THE DEAD SOUTH UNLEASH “SUGAR & JOY” TODAY!

The Dead South release their third full length album, Sugar & Joy, today. The album is available on all streaming platforms, on CD, and on a half black & half white 180 gram vinyl. Head over to The Dead South’s official store to order yours.

The Dead South’s Served Cold Tour kicks off tomorrow (Oct 12) at the Conexus Arts Centre in their hometown of Regina, SK. Follow the link for the full list of tour dates and VIP upgrades.

 

 

WHITEHORSE ON WAX: The Northern South Vols. 1 + 2 and A Whitehorse Winter Classic arrive on vinyl 10/25/19.

Watch a new video from The Northern South Vol. 2 here.

FALL TOUR DATES INCLUDE SECRET PATH LIVE, IQALUIT SHOW AND ONTARIO DATES.

Melissa McClelland joins Women’s Blues Revue in Toronto. Roy Thomson Hall, Nov 29.

Whitehorse presses on with new vinyl editions of the duo’s most recent releases, which include the JUNO Award nominated holiday album, A Whitehorse Winter Classic (only the fourth holiday album to receive a nomination, alongside Sarah McLachlan, Michael Bublé, and Jess Moskaluke). The album, reviewed by Rolling Stone, Los Angeles Times, PopMatters and more, took the road less traveled in holiday music with 10 original songs that celebrated family and togetherness while taking stock of the ups and downs that come with the season.

 

The band’s second instalment of The Northern South project, released in full in January 2019, dealt a hand of blues bops, sexed up cuts and hellfire gospels rewritten for our modern apocalypse. With an eye on the end-of-days and Whitehorse’s ear for blues grooves, The Northern South Vol. 2 expanded the universe of the Northern South to with foreplay, foreboding, fever and Fenders — plenty of them — on cuts from Howlin’ Wolf, Willie Dixon, Jimmy Reed, Slim Harpo and more. The vinyl edition features both volumes 1 and 2 for a complete (thus far) collection.

 

This fall, Whitehorse’s will be on the road in Ontario, with additional appearances at Gord Downie’s Secret Path Live in Toronto, the Women’s Blues Revue (Melissa McClelland only) and at Inuksuk High School in Iqaluit.

 

TOUR DATES:

TORONTO, ON: Gord Downie’s Secret Path Live, Roy Thomson Hall, Oct 19 w/ Buffy Sainte-Marie, July Talk, William Prince and more.
ELLIOT LAKE, ON: Lester B. Pearson Civic Centre, Nov 2
NORTH BAY, ON: The Capitol Centre, Nov 5
ST. CATHARINES, ON: FirstOntario Performing Arts Centre, Nov 7
PICTON, ON: Regent Theatre, Nov 8
MEAFORD, ON: Meaford Hall, Nov 9
LONDON, ON: Wolf Performance Hall, Nov 12
IQALUIT, NU: Inuksuk High School, Nov 16
TORONTO, ON: Women’s Blues Revue, Roy Thomson Hall, Nov 29

THE DEAD SOUTH SHARE NEW SONG “BLUE TRASH,” A FRIENDLY WINK AT BLUEGRASS TRADITIONALISM.

September schedule includes World of Bluegrass showcases, in-stores at Rough Trade (Brooklyn) and Grimey’s (Nashville).

USA SERVED COLD TOUR presented by Live Nation Ones To Watch and SiriusXM Bluegrass Junction rolls in November.

Tangy banjo and back chop beats drive “Blue Trash,” the third song from The Dead South’s forthcoming Sugar & Joy. Out today, “Blue Trash” is a playful acknowledgement that along their road from unsigned Canadian string set to Gold Certified, JUNO Award winning, Billboard charting band, some have taken issue with the prairie pickers’ progressive style. “Blue Trash,” built on a perfectly bluegrassy banjo lick, is about the importance of expressing their own musical hearts, on their own terms.

For more from Sugar & Joy, you can get weird and get friendly with “Alabama People,” a headbanging bluegrass tune released last month. Written and recorded on the spot, the song’s spontaneous origin shows a band fully in the moment, inspired by the experience and channeling the energy of place (The Nutthouse) and people (producer Jimmy Nutt, assistant engineer Cody Simmons, visits from members of The Swampers, late nights with the locals at Champy’s Shoals). Beyond its two minutes of stomping swagger, “Alabama People” also feels like a snapshot, Eggleston-style, a vivid, unsettling, evocative vignette.

