was filmed on four separate occasions off the coast of Nova Scotia, and features a suit-wearing Aucoin laying in the water, repeating the mantra of there being no shark attacks in Nova Scotia — while the video crew flew drones overhead, safely on shore. Primarily based around one, long and deeply meditative, photographic shot, the video manages to posses a creepy air as it forces to viewer to wonder if the video’s protagonist was at peace — or if he were dead. 

Comprised of founding members Erin Jenkins and Mathieu Blanchard and recent recruits Chris Dadge (bass), who has had stints in Lab Coast, Alvvays and Chad VanGaalen‘s backing band; and renowned singer/songwriter and guitarist Samantha Savage Smith joining a guitarist, Canadian band Crystal Eyes can trace their origins to the melancholic dream pop the duo wrote while nomadically bouncing back and forth between Tofino, British Columbia and Halifax, Nova Scotia — dream pop that the band’s founding duo has claimed has drawn from Francoise Hardy, Guided by Voices.  As a relatively constituted quartet, the band has continued to tour across their native Canada, including consecutive appearances at Pop Montreal.

The band’s latest effort The Female Imagination was written while the band spent time on a lake island in rural Ontario and was recorded on a Tascam 388. And according to the band, the album thematically focuses on and explores the other side of ourselves that we can never quite seem tor reach. The album’s latest single “Already Gone” consists dreamy and ethereal harmonies with layers of shimmering guitars played through copious amounts of reverb and delay pedal and a persistent, driving rhythm and in some way, the song sounds as though it were equally influenced by 60s garage psych — i.e., much like contemporary acts like Raccoon Fighter, The Black Angels, early Dum Dum Girls, Death Valley Girls and countless others but with a moody and sensual feel.

 

 

 

Earlier this year, I wrote about Kestrels, a Halifax, Nova Scotia-based indie rock/noise rock trio comprised of  Chad Peck (guitar/vocals), Devin Peck (bass) and Paul Brown (drums). And with the 2014 release of The Moon Is Shining Our Way EP, the Canadian indie rock trio emerged both nationally and internationally as the EP’s title track received radio airplay on CBC Radio 3  and as a result of touring with internationally renowned acts including Speedy OrtizRingo DeathstarrBeliefs, Grays and Ash. Reportedly, the sessions that produced The Moon Is Shining Our Way laid the groundwork for the songwriting approach and sound the band would then take into the studio for their self-titled, third full-length effort, slated for a September 30, 2016 release through Hamilton, Ontario-based label Sonic Unyon.

The album’s first single “No Alternative” was a decidedly pedal effects-led power chord- are paired with thundering and propulsive drumming, a tight bass line, an anthemic hook you can hear kids shouting along to in a sweaty club and Chad Peck’s plaintive falsetto as the song reminded me quite a bit of Siamese Dream-era Smashing PumpkinsSilversun PickupsMy Vitriol and others, complete with a swooning urgency. The album’s latest single “Waiting” sounds as though it owes a sonic debt to Brit Pop and shoegaze; in fact, to my ears, I’m reminded quite a bit of RIDE, as a motorik-like groove is paired with psych rock-leaning guitar chords, propulsive drumming, ethereal vocals and an anthemic hook.

 

With the 2014 release of The Moon is Shining Our Way EP, Kestrels, a Halifax, Nova Scotia-based indie rock/noise rock trio comprised of  Chad Peck (guitar/vocals), Devin Peck (bass) and Paul Brown (drums), emerged both nationally and internationally as the EP’s title track received radio airplay on CBC Radio 3 — and as a result of touring internationally with the likes of renowned indie acts such as Speedy Ortiz, Ringo Deathstarr, Beliefs, Grays and Ash. Interestingly enough, the sessions for The Moon is Shining EP reportedly laid the groundwork for the songwriting approach and sound the band would eventually take into the studio for their forthcoming third full-length and self-titled album, slated for a September 30, 2016 release through Hamilton, Ontario-based label Sonic Unyon.

While the album features guest spots from Ringo Deathstarr’s Elliott Frazier and Alex Gehring, its first single “No Alternative” is a decidedly power chord-based 90s alt rock-inspired song as power chords are played through various effects pedals and are paired with thundering and propulsive drumming, a tight bass line, an anthemic hook you can hear kids shouting along to in a sweaty club and Chad Peck’s plaintive falsetto floating over mix. While sonically speaking, the song reminds me quite a bit of Siamese Dream-era Smashing Pumpkins, Silversun Pickups, My Vitriol and others, complete with a swooning urgency.