Tag: Montréal QC

Single Review by William Ruben Helms

New Audio: Montréal’s Das Mörtal Shares Chilly and Uneasy “NOSHAME”

Montréal-based singer/songwriter, producer and electronic music artist Cristóbal Cortes is the creative mastermind behind the rising chillwave/goth project Das Mörtal. Cortes’ music career started in Berlin, where inspired by Steve Moore and Aphex Twin, he began to craft a dark, nostalgia-inducing sound that meshes an array of influences including German techno, horror and sci-fi soundtracks.

Cortes has released a handful of EPs and albums that have amassed over 20 million streams on Spotify. He has supported those efforts with tours as an opener for Vitalic, Pertubator, Carpenter Brut and a lengthy list of others and as a headliner with stops across the States, Scandinavia and France among others. He has also played sets across the global festival circuit, including Osheaga, Transmusicales de Rennes, FME, and Meg Festival. Adding to a growing national and international profile, the Montréal-based artist has also received airplay in over a dozen countries and several influential YouTube pages.

While still rooted in the dark, occult vibes that has won him attention both nationally and internationally, Cortes’ fourth Das Mörtal album Bury The Sorrow is a change in sonic direction for the Montréal-based artist, with the material rooted in a sound that meshes elements of trap and trip-hop. Thematically, Bury The Sorrow may arguably be Cortes’ most personal to date: The album is informed and inspired by the isolation, unease and stress of the past couple of years, starting — naturally, perhaps — with pandemic-related quarantines. As the Montréal-based artist explains in press notes, Bury The Sorrow in many ways is about how difficult it was to actually make the album — with the album’s material constantly hinting at the unstable mindset that created it.

“NOSHAME,” Bury The Sorrow‘s latest single is a chilly bit of coldwave built around dense layers of glistening synth arpeggios, a relentless motorik groove paired with skittering four-on-the-floor, a remarkably catchy hook and Cortes’ achingly yearning yet detached vocal. While sonically recalling early Depeche Mode and others, “NOSHAME” accurately captures the boredom, unease, self-loathing and anxiety of someone who’s been isolated and left with their own pride, thoughts, memories and regrets.

Single Review by William Ruben Helms

New Audio: JOVM Mainstay Naomi Shares Sultry Revenge Fantasy “Hot Ex”

Over the past 18 months or so, give or take, I’ve managed to spill a bit of virtual ink covering rising Montréal-based multi-disciplinary artist, singer/songwriter and pop artist Naomi. After studying theater, Naomi first made a name for herself, when she began to land roles on both the small and big screen by the time she turned 14. She went on to study dance at École de danse contemporaine de Montréal. 

As a dancer, Naomi has appeared in and/or choreographed music videos for Rihanna, Marie-Mai, Cœur de Pirate and others, as well as for local dance performances. While she was establishing herself as an actor and dancer, the Montréal-based artist quietly developed a passion for singing — without giving herself permission to explore it fully. However, Cœur de Pirate, a.k.a. Beátrice Martin saw potential and took Naomi under her wing. 

Encouraged by Martin’s mentorship, the rising Canadian artist began to realize that she was never far off from making her own music. All she needed was a bit of a push. 

She signed with Martin’s Bravo Musique, the label home of JOVM mainstay Thaïs, Cœur de Pirate, Chocolat and lengthy list of local Francophone acts, and began writing her own original material. Since then, the rising Montréal-based artist has taken a bold leap into a career as a singer/songwriter and pop artist. Her first two singles “Tout à nous” and “Zéro stress” received airplay on WKND, Rouge FM, Arsenal, POP, CVKM and several other regional radio stations across Quebec.

Naomi went on to release four more singles over the next handful of months, which I managed to write about on this site: 

  • The club friendly, Rowan Mercille and Naomi co-written “Semblant,” which featured glistening synth arpeggios, skittering trap-meets-Carribbean beats paired with her sultry delivery and an infectious hook in a remarkably self-assured summertime banger, that simultaneously serves as the coming out party of a bonafide superstar in the making.

  • “Pas le temps de jouer,” a slickly produced and self-assured banger centered around shuffling reggaeton-meets-trap beats, glistening synth bursts paired with the rising Canadian artist’s sultry delivery and her seemingly unerring knack for crafting a big, razor sharp hook. Much like its immediate predecessor, “Pas le temps de jouer” is an accessible, summertime bop that will help launch a bonafide superstar into the stratosphere. 

  • “Okay Alright,” a sultry bop that continued a remarkable run of slickly produced, genre-defying, accessible pop bangers. But with an English language hook, the song seems to show an artist reading for an audience outside of the Francophone world – but while retaining the elements of her sound and approach that have won her fans at home and abroad. 

  • A new version of “Okay Alright” that featured a guest spot from Mike Clay, the frontman of Clay and Friends. Retaining the slick production and fun air of the original, the new version adds a bit more swagger and fun to the proceedings, and a reminder that Naomi is a star in the making.

The Montréal-based JOVM mainstay’s latest single “Hot Ex” pairs Naomi’s sultry delivery with a soulful house music-inspired production featuring twinkling keys, bursts of sexy Quiet Storm-like horn, skittering beats paired with a remarkably catchy hook. But despite the sultry exterior, the song is part break-up song, part tell-off, part revenge fantasy — full of the bitterness, disappointment over the relationship ending, the sadness over what could have been, the desire for revenge, the stupidly desperate and dim hope for reconciliation and more that can only come about from randomly running into an ex-lover.

