Hannah Georgas – Hannah Georgas album review

Hannah Georgas released her second self-titled album on Oct 2nd under Toronto based Dine Alone records, known for many other talented artists such as Tokyo Police Club, The Lumineers and City and Colour. At times throughout this album listeners may catch that the vocals remind them of fellow Canadian artist Feist, but the instrumentals give Hannah Georges her own unique spin in addition to her smooth voice.

In this record, Hannah teamed up with Graham Walsh from the band Holy Fuck to help produce her album. His role in production is one of the reasons the new album was sometimes taken to a more synthesized direction. The fun and playful track Shortie is a good example of this new influence. This song has a catchy chorus and is about her going out to dance the night away and find some romance. The next track titled Fantisize holds a strong synth vibe as well. The keyboard is used a good amount throughout the album but it gives the songs a fresh and distinctive result.

Her previous work took a more complex and detailed approach to the instrumentals. So, instead, her goal in this album was to be more free and let the music breath. That is exactly what you get from the 10 tracks, specifically in the song Elephant where behind her strong echoing voice is a simple electronic beat. The album gives up a good balance in that regard. The song Ode to Mom, although it has a more relaxed feel, gets loud and full with instrumentals while singing lyrics that are written to help her Mom cope with the loss of her Father.

A noticeable fact about this album is the range of topics she expresses through her lyrics. In Millions she sings, “a fear is a crutch a little hell that I live in, if she can do it what the fuck, how come I can’t?” which is something that many people can relate to. Robotics is a song about wanting to be able to reset with no more worries, a song that came from the idea of wanting feel less emotion sometimes. Not to mention the song, What You Do To Me, about falling hard for another person. Clearly, Hannah Georgas has a real ability for not only expressing how she feels, but also doing it in a way where others can connect to the same ideas.

Compared to her last album, it’s clear that along with the help of Graham Walsh, Hannah Georgas has taken a big step up creatively. It should always be respected when an artist tries new things in the efforts to break the barriers of what they are expected to do because in cases like Hannah Georgas, it can work out very well.

Efterklang – Piramida album review

When looking at Danish trio Efterklang’s newest release, Piramida, it’s impossible to ignore the album’s backstory – the band camped for 10 days in an abandoned Russian settlement 400 miles north of Norway, recording more than 1,000 sounds, both from nature and man-made. Armed with these recordings, Efterklang constructed a soundscape that layers pretty, delicate synth with more aggressive orchestral music and interjects sounds from the artic north, resulting in an album almost as chilling as the air in which it was recorded.

Singer Casper Clausen’s vocals, too, end up melting into Piramida’s ambience – the line “Help, I’m falling down” from opening track “Hollow Mountain” could be representative for the rest of the album’s lyrics. For all its intricacies, impeccably clean recording and carefully calculated melodies, Piramida falls into the dangerous territory of easily becoming background music to all but the most focused listener. Gone is the overall glitchier, less polished sound from the 2004 debut full-length, Tripper, or the more upbeat feeling from 2010’s Magic Chairs. Piramida is all grown up and more complex than ever, but is also more subtle and slightly less engaging than Efterklang’s previous work. The rough edges have been smoothed over, the more jarring post-rock influence worked out, and the final product sounds like a beach being lapped by cool, slightly anticlimactic waves.

That’s not to say the album doesn’t have its merit, though. From beginning the album with noises from an oil drum to the background chorus and shrill instrumentation of “Black Summer” and the driving clop-clopping of “Dreams Today,” if one were to sit down at their most attentive and listen to Piramida they would hear a wide array of sounds, both simple and complex, woven together into an album that reveals new details and tells more secrets with each listen-through, constantly piquing the listener’s interest and giving the illusion of hearing it for the first time. It’s not catchy, and the songs are loosely structured without definitive hooks and melodies; instead, it’s an album that compels and challenges the listener to go through it again and again to see what he’d missed out on the last time.

Nelly Furtado – The Spirit Indestructible album review

After a successful foray into the Spanish language market, where she won a Latin Grammy, Nelly Furtado returns to mid-tempo, Timbaland-like club pop on 2012’s The Spirit Indestructible. Unfortunately, eardrums aren’t indestructible and like nails on chalkboard, Furtado’s latest is painful to listen to.

