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Having just moved to Brooklyn, singer-songwriter Nick Hakim is a New York newbie, but if his exceptional debut EP is any indication, the Washington, D.C. native is here to stay. Where Will We Go Pt. 1 is emotionally rich and runs the gamut of R&B, jazz, folk, and Motown, taking cues from greats like Marvin Gaye and Harry Nilsson. Despite subtly explicating late-night grievances of the heart and mind, Hakim's entrance into Brooklyn's music scene is one of grand proportions.
Now approaching their first decade as a band, it really has
been an interesting
journey for Patrick Watson and his cohorts. Having already
played to over 100,000
people at the 2009 Montreal Jazz Festival, performed in fro
nt of a full orchestra in 2011
in Amsterdam and again in Watson’s hometown of Montreal
in 2013, and most recently
performing two songs in Wim Wenders’s current 3D epic “E
very Thing Will Be Fine”,
what’s next? Releasing their most solid record yet, W
atson and his band insist they have
only just begun. Still standing proudly at the helm,
Love Songs For Robots
release since Watson first galvanized this “temporary proj
ect” in 2006 with
the release of his critically acclaimed debut “Close To
Paradise”. This calling card release
would loudly announce his initial presence going on to sell we
ll over 100,000 units. His
latest installment in his already impressive body of w
ork follows up on his utterly
stunning 2012 release “Adventures In Your Own Backyard”. Signa
tures like his hushed
falsetto croon remains to be the vessel that transports
his vast emotional depths, but
Songs For Robots
proudly shows Watson sailing out into uncharted waters once
From the crawling crescendo of the opening ethereal soundsc
ape of the title track
that heralds the beginning of the album, the listener
is slowly lured into Watson’s world
that reveals musical moments that are as equally chal
lenging as they are comforting.
Destinations are cleverly concealed as we are invited to
just take in the lush scenery that
includes sharp experimental and progressive left turns, gra
ndiose gestures that shoulder
up against fearless austerity - and all delivered in a cris
p panoramic scope that could only
come from Watson’s lens. His hard fought lyrical pearls
are now guided through new
found psychedelic and soul swagger influences as left of ce
nter instrumentation and
arrangements covers up well beaten tracks and makes this a
rewarding and truly original
Without a doubt Love Songs for Robots bears Watson’s indelible stamp and manages to create a piece of work that is not only stirring, darin g, and deeply personal, but also represents his creative watermark so far. It’s all too r are to see an artist wear their heart on their sleeve while never growing weary of the battle against cynicism and callousness, but Watson and band’s aim remains true.
Performances By: Vogue Dots, DEEBS, Bizzarh, DCF, Munchine and Special Guest
Dedicated to creating a new groove-based music, THE DIGS embody the unique perspective of diversity that could only come from Canada's multicultural melting pot, Toronto. To dig is to extract from the ground by breaking up earth, and The Digs are a band reaching down into the roots of American pop music and pulling up a vibrant sound that is an organically constructed embarrassment of riches.
Ultimately, The Digs consist of close friendships built upon the love of music, and the love for one another, and it is this dedication which gives them a consistently renewed energy with each jam-packed gig, each infectious groove, each funky beat. Catch The Digs while you can!
Kick start the return of the summer with LCBO at our #CincoTO celebration. Join us for tequilla cocktails, modern Mexican tapas, a mariachi band, beats by DJ Dougie Boom + more.
With company like Sauza + Hornitos, it's sure to be a party.
Meaghan Smith was coming off her 2011 Juno Award win for Best New Artist. It was for her critically acclaimed album The Cricket’s Orchestra, which had been lauded for its honest, insightful songwriting and vintage sound. Despite all this, Meaghan wanted to take a chance. She knew that she wanted to make an entirely different album; a pop record with big choruses and ambitious production – it was the best way for her to connect with more people than she ever had in the past. This meant moving outside of her comfort zone and working with new collaborators on songwriting and production. This was not going to be easy. Meaghan’s recent attempts at working with co-writers hadn’t been productive, so she wasn’t optimistic that someone else would be able to help her capture what was in her soul and turn it into big, lush pop songs.
Bravestation celebrate the release of new singles‘HAVEN’&‘ACTORS’and will be previewing new songs from their forthcoming EP on Culvert Music. Brothers Devin and Derek Wilson formed Bravestation with childhood friend Jeremy Rossetti in the City of the 1000 Islands before relocating to Toronto in 2008. Their name is merged from the titles of Aldous Huxley’s dystopian novel Brave New World and Robert J. Hasting’s inspirational essay The Station. With influences ranging from ‘80s new wave to modern rock, post-punk and electronic music, the band channels sounds from the past and visions of the future to create a unique version of dream-like pop. Bravestation have received acclaim from the Toronto Star, Dazed Digital and Exclaim! among others.
Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.
After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’s synth-heavy electro pop, with their collaborative electronic project Kiasmos.
By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur’s newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere