SCOTT HARDWARE SHARES TITLE TRACK FROM UPCOMING LP, ENGEL

LISTEN AND SHARE “ENGEL” YOUTUBE / SPOTIFY

ENGEL OUT APRIL 3 VIA TELEPHONE EXPLOSION

“...an eclectic and uncategorizable piano-and-strings-speckled meditation on queerness, shame, death and the afterlife.” - NOW Toronto

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Photo Credit : Shelby Fenlon // DOWNLOAD HIGH-RES

Today, Scott Hardware shares the title track from his upcoming album, Engel, due out April 3 via Telephone Explosion courtesy of The Fader. The subject of “Engel” is in a relationship with a mischievous angel (named Engel,) who is probing his mind against his will. ‘Here he comes to comfort me, but like a fly around my head I’d sooner swat him dead,’ is sung over an off-the-grid deconstructed house piano. A symphony of creaking trains and industry envelops the banging piano and delicate strings on the chorus while our hero complains, ‘He’s here with that look again, he knows what’s happening, inside,’ not, it would seem, ready for this level of vulnerability. 

LISTEN AND SHARE “ENGEL” YOUTUBE / SPOTIFY

Engel marks the end of a three-year process of writing, recording and letting down his guard (for better or worse.) His last album, Mutate, Repeat, Infinity, was the culmination of a years-long obsession with the HIV/AIDS crisis and how it was shaped by capitalism. Hardware’s early years after coming out were shaped by the courage of people close to him who were dealing with difficult diagnoses. 

“Looking at these situations from a macro/societal lens must have been the only way I could process and share those years of my life and my loved ones’ lives with an audience” Hardware recalls. “From a writing and production standpoint, I was trying to re-imagine various eras of dance music and sound as urgent and vital as they would have in their heyday of the ‘80s and ‘90s.” 

Within a year of moving back (to Toronto) from Berlin, Scott watched Wim Wenders’ Wings of Desire and was immediately filled with its inherent curiosity. The film, in short, follows angels around pre-unification Berlin as they listen to the thoughts of the mortals they are surrounded by. 

“I sought with this album to capture the film’s velvety feeling – in turns funny, depressing, dark and mundane – in LP form” Hardware says. “These songs imagine Wenders’ angels buzzing around my friends, my family and I. Writing from their point of view allowed me unfettered access to my own thoughts about them and myself.” 

LISTEN AND SHARE “JOY” BANDCAMP / SPOTIFY

“Millionaire” swoops in on a courtship doomed from the beginning: “He’s a Millionaire, and what a Millionaire says goes”. A sense of inferiority follows the protagonist in his efforts date a richer man than himself – the romance being cut short because of the poorer man’s insecurities. He decides: better to be alone than to feel beneath. 

“Millionaire” is the most delicate song on Engel. Sullen guitars glide over a rolling plain of harps, drones and underwater motifs with Deidre Nox’s beautiful vocals bringing an almost camp level of melodrama to its crescendo as Hardware and Nox sing together: “you can feel him like he’s always been there.” 

The song ends on a sour note, in a swamp of drones and fallen electrical wire buzzes – and back where the protagonist began. 

“Survivor’s Guilt” ties Engel to Hardware’s previous work with its premeditation on illness and the grief left in its wake. A digitized voice reads a sister’s eulogy to her brother lost to suicide after years of losing his friends around him to “a disease.” The six-minute instrumental takes respective production cues from both Boyz II Men and vaporwave. A chopped voice asks sadly, ‘How can I survive surviving?’ before Nox appears once again, singing the song (and album) to sleep. 

LISTEN AND SHARE “BLU AGAIN” SOUNDCLOUD / SPOTIFY

Engel’s cover art is adorned by an image by artist Chris Curreri called the Insomniac. Curreri’s work winks and nods to queer sex, emotionality and darkness, and this piece is no different. This is work that reaches back to queer artists such as Francis Bacon and brings back with it a timeless everyday horror faced by queers: shame. 

These are artists who visualize monsters and demons hiding in plain sight. Like singing to dead queer ancestors on Mutate, Repeat, Infinity, Hardware is trying to make sense of another queer cross-to-bear, this time coming from within. The image is gory and difficult, not unlike the process of digging shame from one’s spirit. Engel, in its preoccupation with angels, the afterlife and private thoughts holds hands with the image. 

