Artist：Tegan And Sara
Album ：Sainthood
Date ：2009.10.27
Label ：Vapor/Sire
Style ：Indie Rock、Alternative、Pop
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Tegan And Sara，来自加拿大Calgary的姐妹双胞胎Indie Rock团，吉他和贝斯配得简单利落，两个女孩的声音让人难忘，充满Rock Girls的愤怒和反叛但不空泛，新独立派摇滚代表乐团。

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Chrome Dreams II is the twenty-ninth studio album by Canadian musician Neil Young. The album was released on October 23, 2007 as a double LP and as a single CD. The album is a sequel to Chrome Dreams, a legendary Neil Young album from 1977 that had originally been scheduled for release but was shelved in favor of American Stars 'N Bars.

Canadian quintet Alvvays (pronounced "Always") burst out of the gates with their self-titled 2014 debut, a brief but bright collection of nine songs of nearly perfect, sugar-coated indie pop. The band call on inspiration from the jangly C-86 movement and bands like the Wedding Present or Talulah Gosh, but also lean on the fuzzy, homespun spirit of early American independent bedroom pop and twee while steeping their tunes in a languid dreaminess borrowed from Teenage Fanclub at their most wistful. The album opens with the one-two punch of "Adult Diversion" and "Archie, Marry Me," two single-worthy songs of noisy guitars, gloriously deadpan vocal harmonies, and sticky melodies cemented in the listener's skull by the interplay between guitar and singer Molly Rankin's cascading vocals. The album is full of highlights, from the synthy melancholia of "Party Police" to the Orange Juice-esque interweaving guitar lines of "Atop a Cake." While Alvvays relies on the same reverb-heavy production that an entire generation of beach-obsessed indie pop bands has tended toward, they surpass many of their peers by delivering more inspired songs, often with unexpected shifts or breakthrough moments. This debut surpasses simply being "promising" by delivering pop as beautifully composed as that of contemporaries like Pains of Being Pure at Heart or Veronica Falls, while also tying in sentiments of punk gusto, twee wonderment, and dream pop thoughtfulness without relying strictly on the musical blueprints of any of those genres. Instead, Alvvays find a way to articulate their heart-struck, dream-like songs with deft intention and control.

Canadian artist Lydia Ainsworth is a studied classicist with distinctly modern curiosities. Her debut album, Right from Real, doesn't attempt to resolve those differences in ideologies, but rather culls vitality from the meditative space between their opposing forces.

Two of Constellation's acclaimed solo instrumental artists join forces on this tremendous new album of original compositions for horn and violin.
Colin Stetson has developed a unique and renowned voice as a performer and composer, chiefly on bass and tenor saxophones, where he rallies an array of technical strengths and innovations (circular breathing, contact micing of his own body and the body of his instrument, vocalizations through the reed) to make some of the most captivatingly organic, darkly soulful and otherworldly solo instrumental work of recent years. His brilliant trilogy of New History Warfare records (2007-2013) has been resoundingly celebrated by critics, fans and fellow musicians across many genres: avant/jazz, modern classical/minimalism, electronic/noise, industrial/dark ambient, black metal and indie rock.
The solo violin work of Sarah Neufeld has emerged more recently, and especially through 2011-2014, in the period between her primary band Arcade Fire's last two albums. While no stranger to modern/minimalist composition with her Bell Orchestre ensemble dating back to the early 2000s, Neufeld has lately forged a newly distinctive, deliberate and evocative solo violin practice combining rock, folk, ambient and modernist sensibilities, culminating with her debut solo album Hero Brother in 2013.
Stetson and Neufeld first began playing in duo formation while on tour together as soloists in 2012, joining each other on stage for one or two of their respective pieces. Stetson had also collaborated in the past with Bell Orchestre and Arcade Fire, and with Neufeld and Shahzad Ismaily in an improv trio dating back to 2010 (including the Blue Caprice soundtrack). Duo compositions for their debut album emerged throughout 2014, and were road-tested that spring with performances at the Festival de Musique Actuelle de Victoriaville (Canada) and Moers Festival (Germany). The album was recorded without overdubbing, looping, sampling, cutting or pasting at their farmhouse attic studio in rural Vermont by Hans Bernhard and mixed in Montreal by Mark Lawson (Arcade Fire).
Never were the way she was is guided by the metaphorical narrative of the life of a girl who ages slow as mountains; excited, exalted, and ultimately exiled in her search for a world that resembles her experience. The album's expansive sonic trajectory and multiplicity of structures and voicings belies the fundamental economy of two acoustic instruments combining in real time. The result is a musical chronicle that powerfully establishes its own spatial and temporal horizon, a soundtrack that requires no images but profoundly compels the imaginative. From the filigreed ostinato polyrhythms of “The sun roars into view” and “In the vespers” to the stately long tones of “And they still move”, the dark drone-inflected sea-saw waltz of “With the dark hug of time” to the growling, pulsing thrust of the album’s epic centerpiece “The rest of us”, Stetson and Neufeld offer up an incredible (and impressively diverse) integration of composition, performance, timbre and texture while holding their respective instruments in sparkling juxtaposition. Never were the way she was is a sum quite definitively and thrillingly greater than its parts.
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Sometimes stargazing and sunset-watching is just what the doctor ordered. For those moments, you might want the smooth R&B/rap-infused electronics of Ryan Hemsworth to pull tight around you, warding off the chill and soothing a rattled soul. Guilt Trips is the full-length debut of the Canada-born Hemsworth. Opening with the kaleidoscopic, slow-motion cartwheels of “Small + Lost” (featuring the sultry vocals of London singer Sinead Harnett), Guilt Trips reflects Hemsworth’s studied ear for collaboration and genre-melding. The floating “Against a Wall” features Miami rapper Lofty305, with the vocals playing second string to a heady ebb and flow of synth patterns and shifting backdrop textures. Baths (Will Wiesenfeld) appears on the mood-shifting “Still Cold,” giving the collection a skewed dose of pop melancholy. Instrumentals like “Weird Life” put atmospheric washes to work balancing out the crackle and pop of electronic polyrhythms and echoing vocal loops. “One for Me” drips with Tinashe’s buttery, soulful voice before the hard edge of rapper Haleek Maul glints on “Day/Night/Sleep System.”

