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Mike Edel, photo by Brian Van Wyk

Mike Edel, photo by Brian Van Wyk

Slowcity.ca with Mike Edel, Kate Boothman, Josh Tavares, Paul Babe, Jake Etheridge, Blue Stones, and Monowhales

Will McGuirk November 24, 2020

By Will McGuirk

Yah, its a good picture, its the way we feel, an exhausted wtf. I’ve been out, went to a bar, brief as possible, masked, folks confound me, I’d rather stay home, rather avoid it all, work, home, work, home I see my music community take the brunt of this, I see the impact and the resilience and I see the selfish behaviour and the resistance and I wonder and run my fingers through my hair, wtf!

“in the 'before times' I assembled a cast of friends together to shoot a music video for ‘Still Thinking About You’. The En Masse project was so collaborative, and in our isolated era it has taken on a new form. The 'Still Thinking About You' video reminds me that I am an extrovert and reminds me that I love seeing all my family, friends and supporters when touring an album. I'm so happy that I got a bunch of my Vancouver friends and made this video with them. To them I would say; I love you, I miss you, I’m Still Thinking About You.” ~ Mike Edel


”17 is one of those songs that emerged fully formed. I wrote it after a particularly heavy day during a particularly heavy time in my life. I was overworked, overwhelmed, under-slept, heartbroken, and generally confused. I got home at around 11 pm after being away for a while. I lay down on the floor for an hour and when I finally got up I wrote the entire song in only 20 minutes or so.” ~ Kate Boothman


josh tavares · tightrope - explicit




MONOWHALES · BL/FF (Fake Friends)
Tags Kate Boothman, Josh Tavares, Auteur Research, Paul Babe, City Bird Publicity, Bad Parade, Blue Stones, Indoor Recess, Mike Edel, Killbeat, Monowhales
Partner, photo by Lesley Marshall

Partner, photo by Lesley Marshall

Slowcity.ca Open Mic with The Dears, Kate Boothman, Partner, POSTDATA, Dirty Projectors, Matt Berninger, Wolf Saga, and Yes Nice,

Will McGuirk November 22, 2020

By Will McGuirk

“When we come to it
We, this people, on this wayward, floating body
Created on this earth, of this earth
Have the power to fashion for this earth
A climate where every man and every woman
Can live freely without sanctimonious piety
Without crippling fear”
~ Maya Angelou


“We wanted to avoid some clichés like chestnuts and sleighs or whatever. Instead it’s a very simple love song about how sometimes that time of year can highlight who you really want to be with and how that brings a huge smile to one's face as well as the warmest feeling. This is what we hope happens when people hear this song.” ~ The Dears


“It's about that confidence and arrogance that comes with being a spicy youth, and then all of a sudden you're an adult and you realize you knew nothing. You look back and can't help but examine everything you've learned and lost.” ~ Kate Boothman


Buy the vinyl here ->

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Buy the vinyl here ->

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“Every time I put on Future Islands my impression of the human condition improves. Their remix of One More Second kills me.” ~Matt Berninger.


WOLF SAGA · Fall Out

"Fall Out" is a song about leaving a toxic relationship, of any kind, and being able to keep your head up. Getting away from that and not getting caught up in the falling out”. ~ Wolf Saga


Tags Partner, Mar On Music, Kate Boothman, The Dears, The Syndicate, POSTDATA, Christopher Mills, Paperbag Records, Yes Nice, Auteur Research, Matt Berninger, Indoor Recess, Dirty Projectors, Hard Copy Media, Wolf Saga
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Oshawa band mary & adelaide release video for 'Faded'

Will McGuirk November 20, 2020

By Will McGuirk

As promised the veritable band of brotherly music makers mary&adelaide have dropped the ball, the ball as in the video, for their track “Faded.” The song is available on their debut cassette, see previous post here.

Slowcity.ca reached out to Aidan McGuirk, main singer/songwriter for the band, to get the deets on the vid, which really means I shouted down to the basement, hey whats with the video!.

