Tag: Leonard Cohen

I just spent the past four days and five nights in Montreal covering the 14th annual M for Montreal Festival. And while walking and taking public transpiration from the gorgeous Hotel Monville in Downtown Montreal to the various networking events, happy hours and showcases I listened to a bit of music — some things a bit more obsessively than others. Check out this mostly Montreal-inspired playlist that features The Beat Escape, CorridorLeonard Cohen, Jef Barbara, BRAIDS and more. Check it out.

 

 

Interview: A Q&A with M for Montreal’s Program Director Mikey Rishwain Bernard

M for Montreal (French – M pour Montreal) is an annual music festival and conference, which takes place during four days in late November. Since its founding 14 years ago, the music festival and conference has rapidly expanded to feature over 100 local and international buzzworthy and breakout bands in showcases across 15 of Montreal’s top venues.

300 music industry movers and shakers, heavyweights and tastemakers from over 20 different countries make the trek to Montreal to seek out new, emerging artists and new business opportunities – while hopefully eating a ton of smoked meat sandwiches and poutine. I have the distinct pleasure and honor of being one of those music industry folks, who will be in Montreal tomorrow. As you can imagine, I’m looking very forward to poutine and smoked meat sandwiches, as well as a wildly eclectic array of music that includes the rapidly rising hometown-based Francophone indie rock act Corridor; acclaimed London, Ontario-based DIY rock collective WHOOP-Szo; British Columbia-based psych folk act Loving; hometown-based singer/songwriter and guitarist Ada Lea; hometown-based shoegazers Bodywash; Vancouver-based dance punk act NOV3L; Cameroonian-French pop artist Blick Bassy; and New York-based dance punk act Operator Music Band;  as well as a showcase featuring Icelandic artists and a two showcases featuring locally-based and Canadian-based hip-hop among a lengthy list of others.

Before heading out to Montreal, I chatted with the festival’s program director Mikey Rishwain Bernard about a wide range of topics including Montreal and Montreal’s music scene, what music fans, music industry professionals and journalists should expect from the city and the festival and more. Check it out below.

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WRH: While JOVM does have readers in Canada, most of my readers are based in the United States. Can you tell me and my readers a couple of things about Montreal and its music scene that we probably wouldn’t know but should know?

Mikey Rishwain Bernard: Most people will identify Montreal with Leonard Cohen, Arcade Fire, Wolf Parade and Godspeed You! Black Emperor, and that’s cool as shit. After that Arcade Fire movement, it felt like many creative Canadian musicians started flocking to Montreal for the cheap schools, cheap rent, vast music scene and live venues. All that hype brought a new generation of artists like Grimes, Mac DeMarco, BRAIDS and more. All this to say is that Montreal is one heck of a place for creative space, freedom and affordable rent. Aside all that, there’s an entire francophone music scene that’s considered mainstream and not to forget the top shelf beatmakers and producers, most notably Kaytranada, Kid Koala, and A-Trak. There’s a lot of government funding dedicated in arts and culture and that’s a huge factor.

WRH: This is the 14th edition of M for Montreal. What was the inspiration behind its creation?

MRB: First and foremost, M was created on a whim. It was set up as a showcase to introduce 6 Montreal bands to 12 festival buyers and media from the UK, who happened to be in Montreal, while on their way to NY for CMJ. It helped artists like Patrick Watson and The Besnard Lakes get some action. In short, M is a networking platform for Canadian artists and industry to mingle with international tastemakers. We now recruit over 100 international delegates from 15 different countries to attend in hopes to export these acts into their respective markets. Another inspiration behind M is Martin Elbourne.  He’s our co-founder. A legendary British programmer who books for Glastonbury and co-founded The Great Escape festival in Brighton. He also worked with The Smiths and New Order, and has always had been involved with new wave’s in the making. He saw Montreal as a “sexy city” and wanted to contribute to this festival to help bring Montreal acts to Europe. Since then, M for Montreal has grown into not only a platform for Canadians, but we also make a little room for international acts.

 WRH: What does a program director of a festival do? 

MRB: I curate the music and conference. Lots of listening, making offers, negotiating and waiting. On repeat.

WRH: In your mind, what makes a successful festival? 

MRB: Aside from the talent, it’s the experience. The people you meet and the memories you make. I sound like Hallmark card, eh?

WRH: This is my first time in Montreal – and it’s my first time covering the M for Montreal festival. Besides the cold weather and maybe a little snow, what should I expect as a journalist? What would other music industry professionals expect from the festival?

MRB: You’re gonna feel welcome and our locals treat our guests/delegates with a lot of respect. Quebecers are very welcoming and charming, and they’ll all share their opinions on where to go, who to meet and what to eat. Everyone is going to ask you to try poutine. Just do it, once or twice. Try it sober at least once if you get the chance. Aside from that, don’t be surprised if some women kiss you on both face cheeks.

WRH: As a music fan, why should I check out Montreal? Why M for Montreal?

MRB: Like previously mentioned, the rich music history. It’s always good to see where Leonard Cohen slept & where Win Butler got his coffee, but it’s also a privilege to discover and experience the culture and new music cooking in French Canada.

WRH: I was doing some research and checking out the artists playing this year’s festival. Admittedly, I was very impressed – the bill manages to be very local centric but while being an eclectic and diverse sampling of a number of different styles and genres. There’s also a fair number of Canadian acts from other provinces, at least one American band and so on. How much work went into that? And how do you and the other organizers choose the artists on the bill?