As the release date for Sugar & Joy nears (October 11, 2019), The Dead South’s fall schedule includes stops in NYC, Raleigh and Nashville in September for an in-store at Rough Trade (9/24), multiple showcases at this year’s World of Bluegrass, and a stop at Grimey’s in Nashville (9/28). The band’s USA SERVED COLD tour, presented by Live Nation Ones To Watch and SiriusXM Bluegrass Junction, has also expanded to include new west coast dates.

The Dead South, a gold rush vibing four-piece acoustic bluegrass set from Saskatchewan, infuse the genre’s traditional trappings with an air of frontier recklessness, whiskey breakfasts and grizzled tin-pan showmanship. The sound, built on a taut configuration of cello, mandolin, banjo and guitar, speeds like a train past polite definitions of bluegrass into the grittier, rowdier spaces of the traditional world. The gold-certified, JUNO Award winning band’s original and current lineup includes the gnarled baritone of Nate Hilts, Scott Pringle on mandolin, whistling cellist Danny Kenyon and virtuosic banjo player Colton Crawford. The four-piece, string-driven approach puts the interplay of unique and versatile voices front and centre, with Hilts, Pringle and Kenyon all sharing lead vocal duties.

Sugar & Joy will be released on October 11, 2019 via Six Shooter Records.

RHEOSTATICS’ HERE COME THE WOLVES ARRIVES.

STREET LEVEL VIDEO PREMIERE: BRAND NEW CLIP FOR ALBUM’S TITLE TRACK, DIRECTED BY JENNIFER BAICHWAL AND NICK DE PENCIER (ANTHROPOCENE, LONG TIME RUNNING), NOW PLAYING IN SOUNDSCAPES’ WINDOW.

WATCH IT HERE.

“This resolutely unconventional Canadian sextet resumes production of intoxicatingly crafted sonic spaces and vivid imagery on its first album since 2004.” – Big Takeover Magazine

Bash through the trees at canis lupus level with “Here Come The Wolves,” a new video for the title track to Rheostatics’ album, out today.

Directed by Jennifer Baichwal and Nick de Pencier, the team behind Anthropocene (TIFF’s Best Canadian film this time last year) and Long Time Running, the video for “Here Come The Wolves” captures the song’s multitudes. With a grindstone-hewn art rock brutalism, the team uses the forge as metaphor for lyrical themes, which speak to the grinding crush of authoritarian power, and analog for the band itself, the industrial moil of being a band for nearly four decades.

Then, the video melts into abstraction as Tielli takes over and the song dissolves into moonlight ripples. Acoustic guitar, shivery strings and poetic misanthropy. In other words, signature Tielli.

To wrap it up, Rheostatics swing back around into shiny 70s pop rock. At last night’s in-store album release, Q&A host Laurie Brown asked each band member to describe their favourite moments on the album by others; Bidini zeroed in on Tim Vesely’s harmonies at the song’s conclusion.

Stay tuned to hear the complete conversation on a future episode of Laurie Brown’s Pondercast.

ABOUT MERCURY FILMS

Jennifer Baichwal and Nick de Pencier, the founders of Mercury Films Inc., have been making award winning, critically acclaimed documentaries and films for two decades. Their subjects are eclectic, skewed to art and philosophy, and try to extend formal boundaries without being inaccessible.

TOUR DATES

OMEMEE, ON: Coronation Hall, Nov 15
CREEMORE, ON: Avening Hall, Nov 16
OTTAWA, ON: NAC Theatre, Nov 22
ST. CATHARINES, ON: First Ontario, Nov 27
LONDON, ON: London Music Hall, Dec 3
BAYFIELD, ON: Old Town Hall, Dec 5
TORONTO, ON: Danforth Music Hall, Dec 6

RIIT DETAILS DEBUT LP, ATAATAGA, COMING OCTOBER 25, 2019.

INUKTITUT ELECTRO POP COLLECTION, PRODUCED BY GRAHAM WALSH, FEATURES GUEST VOCALISTS ELISAPIE, JOSH Q AND ZAKI IBRAHIM.

