<![CDATA[!Exclaim.ca - Pop & Rock Music Coverage from Exclaim!]]> <![CDATA[!Exclaim.ca - Pop & Rock Music Coverage from Exclaim!]]> http://exclaim.ca/RSS/logo-rss.jpg Tue, 23 May 2017 20:03:00 +0000 Tue, 23 May 2017 20:03:00 +0000 Copyright: (C) Exclaim! Media. en-ca 120 <![CDATA[Johnny Jewel to Score 'Don't Come Back from the Moon']]>

As originally seen on Exclaim.ca.

When it comes to soundtrack work, Johnny Jewel is certainly getting around. The Chromatics mastermind recently contributed music to Twin Peaks along with films like Ghost in the Shell and Home. Up next, he plans to compose tunes for another flick.

According to Film Music Reporter, Jewel will provide original music for Don't Come Back from the Moon. The indie drama marks the directorial debut from director Bruce Thierry Cheung, who previously worked as cinematographer on films like The Adderall Diaries.

Don't Come Back from the Moon follows a group of absentee fathers in a California desert town. It stars Jeffrey Wahlberg, Zackary Arthur, Alyssa Elle Steinacker, Cheyenne Haynes, James Franco and Rashida Jones.

The film will premiere at the Los Angeles Film Festival. Meanwhile, Chromatics fans will have to keep waiting for Dear Tommy.

Tue, 23 May 2017 20:03:00 +0000 editorial@exclaim.ca (Josiah Hughes)
<![CDATA[Silver Dapple - "Jeune" / "Amethyst"]]>

As originally seen on Exclaim.ca.

We haven't checked in with Montreal's Silver Dapple since they delivered their English Girlfriend LP, but the group have clearly maintained their momentum. After all, their two new tracks continue to demonstrate just how good they are at mining '90s-era shoegaze and Britpop.

Today, Exclaim! is happy to premiere "Jeune" and "Amethyst," two more fuzzy pop excursions that demonstrate just how good Silver Dapple are. It's rare for a band to stay this consistent for this long.

According to the band, "They are two new songs that were written after the upcoming second LP. We see them as kind of 'sister songs,' written about completely separate experiences, but ones that compliment each other in their thoughts and sounds."

Listen to "Jeune" and "Amethyst" below. The songs will be available for purchase alongside a limited edition tote bag when Silver Dapple perform at Casa Del Popolo tonight (May 23).

Tue, 23 May 2017 19:38:00 +0000 editorial@exclaim.ca (Josiah Hughes)
<![CDATA[Morrissey Issues Statement on Manchester Attack]]>

As originally seen on Exclaim.ca.

An attack at an Ariana Grande concert in Manchester last night (May 22) left 22 people dead and 59 injured. Standing as a part of the city's music history with the Smiths, Morrissey has released a statement on the events.

Taking to Facebook, Moz described his anger as "monumental" upon hearing news of the attacks while he was celebrating his birthday in the city. Putting England's politicians square in the crosshairs, he wonders, "for what reason will this ever stop?"

"Theresa May says such attacks 'will not break us', but her own life is lived in a bullet-proof bubble, and she evidently does not need to identify any young people today in Manchester morgues," he wrote. "Also, 'will not break us' means that the tragedy will not break her, or her policies on immigration. The young people of Manchester are already broken — thanks all the same, Theresa."

He continued, "The Queen receives absurd praise for her 'strong words' against the attack, yet she does not cancel today's garden party at Buckingham Palace — for which no criticism is allowed in the Britain of free press. Manchester mayor Andy Burnham says the attack is the work of an 'extremist'. An extreme what? An extreme rabbit?"

Morrissey concluded by expressing that "in modern Britain everyone seems petrified to officially say what we all say in private. Politicians tell us they are unafraid, but they are never the victims. How easy to be unafraid when one is protected from the line of fire. The people have no such protections."

Read his entire statement below. 

Tue, 23 May 2017 19:37:00 +0000 editorial@exclaim.ca (Calum Slingerland)
<![CDATA[Beach Boys Assemble Sprawling 'Smiley Smile'/'Wild Honey' Rarities Set]]>

As originally seen on Exclaim.ca.

While we've seen more than a few reissues surrounding the Beach Boys' fabled Smiley Smile/Wild Honey period, the rock'n'roll legends are once again being celebrated with a massive new rarities set from the beloved era.

Titled 1967 - Sunshine Tomorrow, the collection will arrive on June 30 via Capitol/UMe as a double-CD/digital set. The same day a new stereo mix of Wild Honey will also get a 50th anniversary 180-gram vinyl edition.

1967 - Sunshine Tomorrow features producers Mark Linett and Alan Boyd's new stereo mix of the Beach Boys' 1967 album Wild Honey, opening up the band's vaults to include some 54 rarities. Among these are the group's shelved "live" album Lei'd in Hawaii; recordings, demos and outtakes from the Wild Honey and Smiley Smile sessions; and various live cuts captured between 1967 and 1970.

"I wanted to have a home environment trip where we could record at my house," recalls Brian Wilson in the liner notes for 1967 – Sunshine Tomorrow. "I wanted to try something different, something new. I produced Smiley Smile, but Mike [Love] inspired me. He said 'Brian, let's make a really good, easygoing album'. We had an engineer convert my den into a studio. We had my piano detuned to make it ring more."

Mike Love adds, "Just prior to that, Brian had built up this production peak and then just completely reversed field, and (for Smiley Smile) did something so light and airy, and y' know, easy. That was an underground album, I figure, for us. It was completely out of the mainstream of what was going on at that time, which was all hard rock, psychedelic music, and here we come with a song called 'Wind Chimes.' It just didn't have anything to do with what was going on — and that was the idea."

Down below, you can check out the collection's sprawling tracklist.

1967 – Sunshine Tomorrow:

Disc 1:

Wild Honey (Stereo):

1. Wild Honey
2. Aren't You Glad
3. I Was Made To Love Her
4. Country Air
5. A Thing Or Two
6. Darlin'
7. I'd Love Just Once To See You
8. Here Comes The Night
9. Let The Wind Blow
10. How She Boogalooed It
11. Mama Says * (Original Mono Mix)

Wild Honey Sessions: September – November 1967 (Previously Unreleased):

12. Lonely Days (Alternate Version)
13. Cool Cool Water (Alternate Early Version)
14. Time To Get Alone (Alternate Early Version)
15. Can't Wait Too Long (Alternate Early Version)
16. I'd Love Just Once To See You (Alternate Version)
17. I Was Made To Love Her (Vocal Insert Session)
18. I Was Made To Love Her (Long Version)
19. Hide Go Seek
20. Honey Get Home
21. Wild Honey (Session Highlights)
22. Aren't You Glad (Session Highlights)
23. A Thing Or Two (Track And Backing Vocals)
24. Darlin' (Session Highlights)
25. Let The Wind Blow (Session Highlights)

Wild Honey Live: 1967 – 1970 (Previously Unreleased):

26. Wild Honey (Live)  – recorded in Detroit, November 17, 1967
27. Country Air (Live)  – recorded in Detroit, November 17, 1967
28. Darlin' (Live) – recorded in Pittsburgh, November 22, 1967
29. How She Boogalooed It (Live)  – recorded in Detroit, November 17, 1967
30. Aren't You Glad (Live) – recorded in 1970, location unknown
31. Mama Says (Session Highlights)
(Previously unreleased vocal session highlights. Recorded at Wally Heider Recording, November 1967)

Disc 2:

Smiley Smile Sessions: June – July 1967 (Previously Unreleased):

1. Heroes And Villains (Single Version Backing Track)
2. Vegetables (Long Version)
3. Fall Breaks And Back To Winter (Alternate Mix)
4. Wind Chimes (Alternate Tag Section)
5. Wonderful (Backing Track)
6. With Me Tonight (Alternate Version With Session Intro)
7. Little Pad (Backing Track)
8. All Day All Night (Whistle In) (Alternate Version 1)
9. All Day All Night (Whistle In) (Alternate Version 2)
10. Untitled (Redwood) * (Previously unreleased instrumental fragment. Studio and exact recording date unknown. Discovered in tape box labeled "Redwood")

Lei'd In Hawaii "Live" Album: September 1967 (Previously Unreleased):

11. Fred Vail Intro
12. The Letter
13. You're So Good To Me
14. Help Me, Rhonda
15. California Girls
16. Surfer Girl
17. Sloop John B
18. With A Little Help From My Friends * (Recorded at Brian Wilson's house, September 23, 1967)
19. Their Hearts Were Full Of Spring * (Recorded during rehearsal, August 26, 1967, Honolulu, Hawaii)
20. God Only Knows
21. Good Vibrations
22. Game Of Love
23. The Letter (Alternate Take)
24. With A Little Help From My Friends (Stereo Mix)

Live In Hawaii: August 1967 (Previously Unreleased):

25. Hawthorne Boulevard
26. Surfin'
27. Gettin' Hungry
28. Hawaii (Rehearsal Take)
29. Heroes And Villains (Rehearsal)

Thanksgiving Tour 1967: Live In Washington, D.C. & Boston (Previously Unreleased):

30. California Girls (Live) – recorded in Washington, DC, November 19, 1967
31. Graduation Day (Live) – recorded in Washington, DC, November 19, 1967
32. I Get Around (Live)  – recorded in Boston, November 23, 1967
Additional 1967 Studio Recordings (Previously Unreleased)
33. Surf's Up (1967 Version) (Recorded during the Wild Honey sessions in November 1967)
34. Surfer Girl (1967 A Capella Mix) (Previously unreleased mix of Lei'd In Hawaii take from the Wally Heider Recording sessions in September 1967)
Tue, 23 May 2017 18:29:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[TOPS - "Further"]]>

As originally seen on Exclaim.ca.

TOPS will deliver their third LP Sugar at the Gate at the end of next week, and ahead of its arrival, the band have shared another new song, "Further."

As the band told W Magazine, the breezy slice of dream pop is about "about struggling with emotions." Though the song was initially penned by guitarist David Carriere, vocalist Jane Penny leant her pen to a series of rewrites as well. You can hear "Further" in the player below.

Sugar at the Gate will arrive June 2 through Arbutus Records.

Tue, 23 May 2017 16:58:00 +0000 editorial@exclaim.ca (Calum Slingerland)
<![CDATA[Multiple Fatalities Confirmed After Explosions Reported at Ariana Grande Concert in Manchester]]>

As originally seen on Exclaim.ca.

Multiple people have been confirmed dead after explosions were reported at an Ariana Grande concert in Manchester on Monday night (May 22).

While details are scarce, local police confirmed that there were "a number of confirmed fatalities," adding that multiple people were injured. As of press time, those are all the details we have on casualties from the event.

According to Billboard, representatives from Grande's camp confirmed that the singer was okay. Concertgoers reportedly heard two large explosions before the 21,000-person arena was evacuated.

