Tag: Montreal QC

Video by William Ruben Helms

New Video: JOVM Mainstays Elephant Stone Returns with Jangling “I Got A Pill”

Brossard, QC-born, Montréal-based singer/songwriter and multi-instrumentalist Rishi Dihr has spent the past two decades blurring the lines between Western pysch pop and Indian classical tradition. What began back in 2006 as a quest for trasncendental sound has evolved into a singlar, self-contained vision. Operating out of his Montréal home studio, Sacred Sounds Dihr has estalbihed himself as studio autuer, producing, engineering and mixing his band Elephant Stone‘s increasingly complex and cineamtic output.

The JOVM mainstays — Dihr (vocals, bass and sitar), along with longtime members Miles Dupire (drums), Robbie MacArthur (guitar) and Jason Kent (keys, guitar) – will be releasing their 10th albun, ASHA on August 28, 2026 through Elephants On Parade. Limited edition signed and hand-numbered vinyl is avaialble for pre-order through Little Cloud Records. Named after the Elphant Stone frontman’s late mother, Asha translates to “hope” in Sanskirt — and is meditation on grief, hope, and the friction between sorrow and the darkness of our time.

While the band’s reputation has long-been built on airtight pop craftsmanship and spiritual exploration, their most recent work psoesses a new, raw intensity forged through Dihr’s lengthy history collaborating with The Black Angels, The Brian Jonestown Massacre, Beck and hte psych rock supergroup MIEN.

Elephant Stone remains at the forefront of the modern movement, constantly deconstructing the past to find something visceral, haunting, and undeniably human in the present.

ASHA includes the previously released “Everything Evil,” “Fascists Killed Yer Rock ‘N’ Roll,” and its third and latest single “I’ve Got A Pill.” “I’ve Got A Pill” is a jangling and deceptively upbeat tune that asks the listener to cede control; to take that pill to forget their pain; to take that pill to stop thinking so goddamn much and let someone else do the thinking . . . But just underneath the sweet wooing is something unsettling and menacing.

Elephant Stone frontman Rishi Dihr explains, “It’s about demagogues, the populist playbook. Leaders who feed on people’s fear and offer an easy fix. The pill. Take it and your problems go away. Except it doesn’t work like that. It’s control dressed up as relief.”

Directed by Adam Traynor and featuring handcrafted puppets by Diablo Puppets, the accompanying video manages to embody the song’s false promise of escape, the video follows Futzy, Radis, and Mascot in a surreal world that involves a mind-bending trip into Fraggle Rock-styled world that quickly turns into a paranoid nightmare.
 

“The lyrics to ‘I Got A Pill’ woo and warn all at once,” Adam Traynor explains. “I wanted to put the sweetness of that voice into the mouth of a Tony the Tiger-type mascot with a special breakfast gift for kids that would be sure to kick off a trip into a sugary Wonderland, a cardboard Oz, an awe-inducing game-world of artificial colours, a Dark Crystal quest for power, a Soylent Green feeding frenzy.”
 

Single Review by William Ruben Helms

New Audio: James Tonic Returns with Atmospheric and Yearning “Who’s Going Down”

James Tonic is a Montréal-born, New York-based dream pop artist, who over the course of seven albums firmly established a sound built on analog synths, live drums and unflinching lyrics. 2024’s Stuck in LA, an album inspired by the West Coast wound up being a breakthrough album for the Canadian-born artist: the album helped hi establish a fanbase, the old-fashioned way while selling out during the tour. 

Last year’s Safety, the first part of a planned dream pop trilogy was a nine-song effort that thematically touched on emotional survival. The second part of the trilogy, Safety II was released earlier this year, and featured a darker, more cinematic take on dream pop paired with sharper, edgier lyricism. Thematically, Safety II covers being wide open, fighting back quietly and spotting clear bits when everything seems hopelessly jumbled. 

Safety II includes “At The Time In New York,” and its latest single “Who’s Going Down.” “Who’s Going Down” is meditative, bit of dream pop that features Tonic’s yearning, achingly tender delivery against an atmospheric and shimmering soundscape that channels Cigarettes After Sex and Thank Your Lucky Stars and Depression Cherry-era Beach House. To me, the song evokes the last hour of party that you don’t want to have end or the waning hours of an amazing trip, full of the bittersweet recognition that you’ll have to return to normal life.

