MONOLORD: "The Bastard Son"
(via Relapse Records / Bandcamp)
Via Speakeasy PR:
MONOLORD: Announce Relapse Records Debut No Comfort Coming September 20Share New Song "The Bastard Son"
Swedish trio MONOLORD, who have been dubbed “Swedish doom royalty” (Noisey) and praised for their “truly modern sound” (Consequence of Sound), announce their Relapse Records’ debut, No Comfort, coming September 20th.
“This one has been the most challenging yet,” said MONOLORD in a collective statement. “As always striving for evolvement, but within the Monolord realm and with that inviting another person into that process. We hope you like it.”
Stream the first single "The Bastard Son" on YouTube HERE and all additional streaming services HERE.
No Comfort pre-orders are on-sale now, with several limited-edition vinyl variants available, including a Relapse.com exclusive in partnership with Orange Amps. The 100-piece release features the actual material used to wrap Orange Amps and is pressed on neon orange vinyl. The set includes an exclusive two-sided Orange Amps inspired t-shirt and guitar pick set. To view this set as well as the CD/2xLP/CSand digital pre-orders that are available, visit https://ffm.to/monolordnocomfort.
MONOLORD Tour Dates:
Aug 08-10 Moledo, PT Sonic Blast
Sep 06-08 Sao Paulo, BR Setembro Negro Festival
--- All Headline EU Dates Sep 28 - Oct 26 w/ Firebreather ---
Sep 28 London, UK @ The Garage (w/ Ufomammut)
Sep 29 Sheffield, UK @ HRH Doom V Stoner
Sep 30 Bournemouth, UK @ The Anvil
Oct 01 Utrecht, NL @ De Helling
Oct 02 Brussels, BE @ Magasin 4
Oct 03 Pratteln, CH @ Up In Smoke Festival
Oct 04 Reims, FR @ La Cartonnerie
Oct 05 Paris, FR @ Saturday Mud Fever Festival
Oct 07 Dortmund, DE @ Junkyard
Oct 08 Nuremberg, DE @ B-Zau
Oct 09 Cologne, DE @ Helios 37
Oct 10 Mainz, DE @ Schon Schon
Oct 11 Hamburg, DE @ Molotow
Oct 16 Oslo, NO @ John Dee
Oct 17 Gothenburg, SE @ Sticky Fingers
Oct 18 Malmo, SE @ Babel
Oct 23 Linkoping, SE @ The Crypt
Oct 24 Stockholm, SE @ Close Up Baten
Oct 25 Tampere, FI @ Olympia
Oct 26 Helsinki, FI @ Nosturi
--- All Headline US Dates Nov 04 - 27 w/ Blackwater Holylight ---
Nov 05 San Diego, CA @ Brick by Brick
Nov 06 Tucson, AZ @ Club Congress
Nov 07 Albuquerque, NM @ Sister
Nov 09 Austin, TX @ Levitation x Relapse Showcase
Nov 10 Lafayette, LA @ Freetown Boom Boom Room
Nov 11 New Orleans, LA @ One Eyed Jacks
Nov 12 Atlanta, GA @ The 529
Nov 13 Asheville, NC @ Mothlight
Nov 14 Richmond, VA @ Camel
Nov 15 Baltimore, MD @ Metro Gallery
Nov 16 Philadelphia, PA @ First Unitarian Church
Nov 17 Brooklyn, NY @ Saint Vitus
Nov 20 Chicago, IL @ Reggies
Nov 21 Indianapolis, IN @ Black Circle
Nov 22 St. Louis, MO @ Fubar
Nov 23 Lawrence, KS @ Bottleneck
Nov 25 Denver, CO @ Marquis
Nov 27 Los Angeles, CA @ Teragram Ballroom
Monolord is singer/guitar player Thomas Jäger, drummer Esben Willems and bass player Mika Häkki. The band released their debut album, Empress Rising in 2014, with full-length albums Vænir arriving in 2015 and Rust following in 2017. In the years since their inception, they’ve become one of heavy music’s rising stars, with much-chattered about performances at Roadburn, Desertfest and Psycho Las Vegas.
