Tag: Hamilton ON

New Video: Ellevator Shares a Hook-Driven and Incisive Look at Social Media and Presentation

Hamilton, Ontario-based indie rock outfit Ellevator — Nabi Sue Bersche (vocals), Tyler Bersche (guitar) and Elliott Gwynne (bass, synths) — have received attention nationally and across the blogosphere for a sound and approach that draws equally from late-aughts guitar music, post-rock, U2Peter GabrielKate BushFeistSpoon and Death Cab for Cutie paired with lean, razor sharp hooks and Bersche’s earnest, pop star-like vocals. Thematically their work touches upon power, love and loss from lived-in, personal reflections and experiences. 

Their self-titled EP amassed over a million streams across all of the digital streaming platforms. Adding to a growing profile, the members of Ellevator toured across North America with Our Lady PeaceMatthew GoodBANNERS, Cold War Kids, JOVM mainstay Rich AucoinDear RougeBishop BriggsArkells and Amber Run

Ellevator’s long-awaited, full-length debut, the Chris Walla-produced The Words You Spoke Still Move Me officially dropped today. The 12-song album sees the Canadian outfit documenting universal experiences like existential longing, romantic power struggles and the never-ending work of true self-discovery with the deeply personal and highly specific — notably, Nabi Sue Bersche’s experiences entering into and leaving a religious cult.

In the lead-up to the album’s release, I’ve written about three of TWYSSMM‘s
singles”

Easy,” a song that revealed a band boldly making a decided step forward in their sound and approach while seeing them embrace the fact that they’re a rock band: Earnest and lived-in lyrics are paired with enormous hooks, raw and passionate performances, deliberate craftsmanship and slick studio polish.

“Easy” may arguably be one of the most deeply personal songs on the album, with the song drawing directly and intimately from Nabi Sue Bersche’s life: For a period of her life, Nabi Sue Bersche was a member of a religious cult, and the song is a rumination on the good and evil things we are raised to believe without question. “I was raised in the world of charismatic Christianity – an offshoot of Pentecostalism,” Ellevator’s frontwoman explained. “God was magic and prophetic ecstasies happened every Sunday. As a child, I spoke in tongues and prayed until my body swayed with a gentle force like wind knocking me backward. A deep and abiding love of the natural world took hold of me. I witnessed firsthand the wild power of music – how it could uplift, ensnare, console, inspire.

“When I was 17 I moved to the other side of the world and joined what would most accurately be described as a cult. I prayed for strangers I met in parking lots. I shut my eyes and read the dappled light between my lashes like tea leaves that could divine the future. Vulnerability was a badge in that community so I learned to overshare. Teachings were given in the language of freedom while the stiff hand of purity reduced my body to a shameful temptation. Growing up like that gave me a love of music, a nose for bullshit, and a lot to unravel. This song is about the good and evil things we are raised to believe. I was held captive by an ideology that severely limited my life and my perspective of the world around me. It’s a process I’m still in the middle of, this work of extraction.”

TWYSSMM‘s second single was the 80s rock/pop-like anthem “Sacred Heart,” which featured an expansive arrangement centered around slashing power chords, twinkling keys and Nabi Sue Bersche’s yearning vocals. While sonically recalling John Mellencamp‘s early-to-mid 80s output, Rod Stewart’s “Young Turks” and Stevie Nicks, “Sacred Heart” details swooning and urgent, young love in its guilelessness, passion, fearlessness and neurotic self-consciousness.

“This one’s a love song about how intimacy and deep knowing can make it feel like there’s nothing left to discover, and choosing to push on anyway in search of new depths, “Ellevator’s Nabi Sue Bersche explained. “Ty [Tyler Bersche] (guitar) and I got married on a cold spring morning when I was 22 and he was 19. There wasn’t much chance to sell each other on our own myths, to be the mysterious stranger from outta town: we wrote our origin story together. Learning to love each other better has been a strange journey and the great gift of my life.”

Party Trick,” TWYSSMM‘s third single was a slow-burning and atmospheric ballad that accurately captures the insecurity, anxiety and flightiness of a young person still figuring out who they are and what they are: They seemingly adopt and discard identities, interests and beliefs until they stumble onto something that maybe suits them. While drawing from deeply personal experience, the song is rooted into something incredibly universal — something we’ve all done at some point or another in our lives.

