RUBY SINGH SHARES NEW TRACK FEATURING ACCLAIMED ENSEMBLE OF VOCALISTS


LISTEN / SHARE “HORIZON” 

FEAT. PIQSIQ, TIFFANY MOSES, DAWN PEMBERTON, RUSSELL WALLACE

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VOX.INFOLD, SET FOR RELEASE ON JANUARY 31, 2022 VIA BANDCAMP
(FEBRUARY 18, 2022 EVERYWHERE ELSE)

Photo Credit: Christine Cofsky // DOWNLOAD HIGH-RES

If the horizon is the furthest point you can see, where the line of the sky meets the earth and where the known and the unknown converge, then “Horizon” - the second single from Ruby Singh’s upcoming Vox.Infold - is a sonic unfolding on how we can look towards future possibilities. The sisters of PIQSIQ, Inuksuk Mackay and Tiffany Ayalik, invite us into the song with Katajuk (Inuit Throat Singing) over sub bass tones of Singh. Tiffany Moses’ voice lures us further with cascading counter melodies in harmonics. When Singh’s beatbox hits with Russell Wallace’s rich bass melody the song lifts off for Dawn Pemberton’s voice to soar, carrying us all to new heights. Sure in its direction, “Horizon” brings the listener into an evocative dream that sets sail toward unknowable potential. Reaching from the embodied into the visionary, the accompanying video for Horizon reaches into the impossible, always keeping its eye on the distance to stabilize where we are now.

LISTEN / SHARE “HORIZON” FEAT. PIQSIQ, TIFFANY MOSES,
DAWN PEMBERTON, RUSSELL WALLACE

BUY / STREAM “HORIZON” HERE

“HORIZON” SINGLE ART // DOWNLOAD HIGH-RES

MORE ABOUT VOX.INFOLD
Vox.Infold, the latest album from Ruby Singh, is an a cappella offering, composed and (remarkably) recorded at a time when singing together was something that could kill us. Against the backdrop of the Covid-19 pandemic and amidst potent social unrest, this powerhouse vocal ensemble of Indigenous, Inuit, Black, and South Asian voices, reimagined how to sing together. The resulting work is so much more than a convergence of diverse vocal traditions but a complex rendering of what’s possible when we can hold each other's humanity. The album dives into a full bodied, resonant and sensuous expression housed in polyrhythm, lush harmonies, mimicry, and polyphonic poetry. The resulting sonic landscape encompasses a non-linear journey in which we may find and care for each other. Evoking loneliness, joy, the mysterious and supernatural, Vox.Infold brings together musical luminaries, Dawn Pemberton, Inuksuk Mackay and Tiffany Ayalik of PIQSIQ, Russell Wallace, Tiffany Moses, Shamik Bilgi and Ruby Singh. They remind us that the human voice is an adaptation of the metabolic activity most crucial to our existence – breathing. This is how the atmosphere enters our beings and how we know we are intimately connected to our world. 

WATCH AND SHARE “NAKSHATRA” HERE
BUY / STREAM “NAKSHATRA” HERE

“Not only the pandemic but the severe racial inequities faced by the Black community and the genocidal origins of Canada were really coming to light in the mainstream media and that takes a real toll on those racialized communities,” says Singh. “I wanted to see what it might mean to make music outside of the lens and influence of white supremacy and capitalism. This work is really a testament to how these incredible artists came together to lift each other's spirits in these challenging times.” Brewed in uncertainty this crew held steadfast to their callings, protected by shields and masks, distanced over 20ft, armed with microphones, loopstations and studio space at the Western Front in Vancouver to create a complex, potent and innovative album. The album was recorded and mixed by John Raham at AfterLife Studios on the unceded territories of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səl̓ílwətaʔɬ/Selilwitulh Nations.

Ruby Singh’s Vox.infold album will be pre-released in traditional stereo and in a special binaural mix on Bandcamp on January 31, 2022 and will be released on all major DSPs on February, 18, 2022. You can hear it presented at the PUSH festival in Vancouver BC running from January 20-30, 2022 at the groundbreaking LOBE spatial sound studios. An array of speakers run across the ceiling and under the floor in conjunction with custom-designed vibroacoustic floor panels, entirely surrounding the listener in an immersive and haptic listening experience. Using 4D sound technology, their voices ebb and flow, forming sonic environments holographically and without perceivable sources. LOBE studios is one of three of its kind on the planet and the only one in North America. 

