SAM WEBER ANNOUNCES NEW LP, SHARES NEW SINGLE “MONEY”

NEW ALBUM, GET FREE, OUT FEBRUARY 4, 2022 VIA SONIC UNYON

LISTEN AND SHARE “MONEY” HERE

BUY / STREAM “MONEY” HERE

US TOUR DATES SUPPORTING BAHAMAS CONTINUE THIS WEEK

Press Photo : Jacob Boll // DOWNLOAD HIGH-RES

Sam Weber's storied exodus from his homeland of Canada to find new footing and opportunity in America resonates like a classic story of pain, loss, and rebirth. That narrative thread is woven throughout his new record, Get Free, offering a warm, intimate, and multidimensional portrait of the 28-year-old singer-songwriter. With this new collection of material, Weber reaches fresh emotional depths, commanding more expressive personal moments than ever before — at times within the margins of a single verse.

Today, the celebrated guitarist and songwriter is sharing “Money”, a song “about the effect of currency, and an attempt to acknowledge how people’s lives all move in different directions,” says Weber. “What I do in a professional capacity exempts me from the responsibilities that other people my age are beholden to, in some ways I feel very free, but in other ways I feel very lonely watching other peoples' lives unfold, like I’m stuck in the same place." 

LISTEN AND SHARE “MONEY” HERE

BUY / STREAM “MONEY” HERE

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MORE ABOUT GET FREE
Sam Weber has already logged more miles as a gigging musician than most of his peers will in a lifetime, earning enviable accolades along the way (he was featured in Guitar Player a decade ago, by some accounts the youngest artist ever to grace those pages). He first picked up the guitar at age 12 to form a rock ’n’ roll band with his father and brother in the living room of their family home. 

Sixteen years later, having collaborated with Grammy Award winners and with extensive international tours under his belt, the Canadian-born Los Angeleno goes forth with the same intention and mantra as when he began: “Music is an emotional conduit between people and allows us the opportunity to share moments of truth and unity. In an age where the ritual of music-making can be a solitary exercise, I want to live my life to remind everyone that playing music as a communal and spontaneous practice can be healing and powerful.”

After recording what Weber calls his “only real studio album,” Everything Comes True, which was cut live-off-the-floor in the iconic B room at Hollywood’s Ocean Way Studios, things began to move steadily for Sam. More frequent visits to Los Angeles had allowed him to make a name for himself, and he began to form friendships in the music community. He was tapped to contribute to a compilation album alongside Andrew Bird, Blake Mills, Jim James, Taylor Goldsmith (Dawes), Tim Heidecker, Tony Bennett, Kurt Vile, Jackson Browne, and Matt Berninger (The National). 

WATCH AND SHARE “HERE’S TO THE FUTURE” HERE

BUY / STREAM “HERE’S TO THE FUTURE” HERE 

“Initially, it was the music scene here that drew me in,” Sam notes. “So many of the albums that meant so much to me growing up came from this place, but when I finally set my feet in town, I was spellbound by everything I saw — especially the architecture. There’s an incredible variety of style and materials. The passage of time is so evident here and it can feel like a ruin. It’s not an old place as far as cities go, but the energy of the people who’ve passed through is enchanting.”

Charmed by the city of angels, Weber began the process of formally moving to Los Angeles and writing what would become Get Free. When COVID-19 rendered touring prospects inert and much of his initial recording plans impossible, he sought a new approach. 

“I wrote most of this music before the lockdown happened,” he says. “We wanted to go into another beautiful L.A. studio with another super band to record these new songs, but when all the plugs got pulled, we were sort of left holding nothing but the material. My partner Mallory Hauser (Mal, was keen to rally and share production duties with me to make the most of what we had, which was liberating somehow: to have this logistical ceiling on how we could record or approach these songs in our living room. We were forced to be as creative as possible with what we had. I think it was the best thing that could have happened to us.” 

Coming face-to-face with the realities of record making in the pandemic age, Sam and Malllory called upon their friend Danny Austin-Manning to join their pod and the trio began meeting up weekly for recording sessions in their Hollywood apartment. “Danny would come over and the three of us would turn on the microphones and give these wild, unchained performances of the material,” Weber recalls. “The songs became as much about the experience and ritual of spending time together as the content in the lyrics. I called the record Get Free because each performance of each song was a moment of transcendence and an escape for us from an otherwise odd, restrictive time.” 