“#UVANGATTAU” FT. ZAKI IBRAHIM OUT FRIDAY. PREVIEW HERE.

“Shifts seamlessly from heavy verses and eerie synthesizers into a decidedly sunshine-y chorus, as Riit switches between graceful, airy vocals and intense throat-singing while communicating the strangeness and elation of exploration.” – FADER

“A uniqely Arctic take on electropop.” – Line of Best Fit

“A sound that builds like a zipper being pulled upward into the sky.” – FASHION

Photo by Bettina Bogar

Riit, from majestic Panniqtuq, Nunavut, is a new artist making space for herself in the synth pop world with Inuktitut lyrics and deep rhythmic vocals layered over sticky, staticky electronic textures. Riit’s music emerges from very distinct circumstances of place, language and experience. Throughout ataataga, her debut full-length album, Riit sings about the clarity of forgiveness, the imprint of the past on the present, and personal disconnection. In Inuktitut, Riit’s songs explore family, life and love.

On “#uvangattau,” out Friday, August 30, Riit collaborates with astral soul/R&B artist Zaki Ibrahim. Blood boils, eyes blaze. With an opening knife slash and two captivating voices interwoven in English and Inuktitut, #uvangattau is both fight and flight, a reckoning with fear and violence. Throughout ataataga, from the gentle droning quiver and build of “uqausissaka” with Elisapie, to the heart quickening strobe light flashes of “ullagit,” Riit explores ways of expressing resilience and moving through pain and heartbreak.

Riit also nods to Nunavut’s rich yet under-appreciated legacy of songwriters, with covers of Inuktitut classics included on the record. “Inuusivut,” is a song by Igloolik, Nunavut metal legends Northern Haze. The song, which appears in two versions on the band’s 1985 and 2018 albums (the newest written by Derek Aqqiaruq), is about living one’s life. Riit trades the Hazers rock riffs for glinting synths, expanding the searching, self-reflective original into a duet with Aakuluk Music’s Josh Q. “Qujana,” a break-up song, was written by Susa Aningmiuq, one of Panniqtuq’s most beloved songwriters.

The album opens and closes with very different versions of the title track ataataga, which means father, from pulsating and vaporous to an unadorned piano ballad.

ataataga will be released on October 25, 2019 via Six Shooter Records.

RHEOSTATICS SHARE “VANCOUVER,” OPENING TRACK ON HERE COME THE WOLVES.

LISTEN HERE

FREE PERFORMANCE AT SONIC BOOM ON SEPTEMBER 5, 7-9pm. Q&A HOSTED BY LAURIE BROWN OF PONDERCAST.

New video from team behind “Anthropocene” documentary coming in September.

City of Glass, hall of mirrors: “Vancouver,” a swooping birds-eye view of a city constructed in memory and imagination, is the third cut from Rheostatics’ Here Come The Wolves out in advance of the album’s September 6 release date. The dizzying pacific cynic travelogue builds and flutters around Martin Tielli’s vocals, a hypnotic and delicately jittery opener to the band’s first new record in over a decade.

To mark the album release, Rheostatics announce a free in-store performance and interview with broadcaster Laurie Brown of Pondercast podcast at Toronto’s Sonic Boom. The public event will take place Thursday, September 5, 7-9pm. Capacity is limited, first come, first served.

Look for a new video for the title track, directed by the team behind the Anthropocene project feature documentary, in early September.

HERE COME THE WOLVES TRACK LISTING:
Vancouver
AC/DC on the Stereo
Rearview
Here Come the Wolves
It’s the Super Controller!
Music is the Message
Diamonds on Our Toes
I Wanna Be Your Robot
The Beautiful Night
Goodbye Sister Butterfly
Albatross
Mountains and the Sea

TOUR DATES

TORONTO, ON: Sonic Boom, September 5, 7-9pm. FREE.
OMEMEE, ON: Coronation Hall, Nov 15
CREEMORE, ON: Avening Hall, Nov 16
OTTAWA, ON: NAC Theatre, Nov 22
ST. CATHARINES, ON: First Ontario, Nov 27
LONDON, ON: London Music Hall, Dec 3
BAYFIELD, ON: Old Town Hall, Dec 5
TORONTO, ON: Danforth Music Hall, Dec 6

THE DEAD SOUTH RELEASE “ALABAMA PEOPLE” AND ANNOUNCE FREE SHOW AT ROUGH TRADE NYC.