“I started writing “Hot Ex” while chatting with Willy (Willy Wonder, who wrote the music) about an anecdote that had happened to me recently. I talked about it laughing, for once running into one of my exes wasn’t an atrocious story (!),” Naomi says about the song.

Video by William Ruben Helms

New Video: Elephant Stone Share Radiant “The Spark”

Brossard, Québec-born, Montréal-based singer/songwriter and multi-instrumentalist Rishi Dhir is a grizzled indie rock and psych rock veteran , who has played in a number of bands, including The Datsons and The High Dials. He is also an in-demand sitarist and bassist, who has collaborated with Beck, The Brian Jonestown Massacre, The Black Angels, The Soundtrack of Our Lives, The Dream Syndicate, psych rock supergroup MIEN and countless others. 

Dhir founded the acclaimed psych rock outfit and JOVM mainstays Elephant Stone back in 2009. Along with collaborators and bandmates Miles Duper (drums), Gab Lambert (guitar), Robbie MacArthur (guitar) and Jason Kent (keys, guitar), the Montréal-based band has released six albums, including 2013’s self-titled album and 2020’s acclaimed Hollow. They’ve also released a handful of EPs including last year’s Francophone Le Voyage de M. Lonely dans la Lune. Each of those efforts has seen them develop, refine and then firmly cement a sound that frequently incorporates elements of traditional Indian classical music with Western psych rock paired with introspective lyrics rooted in Dihr’s personal experiences.

Dihr’s own journey in music frequently found him tryin to find a place that fit him, until he decided that what he made was worth sharing in the space that he had created for himself. “I only write about what I know and think I understand. As long as there’s Rishi, there’s going to be Elephant Stone,” Dhir says in press notes. 

2023 has been a busy year for the Canadian psych rock outfit: Earlier this year they released Dawn, Day, Dusk, which featured “Godstar,” and “The Imajinary, Nameless Everybody In The World.” Those two tracks saw the band continuing their narrative journey through crating material that deftly balanced human complexity with introspective themes paired with an evolving sound.

They followed that up with “Lost In A Dream,” a song built around a Tame Impala-like groove, while continuing their long-held reputation for dexterous guitar work, catchy hooks and introspective lyrics. “Creating ‘Lost In A Dream’ has been a thrilling journey for us, one where the fascination with dreams and their mysterious ties to reality took center stage,” the band’s Rishi Dhir says. “While there are subtle hints of inspirations like The Nazz’s ‘Open My Eyes‘ and Echo and the Bunnymen‘s ‘Killing Moon,’ this song is really about charting our own musical course. We’ve woven an auditory landscape that we hope allows listeners to dive into their thoughts and dreams. It’s all about losing yourself in the music, in the narrative it spins, and finding a resonance within your own life.”
 

Elephant Stone’s highly-anticipated seven album, Back Into the Dream is slated for a February 23, 2024 release. The album will reportedly feature a harmonious blend of introspective lyrics and entrancing melodies that represent the latest culmination of their musical evolution. Thematically, the album explores the mysteries of dreams, capturing the cycle of sleep and wakefulness. As the band’s Dhir puts it, “Our music aims to bridge the gap between the known and the unknown.” Previously released tracks “Godstar” and “The Imajinary, Nameless Everybody in the World,” draw from the themes of Isaac Asimov’s Foundation, delving into the intricacies of human existence, creation, life and death while “Lost In A Dream,” is an exploration of dream-like states and blurred realities.

Back Into the Dream‘s latest single “The Spark” is a breezy, power pop-meets-jangle pop-like take on psych pop built around soaring electric guitar, strummed acoustic guitar, Dihr’s earnest, plaintive falsetto and the band’s unerring knack for crafting enormous, remarkably catchy hooks and choruses.

“Crafting a song is like tapping into a kind of magic that exists beyond the realm of the ordinary. I’m in perpetual pursuit of that elusive sensation—the spark that turns fleeting thoughts into something immortal,” the band’s Rishi Dhir admits. “’The Spark’ is my love letter to the art of songwriting, a tribute to the creative process itself. It’s about that serendipitous moment when time and space align, allowing you to capture lightning in a bottle.”

Directed by Laurine Jousserand, the accompanying video for “The Spark” is indebted to 1960s futurism while mischievously referencing the album’s overall themes: At one point we see opened eyes slowly drifting off to sleep as the band performs the song.

Video by William Ruben Helms

New Video: Montréal’s Choses Sauvages Share Icy and Uneasy “Pression”

With the release of their Emmanuel Ethier-produced 2018 self-titled, full-length debut, Montréal-based dance punks Choses Sauvages — Totalement Sublime‘s Marc-Antoine Barbier (guitar), Theirry Malépart (keys), Tony Bélisle (keys), Philippe Gauthier-Boudreau (drums) and La Sécurité‘s Félix Bélisle (vocals) with Foreign Diplomats‘ and Frais Dispo‘s Charles Primeau (bass) as a touring member — exploded into the local and provincial scenes. The album was a critical and commercial success with the album topping Independent Radio Charts across Québec while receiving widespread critical applause. In 2019, the Montréal-based outfit landed Association Québécoise de l’industrie du disque, du spectacle et de la video (ADISQ) Félix Award nominations for Alternative Album of the Year and Indie Rock Album of the year, with a Félix Award win for Indie Rock Album of the Year.