UPDATE (5/22, 8:26 p.m. EDT): NBC News reports at least 20 people have died, while the Manchester police department have reported 19 dead and 50 injured. They are treating this as a terrorist attack until they know more details. See the latest statement from the Manchester police below.


UPDATE (5/22, 11:50 p.m. EDT): Ariana Grande has addressed the horrific incident, as has British Prime Minister Theresa May. The UK leader stated, "We are working to establish the full details of what is being treated by the police as an appalling terrorist attack. All our thoughts are with the victims and the families of those who have been affected." NBC also reports "multiple U.S. officials say UK authorities suspect Manchester incident was conducted by a suicide bomber." According to TMZ, Grande has also now suspended her tour.

Find Grande's tweet below.


UPDATE (5/23, 11:15 a.m. EDT): At least 22 people are now confirmed dead, with 59 more injured. Police have also confirmed a 23-year-old man has been arrested in connection with the attack. Though unconfirmed by police, the Islamic State group says one of its members planted bombs at the venue.]]>
Mon, 22 May 2017 23:25:00 +0000 editorial@exclaim.ca (Josiah Hughes)
<![CDATA[Police Respond to Noise Complaint at Mississauga House Show by Actually Rocking Out on the Drums with Teen Band ]]>

As originally seen on Exclaim.ca.

Typically, when police are called to house show over a noise complaint, it's game over. However, the complete opposite just happened at a party in Mississauga over the weekend.

Teen rock band Vinyl Ambush were playing an outdoor birthday party on Saturday (May 20) night when Peel police rolled up. But instead of shutting the whole thing down, an officer got behind the drum kit and actually ended up playing with the young band.

After telling the band to turn down their amps a bit and leaving the scene, police returned to the party of about 75, with Const. Joel Clark this time actually asking to play with Vinyl Ambush. It also turns out the party was a 50th birthday bash for one of the band member's dads.

Fortunately enough, it was all caught on video, and you can watch it all go down in the player below.

Tom Bjelic — father to Vinyl Ambush's 15-year-old bass player Corwin — told the CBC, "Everybody was in shock. Nobody could believe what they were seeing. Even the neighbours got into it. Everyone was so stoked to see it go down."

After taking off his duty boots, Clark also didn't just play some stock cover songs but actually some of Vinyl Ambush's original songs, telling the crowd he used to drum in bands back in the day as well.

"That was the most fun I had in years," Clark can be heard saying in the video footage.

Speaking of Clark playing with Vinyl Ambush, band member Corwin Bjelic told the Toronto Star, "He said his biggest regret was stopping, which was kinda sad, so it just made me wanna continue and hopefully do it as a job one day. I think everybody else got that from it as well. Just never stop."

Tom Bjelic added to the CBC, "The band is young and at an impressionable time in their lives. So as a parent, to see the cop interact with them and totally keeping the situation calm — the way it was handled was incredible. They made it into a totally positive experience."

Watch the video of the police cameo below.

Mon, 22 May 2017 19:47:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[Ex-Foo Fighter Franz Stahl Labels Chris Cornell's Suicide as "Selfish"]]>

As originally seen on Exclaim.ca.

Chris Cornell's sudden and unexpected death last week was quickly ruled a suicide. And while tributes have been pouring in for the fallen Soundgarden vocalist, Franz Stahl — a one-time member of Scream and Foo Fighters — stated Cornell "selfishly" took his own life.

As Alternative Nation reports, Stahl recently made a Facebook post sharing his thoughts about Cornell's death. It's since been deleted, but not before it was transcribed by the folks over at Alternative Nation.

Stahl's post reportedly read as follows:

Wow…I find it very sad as a father to see all these sad eulogies for your fallen kept rockstars where the real sadness is what so selfishly was left behind…his children. They are forever now without a father…a pillar of love…safety…strength…guidance.

You wanna off yourself cause your incapacitated or brain dead shitting yourself and a burden to everyone so be it. But just think of your kids and how fucked it all will be now. Now I loved Soundgarden…but Audiosoave was fucking lamesville…but does all that really matter to his kids?

They just wanted to see your face when you got home…to hear your voice..to feel your hugs…to barrow the fucking car to go to In and Out Burger. Thanks Dad…

As previously reported, Stahl made headlines in 2015 when he emerged to discuss how he never got over being booted from the Foo Fighters in 1999 via a conference call.

Cornell died at the age of 52 on May 17, with a medical examiner ruling that he took his own life by hanging. Cornell's family has since questioned that ruling.]]>
Mon, 22 May 2017 18:52:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[Hear King Crimson Cover David Bowie's "Heroes"]]>

As originally seen on Exclaim.ca.

This summer King Crimson are set to take off on a North American tour — a trek that comes as the prog-rock legends gear up for a new EP covering David Bowie's classic "Heroes." Now, you can hear that anticipated redo for yourself.

King Crimson's new EP is fittingly called Heroes, and it's due out on June 2. For an idea what to expect from the release, you can now hear the group's take on the 1977 Bowie classic below via a new video.

"King Crimson performed 'Heroes' at the Admiralspalast in Berlin as a celebration, a remembrancing and an homage," King Crimson's Robert Fripp said in a statement. "The concert was 39 years and one month after the original sessions at the Hansa Tonstudio overlooking the Berlin Wall. This is released in the 40th anniversary year."

You can revisit King Crimson's upcoming tour dates, which include stops in Canada, over here. You'll also find the tracklist to the new King Crimson EP below.


1. Heroes (recorded live at the Admiralspalast Berlin 12 Sep 2016)
2. Easy Money (recorded live at Salle Pleyel Paris 3 Dec 2016)
3. Starless - edit (recorded live at Museumsquartier Vienna 1 Dec 2016)
4. The Hell Hounds of Krim (recorded live at Museumsquartier Vienna 1 Dec 2016)
5. Heroes (radio edit)

Mon, 22 May 2017 18:28:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[Nick Cave and Warren Ellis - "War Machine"]]>

As originally seen on Exclaim.ca.

War Machine is arriving on Netflix this week, and to give us an idea what we can expect from the score by Nick Cave and Warren Ellis, you can now hear a bit of what the cinematic pair have cooked up.

Down below, you can hear Cave and Ellis's "War Machine" [via Pitchfork] ahead of their full soundtrack, which arrives Friday (May 26) via Lakeshore Records/Invada.

The film itself will also arrive on Netflix this Friday. As previously reported, it was written and directed by David Michôd and stars Brad Pitt, Ben Kingsley, Topher Grace, Emory Cohen, Tilda Swinton and Lakeith Stanfield.

In a statement, Cave and Ellis said the following about their musical contribution:

Together we made a score that was both light and dark, propulsive and meditative at the same time. We developed a kind of 'spiritual electronics' that captured both the melancholy and the terrible absurdity of the Afghan war. It was a great pleasure to work with David Michôd, who is not only an extraordinary filmmaker but a musician too. Our favourite score!

Mon, 22 May 2017 17:15:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[Dead Cross Take Debut Album on North American Tour]]>

As originally seen on Exclaim.ca.

Earlier this month, we got all the details behind the debut album from supergroup Dead Cross — a band that boats Faith No More vocalist Mike Patton, ex-Slayer drummer Dave Lombardo, Locust/Retox/Head Wound City member Justin Pearson, and Retox's Michael Crain. Now the group have mapped out a tour behind the upcoming LP.

The North American trip kicks off in August and finds Dead Cross trekking across the continent until late September. In addition to doing a pile of U.S. dates, the group will also play Vancouver's Vogue Theatre on August 25.

"Everything about Dead Cross screams aggression," said Lombardo in a statement. "I have no idea what kind of chaos it will conjure on stage or in the audience... but I know it's going to be a hell of a good time. Really looking forward to hitting the road with these guys."

You can see group's complete list of dates below.

As previously reported, Dead Cross's self-titled debut album is due out August 4 via Ipecac Recordings.

Tour dates:

08/10 Santa Ana, CA - The Observatory
08/11 Las Vegas, NV - Brooklyn Bowl
08/12 Phoenix, AZ - The Marquee
08/14 Dallas, TX - Gas Monkey Bar & Grill
08/15 Houston, TX - Warehouse Live
08/16 Austin, TX - Emo's
08/18 Tucson, AZ - The Rialto Theatre
08/19 San Diego, CA - The Observatory North Park
08/21 Los Angeles, CA - El Rey Theatre
08/23 Berkeley, CA - The UC Theatre
08/25 Vancouver, BC - Vogue Theatre
08/26 Seattle, WA - The Showbox
08/27 Portland, OR - Wonder Ballroom
08/29 Sacramento, CA - Ace of Spades
09/08 Baltimore, MD - Baltimore Soundstage
09/10 Philadelphia, PA - Union Transfer
09/11 Boston, MA - Royale
09/12 New York, NY - Gramercy Theatre
09/13 Brooklyn, NY - Warsaw
09/15 Detroit, MI - St. Andrew's Hall
09/16 Chicago, IL - Riot Fest
09/17 Milwaukee, WI - Turner Hall Ballroom
09/19 Minneapolis, MN - First Avenue
09/20 Lawrence, KS - Liberty Hall
09/23 Denver, CO - Ogden Theatre
Mon, 22 May 2017 16:43:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[Watch Lana Del Rey & the Weeknd Dance Atop the Hollywood Sign in Their "Lust for Life" Video]]>

As originally seen on Exclaim.ca.

After giving us the audio and then a bunch of teasing for the video, Lana Del Rey and the Weeknd have finally let loose the full visuals behind their new team-up "Lust for Life."

The song is the title track for Del Rey's upcoming album, and its accompanying clip finds the pair behind nostalgic video filters, slow dancing at night and atop of the Hollywood sign.

You can watch it play out for yourself below.

As of yet, we still haven't got a firm release date for Lust for Life, but it is expected to arrive later this year through Interscope.

Mon, 22 May 2017 16:11:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[​Senyawa - Colisée Desjardins, Victoriaville QC, May 19]]>

As originally seen on Exclaim.ca.

My knowledge of Indonesian music begins with Gamelan and ends with a couple of reissued psych records. All I knew about Senyawa is that they had shared a split record with crazy Japanese band Melt-Banana, so I had no preconceptions. Senyawa is a duo: Rully Shabara on vocals and Wukir Suryadi on instruments. Visually, they were very different. Rully was short-haired and dressed in dark clothes, Wukir long-haired, wearing jeans and a baggy T-shirt. And when they started to play, it was unlike anything else I've heard.
Most of the tunes were on the short side, and they were extremely varied. Rully has three primary vocal styles: a low rumble somewhere between Burzum and Tuvan throat singing; a highly emotional ballad approach, somewhat similar to Japan's Mikami Kan; and something akin to the falsetto Alan Bishop (ex Sun City Girls) uses on his love songs. Wukir started off playing a bambuwukir, a homemade 12-string bamboo instrument of his own design. Bowed it sounds like a cello, plucked it's almost like a tambura but with extra percussive elements. He runs it through lots of effects, so its sound is infinitely mutable.
Later, he switched to another smaller homemade instrument, its tone like a violin crossed with a banjo. The music they played ranged from hard rockish big-riff throw-downs to noise explosions to chopped avant-rock and onward. The lyrics appeared to be in Indonesian, so I'm not sure what the topics were, but they definitely merit further investigation. It's rare these days to hear any rock music so utterly new and forward-thinking.]]>
Sat, 20 May 2017 17:06:00 +0000 editorial@exclaim.ca (Byron Coley)
<![CDATA[!!! - Shake the Shudder]]>

As originally seen on Exclaim.ca.