Weber and Hauser tapped Grammy-nominated engineer Robbie Lackritz (Feist, Bahamas) to mix the album, having collaborated with him on the JUNO Award-nominated Bahamas album Sad Hunk. “I really love [Get Free], don’t get me wrong… but it sort of sounds janky…in a good way! Because our only option was to make it in our house, it gave us permission to let it be what was going to be and not get wrapped up in the details, and in turn I think that allowed the veil between the performances and the hearts of each song to be very thin. Robbie [Lackritz] sort of saved the record fidelity-wise; we gave him some questionable rough mixes with the room mics cranked up so loud. What we got back sounded way rad.”

A particular sense of grandness is felt in certain songs across Weber’s recorded catalogue. Moments that feel lofty, yet devoid of pretentiousness. With more of these moments present and tangible on Get Free than any other of his releases, the listener can effectively observe Sam’s emancipation. With this record he assumes a creative identity unique only to him. 

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GET FREE TRACKLIST
01 Truth Or Lie
02 Already Know
03 Get Out Of The Game
04 Don’t Cry For Me
05 Survival
06 Nowhere Bound
07 Here’s To The Future
08 Money
09 Everyone
10 Streets Of LA

2021 TOUR DATES WITH BAHAMAS
10/12 - Washington, Dc - 9:30 Club 
10/13 - Raleigh, Nc - Cat’s Cradle 
10/14 - Charlotte, Nc - Visulite 
10/15 - Atlanta, Ga - Variety Playhouse 
10/16 - Ponte Vedra, Fl - Pvch 
10/17 - Orlando, Fl - The Social 
10/18 - Birmingham, Al - Saturn 
10/20 - St Louis, Mo - Delmar Hall 
10/21 - Kansas City, Mo - The Truman 
10/22 - Minneapolis, Mn - First Avenue 
10/23 - Chicago, Il - The Vic Theater 
10/24 - Detroit, Mi - Majestic Theater 

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ASTRAL SWANS NEW LP OUT TODAY, SHARES LIVE VIDEO

Photo Credit :Tiffany Leung // DOWNLOAD HIGH-RES

Today, Astral Swans’ (Matthew Swann) new self-titled LP is released unto the masses. The most upbeat, catchy, and immediate Astral Swans album to date, each song operates as an absurdist short story filled with Swann’s wry observations of the sad beauty of mundane moments. Swann almost exclusively composed the songs internally on solo walks throughout various cities around the world (pre-covid), and the same city over and over again (during covid). As Swann describes it, “the melodies were written in my head, on long walks alone, like spontaneous flowers sprouted from the id; ecstatic downloads from the cosmos. Sometimes the lyrics appeared with the melodies, other times they were refined more consciously, after the fact.”

To celebrate the release, Swann is sharing the live performance video of “Blackhole Town”, a love song “about a desperate person living in a small redneck town.” says Swann. “I often imagine it as a specific town in Alberta (where I grew up), but it could be any equivalent that I’ve passed through over many years of touring. Some places just feel inhospitable to progress. It’s essentially about a broke, young weirdo singing to their partner about wanting to move away together to someplace where they won’t feel so strange. Lyrically it’s a bit country, musically it’s trippy as heck.”

WATCH AND SHARE “BLACKHOLE TOWN” LIVE PERFORMANCE

MORE ABOUT ASTRAL SWANS
Astral Swans is Matthew Swann - a human song-maker specializing in abstract narratives of lonerism, frailty, absurdity, and whimsy, all told with darkly comedic empathy, and helpless concern. 

The songs on Astral Swans range from affirmations of joy amidst dread, composed in the streets of Shimokitazawa Tokyo (“Wind In A Mindless Universe”), to ballads of disoriented uncertainty set against the backdrop of early quarantine (“Spiral”). Songs about birds heckling the anxious and heartbroken in Vondel Park Amsterdam (“Bird Songs”), to a cover of the Cat Power classic, “Cross Bones Style” sung as a duet with Julie Doiron (Eric’s Trip, Mt. Eerie). The album closer “Awake For A While”, is an interrogation of somebody who is trying to piece together the events that transpired over many days of, well...being awake.

WATCH AND SHARE “FLOOD” FT. JULIE DOIRON HERE

BUY / STREAM “FLOOD” FT. JULIE DOIRON HERE

Astral Swans was produced and engineered by Paul Chirka (Calgary Philharmonic Orchestra), and Brock Geiger (Reuben and the Dark), with Swann functioning as a third producer. Sonically it is rich and spacious, and features a diverse array of sounds ranging from delicate string arrangements, to atmospheric synth freak outs, and deconstructive guitar solos. All the while, seated atop all the instrumental beauty and chaos floats Swann’s uniquely haunting voice which effortlessly warbles and swoons through its natural range and into Swann’s trademark falsetto. Astral Swans ST brings with it an arts commune worth of fantastic collaborators. Guest performers include: Julie Doiron (Eric’s Trip, Mt. eerie) Cassia Hardy (Wares), LT Leif, Scott Munro (Preoccupations, Chad VanGaalen), Shalom Toy (SilverRing), Laura Hickli (36?), Minami Taga (Mako Puri), Swann’s childhood friend Carolyn Sweet, Jim Bryson (Kathleen Edwards, Weakerthans), and more. Each guest adds their own unique addition to the sound, bringing their own bit of the world into Swann’s solipsistic compositions. 