”We filmed the video at the end of the Summer with no budget. I’ve had the concept for long over a year and it had been in circulation for awhile until I think quarantine really motivated us to make something for ourselves,” he says “It was filmed, edited and directed entirely by both Luke and Sam. Our friend Alex Nunes who we’ve recorded vocals with helped us a bunch filming too. Those guys absolutely killed it and I’m so proud of what we made on our own by ourselves without reaching out to anybody else for anything. It connects to the song in many symbolic ways, some more obvious than others. I’ve had the idea for the ball to the face close up forever and has always been an image I picture when I listen to or play the song. I think the more obvious connections would be the theme of a lot of our music, balance of angst and optimism, not being afraid to fail or humiliate yourself when going to great lengths to express yourself.”

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Slowcity.ca Open Mic: D-Rawk rolls with K-Os, Chastity, Crown Lands, Dizzy, Prehistoric Dogs, Mappe Of,

Will McGuirk November 19, 2020

By Will McGuirk

We had to interrupt our regular broadcasting for some weeks there but we are happy to resume transmission of the Durham Region’s rock ‘n rollers to the world. Its an impressive roster today. Go D!






L-R: Aidan McGuirk, Kyle Topolnisky , Luke Mitchell (seated) and Sam Szigeti

L-R: Aidan McGuirk, Kyle Topolnisky , Luke Mitchell (seated) and Sam Szigeti

mary&adelaide; post-core from the streets of Oshawa

Will McGuirk November 16, 2020

By Will McGuirk

Basement rockers, mary&adelaide, from the D-Rawk, bring not just the grit of the Shwa but the great as well. Devoid of any central scene such as the legend that was the Dungeon or the heart-throb that was the Velvet Elvis, this four-piece from the fringes of the suburbs, just buried below a living room to make a life out if it.

But they know the past and the post past and on the six songs on their debut cassette tape, ‘Singles and Demos’, it all comes together. The cassette is released by New Found Solitude Records out of Whitby.

The half a dozen songs build on nostalgia and knowledge, on skate boards, long boards and evenings being bored in a city in discord. Its making your own fun in the end and its the sum of backyard BBQs at summer’s end. Apparently there is a video.

But first lets find out who these kats are, and upfront I do have to say I know at least one as well as the back of my mind.

Slowcity.ca: Who are the members of your band, where did you meet?

Aidan McGuirk: “mary&adelaide is Sam Szigeti, Kyle Topolnisky and Luke Mitchell, and me, Aidan McGuirk. Sam and I met at a mutual friends house when we were young teens and got stoked on the same kinds of music and started going to shows together. Sam, Luke and Kyle all met in high school at Dwyer and me and Luke go way back to working at Neb’s Fun World together.”

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SC: What is the process for songwriting, do all members contribute, if yes how?

AK: “Our songs have all been written by me in the past, but we jam and write when we practice and that’s usually a spontaneous and natural occurrence. My process is pretty much finding the right time and place to channel my ideas, but personally I’m always writing in my head throughout the days. I write the lyrics and bring the ideas/chord progressions to the guys as a pretty fleshed out demo and they lay down their magic.”

SC: How has Covid-19 impacted you as a band?

AK: “COVID-19 has had a great deal of impact on us as even continuing to identify as a band. Like many, we have had to reconsider what it means to be a band in this day and age. We had exciting plans like shows booked and recording time coming up that was all cancelled indefinitely. As artists we will always create and will always look for the most comfortable outlets to express ourselves and so with that we have all found ourselves not as tight-knit or maybe close as we were going into quarantine, as we’ve had to find comfort in being alone. It makes you look in the mirror and ask yourself what you really want, when you have every reason in the world to quit.”

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SC: You recently released a tape - why cassette? Did you do it yourself or did you work with others on its creation?

AK: “Our cassette is something we’ve always wanted to do, and was a brainchild between Justin at Newfound Solitude and I. I really wanted something to capture the era for us as life hangs unsure in the air and before we write or record anything else. We’ve each collected cassettes from Value Village for years and listen to them in Kyle’s car and alone in our rooms. It’s really fun to rediscover music in that way, my tape collection looks worlds different from my Spotify playlists, but I love them all the same. They’re also extremely cheap to make and it’s about time we had something physical for our fans to hold and listen to.”

SC: Where is it available?

