Tag: Québec City QC

Single Review by William Ruben Helms

New Audio: Québec City’s worry Shares Anthemic “Regret”

Through the release of their five-song debut EP, 2020’s after something and a handful of standalone singles, Québec City-based indie outfit worry — creative mastermind and frontman Kerry Samuels, backed by Gaspard Eden‘s Joey Proteau, Valence‘s Aubert Gendron Marsolais, Mid Divers‘ Xavier Beaulieu and l i l a‘s Marianne Porter — quickly developed a reputation for pairing lyrics inspired by Samuels’ experience and emotions with a hook-driven sound that’s heavy yet dreamy. The band describes their sound as “a noisy and emotional wave of sound capturing a warm feeling of nostalgia, like watching childhood home movies on a broken TV.”

The Québec City-based band has begun to build a profile locally and across the province, with the band making runs of the provincial club and festival circuit, including sold-out shows at L’Imperial Bell with July Talk and SOLIDS.

Building upon that growing profile, worry will be releasing their debut album, Positive Memory in the spring. The album’s second and latest single “Regret,” is one-part 90s grunge, one-part Brit-pop, one-part 2000s emo that showcases that band’s knack for pairing vulnerable, lived-in lyrics with rousingly anthemic, mosh pit friendly hooks and choruses. The band explains that “the song reflects on memory, death and the moment that linger long after they’re gone.”

Video by William Ruben Helms

New Video: Québec City’s David Emme Shares a Melancholy Yet Breezy Bop

Québec City-based singer/songwriter and musician David Emme is a self-described “sensitive courtier of melancholy,” whose sound frequently sees him making a delicate balance between New Wave, coldwave and post punk. Rather than choosing between light and shadow, Emme weaves light and shadow together in a way that expresses a deep, lived-in vulnerability.

“Encore” marks a new chapter for the Québec City-based artist. Anchored around glistening, reverb-drenched, New Order-like guitars paired with a breakneck, motorik-like groove and Emme’s plaintive delivery, “Encore” is a deceptively upbeat, almost anthemic song that manages to evoke a swooning, lived-in melancholy and longing. The new single channels classic New Order and contemporary bedroom pop while showcasing an artist, who can craft an earnest song with remarkably catchy hooks. “I decided to return to my first loves in terms of sound. It feels like a song I should haver eleased 10 years ago, but I wanted to wait until I had the experience and maturity to do it justice,” Emme says.

Directed by Ara3, the accompanying video follows Emme as he enters in a Québécois cafe/bar with a handful of roses. Shot in one, languorous and extended take, we see the Québec City-based artist handing out roses to a bored bartender, a romantic couple on the brink and pals having a bitter argument. And for a moment, all of these folks had remembered the joy and caring of their connection to that other person — thanks to our intrepid, Cupid-like protagonist.

Single Review by William Ruben Helms

New Audio: VICTIME Shares Woozy and Glitchy “Résonne encore”

Initially formed in Québec City back in 2016 and now currently featuring members split between the Québecois cities of Montréal, Québec City and Gatineau, VICTIME — Ponctuation’s and Pure Carrière‘s Laurence Gauthier-Brown, Album’s Simone Provencher and Corridor‘s and Kee Avii‘s Samuel Gougoux — quickly made waves across the province with 2017’s Mon VR de rêve EP, 2018’s full-length debut La femme taupe and Mi-tronic, mi-jambe EP.

With their first three releases under their collective belts, the trio began to make the rounds of the Canadian festival circuit, playing sets at Sled Island, Up Here, Francos de Montréal, FME and Taverne Tour. Adding to a growing profile across the country, the band opened for the likes of Lydia Lunch, Guerilla Toss, Frigs, Ponctuation and Jesuslesfilles, as well as a series of tour dates in France.

The band’s forthcoming effort, En conversation avec is slated for an October 25, 2024 release through Mothland. En conversation avec is the result of a new creative process for the band, informed and inspired by the band being split across different cities in the province. Written over the course of the past five years, the trio frequently relied on the spontaneity of sporadic get-togethers and remote work in which they shared files among each other.

Reportedly the effort sees the band simultaneously showing a newfound patience while being among their most layered. While still holding on to their post-punk and noise rock roots, the trio explore a wide-spanning spectrum where tensions and openings coexist, colmating breaks and ruptures, cracks and fissures with elements of trip hop, avant rock and IDM. Thematically, the material touches upon feminism, vengeance, violence, being a female, speaking out, obliterating patriarchy and more.