Before The Spirit Indestructible was released, Furtado stated she was looking back to the alternative influences that helped shape her debut, Whoa Nelly! by listening to modern bands such as The xx and Florence +The Machine…kind of like the rest of world. Taking that inspiration and combining it with her experiences on the bass heavy Loose and her vocally passionate, Mi Plan, it seemed that Furtado planned on creating one big, Super Nelly, blockbuster of an album. This clearly has not transpired.

What really buoyed her previous English language albums were perennial radio hits; whether it was the oddly additive, saccharine pop of “I’m Like a Bird” or the sexy, hook heavy “Promiscuous,” there was always a fun single to lead the way. Nothing on The Spirit Indestructible qualifies as such.

The Michael Angelakos penned and produced “Circles” is one of the only highlights of the album. It, of course, has the tarnished soul of a Passion Pit song, but more than that, Furtado’s vocals during the chorus are enchanting and smooth.  This song is in the minority however.

For example, at one point on the album’s first single, “Big Hoops,” she interrupts, saying she thought the song was over, only to be mildly surprised that it isn’t. Mercifully it only lasts another thirty seconds or so before it finally wraps. She physically sports the features of a small bird, which can be cute. The problem becomes that her voice resembles a high pitched chirp for the majority of the record. Somehow, in 2012, her voice seems more obnoxious and more nasally than usual.

Probably the song that sums up the atrocity that is The Spirit Indestructible is “Hold Up.” It features a lazy dance beat, Furtado at her whiniest, and an industrial rock guitar riff that’s completely out of place on the record. Oh, and AutoTune. As if the song wasn’t awful enough, they throw that in there too just for fun.

Tall Ships – Everything Touching album review

Tall Ships, newcomers on the indie rock scene, have released their first full length album, “Everything Touching”. With instrumental power in such singles as “T=0”, the New England band has certainly generated an album distinguished enough to garnish respect from the majority of those familiar with the underground world of independent music.

Produced under the U.K. label Big Scary Monsters, “Everything Touching” rushes through an eleven song LP with a ferocity much akin to early Kings of Leon, though admittedly lacking any of the driving-soul. The lyricism is hidden behind a barrage of mind numbing guitars, rocketing from every angle, but once experienced, the poetry drives one into fields unexplored. Front man Ric Phethean drives the vocals home with a powerful thrust of melodic uprisings that burst into a sun-soaked sky with a resounding choir of emotion pouring in from above.

The album provides an undisputed versatility uncommon with a large portion of music, with the ability to provide phenomenally uplifting and invigorating anthems perfect for blasting during a morning run, as well as putting on while studying or reading to bring about a thematic background noise capable of keeping one on task without becoming a distraction.
Tall Ships crush through songs such as “Ode to Ancestors” and keep the listener begging for more. Unquestionably the instrumental low, providing an opportunity to display Phethean’s lyricism before delving into a toe-tapping beat that explodes into a barrage of mystifying sounds that prove to be an exhibition for the trio. Wonderful things are sure to come from Tall Ships, and “Everything Touching” is a harmonious testament to that.

This Many Boyfriends – This Many Boyfriends album review

Wearing your influences on your sleeve is always tricky business; you wear them too blatantly and you’re dismissed as derivative slop, but you tuck them away too subtlety and you’re marooned out in some adventurous wasteland where no one flocks. This Many Boyfriends—with a band name in homage to DIY stalwarts Beat Happening, and an opening track named for legendary Talking Heads bass player Tina Weymouth—certainly don’t skirt their influences. But they don’t crib anyone’s style too desperately either. In fact, the aforementioned “Tina Weymouth,” could even use a little more of the innovative bass player’s ingenuity; if you are going to go to the lengths of naming a song after her, shouldn’t said song’s bass line contain at least some of the melodic, uber-catchy progressions she created with such ease and frequency? Even still, the song is catchy indie dance pop, and the knife-fight guitar riff squares completely with the tone of the album, all ‘80’s basement pop rhythms and British vocals shouted in a bastard child mash-up of Morrissey and Ian Curtis.