Video by William Ruben Helms

New Video: Lisa LeBlanc Shares Rollicking “Whole Lotta Talkin'”

Lisa LeBlanc is an acclaimed Rosaireville, NB-born, Montréal-based singer/songwriter, multi-instrumentalist (banjo and guitar) and established Acadian icon, thanks to her sound, a unique blend of roots, rock, disco, funk and country. After achieving commercial success with 2012’s self-titled full-length debut, she switched from French to English for 2012’s Highways Heartaches and Time Well Wasted and 2017’s Why You Wanna Leave Runaway Queen, which landed on the Polaris Music Prize shortlist that year.

The Rosaireville-born, Montréal-based artist and her backing band toured relentlessly over a handful of years. But by 2019, she took a break from touring to write and travel, and also began to explore studio work, which led her to produce Édith Butler‘s 25th album, 2021’s Le tour du Grand Bois. This new creative path enabled LeBlanc to broaden her musical horizons while using her talents, creativity and passion in the service of others.

The new production skills she learned led to 2022’s Chiac Disco, a critically applauded effort that simultaneously drew from and paid tribute to Lee Hazlewood, disco and funk — simultaneously. LeBlanc supported the album with over 140 shows across North America, Europe and Japan. The album landed on the Polaris Music Prize shortlist — her second time earning the honor. And the album led to a Juno Award nomination. Since then her catalogue has amassed over 35 million streams across all DSPs.

2024’s Live avec l’Orchestre symphonique de Québec saw LeBlanc collaborating with 63 classical musicians to perform her material.

“Whole Lotta Talkin'” is the acclaimed Canadian artist’s first bit of new material since Chiac Disco — and it marks a return to English lyrics. Sonically, “Whole Lotta Talkin'” is a rollickingly fun, hooky tune featuring a classic, surf rock riff and shimmering 60s-styled organ that sounds a bit like a seamless blend of Dick Dale, Link Wray, The Castaways‘ “Liar Liar” and The B-52‘s while showcasing LeBlanc’s mischievous wit and humor. The song recalls a situation all of us have been in at some point: being cornered by someone who just won’t shut up, and doesn’t get the hint that you’re desperately trying to get away from them.

Directed by Alexandre Pelletier, the accompanying video follows the touring adventures of a dysfunctional rock band featuring LeBlanc and her puppet bandmates — two of which are irremediably thoughtless, lazy, womanizing partiers, who besides playing music aren’t holding their weight on anything else. “I wanted to tell this funny, absurd story with the utmost seriousness, as if we were watching an ultra-dramatic musical biopic,” Pelletier explains. But what starts off on a playful note ends with a double puppet murder and a shared bloody secret.

Video by William Ruben Helms

New Video: Elephant Stone Share Bruising “Fascists Killed Yer Rock ‘N’ Roll”

Brossard, QC-born, Montréal-based singer/songwriter and multi-instrumentalist Rishi Dihr has spent the past two decades blurring the lines between Western pysch pop and Indian classical tradition. What began back in 2006 as a quest for trasncendental sound has evolved into a singlar, self-contained vision. Operating out of his Montréal home studio, Sacred Sounds Dihr has estalbihed himself as studio autuer, producing, engineering and mixing his band Elephant Stone‘s increasingly complex and cineamtic output.

The JOVM mainstays — Dihr (vocals, bass and sitar), along with longtime members Miles Dupire (drums), Robbie MacArthur (guitar) and Jason Kent (keys, guitar) – will be releasing their 10th albun, ASHA on August 28, 2026 through Elephants On Parade. Limited edition signed and hand-numbered vinyl is avaialble for pre-order through Little Cloud Records. Named after the Elphant Stone frontman’s late mother, Asha translates to “hope” in Sanskirt — and is meditation on grief, hope, and the friction between sorrow and the darkness of our time.

While the band’s reputation has long-been built on airtight pop craftsmanship and spiritual exploration, their most recent work psoesses a new, raw intensity forged through Dihr’s lengthy history collaborating with The Black Angels, The Brian Jonestown Massacre, Beck and hte psych rock supergroup MIEN.

lephant Stone remains at the forefront of the modern movement, constantly deconstructing the paevst to find something visceral, haunting, and undeniably human in the present.