It’s been a long haul south but we’re feeling alive with “Alabama People”, which comes out today!

Get into the southern state of mind with latest song from The Dead South‘s new album, Sugar & Joy. Listen here.

And for those of you in NYC, you can catch a FREE performance September 24 at their Rough Trade NYC in-store. Click here for more info.

 

 

THE DEAD SOUTH ANNOUNCE SUGAR & JOY, THIRD LP OUT OCTOBER 11, 2019. BULLETS IN THE HOLE: THE DEAD SOUTH ANTE UP WITH NEW VIDEO FOR FIRST SINGLE, “DIAMOND RING,” BOTH OUT TODAY.

WATCH HERE

‘CANADA SERVED COLD’ FALL TOUR ON SALE NOW.

 

A rock band without a drummer, a bluegrass band without a fiddler. To the gentlemen of The Dead South, a self-styled 4-piece string band from Regina, Saskatchewan, it’s about how, not what, you play. The Dead South’s combination of cello, mandolin, guitar and banjo has all the hallmarks of a group tuned to bygone times, but with their signature sleight of hand, The Dead South find distinctly ­modern bathos in this old time rigging.

Today, the band announces their third album, Sugar & Joy, coming October 11, 2019 via Six Shooter Records. In “Diamond Ring,” released today, poor William, whoever he is, done got robbed by a would-be groom trying to impress his betrothed. Money doesn’t buy love, but it does buy the ring. “Diamond Ring” comes with a new video directed by frequent collaborators, Regina’s Two Brothers Films.

 

Watch “Diamond Ring,” directed by Two Brothers Films (Regina, SK). 

 

In The Dead South’s world, characters do what they must, even when twisted logic leads them astray. From the opening galloping strum to the lower register cello and backing vocals, the song’s moody mania captures The Dead South’s stock-in-trade, stories of desperation and bad decisions told in fast-paced, brightly-laced bursts. 

Sugar & Joy, The Dead South’s tightest, weirdest and most exciting studio work yet, is their first album written and recorded outside Regina. The album was produced by FAME Studio-trained Jimmy Nutt, a longtime member of the Muscle Shoals music scene whose recent credits include a Grammy for his work on The Steeldrivers. “They have an obvious dedication to what they are doing,” says Nutt. “They really encourage each other, which you don’t see a lot.”

A Bauhaus-via-bluegrass stomp and minor-key mandolin tremolo of “Alabama People,” which finds the universal in the hyper-regional, could not have been written anywhere else but at The Nutthouse. With equal parts empathy and fear, The Dead South have channeled their experience in the fraught, beautiful south into an outsider, observational anthem.

The ongoing question of what is, or is not, bluegrass music, occasionally froths up in The Dead South’s wake as they speed on to the next gig. Cue “Blue Trash,” a song built on a perfectly bluegrassy banjo lick about…not being a bluegrass band. “Blue Trash” is a love letter – not apologia – to the purists, for The Dead South come in peace.

Sugar & Joy will be released on October 11, 2019.

 

TOUR DATES:

SUMMER CRAWL 2019

EAU CLAIRE, WI: Blue Ox Music Festival, June 15

PERRANPORTH, UK: Bands in the Sands, June 21

TUNBRIDGE WELLS, UK: Black Deer Festival, June 22-23

OXFORD, UK: O2 Academy Oxford, June 25  

NORTHAMPTON, UK: Roadmender, June 26

BATH, UK: Komedia Bath, June 27

GLASTONBURY, UK: Glastonbury Festival, June 29-30

CALGARY, AB: Big Rock Brewery, July 6

NORTH PLAINS, OR: Northwest String Summit, July 18- 21 

JACKSONVILLE, OR: Britt Pavilion, July 21  

RENO, NV: Virginia Street Brewhouse, July 22  

MORRISON, CO: Red Rocks Amphitheatre, July 24 w/ Trampled By Turtles

SANTA FE, NM: Santa Fe Brewing Company, July 29

DALLAS, TX: Gas Monkey Live, July 30

TULSA, OK: Cain’s Ballroom, July 31

ST LOUIS, MO: Atomic Cowboy Pavilion, August 1

ST. CHARLES, IA: Hinterland Music Festival, August 2-4

REGINA, SK: Regina Folk Festival, Aug 9-11

 

CANADA SERVED COLD TOUR 

VANCOUVER, BC: Commodore Ballroom, Oct 19 + 20 

EDMONTON, AB: details coming soon.