Over the course of 2019, the quintet along with touring bassist Charles Primeau supported their full-length debut with a relentless touring schedule across the province. And through this tour, the band quickly developed a reputation for a must-see live show that they’ve since brought across the global festival circuit, including stops at Reeperbahn, MaMA, FIMPRO, SXSW, Le Printemps de Bourges and Wide Days.

2021’s Choses Sauvages II saw the French Canadian outfit boldly pushing their sound more towards electronic dance music and nu-disco influences like L’Imperatice and Lindstrøm while still drawing from their love of funk, Bowie and Bee Gees while balancing a rigorous and meticulous songwriting approach with a rebellious spirit.

The acclaimed Montréal-based outfit’s latest single “Pression” (“pressure” in French) sees them continuing a new trend of pushing their sound into new directions. Sonically, “Pression” features a unique blend of their long-held disco punk sound with glistening and icy techno-like synth oscillations and subtle LCD Soundsystem/New York 00s indie dance punk scene nods. While being rooted in a dance floor friendly groove, the song possesses an underlying tense, unease air that should feel familiar to those prone to overthinking and self-doubt.

“At its core, ‘Pression’ is all about the anxiety and the sense of paranoia that accompanies it whenever you’re looking to prove yourself,” the band explains. “It’s that sense of feeling like you try and try but never quite succeed to hit that nail on the head. Even with how amazing this year has been, from making quite a bit of buzz at SXSW 2023 to embarking on our first-ever large-scale tour in the United States, that anxiety-induced ‘pressure’ still lingers.”

Directed by Philippe Beausejour, the accompanying video for “Pression” employs a distinct style through the application of several different animation techniques — i.e. paper cutouts, computer graphics, hand drawings and rotoscoping — and then processing the final video onto VHS, which creates a dated feel while translating the song’s anxious air into visual unsteadiness.

Single Review by William Ruben Helms

Medicine Singers is an experimental collective that can trace its origins back to a chance encounter between the Eastern Medicine Singers, an Eastern Algonquin powwow group and Israeli-born, New York-based guitarist and producer Yonatan Gat, who invited the group to a spontaneous collaboration on stage at SXSW 2017 after seeing them play outside the venue he was about to play. 

That chance meeting led to a five-year live collaboration that saw Gat and the Eastern Medicine Singers playing festival stages across the US, Canada and Europe — and in many cases, those shows saw the Algonquin powwow group bring powwow to audiences and places that had never heard of it before. 

The collective’s highly-anticipated self-titled debut was released last year through Yonatan Gat’s Stone Tapes, an imprint of Joyful Noise here in the States and through Mothland in Canada. Their acclaimed self-titled debut saw the Medicine Singers expanding into a full-fledged experimental supergroup that also included Swans’ Thor Harris and Christopher Pravdica, ambient music pioneer Laraaji, former DNA drummer and no wave icon Ikue Mori and the acclaimed trumpeter Jaimie Branch, who we tragically lost too soon last August, along with contributions from their co-producer and longtime collaborator Yonatan Gat.

Through their live shows and their debut album, the collective creates a spellbinding, mystical musical experience that cycles through a kaleidoscopic array of sounds including psychedelic punk, electronic music, acid jazz, spiritual jazz and a list of others. But, the genre-blurring approach is firmly rooted in the intense, physical power of the power of the powwow drum — and the Eastern Medicine Singers’ deep connection to their ancestral music and connections. The end result is material that lovingly honors and celebrates tradition while boldly breaking free from its restrictions — or in the words of Medicine Singers’ leader Daryl Black Eagle Jamieson: “These two cultures can work together, and blend together. We created something that needs to be out there in the world, to show people how we can work together and make something beautiful.”

To honor Indigenous Peoples Day, Medicine Singers share their latest single “Honor Song,” which features Sonic Youth‘s Lee Ranaldo (guitar), Godspeed You! Black Emperor‘s Timothy Herzog (drums), Swans’ Thor Harris (drums), Dean Running Deer Robinson (powwow drum) and Zoon‘s Daniel Monkman, a Canadian Ojibwe artist (backing vocals) — all of whom make their official recorded debut with the collective. Recorded live at famed Montréal-based studio Hotel2Tango, “Honor Song” was produced and mixed by Gat with help from Swedish electronics maverick and frequent Fever Ray collaborator Peder Mannerfelt and Josh Berg, who previously worked on albums by Kanye West and Earl Sweatshirt.

Building upon the collective’s groundbreaking approach to Eastern Algonquin powwow music by blending it with elements of spiritual jazz, psych punk and electronic music to create a wholly unique post-genre sound, “Honor Song” is a brooding song fueled by heartbreak, loss and remembrance. Shoegazer-meets-no wave guitar textures and swirling electronics are paired with the propulsive dynamism of the powwow drums and the Medicine Singers’ haunting cries. The song is meant to transport and connect both the performers and the listener to their departed loved ones wherever they may be.

“Honor Song” is a dedication to loved ones, who have passed, namely vocalist Arthur Red Medicine Crippen’s partner Kathleen, who he lovingly refers in a statement you’ll see below as Ms. cat, as well as their collaborator Jamie Branch. The track was recorded two weeks after Branch’s death, in a recording session she was scheduled to appear on.