AK: “It is available to anyone who wants one through our Instagram @maryandadelaide or through our email maryandadelaide@gmail.com for $7. We deliver or set up pick ups anywhere in Durham Region and have announced them available for international shipping.”

SC: Apparently there is a video coming soon. . .

Stay Tuned. . .

Editor’s note: Aidan is the son of Will, founder of slowcity.ca and the writer of the above article.

Angie McMahon, photo by Chelsea Sienna

Angie McMahon, photo by Chelsea Sienna

Angie McMahon's new EP 'Piano Salt' is a salve for the modern blues

Will McGuirk October 13, 2020

By Will McGuirk

We have heard the voice of angels, clear as ice crystals but the voice of a fallen angel, yearning, straining, struggling against the weight of those heavy wings stained with dust is one we listen for too little.

The earthy spirituals of Oz-based Angie McMahon on the EP ’Piano Salt’ are the paeans of a grounded being more used to soaring above the cathedrals of forest, sky bound, than stranded here with dirt drawn blues - one can only imagine the intensity of thought and action poured into this collection of songs; her own reachings, as well as folding in Bruce Springsteen’s “The River’, itself an ode to escape, to flight, to freedom, with Lana Del Rey’s “Born To Die,” - a curious but lovely antithesis to the Boss’s roaring optimism. 

Each song in this short gathering is a rung in a Jacob’s Ladder for a slow ascent to the Great Easing. This EP of McMahon’s, a revisiting of her 2019 album “Salt’, is a break in the heaviness laying over the globe at present, and it is one step closer to the lightness on the other side.

Buy the vinyl here ->

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Artistic imperfection - Colin Medley, Jared Raab co-direct new video for Andy Shauf

Will McGuirk October 2, 2020
Andy Shauf, photo by Colin Medley

Andy Shauf, photo by Colin Medley

By Will McGuirk

“The song is about half-forgotten moments, so Jared and I wanted to make something dreamlike and imperfect,” - Colin Medley

“If you listen closely to the song, the lyrics drift seamlessly in and out of memories, so we wanted to find visuals that could capture the same sparse quality. We noticed that these scans were almost impressionistic, like computer generated pointillism. Along with our technical director Luca, we stumbled on a brilliant artist RubenFro, who was using the Unity game engine to render point clouds. The results are surprisingly natural, like ghostly moments frozen in time.” - Jared Raab

This video for Andy Shauf’s subtle “Clove Cigarettes” speaks to the ebb and flow of the stream, of the drift of the current and of the many, many, many drops which make up this massive stream of information we swim in. This marvellous concoction shatters the screen, pulls back the curtain on not only how a digital landscape is created, but also illustrates how the littlest things, the smallest of the small has import, how each and every single thing in the big picture matters to the big picture. In other words how even the least among us has equal weight,

Tags Colin Medley, ared Raab, Andy Shauf, Killbeat, Video, Art
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Meghan Patrick and Robyn Ottolini keep on truckin' with new songs

Will McGuirk October 1, 2020
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By Will McGuirk

Maybe its a Durham Region thing, maybe its just a farm community thing, either way both Robyn Ottolini of Uxbridge and Meaghan Patrick (originally from Bowmanville now in Nashville) are singing about the good ol’ pick-up truck. Maybe it began in the D-Rawk with Steppenwolf’s road anthem '“Born to be Wild”; there was also Wednesday’s cover of ‘Last Kiss” about a car crash. Maybe its nothing at all but both singer/songwriters look back with fond memories of time spent trucking around and both are riding the pick-up lines to success.


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Matt Gunn, photo by Will McGuirk

Matt Gunn, photo by Will McGuirk

Beatles, Bowie, Matt Gunn. . . Time in Germany well spent.

Will McGuirk October 1, 2020
artofimperfection.jpg

By Will McGuirk

Matt Gunn has released his latest album ‘The Art of Imperfection’. The Uxbridge musician was in the Kops Records Spacement in Oshawa for a preview of his new album on Saturday Sep 26. The record includes contributions from Cassie Noble, Julien Kelland, and Alannah Kemp. Natalie Dnes contributes violin, Jake Ballah contributes on 70’s synth and the Uxbridge Music Hall contributed its organ. The title refers to Gunn’s goal to capture the rawness and roughness of the work and to not overload with studio trickery. has an interesting creative story which begins when Gunn left his hometown for a bout overseas.