 

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ENGEL TRACKLIST
1. Intro
2. Millionaire
3. Blu Again
4. Joy
5. Engel
6. Left Hand
7. Bound Together
8. Survivor’s Guilt

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SARAH HARMER SHARES NEW VIDEO FOR “ST. PETER’S BAY”

WATCH AND SHARE “ST. PETER’S BAY” HERE

THE “REMARKABLE” NEW ALBUM IS HARMER’S FIRST IN A DECADE OUT NOW VIA ARTS & CRAFTS

BUY / STREAM ARE YOU GONE HERE

"one of the most accomplished and affecting albums in her already remarkable catalogue" Exclaim! 9/10

“Harmer’s greatest strength is in her vocal conviction and clarity.” Bandcamp

“she unfurls the most gorgeous melody of the album, if not her entire career.” - on “Just Get Here”  The Boston Globe

Are You Gone is a journey across time, place, learning, and loss that Sarah Harmer is an incredibly gracious guide to take us on”  Folk Alley

"An artist long appreciated for her ability to survey a scene and describe it with such poetic clarity has honed her lyrical sensibilities even further.” Analogue

“a folky, minor-key song about ice skating at night, with a gentle vocal and a sturdy melody, that maps a precarious relationship onto the wintry conditions. “ on St. Peter’s Bay New York Times

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Photo Credit : Vanessa Heins // DOWNLOAD HIGH-RES

The video for "St. Peter's Bay", off Sarah Harmer's acclaimed new album, Are You Gone, is out now. Billboard says it is “certainly chilling as Harmer treks around the island, ice skates and sits in front of a small campfire.”

A swirling, expansive piano-and-guitar song about the grief at the end of a relationship (written while Sarah was on her way to a "Hockey Day" gig - The New York Times deadpanned in their write-up of the track, "How Canadian is this?"), the self-directed video takes viewers on a trip to the frozen, real-life St. Peter's Bay, for a cathartic last skate.

"I made this with filmmaker Josh Lyon,” says Harmer. “We hopped a late afternoon ferry to an island in the St Lawrence River and caught a brief window of mild weather and a bit of sun. For me this story takes place in a simpler time, when word was sent ‘on the wires of woodsmoke’ and ice was sure to freeze from one shore to another. The pain of ending a relationship is familiar in any era, and the vastness of the landscape in the middle of the river speaks to that timelessness.”

WATCH AND SHARE “ST. PETER’S BAY” HERE

Out now via Arts & Crafts, Are You Gone is a deeply personal and political collection of songs motivated by the beauty of life, the urgency of the climate crisis, and the question of loss. Sarah called the album a spiritual successor of sorts to her acclaimed 2000 debut, You Were Here, which made many year-end critics’ lists, and which TIME called the year’s best debut album. Its simple title, Are You Gone, is a meditation on the idea of presence, and a bookend to the questions posed on You Were Here - a sharpened, more electric confrontation with the realities of nature and human nature.

WATCH AND SHARE SARAH HARMER’S CBC FIRST PLAY LIVE PERFORMANCE HERE

LISTEN AND SHARE SARAH HARMER’S CBC q PERFORMANCE HERE

The result of an unshakeable inclination to make music in conflict with a lifestyle more attuned to privacy, quiet, and activism, Sarah wrote Are You Gone gradually over the last decade as she traded music for grassroots organizing as her “day job.” Between co-founding the citizen’s organization PERL (Protecting Escarpment Rural Land) and leading the coalition’s successful efforts to prevent a quarry from being built on the Niagara Escarpment, she became a fixture in local politics and advocacy, while keeping her musical chops fresh by writing and playing casually with friends. Finally, in 2019, while pondering the “ghosts” of loss, capitalism’s gluttony and music’s potential as a public platform, Sarah got to work on Are You Gone, her most sophisticated record to date.

WATCH AND SHARE SARAH HARMER’S NPR WORLD CAFE SESSIONS HERE

Encompassing a stylistic range from barebones folk to layered indie rock, album opener “St. Peter’s Bay” blends melancholic vocals and smooth atmospherics to effectively conjure the feeling of standing at dusk overlooking an endless sea, while “Take Me Out” is a modern, punchy alt-rock take on the near impossibility of letting go. “What I Was to You” is a tribute to Harmer’s lifelong friend Gord Downie of the Tragically Hip, and psychedelic-tinged piano ballad “The Lookout” tackles the angst of love-across-timezones. Penultimate track “Shoemaker”, about Sarah discovering an old book and census of her great great Glaswegian grandfather, calls to mind the gently ominous, slowly shifting chords of Sparklehorse before transforming into a gorgeous, almost-crescendoing show of Sarah’s vocal range. “See Her Wave” wraps the album with an acoustic goodbye written in memoriam to another friend who moved on.