On this, his recorded debut with the band, Lee Ranaldo remarked, “Joining the Medicine Singers, both in the recording studio and live on stage, has been a highlight of the last couple years for me. Breaking boundaries and stressing the shared similarities between indigenous music and more modern styles has been a profound, expansive experience. Recording sessions with Native Americans, Canadian First Nations and local Brazilian players, along with an amazing crew of sympathetic collaborators, has, I think, opened up new avenues and ideas for us all. I’m very happy that ‘Honor Song,’ sung so beautifully by Artie Red Medicine Crippen, joined by Zoon’s Daniel Monkman, is the first released example that includes my participation in the group. More to come!”

Medicine Singers’ Arthur Red Medicine Crippen says in press notes: “’Honor Song’ was given to me by my uncle Wayne Red Dawn Crippen. When my wife Ms. Kat wasn’t feeling well I used to sing it to her when she was in the hospital every night. Ms. Kat is from the Ramapo tribe of NJ and NY, she’s also Montauk, her name is Spirit Dancer. When we were in the KEXP radio station in July, that was the song that came to my mind – the ‘Honor Song.’ I didn’t know how sick Ms. Kat really was, until I came home and she passed away in August. This song lingers because we lost her since we recorded it. When I sing this song I think of her the whole time. It’s a part of my prayer, I end each day singing this song and I know she’s listening. ‘Honor Song’ is a travel song, when people leave this world they travel to another dimension, and songs like this reach them.”
 

Music Festivals by William Ruben Helms

M for Montreal — M pour Montreal in French — is an annual conference and music festival which takes place over the course of four days in late November in Canada’s second largest city. Since the inaugural conference back in 2005, M for Montreal has expanded to feature a selection of over 100 emerging, buzz-worthy and/or breakout acts from across Québec, the rest of Canada and a handful of internationally-based acts playing on stages in some of Montréal’s top venues and clubs. 

The annual conference also welcomes over 300 music industry professionals to Montréal for professional programming and networking tailored specifically for folks in the industry. 

Last month, M for Montréal’s organizers announced the full lineup of artists in its 2023 Official Selection series. Following a nationwide call for submissions that drew a record number of over 600 applications, the conference’s organizers have selected 28 artists and bands as outstanding examples of emerging talents across all spectra of genre, sound and background. 

With a little over a month left until this year’s 18th — 18th! — edition, festival organizers announced the lineup for my favorite portion of the festival, M for Marathon. Organized by M for Montréal and presented by Sirius XM, M for Marathon runs across the festival’s four-day run and features 34 shows with 91 artists playing in 16 venues across the city.

This year’s M for Marathon will showcase a globe-spanning lineup with an eclectic array of emerging artists. The Francophone portion of the lineup will feature Quebec favorites Geneviève et Matthieu, pop artists Simon Kearney and Félix Dyotte and up-and-comers Les Lunatiques, Sorry Girls, Grand Eugène, Prince Amine, Ivytide, Vendou and a list of others.

The Anglophone portion of the lineup will feature Cartel Madres, who will be playing a showcase at one of my favorite rooms to catch a show in town, La Sala Rossa with Milk & Bone, dee holt and Virginie B. (I caught Virginie B at last year’s M for Montréal and she’s a superstar in the making.)

Much like previous editions of M for Marathon, this year’s Marathon will feature a number of international artists, some of whom will be making their first appearances in Québec. French artists include Al-Qasar, Blue Orchid and Suzanne Belaubre. Welsh artists include Bethan Lloyd and Mace The Great. The UK’s Otto Aday, Egypt’s Nadah El Shazly, C’ôte d’Ivoire’s Andy S., and Atlanta‘s CDSM are also on the bill.

M for Marathon will also feature the launch of two debut efforts, underscoring the festival’s mission to support emerging projects: Canailles‘ Alice will be releasing her solo debut EP, Du love à revendre with a November 18, 2023 showcase at the intimate, medieval castle-like Quai des Brumes alongside Billiane. That same night, Tango Golf Tango will launch Dark Tropical Express at Diving Bell Social Club with Otto Aday.

Festival organizers also created a curated playlist featuring the artists and bands on this year’s lineup. Check that out here:

There two badge tiers:

The M for Marathon Festival badge, which allows you to attend M for Marathon showcases: 30 shows over the course of four days. For more information and to purchase, go here.

The Pro Badge, which allows you to attend all the Official Selection showcases, opening and closing cocktails, all workshops and conferences, the curated networking activity M for Mixer, the purchase of complimentary networking options, access to a digital networking platform and all the M for Marathon showcases. For more information, and to purchase, go here. 

Full listing of bands and artists at M for Montréal’s 18th edition is below:

36?
Afternoon Bike Ride
Al-Qasar
Alex Nicol
Alice
Alix Fernz
Andy S
Atsuko Chiba
Banx & Ranx
Bethan Lloyd
Billianne
Blue Orchid
Boy Golden
Carlyn
Cartel Madras
CDSM
Charlie Houston
Choses Sauvages
Das Mörtal
dee holt
digital polyglot
DJ Clémence Giroux
DJ LaTerreur
DJ Pøptrt
DJ Silktits
DJ Trinidaddy
DVTR
Family Man
Félix Dyotte
Flower Face
Frais Dispo
 