“We were never happy just making music on acoustic guitars,” says Tom Howie of the organic-electronic sound of Bob Moses, the Brooklyn-by-way-of-Canada duo he formed with partner Jimmy Vallance. “Our live show combines what a DJ does with a rock band,” Vallance adds. “Everything flows together in a continuous mix for the dancefloor, but it’s all our own original music, with live vocals and guitar. Then again, we came out of a scene that was trying to change what dance music is – that pushed beyond the expected sonic spectrum.”
That scene grew around the Marcy Hotel – the revered venue that, in its half decade of existence, proved as important for New York’s contemporary underground dance/electronic music world as CBGBs was for the ‘70s punk era. The acclaimed likes of Soul Clap, Wolf + Lamb, and Nicolas Jaar all gravitated around Marcy’s infamous parties, reimagining dance music in their own groundbreaking image. “We were totally inspired by what was happening at the Marcy. It was a small room, could only hold a couple hundred people tops, but it proved to be such a pivotal place,” Vallance says. “Alongside what other promoters like Resolute and Blackmarket were doing in abandoned warehouses in Brooklyn, New York was an inspiring place to be at the turn of the decade.” Also present was Francis Harris, the iconoclastic DJ/producer and co-founder of tastemaker label Scissor & Thread, which fostered a more personal, homemade take on electronic sounds. After meeting at a studio session for techno mavericks M.A.N.D.Y., Harris, Howie, and Vallance found they shared common ground. “Francis set the road map for the sound we needed to find,” Howie says.
Howie and Vallance started writing hooks for Harris’ Frank & Tony project, furthering their collaboration. “We didn’t think much of it until we played Marcy with Frank & Tony in 2012,” Vallance recalls. “Tom sang live to the tracks we’d written, and people went insane! We’d never expected that reaction, which made us think we were on to something,” Howie says. “We woke up the next day thinking ‘We have to become our own act.’ We came up with the songs for our first EP, Hands to Hold, and Francis agreed to put it out.”
Hands to Hold’s infectious title track appeared in two vastly different versions: an electronic mix that combined subtle grooves and tweaked sound design with Howie’s moody vocals, and a drumless acoustic take. Bob Moses upped the anti-genre ante on its next EP, 2013’s Far From the Tree: one track, “Interloper,” was the kind of dark, fractured 4/4 instrumental one might hear at 5:00am on a Berlin dancefloor, while “Stealing Fire” proved a psychedelic downtempo confessional with eerily catchy vocal melodies; the title song, meanwhile, split the difference between those styles. “Out the gate, we wanted to make clear we weren’t just a dance act,” Vallance says.
Bob Moses received its oddball moniker from Francis Harris in homage to Robert Moses, the urban planner behind iconic New York landmarks like Shea Stadium and the Brooklyn-Queens Expressway. But while NYC is definitely in Bob Moses’ DNA, its members actually met as high school students in Vancouver, Canada. The pair reunited randomly years later when, bumping into each other in a Lowe’s parking lot, they discovered they had studios across the street from each other in Brooklyn’s Red Hook neighborhood. Howie had arrived there after a stint at Boston’s Berklee College of Music, on a partial scholarship as a singer-songwriter. Vallance, meanwhile, had found some success as a producer/engineer/DJ creating commercial dance music – his remix of Sia’s “Buttons” brought him some early attention – but “I’d fallen out of love with making cheesy big-room tracks,” he laughs. “We booked a couple days to write at my studio for fun, and by the end of the week, I told Tom, ‘Come live at my place and let’s do this every day.’”
After signing to their new label Domino, Bob Moses released a third EP, First to Cry. Taking its title from Bob Moses’ blues-meets-deep-house take on “I Ain’t Gonna Be the First to Cry” by R&B legend Bobby ‘Blue’ Bland, it marks Bob Moses as a characteristic addition to Domino’s maverick stable. “We’re massive fans of Domino artists like Four Tet, Caribou, Hot Chip, and Animal Collective, so it just seemed like a natural home for us,” Vallance says. “We feel lucky to be starting this relationship – it’s a big new world.”