“A friend said to me that being in a band means never growing up,” Ellevator’s frontwoman says in press notes. “It’s easy to feel like Peter Pan on tour, all the trappings of adulthood a hundred truck stops and a thousand miles in the rearview. I started writing this song to my teenage self: a flighty, insecure kid posturing confidence. I’d jump around to all the different cliques like a self-styled Ferris Bueller, leaving just before friendships could settle in. Being on the road brought out those same old tendencies: keep it all on the level, don’t go too deep. Driving down the highway, floating through the hall/Everything is different, nothing’s changed at all.”

“STAR,” TWYSSMM‘s fourth and latest single continues a remarkable run of enormous, hook-driven anthems featuring twinkling keys, propulsive drumming, shimmering and angular guitar lines and a sinuous bass line paired with Nabi Sue Bersche’s plaintive vocals. Sonically “STAR” — to my ears, at least — is a slick synthesis of Stevie Nicks, U2 and Death Cab for Cutie while rooted in a both personal and universal experience: Our tendency to play dress up and attempt to put on our best airs for the outside world — especially through the lens of social media.

“There are so many ways to disguise ourselves I don’t think we even notice we’re dressing up anymore,” the Canadian outfit’s frontperson explains. “Good art has a human point of view, which is to say it’s nuanced, complicated. It often doesn’t have a clear agenda that’s easily distilled, packaged, and sold. Flattening that perspective into something that fits neatly between the clean lines of social media has been difficult for me. Learning how to do it has changed the way I see the world, brought out ugly instincts, and magnified my vanity and insecurity. The wildest part is that this sort of curation and performance is no longer reserved for people like me: artists who pay people lots of money to convince you to listen to our music. Any fourteen-year-old on TikTok has given at least as much careful attention to their brand as I have. But the neurochemical trick these platforms play is just the latest version of a very old phenomenon. We’ve always built our identities carefully: showing the world our good side is an intrinsic part of evolution, whether it’s holding our arms high to make the bear think we’re bigger than we are or an Instagram story of our eight-car-garage.

“I started writing this song about Sable Starr and the baby groupie scene from the 70s in West Hollywood. Writing about licked lips, hey sweethearts, and other abstractions of crude men is a natural place for me to write from. Like a lot of people, there’s a deep well of rage to draw from there. But it morphed into a song about me, how the fucked up aspects of my industry have shaped me, how I’ve bent to the wills of people and entities I don’t trust. When the road runs out, will I be waiting around? Will I still be pretending?”

Directed and shot by the band’s frequent collaborator Cam Veitch, the accompanying video for “STAR” is optimized for viewing on a mobile device in vertical full screen. But whether you’re watching it on a computer as I have or on a phone, we see the members of Ellevator adopting cartoonish. one-note personas, which only capture a small portion of the complicated, flawed people behind the person. But the likes, the shares, the fucking clout!

Lyric Video: Ellevator Shares Slow-Burning “Party Trick”

Hamilton, Ontario-based indie rock outfit Ellevator — Nabi Sue Bersche (vocals), Tyler Bersche (guitar) and Elliott Gwynne (bass, synths) — have received attention nationally and elsewhere for a sound and approach that draws equally from late-aughts guitar music, post-rock, U2Peter GabrielKate BushFeistSpoon and Death Cab for Cutie and paired with lean, razor sharp hooksand Bersche’s earnest, pop star-like lyrics. Thematically their work touches upon power, love and loss from lived-in, personal reflections and experiences.

The Hamilton-based outfit’s self-titled EP amassed over a million streams across all of the digital streaming platforms. Adding to a growing profile, the members of Ellevator toured across North America with Our Lady PeaceMatthew GoodBANNERS, Cold War Kids, JOVM mainstay Rich AucoinDear RougeBishop BriggsArkells and Amber Run

The Hamilton-based outfit’s long-awaited, full-length debut, the Chris Walla-produced The Words You Spoke Still Move Me is slated for a May 6, 2022 release through  Arts & Crafts. The 12-song album reportedly sees the band documenting universal experiences like existential longing, romantic power struggles, the never-ending work of true self-discovery and the deeply personal and highly specific — i.e., Nabi Sue Bersche’s experiences entering into and leaving a religious cult.