WATCH AND SHARE “NEW LOW” LYRIC VIDEO HERE

Sarah has performed on The Late Show with David Letterman, Ellen, has been nominated for the Polaris Music Prize, garnered nine JUNO Award nominations and two wins, and been widely praised for her “razor-sharp songwriting chops” (NPR Music) and “plainly hooky” melodic sensibility (Rolling Stone).

Recently, due to the current global pandemic, Harmer has decided to postpone all of her upcoming tour dates. She issued this statement on the decision :

“After planning our upcoming tour for the past many months it is now clear that the prudent thing to do is to reschedule our spring dates to a time in the hopefully near future when the threat of the COVID-19 virus has passed. My band and I are sooo looking forward to making music for you when we can all come together safely and celebrate. We plan to honour all of the tickets at rescheduled shows. Please hold on to your tickets and we will share the revised plans as soon as possible. I have been really looking forward to this tour and of course I’m bummed it will have to wait a little longer. I’m sorry if this throws a wrench into your plans.

Signing off in solidarity with all the organizers out there who want to do what’s best to look after each other and our healthcare workers right now. Please take care and see you before long.”

BUY / STREAM ARE YOU GONE & VINYL DISCOGRAPHY HERE

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TONIGHT, DAN MANGAN PLAYS SHOW TO NOBODY #QUARANTUNES

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PHOTO CREDIT : Vanessa Heins // DOWNLOAD HIGH-RES

With people around the world hunkering down to isolate themselves in an attempt to stop the spread of Covid-19, Dan Mangan has decided to play a show to…nobody...except you’re invited to attend from the comfort of your home!

On Friday night, Mangan was set to play Toronto’s Danforth Music Hall as part of his 10th Anniversary Tour for his breakthrough album, Nice, Nice, Very Nice. Sadly, due to the pandemic, his show and many others were cancelled out of concern for the general public. With the band already set up inside the empty theatre, Mangan recorded his Friday performance and will share it online via YouTube Tonight at 9pm ET. 

TUNE IN TO DAN MANGAN’S ‘SHOW TO NOBODY’ AT THE DANFORTH MUSIC HALL TONIGHT AT 9PM ET HERE

Visit Mangan’s Instagram or Facebook for a sneak peek at some of the songs that will be performed at tonight’s show.

Updates on the remainder of Mangan’s 10th Anniversary Nice, Nice, Very Nice Tour will be announced in the near future.

MORE ABOUT NICE, NICE, VERY NICE 10th ANNIVERSARY

In 2009, Dan Mangan released Nice, Nice, Very Nice, an album that established him as one of this generation's most thoughtful songwriters and lyricists. Hear Ya called it the “most pleasant surprise of 2009”, while Exclaim! predicted the future saying the album “knocks you flat on your ass...Mangan's career is clearly on the rise. Hop on board and enjoy the ride."

Now, ten years later, Mangan is celebrating that pivotal album by releasing a deluxe edition double LP that includes a second album of previously unreleased material, b-sides, demos, and alternate versions from the original sessions. The album is available now via Arts & Crafts

“I remember the months prior to recording this album were complicated,” says Mangan in an essay about Nice, Nice, Very which can be found in the deluxe edition’s liner notes. “I’d cut ties with my manager and my relationship with my record label was uncertain. I had been denied every recording grant I could find. 

I remember going for a long walk with my mom and step-mom. I knew I’d written some decent songs, but I was terribly broke and scared to move forward. We came up with a plan - that I’d draw up a proposal and reach out to people in our community, asking for contributions toward the production cost. I’d pay everyone back with interest. ‘There are people who would love to support you’. This was before crowd-funding was a thing, but we’d inadvertently stumbled upon it.

I remember telling John Critchley that I wanted the album to be thoughtful, but that it should still feel like a party at times. John had recorded some albums for Elliott Brood, who I’d toured with in Australia. I emailed him the demos and we had a few long-distance chats. He believed in the songs and I was excited to work with him. I was also excited to work with someone in Toronto - it seemed like a world away from Vancouver.

I remember staying in the east end of Toronto with family-friends and riding the Queen St streetcar from The Beaches to Parkdale - an hour commute to and from the studio each day. It was just enough time to obsessively over-analyze everything we were working on.

I remember running in to Kevin Drew from Broken Social Scene at Poor John’s - where I’d get my coffee each morning. That was exciting. I was in love with his band and also with his record label, Arts & Crafts.

