Category Archives: Features

CMW 2018 Preview: Sunshine & the Blue Moon – “Welcome to the Future”

Canadian Music Week hits Toronto on May 7. Between now and then, we’ll be previewing some of this year’s participating bands.

If this is the future, I don’t want to be there.

Human-sized animals are creepy to begin with (right?), but dancing human-sized animals? There’s a reason adults turn away when this stuff shows up on a kids show.

“Welcome to the Future” comes from the album of the same name. Sunshine & the Blue Moon play a CMW set on Thursday, May 10 at the Horseshoe Tavern.

-Scott Bryson

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CMW 2018 Preview: Barry Paquin Roberge – “Pawnshop Bargain”

Canadian Music Week hits Toronto on May 7. Between now and then, we’ll be previewing some of this year’s participating bands.

Are they parodying the ’70s, ’80s or ’90s in this one? Maybe just the Bee Gees.

It’s as if every cringe-worthy video from Much Music’s early days was rickrolled into one, but it’s somehow sexy while trying its hardest not to be. Guitars in space always turn the tide.

Barry Paquin Roberge—three-fifths of now defunct Buddy McNeil & The Magic Mirrors—play a CMW set on Wednesday, May 9 at the Monarch Tavern. It’s probably worth seeing the self-proclaimed “APOCRYPHE SOUND FRAME OF ZARDOZ’S EROTIC SIMULATION.”

-Scott Bryson

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CMW 2018 Preview: Wine Lips – “Opera Ghost”

Canadian Music Week hits Toronto on May 7. Between now and then, we’ll be previewing some of this year’s participating bands.

Being a loser in a hot dog eating contest must be one of life’s least desirable positions—you just spent several minutes stuffing a food down your throat that, let’s face it, isn’t all that tasty, and now all you have to show for it is ketchup and mustard stains and a stomach ache.

Then a dog comes by to eat what you couldn’t.

“Opera Ghost” comes from Wine Lips’ self-titled album. They play a CMW set on Wednesday, May 9 at Adelaide Hall.

-Scott Bryson

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2017 Albums of the Year: Charlotte Gainsbourg – Rest

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The Telescope presents: the top albums of 2017. We gathered best-of lists from contributors, crunched some numbers and came up with a list of records that unanimously wowed us last year.

The release day for Charlotte Gainsbourg’s Rest was one of the most exciting release days that I can remember. My friend and I were giddy on Messenger:

Me: Oh my god, the new Charlotte Gainsbourg…

Friend: Ahhhhhhh! I have been waiting for today. Just doing some grocery shopping and then will be cooking all day to it. Honestly, I believe it possible to be the best album of the year and I’ve only heard the one song.

Me: I’m only halfway through the album and I echo your sentiments completely.

Friend: Oh shit. I’m like 3 minutes from home.

**40 minutes later**

Friend: It’s a fucking masterpiece.

And it is. Gainsbourg’s breathy voice is magic on the opening ballad “Ring-a-Ring O’Roses”, but in no way seems out of place on more upbeat tracks like “Deadly Valentine” (above).

Like my friend said, it’s a fucking masterpiece.

-Michelle Farres

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2017 Albums of the Year: Waxahatchee – Out in the Storm

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The Telescope presents: the top albums of 2017. We gathered best-of lists from contributors, crunched some numbers and came up with a list of records that unanimously wowed us last year.

We already reviewed this one back in August, and there’s little more that needs to be added. Several spins later, it’s still a dead ringer for The Weekend’s self-titled debut.

And we know for sure, now, that nothing could be more attractive in a song than another person’s relationship woes, either because of the kinship found in being able to relate, or the satisfaction of knowing you’re faring better (coupled with the comprehension that happiness is fleeting).

“Does it make you feel good to watch me stumbling in the dark?” It does, yes.

-Scott Bryson

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2017 Albums of the Year: Mura Masa – Mura Masa

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The Telescope presents: the top albums of 2017. We gathered best-of lists from contributors, crunched some numbers and came up with a list of records that unanimously wowed us last year.

Mura Masa’s set was hands down the best thing at WayHome this year. Sure, there were also giant electronic artists like Flume, Justice, and Marshmello on what turned out to be the festival’s final line-up, but young Alex Crossan (he’s only 21) had the audience at the side stage of the Oro-Medonte grounds dancing like no one was watching. To be honest, it became next to impossible to bust out any of your best moves; it seemed like every attendee decided to cram into the smallest performance area of the festival to see what they were missing.

And what were they missing? An actual live performance, complete with Mura Masa on drums and live vocals. So rare in the electronic world!

Anyone who’s listened to the twice nominated 2017 release can tell you that it’s a strong contender for Best Dance/Electronic Album, and not just because it features artists such as A$AP Rocky, Charlie XCX, and Damon Albarn. From beginning to end, the beats are varied and the vocals diverse, but the consistency in quality is there. Not once is Mura Masa boring. Not once.

Still not sure if Mura Masa is for you? “But I haven’t heard anything from the album,” you may protest. Of course, you have; it’s hard to escape “Love$ick.” Have a listen. I promise it’ll sound familiar.

-Michelle Farres

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2017 Albums of the Year: Daniel Romano – Modern Pressure

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The Telescope presents: the top albums of 2017. We gathered best-of lists from contributors, crunched some numbers and came up with a list of records that unanimously wowed us last year.

We already reviewed this one back in May, so we’ll keep this short.

Modern Pressure has aged well; it’s pretty clear now, that it’s Daniel Romano’s best work, though better will probably come. He just released two more albums, by the way [update: they were limited-time only releases and are now gone]. Dude is out of control, in a desirable fashion.

This one doesn’t let you rest. Tracks are bridged by mini songs and sitar jams. It’s the sound of Romano trying to bust himself and his music out of the Swedish cabin where it was recorded (“Roya,” above, was apparently named for an acquaintance there).

-Scott Bryson

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