“It was a long process, the sum of three minds in three different cities. We felt the urge to create in a new way, to break out of our guitar-bass-drums mold, to be less of a rock band,” the band explains. “So, we started from sounds and sonic explorations, finally recentering everything around a more simple songwriting process. And though it is packed with weird sounds and whatnot, we feel this is the best music we have ever written. It is informed by the many projects, contracts, experiences, etcetera each of us took on over the past few years, a logical follow-up to our individual paths.

We were inspired by many things, namely: the Sisters with Transistors documentary film, Kim Gordon and everything she represents, the sadness of roadkills; electronic prototypes, breadboards and sonic experimentations; musique concrète [or concrete music], mechanisms, eye (but also other parts of the body) surgeries, Giacometti, The Da Vinci Code, the total solar eclipse, The Twilight Saga: Breaking Dawn.”

“We produced the album ourselves. We recorded everything way too hot, so it’s distorted. Also, we didn’t use a grid when tracking, so we struggled with the sessions quite a bit. Amongst the files we sent to Simon Labelle, who mixed the album, there are easily 47 tracks with takes we had no business keeping and well over a dozen tracks named “Noise 1-2-3-4-5-6-7-8…”, so he probably hates us now. I guess we kept our reckless-kids-playing-in-the-back-alley mentality, all the way to the financial means. Simone [Provencher] builts effects pedals with Fairfield Circuitry, which meant we could use breadboard prototypes on a few tracks, so that’s pretty legit, right?”

En conversation avec‘s latest single “Résonne encore,” is the band’s first ever love song. Anchored around a propulsive and forceful, tribal drum pattern, “Résonne encore” features reverb-soaked vocals, angular guitar stabs and bursts of synth oscillations for the song’s first two-and-a-half minutes, before abruptly stuttering into a glitchy trip hop-like bridge seemingly inspired by Portishead’s “Machine Gun.” The song’s coda features bursts of guitar dissonance, the introductory section’s propulsive and forceful tribal drum pattern paired with an ethereal and dreamily sung vocal incantation. The result is a song that feels feverish, woozy and a bit heartsick, much like an uneasy yet new love.

Single Review by William Ruben Helms

New Audio: Population II Shares Woozy and Fiery “Comme tu le souhaites (Ding Dong)”

Acclaimed Montréal-based psych rock outfit Population II — Pierre-Luc Gratton (vocals, drums), Tristan Lacombe (guitar, keys) and Sébastien Provençal (bass) — can trace their origin back a long way and are inextricably linked to their teenage memories. After years of jamming to the point of developing a unique sense of telepathy, the trio began recording independently releasing material that caught the attention of Castle Face Records head and The Oh Sees‘ frontman John Dwyer, who released the band’s full-length debut, 2020’s À la Ô Terre, an album that saw the band displaying their mastery of improvised and sophisticated composition. 

The Montréal-based psych outfit then spent the better part of the next two years touring to support their full-length debut, which included stops at SXSW, Pop Montréal, Toronto, NYC, and Québec City. 

Population II signed with Bonsound‘s label, booking and publishing arms. Bonsound released the French Canadian trio’s l Èthier-produced sophomore album Èlectrons libres du québec late last year. Èlectrons libres du québec is much more straightforward than its predecessor and showcases their remarkably adept musicianship and furthers their unique take on heavy psych rock, which features feverish punk rhythms, early punk energy bursts, hints of jazz philosophy and al love of minor scales informed by heavy metal’s early roots.

Èlectrons libres du québec received praise on both sides of the Atlantic from the like son Rock & Folk, Exclaim!, La Presse, Le Devoir and long list of others. And adding to a breakthrough year for the Montréal-based outfit, they also won a Breakthrough of the Year Award at last year’s GAMIQ ceremonies. 

Building upon a breakthrough 2023, the French Canadian JOVM mainstays will be releasing Èlectrons libres du québec‘s highly-anticipated follow-up Serpent Échelle EP. Slated for a Friday release through Bonsound, the EP, which will be released on a limited-edition cassette tape and on all digital platforms, sees the band crafting crating material that stands out from their previously released work: Shifting between orchestrated passages and lysergic riffage without warning, the EP’s material is wilder, more adventurous and heavier. Rooted in their remarkable compositional skills, the material displays a newfound commitment to songwriting. 

Thematically, the material touches upon the desperate urgency of life in the age of global doom while still enjoying life’s small pleasures — love, friendship, wine, good tunes and the like. 