Frieda Mari
Gawbé
Geneviève et Matthieu
Georgia Harmer
Grand Eugène
Grand Public
Hawa B
Heaven for Real
Hippie Hourrah
Ivytide
Katie Tupper
La Faune
La Niña Kiwi
La Sécurité
LaF
Les Lunatiques
Loviet
Mace the Great
Marie Davidson
Mattmac
Mélissa Fortin
Milk & Bone
Mirabelle
Nadah El Shazly
Niall Mutter
Night Lunch
Nodly
Nyssa
Ormiston
Otto Aday
Ouri

Patche
Peter Dreams
Philippe Brach
poolblood
Population II
Prince Amine
Ragers
Rip Pop Mutant
Robert Robert
Sasha Cay
Simon Daniel
Simon Kearney
Sorry Girls
Stoylov
Super Plage
Suzanne Belaubre
Sylvie
T Thomason
Tallandskiinny
Tango Golf Tango
Thanks, Honestly
Titelaine
Totalement Sublime
Vendou
VioleTT Pi
Virginie B
Willa Owen
Winona Forever
Yocto
Zouz

Video by William Ruben Helms

New Video: Salimo Shares Breezy “Jelly”

Montréal-based artist Salimo is a rising Francophone emcee. In a relatively short period of time, he has captured the attention of media outlets across both his hometown and Québec, and he has already amassed an impressive array of live dates under his belt: The Montréal-based artist has opened for Niska, Youssoupha, MAES, Gims, Sofiane, Soolking and a list of others. He has also played Francofoiles de Montréal — including a headlining set at the festival, making him the youngest artist to date to ever headlining in the festival’s history. He has also played Festival Marocain de Laval, Fête Nationale du Maroc au Parc Jarry and M for Montréal.

Salimo has amassed over 10 million streams across digital streaming platforms and millions of views on YouTube, adding his name to a growing list of Quebecois rappers, who have received attention across the Francophone world.

The Montréal-based rapper’s sophomore album is slated for a November 4, 2023 through Kartel Music Group/Sony Music Canada. The album’s latest single “Jelly” is a breezy, hook-driven, club and lounge friendly bop featuring an ethereal, reggaeton-inspired production featuring skittering and shuffling beats, a looped, strummed Flamenco-like acoustic guitar sample serving as a lush bed for Salimo’s effortless, subtly Autotuned delivery. May this one be a reminder of summer warmth — and flirting with pretty young things at the club.

Directed by Disjoncté Productions, the slick and stylishly shot accompanying video for “Jelly” follows the rising Montréal-based rapper through some gorgeous locales in one of my favorite cities, including a stunning view of Montréal’s skyline and Vieux Port from the other side of the St. Lawrence River.

Video by William Ruben Helms

New Video: Miranda Joan Teams Up with CARRTOONS on Soulful and Flirty “Bada Bing!”

Miranda Joan is a rising, Montréal-born, Brooklyn-based singer/songwriter and musician, who spent her formative years in Vancouver, where she filled up diaries with emotions, thoughts and experiences that would eventually go on to form the basis of her songwriting.

The Canadian-born artist’s first experiences of music and performing came from high school drama and musical theater. Leaning into soul, R&B and jazz, she found a natural and fitting home for her voice. She began to shape her own sound rooted in intricate songwriting and playful production informed by her journals and diaries, as well as influences like Bill Withers, Stevie Wonder, Carole King, Anderson .Paak, Little Dragon, and Robyn among a lengthy list of others.

Miranda Joan relocated to New York to study jazz. And upon her arrival, she opened her inquisitive sound and aesthetic to a host of artists and producers. And fittingly, the grittiness and intensity of the city filtered into her work and approach.

Eventually establishing herself in Brooklyn’s soul and jazz scenes, the Canadian-born artist is the co-host and co-founder of Brooklyn’s Femme Jam, the city’s first all-female led jam session, community initiative to create a womxn-led space with an emphasis on female musicians and artists that specifically fosters inclusivity. For the past eight years, she has been a music mentor with the non-profit SAY: The Stuttering Association for the Young, where she works with youth 8-18, who stutter.

As an artist and performer, she has provided backing vocals for The Killers, Shawn Mendes, Lorde, Kylie Minogue, Andy Grammer and Sly5thAve and the Orchestre National de Jazz de Montréal for a tribute to Dr. Dre. And through those experiences, she has been on national tours and played sold-out, headlining shows across the country, including her adopted hometown. Her full-length debut, 2021’s Windborne, the follow-up to 2019’s Still EP led to her selection as one of First Up with RBCxMusic Emerging Artists.

Both releases received radio airplay in Vancouver and Los Angeles — and that led to sync placement on Canadian TV show Strays. Adding to a growing profile, “Overstimulated,” and “I Love You, Dwayne” have received praise from NPR, Consequence, EARMILK, Exclaim! — and airplay from CBC and MountainFM in her native Canada, and Jazz FM’s Tony Minvielle in the UK.

Blossoming out of what was originally intended as a one-song collaboration, Miranda Joan has spent the past few years collaborating with acclaimed and rising New York-based musician and producer Ben Carr, a.k.a CARRTOONS on her forthcoming sophomore album Overstimulated. Simultaneously leaning into and letting go of the excessive and the overstimulating, the album sees the Brooklyn-based artist move towards a contemporary soul and jazz sound that meshes the electronic and organic. The album also features contributions from Sly5thAve, Jake Sherman, Ben WIlliams, Huntertones and Kristine Kruta. “It is an album book-ended by songs of affirmation, of rooting, of returning to and loving oneself, intertwined with the messy, chaotic and interconnected web of my hopes, dreams, imagination, love, and heartache”,  Miranda Joan says.