In the lead-up to the album’s release next month, I’ve managed to write about two of the album’s released singles:

Easy,” a song that revealed a band that not only making a bold decided step forward in their sound and approach, but a band embracing that they’re a rock band with a balance of deliberate craftsmanship, earnest and lived-in lyrics, enormous hooks and raw, passionate performances with a slick studio polish that reminded me of 80s pop and deDeep Sea Diver‘s impressive Impossible Weight

“Easy” draws directly from Nabi Sue Bershe’s life: For a period of her life, the Ellevator frontwoman was a member of a religious cult, and the song is a rumination on the good and evil things we are raised to believe without question. “I was raised in the world of charismatic Christianity – an offshoot of Pentecostalism,” Ellevator’s Nabi Sue Bersche explained. “God was magic and prophetic ecstasies happened every Sunday. As a child, I spoke in tongues and prayed until my body swayed with a gentle force like wind knocking me backward. A deep and abiding love of the natural world took hold of me. I witnessed firsthand the wild power of music – how it could uplift, ensnare, console, inspire.

“When I was 17 I moved to the other side of the world and joined what would most accurately be described as a cult. I prayed for strangers I met in parking lots. I shut my eyes and read the dappled light between my lashes like tea leaves that could divine the future. Vulnerability was a badge in that community so I learned to overshare. Teachings were given in the language of freedom while the stiff hand of purity reduced my body to a shameful temptation. Growing up like that gave me a love of music, a nose for bullshit, and a lot to unravel. This song is about the good and evil things we are raised to believe. I was held captive by an ideology that severely limited my life and my perspective of the world around me. It’s a process I’m still in the middle of, this work of extraction.”

Sacred Heart” continued a run of slickly produced yet dramatic, radio rock with enormous, arena rock-like hooks, earnest and lived-in lyrics that to my ears reminds me of John Mellencamp, Rod Stewart’s “Young Turks” and Stevie Nicks, thank sin part to an expansive arrangement featuring slashing power chords, twinkling keys and Nabi Sue Bersche’s yearning vocals. “Sacred Heart” details swooning and urgent young love in its gutlessness, passion, fearlessness and uncertainty.

“This one’s a love song about how intimacy and deep knowing can make it feel like there’s nothing left to discover, and choosing to push on anyway in search of new depths, “Ellevator’s Nabi Sue Bersche explains. “Ty [Tyler Bersche] (guitar) and I got married on a cold spring morning when I was 22 and he was 19. There wasn’t much chance to sell each other on our own myths, to be the mysterious stranger from outta town: we wrote our origin story together. Learning to love each other better has been a strange journey and the great gift of my life.”

The Words You Spoke Still Move Me‘s latest single “Party Trick” is a slow-burning and atmospheric ballad that manages to accurately captures the insecurity, anxiety and flightiness of a young person still figuring out who they are and what they are; so they spend their time adopting and discarding identities, interests and beliefs until they maybe find something that suits them. While drawing from personal experience, the song captures a universal experience.

“A friend said to me that being in a band means never growing up,” Ellevator’s Nabi Sue Bersche says in press notes. “It’s easy to feel like Peter Pan on tour, all the trappings of adulthood a hundred truck stops and a thousand miles in the rearview. I started writing this song to my teenage self: a flighty, insecure kid posturing confidence. I’d jump around to all the different cliques like a self-styled Ferris Bueller, leaving just before friendships could settle in. Being on the road brought out those same old tendencies: keep it all on the level, don’t go too deep. Driving down the highway, floating through the hall/Everything is different, nothing’s changed at all.”

Lyric Video: Hamilton’s Ellevator Share Swooning and Anthemic “Sacred Heart”

Hamilton, Ontario, Canada-based indie rock outfit Ellevator — currently Nabi Sue Bersche (vocals), Tyler Bersche (guitar) and Elliott Gwynne (bass, synths) — have received attention in their native Canada and elsewhere for a developing and honing a sound and approach that draws from late-aughts guitar music, post-rock, U2Peter GabrielKate BushFeistSpoon and Death Cab for Cutie paired with lean, razor sharp hooks, sweeping crescendos and Bersche’s sultry, pop star vocals singing increasingly earnest lyrics, which thematically touch upon power, love and loss from deeply lived-in, personal reflections and experiences.

