DONOVAN WOODS GOES “WAY WAY BACK” ON NEW SINGLE

September 20, 2019

LISTEN AND SHARE “WAY WAY BACK” HERE

JUNO AWARD AND CCMA AWARD WINNING ARTIST ON TOUR NOW WITH RUSTON KELLY

**NEW ALBUM, THE OTHER WAY, OUT NOW VIA MEANT WELL**

**BUY / STREAM THE OTHER WAY HERE**

PHOTO CREDIT : Justin Broadbent // DOWNLOAD HIGH-RES

Armed with “a knack for slice-of-life storytelling” (Rolling Stone), Donovan Woods shares the new song titled “Way Way Back", available everywhere today. Woods’ songs have been praised by NPR, FADER, Rolling Stone, Billboard, American Songwriter, and now, he teams up with producer Todd Clark (Phillip Phillips, Noah Kahan, Dua Lipa) on the new track.

Written entirely by Woods, “Way Way Back” juxtaposes love — both new and familiar — and the peculiar space it occupies in one’s mind. Woods dives into the internal, emotional conflict individuals face when rekindling an old flame. Recorded in Nashville’s Mt. Eden Studios and produced by Clark, who also lends his musicianship on the keyboard, guitar, and vocals. The ambient track also features Woods’ guitar-picking, accompanied by the mellow percussion of Jerry Roe (Rodney Crowell, EmmyLou Harris, Luke Combs) on drums.

LISTEN AND SHARE “WAY WAY BACK” HERE

“Way Way Back” Single Artwork // DOWNLOAD HIGH-RES

“My partner said something once about the idea when people get back together with past romantic partners," says Woods. “You always go as far as you’ve gone. If you slept together back then, you’d sleep together again. I thought it was a funny thought, and definitely true. But, it's not something I’d ever heard anyone say out loud. So, I took that idea and explored the peculiar space that old sexual partners seem to occupy in everyone’s mind. It can be hard to escape the comfort and nostalgia that memory lane offers, and that’s what Way Way Back is about. The whole song — production and arrangement — is indicative of this push and pull between the risky excitement of something new and the ease of something familiar.”

This marks the first release following Woods’ win for 2019 Roots Album of the Year at the Canadian Country Music Awards (CCMA) and 2019 JUNO Award for Contemporary Roots Album of the Year.

Woods is currently on the road will with Ruston Kelly throughout the US and will return to Canada for a string of shows at the end of the year. Full dates can be found below. For tickets and more information, visit donovanwoods.net.

**BUY / STREAM THE OTHER WAY HERE**

WATCH AND SHARE “GREAT ESCAPE” ACOUSTIC VIDEO HERE

PRAISE FOR DONOVAN WOODS

“...a heartfelt hug” - NOW Toronto (On Both Ways)

“...a rugged, rocking alt-country romp, with Born in the U.S.A.-style stompers…”
- Exclaim! (On Both Ways)

“He’s got a knack for slice-of-life storytelling that blends heartache and hooks.” – Rolling Stone

“…soulful passion, studied craftsmanship.” - American Songwriter

“His songs are worth a million bucks.” – WXPN/NPR

* Supporting Ruston Kelly

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JACQUES GREENE SHARES VIDEO FOR “DO IT WITHOUT YOU” FROM UPCOMING LP

September 19, 2019

WATCH AND SHARE “DO IT WITHOUT YOU” DIRECTED BY MATHIEU FORTIN

DAWN CHORUS OUT OCTOBER 18 VIA ARTS & CRAFTS

PERFORMANCE DATES BEGIN OCTOBER 17

**PRE-ORDER DAWN CHORUS HERE**

Video Still from “Do It Without You”

Today, Jacques Greene is sharing the new Mathieu Fortin video for “Do It Without You”, the first single from his upcoming LP, Dawn Chorus, out October 18 via Arts & Crafts.

WATCH AND SHARE “DO IT WITHOUT YOU” HERE

A bold step forward, Dawn Chorus is also Greene’s most collaborative project to date, featuring additional production and instrumentation from film composer Brian Reitzell (Lost In Translation), cello by London’s Oliver Coates, additional production from Clams Casino and original vocal contributions from ambient artist Julianna Barwick, rapper Cadence Weapon and singers Ebhoni and Rochelle Jordan, all sampled, processed and stitched back into the album.