Overstimulated‘s latest single “Bada Bing!” is built around a lush, Quiet Storm-like soul pop production and arrangement featuring an elastic, two-step-inducing groove while Miranda Joan’s sultry and soulful delivery coquettishly dances within the song’s groove.

Directed by Gigi Nettles, the accompanying video for “Bada Bing!” fittingly is a loving and playful homage to The Sopranos and features some of the familiar sights from the show’s introductory sequences with the Montréal-born, Brooklyn-based artist playing the role of Tony Soprano.

Single Review by William Ruben Helms

New Audio: Ormiston Shares Breezy Pop Confection “Cherry Picker”

Nicola Ormiston is a Montréal-based singer/songwriter, multi-instrumentalist, producer and creative mastermind behind the solo recording project Ormiston.

The Canadian producer’s latest single “Cherry Picker” sees crafting a breezy, hook driven pop confection built around a disco-inspired bass line, reverb-soaked Nile Rodgers-like funk guitar, glistening and wobbling synth arpeggios and the Canadian artist’s plaintive and yearning delivery. “Cherry Picker” continues a remarkably run of breezy, effortlessly crafted pop that’s both lounge and club friendly.

Inspired by an old acquaintance that always left the Montréal-based artist starry-eyed, the song manages to evoke the swooning, starry-eyed sensation of being near a crush/love interest — and not quite knowing what to do or how to go about it.

Video by William Ruben Helms

New Video: Elisapie’s Yearning Rendition of Queen’s “I Want to Break Free”

Acclaimed Montréal-based singer/songwriter, musician, actor and activist Elisapie was born and raised in Salluit, a small village in Nunavik, Québec’s northernmost region. In this extremely remote community, accessible only by plane, she was raised by an extended, yet slightly dysfunctional adoptive family. Growing up in Salluit, she lived through the loss of cousins who ended their lives, experienced young love, danced the night away at the village’s community center and witnessed first hand, the effects of colonialism — i.e., poverty, hopelessness, alcoholism, suicide, and more. 

Much like countless bright and ambitious young people across the world, the Salluit-born artist moved to the big city — in this case, Montréal to study and, ultimately, pursue a career in music. Since then, her work whether within the confines of a band or as as solo artist constantly displays her unconditional attachment to her native territory, its people, and to her language, Inuktitut. Spoken for millennia, Inuktitut embodies the harshness of its environment and the wild yet breathtaking beauty of the Inuit territory. Thematically, her work frequently pairs Inuit themes and concerns with modern rock music, mixing tradition with modernity in a deft, seamless fashion. 

She won her first Juno Award as a member of Taima, and since stepping out into the spotlight as a solo artist, her work has received rapturous critical acclaim: 2018’s The Ballad of the Runaway Girl was shortlisted for the Polaris Music Prize, and earned her a number of Association du disque, de l’industrie du spectacle Québeécois (ADISQ) Felix Awards and a Juno Award nod. She followed up with a performance with the Orchestre Métropolitain de Montréal — at the invitation of Grammy Award-winning maestro Yannick Nézet Séguin — at Central Park SummerStage, a NPR Tiny Desk Session and headlining or festival sets both locally and internationally. 

In her native Canada, she is also known as an actor, starring in the TV series Motel Paradis and C.S. Roy’s experimental indie film VFC, which was released earlier this year. She has also graced the cover of a number of magazines including Châtelaine, Elle Québec and a long list of others. And as a devoted activist, she created and produced the first nation-wide broadcast TV show to celebrate National Indigenous People’s Day. 

Slated for a Friday release through Bonsound, her fourth solo album Inuktitut features inventive re-imaginings of songs by Led Zeppelin, Pink Floyd, Blondie, Fleetwood Mac, Metallica and more. Each of the acts and artists covered have warmly given their blessing to receive the acclaimed Canadian artist’s unique treatment. Fittingly, each song is imbued with depth and purpose, as the album’s material is an act of cultural re-appropriation that reinvigorates the poetry of these beloved songs by placing them within Inuit traditions. 

Through the album’s 10 songs, the acclaimed Inuk tells her story and offers these songs as a loving gift to her community, making her language and culture resonate well beyond the borders of the Inuit territory. But the album is also a testament to the power and remarkable universality of pop music, a reminder of the universality of human life, and fittingly an ode to the experiences, memories, places and people, who have shaped us.

So far, I’ve written about three of the album’s released singles: 

“Taimangalimaaq (Time After Time),” a gorgeous and fairly faithful Inuktiut adaptation of Cyndi Lauper‘s 1983 Rob Hyman co-written smash hit “Time After Time” that retains the familiar beloved melody of the original paired with a percussive yet atmospheric arrangement and the Salluit-born, Montréal-based artist’s gorgeous, achingly tender delivery. 

“Taimangalimaaq (Time After Time)” was inspired by a childhood memory of Elisapie’s aunt Alasie and her cousin Susie:
 

“I was able to get through my pre-teen years, thanks to my Aunt Alasie, as my mother had neither the knowledge nor the experience to give me a crash course on puberty, fashion or social relationships,” Elisapie recalls. “In addition to entering a new chapter in my life, we were in the midst of the 80’s and modernity was shaking up our traditional methods. My mother’s generation had lived in Igloos, and the cultural changes were too swift. 