The album also features violin from their acclaimed friend and producer Emmanuel Éthier. 

In the lead up to the EP’s release later this week, I wrote about the previous released single “R.B.” Beginning with a gorgeous string intro and an angular and propulsive bass line paired with a rapid paced hi-hat driven bit of percussion, the song quickly explodes into scorching riffage around the 35-45 second mark. Throughout the song’s run, it alternates between breathtaking beauty and scorching power chords. Gratton’s plaintive croon darts in and out of a lysergic and deceptively anachronistic arrangement that sounds as though it could have been released sometime between 1967-1973.

The EP’s latest single “Comme tu le souhaites (Ding Dong)” was written on the spur of the moment, right before its recording and was recorded during the Electrons libres du québec sessions. Reportedly one of the most self-referential tracks of their growing catalog, the song’s lyrics allude to a number of anecdotes and tales of events that they experienced in the stood while paying loving tribute to their dedicated sound engineer, Trevor Turple.

Much like its immediate predecessor, “Comme tu le soulhaites” is anchored around a mind-bending and woozy arrangement held together by a propulsive rhythm section that draw some inspiration from Miles Davis’ On the Corner Sessions paired with some prog rock-like keys and some forceful, scorching riffage. Throughout Gratton’s vocal alternates between singing and cooing.

Video by William Ruben Helms

New Video: Ghostly Kisses Shares Cinematic Visual for Swooning and Ethereal “Golden Eyes”

Québec City-based singer/songwriter Margaux Sauvé is the creative mastermind behind the acclaimed Canadian electro pop project Ghostly Kisses. The project derives its name from William Faulkner’s “Une ballade des dames perdues,” which seemed to her like the perfect reflection of her ethereal voice. 

Sauvé has received attention both nationally and international for crafting hauntingly gorgeous and spectral electro pop that pairs her ethereal vocal with moody productions featuring gently swirling and ambient electronics, twinkling keys and propulsive drumming. 

Her latest single, the swooning “Golden Eyes” sees her channeling Goldfrapp and Portishead with the song pairing skittering, UK garage beats, atmospheric house-inspired synths with her ethereal yet achingly yearning delivery. 

Sauvé explains the track is “about being in love with your best friend and how gauche it feels to finally admit it. The lyrics were inspired by a revelation from a fan we met on tour, about how hard and vertiginous it can be to express our true feelings to someone that we really love.” While party about Sauvé’s own experience falling in love with her songwriting partner Louis-Étienne Santais, the song is also inspired by Ghostly Kisses’ ‘Box of Secrets’ project, where fans submitted anonymous stories to the band.

Directed by Gerardo Alcaine, the accompanying video begins with Sauvé being the subject of an intimate photo shoot before following her across the Québec countryside in some gorgeously cinematic footage. Sauvé and her songwriting partner Louis-Étienne Santais say, “We aimed to create a visual journey, inviting viewers into a crimson-hued world and a perspective framed by a lens, offering a subtle preview of the new dimension to come in our upcoming releases.”

Video by William Ruben Helms

Lyric Video: Ghostly Kisses Shares Swooning, Ethereal “Golden Eyes”

Québec City-based singer/songwriter Margaux Sauvé is the creative mastermind behind the acclaimed Canadian electro pop project Ghostly Kisses. The project derives its name from William Faulkner’s “Une ballade des dames perdues,” which seemed to her like the perfect reflection of her ethereal voice.

Sauvé has received attention both nationally and international for crafting hauntingly gorgeous and spectral electro pop that pairs her ethereal vocal with moody productions featuring gently swirling and ambient electronics, twinkling keys and propulsive drumming.

Now it’s been a handful of years since I’ve written about Sauvé and Ghostly Kisses. But her latest single, the swooning “Golden Eyes” sees her channeling Goldfrapp and Portishead with the song pairing skittering, UK garage beats, atmospheric house-inspired synths with her ethereal yet achingly yearning delivery.

Sauvé explains the track is “about being in love with your best friend and how gauche it feels to finally admit it. The lyrics were inspired by a revelation from a fan we met on tour, about how hard and vertiginous it can be to express our true feelings to someone that we really love.” While party about Sauvé’s own experience falling in love with her songwriting partner Louis-Étienne Santais, the song is also inspired by Ghostly Kisses’ ‘Box of Secrets’ project, where fans submitted anonymous stories to the band.

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