ASHA includes the previously released “Everything Evil,” and its second and latest single “Fascists Killed Yer Rock ‘N’ Roll.” Arguably, one of the crunchier, heavy metal-like songs of the Canadian JOVM mainstays lengthy catalog with the song anchored around Black Sabbath-like fuzz, motorik groove and bursts of wah wah pedalled guitar and shimmering sitar woven through sseveral tempo shifts.

Lyrically, the song is written in a protest-song-ike rage and addresses the global rise of fascism with both the unflinching authority of history and a cold, clear-eyed reckoning with our tempestous moment that seems to say to lisener “Let’s not beat around the bushes and bullshit ourselves. This moment is desperately urgent.”

“You’d have to be living under a rock to ignore what’s happening,” Elephant Stone’s Rishi Dihr says. “I don’t claim to have the answers; this song is about giving the threat a name. It’s a reminder that we’ve seen this script before… and we’ve overcome it before.” That defiance is embedded in tthe song’s bridge: “All you fascists, you’ve all come and gone / We know yer game, we’ve all heard that song.”

The accompanying vidoe feautres repurposed and edited footage from One Got Fatm a 1863 public domain bicycle safety film, with deeply unsettling imagery of masked children being a disturbing and fitting backdrop for the song’s tehmes of conformity, power, control and historical repetition.

Video by William Ruben Helms

New Video: Truck Violence Returns with Bruising, Self-Aware “Your name, it’s walking”

Acclaimed and rising Montréal-based experimental act Truck Violence — founding duo Karysn Henderson (vocals) and Paul Lecours (guitar, banjo, production), along with Chris Clegg (bass, banjo) and Thomas Hart (drums and slide guitar) — can trace their origins back to its founding duo’s childhood: Henderson and Lecours grew up in a small, French Canadian town of 600 people, graduating in a class of nine. By the time they both turned 15, they were running a local studio and radio station. There was no industry support, no infrastructure, no template for what they were trying to do, only the work itself — and the conviction that it was worth doing. 

When the pair turned 17, they relocated to Montréal, where they met Chris Clegg and Thomas Hart, who hail from different corners of the country and began building their band from the ground up. 

The Canadian quartet’s highly anticipated sophomore album, The weathervane is my body is slated for a June 26, 2026 release through San Francisco-based label The Flenser and Montréal-based Mothland. Their sophomore album is reportedly a product of the process of building the band from the ground up. The album’s creative and writing process, the recording, the mixing and visuals were all produced employing a fiercely DIY process. This isn’t done as an aesthetic choice or a marketing angle, it’s because for the band, it’s the only honest option album. 

The album’s cover art was shot on film by the band on Montréal’s Avenue du Parc. A figure perches atop a small Québécois-style house, hand built from reclaimed materials, spine curved, legs pulled in, bare-backed against a skyline that dwarfs everything beneath it. A rural thing dropped into the grit of a big city, small and out of place yet refusing to disappear. The body is naked and defenseless, open to the environment and every stimuli the world can deliver upon it.

Thematically, the album is a continuation and expansion of the angry statement of purpose of their debut, 2024’s Violence. Rooted in noise rock and post-hardcore traditions, the album is uncompromising in its refusal to be anything other than what is: immediate, self-determined and built entirely by the hands that imagined it. 

The weathervane is my body will feature the previously released “New Jesus” and the album’s second and latest single, “Your name, it’s walking.” The album’s new single is a furious ripper that’s captures the brutally hurtful self-talk of a troubled young person maneuvering their relationship with themselves and a brutally cruel world. Much like its immediate predecessor, the new single is an urgent, desperate howl — with some gorgeous, meditative, banjo-driven sections.

“This song is a sort of compilation of thoughts; my relationship with my birth name after having a precarious journey with gender and identity in my early teens, my feelings of inadequacy and alienation growing up with intense ADHD and anxiety from an early age, my desires for anchorage in an uncertain future,” Truck Violence’s Karsyn Henderson explains. “The hook of the song always comes off as extremely cliche to me, maybe I am hitting the nail too precisely, with too blunt a face, but perhaps that is necessary, perhaps it reflects well the thoughts of myself as I was.

Directed by Kirill Sommer, the accompanying video for “Your name, it’s walking” is a surreal fever dream that captures the mundanity and boredom of rural life, while being one-part Samuel Beckett play, one-part psilocybin trip, one-part Ingmar Bergman film.