MRB: It’s a mixture of things. We work with a lot of new kids on the block, Canadian export partners and local industry. We book bands and work with people who wanna play ball. Not for the money, but for a chance to play for some interesting people from all over the world. So, like the programming, it’s all over the place.

WRH: So once the festival ends on Saturday night, what happens next for you and the rest of the team?

MRB: The team will close out the festival and close the 2019 file. The week after M, I’m attending a conference in Saskatoon called Very Prairie… From there, I go directly into hibernation, back home, in Stockton/Lodi California (home of Pavement and Chris Isaak). I will start the new year booking another festival taking place in May called Santa Teresa. And the beat goes on.

While in Montreal, I’ll be busy with my social media accounts, live tweeting and Instagramming as much as I can. Keep on the lookout here:

Twitter: @yankee32879 @williamhelms3rd

Instagram: william_ruben_helms

 

For more information on the festival, check out their homepage: https://mpourmontreal.com/en/

 

 

Flora Hibberd is a rapidly rising London-born, Paris-based singer/songwriter — and with the release of “The Absentee” and “In Violence” off her recently released J.C. Wright–produced debut EP, The Absentee, the London-born, Paris-based singer/songwriter, who cites Nick Cave, Joan Baez and Jacques Brel among others, has already had her early work described as “intelligent and measured . . ” and her songs “deeply rooted in the timeless lyricism of Dylan and Cohen.”

Interestingly, as Hibberd says in press notes. “‘The songs of this EP emerged over months and years, and were refined in bars, apartments and on the streets. ‘The Absentee’ was written fifty metres below the English Channel, three years ago. ‘In Violence’ was written in 2017 in the garden of the Musée Rodin. Their influences are too many to name; random encounters with poetry, art, music and language in all its forms have bled into my writing in ways of which I am often unaware. They are about real people and real events. But they are also about impossible people, and impossible events. My hope is that they find you here, on the blurred edge between reality and dreams, in the half-awake place where the familiar merges with the unknown.”

“As Long as There Is Night,” the EP’s latest single is a gorgeous song centered around a spectral arrangement of shimmering and soaring strings, strummed acoustic guitar and Hibberd’s mesmerizing vocals. And while clearly drawing from a timeless folk tradition, “As Long as There Is Night” manages to simultaneously evoke a lingering and bittersweet fever dream and an aching longing for those things, places you can never get back.

 

 

 

 

 

 

 

 

New Audio: Introducing the Dance Floor Friendly Noir of Montreal’s TEROUZ

Karim Terouz is a Cairo-born illustrator and singer/songwriter, who in 2008 relocated to Montreal, where he founded, fronted and managed the award-winning, brass folk/rock quintet The Rising Few,  an act that released two albums — 2014’s Sinners On St-Laurent and 2017’s Adult Entertainment.

Last year Terouz decided to re-invent himself and his music starting his latest project TEROUZ, a project which incorporates dancehall beats and synths and finds him employing a Bowie-esque vocal to create a refreshingly unique variation of hypnotic and moody noir that he describes in an email as “like Cohen on a treadmill.”His latest single is the swaggering,  “Outstanding.” Centered round a muscular and insistent groove centered by a sinuous bass line by guitarist/bassist Andre Galamba, thumping beats, sultry horn lines and shimmering and shimmering synths, the track sonically reminds me of I Will Set You Free-era Barry Adamson, Station to Station-era Bowie, Roxy Music and Black Strobe — in particular, “Boogie in Zero Gravity.” (In other words, it’s a moody and sultry dance floor banger.)

Directed by Alexandre Desrochers-Coderre, the recently released video for “Outstanding” is shot in a gorgeously, cinematic black and white and set in a boxing gym. And while we see a few local boxers train and spar in a lonely gym — in a kinetic and rapid fire fashion, no less. We also see a dapper looking Terouz in a black suit singing the song and caught in the song’s groove. 

New Video: Mirrorball’s Shimmering Sounds and Visuals for “This Time”

Mirrorball is a newly formed Los Angeles-based synth pop project featuring singer/songwriter Alexandra Johnstone and guitarist Scott Watson, both of whom are grizzled veterans of their hometown’s music scene: Johnstone, who was largely inspired by Leonard Cohen’s Songs from a Room went on to form Monster, later known as White Dove, as a vehicle for her minimalist, folk-woven leanings that garnered comparisons to the likes of Low and Cat Power. Watson has played in a number of groups during Silver Lake’s early 2000s indie rock heyday. 

Johnstone and Watson’s latest project finds the duo pushing their sound and approach in a decidedly different direction — eerie dream pop sound meant to evoke abandoned shopping malls and 1980s coming-of-age movies, as their sound is centered around Johnstone’s self-assured vocals, atmospheric and arpeggiated synths and percussive guitar lines. The duo’s debut A-side brooding single “This Time” features fluttering and arpeggiated synths, Johnstone’s emotive vocals, propulsive drum programming and shimmering guitars — and while bearing an uncanny resemblance to Beach House, the single reveals a surrealist and poetic sensibility. 

Directed by Jess T. Johnston, the recently released video is split between footage of Johnstone earnestly performing the song in gorgeous, colored lights and brooding in a shallow reflect pool, capturing the eerie pensiveness of the song.