Ellevator’s 2018 self-titled EP amassed over a million streams across the digital streaming platforms. Adding to a growing profile. the band toured across North America with the likes of Our Lady PeaceMatthew GoodBANNERS, Cold War Kids, JOVM mainstay Rich AucoinDear RougeBishop BriggsArkells and Amber Run

The Hamilton-based outfit’s long-awaited, full-length debut, the Chris Walla-produced The Words You Spoke Still Move Me is slated for a May 6, 2022 release through  Arts & Crafts. The 12-song album reportedly see the band documenting universal experiences like existential longing, romantic power struggles, the never-ending work of true self-discovery and the personal and highly specific – in particular, Nabi Sub Bersche’s experiences entering into and escaping a religious cult.

Late last year, I wrote about The Words You Spoke Still Move Me‘s first single, “Easy,” a song that revealed a band that not only making a bold decided step forward in their sound and approach, but a band embracing that they’re a rock band with the band balancing deliberate craftsmanship, earnest and lived-in lyrics, enormous hooks and raw and passionate performances with a slick studio polish in a way that reminded me of 80s pop and Deep Sea Diver‘s impressive Impossible Weight

“Easy” draws directly from Nabi Sue Bershe’s life: For a period of her life, the Ellevator frontwoman was a member of a religious cult, and the song is a rumination on the good and evil things we are raised to believe without question. “I was raised in the world of charismatic Christianity – an offshoot of Pentecostalism,” Ellevator’s Nabi Sue Bersche explained. “God was magic and prophetic ecstasies happened every Sunday. As a child, I spoke in tongues and prayed until my body swayed with a gentle force like wind knocking me backward. A deep and abiding love of the natural world took hold of me. I witnessed firsthand the wild power of music – how it could uplift, ensnare, console, inspire.

“When I was 17 I moved to the other side of the world and joined what would most accurately be described as a cult. I prayed for strangers I met in parking lots. I shut my eyes and read the dappled light between my lashes like tea leaves that could divine the future. Vulnerability was a badge in that community so I learned to overshare. Teachings were given in the language of freedom while the stiff hand of purity reduced my body to a shameful temptation. Growing up like that gave me a love of music, a nose for bullshit, and a lot to unravel. This song is about the good and evil things we are raised to believe. I was held captive by an ideology that severely limited my life and my perspective of the world around me. It’s a process I’m still in the middle of, this work of extraction.”

The album’s second and latest single “Sacred Heart” continues a run of slickly produced yet dramatic, radio rock with enormous, arena rock-like hooks, earnest and lived-in lyrics that to my ears brings John Mellencamp, Rod Stewart’s “Young Turks” and Stevie Nicks to mind, thanks in part to an expansive arrangement featuring slashing power chords, twinkling keys, and Nabi Sue Bersche’s yearning and plaintive vocals. At its core, the song details a swooning, young love in its guilelessness, passion, fearlessness and uncertainty. (From experience love — particularly young love — is all of that and then some.)

“This one’s a love song about how intimacy and deep knowing can make it feel like there’s nothing left to discover, and choosing to push on anyway in search of new depths, “Ellevator’s Nabi Sue Bersche explains. “Ty [Tyler Bersche] (guitar) and I got married on a cold spring morning when I was 22 and he was 19. There wasn’t much chance to sell each other on our own myths, to be the mysterious stranger from outta town: we wrote our origin story together. Learning to love each other better has been a strange journey and the great gift of my life.”

Directed and shot by Cam Veitch, the accompanying lyric video for “Sacred Heart” features intimately shot footage of the band playing the song live. “We shot, edited, and delivered the whole thing in less than 24 hrs,” Nabi Sue Bersche adds. “We’ve made a bunch of videos that I’m proud of but this one touches something special: we wanted to show what it feels like to play live as Ellevator, in all its sublime chaos, and I think we captured the lightning.”

