Self-described as adding “modern flare to a vintage aesthetic,” North Graffiti’s album Modern Relics successfully reflects its musical tagline. Just like the album’s cover, the “punk & roll” local group pulls together the fragments of vintage punk and rock past with present instrumentals.
For the past near-decade, the indie world has been afflicted with the “post-Mac DeMarco malady.” Not that it’s always a bad thing, but for a long time people have been latching onto the watery, chill, bedroom pop style and using the aesthetic to cover up lazy songwriting. It’s refreshing to hear something good in this tired idiom for once. Niall Mutter, through the power of being a smart songwriter, has done just that on his new EP, Pass Me By.
Winnipeg-born singer-songwriter Cassidy Mann does a lot of reminiscing on her new EP, If It’s Not Forever. The songs here are preoccupied with the evocative moments from love affairs that stick with you long after the relationship ends.
Multidisciplinary artist Maylee Todd has had a wild, varied career. Beginning her career as a comedian, she has since branched out into performance art, animation and music. All these elements come together on her ambitious new project Maloo.
March 25 will see the release of Salma Hindy’s debut stand-up album, Born on 9/11. Recorded live in Toronto, Ont., the album will be released through Comedy Records, Canada’s first record label dedicated to comedy albums.
Rainy Day Ritual is the brainchild of Samwauw, or just Sam, a young artist with a lot on his mind.
How Is It That I Should Look At The Stars is indeed a more nocturnal, wistful record than the danceable, brooding Ignorance. The arrangements for these songs float, unmoored by time, carried largely by spare piano work adorned with pillowy ribbons of woodwinds and warm upright bass. This ethereal, minimal production establishes a very direct emotional connection with the listener, highlighting Lindeman’s voice.
Dallas Good, singer and guitarist of Toronto-based band the Sadies, passed away on Feb. 17. As described in the announcement, it was a sudden death of natural causes at the tragically young age of 48.
Orrery consists of 24 ceramic vessels which are arranged on a mechanized platform that rotates the various rows of sculptures and imitates the movement of celestial bodies. More specifically, the WAG’s website explains its title “references the popular astronomic mechanical model used to represent the positions, motions and phases of the solar system.”
OMBIIGIZI, a new collaborative project from artists Zoon and Status/Non-Status, is about searching. Sewn Back Together, as the title implies, establishes that the pair has been broken apart somehow, left looking for their place in history, their identity, trying to mend themselves.