Ruby Singh is a multi award winning composer and producer that has been a longtime beloved member of the Vancouver artistic community. His creativity crosses the boundaries of music, poetry, photography and film, engaging with mythos, memory, justice and fantasy. Singh is an artist whose work is informed by sound found all around us, from the whirling planets and stars of distant galaxies to percussion of an umbrella under coastal rains, to the perpetual moving birdsong of the never ending dawn chorus, constantly circling the globe. The richly imaginative visual textures to his sound design have found kinship in the theatre, film and dance worlds, where he has been celebrated by multiple Jessie and Leo Award nominations. He believes in art’s ability to reimagine futures, to repurpose aesthetic freedoms toward civil and environmental justice. His distinct approach uses traditional and emergent sonic practices to create compositions that express the vast spectrum of the human experience. Singh’s artistic impulses gravitates in many directions, his previous works range from the ambient audio-visual worlds of the Polyphonic Garden to Jhalaak, a Sufi hip-hop album made alongside Manganiyar musicians recorded in the clay huts of the Thar desert in Rajasthan India, reinterpreting 13th century Sufi poetry.

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VOX.INFOLD TRACKLIST
01 Hyphae
02 Horizon
03 Soar Sore
04 Nakshatra
05 Rhizome
06 Codes Of The Fallen
07 Corv.us
08 Shapeshift
09 Plica
10 Allium Redux
11 Moon Of Open Hands

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SAM JR. (BROKEN SOCIAL SCENE) ANNOUNCES UPCOMING DEBUT LP, SHARES MORE NEW MUSIC

WATCH / SHARE “KEEP IT BURIED” HERE

BUY / STREAM “KEEP IT BURIED” HERE

SAM JR.’S SELF-TITLED DEBUT LP OUT MARCH 10, 2022 VIA ARTS & CRAFTS

Photo Credit : Tess Parks // DOWNLOAD HIGH-RES

Fuzzed out guitars with psychedelic laced wah wahs and bongos?? And flutes? rock oozing buzzed out hippie rock ? Evil nihilist ooze-rock slacker fuzz? There’s a lot of play within that framework of Sam Jr.’s (aka, Sam Goldberg Jr.) new self-titled debut so we’ll leave it to you to decide for yourself what Sam Jr. is all about when the appropriate moment comes. 

The album’s first single, the Dave Fridmann (Flaming Lips/MGMT/Tame Impala) mixed single “You Lock The Door, I Broke The Window”, an “anthem for career anarchists” lead the way last year for more new music from the celebrated songwriter.

Today, he shares another new track from the album, “Keep It Buried”, a song which is “my ode to all of us going through our days telling people ‘we're doing great’ but at times behind a smile we're crumbling with anxiety inside,” says Goldberg. “The rhythm guitar part reminds me of a ZZ Top riff. I think I'd seen a doc on them around the time I wrote the song so they wormed into my brain. I also acquired an obsession with the wah wah pedal out of the blue for some reason while making my album. I have no idea how it happened but I have an addictive personality so it's on every song now.

The video for the song is about a farmboy out mowing the lawn comes across an injured stranger who has crashed a motorcycle onto his property. The unsuspecting farmboy takes the stranger into his home to tend to his wounds, but it soon becomes clear that something is amiss with the wayward stranger. Farmboy breaks out his stash of fantastic fungi to cure the stranger of what ails him, and together they embark on a psychedelic journey. What could go wrong?

WATCH / SHARE “KEEP IT BURIED” HERE

BUY / STREAM “KEEP IT BURIED” HERE

“Keep It Buried” Single Art // DOWNLOAD HIGH-RES

MORE ABOUT SAM JR.’S DEBUT LP
“My concept for awhile making this record was actually ‘What would the Dude’s band from The Big Lebowski sound like?’” laughs Goldberg, the titular architect behind this long-overdue solo stepping-out. “I’m not sure it landed there at all, but I think I was trying to harness the easygoing nature and spirit of that character. I’m a hardwired optimist and a mellow person overall, and I wanted that to come across in the songs.” 

Meantime, you’re probably wondering how such a confident ‘debut’ could pop out of nowhere. Well, that’s because it didn’t. This Samuel Goldberg, Jr., chap looks oddly familiar, right? And that name… it rolls off the tongue nicely, yes, but it also rings a bell. So where exactly have you seen this guy before? Because you know you’ve seen him before. 

You have indeed seen Sam Goldberg before. And you’ve seen him pretty much everywhere, that’s where. If you’ve kept even a casual eye on the Canadian pop landscape for the past 25 years or so, in fact, Sam Goldberg, Jr., has been hiding in plain sight the whole time as a vital member of an uncanny number of bands with whom you’re either already acquainted or – and no judgement here – should perhaps be ashamed of yourself in hindsight for previously failing to get acquainted with. 

