Toronto dream pop artist Rosemary Fairweather hasn’t released an album yet, but she’s been turning heads with a batch of singles premiering on the hipper side of the musical internet. It’s easy to see why as her warm, ethereal sound is mesmerizing. On “I Wasn’t There”, gentle chords welcome you as the sound opens up to Fairweather’s lovely high soprano voice mourning the end of a relationship. Languid beats and warm synth washes carry the song to greater heights. Fairweather says, “this song is personal to me, but I hope people can take something away from it.” Indeed, we do as Fairweather has created a memorable song here and we eagerly await her debut album release, Heavenly - A Collection of Songs, coming in late fall.
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From twangy civil war chimes to modern songs of protest, love, and sadness set across both acoustic and electric soundscapes, the American folk scene’s makeup has changed drastically since laying its foundations back in revolutionary times. However, as a genre meant for bards to weave their tales and stories and convey them with utmost intimacy folk’s roots have largely stayed the same despite the rise of Greenwich village folk, Dylan going electric, or the Mumfordian movement of recent times.
Dan Kok: If there was a sole heir to the spacey, futuristic musical stylings of Parliament Funkadelic or Sun Ra’s Arkestra, it just might be Mndsgn. With this heavily funk inspired track and a psychedelic space-cult video to accompany it, the LA producer has made his influences fairly clear. There’s a sense that, to his credit, Mndsgn doesn’t take himself or the music too seriously. But with that mentality, the song ends up being mostly fun without being all that memorable. [7/10]
Chris Ingalls: A producer’s producer who’s manned the boards for everyone from U2 to Bob Dylan to Brandon Flowers, Lanois seems to enjoy bouncing back and forth between experimentation and straightforward pop/rock. On “Deconstruction”, he’s definitely embracing the former, employing some fuzzy, guitar-centric ambient soundscapes reminiscent of Robert Fripp (and perhaps taking a cue from Le Noise, the 2010 album he produced for Neil Young). Lanois provides a unique, somewhat soothing mood with this particular sonic departure, and I can only hope the rest of the album is this interesting. [8/10]