Emily Haines is a Canadian singer and songwriter, known for her work with Metric, Broken Social Scene, and as a solo artist. She was born in New Delhi, India, moving to Ontario with her parents as a young child. While attending the Etobicoke School of the Arts as a teenager, Haines met her future Broken Social Scene bandmates Amy Millan and Kevin Drew. After college, Haines moved to Toronto, where she met James Shaw. In 1997, they began recording together under the moniker Mainstream before renaming their project Metric. In 2001, Haines and Shaw were joined by Joshua Winstead and Joules Scott-Key. Two years later, Metric released their first full-length, the acclaimed Old World Underground, Where Are You Now?

The Montreal synth fantasist d’Eon releases his new double-album LP, which is (seriously) a concept album about the archangel Gabriel living on the internet in 2012. It is pretty as all hell, and we’ve already posted the album tracks “Transparency Pt. II” and “Now You Do,” as well as the epic closer “Al-Qiyamah.” And now,

Based in Montreal, Kyle Bobby Dunn has been producing elegant and refined works of ambient minimalism for the better part of a decade. His two lengthy and critically lauded collections for the Low Point label, “A Young Person’s Guide…” and “Bring Me the Head of…,” established him as a force to be reckoned with in the current epoch of drone/ambient music. Indeed, he is a rare artist whose compositions offer listeners wonder, sadness and pathos in equal measure, and are executed with a precision and effortlessness that eludes most musicians working in the genre. With “Kyle Bobby Dunn and the Infinite Sadness,” he has produced what is undoubtedly his most focused and emotionally charged album to date, a rich, expansive collection of slowly unfurling beauty that stretches out over the course of more than two hours. Dunn’s trademark guitar swells and slow-moving loops are present here, but feel clearer and with a renewed sense of purpose and poise. He recorded source material for the album in various Canadian towns, including Belleville and Dorset, and processed and arranged the recordings at L’auberge de Dunn Studios in Montreal while, in his own words, “reflecting heavily on the gorgeous feet of a certain French woman and binging on strong beers and cheese.” From the opening salvo, “Ouverture de Peter Hodge Transport,” Dunn establishes a haunting, lovelorn trajectory that is developed through pieces such as the strikingly beautiful “Boring Foothills of Foot Fetishville” and the poignant closer “And the Day is Dunn and I Can Only Think of You,” titles which exhibit well his trademark sense of (black) humor. A powerful statement and what is at once the artist’s most complex, complete and accessible album to date, we’re pleased and honored to present “Kyle Bobby Dunn and the Infinite Sadness.”

A band’s third album usually tells you whether they’re in it for the long haul or a flash in the pan. On Age Hasn’t Spoiled You, Greys prove that they are undoubtedly the former. The Toronto post-punks eschew their trademark frenzy for a more cerebral and cinematic affair. This widescreen approach loses none of the impact of their early material, instead employing space and dynamics to propel the listener toward even greater payoffs when they decide to switch back into high gear.
When we last left them, days before the 2016 US election, Greys had just finished a year of touring with the likes of Bully, White Lung, Japandroids, Preoccupations and more after releasing their sophomore record, Outer Heaven, and its companion piece, Warm Shadow. The following year saw the quartet taking some much needed downtime with members pursuing solo projects and moonlighting in other bands. As their city surrendered to gentrification and the world abroad descended further into chaos, the four men spent most of 2018 in the studio channeling these feelings of displacement and alienation into songs that reflect the state of panic and confusion prevalent in our news feeds. “We wanted to push as far away from what our perception of a ‘rock band’ could be while still retaining certain characteristics that sound like Greys,” says frontman Shehzaad Jiwani.
What results is a richly textured experience that draws influence from krautrock, industrial, hip hop, dub, jazz, ambient, drone and more, sometimes within the same song. That their blend of disparate sounds never obscures the album’s sharp focus is a testament to the group’s mastery of both songwriting and production. This is evident on lead single "These Things Happen," which jumps from big beat psychedelia to CSNY harmonies and back again while Jiwani considers privilege, apathy, drug use, and content fatigue in one verse. Elsewhere, on “Kill Appeal,” electronic drums pound and pummel before caving into a free jazz freakout, only to return for the song’s climax with a lyrical allusion to the writings of James Baldwin.
The stylistic sprawl recalls classic third albums like Check Your Head, To Bring You My Love or Fear Of Music - records where artists reinvented themselves as something far beyond what was previously thought possible for them. With Age Hasn’t Spoiled You, Greys strive to exist in a similar echelon of bands that seek to shatter the boundaries that contain them

Sarah Davachi (born in 1987 in Calgary) is a Canadian sound artist, composer of electronic and electroacoustic music and pianist. She is a graduate of the University of Calgary and holds a master's degree in electronic music and recording media from Mills College in Oakland, California.