All the attention that is currently being paid to the early aughts New York rock scene has largely ignored !!!. The punctuation-obsessed band were contemporaries of their more famous peers, and their hybrid disco-post-punk sound was a bright light amongst the dance-punk revival. Their music has aged incredibly well in the ensuing years, which has a lot to do with their adherence to their original raison d'être: Moving butts on dance floors.
That's more explicit than ever on the band's seventh full-length, which dials back the funk while turning up the four-on-the-floor grooves. It's a subtle change, one that casual fans may not even notice, but it's a significant one. Shake the Shudder is the band's closest nod to its disco roots, right down to the mix of female singers who trade lines with frenetic frontman Nick Offer, and mixing farmed out to dance producers like Joakim and Phil Moffa.
You could accuse !!! of failing to change over the course of their 20-plus year career, but digging through their discography reveals a band who have made incremental steps, as each record emphasizes one element of their heady sound. Once partial to peppering their jams with bouts of no wave noise, the group have since embraced a tight, crisp production style that emphasizes the groove while creating space for vocal vamps offset by Offer's sing-spoken turns.
The songs are short and punchy, and nod to the anything-goes attitude that pervaded the jams sessions from which they were born. Shake the Shudder was written before the U.S. election, in Barcelona, but it's hard not read the jubilation baked into its grooves as a subtle form of protest. After all, this is a band whose first blush of fame came via a clever dig against Rudy Giuliani's crusade against New York's thriving underground club culture. If they haven't already made it clear, in the world of !!!, dancing truly is the best revenge.]]>
Fri, 19 May 2017 20:08:00 +0000 editorial@exclaim.ca (Ian Gormely)
<![CDATA[Dan Auerbach - "Waiting on a Song" (video)]]>

As originally seen on Exclaim.ca.

Black Keys dude Dan Auerbach is once again teasing his upcoming solo album Waiting on a Song, and this time it comes via a retro throwback video.

The clip is for the title track, and it very much has a Dazed & Confused sort of vibe. Featuring a gang of 1970s youths out to have "the best summer of our lives," we get to witness the crew sneak into bars, hit up some parties, cozy up with the ladies and smoke/drink a ton. All the while, Auerbach and his band make various cameos throughout.

You can watch the video, which was directed by Bryan Schlam, for yourself below.

Waiting on a Song is due out on June 2 via Easy Eye Sound.

Fri, 19 May 2017 19:39:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[The Maine - "I Only Want to Talk to You" / "Taxi" (Acoustic) on No Future]]>

As originally seen on Exclaim.ca.

With major music chain HMV closing its Canadian stores distribution across the country with the red and white flag is looking a little, well, blue. Fortunately, entrepreneurial bands such as the Maine can not only self-release but also self-distribute, which is what they've done for latest album Lovely Little Lonely.

In Toronto, the album was only available at Rooster Coffee House and the Toronto show a couple weeks later. Of course, with no one to depend on but themselves, the press done on that tour was of utmost importance to hopefully sell the album.

The Arizona group met up with our No Future YouTube channel to film stripped-down versions of their latest release's songs, which will no doubt convince you to snag a copy if you haven't yet.

For the first song played, vocalist John O'Callaghan and guitarist Jared Monaco delivered a tender take of "I Only Want to Talk to You," with the lack of percussion only adding to the atmosphere. When it came time to do "Taxi," the rest of the band — guitarist Kennedy Brock, bassist Garrett Nickelsen and drummer Patrick Kirch — joined the duo for a full-band experience, with the latter two trading their instruments for a shaker and cajón, respectively.

The fact that they hold up so well even in their stripped-down formats just goes to show that the Maine know a thing or two about writing a perfect pop rock song.

Fri, 19 May 2017 19:33:00 +0000 editorial@exclaim.ca (Bradley Zorgdrager )
<![CDATA[Prince's Six Siblings Become Heirs to His Estate]]>

As originally seen on Exclaim.ca.

A Minnesota judge has ruled that Prince's six siblings are now the heirs to his estate worth around $200 million USD, the Associated Press reports.

In the ruling, Carver County District Judge Kevin Eide determined that Prince had no will upon passing away, naming his sister Tyka Nelson and five half-siblings — Sharon Nelson, Norrine Nelson, John R. Nelson, Omarr Baker and Alfred Jackson — as his heirs.

More than 45 people filed claims to be Prince's family members in the wake of his passing last year, with some claims of heirship to be his wife, children, siblings or extended relatives still pending. Eide ruled that he will consider rejected claimants should they be sent back to him by appellate courts.

Eide also ruled that the Purple One's assets won't be distributed without a formal court order, adding that nothing will be distributed that might affect the claims of those whose appeals are still pending.

Prince's estate has been active these past few months in successfully blocking the release of an EP containing unreleased material, and subsequently plotting a reality television show that would serve to premiere the aforementioned music.]]>
Fri, 19 May 2017 17:59:00 +0000 editorial@exclaim.ca (Calum Slingerland)
<![CDATA[Blink-182 - 'California (Deluxe)' (album stream)]]>

As originally seen on Exclaim.ca.

Following an impressive amount of teaser tracks, Blink-182 have finally unleashed their expanded and deluxe version of California. As such, you can stream the sprawling collection now.

California (Deluxe) contains the original 16-song album and adds 12 more tracks. Among them are Blink outtakes such as "Parking Lot," "Misery," "Can't Get You More Pregnant," "6/8" and "Wildfire," among others.

So if you've been looking for a whole lot more Blink in your life, you just got it.

California (Deluxe) is out now via BMG.

Pick up Blink-182's first seven albums on vinyl here.]]>
Fri, 19 May 2017 17:43:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[Amber Coffman - "Nobody Knows"]]>

As originally seen on Exclaim.ca.

Following "All to Myself" and "No Coffee," former Dirty Projectors member Amber Coffman is once again showing off her upcoming solo album. This time it's via the song "Nobody Knows."

Taking on a skewed R&B direction, the track very much has an old-school Dirty Projectors feel to it — something we're guessing more than a few fans will be pleased about. You can hear it play out for yourself below.

City of No Reply is set to arrive on June 2 through Columbia.

Fri, 19 May 2017 17:35:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[Colin Stetson performing 'Sorrow' - Coliseé A, Victoriaville QC, May 18]]>

As originally seen on Exclaim.ca.

This was billed as Stetson leading an 11-piece band through his composition "Sorrow," but it opened with him doing a new solo piece for baritone sax, which was a monster. The baritone is a huge unwieldy instrument, and not many people can wrangle it, but Stetson made it look easy and blew an amazing solo, with fluid circular breathing, percussion via clapped tone holes and a buzzing dark roar that eventually coalesced into something that sounded like black metal.
There's no one except Mats Gustafsson who's currently handling a baritone with that gusto, and it was a great set-up for the gorgeous main course. Like Henry Gorecki's "Symphony #3," on which it's modeled, "Sorrow" was done in three movements with superb mezzo soprano vocals, and a stellar ensemble. The first movement in particular was a stone killer; playing a simple melodic line on bass clarinet, Stetson was joined by other instruments one by one until the air was filled with an incredible melodic pulse that gathered strength with each repetition. I couldn't figure out what text was used, but it sounded as beautifully dolorous as Gorecki's original piece — and that's saying something.]]>
Fri, 19 May 2017 16:29:00 +0000 editorial@exclaim.ca (Byron Coley)
<![CDATA[Roger Waters - "The Last Refugee" (video)]]>

As originally seen on Exclaim.ca.

With Roger Waters gearing up for his new Nigel Godrich-produced solo album Is This the Life We Really Want?, the Pink Floyd hero is once again teasing the upcoming record with a new video for album cut "The Last Refugee."

The video comes with the help of Sean Evans, with clip offering a conflicting view of two very different women — one who's well-to-do another who is not. It also comes as a poignant reminder of the humanitarian crisis in Syria.

Watch can watch it play out for yourself below.

Is This the Life We Really Want? is due out on June 2 through Columbia.

Pick up Pink Floyd's classic album The Wall on vinyl here.]]>
Fri, 19 May 2017 16:23:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[Red Hot Chili Peppers Pay Tribute to Chris Cornell with "Seasons" Cover]]>

As originally seen on Exclaim.ca.

While tributes to the late Chris Cornell continue to pour in, Red Hot Chili Peppers have now offered their own parting gift to the fallen Soundgarden vocalist via a cover song.

Last night (May 18), RHCP paid tribute to Cornell during their concert at Indianapolis's Bankers Life Fieldhouse, where guitarist Josh Klinghoffer delivered a moving solo rendition of Cornell's "Seasons." Below, you can watch some fan-captured footage of the cover of the Singles track, which came as part of RHCP's encore.

As previously reported, Cornell died at the age of 52 on Wednesday (May 17), with a medical examiner ruling that he took his own life by hanging. Cornell's family, however, has now questioned that ruling.

Pick up Chris Cornell's last solo album here.]]>
Fri, 19 May 2017 15:42:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[Jack White Pens White Stripes-inspired Children's Book]]>

As originally seen on Exclaim.ca.

Having already released some audio gear to introduce the great minds of tomorrow to the world of vinyl, Jack White is now set to release his debut children's book inspired by one of his own songs.

We're Going to be Friends was inspired by the White Stripes song of the same name, and will follow Suzy Lee "as she goes to school with her books and pens, looks for bugs, shows and tells, and finds a friend."

The book is authored by White himself, while Elinor Blake provides illustrations. Blake had previously worked as an animator for The Ren and Stimpy Show and Pee Wee's Playhouse, among other programs. She is also known as vocalist April March.

The book will also include downloads of the original White Stripes version of the song, along with versions from Blake (as April March) and the Woodstation Elementary School Singers.

We're Going to Be Friends arrives November 7 through Third Man Books. You can find pre-order information here.

Fri, 19 May 2017 15:12:00 +0000 editorial@exclaim.ca (Calum Slingerland)
<![CDATA[Chris Cornell's Family Questions Ruling That He Intentionally Committed Suicide ]]>

As originally seen on Exclaim.ca.

The rock world was shocked with the news that grunge icon Chris Cornell had died suddenly Wednesday (May 17) night at the age of 52. Adding to that shock, a medical examiner quickly ruled that the Soundgarden vocalist had committed suicide by hanging — a ruling that Cornell's family is now questioning.