“Despite her struggles, my aunt ensured I felt accepted and exposed me to new and modern things like TV, clothes, dancing, Kraft Dinner and make-up! 

 Whenever I went to my aunt’s house, I was in awe of my older girl cousins. They were all so cool and stylish, and they loved pop music and the crazy makeup of the 80s and early 90s.  One of my favorite memories is listening to the radio with them and hearing Cyndi Lauper’s ‘Time After Time’ for the first time. It was like a lightning bolt, and I couldn’t separate the song or the artist from my older cousin Susie. For me, the song was all about her search for beauty, connection, love, and rising above pain.”

“Isumagijunnaitaungituq (The Unforgiven),” a hauntingly gorgeous, dream-like re-imagining of Metallica’s “The Unforgiven” that retains the song’s familiar melody but featuring an arrangement of traditional drums and flute and acoustic guitar paired with the acclaimed Canadian artist’s equally gorgeous, yearning delivery, some brooding synths and the incorporation of Inuktitut throat singing.

“Isumagijunnaitaungituq (The Unforgiven)” finds the acclaimed Canadian artist paying tribute to the Inuit men of Salluit and nodding to the time she interviewed Metallica’s Kirk Hammett in the early 90s:

“When I was 14 years old, I applied for a job at TNI, the first Inuit TV-radio broadcaster, and I was thrilled when I was chosen for the position! Everyone at the station dreamed big, and they put in a request for an interview with Metallica. The band was so loved in Salluit that we had to give it a shot. Metallica accepted only two interviews on their Québec tour, and TNI was chosen. In my boys’ eyes, I was the coolest!

As a teenager, I only wanted to hang around the gang of boys in my village. We would all go to my cousin’s house and smoke weed while listening to Metallica. The band’s music allowed us to delve into the darkness of our broken souls and feel good there. Men’s roles in our territory had been challenged by colonization, and it had become confusing what life was supposed to look like for a man. My boys were seeking new roles, and subconsciously, I allowed them to be my bodyguards so they could feel strong. Looking back, I was trying to give them the strength to find their place.
 

“‘Isumagijunnaitaungituq (The Unforgiven)’ incorporates throat singing, known as katajjaq in Inuktitut. It felt like katajjaq was so appropriate, says Elisapie. It is Inuit women who throat sing. Inuit women, mothers and grandmothers had to be the nurturing ones during the hard times, as men were struggling emotionally due to colonialism. Through this song, I wanted the feminine strength to balance the men’s challenges.”

“Qimmijuat (Wild Horses),” a gorgeous reimagining of the classic Rolling Stones tune “Wild Horses,” which retains the original’s yearning and tender ache, but places the beloved melody in a hauntingly sparse arrangement by her longtime collaborator Joe Grass that that features a plaintive piano melody by Leif Vollebekk, a gorgeous, bluesy guitar solo and striking drumming from Robbie Kuster. Elisapie’s yearning delivery ethereally floats over the arrangement. 

The song is a tribute to a childhood friend of Elisapie who had a difficult home life due to his parent’s separation and a strained relationship with his father. “Wild Horses became a source of comfort for him and his obsession with it was palpable, as if he was riding away from all his problems on the back of this song,” explains Elisapie.

Inuktitut‘s fourth and final pre-release single “Qimatsilunga (I Want to Break Free),” is a hauntingly gorgeous and bittersweet re-imagining of Queen’s “I Want to Break Free.” Elisapie’s rendition of the song, slow’s the tempo down quite a bit, and places the song’s yearning melody and anthemic chorus within a haunting arrangement of strummed acoustic guitar and twinkling keys paired with dramatic drumming before closing in a slow, gentle fade-out.

The acclaimed Canadian’s rendition of “I Want to Break Free,” much like the preceding singles, sees her simultaneously evoking both fond and bittersweet memories of her youth in Salluit, while paying tribute to her cousin Tayara, with whom she grew up:

“Tayara was a little older than me. He was quiet, handsome, graceful and he loved music. He was named after our great-grandfather, a remarkable and gentle man. Tayara never found his place and never lived life to its fullest. Sadly, like too many Inuit teenagers and many of my cousins, he committed suicide by hanging himself in the tiny closet of his house, right next door to mine,” Elisapie says

But despite this tragic story, the Montréal-based JOVM mainstay sees this song as one of resilience, strength and of mourning:  “When ‘I Want to Break Free’ played on the radio, something magical happened. The lyrics resonated with him, allowing him to embrace his differences and marginality with pride. It was our song. When we danced to it, he shared his inner world with me, with all its complexities and desires. Through this music, he showed me how to be punk, wild and fierce. He was my best friend. When I sing it now, it’s a way of saying goodbye. Despite all its strength and power, it’s the saddest song in the world.”

Continuing her ongoing collaboration with Phillipe Léonard, the accompanying video for “Qimatsilunga (I Want to Break Free)” presents a visual narrative that invites people to break free from social norms and expectations — and express their desire for freedom through dancing. “We see Simik Komaksiutiksak, a contemporary dancer who energizes members of the community through his gestures and the light he projects on them,” explains the director. “In turn, he feeds on the movement of others, and a conversation takes shape as the video unfolds. It’s an invitation to dance, to let off steam.”