WATCH AND SHARE “SPIRAL” FT. JULIE DOIRON HERE

BUY / STREAM “SPIRAL” FT. JULIE DOIRON HERE

In 2015 Swann gained prominence as the first artist signed to Madic Records, an imprint of Arts & Crafts helmed by JUNO award-winning musician Dan Mangan, and created for the purpose of releasing Swann’s debut All My Favourite Singers Are Willie Nelson. The album received widespread acclaim, Noisey described it as “a stark, beautiful project that embraces darkness rather than shying away from it.” The Calgary Herald called Swann an artist of immeasurable depth, incredible smarts, remarkable bravery and infinite charm, creativity and insight. 

2018’s Strange Prison (co-produced by Preoccupations’ Scott Munro) earned even more attention including accolades from  Paste, Tiny Mix Tapes, Post Trash and a host of others. The album’s single CONTROLS reached number one on CBC radio 3 which led to a performance on CBC q, which highlighted Swann’s ability at “grabbing listeners' attention and holding onto it.” 

BUY / STREAM ASTRAL SWANS HERE

AS_LP_ST_cover.jpg

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ASTRAL SWANS TRACKLIST
01 Spiral
02 Flood
03 Blackhole Town
04 End Of The World (Missing You)
05 Sympathy For The Stupid
06 Bird Songs
07 Wind In A Mindless Universe
08 Cross Bones Style
09 March 28/20 
10 Beautiful Things Happen
11 More Nothing Than Something
12 I Was Awake For A While

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OURI SHARES NEW SINGLE "OSSATURE"


DEBUT ALBUM FRAME OF A FAUNA DUE OCTOBER 22ND

BUY / STREAM “OSSATURE” HERE

PRE-SAVE FRAME OF A FAUNA HERE

"dials in swooping sounds, echoey vocal syllables, a glitchy beat, tentative chords; the dance beat solidifies, falls away and reappears" - The New York Times

"effortless and sublime" - PAPER Magazine

"a master at crafting synth soundscapes that flow with ease and unexpectedly morph and shapeshift over the course of the track while grounding it all with her own airy vocals." - CBC Music

"a richly rewarding left turn" - The FADER

“entrancing soundscapes weaving strings with synths” - Exclaim!

"expertly guides listeners through a narrative of anticipation, climax and release" - Office Magazine

“Dreamy, experimental ambience punctuated with industrial samples and electronic fervor. ...hypnotizing” - NEXT Magazine

"equal parts comforting and transcendent" - V Magazine

Photo Credit : Kane Ocean // DOWNLOAD HIGH-RES

Today, Montreal-based multi-instrumentalist and producer Ouri shares the new song "Ossature", which marks the fourth single shared from her upcoming debut album Frame Of A Fauna, due October 22. "Ossature" is an atmospheric track with stabs of sharp strings overlapping Ouri's airy vocals. The song samples "Intact Alef" by PTU (courtesy of трип records [Trip records]).

Ouri shares about the track, "I revisited the iconic, agile and tense sample of 'Intact Alef' by PTU from one of my favorite labels трип records for this song. Rebellious choruses fight submissive verses, puncturing the classical nuances with industrial abrasions and heavy drum samples - tearing down any attempt to keep a disciplined and soft self on top."

BUY / STREAM “OSSATURE” HERE

"Ossature" follows the previously released tracks "High & Choking Pt 1", "Chains", which arrived coupled with a music video co-directed by Derek Branscombe and Ouri, and the Antony Carle collaboration "Felicity". Ouri also recently released a joint project with Helena Deland, Hildegard, which received widespread critical acclaim with Pitchfork praising the collaboration as "pure creative symbiosis" and The FADER describing as, "a hypnotic composition that ebbs in and out of darkness, mining strength in synchronicity."

Frame Of A Fauna takes the Canadian artist's knowledge of big orchestral sound, and creates her own fusion. The project inspects the framework of the body - how emotional hardship can imprint, and in turn deform the skeleton. If the bones are the container that stands the test of what is being contained- What is the residue of happening? And where does it go? She notices the way time can rupture a rib cage, pull out the collar bones, or make a fist out of fingers.