New Audio by William Ruben Helms

New Audio: Vendredi Sur Mer Shares Atmospheric, Hook-Driven “Si t’étais là”

With the release of her first two albums, 2019’s Premiers émois and 2022’s Metámorphose, rising Swiss singer/songwriter and photographer and Vendredi Sur Mer creative mastermind Charline Mignot quickly established a cinematic sound that features elements of synth pop, French chanson and 80s pop with retro-styled beats paired with her ethereal yet sultry delivery. Thematically her work frequently touches upon romance, sensuality and introspection.

Balancing nostalgia with a modern sensibility, the Swiss artist has won over fans globally through the release of songs like “Écoute Chérie,” “La femme à peau bleue” and “Les filles désirs.” Adding to a rapidly growing profile, she often accompanies her music with mesmerizing visuals.

Mignot’s third Vendredi Sur Mer album, Malabar Princess was released earlier this year to critical acclaim. The album, which features “Arrêter le temps,” feat. Sofiane Pamart; album title track “Malabar Princess;” “Hard,” feat. Hanni El Khatib and “Tout rèsonne” can trace its origins to a writing residency in Montréal and marks a return to the softness and nostalgia of her earlier work. Thematically, the album is nostalgic return to the mountain landscapes of her youth — and a deeper search for self.

Sam Tiba and new collaborators Adrien Gallo and Owlle helped to guide and inform the material’s more organic, intimate sound. The end result is an achingly sincere effort that sees the rising Swiss artist revealing herself fully to the world.

Mignot will be embarking on an 11-date North American tour this upcoming March. The tour includes a March 6, 2026 stop at Elsewhere. You can check out all of her tour dates for the rest of the 2025 and early 2026 below.

But in the meantime, y’all, the rising Swiss artist shares her latest single, the standalone track “Si t’étais là.” Anchored around shimmering, atmospheric synths, propulsive four-on-the-floor, a supple bass line and subtle bursts of twangy guitar, the cinematic and hook-driven production is simultaneously nostalgic yet contemporary, while being a dreamy bed for Mignot’s breathy, mesmerizing cooing.

Video by William Ruben Helms

New Video: Vanille Shares Slow-Burning and Swooning “Un chant d’amour”

Rachel Leblanc is a Montréal-based singer/songwriter and creative mastermind behind the critically applauded recording project Vanille, which has seen the French-Canadian artist craft a sound that meshes elements of 60s folk and chanson in a way that brings the listener into a dreamlike world of dense, verdant forests and swooning heartbreak.

Her recently released, Christophe Charest-Latif-produced third album Un chant d’amour sees the acclaimed French-Canadian artist marking the beginning of new creative chapter, that sees Leblanc’s and a talented cast of musicians, including Jules Encore and Corail‘s Julien Comptour; Velours Velours‘ and Corail’s Philippe Noël; Carla Chanelle‘s and Roselle’s Christophe Rosset-Balcer; Allô Fantôme‘s Samuel Gendron; Arielle Soucy; and Velours Velours’ Raphaël Pépin-Tanguay crafting a sound that draws from retro soul and the mid 1960s-early 1970s sunshine pop movement. Leblanc’s melodies and lyrics are rooted in sentimental overtones. And as a result, the album’s material is meant to unfold like a scented letter received from a mysterious valentine.

Un chant d’amour‘s latest single, album title track “Un chant d’amour” is a slow-burning ballad anchored around Leblanc’s achingly melancholy delivery, atmospheric Rhodes and a syrupy slow-dance inspired backbeat. And while seemingly channelling 70s AM radio rock, “Un chant d’amour” is the sort of song you’d play when you want to slow-dance at the midnight ball with your long-held crush or your loved one.

Directed by Irina Tempea and Elizabeth Landry the accompanying video for “Un chant d’amour” is an swooningly sentimental visual featuring a mixture of dusty found footage and the rising French-Canadian artist in a wedding gown to create a wedding that never really took place.

Video by William Ruben Helms

New Video: Wombo Shares Nervous “S.T. Tilted”

Since their formation back in 2016, Louisville-based trio Wombo — Sydney Chadwick (vocals, bass), Cameron Lowe (guitar) and Joel Taylor (drums) — have carved out a unique lane for themselves, contorting post-punk structures into uncanny shapes. And with their Danger in Fives, which is slated for an August 8, 2025 release through Fire Talk, reportedly sees the band not only enhancing their formula, but routinely perfecting them.