The musician's widow, Vicky Cornell, emerged this morning with a statement, writing, "If Chris took his life, he did not know what he was doing, and that drugs or other substances may have affected his actions."

She states his family believes a prescription drug Ativan may have played a role in the singer's death, saying she had noticed a change in Chris Cornell's demeanour when she spoke to him on the phone following Soundgarden's concert Wednesday night in Detroit right before his death.

"When we spoke after the show, I noticed he was slurring his words; he was different. When he told me he may have taken an extra Ativan or two, I contacted security and asked that they check on him," Vicky Cornell said. "What happened is inexplicable and I am hopeful that further medical reports will provide additional details. I know that he loved our children and he would not hurt them by intentionally taking his own life."

This was echoed by a lawyer for the Cornell family, Kirk Pasich, who said the extra dosage of Ativan — an anxiety medication often taken by recovering addicts — could have altered Chris Cornell's mental faculties, saying the Cornell family is "disturbed at inferences that Chris knowingly and intentionally took his life."

Pasich added, "Without the results of toxicology tests, we do not know what was going on with Chris — or if any substances contributed to his demise. Chris, a recovering addict, had a prescription for Ativan and may have taken more Ativan than recommended dosages. The family believes that if Chris took his life, he did not know what he was doing, and that drugs or other substances may have affected his actions."

The lawyer also went on to state that side effects of Ativan include "paranoid or suicidal thoughts, slurred speech and impaired judgment." As Vicky Cornell explained, Chris Cornell indeed had slurred speech when she spoke to him on the night of his death.

In Vicky Cornell's statement, she also praised her late husband as a devoted father and husband.

"Chris's death is a loss that escapes words and has created an emptiness in my heart that will never be filled. As everyone who knew him commented, Chris was a devoted father and husband. He was my best friend," she wrote.

"His world revolved around his family first and, of course, his music second. He flew home for Mother's Day to spend time with our family. He flew out mid-day Wednesday, the day of the show, after spending time with the children. When we spoke before the show, we discussed plans for a vacation over Memorial Day and other things we wanted to do."

Chris Cornell was found dead with a band around his neck on the bathroom floor of his hotel room at the MGM Grand Detroit following a concert Soundgarden performed at the Fox Theater.]]>
Fri, 19 May 2017 15:11:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[Kacy Hill - "Like a Woman" (video)]]>

As originally seen on Exclaim.ca.

In building on her 2015 Bloo EP, G.O.O.D. Music vocalist Kacy Hill has now announced her first full-length for the label in Like a Woman. Arriving this June, the announcement comes alongside a video for the title track.

You can watch the J.A.C.K.-directed video in the player below. The track itself was produced by DJ Mustard, while the entire record was executive produced by none other than Kanye West. A press release notes that West advised Hill to make creative changes such as "focusing on her voice, finding her own melody, and writing from the parts of her heart that she had previously kept closed."

As Hill explains, "Like a Woman is an exploration of my own femininity and sexuality. I want my audience to have a similar experience of their own while listening. My goal is not to make a statement, but make space for exploration without shame or guilt. I don't speak for all women. I speak for Kacy Hill." 

Like a Woman will arrive June 30. Watch the video for the title track in the player below.

Fri, 19 May 2017 14:28:00 +0000 editorial@exclaim.ca (Calum Slingerland)
<![CDATA[PWR BTTM Issue New Statement Denying Sexual Assault Claims]]>

As originally seen on Exclaim.ca.

Before the release of their sophomore LP Pageant this month, buzzy DIY duo PWR BTTM had a band member accused of sexual assault, which led to touring partners and members abandoning ship, in addition to their record label. Now, the duo of Ben Hopkins and Liv Bruce have released further statements on the detailed allegations, with Hopkins denying the sexual assault claims put forth against him.

In his own statement published through the band's Facebook page, Hopkins wrote that "the past several days has been emotionally overwhelming and difficult to comprehend," calling the allegations "devastating."

"I've waited to respond to the Jezebel article because the statements made about me by the anonymous source did not line up with any sexual experience I have ever had," Hopkins wrote, adding, "I strongly contest the account put forth in Jezebel. I am firmly committed to consent, to communication, and to mutual expression of sexual interest."

Find statements from Hopkins, Bruce and the two as the band below:

From Ben:

What has transpired over the past several days has been emotionally overwhelming and difficult to comprehend. Last Thursday, I learned that an anonymous individual had made an allegation of sexual assault against me. This allegation was devastating to me as it is contrary to the intentional way I seek to interact with those around me. As I digested the allegations, I tried to figure out who the individual might be so that I could try to reconcile what I had read with my memory of any particular sexual interaction. I've waited to respond to the Jezebel article because the statements made about me by the anonymous source did not line up with any sexual experience I have ever had.

Over the past several days, I was able to figure out who the individual was based on what I was reading and my subsequent conversations with Liv. I am not going to breach the anonymity of the person interviewed in the Jezebel article, but given the serious nature of what was published and its impact, I have to unpack the claims and provide perspective on the details within. We met the night before a show in March of 2016 and spent most of the following day together. After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual. We stayed in touch over the course of several weeks by exchanging texts and pictures. Later, she asked if she could stay with me at my home, where we had sex several more times over the course of those days. Again, I understood these interactions to be fully consensual, especially since our ongoing communications continued to be mutual, positive and reciprocal in nature. We did not see each other much after that but when we did it was entirely pleasant and we continued to exchange texts, including as recently as March of this year. I had no indication before last week that she had any concerns about our interaction.

Last week I learned that, in February of this year, this person had expressed concerns to others about what had transpired between us. I fully embrace and respect this individual's right to speak out in any manner or forum they choose, including in a Facebook post or anonymously to a Jezebel reporter. It does not diminish that person's experience or perception. After the initial shock of learning about her concerns, I have tried to understand her experience of our interactions. It would be antithetical to my values to attack, blame, or shame someone who is using the power of call-out culture to name their experience and hold others accountable, even when - or especially if - the individual they seek to hold accountable is me. I fully appreciate that someone's views about the dynamics of intimate interactions can change and are not always apparent in the moment. While I am open to understanding this person's perspective, I strongly contest the account put forth in Jezebel. I am firmly committed to consent, to communication, and to mutual expression of sexual interest. The accusations in Jezebel directly conflict with my experience, as it is not my practice to engage in sexual contact without protection, without discussing the issue with my partner, or to engage in the other conduct alleged in the Jezebel article. That being said, in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual's perspective and to honor it accordingly.

One more thing. I have seen posts about people raising concerns about having their boundaries crossed when I have greeted our fans after our shows, something Liv and I do after every performance, taking selfies and thanking folks for coming. This is, again, incredibly shocking news to me, as the safety and well-being of PWR BTTM fans is the most paramount concern I have as a member of this band on and off stage. If my physical contact has made anyone feel uncomfortable, I sincerely apologize and will work hard to have an increased awareness of boundaries moving forward consistent with our commitment to our fans.

From Liv:

In February, I made contact with the anonymous individual interviewed by Jezebel, someone I knew casually, after hearing that she had made inflammatory accusations about Ben in a private online forum. My intent in reaching out was to learn more and to make myself available in the event that I could be of any help. Our conversation was friendly, but it ended without a plan for any specific next steps. Based upon our discussion, my understanding was that she did not want me to share her identity with Ben unless I had her explicit permission to do so, and I assured her that I would not do so.

After our conversation, I wanted to discuss with Ben the issues she had raised but I quickly realized that doing so would inevitably reveal her identity. I did not know how to proceed nor did I know where to seek advice about how to move forward.

After Ben ascertained the individual's identity on Friday I decided that my withholding information was no longer protecting her privacy and I told Ben about the conversation she and I had.


As some of you know, we set up a separate email address back in mid-May so that anyone with information relevant to the situation that was then unfolding could privately share what they knew. At the time we thought it was the right thing to do. We now see that we were putting the onus on others to do something that only works if it is what they want. We have concluded that there is no viable way to do what we were trying to accomplish, with the result that we are going to shut that email address down (we have not and will not look at any emails that may have been sent there to date).

Finally, to our fans, our friends, our family and those who have supported us unfailingly and who continue to support us unfailingly: thank you from the bottom of our hearts. Having enjoyed the enthusiastic support of so many incredible people throughout our music careers has been a blessing. We love playing music, we love sharing music with others and we want nothing more than to be back performing together soon.

Thu, 18 May 2017 20:15:00 +0000 editorial@exclaim.ca (Calum Slingerland)
<![CDATA[Phoenix - "Ti Amo" (lyric video)]]>

As originally seen on Exclaim.ca.

Phoenix are set to return with Ti Amo at the top of next month, and before the record arrives, the band have shared its title track.

The song arrives alongside a lyric video, which you can follow along with in the player below. The track follows the release of record's first single in "J-Boy."

Ti Amo will arrive on June 9 via Loyaute/Glassnote. The band will also soundtrack Sofia Coppola's upcoming film, The Beguiled, due out in theatres on June 23.

Watch the video for "Ti Amo" in the player below.

Pre-order Ti Amo on limited edition clear vinyl here.]]>
Thu, 18 May 2017 19:36:00 +0000 editorial@exclaim.ca (Calum Slingerland)
<![CDATA[Hooded Fang - Dynasty House]]>

As originally seen on Exclaim.ca.

Things get decidedly darker on Dynasty House, the six-song sixth album from Toronto's Hooded Fang. Thematically, April Aliermo and Daniel Lee focus on telling tales of family members' lives in the Philippines, Suriname and Germany amidst newer tales of living in Canada, which explains the sense of journeying and motion that each song displays.
There's a sense of urgency, immediacy and strength to each tune. The music itself plays as much a part in the storytelling as the lyrics do, particularly on "Nene of the Light," which clocks in at 6:25, half of which is a driving, frenzied instrumental. The same can be said for eerie album closer "Mama Pearl"; the instruments stretch and search, becoming increasingly feverish, while Aliermo keeps it steady and Lee begins singing, catching the listener off-guard.
The catchy refrain of "I just wanna be loved when I go away" in "Paramaribo Prince" breaks up the slightly spooky solid and constant backing thump as the guitar skitters frantically above it, while "Doñamelia" melts and reconstructs itself, with the guitar almost emulating a mandolin at times. "Sisters and Suns" is quite powerful, driven by Aliermo's demanding and demonstrative bass playing, always a beautiful thing. She's an absolute highlight here, and a staple of Hooded Fang's sound.
Dynasty House may not boast a lengthy track list, but it certainly doesn't lack any of the heaviness or intricacies that Hooded Fang are known for dishing out. The band allow their music and melodies — often conflicting, often abrasive, often hypnotic — to fill the room here, and the result is an unrestricted sound that welcomes the listener to ponder and reflect. The instrumental breaks here never feel rambling or tired, but rather quite enticing, particularly with Lee's quirks thrown in here and there, via guitar in that distinct pitch and tone.
Dynasty House is another solid release from this foursome.]]>
Thu, 18 May 2017 19:33:00 +0000 editorial@exclaim.ca (Cosette Schulz)
<![CDATA[Silverstein Return with New 'Dead Reflection' Album]]>

As originally seen on Exclaim.ca.