The cycle of birth, death, and constant rebirth sends Ouri transcending through the creation of this album, as she explores what lies inside the lining of the big dharma wheel: trauma, control and vulnerability. The album begins in a bedroom in London, and hops to Berlin where she witnessed her sister give birth - and sees its completion a year later after a sudden trip to Brazil, where she said her last goodbye to her mother.

Ourielle Auvé, known professionally as Ouri, grew up in France and moved to Montreal at the age of 16 with dreams of becoming a composer. As Ouri developed her compositional ability, as well as her production and vocal chops, she integrated herself with late-night DJ sets in Montreal's underground rave scene and was eventually selected to take part in Red Bull Music Academy's Montreal Bass Camp. From there, her profile began to grow as she headlined Boiler Room's Montreal showcase, toured with the likes of Yves Tumor and Jacques Greene, released her first EPs Superficial and We Share Our Blood, and collaborated with fellow Montreal artist Helena Deland on the interdimensional Hildegard.

PRE-SAVE FRAME OF A FAUNA HERE

UPCOMING LIVE DATES:
10/27 - Montreal, QC @ Phi Centre
11/11 - Quebec, QC @ Pantoum

OURI_LP_FOAF_cover.jpg

Frame Of A Fauna Artwork // DOWNLOAD HIGH-RES

1. Ossature
2. The More I Feel
3. Two
4. Odd or God (ft. Mind Bath)
5. High & Choking Pt 1
6. Fear of Being Watched
7. Fonction Naturelle
8. Wrong Breed
9. Chains
10. En Mon Doux Sein
11. Shape of It
12. Too Fast No Pain (ft. mobilegirl)
13. Felicity (ft. Antony Carle)
14. Grip


MORE ABOUT OURI
Ouri grew up in France, in a family of mixed french and afro-carribean descent. She began playing the harp and piano at 5, but at 7 she found unity in the cello. A self proclaimed introvert who’d rather dash off on her own than feel disconnected in the wrong crowd- she arrives in Montreal at the age of 16 to pursue a degree in composition.

Montreal’s rave scene is where her artistry began to take shape - establishing herself in the community as a producer, DJ, and composer. Lending her skills to various collaborations, she strengthened her sense of self, but also her affinity for transforming sonically into any genre, playing any role.

In 2018 she was invited to MISM x Boiler Room’s Montreal show, signed to Ghosty (international) & Make it Rain Records (Canada) for the release of her EP We Share Our Blood and was asked to make official remixes for the likes of Tokimonsta. Her growing notoriety let her support Jacques Greene, Yves Tumour, and Kllo live in concert.

Evolving beyond her affirmed DJ persona, she breaks out of the underground to come up for air - where she collaborates with folk artist Helena Deland. They merge in a dimension of their own, and Hildegard is born.

Now in her debut album, she shatters the oftentimes submissive and distant approach to ambient sound to finally take up space and connect to her own experience.

Ouri explores the intricate formation of shape in Frame Of A Fauna. The intangible is held and the unseen is sung as it inspects the framework of the body- how emotional hardship can imprint, and in turn deform the skeleton. If the bones are the container that stands the test of what is being contained- What is the residue of happening? And where does it go? She notices the way time can rupture a rib cage, pull out the collar bones, or make a fist out of fingers.

She takes her knowledge of big orchestral sound, and creates her own fusion, puncturing the classical with industrial abrasions and electronic nuance. Ballads and drum samples take melodies out of the middle ground. She finds home in the new hybrid- but first she must stretch the old structure to make a clearing.

The album begins in a bedroom in London, and hops to Berlin where she witnessed her sister give birth - and sees its completion a year later after a sudden trip to Brazil, where she said her last goodbye to her mother.

The cycle of birth, death, and constant rebirth sends her transcending through the creation of this album, as she explores what lies inside the lining of the big dharma wheel: trauma, control and vulnerability. She starts outside and builds as she asceneds inward, which is how she transforms the universal, into a personal space, not for the lost, but rather for those who are in suspension.

She sculpts chaos with layers of texture, only to ask you to find her voice within it, “Hold on, hear it out and chase me” she sings.

Sound fills to the brim, cello meets synth, becomes lush and ethereal, only for her feather light voice to slither in with ferocity. You weed through the sound to meet her in her sincerity. In this way we are listening twice- for what she wants to say, and what she wants to feel- which are not always the same. 

She invites you to be comfortable in the lucid, to be sensual without the sexual, in the possibility of communicating what you may not yet know.

She edits lyrics to “Ossature” in a final revision to include hope in her perspective, and records GRIP in record time in a sweeping fit of grief in honour of her mother.

Conscious not to define herself within any one structure, but to cascade her own spectrum of sound- in Frame Of A Fauna Ouri shows us everything she can do, while what comes next is everything she will.

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