There’s the globetrotting group hug known as Broken Social Scene, of course, which has counted Goldberg as a stable conscript since 2007 and whose ranks have over the years helped launch the likes of Metric, Stars and Leslie Feist to a modest form of indie-rock greatness. But there’s also Uncut, a truly formidable noise-rock “guitar band’s guitar band” that made evangelicals of its far-flung followers but never quite grasped as a whole how huge it could have been to properly follow through on its generous promise. There’s Bodega, whose subtly transfixing 1997 debut album Bring Yourself Up got gobbled up and murdered by an international major-label deal gone wrong and remains to this day one of the best Canadian records of all time (“That first Bodega record is fucking great,” concurs Goldberg) that pretty much no one has ever heard. There’s Bionic, a punk-rock pseudo-supergroup originally of combined Doughboys, Change of Heart and, yes, Bodega extraction that could reliably melt your face from the get-go but ultimately proved too volatile to survive for long in any consistent form. There’s Hawaii, a duo whose eponymous 2003 one-off LP will easily satisfy your next desire for a late-night (Slow)dive into (Mazzy)stardom if you bother to sleuth it out. And there’s Yardlets, another duo that was so sardonically ‘meta’ in its expert appropriation of au courant 21st-century ‘psychedelic goth shoegaze punk’ trends across two albums released in 2012 and 2015 that it actually managed to make you feel uncomfortable for enjoying its own music. 

Good company and a consistently high – indeed, often too-good-for-its-own-good – standard of quality all around, then. Goldberg even notched a high-profile Felix Prize nomination for “Producer of the Year” in Quebec in 2014 for his work on Kandle’s In Flames. But while one hates to invoke the “always a bride’s maid, never a bride” metaphor because Sam is a damn good catch and would look splendid in peach chiffon whether he was headed to the altar or not, there’s always been a sense amongst his friends, acquaintances and admirers that Sam Goldberg, Jr. hasn’t properly received his due. 

LISTEN / SHARE “YOU LOCK THE DOOR, I BROKE THE WINDOW” HERE
BUY / STREAM “YOU LOCK THE DOOR, I BROKE THE WINDOW” HERE

So here you have Sam Jr., which is Goldberg taking a undiluted and unfettered deep dive into the black buzz-bin catacombs of the soul and having a bit of a laugh at his own expense while doing it, in much the same manner the Jesus and Mary Chain or Suicide were always kinda winking at you while they were wallowing. And it’s all Sam Jr., for the record, save some bongo-mad percussion work from Miles Dupire-Gagnon of Elephant Stone and Anemone, guest vocals from Toronto chanteuse Tess Parks and a sprinkle of cornet, sax and flute (yes, flute) here and there. Goldberg handled the rest of the instrumentation himself, observing a strict palette of sounds otherwise limited mainly to fuzz- and wah-wah-afflicted guitars, bass and a bit of synth. And he kept things strict for a reason. 

“I’ve played with bands my whole life and I’ve been working with other artists or producing other artists forever and, y’know, I’ve had people for years asking me ‘When are you gonna make your own record?’ I just kept getting that. So finally I just went ‘Why not? I should just start a record,” says Goldberg. “So I started a record in 2018 that I finished at the beginning of the COVID pandemic. And I hated it. It took me quite a while to finish and by the time it was done, I didn’t like it. I didn’t like the sound of the record, I was singing out of my register like Mariah Carey and there were just too many ideas - a zillion ideas - going on. And I didn’t like the songs. The songs just weren’t there for me, weren’t doing it for me.” 

Despite suffering “that deep, disgusting feeling” of investing a lot of time and money and effort into something he couldn’t even trick himself into standing behind, Goldberg sucked it up, shelved the record and “started from scratch again.” 

At least he’d deduced from that experience what he didn’t want to do the second time around. And so, after hearing from a friend with great interest about the amount of time Scottish electro-weirdos Boards of Canada would invest in deciding upon which highly specific set of sounds they would use for each recording, for Sam Jr.’s forthcoming “real” first album he decided he would take the same rigorously self-limiting approach. And that cracked the whole thing wide open. He had an entire record finished in months. 

“Once I found that palette of colours that worked it came together so quickly. I was shocked at how fast it came together,” Goldberg recalls. “For some reason, I was loving the sound of the wah-wah. And I loved the sound of ‘fuzz,’ a really fuzzed-out rhythm guitar. And that was kind of it. But I would also try to limit myself to, like, five tracks. It would always just be ‘I’m gonna record the rhythm guitar, there’s only gonna be one rhythm, there’s always gonna be a wah guitar happening.’ That sort of thing. I really made an effort to minimalize everything. There are barely any elements happening. There’s just the rhythm, the bass, the guitar, there’s drums and there’s lots of percussion. And you know what? I love the sound of bongos so there’s a lot of bongos going on. Which is kinda weird, but I was just really into bongos. 

“There are minimal elements, but when they happen they’re there for a reason. There’s no fluff there just to be buried in the mix. Everything’s there for a reason. I’m trying to keep people engaged, but I’ve also been listening to music and playing music my whole life so I just wanted to make something enjoyable for myself that, hopefully, other people might want to listen to, as well.” 