Having delivered their first effort for New Damage in 2015 with I Am Alive in Everything I Touch, Silverstein have announced their next full-length offering for the label. Titled Dead Reflection, the new disc from the post-hardcore vets will arrive on July 14.

Eleven tracks in length, Dead Reflection is said to serve up "the massive sound that fans have come to expect from the band, but being written during a time of pain and frustration has added a new element to the record that hasn't been present on past releases."

Vocalist Shane Told expanded on the mindset behind the writing process in a press release:

This record tells the story of how broken I was, how I found myself on a path of self destruction, and how I had to fight to get my sanity and happiness back. The year long journey was not an easy one. I fell down into many dark places, and ultimately I had to fight to resist against so many vices to get back into a positive light.

Told added that in going "deeper and angrier" this time around, the band "spent more time, and more blood, sweat, and tears on this record than any record before. It was brutal at times. We took a few different approaches and experimentations — tuning our guitars differently, and really pushing my vocals harder and higher."

Dead Reflection is available for pre-order here. The band will be taking the record on the road as part of Vans Warped Tour this summer, in addition to runs of dates through South America and Germany. Find more tour information here.

Read through the tracklist to hear first single "Retrograde" in the player below.

Dead Reflection:

1. Last Looks
2. Retrograde
3. Lost Positives
4. Ghost
5. Aquamarine
6. Mirror Box
7. Demons
8. The Afterglow
9. Cut and Run
10. Secret's Safe
11. Whiplash

Thu, 18 May 2017 18:18:00 +0000 editorial@exclaim.ca (Calum Slingerland)
<![CDATA[Don't Worry, David Byrne Approved Selena Gomez's Talking Heads-sampling "Bad Liar"]]>

As originally seen on Exclaim.ca.

Selena Gomez shared her new single "Bad Liar" late yesterday (May 17), with many listeners remarking that the opening bass lick bears a striking resemblance to Talking Heads' "Psycho Killer." But before the rockists inevitably come raging, it's worth noting that bandleader David Byrne gave the single the thumbs-up.

As Billboard reports, Gomez and her label team at Interscope played the track for Byrne who, as a source tells the publication, liked it so much he okayed the similar four-string pattern. A spokesperson for Byrne said he liked the song and "wholeheartedly gave his permission" for Gomez to move forward with the release.

You can listen to "Bad Liar" below, where you'll also find Talking Heads' "Psycho Killer" just to refresh your memory.

Meanwhile, Byrne has some musical projects of his own on the go, including a new solo LP and a collaboration with Oneohtrix Point Never.

Pick up a copy of Selena Gomez' Revival on limited edition red vinyl here.]]>
Thu, 18 May 2017 17:11:00 +0000 editorial@exclaim.ca (Calum Slingerland)
<![CDATA[Peaches to Kick Off NXNE]]>

As originally seen on Exclaim.ca.

With North by Northeast returning to Toronto next month, organizers have revealed a launch show featuring beloved Canadian pop provocateur Peaches.

On June 19, Peaches will help kick off NXNE will a concert at the Phoenix Concert Theatre. She will be joined by a special set from producer/promoter DJ Betti Forde, with support yet to be revealed. Tickets for the show go on sale Friday (May 19).

As previously reported, Rural Alberta Advantage, July Talk, Shad, Brendan Canning and more will serve as guest curators for the festival's Club Land series, which takes place from June 16 to 25.

This year's Port Lands programming (June 23 to 25) also features the likes of Tyler, the Creator, Post Malone, Passion Pit, Bleachers, Sleigh Bells, the Soul Rebels featuring Talib Kweli, Twin Peaks, Cold Specks, MUNA and Son Little.  

You can learn more about the festival on its website here.]]>
Thu, 18 May 2017 17:11:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[Muse Return with "Dig Down"]]>

As originally seen on Exclaim.ca.

Nearly two years removed from delivering their Drones LP, Muse have returned with a new single called "Dig Down," which arrives alongside a video.

As a press release notes, the track draws on themes of unity, survival and "fighting for what's right when your back's against the wall." The track was produced by Mike Elizondo and Muse and mixed by Spike Stent.

Muse frontman Matt Bellamy had the following to say about the band's latest track:

When I was writing this song, I was looking to counteract the current negativity in the world and give inspiration, optimism and hope to people to fight for the causes they believe in; that as individuals we can choose to change the world if we want to.

As for the visuals, the Lance Drake-directed clip stars Lauren Wasser fighting her way through a warehouse of evil henchmen. Drake offered the following on the video:

The song is about survival and fighting the odds — when I heard this song I knew I wanted to do an action packed narrative. I'd heard about Lauren a year or so ago, I read her story and she gave me personal inspiration so I'd always kept her in mind to shoot with one day. The power of the song made me think of her…so I wrote the video narrative based on Lauren's story and how she overcame the odds.

Muse will undoubtedly work the track into their setlist for an upcoming run of dates alongside 30 Seconds to Mars. You can find the details here, and the video for "Dig Down" in the player below.

Thu, 18 May 2017 15:22:00 +0000 editorial@exclaim.ca (Calum Slingerland)
<![CDATA[Sampha Previews 'Shy Light' Zine Project]]>

As originally seen on Exclaim.ca.

Sampha already unveiled a visual accompaniment to his debut LP Process in the form a Kahlil Joseph-directed film. Now, the vocalist has announced a new zine project inspired by his latest body of musical work.

Titled Shy Light, the zine includes a selection of the vocalist's lyrics, photos from his own archive and images of Freetown, Sierra Leone, taken by photography team Durimel.

Credits in a free preview of the zine reveal collaboration with Grace Wales Bonner and DAZED art director Jamie Reid.

Physical copies of the zine will be available next month. In the meantime, you can download a free preview of Shy Light here.]]>
Thu, 18 May 2017 14:31:00 +0000 editorial@exclaim.ca (Calum Slingerland)
<![CDATA[The Music World Reacts to Chris Cornell's Death]]>

As originally seen on Exclaim.ca.

Earlier today, the music world was shook with the news that iconic alt-rocker Chris Cornell had passed away at the age of 52. While details are still forthcoming, his body was found in a Detroit hotel room following a Soundgarden concert.

Having spent decades in various projects throughout his career, Cornell touched a lot of people. As such, his passing has sent a wave of sadness throughout the music world.

Below, you'll find tributes from Cornell's peers and notable fans.


Goodbye darling boy . Please say hi to all my loved ones . I cried for you today . Rip .

A post shared by Courtney Love Cobain (@courtneylove) on

Thu, 18 May 2017 14:04:00 +0000 editorial@exclaim.ca (Josiah Hughes)
<![CDATA[Chris Cornell Dead at 52 ]]>

As originally seen on Exclaim.ca.

Alt-rock icon Chris Cornell has passed away at the age of 52. According to a statement from his representative Brian Bumbery, the passing was "sudden and unexpected." 

According to the Associated Press, the Detroit police department is investigating the death as a possible suicide. Cornell was found dead on the bathroom floor of his hotel room at the MGM Grand Detroit following a concert Soundgarden performed at the Fox Theater last night (May 17).

UPDATE (5/18, 1:50 p.m. EDT): A medical examiner has now ruled Cornell's death a suicide, stating he took his own life by hanging.

Adding to the suicide speculation, police told the New York Times that a man with the same birthday as Cornell was found on a bathroom floor at the MGM Grand with a band around his neck. They did not confirm the victim's identity.

Just hours before the concert, Cornell tweeted the following:

Cornell was born Seattle, WA, on July 20, 1964, with the musician growing up and starting his musical career in the Pacific Northwest city. It's here Cornell helped pioneer the grunge movement with Soundgarden, as well as projects such as Temple of the Dog and eventually Audioslave. Further, he also had a prolific solo career, with the singer releasing a string of albums under his own name.

Cornell first formed Soundgarden with his bandmates in 1984, with the group signing to Sub Pop by 1987 for their debut EP Screaming Life. This was followed in 1988 by the Fopp EP and eventually their debut full-length album, 1988's Ultramega OK.

Soundgarden then followed up their debut with 1989's Louder Than Love and 1991's Badmotorfinger, but it was 1994 effort Superunknown where the band's career truly skyrocketed. Superunknown spawned such now-classic tracks as "Spoonman," "The Day I Tried to Live," "Fell on Black Days" and, of course, "Black Hole Sun." The album went on to secure the band their first Grammys and has since sold more than nine million copies worldwide, making it Soundgarden's most successful album.

This was followed by 1996 effort Down on the Upside — an album that soon saw Soundgarden going on a lengthy hiatus until 2012 comeback effort King Animal. At the time of Cornell's death, the band were said to be busy working on its follow-up.

Outside Soundgarden, Cornell was in the legendary Temple of the Dog — a group formed in tribute to late Mother Love Bone singer Andrew Wood, who died in 1990 from a heroin overdose. The band released their beloved self-titled debut album in 1991 and last year the group — which also contained Pearl Jam members Jeff Ament, Matt Cameron, Stone Gossard and Mike McCready — celebrated the 25th anniversary of the album, giving it a lavish reissue and heading off on their first tour.

In 2001, Cornell also fronted the supergroup Audioslave, which featured Rage Against the Machine members Tom Morello, Tim Commerford, and Brad Wilk. The band released a series of albums throughout their career and even reunited early this year.

Cornell launched his solo career with 1999's Euphoria Morning and went on to deliver 2007's Carry On, 2009's (controversial) Scream, 2011's Songbook and 2015's Higher Truth. He also contributed solo track to several films throughout his career.

At the time of Cornell's sudden passing, the status of Soundgarden's as-yet-untitled new album is unclear.]]>
Thu, 18 May 2017 13:45:00 +0000 editorial@exclaim.ca (Josiah Hughes & Brock Thiessen )
<![CDATA[She-Devils Couldn't Use the Samples That Got Them Signed So They Made Their Own]]>

As originally seen on Exclaim.ca.