If Greene’s 2017 debut album, Feel Infinite, was the soundtrack to a dream pregame – amping you up to lose yourself in the club – then Dawn Chorus resides in the post-rave reflective moment. A time of heightened sensuality and latent possibility.

Greene approached the making of Dawn Chorus as if he were a band. He lived in the studio for five months this past winter – half the time at home in Toronto, the other half in Hudson Mohawke’s studio in L.A. – and wrote these songs in a sprint to capture this chapter in his life. Ten years into the game and not yet in his thirties, his perspective on the value of dance music and where it rests with his daily life and inspiration bare out on this album. While samples played a big part in his early output, his creative process for Dawn Chorus revolved around recording a stellar cast of musicians, arranging new parts.

To craft the sound of the record, he thought about the artists he held dear and researched the gear they used as a means of being in dialogue with their emotional tenor. Some of the gear he sourced included the delay that My Bloody Valentine was renowned for, as well as a compressor used by French Touch producers Alan Braxe and Fred Falke. Working with mix engineer Joel Ford (of Ford & Lopatin), he created a rule book for the album’s sonics that saw each part, from the drums to the pads, be processed in a specific way, through guitar pedals and outboard equipment.

**PRE-ORDER DAWN CHORUS HERE**

Dawn Chorus opens with “Serenity”, an all-back-to-mine breaks tune that Greene describes as “a weird, euphoric take on Chemical Brothers.” “Night Service” is a neon-lit hip house anthem helmed by Canadian rapper Cadence Weapon, who drapes a love letter to the club around Greene’s acid-dipped synths. Elsewhere, “Distance” blends ambient textures with sampled birdsong and the snaking lines of Oliver Coates’s cello.

Now 29, Greene has been making music “about the club” for over a decade. His sound could be described as an emotional haze, in that its balance of sonic elements work to illuminate the overlapping feelings that lie between the familiar binaries. Outside of his own releases, Greene has explored his relationship with the club in a variety of contexts, from remixing Radiohead to producing for Katy B and Tinashe and touring with The xx.

He will tour Dawn Chorus in Europe and North America this fall with a stop in Montreal on October 26. Full dates can be found below.

ARTWORK CREDIT: Hassan Rahim // DOWNLOAD HIGH-RES

DAWN CHORUS TRACKLIST
1. Serenity
2. Drop Location
3. Do It Without You
4. Night Service
5. Sel
6. Let Go
7. For Love
8. Sibling
9. Whenever
10. Understand
11. Distance
12. Stars

Photo Credit : Mathieu Fortin // DOWNLOAD HIGH-RES

TOUR DATES
Oct 17 - Berlin, DE @ Burg Schnabel
Oct 18 - London, UK @ St. Pancras Old Church (Sold Out)
Oct 18 - Manchester, UK @ Warehouse Project (DJ set) (late show)
Oct 19 - London, UK @ Five Miles (DJ Set)
Oct 23 - Brooklyn, NY @ National Sawdust
Oct 25 - Los Angeles, CA @ The Echo
Oct 26 - Montreal, QC @ Ausgang

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WOOLWORM ANNOUNCE NEW LP, SHARE FIRST SINGLE “HOLD THE BOW”

September 19, 2019

**WOOLWORM’S THIRD LP, AWE, DUE OUT NOV 8 VIA MINT RECORDS**

LISTEN AND SHARE “HOLD THE BOW” HERE

PRE-ORDER AWE HERE

TOUR DATES BEGIN SEPTEMBER 26 AT POP MONTREAL

“...this killer tune will have you playing it over and over again.” - Indie88 (on “Hold The Bow”

Photo Credit : Lovisa Drever // DOWNLOAD HIGH-RES

Today, Woolworm announce their third LP, Awe, due out November 8 via Mint Records, expanding the band’s already robust songbook even further by offering a new take on their heavy, hardcore-inflected indie pop sound. Woolworm’s minor-chord melancholy is still featured throughout the album’s first single “Hold The Bow”, but the song’s uptempo, off-kilter rhythms and general urgency amp up the band’s delivery.

