Over the course of the past year, I’ve written a lot about the Halifax, Nova Scotia-born and based singer/sgonwriter, electronic music producer, electronic music artist, indie rock musician and JOVM mainstay Rich Aucoin. And as you may recall, Aucoin spent time as a guest musician in his older brother Paul’s band Hylozoists before developing a reputation as a solo artist in his own right with the release of his debut EP, 2007’s Personal Publication, a concept effort written as an alternative soundtrack to How the Grinch Stole Christmas.

Personal Publication EP was also the first of an ongoing series of collaborations with charitable foundations, as he supported the EP with a cross Canada tour made entirely by bicycle to raise money for Childhood Cancer Canada. After completing his first solo tour, he went on to join his brother’s band while they were on tour; however, Aucoin suffered a debilitating iron deficiency that cut his time on  the tour short. But once he recuperated, Aucoin went on the road again, running partial marathons between tour stops to raise money for the Canadian Cancer Society. During both of those early tours, the Halifax-born and-based singer/songwriter, electronic music artist, electronic music producer and indie rock musician spent time writing the material that would eventually comprise his full-length debut, 2011’s We’re All Dying to Live, an effort that featured over 500 guest musicians, including  Sloan‘s Jay Ferguson, You Say Party‘s Becky Ninkovic, The Meligrove Band‘s Michael Small and Rae Spoon. Adding to a rapidly growing profile. the album was long-listed as a nominee for a Polaris Music Prize — and the video for “Brian Wilson is A.L.I.V.E.” won a Prism Prize in 2013.

Building upon a growing profile, the Nova Scotian producer and electronic music artist released his critically applauded sophomore effort, 2014’s Ephemeral. Several years passed before the release of last year’s Hold EP, and with singles like the sprawling and propulsive “Release”, the swooning M83-like “The Middle,” the jangling guitar pop meets synth pop  “The Fear.” and the slow-burning and wistful “The Dream,” the EP further cemented Aucoin’s reputation for crafting slickly produced, infectious and thoughtful pop.

Slated for a May 17, 2019 release through Haven Sounds, Aucoin’s third full-length album  Release was co-produced by the Halifax-born and-based singer/songwriter, multi-instrumentalist, electronic music producer, electronic music artist and indie rock musician and drummer Joel Waddell. Inspired by the work of David Bowie, Holly Herndon, Fatboy Slim, Bjork, John Lennon, Future Islands, Caribou and Chic among others, the album finds the JOVM mainstay further cementing his growing reputation for his own unique blend of organic and electronic instrumentation — while thematically, the album finds Aucoin grappling with mortality, by using Alice in Wonderland as a metaphor for life’s journey. 

“The Mind,” Release’s first single is a pulsating instrumental track is centered around a slow build up of increasingly textured sounds including arpeggiated synths, chopped up and ethereal vocal samples and propulsive drumming that finds Aucoin drawing from drum ‘n’ bass and Kraftwerk-like minimalism before an explosive conclusion. “This track is about the mind and therefore has no lyrics,” Aucoin explains in press notes. “Musically, this song has two drum sets on it. The main kit is played by Jeremy Malvin (aka Chrome Sparks) and the second is carried over from the Release session by Broken Social Scene’s Justin Peroff. Ben Talmi played the very rare Therevox slide theremin on the track down at his Virtue & Vice Studio in Brooklyn. While Jenn Grant was recorded by Daniel Ledwell at his Echo Lake Studio in Nova Scotia. The vocal melody seamlessly switches from male to female vocals with Jenn and my voices being the samples.”

Directed by Meghan Tansey Whitton, the recently released video follows a mysterious and otherworldly figure covered in a metallic blanket, striding on a beach at sunset and as the video progresses, the figure is subjected to the elements, facing them with a preternaturally zen-like calm.