Slowcity.ca: Tell me about Germany - when and why did you go and what did you do there?

Matt Gunn: “January 1st 2017, I left my corporate job to pursue my solo music career. The first step was to record some songs and start getting more gigs. Then word got out that I was no longer employed and I received a phone call from a company in Germany asking if I’d like to come work for a year. It felt like I hadn’t slept in 5 years after the last job so I was reluctant to go. But in the end I went because I couldn’t think of one good reason not to. I make all my albums at home so going wasn’t going to hinder my progress, plus a change of scenery is always good for the creative mind. I left at the end of April and returned just before halloween. 6 months, I could’t commit to a year.”

SC: Were the songs on this album written in Germany? If yes do they draw on that experience?

MG: “Yes and no. I had a few songs I had been working on before I left. Songs for both my band Eight Five Two, and my solo stuff. Turns out the drastic change of scenery put me in a weird hesitant writing state. I don’t believe in writer's block, to me, I just wasn’t feeling it. Two months into my trip I moved, and all of a sudden the ebbs and flows of music writing switched into flow mode. I started firing off songs. I finished all my partial tunes plus wrote 4 more. Most made it onto the last album I was recording at the time except for 2. These were the songs I was working on for Eight Five Two. These songs didn't make it on the roster, so I decided to record them for this new album. So technically they were only finished in Germany, not organically created. Do they reflect on the experience? Not lyrically, but the vibe and emotion of the songs bring me back to that particular writing flow, that blast of energy I felt when the song parts appeared at my fingertips.”

SC: I've always thought of you as an old soul, are you a man born out of time?

MG: “It’s funny that you say that. As a kid I would get random feelings that this life was a rerun. In my youth, I was heavy into Punk and Ska. I wore the checkerboard and skinny tie. I can’t say that the parents of the girl’s I dated in high school were pleased when we were introduced, however in any of these situations if grandparents were involved I was safe. I’ve always gotten along well with grandparents. Is it a bit strange that a 16 year old and 80 year olds can relate to so much? Maybe you’re onto something.”

SC: I don't think I know so much about you, some bio bits, where were you born, grew up, got into music - there is something about going back to this album, what would you go back to in your own life if you could?

MC: “I grew up in Uxbridge, On. Small town, especially 20 years ago. There was nothing to do most of the time, but once a month the local bands from surrounding areas would put on shows in our town. Turns out we became a bit of a hot spot because every show had a great turn out because there was nothing else to do.

“My brother played bass in the school band and he brought it home to practice for the weekend. He was going out with his friends that night and I asked him if I could try it. For some strange reason my older brother actually said yes to me. For the first time ever, I could touch his stuff! He had a book of tabs he printed out (dial up internet) and showed me how to read them. By the end of the night I could play the entire book. I was hooked. later that year I received a bass guitar for my 12th birthday. I immediately started a punk band with my friends, and played backyard shows we set up. We were as good as 12 year olds playing punk can be. 2 years later, high school, Grade 9. I got a Squire Bullet 6 string for Christmas. I joined a Ska band, painted my guitar pink and wrote an E in sharpie on my guitar to make it an Esquire. You couldn't get any cooler. We started playing the circuit of local shows we had been attending for the past few years. It was honestly one of the coolest feelings I’ve experienced. Playing: in town, Newmarket, Mount Albert, Oshawa, Aurora. Opening for bands that inspired me to play. Bands like: The Heatskores, The Throwaways, The Flatliners, Constable Brennon, They probably have no idea who I am, and you may have no idea who they are, but at that time, 15 year old me was opening up for legends!

“Right around then I bought a cheap drum set off a friend. I didn’t tell my mom, she was going to find out anyway. I set my three instruments up in the dark dingy concrete corner of the basement in a triangle. When playing the guitar I would be staring at the drum kit. 20 minutes of guitar and I couldn't take it anymore, I had to play the drums. When playing the drums I would be looking at the bass, the bass looked at the guitar bla bla, I would cycle The loop for hours on end every night. I played music for at least 3 hours a day for a constant 12 years easily. One day I stole the family computer and set it up in the basement so i could try to record my friends and I jamming. This led to me going to school for recording and the rest is history.

