With the release of 2019’s self-titled, full-length debut, Toronto-based dream pop outfit Tallies — Dylan Frankland (guitar), Sarah Cogan (vocals, guitar) and Cian O’Neill (drums) — exploded into the national and international scenes: The album received praise from the likes of Under the Radar, DIY Magazine, The Line of Best Fit, MOJO, Bandcamp Daily, Exclaim!, KEXP and others. Adding to a rapidly growing profile, the Toronto-based dream poppers have opened for Mudhoney, Hatchie, Tim Burgess and Weaves, and they played at the inaugural New Colossus Festival.
The band’s Graham Walsh and Dylan Frankland co-produced sophomore album Patina was recorded at Palace Sound, Holy Fuck‘s Baskitball 4 Life and Candle Recording, and is slated for a Friday release through Kanine Records here in the States, Hand Drawn Dracula in Canada and Bella Union in the UK and EU. The album, which was understandably delayed as a result of the pandemic is simultaneously a labor of love and a bold step forward for the Canadian trio: Firmly rooted in their penchant in juxtaposing light and dark, the album continues to see the band drawing from Lush, Beach House and Cocteau Twins, but with a greater emphasis on shimmering guitars, earnest, lived-in songwriting — and a well-placed, razor sharp hook.
The album will feature:
- The previously released “No Dreams of Fayres,” an ironically upbeat single that sonically brought The Sundays‘ “Here’s Where The Story Ends,” while documenting Sarah Cogan’s struggles with depression — in particular, the moments, when she was trying to work it out, but just couldn’t find the energy to do so. “‘No Dreams of Fayres’ is a reflection of thoughts that I remember going through my mind when I stayed still in bed,” Tallies’ Sarah Cogan explains in press notes. “Feeling as though staying still in bed was the only thing that would help the sadness – basically, disconnecting myself from family, friends, and having a life. Finding the way out of depression was hard but possible. ‘No Dreams of Fayres’ is also about the realization of letting yourself feel real feelings but not mistaking them for emotions. I had to learn to get a grip of what I wanted out of life and go for it with no self-sabotage – which was music, as cliché as it sounds. It pulled me out of bed, physically and mentally.”
- “Special,” continued a remarkable run of upbeat shoegazer-inspired jangle pop featuring Cogan’s plaintive vocals, Frankland’s shimmering, reverb-drenched guitar lines and O’Neill’s propulsive drumming paired with their unerring knack of razor sharp, anthemic hooks. Despite its breezy nature, the song is underpinned by an aching and familiar yearning: “‘Special,’ as Sarah Cogan explains “is about longing to be seen and heard by those who matter to you most. Sometimes, feeling invisible is particularly painful when the indifference comes from someone whose opinion means a lot to you.”
“Memento,” the last single before Patina‘s release on Friday, is a slow-burning ballad featuring Cogan’s achingly plaintive and soaring vocal, Frankland’s shimmering and reverb-drenched guitar lines, and O’Neill’s simple yet propulsive time-keeping paired with the band’s penchant for rousing hooks and choruses. While sounding inspired by 120 Minutes-era MTV college rock/alternative rock, “Memento” is centered in a hopeful and powerful message — one that’s much-needed in our wildly uncertain and perilous time.
“I am a firm believer in ‘what goes down must come up’, people usually say the opposite, but this is a motto I’ve used throughout my life,” Tallies’ Sarah Cogan explains. “When things aren’t going well, they have a tendency to bounce back. ‘Memento’, to me, is my pick-up song. When I sing ‘gotta get you on your way now’, I’m saying that it’s time to move on and move forward. I’ve had many moments in my life where I’ve lost momentum and felt directionless like I’d fallen into a black hole. It’s hard to crawl out of the hole and get back on track. I think there are a lot of people who spend their time thinking about how they need to get back on track. Listen to this song and remind yourself it’s time to look forward and lean into the future.”
Continuing their ongoing collaboration with Justis Karr at IMMV Productions, the accompanying video features slickly edited, nostalgia-inducing stock footage, including a mother playing with and holding her newborn, kids at school, an exhausted mom taking car of her household of screaming kids, an elderly woman playing with a cat and fixing tea and psychedelic imagery sometimes superimposed over the band performing the song. Interestingly, the visual manages to further emphasis the song’s overall themes with exhausted, broken people trying to figure out ways to push forward — sometimes on a daily basis.