To ace their techniques, the Louisville-based trio had to tear them apart first. Long-held , standardized practices of writing and workshopping material in Joel Taylor’s post-war basement rehearsal space were paused while the band explored different writing process. And that experimentation results in the band showcasing some subtle shifts and additions to their sonic palette, including digital texture and the incorporation of drum machine on a couple of tracks. The band’s desire to change their model was in part to “get away from a results mindset, where it’s about producing things for a certain expectation instead of doing it all for the joy of exploring,” the band’s Cameron Lowe says. Adds the band’s Chadwick, “I don’t want to be in a band that’s confined to one form of writing. Where’s the fun and the creativity and the exploration in that? You have to push yourself and try something new.”

Danger in Fives final advance single, “S.T. Titled,” sees the band at their distilled, purest essence. Anchored around Lowe’s angular, off-kilter bursts of scratchy guitar, Taylor’s skeletal yet propulsive drumming and Chadwick’s supple bass lines, the song’s arrangement serves as a nervous and uneasy bed for Chadwick’s dreamily mesmerizing delivery. By contrasting the deeply nervous and uneasy with the seemingly calm, the song somehow manages to evoke our current nightmarish moment in which we’re all slowly losing our minds — and trying not to show it. But, as always cracks will show . . .

“It’s the first song we wrote after the Slab EP that made it on Danger in Fives,” the band’s Lowe says of the single. “We weren’t sure it was going to work, but all the contrasting parts ended up being cool. It’s rare for a Wombo song to be written on guitar first like this one, with some of the bass and drum parts jammed out in the basement afterwards. The wacky guitar part came last.”

Directed by the band’s Cameron Lowe, the accompanying video for “S.T. Titled,” continues a run of entirely self-produced videos. The video sees the band in a hand-made waiting room set, constructed by Lowe and Chadwick in Chadwick’s garage. The band is seen anxiously waiting in the waiting room — with the expected anxiousness and unease that waiting rooms entail.

The Louisville-based trio will be marking on a tour to support the new album. The tour includes a September 12, 2025 stop at Baby’s All Right and a September 14, 2025 stop at one of my favorite rooms in Montréal, L’Escogriffe. Check out the rest of the tour dates below.

singer/songwriters by William Ruben Helms
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News/Announcements: FME Announces 2025 Venue Showcase Lineups

FME announces the venue showcase lineups for the 2025 edition.

Video by William Ruben Helms

New Video: JayWood Shares Swaggering, Genre-Defying “ASSUMPTIONS”

Jeremy Haywood-Smith is a Winnipeg-born, Montréal-based, singer/songwriter, musician and creative mastermind behind the acclaimed, boundary pushing project JayWood. Though he was nominated for a Polaris Music Prize, the Canadian artist currently has a day job as a postal worker, which is arguably the least interesting thing about him.

Haywood-Smith’s third JayWood album Leo Negro is slated for a September 5, 2025 release through Captured Tracks. Much like previously released tracks “UNTITLED (Swirl)” and his collaboration with Tune-Yards, “BIG TINGS,” Leo Negro will further cement his reputation for refusing to be easily pigeonholed.

The Canadian artist explains that the album’s title ” . . .came from the main concept of the album which is identity. I asked myself the question of ‘What are some things that make me who I am, no matter what changes occur in life?’ and funnily enough, I was getting really into astrology at the time due to fact that 70% of my friends are queer femmes. I was trying to understand what it means to be a Leo. On the other hand, I’m moving through life as a black man in spaces that don’t always understand me or will try to categorize me.”

He adds, “I know the main identifier for Leos is that they’re super confident and massive social magnets and leaders, but in recent years, I’ve had a harder time leaning into that specific energy, so I started to just dismantle the idea of confidence and leadership by doing somewhat of the opposite. I started to get more vulnerable and share more things about myself: insecurities, fears, anxieties, my scarier truths and my experiences as a black person. Through that, I weirdly started to feel a little more confident. Which brings me to my last point about the title. I now live in Montreal and one thing I realized while trying to learn the language is that the descriptions of things are at the end. For example ‘black cat’ would be ‘chat noir,’ and if I look at my album title, it kinda translates to ‘black confidence’ in my mind.”