I remember Justin Rutledge was very hung over, but I convinced him to come in anyhow, and he still sang like a bird on “Tina’s Glorious Comeback”. Mark Berube played piano on “Robots” and “Sold” and even took a verse on “Some People”, and those piano melodies lingered in my head for years. Mark Sasso screamed the high notes on “Robots”. Ryan from The Warped 45s played mandolin on “Road Regrets”. Jean-Olivier and Rachel Prince came in from Quebec City to play violin and trombone. It was to them that I said ‘Allons y’ at the beginning of “Et Les Mots Croisés”, which prior to that moment had been called “Tea and Crosswords”. Anne Bourne was an old friend of John’s, and she improvised cello lines. Shaun Brodie was a new trumpet friend. To me, he was famous because he’d played with Hayden. 

I remember gathering a ton of pals from the Vancouver music scene to sing the gang vocals on “Robots”. Said The Whale, Hannah Georgas, The Zolas, etc. None of us knew then what that song would become for me. I don’t remember which of us started applauding at the end, or why - what a bizarre thing to do… but for some reason, I think that little closing group-clap is integral to the recording’s sardonic tenderness.

I remember when “Robots” was added to Grant Lawrence’s CBC R3 Podcast. At that time, it was the greatest bit of promo you could hope for in Canadian indie music. 

I remember the first time somebody showed up to a concert head-to-toe in a robot costume. The song wasn’t even mine anymore. “Robots” had taken on a meaning far beyond what I think I had intended. It just couldn’t have been planned in some board room, which made it all the more beautiful and real. What was even more bizarre was that it started to happen more and more frequently. I’d invite entire groups of robots on stage to dance while we closed the shows. It was ludicrous. It was a carnival. I was the ringleader.

I remember selling out The Horseshoe in Toronto and feeling like I’d climbed Mount Everest. The next morning, The Globe and Mail published a scathing and mean-spirited review of the show. I was devastated. They will crown you, then they will take your legs. My brother Neil, who was tour managing, looked for a silver lining. He said, ‘You’ve made it! You’re popular enough to trash!’. 

I remember my boss calling me from my restaurant job in Vancouver: ‘You’ve been touring for six months, and every month you’re gone, I have to fill out a form explaining why you’re still on the payroll. I don’t like paperwork - so I’m letting you know that you’ve quit.’ I might have never pulled that trigger if he didn’t do it for me.

I remember receiving an email from Arts & Crafts while on tour in Amsterdam with Kirsten. They wanted me to join their management roster, and potentially their record label. I closed the computer. I could barely even handle it and worried that if I responded too quickly, they might rescind the offer. We went for dinner.

I remember wanting to be a troubadour. I wanted to add my sweat to the walls of every dive bar in the world. I loved the fantasy of it all. Chasing somebody else’s dragon. Now I care less about being seen in that light. I’m not a mysterious kind of artist, lurking pack-to-pack in the moonlight. I’m a guy who wants to write songs that articulately discuss how the pros of existing might outweigh the cons. I’m a guy who takes the early flight home so I can eat lunch with my kids. I hope that’s enough.

I used to be so young. How did I get so old?”

READ DAN’S FULL ESSAY ONLINE HERE

PRAISE FOR NICE, NICE, VERY NICE

"He's an observer in the sense you'd want to join him on a patio for a drink just to see the city through his eyes for an afternoon. Until then, Nice, Nice, Very Nice effectively lets you pretend for just over 40 mesmerizing minutes." - CHARTATTACK

"It's hard to believe that this new collection of stellar songs won't help him leave each tour stop with countless new fans in his corner." - HEROHILL

"Listeners wouldn't expect the cheeky content to sail through waves of dynamic choral balladeering and colourful instrumentation, but Mangan doesn't only pull it off, he makes it soar." -SOUNDPROOF

“While most of us keep moving along, Mangan distills these banalities into earnest indie folk and invites us into his chorus.” - NOW 

“Material like Nice, Nice, Very Nice, doesn’t surface too often... Few can actively understand what they’re seeing and transcribe these experiences and feelings into words as well as he can.” - 30 MUSIC

“Sardonic observer of the world around him one moment, absurdist storyteller the next, but I suppose when done right the two really aren’t all that different.” - CHROMEWAVES

“It’s remarkable how Mangan’s songs travel across a spectrum of sounds all the while forming a cohesive identity that is very much the sum of the parts.” - VUE WEEKLY

“Mature, slow to unravel, and broad in scope, this is a fine, fine, very fine record indeed.” -THE LINE OF BEST FIT

“Not only is every aspect of the sound and lyrics perfect, but never has an album made me feel so many emotions over the course of less than an hour. Perhaps this is the power of folk music that I have never been able to appreciate until now.” - GRAYOWL POINT

DAN MANGAN
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