Under Review

Various Artists

“Ten tracks from friends around the globe” notes ADSR, the new, Canadian, electronic label to describe its first official release, ADSR Vol. 1. — just…

Under Review

AJ Cornell & Tim Darcy

On a warm day, lying in the grass, with the sunlight filtering down and tinged green through tree branches overhead, I first listened to AJ…

Under Review

Usd.

Vancouver ambient electronic artist Spencer Davis has moved away from his Nervous Operator pseudonym to record under a new name. Usd.’s genre is self‐described as industrial dub…

Features

So Loki

You've Got Me Itchin' and Scratchin'

“Especially where we are in Canada, especially in Vancouver, there’s a lot of diversity so we’re definitely trying to push that boundary a bit. Make people feel weird.”

Under Review

You’re Me

The beauty and serenity of Salt Spring Island appears to have been deconstructed on Yu Su and Scott Johnson Gailey’s debut collaboration. Calling themselves You’re…

Under Review

Brevner

The opening track on Brevner, “Chico,” samples dialogue from Scarface. Tony Montana explains to his companion Chico what he wants: “The world, Chico, and everything…

Under Review

French Pretzel

After all these years, evidence is finally here. II, the EP recently released/revealed by the Nova Scotian producer, French Pretzel, might be it — the…

Under Review

Essaie Pas

What do you think of when you think of electronic dark-synth? Hold onto that sound. Add a touch of Kraftwerk, driving rhythm that beats your…

Under Review

Junior Boys

After releasing It’s All True in 2011, Jeremy Greenspan and Matthew Didemus have spent the past five years involved in various other studio projects. This includes Greenspan’s production on Jessy Lanza’s excellent debut, Pull My Hair Back. The duo’s return, Big Black Coat, operates as a fusion of many genres making up electronic music. This includes elements of arpeggiated techno, laid-back house, funk, and bedroom pop. At its best moments, Big Black Coat blends these elements together with perfect balance.

Take album standouts “Baby Give Up On It” and “No One’s Business” for example. The filtered synths and grooving bass give these two songs a full funky sound. The thumping “What You Won’t Do For Love” has a hypnotic pulse that would fill a dance floor, but also has an ambience to it that sounds just as good on a pair of headphones. There are instances where Junior Boys have potential pop songs on their hands. “Over It” feels like it is going to explode into a big hooky chorus at any moment. It never does however, and this restraint is exemplary of Junior Boys experience in their field.