New Video: Basement Revolver Shares Cathartic “Circles”

Formed back in 2016, Hamilton, Ontario-based dreamgaze outfit Basement Revolver — currently, Nimal Agalawatte (bass, keys), Chrisy Hurn (vocals, guitar), Jonathan Malström (guitar) and Levi Kertesz (drums) — can trace their origins back quite a bit earlier, to the longtime friendship between Hurn-Morrison and Agalawatte.

The band hit the ground running with the 2016 release of breakout single “Johnny Pt. 2,” which led to the band signing to British label Fear of Missing Out and later, Canadian label Sonic Unyon Records. The Canadian dreamgazers closed out that year with their self-titled EP. Over the next couple of years, Basement Revolver were remarkably prolific with the release of 2017’s Agatha EP, 2018’s full-length debut Heavy Eyes and 2019’s Wax and Digital EP. The band supported their recorded output with touring across Ontario, the States, the UK, and Germany.

2020 was a tumultuous year for much of the world — and unsurprisingly, it was tumultuous year for the Canadian quartet: They had written and recorded a bunch of songs. They had gone through a lineup change in which one member left and was replaced by another. But because of the pandemic and pandemic-related restrictions, they couldn’t rehearse or record in the way they had been long accustomed. And of course touring was completely off the table for much of 2020 and 2021.

The gap between their work and being alone, naturally resulted in serious introspection for the members of the band — including a reconsideration of who and what the band was. According to the band’s Agalawatte, the band had planned on making their sophomore album last year. But they wound up waiting and working out what to do, eventually making changes to what they had written. “The world was shifting around us – and there was some global trauma – with that, we decided we wanted to fully express ourselves. So far we had kind of held off sharing political views, but we were realizing that our silence was actually just violence. We realized that to be who we are fully and authentically, we needed to share our voice.”

For the band’s members, they felt the need to share things in public, that they had long held private: Agalawatte came out. Hurn came out. According to Hurn-Morrison, the pair came out against what she describes as homophobic and transphobic environments, much like Redeemer University, a private Calvinist university, which has been the birthplace of countless local acts.

Back in 2020, Redeemer University announced a policy that would discipline students for any sexual behavior outside heterosexual marriage. “While we were in the studio, the CBC released an article about Redeemer University, and their homophobic and transphobic policies. I realized then and there, I had to come out. I had to share my experience with being bi,” Hurn-Morrison explains.

Basment Revolver’s sophomore album Embody is slated for a February 18, 2022 release through Sonic Unyon Records. Thematically, the album sees the band wrestling with questions of identity, sexuality, faith and mental illness in an explicit, honest, and self-aware fashion. Sonically, the album’s material reveals a much deeper sound paired with a crisper production. And while arguably being the most personal album of their growing catalog to date, the album’s material is rooted in hope and hopeful waiting — to physically be with your friends, to tour and to engage with the world with this newfound understanding of yourself and your place within the world.

Embody‘s fourth and latest single “Circles” is a slow-burning and expansive bit of shoegazy dream pop featuring swirling layers of shimmering and reverb-drenched guitars, atmospheric synths, Hurn’s achingly plaintive vocals and a driving rhythm section. And while sonically bearing a resemblance to A Storm in Heaven era The Verve and The Sundays, “Circles” is a deeply personal song in which it’s narrator openly struggles in the aftermath of being raped, and — sadly — informed by Hurn-Morrison’s personal experiences.

According to Chrisy Hurn, the song captures the feeling of “trying to do everything in your power to get better, but there is just that one thing that it always comes back to — knowing that it is a slow and long journey.

“As much as it is about this heavy, shitty thing that happened, I feel resilient. I feel a little bit stronger every time I hear it — a little bit more like I can stop hiding parts of myself.” Of course, while being cathartic for the band’s Hurn, she has the hope that it will help listeners, who may be going through similar experiences.

The recently released video is split between symbolic imagery of Hurn struggling with depression and anxiety — and seemingly gathering the courage to perform such a devastatingly honest song with her bandmates. The video’s color palette capture the brooding and serious nature of the song.