Leo Negro‘s latest single “ASSUMPTIONS” is a mind-melting, defiantly genre-agnostic track that sees the Montréal-based artist meshing a swaggering and braggadocio-fueled hip-hop production and neo-soul while subtly hinting at Pharrell‘s “Happy.” While seemingly recalling Tyler, the Creator, Stereolab and Men I Trust among others, “ASSUMPTIONS” showcases a mischievously forward-thinking producer and songwriter, who can pair social commentary and deep introspection within a catchy, deceptively fun bop.

“‘ASSUMPTIONS’ feels like it’s giving myself permission to step into some new sonic territory,” Haywood-Smith explains. “It’s fun and playful while still being pretty focused and lyrically consistent, which is new for me. It’s also one of the funniest songs I’ve ever written. It’s literally about my crippling imposter syndrome but at the same time, I’m staking my claim as a solid artist and a producer.”

Directed by Trent Wayne, the accompanying video is a playful, unpredictable mix of cartoons and live action footage at an equally cartoon colored party, in which he plays his new song. Much like the accompanying song, the video touches on feelings of imposter syndrome, feeling under appreciated yet knowing deep down that you’re fucking dope.

The video’s director, Trent Wayne, while speaking on the production said “JayWood set the tone for us—playful, unpredictable, and musically rich— making a great foundation for the video. Inspired by the song’s genre-blending, we built a narrative to match: starting in a comically chaotic party scene, drifting into a Yo Gabba Gabba!-inspired graveyard, and featuring a cartoon version of Jay performing created by Pete Though, which was sent through a VCR for added analog grit. Our production designer, Sophia Kotowski, built a functional CD-player gravestone that became a psychedelic centerpiece. Collaborating with Captured Tracks to spotlight innovative artists like JayWood is a real privilege for our team.”

Single Review by William Ruben Helms

New Audio: Frais Dispo Shares Ethereal and Shimmering “Dire je t’aime au téléphone”

Montréal-based indie rock outfit Frais Dispo — Élie Raymond (guitar, vocals), Antoine Lévesque-Roy (bass), Thomas Bruneau Faubert (trombone, synths), Charles Primeau (guitar) and Antoine Gallois (drums) — is simultaneously a rebrand and a markedly radical direction for its members, who first gained attention across both Quebec and Canada as Foreign Diplomats: Frais Dispo sees the Montréal-based band adopting a much more collaborative songwriting approach than previously. Lyrics are written and sung completely in French.

2023’s Teinte, the newly rebranded band’s full-length debut and last year’s Les teints du ciel n’ont aucun sens found the Montréal-based outfit firmly establishing a markedly new sonic direction with their sound drawing much more from alt-country, folk and indie rock.

Building upon the attention that Teinte and Les tients du ciel n’int aucun sens received in the Francophone world, the Montréal-based outfit’s highly-anticipated sophomore album is slated for a 2026 release through Audiogram. Along with that announcement, the band shared their first single of 2025, “Dire je t’aime au téléphone.”

Anchored around an ethereal and gorgeous arrangement of strummed guitar, shimmering pedal steel, “Dire je t’aime au téléphone” has a dreamy, psych country-meets-Laurel Canyon-inspired vibe. Featuring a stream-of-conscious lyrical approach, the new single features motifs that are dear to the band’s Élie Raymond and frequently appear in their work: having the wind blow through your hair, April skies in Québec, the sense of time flying by before your eyes . . . And much like their previously released work, the new single is rooted in a yearning nostalgia that’s familiar and deeply bittersweet.

The song also sees the band adopting a more laid-back, spontaneous songwriting approach throughout the entire album’s creative process. The album’s tracks were recorded live to make the songs live and breathe — and to create a much more organic sound. As “Dire je t’aime au téléphone” ends, you hear a bit of murmured voices, laughter, and a brief sigh and a phone ringing, which gives the listener a sense of being in the studio with the band — and a real warm, imperfect, human element. By working this way, the band wanted to focus more on the emotions at the core of the material rather than the technique, all while capturing the buzzy euphoria of the first studio recordings.

“Dire je t’aime au téléphone,” much like most of the forthcoming sophomore album’s material can trace its origins back to lengthy jams and jam sessions, which they shortened. “We started playing, and when I felt we had something interesting, I started recording. I played the drums one-handed to start recording on my iPhone, sometimes 10 minutes after I started jamming!” The band’s Antoine Gallois, who also served as the album’s sound engineer explains.