With the release of 2019’s self-titled, full-length debut, Toronto-based dream pop outfit Tallies — Dylan Frankland (guitar), Sarah Cogan (vocals, guitar) and Cian O’Neill (drums) — exploded into the national and international scenes: The album received praise from the likes of Under the Radar, DIY Magazine, The Line of Best Fit, MOJO, Bandcamp Daily, Exclaim!, KEXP and others. And adding to a rapidly growing profile, the Toronto-based dream poppers have opened for Mudhoney, Hatchie, Tim Burgess and Weaves.
The band’s Graham Walsh and Dylan Frankland co-produced sophomore album Patina, which was recorded at Palace Sound, Holy Fuck‘s Baskitball 4 Life and Candle Recording is slated for a July 29, 2022 release through Kanine Records here in the States, Hand Drawn Dracula in Canada and Bella Union in the UK and EU. The album, which was understandably delayed as a result of the pandemic is simultaneously a labor of love and a bold step forward for the Canadian trio: Firmly rooted in their penchant in juxtaposing light and dark, the album continues to see the band drawing from Lush, Beach House and Cocteau Twins, but with a greater emphasis on shimmering guitars, earnest, lived-in songwriting — and a well-placed, razor sharp hook.
The album will feature, the previously released “No Dreams of Fayres,” an ironically upbeat single that sonically brought The Sundays‘ “Here’s Where The Story Ends,” while documenting Sarah Cogan’s struggles with depression — in particular, thee moments, when she was trying to work it out, but just couldn’t find the energy to do so.
“‘No Dreams of Fayres’ is a reflection of thoughts that I remember going through my mind when I stayed still in bed,” Tallies’ Sarah Cogan explains in press notes. “Feeling as though staying still in bed was the only thing that would help the sadness – basically, disconnecting myself from family, friends, and having a life. Finding the way out of depression was hard but possible. ‘No Dreams of Fayres’ is also about the realization of letting yourself feel real feelings but not mistaking them for emotions. I had to learn to get a grip of what I wanted out of life and go for it with no self-sabotage – which was music, as cliché as it sounds. It pulled me out of bed, physically and mentally.”
Patina‘s latest single “Special” continues a run remarkable run of deceptively upbeat shoegazer-inspired jangle pop featuring Cogan’s plaintive vocals, Frankland’s shimmering reverb-drenched guitar lines and O’Neill’s propulsive drumming paired with their unerring knack for razor sharp, anthemic hooks. But despite its breezy nature, the song is underpinned by a an aching and familiar yearning: “‘Special,’ as Sarah Cogan explains “is about longing to be seen and heard by those who matter to you most. Sometimes, feeling invisible is particularly painful when the indifference comes from someone whose opinion means a lot to you.”
Directed by Justis Krar at IMMV Productions, the accompanying video for “Special” features carefully edited stock footage from movies and home videos: The video begins with fingers and toes — dipping into water, or shampooed hair before following a troubled and bored couple, who have deeply unaddressed issues. You can read the pain and heartache in both of their faces, and it further emphasizes the themes at the heart of the song.