On last year's self-released, self-titled debut EP, Montreal duo She-Devils fastidiously recreated the sounds of the '60s, building tracks with Kyle Jukka's warped palette of samples from the era, with Audrey Ann Boucher's vocals on top.
But after signing to Arbutus and Secretly Canadian for their debut album, the pair knew that a larger platform meant no more samples, or else run the risk of pricey clearance issues.
So, as is their wont, they decided to do it themselves. With minimal outside assistance, Jukka used a small army of instruments to build a series of new loops, which were then sent to Boucher. The resulting LP, She-Devils, is out May 19.
The change was "at first daunting, but it ended up being really cool," Jukka tells Exclaim! "It seems like an essential part of the growth of how we make music."
With pre-existing samples no longer a possibility, Jukka drew inspiration from fabled '60s pop producer Joe Meek. "[Meek] had this obsession with sound as this thing that transports you. He's really into outer space and space noises in the music, and this very unique vision of what a musical producer was. For that reason, he really stands out as a producer from that era."
After assembling the new loops, Jukka sent them to Boucher, who used them as a springboard to develop her lyrics. "Kyle gives me some samples and I'll put one on, let it repeat for a long time, and just let my instinct guide me. It happens as I'm singing," says Boucher. "I don't see it as poetry as much as just a raw expression of my feelings at the moment. Cathartic, usually."
Lyrically, it's clear that there was one topic Boucher needed to express: Love. "At the time, I was going through breakups and new love and uncertainty about romance. That was definitely really on my mind, and it was causing a lot of good and bad feelings that I just had to channel into music or else I don't know what would have happened to me," she says.
Rifling through decisive seduction, affection, indecision and heartache, She-Devils offers a nuanced portrayal on the mess of feelings that love, lust and romance bring, with no attempt to shoehorn in a concise narrative.
This, Boucher says, is a reflection on the nature of her feelings. "I think it was a pretty chaotic time," she says. "It feels like a lot of the time, everything happens at once instead of things taking time to develop, and sometimes you bury feelings and then they come out at random times. It's not exactly linear, either. I think I embraced the chaos of emotions."]]>
Thu, 18 May 2017 12:00:00 +0000 editorial@exclaim.ca (Matt Bobkin)
<![CDATA[Nine Collective Arts Black Box Sessions Recorded Live at Indie88 You Need to See]]>

As originally seen on Exclaim.ca.

Promotional consideration provided by Indie88
Great music and great beer go hand in hand, which is why the fine folks at Indie88 partnered with Hamilton's Collective Arts Brewery to shine a light on some suds and songs with their Black Box Sessions video series.
Since starting out in 2013, a ton of artists from across Canada and abroad have come through the studio at Indie88's headquarters in the heart of Toronto, including Joel Plaskett, Tokyo Police Club, Band of Horses, Charlotte Cardin, Mother Mother, Coeur de Pirate, Spoon, July Talk, Bombay Bicycle Club and Matt Mays — to name a few.
With that in mind, we dug deep and selected nine of our favourite stripped-down sessions from the past few years.
Check out our choices below. And if that's not enough, click here to see more.
The Wooden Sky – "Born to Die," "Glory Hallelujah"
Back in April, revered Canadian indie folk rock act the Wooden Sky released Swimming in Strange Waters, their sixth album since starting out over ten years ago, and certainly their most raw, visceral and experimental record to date.
Ahead of their show at Massey Hall this summer, band members Gavin Gardiner and Simon Walker stepped into Black Box with a pair of acoustic guitars, bass and keys and performed stripped-down renditions of album standouts "Born to Die" and ornate closer "Glory Hallelujah."


July Talk – "Guns + Ammunition"
Peter Dreimanis and Leah Fay are known for treating each other like bad siblings and back alley wrestlers when on stage together, but they kept things simple and sweet when they stepped into Black Box back in 2014 with fellow July Talk member Ian Docherty to play a pared-down rendition of their smash single "Guns + Ammunition." Watch the session below and stick around after the song to learn what the band consider to be the essential elements of a great live show

The New Pornographers – "Whiteout Conditions," "High Ticket Attractions"
Veteran Canadian indie rock supergroup the New Pornographers returned with their seventh record, Whiteout Conditions, this winter, an album filled with Krautrock textures and emotionally honest lyrics courtesy of Carl Newman and co. Showcasing the true strength of their new songs, the frontman joined forces with band members Kathryn Calder and drummer Joe Seiders to play a set that was as minimal as it was beautiful.


DIANA – "Helpless," "What You Get"
Carmen Elle and co. somehow managed to fit six people inside Black Box for this intimate session that found them playing a pair of atmospheric hits from their recent sophomore LP, Familiar Touch.


Weaves – "Birds & Bees," "One More"
Arty indie rock act Weaves could no longer be called Toronto's best-kept secret when they released their self-titled debut on local label Buzz Records in 2016, gaining attention from festivals and music blogs around the world. Known for their energetic live shows, singer Jasmyn Burke and the boys nearly blew the roof off the place with their one-of-a-kind sound.


Wintersleep – "Amerika," "Weighty Ghost," "Oblivion"
Anthemic Canadian indie rock outfit Wintersleep released their sixth album The Great Detachment back in 2016, but before they did, the band popped by the studio to perform a trio of tracks, including political single "Amerika," as well as two fan favourites from mainstream breakout Welcome to the Night Sky.



The Barr Brothers – "Even the Darkness Has Arms"
A few weeks after gracing the cover of Exclaim!'s October 2014 issue, Montreal-bred folk four-piece the Barr Brothers brought a pair of acoustic guitars and a banjo into Black Box to play a standout track from Sleeping Operator. Somehow, even without member Sarah Pagé's usual harp, they managed to make the gently fingerpicked song sound even more beautiful.

Basia Bulat – "Fool," "La La Lie," "Infamous"
Acclaimed Canadian songwriter Basia Bulat traveled to Louisville, KY to work with My Morning Jacket's Jim James for her latest album, Good Advice. The result was a dense, meaningful pop album filled with soul and spirit. Watch her perform three tracks from the Polaris Prize-shortlisted record below.



Tuns – "Mixed Messages," "Mind Over Matter"
Featuring members of Sloan, Superfriendz and the Inbreds, Tuns proved their rightful place in Canadian power pop history with their debut LP in 2016, leading to one of the tightest sessions the folks at Indie88 have probably ever witnessed in studio. See for yourself by watching the band perform two of their tracks below.


See more videos in the Collective Arts Black Box Sessions series here.
Wed, 17 May 2017 20:05:00 +0000 editorial@exclaim.ca (Exclaim! Staff)
<![CDATA[She-Devils - She-Devils]]>

As originally seen on Exclaim.ca.

There's a seductive charm to the eponymous debut album by Montreal duo She-Devils that permeates the entire record. As singer Audrey Ann Boucher beckons the listener on opening track "Come," producer Kyle Jukka's synth-washed soundscape seems to draw one deeper and deeper into the world of She-Devils, a warm hold that doesn't let go for the record's 40-minute duration.
It's immediately clear that She-Devils know exactly what they're doing, and their debut LP is a full-scale introduction to their vividly reimagined throwback sound.
Featuring an engaging retro rock sound and plenty of hooks, the duo's love affair with '60s surf, pop and rock production has only increased since last year's self-titled debut EP. Jukka's sample-based production was more cluttered and anxious then; now that they've signed to labels, he's opted for a less costly approach to his production style, instead playing all the loops himself. This has led to a richer, more focused sound, bolstered by Boucher's more confident delivery.
Her performance on "Come," for example, is assured and empowered, but even on standout "Blooming," an ode to romantic and sexual insecurity, she exemplifies poise. The song is a refreshing counterpoint to the ubiquity of immediate gratification, and Jukka's Panda Bear-recalling production gives the song the slow growth that its name begs for.
Boucher's lyrics rarely stray from the topic of love, but instead of crafting a linear narrative about heartbreak and subsequent romance, she instead opts to keep the real-life chaos of the subject matter as she rifles through its many facets — courtship, heartbreak, indecision, lust, seduction — in random order, but without ever coming off as disjointed or jarring. Her lyrics are also vivid; look no further than the intimate imagery of "The World Laughs."
At the start of a hopefully illustrious journey for the group, She-Devils have created a cohesive, focused statement with plenty of standout moments. Jukka's production style and Boucher's lyrics and singing are strong on their own, but together, their chemistry has led to one of the year's strongest debuts.]]>
Wed, 17 May 2017 17:48:00 +0000 editorial@exclaim.ca (Matt Bobkin)
<![CDATA[The Mountain Goats - Goths]]>

As originally seen on Exclaim.ca.

Peter Hughes, longtime bassist of the Mountain Goats, describes the goth identity as one "most often associated with youth from a perspective that is inescapably adult." This also explains the M.O. of the band's frontman, John Darnielle, a songwriter who explores adolescent themes with a morbid, though often funny, tone. What they've fashioned on the band's 16th album is an homage to those who wear black.
It's sung in praise of Siouxsie and the Banshees, Gene Loves Jezebel, the Cure's Robert Smith and the Sisters of Mercy's Andrew Eldritch, and on "Unicorn Tolerance," the band tip their hat to spiders, crows and ghosts, too. Several tracks compete to be the album's thematic statement of intent, and "Unicorn Tolerance" makes a good case for it. At one moment, there's a rubbing of graveyard bones against the narrator's face, and the next, he's worrying what friends will think. The slinking "We Do It Different on the West Coast" weaves a web between the goth neighbourhoods of the world, in Darnielle's complex style of setting up and concluding scenes in single verses.
Hughes' bass, Jon Wurster's drums and Matt Douglas's variety of woodwinds and keys are as expressive as the lyrics here. Darnielle adds piano to the mix, and together they shape catchy beats, effortless melodies and orchestral movements with equal skill. The most sombre tune is easily "Rain in Soho," a quest that includes a search for a lone wolf's den and the scouring of a dungeon while a dozen voices from the Nashville Symphony Chorus intone, "No, no, no, no!" Darnielle dramatically checks off a nightmare list that includes "no friends closer than the ones we lost," and "no haven safer than the one they tore down."
The LP is both amusing and poignant, full of strange imagery and punch lines that are characteristic of Mountain Goats. In "Shelved," co-written by Hughes, Darnielle refuses some music industry scenarios, most notably to tour with Trent Reznor ("You can't pay me to make that kind of music"). Elsewhere, "Rage of Travers" finds arena rocker Pat Travers out of his element at a show where "everyone is dressed up like corpses," but something of a response to it comes in "Wear Black," where the band assert that no matter the weather, no matter the event ("Wear black / to the intervention"!) the group can recognize their own in any room. Then there's the sweaty trip down memory lane, "Paid in Cocaine," in which our hero compares his present-day efforts to pay off interest on his mortgage to a previous life in which he paid "by the gram."
A disclaimer in the liner notes emphasizes that the album contains no comped vocals, guitars or pitch corrections. All three decisions, made perhaps because they feel right or — in the case of swapping six-strings for Fender Rhodes — because they'll be more fun, planting a flag for the band's emphasis on an underappreciated lifestyle. They did it this way because this is the way they wanted to do it. It's a reminder that comfort and enjoyment come in a variety of shapes and, yes, shades.]]>
Wed, 17 May 2017 17:43:00 +0000 editorial@exclaim.ca (Joseph Mathieu)
<![CDATA[Do Make Say Think - Stubborn Persistent Illusions]]>

As originally seen on Exclaim.ca.

