Camera by Mitch Fillion
Sound by Brian Wirth
http://www.savestheday.com

Video by Mitch Fillion
Featuring Gabrielle Papillon and Brie Neilson
Shot at Trinity St. Paul’s
corinnarose.com

Video by Mitch Fillion
Featuring Brie Neilson
http://www.davidsimard.ca

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Small Talk: DAVID SIMARD

Who are you and what do you do: My name’s David Simard and I’m a singer. Why do you do what you do: I always sang. Not because my parents made me join a choir or anything. They even let me quit piano lessons after a few years. I think it was just a steady progression from wanting to sing,… Continue reading →

DAVID SIMARD (Part 1)

Watch David perform ‘When I Was A Little Boy’ and ‘Streetlight Strut / Oh, My My’ in Montreal, May 2010

Stepping off the banks and wading into the river of sonic possibility, Parlovr revive and imagine the old as new again. Anyone who has experienced a flood knows the disorienting nature of high water as it changes the surrounding landscape; the current carries things you recognize but are, in essence, ownerless. I have rolled up my pant-legs and searched for high ground to gain perspective on the rising rumble coming from the album, Kook Soul.

Damp with memories of golden hits, the perspiration of Elton John and the Zombies comes to mind with the opening track “Do you Remember?” as it maneuvers around a hook. Fuzz bass and roomy falsetto vocals are tied to the sound of this album, tangling a gasp of fresh air out of the silt of found influences. Tempo keeping keys, easy-going melodies, and punctuating drums float through “Fisticuffs and Affidavits” while running vocals and organ leads the way through “Now that you’re gone”.

With some distance from the elevating volume of Kook Soul I can sit comfortably and see highlights like “4000” and “You only want it cause you’re lonely” and see this flood as a welcome rejuvenation this spring. This album could carry you away if you were caught standing in the right place.

Video by Mitch Fillion
Shot on the Cameron House rooftop, Toronto
http://www.tarantuela.com

By Steve Marck

Birthmark is by no means a misnomer; multi-instrumentalist Nate Kinsella’s mottling of musical abilities are subtly longstanding, and his execution is as unique as it is uncommon. Birthmark is an anomaly, and somewhat unsettling, but it’s made that much more extraordinary as a result. There is no haste or uncertainty present in Antibodies, and Kinsella’s confidently underplayed voice works unflinchingly well as a harsh whisper or well-sustained pitch. Lyrically he’s equally undaunted by expression—his songs are stitched with deep-seeded emotions. The positive and negative are conveyed equally and thoughtfully regardless of their volume— and thanks to well-punctuated percussion, coupled with cascading guitar patterns, even the most impassioned statements seem soluble. From the jump of the gentle-stringed surges in Pacifist Manifesto, directly into the menacing backdrop of a tight-fisted drumbeat in Please Go Away, it’s apparent that Birthmark is an admirable outlet of equitable composure. Kinsella’s grasp of his own being shows he’s perfectly comfortable weaving complexities into the most uncomplicated melodies. Antibodies is a declaration of humble confidence, and a damn fine show of instrumental poise that passes through hardships with the kind of humanity that comes from the conception of good ideas.

Out May 15th on Polyvinyl Records

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“Stuck” by Birthmark
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By Andrew Sisk

I have been dreading this. Dissecting something universally appealing, music that could unify people. To pick apart the sounds, to comment on the drenching reverb, to pollute the grace of rock and roll by examining it’s entrails, I will not. Not this time, at least.

So I blared it into the courtyard of my apartment building and watched the 3 stories of balconies fill up with up with neighbours ready to comment. I waited with pen in hand and more than once had to ask them to speak one at a time.

“They sound like band from 60’s” said my Russian next door neighbour, “I don’t know why but they remind me of Beatles.”

“It’s old.” said my 21 year old bible college graduate downstairs neighbour, “and It’s catchy.”

“Very… lively. Very spirit cheering up.” said the Chinese lady with 3 kids.

I yelled down to them, “Can we agree that this album contains playful ecstatic narratives and passages of elegiac rock seemingly banged out in an empty water tower?”. There was no response. So, I came back inside with my notes, turned off the music and sat down with the album in my hands.

I looked at the album art, traced my finger along the picture of people standing watching ships in a harbour. I thought about the happiness of the opening track “What are your influences?” and the melancholy of the title track “Landmark.” The songs seem to be beautiful serious jokes in neat little packages. I have listened to this album 10 times already and I want to listen to it again.

‘Princess Towers’

‘Sentimental Dishes’

Camera by Mitch Fillion
Sound by Brian Wirth
paperbagrecords.com/artists/ps-i-love-you

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PS I LOVE YOU (The Kingston Sessions)

Watch PS I Love You perform  ‘Butterflies & Boners’ ‘Little Spoon’ ‘and Facelove’ around their hometown of Kingston, August 2010.

PS I Love You – ‘Meet Me At The Muster Station’

I find it hard not to personify Meet Me At The Muster Station. Its title track’s first blush is the profile of a charismatic playboy, backed by the whirling dervish exchanges contained in Breadends and 2012; PS I Love You’s lasting impression is that of a freewheeling yet calculated life-of-the-party. Muster Station’s ability to carry that raucous energy throughout without feeling worn or stagnant is… Continue reading →

http://www.joelfafard.com/

‘The Shitty Piss Song’

Videos by Mitch Fillion

http://caileanlewis.bandcamp.com/