Esben Willems - Drums
Thomas Jäger - Guitar Vocals
Mika Häkki - Bass
Laurie Anderson, Tenzin Choegyal, Jesse Paris Smith: "Lotus Born, No Need To Fear"
Laurie Anderson, Tenzin Choegyal, Jesse Paris Smith: "Lotus Born, No Need To Fear"
(via Rarely Unable / Smithsonian Folkways / Soundcloud)
Via Rarely Unable:
SMITHSONIAN FOLKWAYS ANNOUNCE THE RELEASE OF SONGS FROM THE BARDO
A COLLABORATIVE LONG- FORM COMPOSITION BY MULTIMEDIA ARTIST LAURIE ANDERSON, TIBETAN SINGER TENZIN CHOEGYAL AND ACTIVIST AND COMPOSER JESSE PARIS SMITH
Pre-order and other streaming platforms
Smithsonian Folkways has announced the release of Songs from the Bardo, a collaborative long-form composition by multimedia artist Laurie Anderson, Tibetan singer and multi-instrumentalist Tenzin Choegyal, and activist and composer Jesse Paris Smith, to be released September 27. The piece, first performed as a mostly improvisatory performance at New York’s Rubin Museum of Art, is a guided journey through the visionary text of the Tibetan Book of the Dead. Over the course of a single, 80-minute ebb and flow of sound and words, this unique assemblage of artists, joined by cellist Rubin Kodheli and percussionist Shahzad Ismaily, has created a transporting experience, meant to draw the listener into the present moment and provide a framework for inner exploration.
Laurie Anderson’s voice, and its subtle concoction of gravity and grace, is a central sonic element of Songs from the Bardo. Her narration acts as a beacon for the karmic imprint of all beings as they experience the ultimate transformation of one life into what comes next. “Homage to the gurus,” she begins with a weightless solemnity as she invokes Amitābha, the Buddha of Infinite Light. Throughout her artistic career, which extends beyond music, sculpture, and immersive virtual reality experiences, Anderson has incorporated elements of her personal Buddhist practice, but never as explicitly and with such depth as she does on Songs from the Bardo. Throughout the recording, her experiential understanding of Buddhist philosophy is demonstrated through her expressive capabilities, as her intonation and articulations reflect the confusion, fear, and quiet ecstasy that the text evokes. “Do not be afraid of the brilliant light, luminous and clear, sharp and bright,” she speaks with a disconnected calm before bearing down, “Recognize them as wisdom.”
Tenzin Choegyal and Jesse Paris Smith, along with cellist Rubin Kodheli, craft a panoramic musical counterpoint that purposefully drifts in and out of the foreground, often dissolving into silence from grand crescendos of triumphant song. Choegyal, who was born into a family of Tibetan nomads forced out of their homeland and exiled in India, explains in the album’s liner notes, “I have tried to channel the wisdom and traditions of my ancestors through my music in a very contemporary way while holding the depth of my lineage.” He incorporates lingbu (a Tibetan bamboo flute), dranyen (a stringed, lute-like instrument), as well as singing bowls, gong, and his own voice, recontextualizing ancient musical heritage inside this new sonic landscape. Smith, who comes from her own musical traditions as the daughter of punk icon Patti Smith, guides the journey forward through expressive piano playing and the creation of beds of drone using a collection of crystal bowls.
Though Songs from the Bardo is intended as introspective, something personal and to be experienced with solitude, the roots of the project lie in shared activist work. Smith and Choegyal met in 2008 at the annual Tibet House US Benefit Concert at Carnegie Hall, raising money to preserve the endangered Tibetan culture and traditions. The pair first discussed creating a work based on the Tibetan Book of the Dead after the 2014 benefit, and the trio performed a shortened version of Songs from the Bardo at the 2015 edition. Smith is now a member of the Associate Board of Tibet House US, and all three musicians have performed at the organization’s yearly benefit multiple times.