Single Review by William Ruben Helms

Acclaimed Montréal-based artist Laurence-Anne has developed a reputation for being an architect of the intangible. Her work is a blend of elements of dream pop, coldwave and synth pop built around soundscapes featuring haunting melodies, lush synths, hazy textures and synthetic rhythms paired with a voice that’s capable of evoking and instilling both comfort and anxiety. Thematically and lyrically, her work is informed and inspired by her imagination and her experiences while being deeply infused with her unique perspective.

The Montréal-based artist made a big splash with her critically applauded full-length debut, 2019’s Première apparition, which landed on the Polaris Music Prize long list. 2021’s Accident EP saw the Canadian artist expanding upon the sound that won her critical acclaim. Her Félix Petit-co-produced sophomore album Musivision saw Laurence-Anne crystallizing her creative identity and sound.

Slated for a Friday release through Bonsound, Laurence-Anne’s François Zaïdan co-produced third album Oniromancie sees the acclaimed Canadian artist diving deep into the nocturnal world — with the material moving seamlessly between sweet dreams and paralyzing nightmares. Sonically, the album sees her continuing to blend elements of dream pop, coldwave and synth pop, in addition to elements of art pop and experimental pop, which gives the album’s material a denser and darker feel.

Drawing from its creator’s subconscious, the album’s material manages to be dreamlike, intimate and seemingly spellbound while inviting listeners to a universe that exists only to those who are willing to lend an ear. And with that ear, the acclaimed Canadian artists opens up more than ever, while still depending the mysterious aura that surrounds her.

Oniromancie‘s latest single, the breakneck “Vitesse” features a relentless rapid-fire staccato rhythm, which helps to evoke the woozy anxiety of a vivid and unshakeable nightmare fueled by the creeping dread of its creator’s deepest, darkest fears. Laurence-Anne’s urgent and plaintive vocal seems desperate to burst out of the confines of eerie synth arpeggios and song’s relentless, breakneck rhythm — but can’t. “Vitesse” is inspired by a particularly vivid bad dream and the 80s European coldwave scene, particularly seminal French outfit Martin Dupont. In the dream, the Montréal-based artist rushes full-speed through chaotic, Dali-esque landscapes in search of the source of unrelenting havoc.

Laurence-Anne will be playing a handful of dates across Fall 2023 and Winter 2024. She will be playing two album launch shows: September 28, 2023 at Montréal’s La Sala Rossa, one of my favorite rooms in town to see live music. September 30, 2023 at Québec City‘s Le Pantoum. All tour dates are below.

Tour dates
15/09/2023 – Pont-Rouge, QC – Moulin Marcoux •
16/09/2023 – Sherbrooke, QC – Théâtre Granada •
28/09/2023 – Montréal, QC – Sala Rossa (Oniromancie Launch – POP Montréal)
30/09/2023 – Québec, QC – Le Pantoum (Oniromancie Launch)
03/12/2023 – Gatineau, QC – Minotaure ◦
09/12/2023 – Mont-Tremblant, QC – L’Église du Village •
02/02/2024 – Terrebonne, QC – Le Moulinet •
03/02/2024 – Cowansville, QC – Espace Diffusion •
08/03/2024 – Lévis, QC – Vieux Bureau de Poste
15/03/2024 – St-Félicien, QC – Cégep St-Félicien – Salle Azimut
16/03/2024 – Alma, QC – Café du Clocher 

• Supporting Milk & Bone
◦ Double bill with Bibi Club

Single Review by William Ruben Helms

New Audio: OMEARA Shares Sleek and Anthemic “Take It Back”

Montréal-born, German-based singer/songwriter and multi-instrumentalist Jasmin O’Meara can trace the origins of her music career to when she was a teenager: A 14-year old O’Meara removed a guitar off of her uncle’s wall and declared it her own.

The Canadian-born, German-based artist is an autodidact, who went on to join Montréal’s indie scene and collaborated with several different bands and experimenting with a multitude of genres. Taking a break from music to study design, a chance encounter in London led O’Meara back to music — and to playing bass in English bands Temposhark and Kill Electric.

Between 2008-2014, O’Meara played bass in synth pop outfit Zoot Woman. Writing and performing and under the moniker OMEARA, the Canadian-born, German-based artist stepped out into the spotlight as a solo artist with the release of her debut EP Desert Heart, which was released earlier this year. The EP sees O’Meara singing and performing all the vocal parts and almost all of the material’s instrumentation with the exception of harmonica on one song.

Thematically, Desert Heart examines the uneasy and harrowing quest of navigating love in the 21st Century, set to a richly layered and modern take on the music, which shaped her life — and is informed by her own professional experience in post punk, synth pop and indie rock bands.

Desert Heart‘s first single “Take It Back” is sleek post punk-inspired song featuring a relentless motorik-like groove, a supple bass line, gauzy guitar textures paired with rousingly anthemic hooks and choruses, a dance floor friendly bridge, and the Canadian-born, German-based artist’s punchy delivery. While sonically, “Take It Back” reminds me a bit of The Stills, The Killers and others, the song is rooted in deeply personal, lived-in experience — one that should feel familiar to anyone, who’s attempted to maneuver the awkwardness of human relationships.

“The song is about telling your lover that you never really loved them, that you felt pressured into saying ‘I love you’ back, and yet feeling no remorse about revealing this information,” O’Meara explains. But at its core, the song reveals a remarkably self-assured artist, with a penchant for crafting incredibly catchy, anthemic hooks.