CALGARY, AB: MacEwan Hall, Oct 24

SASKATOON, SK: TCU Place, Oct 25

WINNIPEG, MB: Burton Cummings Theatre, Oct 26

OTTAWA, ON: TD Place Arena, Oct 29

TORONTO, ON: The Phoenix, Oct 31

MONTREAL, QC: Telus, Nov 1

QUEBEC CITY, QC: Imperial, Nov 2

HALIFAX, NS: The Marquee, Nov 4

*NEW* USA SERVED COLD TOUR (on sale 6/28)

TEMPE, AZ: Marquee Theatre, Nov 24

LAS VEGAS, NV: House of Blues, Nov 25

SAN DIEGO, CA: House of Blues, Nov 26

LOS ANGELES, CA: The Belasco Theatre, Nov 27

SAN LUIS OBISPO, CA: The Fremont Theatre, Nov 29

SAN FRANCISCO, CA: The Fillmore, Dec 1

SACRAMENTO, CA: Ace of Spaces, Dec 2

SEATTLE, WA: Showbox Sodo, Dec 5

SPOKANE, WA: Knitting Factory, Dec 6

GARDEN CITY, ID: Revolution Concert House, Dec 7

CLEVELAND, OH: House of Blues, Jan 5

BUFFALO, NY: Asbury Hall at Babeville, Jan 6

BOSTON, MA: House of Blues, Jan 7

BROOKLYN, NY: Warsaw, Jan 9

PHILADELPHIA, PA: Theatre Of The Living Arts, Jan 10

SILVER SPRING, MD: The Fillmore Silver Spring, Jan 11

VIRGINIA BEACH, VA: Elevation 27, Jan 12

CINCINNATI, OH: Bogarts, Jan 14

LOUISVILLE, KY: Mercury Ballroom, Jan 15

ASHEVILLE, NC: The Orange Peel, Jan 16

RALEIGH, NC: The Ritz, Jan 17

CHARLOTTE, NC: The Underground at the Fillmore Charlotte, Jan 18

CHARLESTON, SC: Music Farm, Jan 20

ORLANDO, FL: House of Blues, Jan 21

FORT LAUDERDALE, FL: Revolution Live, Jan 23

TAMPA, FL: The Orpheum, Jan 24

ATLANTA, GA: Buckhead Theatre, Jan 25

IRELAND AND UK SERVED COLD TOUR 

DUBLIN, IE: Vicar Street, Feb 18

BELFAST, UK: Ulster Hall, Feb 19

GLASGOW, UK: O2 Academy, Feb 21

NEWCASTLE, UK: O2 Academy, Feb 22

MANCHESTER, UK: Academy, Feb 23

BIRMINGHAM, UK: O2 Academy, Feb 25

PORTSMOUTH, UK: Guildhall, Feb 26

LONDON, UK: Brixton Academy, Feb 27

NOTTINGHAM, UK: Rock City, Feb 28

EXETER, UK: Great Hall, Feb 29

RHEOSTATICS ANNOUNCE HERE COME THE WOLVES, FIRST NEW ALBUM IN 15 YEARS

OUT 9/6/19 VIA SIX SHOOTER RECORDS.

SEE ALBUM COVER TAKE SHAPE IN TIMELAPSE VIDEO FOR TITLE TRACK.

WATCH / SHARE

Ever bound for ragged glory, Rheostatics occupy a unique place in the Canadian music landscape, pulled together and apart for nearly forty years. Finding grace in the reality of endurance, Rheostatics show us a special type of longevity, through upheaval, personal (and personnel) change, and a basic refusal to play the game in any way, shape or form, stretched over decades. Now, Rheostatics return with Here Come The Wolves, their first new album in 15 years.