“If I could go back to any part of my life I would go back to when Ska was still a thing. Back to when nothing mattered and everyone was there to have a good time. Back before people filmed concerts on their phones, Back when people skanked and didn’t care about looking silly. I would do anything to have a good old fashioned skankin’ circle pit. I miss the energy and the unity of misfit strangers coming together to let loose. To me the Ska scene was somewhere to go when you had no where to go. I feel so much of the world could benefit from something like that today.”

SC: And speaking of old soulful tech - released digitally on Sept 30 - not on cassette, and vinyl for Christmas?

MC: “Unfortunately no Cassettes. Cassette in my opinion, does not have the greatest audio quality. They are vintage, but thats about it. Vinyl has such a pure sound, the lack of overall compression, the space it allows you to hear in the mix. Cassette doesn’t do that. its just retro portable music. I bought a cassette a few years ago at a show. I still haven’t heard it because who has a cassette player that still works?”

OBGMs, photo by Amanda Fotes

OBGMs, photo by Amanda Fotes

The OBGMs; the re-ignition of punk rock

Will McGuirk September 25, 2020
“The parallels between the initial principles of angst of working-class people against mainstream society paralleled just waking up black.”

By Will McGuirk

Well they ain’t playing nice, this TO trio of punks, the Ooh Baby Gimme Mores, the OBGMs. So lets get right down to business, punk is doing it your self, your way, your voice, your rules, and these kats may well be the most punk of bands, at least to come out of such a company town. The OBGMs don’t play by the rules because the rules are meant for others’ success, that much is obvious, ask 2020 if you don’t believe. So the OBGMs set out themselves to do it their way and by all accounts they say their way is the better way. Well, its just Hogtown hubris if you can’t back it up but, well, whether they can or not, you know they don’t care whether I say yay or nay, so listen to them yourself, they have records out and a new album, ‘The Ends’ coming out Oct 30, 2020, available on Black Box, and if you want to know more, well, they were nice enough to reply to slowcity.ca by email about some things we was curious about.

Slowcity.ca: The contributions of black artists to punk culture have often been under-represented in the mainstream understanding of it. Curious to hear your thoughts on the lost, forgotten or plain ignored role black culture has in punk?

OBGMs: “My thoughts are racism permeates everything, of course it will seep through the history of your music and how you consume it.  The struggle to be visible is a story regularly told in our history.

“I think people often forget that being black is being punk.  The parallels between the initial principles of angst of working-class people against mainstream society paralleled just waking up black.  Black culture is often monetized and sold to the masses in a different package.  In this instance, the package doesn’t look or include people that look like me in the forefront.  This ultimately puts artists in my position at a disadvantage having to fight for validity in what is actually their home.  I do think there is a movement happening and a change is coming.  We are living in a period of long overdue social consciousness in which people are willing to challenge their norms.” 

SC: Getting into a type of music can come from listening to parents records, from seeing bands live or from the area one grew up in. K-Os says his form of rap comes from listening to HipHop, yes, but also the Tragically Hip and Judas Priest because he grew up in Whitby. What role in the development of your music comes from how you grew up, and where - also, where did you grow up?

OBGMs: “I think where I am from played a big part in how we sound.  I grew up in a housing project in Toronto, ON called Neptune. In this area we only listened to hip hop, soul, disco, reggae, dancehall, gospel, or R&B.  I missed growing up in the era when Nirvana was the biggest band in the world.  This is a blessing and a curse because I am unfamiliar with a lot of the acts that are the Mt. Rushmore of rock/grunge/punk music.  But at the same time, it’s a blessing because I can interpret this genre of music in an approach that is completely my own.”

SC: How have you guys been doing during Covid - how has it affected plans around the music, touring? Are you able to get together as a band and at least write? What does Covid-19 for The OBGMs look like and more importantly what does post-Covid-19 look like for you?

 OBGMs: “COVID has slightly delayed our plan to take-over the world.  We spent a lot of time wanting to make a statement to the world and setting up for 2020 to by OUR YEAR.  It’s extremely disheartening to not be able to live your dream the way you want to live it.  The silver lining is the writing process is COVID-19 resistant, I do most of the writing alone in a bunker and have kept creative.  