An album that is—despite political song titles like “(I should be) a Communist”—about being infatuated with Indie Pop, and the sacrifices contained within said obsession, could easily turn into a self-indulgent bore (see “I don’t like you ‘cos you don’t like the Pastels”).  But This Many Boyfriends steer clear of this fate, due mostly to the killer, last-call-in the-pub melodies and group shout, vowel-soaked choruses.  The white-kid dance rhythms don’t hurt either.

The group demonstrates their range with the slowed down, introspective “Sometimes,” the first single off the album that practically begs for late night dorm room plays. If this were the decade the band seems to be lingering in in arrested development (the 1980’s, if I didn’t already mention that), this tune would no doubt be a college radio staple. But times have changed, and This Many Boyfriends would be better served following Franz Ferdinand and Phoenix’s lead and riding their sing-along melodies and dance party beats to indie rock stardom and the definitive sign of success in these modern times: a car commercial.

Totally Enormous Extinct Dinosaurs Announces US Tour Dates, Shares Fake Blood Remix

“Totally Enormous Extinct Dinosaurs is representative of an exciting
new wave of producers…” – SPIN

“Trouble’s production is top-notch, with some sweaty club heartstoppers.” – Pitchfork

Upcoming Tour Dates:

12/13 – New York, NY- Webster Hall [Live]
12/19 – Los Angeles, CA – Fonda Theatre [Live]

October 25, 2012 – UK’s electronic sensation TOTALLY ENORMOUS EXTINCT DINOSAURS—”TEED” for short—will claw his way into North America for several December gigs (more to be announced soon). The artist has his sights set on hotspots in New York and Los Angeles to start, with full domination on the horizon.

TEED (aka Orlando Higginbottom) remains a veritable phenomenon worldwide. With his full-length debut Trouble available everywhere now, his fierce blend of pop, electro, house, and melodic tuff rave intoxicates and entrances. Whether he’s hosting a raucous and rowdy underground party or collaborating on remixes for the likes of Lady Gaga and Hot Chip, his talons and teeth are always out.

Right now, you can hear Fake Blood’s remix of “Your Love.” It’s a skittering dance floor firestarter that’s bound to get bodies moving no matter what.

Critics have already begun singing his praises as well. Mixmag proclaims, “The rawness is eclipsed by the excitement, fun, and innovativeness of the whole affair,” while Clash calls it “Deadly serious dance music but painted in sunny melodies with dangerous rave undercurrents.”

TOTALLY ENORMOUS EXTINCT DINOSAURS lands this December, and the States (and dance music) may never be the same.

Sinkane Premiere Debut Music Video for “Runnin,'” First Single from New Album Mars

Sinkane Premiere Debut Music Video for “Runnin,'” First Single from New Album Mars

Watch The Video HERE

New Album Out This Week on DFA Records

Announce Tour Dates with Yeasayer, Toro Y Moi, Beak + European Festivals

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Somewhere in a developing nation, a political leader is assassinated in the midst of his supporters. He and his wife are thrown in the back of his car and rushed away by his bodyguards. While the leader holds on for dear life in the backseat, the dark events of that day replay in his and his wife’s heads. Directed by Philip Di Fiore (Sharon Jones and the Dap-Kings, Caveman, Antibalas) and featuring the members of the band, this is the first official music video from Sinkane.

Sinkane’s new album Mars is out now in the US and Canada on DFA, and out later this Fall in Europe on City Slang.