On Here Come The Wolves, you’ll find Rheostatics trusting their complicated formula, a signature multiplicity of songwriters, artistic instincts and concerns. Produced by Chris Stringer with mixing contributions by Chris Walla, Michael Phillip Wojewoda and Gus Van Go, over twelve songs Here Come The Wolves unfurls like a cross-section of the band’s cumulative experience, individual and collective.

The title track, a “gear shifting, vocal stacking, wild riffing, sh*t kicking,” testament to finding balance in discord, exemplifies this spirit literally (everybody gets a solo) and figuratively (it’s a complex but catchy tune). This ‘single,’ a funny term for a song of three distinct parts, is a metonymic microdose of stacking wholes: the album, the band in 2019, the Rheostatics’ very way of being since 1980.

Today, Six Shooter Records fires “Here Come The Wolves,” with a Martin Tielli arrow, a thesis on time and its abstractions via a revelatory glimpse into the making of the album art. Come for the behind-the-scenes snoop into Tielli’s painting studio, stay for the free tutorial on the Renaissance technique of egg tempera grassa (“cannot vouch for reptilian egg”). The video, a rollercoaster ride through a painstaking and deliberate process, does with video what Here Come The Wolves does with music: it leaves its trace.

With Tim Vesely’s canola yellow pop melodies, Dave Clark’s galloping beats and Bidini’s rousing stories and frontline provocations, the exquisite triangulation of Hugh Marsh on violin, Kevin Hearn on keys, and Tielli’s ventriloquism on guitar come into high relief. From the opening feathered flutter of “Vancouver,” to the sparkle and shimmer throughout “Music Is The Message,” Here Come The Wolves contains powerful, panoramic beauty. With protest and panache, the yelps and squalls and klangs and riffs on songs like “AC/DC on the Stereo,” and “It’s the Super Controller!” also make space for the strange, the obtuse, the earnest and the wild.

Here Come The Wolves will be released by Six Shooter Records on September 6, 2019.

 

TRACK LISTING
Vancouver
AC/DC on the Stereo
Rearview
Here Come the Wolves
It’s the Super Controller!
Music is the Message
Diamonds on Our Toes
I Wanna Be Your Robot
The Beautiful Night
Goodbye Sister Butterfly
Albatross
Mountains and the Sea

TOUR DATES
CALGARY, AB: Calgary Folk Festival, July 26
EDMONTON, AB: Interstellar Rodeo, July 27

A BRIEF HISTORY
Etobicoke, 1980. Four punk kids string together their first chords on guitars like laces on shoes bound for overhead wires. A marker: I was there.

Toronto, 1993. With three albums up on the wire —Greatest Hits (1987), Melville (1991) and Whale Music (1992) — Rheostatics hold a special place in the city’s heart. The music is fresh, urgent, alive. At an impressive pace, Rheostatics explore ideas that would become the soundtrack to the film Whale Music and the band’s fourth studio album, major label debut, Introducing Happiness (1994).

Somewhere in Ontario, 1996. From the National Gallery of Canada (Music Inspired by The Group of 7) to a national tour of Canada’s legions, bars and concert halls, a newly configured Rheostatics set out with The Tragically Hip, unleashing anthems like “Bad Time To Be Poor” (Blue Hysteria, 1996).

From 2001 to 2067: Rheostatics cross Canada with ten albums over 20 years, searching for new ways to grow. They release Night of the Shooting Stars in 2001. Tight knit and insatiable, the band plays 12 nights in a row in Toronto. They tunnel down into the new sound of 2067 before they fan out, each on their own odyssey.

2007-2016: RIP? Rheostatics say goodbye with a sold out “Good. Gone. Dead.” performance at Massey Hall in 2007. Band vital signs flatline for nearly a decade. Rheostatics reemerge in 2015 to play three nights at the Art Gallery of Ontario, and later make their reunion official with a return to Massey Hall in 2016.

Here Come the Wolves, 2019. After fifteen years, The Rheostatics return as their original 1980 four, Dave Bidini, Dave Clark, Martin Tielli and Tim Vesely, now also with Hugh Marsh and Kevin Hearn.

SIX SHOOTER MANAGEMENT WELCOMES JULY TALK.

“Love Lives Here”

July Talk shaping alt rock landscape through art, airwaves and advocacy.