“COVID-19 has allowed me the opportunity to reflect on who I am and how I want to be remembered in music.  Before the pandemic I was a recluse who detested online interactions. Now, I yearn for creative ways to connect with people in real ways.  I taught myself how to edit videos and now I am able to better inform people about what we are about beyond the music.  

“I believe all of this has brought more visibility to the band that will set us up to be one of the major touring acts post-apocalypse.”

Buy the vinyls here ->

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Zoon

Zoon

Slowcity.ca Open Mic with Ben Rogers, Zoon, METZ, Sylvan Esso, Ellyn Woods, Grace Gillespie, Hen Ogledd, and Steven Wilson

Will McGuirk September 22, 2020

By Will McGuirk

Some great tunes today on the Open Mic, musicians are not on stage but they are still working hard creating. In particular we welcome Ben Rogers back. He will be live-streaming an acoustic show from his BC base on Sep 27, 2020. Tickets here. Rogers is a mix of Andy Maize of the Skydiggers, Matt Mays and whole lot of empathy. He has a new video for an older track.

“During this pandemic that has affected us all, we can’t forget those hardest hit. Since the public health emergency there has been an increase in overdoses in Vancouver. This song is dedicated to the people of the streets of East Van who have lost their lives and those who are struggling to survive. They cannot be forgotten or abandoned." - Ben Rogers


First Nations musician Zoon (Daniel Monkman) has released his latest single and video, “Brokenhead,” from his debut album, ‘Bleached Waves’ issued on Paper Bag Records. back in June 2020 The song’s title comes from the Ojibway reserve where Monkman grew up and is a reflection on how he felt leaving family behind.

"I could see my dad and my uncle in the rearview mirror waving goodbye as distance between us grew further and further away. I felt a kind of Triumph and yet a rush of sadness/happiness. When I was recording the guitars, I kept focusing on that feeling." - Zoon

Buy the vinyl here ->

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Monster noise-rockers METZ have announced a live-stream performance of their new album, ‘Atlas Vending’ plus they have released their new single and video, “Blind Youth Industrial Park.” METZ will be taking the full album live from the Opera House in Toronto on Oct 15 and 17, 2020. The album drops Oct 9 on Sub Pop and Royal Mountain Records.

“Something that is intrinsic to who we are as people has been taken away. We want, so badly, to find that feeling again, to forget the world for a moment, and share a brand new album that we love very much (plus some oldies) with you” - Alex Edkins

Buy the livestream tickets here ->

Buy the vinyl here ->

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“It’s the centre of the record - a song about being obscured by someone’s loving impression. A mirror on a mirror.” - Amelia Meath


House of Youth · Ellyn Woods - Tangerine

Grace Gillespie · Hoppers


Tags zoon, Paper Bag Records, Metz, Auteur Research, Sylvan Esso, Indoor Recess, Ellyn Woods, Grace Gillespie, Ben Rogers, Killbeat, Hen Ogledd, Hard Copy Media, Steven Wilson
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Regina Gently drags DIY ethos onto the dance floor with debut album: Interview

Will McGuirk September 21, 2020

By Will McGuirk

Regina Gently, the drag alter ego of Gentleman Reg, released her debut album, “Don’t Wait To Love Me” on Friday Sep 18. The album comes after a long sabbatical away from making music. Both Reg and Regina had been performing for two decades sharing stages with Austra, Peaches, Fucked Up and Owen Pallett among others. But burnt-out and disillusioned with the life of a Canadian artist, and to regain some focus the decision was made to step away. The album title alludes to the way art is under-appreciated in the country. Too often artists must make it oversees or down south to garner attention at home. (Covid-19 is only making that more obvious)

Although away from the limelight studying make-up artistry, Gently was still writing songs and now she is stepping back in, up and out with an album of shimmering chunky synth dance tracks, including collaborations with Isla Craig, Lex Valentine, Kelly McMichael, and no stranger to Slowcity.ca, John ORegan aka Diamond Rings.