Tour Dates:

10/26/12 New York, NY @ Hudson River Park Pier 57 DJ Set w/ Albert Hammond, Caveman

11/1/12 New York, NY Bowery Electric w/ ESG

11/06/12 Northampton, MA – Pearl Street Nightclub w/ Yeasayer

11/07/12 Boston, MA – House of Blues Boston w/ Yeasayer

11/08/12 Montreal, QC – Cabaret du Mile End w/ Yeasayer

11/09/12 Toronto, ON – Danforth Music Hall w/ Yeasayer

11/10/12 Clifton Park, NY – Upstate Concert Hall w/ Yeasayer

11/11/12 Providence, RI – Lupo’s Heartbreak Hotel w/ Yeasayer

11/13/12 Port Chester, NY – The Capitol Theatre w/ Yeasayer

11/15/12 Washington, DC – 9:30 Club w/ Yeasayer

11/16/12 Philidelphia, PA – Union Transfer w/ Yeasayer

11/17/12 Charlottesville, VA – Jefferson Theater w/ Yeasayer

11/18/12 Atlanta, GA – The Tabernacle w/ Yeasayer

11/19/12 Carrboro, NC – Cat’s Cradle w/ Yeasayer

11/30/12 Utrecht – Le Guess Who Festival w/ Deerhoof, Why?, Lower Dens

12/1/12 Munich – on3 festival w/ Ben Gibbard, Das Racist, Lower Dens

12/5/12 – Cologne – Gebäude9 w/Beak

12/6/12 – Zurich – Zukunft

12/8/12 – Rennes – Transmusicales w/ Lianne La Havas, Nick Waterhouse

12/11/12 – London – Sebright Arms

12/13/12- Brooklyn, NY @ Music Hall of Williamsburg w/ !!!

2/19/13 – Chicago, IL – Metro w/ Toro Y Moi

2/20/13 – Minneapolis, MN – Fine Line Music Cafe w/ Toro Y Moi

2/21/13 – Lawrence, KS – The Granada Theatre w/ Toro Y Moi

2/23/13 – Denver, CO – Bluebird Theater w/ Toro Y Moi

2/24/13 – Salt Lake City, UT – Urban Lounge w/ Toro Y Moi

2/26/13 – Vancouver, BC – Biltmore Cabaret w/ Toro Y Moi

2/27/13 – Seattle, WA – The Crocodile w/ Toro Y Moi

2/28/13 – Portland, OR – Wonder Ballroom w/ Toro Y Moi

3/3/13 – Los Angeles, CA – The Fonda Theatre w/ Toro Y Moi

Video Credits:

Directed by Philip Di Fiore

Produced by The Rumpus Room

Director of Photography Christopher J. Lytwyn

Shot by Christopher J. Lytwyn and Corey Fontana

Art Director: Stewart Gerard

Assistant Art Director: Andy Siebert

Featuring: Ahmed Gallab, Jason Trammell, Mikey Freedom Hart, Mike Montgomery, Ifeoma Nwoke, Liam Benzvi, Al-Sarah , Cochrane Williams, Sam Hopkins, Albert Di Fiore, James Pollis, Omari Washington, Andy Siebert, Charlie Ferguson, Patrick Childers, Nick Cox, Dude (the dog).

Special thanks: Kym Apotas and Nick Cox

Gentleman Reg announces Leisure Life part 3


Gentleman Reg has announced that the third and final EP from his new full-length, Leisure Life, will be released November 6 via Heavy Head Records. The final installment once again contains five tracks, three of which will appear on the Leisure Life full-length in stores November 20 on Heavy Head/Outside Music. You can stream the third single from Leisure Life, “I’m A Little Bit Older Than You” via Exclaim.ca here. The Toronto Star called the first single off EP1, “Waiting Around For Gold”, “a ridiculously addictive track,” while Consequence of Sound said of EP2, “Gentleman Reg may just be Canada’s pale version of Will Oldham.”

In addition, Gentleman Reg will take to the road in Ontario upon the release of Leisure Life throughout Ontario, including a hometown show in Toronto, December 2 at The Gladstone. Complete dates, as of now, are below. More are to be announced.

Leisure Life is Gentleman Reg’s fifth full-length record, produced Chris Stringer (Timber Timbre/Ohbijou) and mastered by Joao Carvalho. The follow up to his critically acclaimed 2009 LP, Jet Black, which took Reg and his band on tour multiple times through North America, including dates with A Camp, The Hidden Cameras, The Stills, Sarah Harmer, SXSW, Winnipeg Folk Festival and Hillside Festival. It is Reg’s first LP to feature a consistent band line-up of Kelly McMichael, Jon Hynes and James Bunton, who have been touring with Gentleman Reg the past few years. The album is Reg’s most solid work to date, expanding upon his indie-rock style, to create something sonically bigger and showcasing his band in a way he hasn’t yet done.