 

Photo by Mitch Brown

 

Six Shooter Management is ecstatic to welcome July Talk to the roster. “We have been following July Talk for years as both friends and fans,” says Six Shooter’s Shauna de Cartier. “We love their music, we align with their social and political views, and we adore them as people.  We are over the moon to be working with this band.”

 

Fresh from a North American tour with Metric, July Talk now readies for their third full-length album via Sleepless Records/Universal Music Canada. “We’re thrilled to be starting a new management relationship with our longtime friends and allies Shauna, Helen and Emily at Six Shooter,” says the band. “We’re grateful to Alex Bonenfant and Nightmare Management for their integral role in our project’s formation and progress, and we look forward to a continued and fruitful relationship with Sleepless Records.”

 

Since 2012, July Talk has risen with purpose and poise. Three sold out nights at Massey Hall to close out 2017 made an undeniable statement about the band’s potency and community. July Talk has also grown as mentors and allies of an urgent and fundamental industry recalibration. From the New Constellations tour and recording project with high school students in Thunder Bay to curatorial partnerships with festivals to creating safe spaces at rock shows, July Talk is working to build community, raise resistance and advance equality.

 

Helmed by Helen Britton, Six Shooter Management’s roster now includes July Talk, Tanya Tagaq, The Dead South, Whitehorse, William Prince, Zaki Ibrahim, Rheostatics, Ensign Broderick and Riit. The management company is defined by the creative excellence of these distinguished artists, each on their own unique paths to success and acclaim.

 

JULY TALK TOUR DATES:

QUEBEC, QC: Festival d’été de Québec, July 9

BALA, ON: The Kee To Bala, Aug 9 + 10 w/ Hollerado

EDMONTON, AB: Sonic Field Day, Hawrelak Park, Sep 7-8

 

ENSIGN BRODERICK PREVIEWS BLOODMYTH, OUT 6/7/19, WITH SWOOPING BALLAD, “SWEPT AWAY.”

THE KEY OF X: ENSIGN BRODERICK JOINS SARAH SLEAN AND ERIN COSTELO FOR PIANO-FOCUSED SHOWS IN TORONTO AND NYC. 

“A reclusive, romantic, tear-stained baritone and unabashed opus bringer.” – Globe and Mail

“Broderick makes old-school glam sound urgent, gritty, and absolutely vital.” – Uncut

 

 

A condemnation disguised as a benediction, Ensign Broderick’s BloodMyth speaks out against hate, pernicious nationalism and vainglorious self-destruction through characters that embody these, the very worst, ways of being. The album is an inverse/reverse/perverse excavation of 2018’s BloodCrush, a meditation on frailty and fallibility that edged ever closer to the brink. With BloodMyth, more a finale than a companion to its partner album, Ensign Broderick pushes things over the edge, where concepts of personal and political extremism come to swirling, chaotic conclusions.

Swept Away,” a 5-minute melodrama, explores the oceanic disorientation of being over one’s head. With a classic backbeat, horns and pedal steel, the song channels late 60s FAME Studios rock, the overall aesthetic somewhere between bedazzled Manuel contrition and glam dandy swagger, the twin pillars of Ensign Broderick’s sound and style. 

Appalachian folk meets California pop in “Our Angel of Morphine,” a sweetly celestial treatment of a truly dark and nasty tale. Ethereal, soft-focus brokenness is also present in “Love Died Here,” an atmospheric opiated half-time reworking of a song from BloodCrush. Pain, of whatever sort, and the treatment thereof is a major theme in the album, in both lyrical and visual form. The vinyl package contains a collage built around a main image of a spinal-fusion operating table, its sleek chrome more Ducati than OR supply.

The inescapable disintegration reaches its apex with “The Telling Part,” the last and oldest song on the album (c. 1970), a tale of alienation and abandonment. Over twelve minutes, anger boils and bubbles over. ‘Tell me about starvation and sustenance,’ it goes, which in its way encapsulates the poisonous imbalance of give and take found at every turn. BloodMyth’s villains – anonymous caricatured embodiments of the deadly sins – trade only in damages.

In contrast to the desert glitter of BloodCrush, BloodMyth’s physical form – a vinyl-first release for Record Store Day Canada (a move true to form for an artist with such a deep connection to music’s physical places and pieces) – unravels in similar fashion. From jarring hi-def patent leather to the scribbles and edits on the lyrics, the vinyl edition echoes the devolution and deconstruction of music and narrative in art.