New VIdeo: Hamilton, Ontario’s Ellevator Releases a Stylish Visual for Sleek and Anthemic New SIngle “Easy”

Rising Hamilton, Ontario, Canada-based indie rock trio Ellevator — currently Nabi Sue Bersche (vocals), Tyler Bersche (guitar) and Elliott Gwynne (bass, synths) — have received attention in their native Canada and elsewhere for a developing and honing a sound that draws from late-aughts guitar music, post-rock, U2, Peter Gabriel, Kate Bush, Feist, Spoon and Death Cab for Cutie paired with lean, razor sharp hooks, sweeping crescendos and Bersche’s sultry, pop star vocals singing lyrics, which thematically touch upon power, love and loss from deeply lived-in, personal reflections.

With the release of 2018’s self-titled EP, the Hamilton-based indie act exploded into the national and international scenes: material from the EP amassed over a million streams across the digital streaming platforms. The band also toured across North America with Our Lady Peace, Matthew Good, BANNERS, Cold War Kids, JOVM mainstay Rich Aucoin, Dear Rouge, Bishop Briggs, Arkells and Amber Run.

Elleavator’s long-awaited full-length debut is slated for a 2022 released through Arts & Crafts. But in the meantime, the Canadian trio released their first bit of new material in some time, the Chris Walla-produced “Easy.” Featuring slashing guitars, shimmering synth arpeggios, Nabi Sue Bersche’s pop star-like vocals and razor sharp hooks, “Easy” reveals an act that has made a bold and decided step forward in their sound and approach. The song sees the band balancing deliberate attention to craft, earnest, lived-in lyrics and slick, studio polish in a way that reminds me of Deep Sea Diver’s impressive Impossible Weight.

Much like the rest of the trio’s previously released work, “Easy” thematically touches upon love, connection and identity while drawing from Bersche’s personal experiences: For a period of her youth, Nabi Sue Bersche was a member of what could be described as a cult, and “Easy” is a rumination on the good and evil things we are raised to believe. “I was raised in the world of charismatic Christianity – an offshoot of Pentecostalism,” Ellevator’s Nabi Sue Bersche explains in press notes. “God was magic and prophetic ecstasies happened every Sunday. As a child, I spoke in tongues and prayed until my body swayed with a gentle force like wind knocking me backward. A deep and abiding love of the natural world took hold of me. I witnessed firsthand the wild power of music – how it could uplift, ensnare, console, inspire.

“When I was 17 I moved to the other side of the world and joined what would most accurately be described as a cult. I prayed for strangers I met in parking lots. I shut my eyes and read the dappled light between my lashes like tea leaves that could divine the future. Vulnerability was a badge in that community so I learned to overshare. Teachings were given in the language of freedom while the stiff hand of purity reduced my body to a shameful temptation. Growing up like that gave me a love of music, a nose for bullshit, and a lot to unravel. This song is about the good and evil things we are raised to believe. I was held captive by an ideology that severely limited my life and my perspective of the world around me. It’s a process I’m still in the middle of, this work of extraction.”

Directed and edited by Cam Veitch, the recently released video for “Easy” was shot in and around a Hamilton parking lot with a sleek and stylish panache fitting of a sleek and stylish song. But throughout there’s the odd sense of the video’s protagonist — the band’s Nabi Sue Bersche — being followed by something inescapable and constant.

New Video: The Dill’s Groovy “Lover Baby”

Dylan Hudecki is a Hamilton, Ontario, Canada-based singer/songwriter and guitarist and grizzled Hamilton music scene vet, best known for stints in bands like By Divine Right and Junior Blue. Back in 2018, Hudecki stepped out into the limelight as a solo artist with his solo recording project The Dill — and the project’s full-length debut Greetings From.

Released through Dead Radio Love Records, a boutique imprint of Riverfest Elora, Greetings From was a vinyl release featuring a best of selection of the 52 songs he had written as part of a larger magnum opus titled 52, which features 113 different Canadian artists collaborating with Hudecki and took the better part of 15 years to write and record. Late last year, Hudecki took 12 of the remaining 40 songs left off the vinyl, had those tracks remixed and remastered and released it as a book-end effort titled Beside to close out the last chapter of 52.

rock musicians including The Weakerthans and Bahamas’ Jason Tait, Broken Social Scene’s Sam Goldberg, Rheostatics’ Don Kerr, Twin Within’s Steve McKay, Monster Truck’s Jeremy Widerman, Chalk Circle’s Chris Tait, Holy Fuck’s Brian Borcherdt and a list of others. Sonically, Besides is centered around playful eclecticism paired with Hudecki’s wry and sobering observations on navigating life’s great disappointments.

