Loud, sweaty, sweet rock n roll- Miesha & The Spanks are two of Calgary AB's busiest road junkies. Miesha Louie (guitar/vox) and Sean Hamilton’s (drums) brand of garage rock sits somewhere between the timeless jam of The Runaways and scrappiness of The Gits, with just enough influence from 50s girl-group romanticism to catch a case of pop sensibility. They’re explosive together on stage, and their upcoming album ‘Girls Girls Girls,’ produced by Paul Rawson and Danny Farrant (of The Buzzcocks) promises to put that on record. Miesha & The Spanks are at their best spilling out of their van and onto a stage after a real long drive.
It was a chance meeting with Danny Farrant at Sled Island Music Festival that led to their collaboration, first with 'Stranger EP,' cited by Mike Bell (Calgary Herald) as “representing Miesha and The Spanks at their most polished and more accessible." The EP sets the stage for ‘Girls Girls Girls,’ offering a taste of what’s still to come: ten songs with the impassioned songwriting fans are used to, but imbued with a new visceral energy and unbridled electricity.
Miesha & The Spanks have toured coast to coast many times, with additional performances at NXNE, Halifax Pop Explosion, Sled Island, Canadian Music Week, and BreakOut West. They have shared the stage with Queens of The Stone Age, Death From Above 1979, Hot Snakes, Nashville Pussy, Imperial State Electric, Pack AD, C’mon, Bison BC, Hot Hot Heat and many more amazing bands.
Spiricom is a two-person project from Ohio featuring elements of post-rock, shoegaze, ambient and experimental rock. The project was started by Steven K. Smith, who has also been involved in bands such as A Signal In The Static, Dolmen, Mabou, and Daye of Skye.
In 1980, William O'Neil and George Meek built the spiricom apparatus to communicate with the spirits of the deceased. Stranger still is that O'Neil claims to have gotten assistance in the radio-like device's development via psychic interaction with Dr. George Mueller, who had died in 1967. The concept of otherworldly communion mixed with technology is Spiricom's primary theme, but they also explore more archaic forms of spiritual communication.
Smith handles the programming, percussion, keyboards and synthesized guitar in Spiricom, while Marc Cody explores soundscapes, auditory textures, and fuzzy walls of distortion on lead guitar.
Spiricom's Hammer of Witches EP glimpses the lengths to which the zealous will go in the pursuit of righteousness. Three companion pieces evoke how men wielded pain, fire, and unyielding conviction in the pursuit of holy purification. Competing spiritual forces create a cascade of textures. Guitars lull and sear a redemptive path through illuminating and angelic synths. Drums beat out a shamanistic trance while a percussive march gathers on the borders.
Once Upon A Winter is a solo post-rock/post-metal project from Greece, created by Ilias Kakanis. 2017 was the year that the debut album "Selective depression in chase of the Big Bang" was released. One year later, on February 2018, the second album was released.
.existence is the second studio album of the project. Heavier and darker than its predecessor, .existence still aims to create haunting atmospheres, with elements of classical strings, ambient and heavy guitars.
I've seen the skies shatter - 05:25 info
In the chronicles of mediocre egos - 08:02 info
Cognitive dissonance - 03:42 info
Unsettling minds climax in the darkest hours - 06:43 info
A powerful new song by Iskwe " The Unforgotten" featuring the Tanya Tagaq.
"I’m very pleased to share my new song, “The Unforgotten”, featuring the ever-powerful Tanya Tagaq, with you today. This is a community song that’s meant to be shared by all people – a round dance where everyone holds the hand of the person next to them, forming a circle that connects us with our ancestors, as one. The current climate of events for Indigenous people is not lost on me, and makes me feel that much stronger releasing this bad boy now.
Written last year in the wake of the Canada 150 celebrations, I felt it was important to remind everyone that while celebrating the wonderful things that make Canada a beautiful and unique place to live, it's imperative that we remember, honour and acknowledge our dark corners as well.
I'm proud of who we are as Indigenous people. I'm proud of what we've fought for, and how we continue to fight for our culture, our languages, our children, our women, our men, our earth and our water. But I'm also proud of all my non-Indigenous family and friends who continue to fight alongside us. This song is for all of us. Let's dance together!"
Josh Mover & The Shakers are a dark indie-rock band out on a mission to write music that divides people.
"For Into a Ghost, I culled together some good friends and talented Toronto rock alumni to play: Ben Reinhartz (Dilly Dally); Mathew Wronski (The Sulks); Joseph Landau (ex-Formalists), Will Hunter (The Nutrients), and Clara Klein. Mastered by David Newfeld (Broken Social Scene), and recorded and mixed at Union Sound Company by Ian Gomes (Odonis Odonis, Teenanger), this EP was recorded in a whirlwind span of two days this past September, and was largely fueled by Figs Breakfast on Queen East.
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.