With six albums out in just over a year, Ensign Broderick’s story and experience of launching his solo career at age 59, has little precedent. Each album conveys a fully realized and distinct dimension of the artist and persona, yet a complete picture of the inner life and creative ambition of the artist is only just starting to take form. “You’re getting a different Ensign Broderick with each project,” says the artist. “The progression from the childlike perspective of Ranger to the totally superficial, fully realized glam of Feast of Panthers, to the very personal depth-plumbing of BloodCrush/BloodMyth is a maturation and a devolution. These are all puzzle pieces.”

Listen to Ensign Broderick in conversation with Danko Jones here

 

TOUR DATES:

TORONTO, ON: The Key of X, The Mod Club, June 18 w/ Sarah Slean, Erin Costelo

NEW YORK, NY: The Key of X, Public Arts, June 19 w/ Sarah Slean, Erin Costelo

 

Ensign Broderick’s THE KEY OF X series brings classical, contemporary and experimental artists together to celebrate piano-based composition and performance. 

The inaugural Key of X took place at Winnipeg New Music Festival in 2018 with Ensign Broderick and Jónas Sen (Björk).

POLAR PUNK: CBS 60 MINUTES PROFILES TANYA TAGAQ.

FLAGSHIP NEWSMAGAZINE’S PROFILE OF INTERNATIONALLY RENOWNED INUK ARTIST AIRS SUNDAY, MAY 5. WATCH A PREVIEW HERE.

One of the avant-garde’s most dynamic performers.” – Rolling Stone 

“This fiercely charistmatic Inuk singer’s throaty voice demands full attention, whether she’s whispering in her softest register or howling at the sky.” – NY Times 

“The Inuk experimental musician joins landscape, culture and resistance.” – Pitchfork

“The uncompromising Inuit throat singer, composer and author pushes the human voice to surprising places.” – NPR

 

Tanya Tagaq is one of Canada’s most written about, celebrated and original artists. As comfortable on world stages in couture as she is steering a quad over the land in her home of Cambridge Bay, Nunavut, Tagaq’s complexity, originality, strength, gentleness and humour is not easily captured in word or video. With studio albums, collaborations across classical, indie rock and metal worlds, a Giller Prize long listed debut novel and countless other multi-disciplinary projects in the works, Tagaq’s art is a universe unto itself. Tagaq the person is no less a multitude of experiences, emotions and observation: with a keen mind, an open heart, and a laser-sharp ability to cut through to the quick, Tagaq shows us a way forward.

Over a year in the making, CBS 60 Minutes’ travels to performances at a club in NYC, a theatre in Minneapolis, a festival in Yellowknife and to Tagaq’s home in Cambridge Bay, Nunavut, to showcase the artist and human like never before. The profile, which airs on Sunday, May 5, 2019, presents Tagaq as she is, an artist, an activist, a mother, a sister, a daughter.

Tagaq’s music is an utterly unique and urgently compelling improvisational approach to sound creation. As a vocalist, Tagaq is a breath-contortionist, a master at her self-defined, signature craft. A throat singer, a death growler, a harrowing whisperer, a gentle cooer: an artist who can channel sounds from her environment into rhythmic, pounding layers that weave in and out of her collaborators’ instrumental and electronic elements. Tagaq’s albums have included pointed yet winking covers of artists from the Pixies to Nirvana to Iron Maiden, spoken word elements and hip hop guests, metal, art-rock, classical and ambient electronic elements swirling into one “art-metal blizzard” (Rolling Stone). With a long list of accomplishments that include composer, author, painter and beyond, music is the foundation for a career that is rapidly gathering speed, force and prestige. Tagaq is just getting started.

Tagaq’s most recent music project, Toothsayer (released March 2019) is a commission for the UK National Maritime Museum’s permanent “Polar Worlds” exhibit.

 

LISTEN TO TOOTHSAYER here.

Her debut novel, Split Tooth, was recently nominated for Amazon Canada’s First Novel Award and Rakuten Kobo’s Emerging Writer Prize.

Read more about Amazon Canada First Novel Award here.

Read more about Rakuten Kobo Emerging Writer Prize here.