Leisure Life part 3:

1. You Lie In The Dirt

2. Songs I Always Sing

3. Freakin Out

4. I’m A Little Bit Older Than You

5. It’s True

Tour Dates:

11/29 – Peterborough, ON @ The Garnet

11/30 – Kingston, ON @ Grad Club

12/01 – Ottawa, ON @ Pressed

12/02 – Toronto, ON @ The Gladstone

12/06 – Windsor, ON @ Phog Lounge

12/07 – London, ON @ Call The Office

12/13 – Guelph, ON @ EBar

12/14 – Hamilton, ON @ This Ain’t Hollywood

12/21 – Peterborough, ON @ The Garnet

Matt Costa The Self Titled Fourth Album To Be Released February 12 On Brushfire Records

Sacred Hills EP Arrives November 6

WATCH: Sacred Hills Teaser

Matt Costa, the self-titled fourth album from the acclaimed, eclectic
singer/songwriter is set for a February 12 release via Brushfire Records.
Matt Costa is a 10-song collection of new songs recorded in Scotland
with long-time Belle & Sebastian/Mogwai collaborator Tony Doogan. On the
new release, Costa thoughtfully mines elements of the past, while exploring
new territory. His penchant for melodic exploration is on full display throughout the new offering. The songs, sounds, lyrics and overall vibe of the album have elevated Costa to a new artistic plane.

Matt Costa initially set out to make an album of folk/roots-inspired songs,
but when he arrived in Glasgow, something else naturally transpired and
changed the direction of the recording. Perhaps it was the magic of Scotland,
the studio (Castle of Doom), Doogan or the incredible musicians he collaborated with, which include Belle & Sebastian’s Stevie Jackson, Chris Geddes and Bobby Kildea. Whatever it was, it is evident that Costa has made a real statement with his strongest work to date.

On November 6, the four-song Sacred Hills EP will be released as a
precursor to the new album. Sacred Hills will feature the tracks “Good
Times” and “Loving You” from Matt Costa as well the songs “Never
Change” and “Sacred Hills”, which will not appear on the album.

Rush Midnight’s (of Twin Shadow) Debut EP Out Next Week via Cascine

Stream +1 in its Entirety at SPIN

Download Second Single ‘Crush‘ at Rolling Stone

Listen to first single ‘The Night Was Young Enough’

Rush Midnight the solo project of Russ Manning, and former bass player for Twin Shadow, has released the second single ‘Crush’ from his debut +1 EP, out October 30 via Cascine. Produced by Twin Shadow, the track in is available for free mp3 download at Rolling Stone, and +1 is now streaming in its entirety at SPIN. Rush Midnight will support of the EP on a string of US dates next month, including three NYC performances.
‘Crush’ is an exhilarating ode to being young in the city and the wonder of the limitless possibilities of new experiences. “I wrote ‘Crush’ after returning from a month in Europe and a few nights in Sao Paolo about one year ago.” says Manning. “Back in New York, springtime was almost over and I remember feeling soo excited to be home, riding my bike, working on new songs, and partying with friends.”

Light, confident and unencumbered by the dictates of adulthood, ‘Crush’s’ sophisticated songcraft builds readily into a strobe-lit dance floor anthem, and further showcases Rush Midnight’s burgeoning talent for assured melody.

Rush Midnight Tour Dates
11/5 – Brooklyn, NY – Cameo Gallery
11/7 – Boston, MA – Middle East Upstairs
11/9 – New York City, NY -The Studio at Webster Hall
11/10 – Miami, FL – Bardot
11/14 – El Paso, TX – Subterranean Beat
11/15 – Springfield, MO – Highlife
11/16 – Phoenix, AZ – Bar Smith
11/17 – West Hollywood, CA – On The Rox
12/6 – Brooklyn , NY – Cameo Gallery w/ The Magi