Read the full biography by Ben Rayner : www.killbeatmusic.com/samjr

UPCOMING PERFORMANCES
Mar 11 - Montréal, QC - Église St-Édouard
Mar 19 - Toronto, ON - Baby G

Album Artwork by : Walter Silver // DOWNLOAD HIGH-RES

SAM JR. TRACKLIST
01 You Lock The Door I Broke The Window 
02 Sweet Face (feat Tess Parks) 
03 Na Na Na Na Na
04 Keep It Buried 
05 Quarter To Apocalypse 
06 World Bangin On My Door 
07 Dippp 

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SCOTT HARDWARE SHARES VILLAINOUS NEW TRACK, “WATERSNAKE” 

LISTEN / SHARE “WATERSNAKE” HERE

BUY / STREAM “WATERSNAKE” HERE

SCOTT HARDWARE’S BALLAD OF A TRYHARD, OUT MARCH 4, 2022
VIA TELEPHONE EXPLOSION

Photo Credit : Kirk Lisaj // DOWNLOAD HIGH-RES

The year wrapped up for Scott Hardware (the moniker of Toronto-based musician and composer Scott Harwood) with the announcement of his upcoming third album, Ballad of a Tryhard, which was listed as one of Exclaim!’s “most anticipated albums of 2022.” 

Today, he shares the villainous album track, “Watersnake”. "My mom lived near this lake for a while, and whenever I’d go to visit her, I’d want to walk along the shore and have a moment,” says Harwood. “She’d always tell me before heading out to watch out for the water snakes. In fact, this lake's little beach was covered in them. My brother who lived nearby would have little snake babies falling in clusters from the roof of his garage. I mean no disrespect to snakes, but it’s ghastly to see them slither over top of water. 

It all must have left a mark, because when I sat down to write a song about a villain, an exploiter, the first thing I thought of was "Watersnake!"

LISTEN / SHARE “WATERSNAKE” HERE

BUY / STREAM “WATERSNAKE” HERE

MORE ABOUT BALLAD OF A TRYHARD
How do you self-stabilize amidst ongoing crisis? Or, more crucially, what does it mean to question how much control we have over our collective well-being? On Ballad of a Tryhard, the third album by Scott Hardware, he attempts a response by honouring the splendor of “living between emotions.” It’s an album where a rich inner monologue, and the undefined space between reflection and realization can offer an invaluable reprieve. 

Over luminous keys and sky-sweeping melodies, Harwood reverse engineers his capabilities as a composer skilled in the art of complexity to deliver his boldest album to date — unselfconsciously ambitious Y2K rock; a reimagination of experimental adult contemporary that tweaks the limits of soft rock with curiosity and appreciation. 

For the first single, “Summer” (which features members of Phedre, Lee Paradise, WHIMM, Vallens, Blunt Chunks, and Jaunt), Harwood tries his hand at a bouncy, heartstring ballad built for the open road. "I was born in September, and autumn has always been my favourite season,” says Harwood. “Fall people love to look back and to dwell in the bittersweetness of memory. This song marks a deep dive into my changing thoughts about nostalgia, seeing it change from cozy romanticism to toxic waste."

LISTEN AND SHARE “SUMMER”

BUY / STREAM “SUMMER” HERE


On Ballad of a Tryhard, Hardware conducts a painstaking character evaluation to better understand the world by looking inward. Suspended and exalting, the album bursts with cinematic flourishes that ring with a courageous form of earnestness. Because once you examine the internal toll of people-pleasing, and question if charisma has been overvalued, is there space to imagine a new reality that seeks to uplift rather than wallow — observing sparse moments of beauty and light amidst a world in constant mourning? 

Crafted in Spain and co-produced with Matt Smith (Prince Nifty, Lido Pimienta), Ballad of a Tryhard is a snapshot of weeks spent in Elche, a sleepy Mediterranean city on the southeast coast, wandering through emptied-out streets, becoming acquainted with the interiors of a historic apartment block, and living for the first time with a familiar love. With unlimited time on his hands, Harwood would write slowly, playing piano until dawn. The result is an album with ornate and bucolic orchestral arrangements that nod to a background in techno and house with a tangled web of synths and strings. 

Prior to his solo work as Scott Hardware, Harwood played with indie rock stalwart Toronto groups like Ostrich Tuning and released ambient pop as Ken Park. A move to Berlin influenced his 2016 debut, Mutate Repeat Infinity, which centered the dancefloor as a site of queer resilience. 2020’s Engel pulled direct inspiration from Wim Wender’s 1987 haunting masterpiece Wings of Desire. In 2021 Harwood was accepted into the Slaight Family Music Lab.

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BALLAD OF A TRYHARD 
01 Summer
02 Metaterranean
03 Another Day Ending
04 Is Something Wrong Tonight
05 Love Through The Trees
06 Watersnake
07 Dentera
08 Sing Like That
09 Bootleg
10 Underdog

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