Ideas, especially creative ones, can be wild beasts, difficult to wrangle and control. They are born in our thoughts and intentions but ultimately take on lives of their own.
Like life itself, this process can be messy, complicated, and fraught, no matter how hard we try to fit it into our neat categorical frameworks. Do Make Say Think make music that captures these phenomena in a sonic vernacular that, on their latest LP, is aimed at interrogating the Stubborn Persistent Illusions we find ourselves embroiled in every day.
The nine instrumentals that make up the band's first album in almost as many years are all written in major keys. They have a warmth and earnestness that permeates their complex emotional movements. Their soundscapes seamlessly blend the organic and rustic infrastructures of urban life.
Despite the lack of lyrics, vivid imagery abounds: "Her Eyes on the Horizon" conveys a hazy, shimmering sense of distance, as though she's gazing out over lake Ontario, her surroundings shaded in with leaping horn melodies and carefully intertwined guitar arpeggios. "A Murder of Thoughts" circles around a rumbling floor tom rhythm, gliding patiently like a murder of crows. When the "War on Torpor" is declared in the opening track, the band try to lead by example, building up a harmonious roar overtop a restless and exuberant scurry of drums.
Stubborn Persistent Illusions can seem daunting with its hour-long runtime, but it's a worthy monolith that can be explored on the listener's own terms. These songs don't necessarily need your attention for validation — they have their own agency. Inevitably, they will come home to roost.]]>
Wed, 17 May 2017 17:36:00 +0000 editorial@exclaim.ca (Cole Firth)
<![CDATA[Land of Talk - Life After Youth]]>

As originally seen on Exclaim.ca.

"Yes you were, you were on my mind!"

These are the first words Land of Talk's Liz Powell shares with us after seven years of silence. It's hard to not hear them as a warm hug to listeners, saying, "Hello again, I didn't forget about you! I promise!" Powell has asserted that though it's a multipurpose sentiment, it was directed more at her old life and, specifically, her music; the message here, of both the song and her new record, Life After Youth, are as much for her as anyone.
Powell wastes no time returning to form. Opener "Yes You Were" is a triumphant shot of jangly power pop that fires awake with a shock of guitar and vocals, picking right up where 2010's Cloak and Cipher left off. It's immediately clear that those seven years haven't dulled Powell's drive, but sharpened it.

Follow-up "This Time" is equally declarative; "I don't wanna waste it this time," Powell intimates earnestly. It's a phrase uttered many times through the song, giving it a thesis statement quality that ties the song up thematically. Powell doesn't lack for words across the record, but the repetitive phrases are noteworthy; their cyclical nature suggests her father's recovery process after he suffered a stroke. These repetitions are therapeutic assertions of intent, as if Powell is holding herself to her word.
This pattern makes for impactful, cathartic music, but it also highlights an important message: The most beautiful things in life are often the most simple and routine. It doesn't take four-syllable academic jargon to convey what's important, and Powell has nurtured an environment that places emphasis on the important things.
Life After Youth is incredible varied and immersive, courtesy perhaps of a dynamic supporting cast, including Besnard Lakes' Jace Lasek handling recording and a portion of producing, Sharon Van Etten contributing vocals and Kurt Vile producer John Agnello mixing the record. The final result is emblematic of that diversity, with each track seeming to exist perfectly as its own entity, as well as fitting together like a vibrant, weathered jigsaw puzzle to make an old picture you haven't seen in years. Through the jolting, conical daze of "Spiritual Intimidation" and the Fleetwood Mac-esque bustle of "Heartcore," a thread of energy, peace and comfort weave and give the deliberate impression that this almost genre-less approach to creating is truly brilliant when pulled off properly.

The midtempo hum of "Macabre" brings the record to a contemplative close, and as the song fades, it almost begs to be thrust back to the start of "Yes You Were." The cyclical nature of the record is resolved here, reminding us that these moments, simple and mundane and everyday, can be part of something bigger. With Life After Youth, Powell has gifted us a beautiful treatise on how to think about life, relationships and what's important.]]>
Wed, 17 May 2017 16:41:00 +0000 editorial@exclaim.ca (Luke Ottenhof)
<![CDATA[Miley Cyrus Says Katy Perry's Song "I Kissed a Girl" Is About Her]]>

As originally seen on Exclaim.ca.

For a pair of pop stars who thrive on constantly reinventing themselves, it only makes sense that Miley Cyrus and Katy Perry would be friends. And like all good friends, these two apparently have enjoyed the occasional smooch.

At least, that's according to Miley. The "Malibu" performer has been making the rounds to promote her new normie persona and revealed that she believes Perry's breakthrough hit is actually about her.

Speaking with WKTU [via Teen Vogue], Miley opened up about her longtime friendship with the fellow California girl.

"We were actually just realizing that next year, we'll have been friends for 10 years!" she said. "I think that's my friend I've known the longest, which is really, really weird. When she came out with 'I Kissed a Girl,' I was doing the Hannah Montana movie. I heard her on the radio — they said, 'Who did you write that about?' she said me!"

Wait a minute, Miley Cyrus is Hannah Montana?!? This changes everything.
Wed, 17 May 2017 16:32:00 +0000 editorial@exclaim.ca (Josiah Hughes)
<![CDATA[Daniel Romano - Modern Pressure]]>

As originally seen on Exclaim.ca.

The restless and prolific Daniel Romano returns with Modern Pressure, his latest world-weary collection of poems, feelings and social commentary set to music.
The record blossomed out of time spent in seclusion at a cabin in Scandinavia, and comes one year on from his last album, Mosey. The two are close companions, sharing a penchant for the days of old — both stylistically and production-wise — and both having some heavy things to say, paired to beautifully composed music. It would be hard to argue that Romano shouldn't be labeled as a genius, even if he's a mad one, constantly transforming lest he tire of his former self, always staying one step ahead. As anyone who's seen him perform live could tell you, you never really see the same version of Romano twice.
Adding to the 1960s flair that Mosey laid out are more jangly guitars, more experimentation: backwards guitars, backmasking, sitar and tabla, and an organ tone that would make Bob Dylan of 1965 cry. Some tunes end with a neat little shift of sonic scenery — also like Mosey, though these tend to be far more psychedelic and also act as a way to introduce or evoke song themes (the end of track four, "The Pride of Queens," ends with a swirling mix of instrumentation as Romano croons, "I want to feel you, impossible green," foreshadowing track eight, "Impossible Green").
There's plenty of prettiness here, though — "Roya," a warm tune that Romano calls "a celebration of women," and the sweet "When I Learned Your Name" (which may be the catchiest cut Romano's ever penned) — as well as rougher cuts like "The Pride of Queens," which takes its first steps in Dylan's direction before dipping in an alleyway for a rough riff in the spirit of punk. "I Tried to Hold the World in My Mouth," meanwhile, is a melodic jangle of Indian instrumentation, pace switch-ups, an electric guitar's groan and Romano's drawl, nearly as deep as Cash's.
Lead track "Ugly Human Heart" is split into two parts, both of which are bouncy delights that belie a lyrical depth. Both share one of the album's most memorable drumbeats, a punchy, rollicking run that's rivalled only by the bass that trips down the scale on "Modern Pressure" for the most fun moment on the record. But it's not all fun: After praising the titular songwriter on "Jennifer Castle," Romano takes other fellow songwriters to task for their disingenuousness later in the song, singing that, "There's a lack of sincerity in the words you try to write / Yes, you're cheapening the sentiments that you're trying to make."
Modern Pressure feels vibrant and impassioned, adding a freshness to the otherwise vintage sound. It's the work of someone who truly pours their heart and soul into perfecting every song, scratching out and rewriting every lyric. Here's looking forward to whatever form Romano will take next.]]>
Wed, 17 May 2017 16:32:00 +0000 editorial@exclaim.ca (Cosette Schulz)
<![CDATA[Tigers Jaw - Spin]]>

As originally seen on Exclaim.ca.

You have to hand it to Tigers Jaw for sticking it out. The former fivesome from Scranton, PA lost three of its members shortly after recording their last album, 2014's Charmer, and looked for a moment like they might never recover. But here they are with the emotionally eloquent Spin, rejuvenated and sounding just as good as a duo as they ever did as a quintet.
Longtime fans will be relieved to hear that not a lot has changed since the shakeup. Sure, former guitarist Adam McIlwee was a prominent feature on the band's earlier records, his low, sulky voice adding more than a touch of gloom to their emo-inflected songs. While his delivery likely would have been a perfect fit for new songs like "Blurry Vision" or "Bullet," what remains of Tigers Jaw is no worse for wear without their former band mates.
Brianna Collins has stepped up to fill the co-fronting role alongside Ben Walsh, and her increased presence is a delight. "June" is a suitably summery tune that sparkles with Collins' chipper melodies, with a sense of joy that even the perpetually moody band's most upbeat songs never had, while "Brass Ring," another Collins-led cut, is permeated by a haunting, sombre vibe.
Worth greatest praise are Collins and Walsh's gorgeous harmonies, the lifeblood of these songs. Lead single "Guardian" is an instant earworm with a powerful, hooky chorus that's driven by their flawless duet, like just about every one of the album's finest moments. Spin as a whole is wistful and meditative, like the vigorous, sentimental "Follows," the elegantly crafted "Escape Plan" or the palpable, longing "Window."
While the pair have a strong command of melody and harmony, they're held back a bit by a finite set of ideas about what to do with them. As Spin works into its back third, a lack of variation slowly starts to nag. Now that the new Tigers Jaw have proven themselves admirably as a duo, a creative push into newer and perhaps riskier territory — like taking the rawness of the band's self-titled debut, the energy and experimentation of Two Worlds and the consistent proficiency of Spin — might land them a true indie-rock gem. It seems like the type of thing that these two never-quitters surely have in them.]]>
Wed, 17 May 2017 16:00:00 +0000 editorial@exclaim.ca (Adam Feibel)
<![CDATA[(Sandy) Alex G - Rocket]]>

As originally seen on Exclaim.ca.

While it took '90s lo-fi heroes like Lou Barlow and Elliott Smith years to gain a following with their self-released four-track recordings, Alexander Giannascoli — formerly known as Alex G and now going by (Sandy) Alex G — quickly became a big deal among underground indie circles with the help of music streaming site Bandcamp. But it's also this deft method of distributing his music that's allowed (Sandy) Alex G to freely experiment with so many varied sounds and genres without wasting precious studio time or vinyl pressing costs.
Perhaps that's why Rocket, G's purported foray into "country" music, comes across so damn confident and well conceived. Celebrated since day one for his sharp and inventive melodies, he mumbles his way through album opener "Poison Root" while still managing to craft something engrossing and emotional. But although he manages to throw honky-tonk piano ("Proud"), cascading fiddles ("Bobby"), and autoharp ("Witch") into the mix, it's clear that the Philly musician merely treats these sounds as reference points in order to properly delve into his own brand of sonic deconstruction. To prove this point, G fills the middle third of his album with some of his more shapeless but nonetheless excellent material, producing ear-splitting noise pieces ("Brick"), and effects-saturated vocal exercises ("Judge").
Alex G then ends the 14-track LP with some of his most focused and honest material to date, just to show that he's not fucking around. Rocket is a true tour de force that cements (Sandy) Alex G snugly in the company of indie rock's great auteurs.]]>
Wed, 17 May 2017 16:00:00 +0000 editorial@exclaim.ca (Daniel Sylvester)
<![CDATA[Wavves - You're Welcome]]>

As originally seen on Exclaim.ca.