The record kicks off the heels with the joys of “Vacation” and the celebratory House vibes continue through the following numbers but its the spoken word album closer “Do I Have To Do Everything My Fucking Self?” which snaps it up like a Batman slapping Robin memes.


Slowcity.ca reached out by email and Gently reached right back. . .

Slowcity.ca: When was “Vacation” written - it seems so on point now during this pandemic? We do all need a vacation - has it taken on another meaning for you too because of Covid?

Regina Gently: “Yes we do! Having everything shut down and being forced to stay at home is a form of Vacation but certainly not the kind any of us wanted. We’ll certainly need a vacation from this vacation. But no it was actually written years ago. With all of these songs I was trying to up my relatability and come up with universal sentiments, and I came up with this sort of mix between Madonna’s ‘Holiday’ lyrically and Robyn’s ‘Call Your Girlfriend’ sonically.”

SC: What was the reason you quit music, was it for a ‘vacation’ - and more importantly what got you back ?

RG: “Ha. It was artistic burnout and poverty and approaching my 40’s. After touring my one woman show in 2015 across Canada from Montreal to Victoria for a summer i arrived back home and realized I’d only just broken even financially on the tour and I just kind of decided I had to stop and reassess my life. I realized I needed some new skills and went to College and studied Makeup artistry then worked in the makeup industry for a year….which ironically absolutely made me hate makeup! But the whole time I was sort of writing and recording very sporadically the songs that became this album. So even though it makes no logical sense I just can’t seem leave music behind!”

SC: Happy to see John O'Regan in the credits - what was John's contribution - and as he has been very quiet lately how did you get him involved?

RG: “This album originally was going to be a second Light Fires album, my band with Jamie Bunton. (Our first album came out 2013). But part way through the writing I realized i didn’t want to make another ‘indie’ sounding dance album, I wanted a real classic sounding dance album, that you could play next to stuff from the 80’s and 90’s, and so John suggested I meet Matt and Mark Thibideau as they make synth based techno music and their studio is like an analogue dream, full of drum machines and synths and we just hit it off. Then John lives down the hall from the brothers we just called him one day to come add some backup vocals, not sure if he’d want to and he said yes! As it turns out even though our voices are very different they blend extremely well, so its hard to pick him out but he’s there on a few tracks like ‘Good People’.”

SC: “All My Rich Friends” has a Pet Shop Boys “Being Boring” vibe in its celebration of nostalgia but there’s a similar sadness in how , “some of us just got lucky” - How did that song come about?

RG: “Ooooh what a great reference! We definitely were playing lots of Pet Shop Boys in the studio during recording including that track. That’s a very personal track, maybe the most on the album. I’ve sort of spent the last 20 years watching my friends and peers and exes race by me in their art careers achieving these successes that I just never seem to reach. And just when i think ‘oh there’s no way anyone else close to me is going to blow up’, it happens again! And now it’s happening on T.V. and social media which are whole other beasts! So it’s about that whole idea of ‘why do some people have great success and others fail?’ What part of it is luck vs talent vs timing vs perseverance etc. And at the end of the day we’re all actually still the same people we were before but the realities around us shift. And then to pull it away from any sappiness we made it the longest and most club ready track on the album. The second half is all instrumental, so it can almost have two lives this song.”

SC: There’s no difference between pretending to be brave and being brave, that came to my mind during ‘Work It Out’; “If you’re insecure don’t put that shit on her”, “act like you can work it out” - “don’t fall back in old patterns. . step it up”, Where does your bravery come from - to dance like everyone’s watching?

RG: “Totally that’s exactly it. I was a huge fan of rap when I was a teenager, and specially female rappers. MC Lyte has this track ‘Act like you know’ and I’ve just always kept that line in my head as like a life motto. Like a ‘fake it til you make it’ kind of sentiment. And there’s an abusive sentiment in that line as well. Like stop taking your shit out on other people and figure out how to deal. I think my bravery comes from everyone watching. I somehow am most comfortable in my skin when I’m on stage when there’s a mic in front of me. Then i retreat to my solo life and recharge.”

SC: So much to unpack in “Do I Have to. . .” - a rap with a slap? - an acceptance speech for Drag Race? - why did you do that one, as spoken word and not as a song?