Sound designer turned ambient explorer Scott Morgan is one of Kranky's longest-serving artists. He first appeared on the American label under his now familiar Loscil alias way back in 2001. Monument Builders is his eleventh solo full-length, and sees him effortlessly flitting between icy, slow-burning ambience, analogue soundtrack salvos (see the John Carpenter-ish "Red Tide", a bubbly blast of Cold War paranoia), cinematic tension-builders ("Straw Dogs"), throbbing, post-drone soundscapes ("Anthropocene"), and bittersweet mood pieces (the melancholic brilliance of "Weeds"). As you'd perhaps expect from a man whose day job involves scoring computer games, the album is hugely atmospheric and immersive.

On No Ghostless Place, the second full length effort from London, Ontario’s Raised By Swans, Eric Howden sings about the departure of a love he was never meant to lose, the loss of a youth he never noticed was slipping away, and the struggle to hold onto the only things he has left; lingering memories of everything that’s gone. No Ghostless Place isn’t about the kind of ghosts that wear white sheets, and it’s set somewhere far more haunted than the house at the top of the hill; inside the mind of a brokenhearted poet. Sorrow-laden guitar and piano mingle with ethereal vocal melodies, heightening the fatalistic regret in “Secret Garden /S.C.”, “Easier”, and “Old Fires”, while steady purposeful drums provide an edge that keep things from getting too airy. On “Night Fighter”, well-known songs from the past become distant hums, “and you and I will fall too,” mourns Howden, deciding that all that can be done is “sleep… sleep… sleep… sleep.”

he Destroyer – 2
All songs written and produced by Robert Alfons
This Slow co-written and co-produced by Maya Postepski with additional production by Lars Stalfors
Enduring Chill, cor, Shame co-produced by Lars Stalfors
Iris, Darling, Destroyer, The Stain additional production by Damian Taylor
Live drums by Lia Braswell on Iris, Darling, Destroyer and The Stain
All Songs mixed by Lars Stalfors except Iris, Darling, Destroyer and The Stain mixed by Damian Taylor
All songs mastered by Joe LaPorta at Sterling Sound, NJ
Cover art by Davy Evans
Album layout & design by Ryan Thomas Ormsby

Alexandra Stréliski is a Canadian neo-classical composer. She released her debut album, Pianoscope, in 2010. Songs from the album have appeared in several films and movies, specifically those by Canadian director Jean-Marc Vallée. This includes the Dallas Buyers Club, Demolition, and Big Little Lies.

Michael Feuerstack is a Canadian indie rock musician, who has been associated with the bands Wooden Stars and Snailhouse. Snailhouse was essentially a solo project with multiple contributing artists, including Julie Doiron of Eric's Trip, with production work by Jeremy Gara of The Arcade Fire.

Stars乐队，由主唱Torquil Campbell,键盘手Chris Seligman成立于多伦多。乐团的成员还有吉他手AmyMillan和贝斯手Ecan Cranley,鼓手Pat McGee，小提琴手Genevieve Walker。另外，吉他手GenevieveWalker也参与了乐团巡回演出。
乐队的突破性单曲是来自他们04年专辑《Set Youtself on Fire》的”Ageless Beauty”。在04年十月向加拿大小范围发行后，《Set Yourself on Fire》于05年三月在美国发行，获得了强烈反响和很高的评价。
乐队的风格非常清新，一男一女的Duet，尤其是女生，非常动听，很传神。

Rebecca Foon, the composer and musician behind Saltland and Esmerine (and former longstanding member of Silver Mt. Zion) presents a new album entitled Waxing Moon. While best known as an incomparable cellist (and more recently, as a cofounder of Pathway To Paris) this collection of songs finds Foon emphasizing piano and voice with striking intimacy and elegance, showcasing a profoundly captivating evolution in her always resplendent songwriting.
With Waxing Moon, Rebecca is setting aside the Saltland moniker – her electronically-tinged string-centric project from the past five years – and will release this more personal new work under her own name. The album's ten songs are predominantly minimal and delicate, immersive and hauntingly beautiful – with vocal-driven tracks booked-ended by piano-based instrumentals, along with one up-tempo guitar-driven number ("Wide Open Eyes") that closes out Side One. While piano figures most prominently on the record, Foon continues to play cello on several tracks, complemented by gentle touches from a close coterie of musical guests including Richard Reed Parry (Arcade Fire) and Mishka Stein (Patrick Watson) on acoustic and electric basses, Sophie Trudeau (Godspeed You Black Emperor) on violin, Jace Lasek (The Besnard Lakes) on electric guitar, and Patrick Watson as co-vocalist on the dreamlike "Vessels". Foon co-produced the album with Lasek at Montréal's Breakglass studio and it sounds glorious.
Waxing Moon is Rebecca Foon's first eponymous album and a glimmeringly full-hearted new chapter in her celebrated musical catalog. Thanks for listening.