Indie88 says of the track: "The gritty new tune revolves around a powerhouse guitar line, a driven drum beat, and intimate, crooning vocal lines that feels almost reminiscent of The Cure or Joy Division. ‘Hold the Bow’ puts a modern twist on ’80s indie rock, and this killer tune will have you playing it over and over again.”

The song was inspired by Marina Abramović's performance art piece Rest Energy, says frontman Giles Roy. “The image of two people leaning back opposite each other, one holding a bow and the other holding an arrow pointed at their heart. Like the piece itself, the song is about complete trust. It's also a sort of love song, but not possessive, romantic love. It's more about unconditional love.”

LISTEN AND SHARE “HOLD THE BOW” HERE

With their massive sonics and anthemic pop songwriting, Woolworm is an arena rock band that just so happens to perform in DIY venues. Their music, which somehow seamlessly combines shoegaze, Britpop, post-punk, hardcore and black-metal into an impossibly cohesive sound, is the sum of their parts. Heather Black pounds her bass like she’s ripping a basement punk set before delivering sweet vocal harmonies straight out of the C86 compilation. Nick Tolliday pummels his drums with the reckless abandon of the hardcore scene that birthed the band. All the while, dual guitarists Alex Pomeroy and Giles Roy offer intricate, complex riff interplay as often as they stomp their pedals and break into hard-hitting power chords.

“People seem to be rightfully wary of rock in general,” Roy says, admitting that his band’s complicated genre blending is rooted in the familiar. “I like the underdog feeling.” That scrappiness is self-evident, but make no mistake: Woolworm are anything but underdogs.

The band’s bleakly fulfilling 2017 LP Deserve To Die saw them smashing their heads against the wall, meticulously planning every note before entering a real studio with venerable Vancouver producer Jesse Gander. This time around, they recorded with labelmate Jay Arner whenever the inspiration hit.

“Even though some of these songs date back to before Deserve To Die, we allowed ourselves to be spontaneous and open-minded here and took a collage approach to the overall record,” Roy says of Awe. “We let it be scrappier and more diverse and less symmetrical.”

The result is a collection of songs that are bristling with immediacy and, well, life. “Deserve To Die was a sort of exorcism, and this one’s more of a meditation,” Roy continues. “That one took so long to write and record that finally releasing it had a cathartic effect. But now we’re done with death. For the foreseeable future, at least. This is more of a life record.”

PRE-ORDER AWE HERE

The bleakness of Deserve To Die has also dissipated thanks to Woolworm’s relationship to Canada’s music community writ large. The band’s malleable sound has allowed them to play recent shows with artists as diverse as country pop crooner Orville Peck and mysterious hardcore legends Integrity, and no one has batted an eye. As a result, Woolworm have connected with audiences and like-minded musicians around the country.

“Ultimately, I think the album is about other people — trying to relate to someone, sometimes succeeding brilliantly, sometimes failing horrifically. Just the process of connecting with anyone is such a trip,” Roy says. “It’s so fucked up to have a real person in front of you and know that you’re each just hiding in your own mind. You can wind up knowing them pretty well but you will never know what it’s like to actually be them. So we’re all alone in our own realities, but then we’re all constantly trusting each other in so many ways. That can go horribly wrong, but when it goes right, that’s the most beautiful thing I can think of.”

Overwhelming feelings, lived-in melodies and masterful rock music. It’s all more than enough to inspire Awe.

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AWE TRACKLIST
A1. Awe
A2. Dogman
A3. Hold the Bow
A4. Soon
A5. Finally
A6. Live for You
B1. Might as Well
B2. Much Too Much
B3. Can’t Be Fucked
B4. Without Will
B5. Let Me Wear the Mask
B6. Woe Is Me

TOUR DATES
Sept 26 - Montreal, QC - Quai Des Brumes (Pop Montreal)
Sept 27 - Ottawa, ON - Cinqhole
Sept 28 - Toronto, ON - The Beguiling
Oct 12 - Vancouver, BC - 333

MORE DATES TBA

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