RG: “Well that comes from the ending to my one woman show. And in the show it is a rap, but, it’s a comedy based show, so there’s a humorous element to it as I certainly am not a rapper. . . and it’s longer and has music. But then over the years I would often just throw this version into my live music sets, as more of a throw down beat poetry vibe, and also to catch my breath and stop dancing, and I found it was often the showstopper in the middle of a set of dance tracks to suddenly go there.

I never thought it would work in the context of an album, but I thought maybe as the long lost a capella secret track. And it also gives people a very real sense of what I do live as my shows often have just as much banter as they do music. And unless you’ve seen me live you’d never know that, so this is a taste. Also, the line ‘do i have to do everything my fucking self?’ is easily one of the best lines I’ve ever written! ha.”

SC: The title of the album is about how Canada doesn't treasure its artists until another country does - There are places in Canada who do value artists - here in Oshawa not at all but in Guelph they do - or seem to from what I see - why do you think some places do and why Canada overall doesn't seem to? What changes need to be made?

RG: “Yah that’s the never ending debate. I wish I had the solution. But every time I go to Europe to travel or perform everything just seems to make so much more sense. I don’t know if it’s the inferiority complex or our smaller population mixed with being so spread out. But we really do seem to wait until others approve of something before we adopt it back as our own.”

SC: Because of Covid shows are on hold, some artists may draw some sense of value from an audience - referring back to the title, we may have to wait to love you in person so how do we in the meantime? Are you planning a global zoom dance off, a from your house house music night? How are you dealing with having a new record out at this time of no shows?

RG: “Something we’re all figuring out. I have been streaming live shows and DJ sets but kind of put that on pause for the summer. But getting back into that and working with newer, platforms like Twitch and using Instagram live a bunch. I’m going to be filming some ‘live’ performances to post and there are some music videos coming and honestly you’ll likely know as soon as I know. I’m basically up for anything at this point!”

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Slowcity.ca Open Mic with Terry Uyarak with Riit, Ryan O'Shaughnessy, Dawes, Rich Aucoin, Tyler Ramsey, Kadeema, Butcher Brown, Low Float, and Color Fields

Will McGuirk September 19, 2020

By Will McGuirk

Nunavut artist Terry Uyarak has released the latest single from his upcoming album, ‘Nunarjua Isulinginniani (Before the World Ends)” due Friday Oct 20, 2020. The new track “Anuri” features Polaris Prize nominee Riit and is accompanied by a video directed by Chris Mills, no stranger to us at slowcity.ca. The song was written by the late Simon Uyarasuk and is dedicated to him.

“The land is our source and our being. The land has always been our trouble and our freedom. The land has been my ancestor’s stories and have become my story.” - Terry Uyarak



Dawes take on mental health and survival in their new song “Didn’t Fix Me”. Their new album ‘Good Luck with Whatever’ drops Friday Oct 2 2020 on Rounder Records.

“I'm sure we all know plenty of miserable people who seem to have it all and plenty of blissful people that seem to have close to nothing. This song is about the efforts one makes to find some easy fix, unable to recognize that it will never work that way, that we are in the end our own responsibility." - Taylor Goldsmith, Dawes

Buy the vinyl here ->

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Rich Aucoin shouts out iconic music videos from such illuminaries as Prince, Nirvana, MC Hammer, Queen and more, in the fun and subtle new video for “Walls.” Aucoin’s album ‘United States’ out now, is a concise, creative and considerate response to a very complex situation in the country south of us, a response with heart and beats.

“. . . this song is appealing to not make the divisions amongst our groups be so hard cut off for membership and to keep lines of communication and compassion open to enable more and more to join the team.” - Rich Aucoin

Buy the vinyl here ->

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Hidden Pony · Kadeema - Ordinary World

Acid jazz/hip hop crossover artist Butcher Brown’s debut for Concord Jazz, ‘#Kingbutch’ is now available.

Buy the vinyl here ->

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Low Float · Golden

Tags Ryan O'Shaughnessy, Hot Press, Dawes, Indoor Recess, Rich Aucoin, Killbeat, Tyler Ramsey, Auteur Research, Butcher Brown, Chris Mills, Terry Uyarak, Riit, Low Float
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