For Hudecki, the experience has shown I’m that good things do come to those, who wait. “I’ve got great friends, plain and simple,” Hudecki says. “If it wasn’t for them, this project wouldn’t exist. The spirit of collaboration kept me going. I had to finish it for them, if no one else.”

Besides’ latest single “Lover Baby” which features Bahamas’ Don Kerr (drums) and Monster Truck’s Jeremey Wilderman (guitar) sees Hudecki pairing his wry, deadpan delivery in English and French with a scuzzy and bluesy guitar-led groove that would thrill Jack White or Dan Auerbach and an enormous hook. At its core, “Lover Baby” is a playful yet earnest plea of eternal devotion. After making music that was full of guitar tracks and multi-layering, it’s great to try to be minimal and evolve as a songwriter to keep it to the basics,” the Hamilton-based artist says.

The recently released video for “Lover Baby” features Hudecki dancing around the streets of Hamilton, Ontario in a monkey mask. “Sometimes, we just need to go for a walk and dance down the street for the hell of it — taking the piss out of life,” Dylan Hudecki say of the video treatment. “I cruised around Hamilton, Ontario dressed as a monkey while filming the video for my new song, ‘Lover Baby.’ It was an interesting feeling to be looked at as odd and unusual – ostracized for being different – which ultimately felt freeing.”

Fake Shape is an emerging Hamilton Ontario-based indie quintet that formed back in 2018. Each of the band’s five musicians offer their own unique aesthetic into the mix — and as a result, their sound features elements of indie rock, pop, ambient electronica and others. Over the past few months, the band has been holed up at Hamilton’s Fort Rose Studios writing and recording material that would eventually comprise their forthcoming debut EP Night Swim.

“It’s Easy,” Night Swim‘s first single features an expansive song structure begins with an ambient and brooding intro before quickly morphing to swaggering prog rock and prog jazz-inspired pop centered around plaintive and expressive vocals, shimmering and atmospheric synths arpeggios, slashing guitars, a sinuous bass line and an infectious hook. And while recalling Radiohead and JOVM mainstays Bells Atlas and Milagres, the song drifts and effortlessly glides through contrasting mindsets and feelings, accurately capturing feelings of dread, unease and uncertainty with a psychologically precise attention to detail/

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New Audio: Hamilton Ontario’s Ellevator Releases a Dramatic and Bittersweet New Single

Earlier this year, I caught the Hamilton, Ontario, Canada-based indie rock quartet Ellevator on a bill that featured JOVM mainstay Rich Aucoin. And as you amy recall, the band which is comprised of Nabi Sue Bersche, Elliot Gwynne, Michael Boyd, and Tyler Bersche specialize in a muscular yet meticulous take on pop centered around Nabi Sue Bersche’s raw lyricism and an incredibly cinematic sound.

2018 has been a big year for the Hamilton, Ontario-based quartet: they’ve amassed over a million streams across all the streaming platforms, and they’ve gone on a run of successful tours across North America opening for Our Lady Peace, Matthew Good and BANNERS, as well as a stadium show with Cold War Kids, Bishop Briggs and Arkells. And adding to a successful year, Ellevator will be opening for Amber Run during their December North American tour, which includes a December 8, 2018 stop at Music Hall of Williamsburg. You can check out the tour dates below. 

“The Storm,” the Canadian indie quartet’s new single is centered by Nabi Sue Bersche’s tender and aching vocals, an enormous, power chord-led hook, arpeggiated synths and a propulsive rhythm section and a deliberate attention to craft that recalls 70s AM rock — with a slick, contemporary vibe. As the band explains, the single is “an apology and an explanation. It’s the turmoil in our personal skies caused by ending the relationship. It’s a reminder that I care about you, and that you can’t seek comfort in me anymore. Trust that I know you well enough to rightly believe we’re not each other’s sun and stars – but don’t trust me – because I’m breaking your heart.” The song possesses the bittersweet air of a relationship at its inevitable end and an uncertain but necessary future.