Hear Metric's New Song 'The Shade' From Upcoming Sixth Album

Formed in 1994 in Hamilton, Ontario, their first album, 1995's "Somnium," was critically successful but commercially was a non-factor. Three more albums were released before the band broke up in 2001: "There's Always Someplace You'd Rather Be" (1998), "Else" (1999), and "The Sound of The Colour of The Sun" (2001). Sianspheric reformed in 2005 and released "RGB," a live concert DVD, and a new single, the 7-inch "I Wouldn't Expect You To Understand."
Formerly known as SIANspheric4.
Sean Ramsay: guitars, vocals
Jay Patterson: bass guitar
Locksley Taylor: guitars
Matthew Durrant: drums

Montreal band Braids have announced their new album, Deep In The Iris. This is their third LP and the follow-up to their sophomore album, Flourish // Perish.
Driven by roomy acoustic instrumentation and tasteful electronics, Deep In The Iris is easily Braids’ sunniest and most immediate record. While the icy, airless production of their second album Flourish // Perish suited the songs’ inward gaze, the widescreen warmth and full-bodied punch of Deep In The Iris are the perfect complement to its unflinching lyricism. -Arbutus Records

"Literally and figuratively, Lowell is a wolf. Her very name stems from the French origin of the word, but her approach to music, creating, and the way she’s embraced both are a testament to both she and her namesake: fearless, determined, and a natural pack leader…
Following the early 2014 release of her 5-song EP I Killed Sara V., Lowell has announced her debut full length album We Loved Her Dearly will be released September 16 on Arts & Crafts." -From her website,

Long before Jessica Jalbert began recording under the solo moniker Faith Healer, she fostered a tight collaborative friendship with fellow Edmonton-bred polymath Renny Wilson. They’ve made boppy garage rock in Tee-Tahs, kicked up a racket in Punk Explosion, and even played in a scattering of cover bands. In 2011, Wilson was a key contributor to Jalbert’s solo albumBrother Loyola.
So when Jalbert set about creating her new solo album under the name Faith Healer, she naturally called on her old buddy to help out on production and instrumental duties. The result of these sessions is the debut LP Cosmic Troubles, which will come out this spring on Mint Records.
Jalbert wrote this material while absorbing a steady diet of psychedelic rock from the ‘60s and ‘70s. This fixation translates into inventive songs that combine the sun-kissed sparkle of classic pop harmonies with head-swimming trippiness and a few forays into thundering fuzz.
She and Wilson played all of the parts themselves. “He had a recording set-up in his parents’ basement,” Jalbert explains of the sessions. “His mom and dad cooked us dinner pretty much every time. It was very much a family affair.” Wilson captured the songs using his vintage console, which — if rumours are to be believed — may have been used on some Steely Dan recordings back in the day.
The pair worked slowly, their overlapping schedules meaning that they were only able to record periodically. “We had such intertwined lives, because we were both working at the same record shop, and he was working on the days I had off,” Jalbert remembers. “We could record on Tuesday afternoons, that was the only time we had. And if one of us didn’t have a free Tuesday, we couldn’t record that week.”
Eventually, they logged enough Tuesdays to finish Cosmic Troubles, which captures the warmth of the Summer of Love along with an eclectic sense of anything-goes adventurousness. Opener “Acid” finds Jalbert renouncing hallucinogens after a bad trip, but the wah-laced fretwork suggests that she might still be feeling some of the drug’s after-effects.
“Canonized,” on the other hand, swaps out woozy psych for the speaker-assaulting distortion of alt-rock, its titanic chorus sounding like a long-lost hit from the grunge generation. Expanding the palette even further, the blissfully airy hooks of “Until the World Lets Me Go” are bathed in watery guitar jangle, while “Angel Eyes” begins with pensive pastoral plucking before unexpectedly speeding up during its cloudburst finale.
Clearly, Jalbert and Wilson bring the best out in one another. They have already covered a lot of ground over the years, but Cosmic Troubles is their greatest triumph.

Art Angels is the fourth studio album by Canadian recording artist Grimes; it is scheduled to be released digitally on November 6, 2015 by 4AD and physically on December 11, 2015. Its lead single "Flesh without Blood" was released on October 26, 2015 alongside the preorder of the parent record.