This shared love and devotion of Tibetan culture and Buddhist tradition is at the root of Songs from the Bardo. Laurie Anderson, Jesse Paris Smith, Tenzin Choegyal, and Rubin Kodheli have created a piece of music that transcends time by creating an environment in which to lose one’s self, to imagine a space outside of sensory experience. But they also suspend time in a larger sense; by exploring the millennia-old ideas contained in the Tibetan Book of the Dead through a contemporary, exploratory lens, one based equally in spontaneity and repose, it reveals the still very much relevant wisdom contained within. These musicians build a bridge between then and now by illuminating death, the one constant in the impermanent human experience.
The musicians would like to thank Michael Askill for his inspiration in the creation of this work.
Fly Pan Am: "Distance Dealer"
(via Rarely Unable / Constellation Records / Soundcloud)
Via Rarely Unable:
FLY PAN AM ANNOUNCES NEW ALBUM C'EST ÇA INCOMING SEPT 20TH
AND SHARES FIRST NEW MUSIC IN 15 YEARS WITH LEAD TRACK "DISTANCE DEALER"
C'est ça marks the return of Montréal avant-rock quartet Fly Pan Am, who released an acclaimed series of albums in Constellation's early years, from 1999-2004. The band’s unique and heady collision of motorik repetition, shoegaze maximalism, punk skronk, tape- and electronic-based interventions and audio sabotage, garnered them a cult following among fans of audaciously deconstructed post-rock.
Fly Pan Am quietly reunited in late 2017 for purely artistic reasons (needless to say), to explore making new music together after more than a decade spent in pursuit of separate sonic adventures. Within weeks, it was clear the band was firing on all cylinders again, brimming with electricity and eager to pick up where they’d left off with their last album N’écoutez pas back in 2004: pushing further into full-spectrum intersections of noise pop, post-punk, power electronics and musique concrète, while continuing to incorporate shrouded, textural vocals as alternately melodic and visceral components.
C'est ça is a brilliant return to form for Fly Pan Am – an album of renewed vitality and experimentation where rock structures underpinned by J.S. Truchy’s trademark rapid-fire bass and Félix Morel’s disciplined, ascetic drumming are submerged beneath waves of processed guitar by Roger Tellier-Craig and Jonathan Parant, with fluorescent noise treatments and sonic vandalisms wrought by all four. “Distance Dealer”, “Each Ether” and “Interface Your Shattered Dreams” nod to important influences like MBV and Hüsker Dü, while collapsing into/out of themselves in various ways. “One Hit Wonder”, “Bleeding Decay” and “Discreet Channeling” vault some of Fly Pan Am’s earliest reference points into the present: namely, the intrepid proto-Kosmiche of This Heat and Can, and later style-adjacent torchbearers like Boredoms, Flying Saucer Attack and Trans Am.
But Fly Pan Am have always and reliably been much more than the sum of their influences and of their own constituent parts. C’est ca is terrific slab of restless, conceptual, psych-cosmic noise rock that could come from no other band, forged by four musicians with long histories both together and apart. Following years of sonic exploration in all sorts of other projects and guises, whether in rock/punk/pop groups like Pas Chic Chic, Feu Thérèse, Avec Le Soleil Sortant De Sa Bouche and Panopticon Eyelids (to name just a few) or through a wide range of experimental electronic and audio-art projects – including Roger Tellier Craig and J.S. Truchy each with solo releases on Root Strata, and Truchy having run the Los Discos Enfantasmes label for several years – Fly Pan Am have reconvened with all four original members and made a new record sparkling with the creative buzz of lifelong artistic intensity, dialogue and friendship.