Between two full-length LPs in 2015 and a split single with Weezer last fall, Wavves have had a busy past couple of years. But some time away, however brief, has done the band good, as You're Welcome is the most revitalized Wavves have sounded in quite some time.
From the first guitar lick, high-adrenaline opener "Daisy" is infectiously catchy. Succeeding tracks "You're Welcome" and "No Shade" do an equally bang-up job of both resembling and one-upping the grunge worshiping noise pop that's defined Wavves so far. Frontman Nathan Williams fully embraces the "surf" in surf rock here, with chord progressions and melodies that feel ripped from the '60s and pushed through Wavves' signature lo-fi filter.
The momentum unfortunately halts on track six, "Come to the Valley," a nightmarish circus-evoking tune that's the only bona fide clunker on the 12-track LP. One could interpret the song's wackiness as a jab at tech culture in Silicon Valley, but the instrumentals here are so annoying that you'll probably skip the track before there's time for analysis.

Things immediately kick back into gear after that, as the final six songs are a lightning round of hard-hitting and cleverly structured surf rock. Late album standouts include the romantic "Animal" and thought-provoking "Dreams of Grandeur." Williams' time spent with Weezer's music appears to have rubbed off on him on album closer "I Love You," a melodically tight doo-wop ballad that oozes Rivers Cuomo and the Beach Boys in equal measure.
Besides one failed experiment of a song, You're Welcome's 11 other tracks are not only some of the best songs Williams has ever penned, but some of the freshest, most inventive tunes the genre has heard in years. Wavves' sixth studio album proves that nearly ten years in, these Californian surf rockers are far from washed up. Thank you, You're Welcome.]]>
Wed, 17 May 2017 16:00:00 +0000 editorial@exclaim.ca (Corey van den Hoogenband)
<![CDATA[Needles//Pins - "All the Same"]]>

As originally seen on Exclaim.ca.

Vancouver punks Needles//Pins recently revealed plans for a new record called Good Night, Tomorrow, and today (May 17), they've unleashed another track off the forthcoming album.
"All the Same" follows the previously shared "Back to the Bright," and it once again hears the band unapologetically wearing influences like Jawbreaker, the Replacements and Buzzcocks on their guitar-slinging sleeves, while showcasing singer Adam Solomonian's gruffer, road-worn vocals.
As previously reported, the band recorded the new LP in their hometown with Jesse Gander (Japandroids, White Lung) at Rain City Recorders.

It's officially out in Canada on June 30 via Mint Records (and Dirt Cult in the U.S.), but you can get another early idea of what's to come by giving "All the Same" a spin down below, where you'll also find the band's upcoming tour dates.
Tour dates:
06/16 Toronto, ON - The Horseshoe *
06/17 Ottawa, ON - Club Saw (Ottawa Explosion)
06/22 Calgary, AB - Local 510 (Sled Island)
06/23 Calgary, AB - The Commonwealth (Sled Island)
06/24 Calgary, AB - Palomino (Sled Island)
06/30 Vancouver - SBC (album release show) ^
07/07 Seattle, WA - Victory Lounge
07/08 Portland, OR - The Know ~
07/18 Vancouver, BC - The Cobalt #
* with the Smugglers
^ with Woolworm, Sightlines, Alimony
~ with Low Culture, Muscle Dungeon, Girl Drink Drunks
# with Royal Headache

Wed, 17 May 2017 16:00:00 +0000 editorial@exclaim.ca (Sarah Murphy)
<![CDATA[Slates - Summery]]>

As originally seen on Exclaim.ca.

On new album Summery, Edmonton punk-rockers Slates go for a more optimistic outlook than they're used to. After recording with Steve Albini for 2013's Taiga, the steadfast quartet returned to the famed punk producer for their fourth effort.
Slates open Summery with "Yellowknife," packing it with ringing guitars and walloping drums, setting a precedent for the rest of the album. Throughout, Slates fuse linear, straightforward melodies with coarse but intricate guitars, resulting in a mostly engaging push-pull dynamic.
Summery feels a bit stifling, at times but is given breathing room courtesy of three untitled instrumental tracks interspersed throughout the half-hour runtime. This works particularly well after the second interlude, leading into the album's title track, where vocalist James Stewart coolly states "Let's go outside, take in some air" over some tenacious guitar interplay. The song's bridge quickly crumbles into a turbulent storm of caustic guitars cranked to the max before Stewart emphatically yells, "I'm ready for summer!" — a hopeful exclamation rather than a gleeful one.
A fearless mix of post-hardcore and anthemic rock with enough variety to bite through any genre clichés, Summery finds the veteran group delivering their usual brand of honest and pragmatic guitar-driven music, all while quietly becoming one of the more consistent punk outfits in Canada.]]>
Wed, 17 May 2017 16:00:00 +0000 editorial@exclaim.ca (Chris Gee)
<![CDATA[Grizzly Bear Announce New Album 'Painted Ruins,' Share "Mourning Sound"]]>

As originally seen on Exclaim.ca.

After a bunch of new-album hinting and the new song "Three Rings," the once-dormant Grizzly Bear are emerging from hibernation with new album, as well as a tour of North American and Europe. And yes, they will be coming to Canada.

The new record, called Painted Ruins, will arrive on August 18 via RCA. It will mark the band's first full-length since 2012's Shields. Right now, details are slim on the record, but you can see its cover art above. A new track is also expected to premiere today (May 17) on Zane Lowe's Beats 1 radio show.

UPDATE (5/17, 12:15 p.m. EDT): You can now hear the new song "Mourning Sound" at the bottom of the page.

As for that tour, Grizzly Bear will be on the road from October to December this year. Canadian dates include Montreal on November 26, Toronto on November 27 and Vancouver on December 7.

Right now, you can see the complete run of dates below.

Painted Ruins:

1. Wasted Acres
2. Mourning Sound
3. Four Cypresses
4. Three Rings
5. Losing All Sense
6. Aquarian
7. Cut-Out
8. Glass Hillside
9. Neighbors
10. Systole
11. Sky Took Hold

Tour dates:

10/05 Dublin, Ireland - Vicar Street
10/06 Manchester, UK - Albert Hall
10/08 Glasgow, UK - O2 ABC
10/09 London, UK - O2 Academy Brixton
10/12 Berlin, Germany - Columbiahalle
10/13 Utrecht, Netherlands - TivoliVredenburg
10/14 Brussels, Belgium - Ancienne Belgique
10/16 Paris, France - L'Olympia
11/01 Boston, MA - House Of Blues
11/02 Brooklyn, NY - Brooklyn Steel
11/03 Brooklyn, NY - Brooklyn Steel
11/07 Philadelphia, PA - The Fillmore
11/09 Knoxville, TN - The Mill & Mine
11/12 New Orleans, LA - Civic Theatre
11/14 Atlanta, GA - Tabernacle
11/15 Orlando, FL - House Of Blues
11/16 Miami, FL - The Fillmore
11/18 Mexico City, Mexico - Corona Capital
11/26 Montreal, QC - Metropolis
11/27 Toronto, ON - Massey Hall
11/28 Park Township, MI - Royal Oak Music Theatre
12/01 St. Paul, MN - Palace Theatre
12/03 Denver, CO - Ogden Theatre
12/07 Vancouver, BC - Orpheum Theatre
12/08 Seattle, WA - Moore Theatre
12/09 Portland, OR - Roseland Theatre
12/11 San Francisco, CA - Warfield Theatre
12/13 Los Angeles, CA - The Wiltern

Wed, 17 May 2017 15:45:00 +0000 editorial@exclaim.ca (Brock Thiessen)
<![CDATA[Seu Jorge Extends North American 'Life Aquatic' David Bowie Tribute Tour]]>

As originally seen on Exclaim.ca.

It was only last fall that Seu Jorge took his Portuguese-language David Bowie covers from Wes Anderson's The Life Aquatic around North America, but for those who missed out on his most recent tour, the man has announced mapped out a return trek that will take place this fall.

Jorge has added a number of dates throughout September to his previously released June itinerary. After taking July and August off, he'll start things up again in Phoenix, AZ, before playing 20 dates the rest of the month.

Having already announced shows in Winnipeg and Vancouver, Jorge has worked dates in both Montreal and Toronto into his itinerary. He'll play Toronto's legendary Massey Hall on September 19 before taking the stage at Montreal's St. Denis Theatre the following evening.

Tickets for the September run, minus the dates in Salt Lake City and Indianapolis, will go on sale May 19 at 10 a.m. local time. Find Jorge's expanded tour itinerary below.

Tour dates:

06/15 Highland Park, IL - Ravinia Pavilion
06/16 Milwaukee, WI - Pabst Theater
06/17 Minneapolis, MN - Pantages Theatre
06/18 Winnipeg, MB - Winnipeg International Jazz Festival
06/20 Seattle, WA - Woodland Park Zoo
06/21 Portland, OR - Oregon Zoo Amphitheatre
06/22 Vancouver, BC - Orpheum Theatre
06/24 Berkeley, CA - Fox Theater
06/25 Los Angeles, CA - Hollywood Bowl
09/05 Phoenix, AZ - Van Buren
09/07 Salt Lake City, UT - Eccles Theater
09/08 Boulder, CO - Chautauqua Auditorium
09/09 Denver, CO - Ogden Theatre
09/11 Lawrence, KS - Liberty Hall
09/12 St. Louis, MO - The Pageant
09/14 Indianapolis, IN - Clowes Memorial Hall
09/15 Cincinnati, OH - Taft Theatre
09/18 Royal Oak, MI - Royal Oak Music Theatre
09/19 Toronto, ON - Massey Hall
09/20 Montreal, QC - St. Denis Theatre
09/22 Northampton, MA - Calvin Theater
09/23 Burlington, VT - Flynn Center of the Performing Arts
09/24 Boston, MA - Boston Symphony Hall
09/25 Portland, ME - State Theatre Portland
09/26 New Haven, CT - College Street Music Hall
09/27 New York, NY - Beacon Theatre
09/29 Washington, DC - Kennedy Center for the Performing Arts
09/30 Glenside, PA - Keswick Theatre
10/06 Pensacola, FL - Vinyl Music Hall
10/07 Ft. Lauderdale, FL - Au-Rene Theatre at the Broward Center]]>
Wed, 17 May 2017 15:23:00 +0000 editorial@exclaim.ca (Calum Slingerland)