FLY PAN AM LIVE DATES
20 September – Ritz PDB, Montreal, QC
21 September – Feast In East Festival, Toronto, ON
22 September – This Ain’t Hollywood, Hamilton, ON
26 September – The Mansion, Kingston, ON
27 September – Silence, Guelph, ON
28 September - 27 Club, Ottawa, ON
In addition to these shows, Fly Pan Am will also be perming a live soundtrack as part of the multimedia FRONTERA dance piece at the following dates:
FLY PAN AM – FRONTERA
20 November – Grand Théâtre, Québec City, QC
4-7 December – Place des Arts, Montréal, QC
19-20 February – National Arts Centre, Ottawa, ON__________________________________________________________
HIDE: "Raw Dream"
(via Stereo Sanctity / Dais Records / YouTube)
Via Stereo Sanctity:
Having recently announced their new album Chicago duo HIDE are now sharing the second single & video from the record "Raw Dream". Their new LP Hell is Here is due August 23rd via Dais Records and the band are set to tour the UK this October.
In the words of the band "'Raw Dream' is an anthem for the rise of the disenfranchised - a long overdue and joyous recalibration of an imbalance of power." The video shot by Eon Mora, edited by Christopher Michael Hefner and HIDE.
HIDE are an electronic duo based in Chicago, made up of fine artist Gabel and percussionist Seth Sher. Together since 2014, the pair create sample based compositions using a combination of self sourced field recordings and various pop culture/media. Releases include 2016's Black Flame EP which is dedicated to the memory of Reyhana Jabbari, a 27 year old Iranian woman who was hung for allegedly killing someone who was trying to rape her, and deals with various human rights violations in Iran. HIDE's 2017 debut album Castration Anxiety on Dais Records addresses issues of power dynamics and representation. Seething with textured yet minimal tracks, HIDE gives raw vulnerability an opportunity to unfurl, yielding an album that calls for personal autonomy and the destruction of anything barring the way. A single on Sub Pop for the label's singles club followed, with two unhinged tracks touching on the phenomenon of internalized misogyny and aspects of motherhood.
HIDE's second full length album Hell is Here on Dais is set for release August 23rd and sees the band's evolution pushed even further. The tone is sick and heavy. Using their previously established blueprint of complex drum programming, stomach churning sub bass and aggressive expressive vocals, Gabel and Sher poke and prod at the perception of musical context, and remind the listener that feelings of anxiety, pain, and discomfort are equally as important as those of resolution. Perhaps the strongest tool utilized here is the material’s dichotomy between the abrasive and the sterile. Beneath the crushing noisy exterior, sparks the familiar human voice. Divorced from their caustic counterparts Gabel’s vocals play a decisive role in cementing narrative for the material’s uncompromising assault on the senses.
Opening track “Chainsaw” immediately lays the groundwork for the excursion to come. Twisted, cold, and dry repetition soundtracks a one sided catcalling verbal assault. The theme of objectification carries through to the following track “999” with the use of a well placed vocal sample that declares “...when you depersonalize another person... it seems to make it easier to do things you shouldn’t do.” This sentiment is expertly echoed throughout the rest of Hell Is Here and attempts to forcefully remind the listener of humanity’s absurd and animalistic nature. Nearing the end of the punishing trek we find “Pain”, which is arguably the record’s most formidable use of space. The call and response nature of both the harsh percussive elements paired with the impending vocals effectively induces a deafening anxiety that’s rivaled only by the lyrical content of Gabel’s shrieking voice.
"SSSD" (which stands for Self Self Self Destruct) calls for total destruction of the ego via empathy. Here Gabel instructs the listener "Become nothing, you can feel everything, become nothing, you can be anything" in an effort to destroy the societal constructs that dictate the way we view ourselves and interact with others/the earth.
The summation of material presented on Hell Is Here is perhaps best interpreted as the rawest innards of HIDE’s vision for the self-governing ideology that’s consistently present throughout their body of work. Painful truth and honest examination of life’s darkest, and often undiscussed, crevices scratch and claw their way to the surface through the duo’s strongest and most confrontational work to date.
HIDE cut their teeth in the DIY spaces of Chicago and have continued touring vigorously since. Last year the band toured Europe, Russia and UK in addition to multiple North American runs. Known for their energetic live performances, the duo also work as interdisciplinary artists together, creating films and visual art installations as well.
See HIDE live:
24/07 - US San Diego, Music Box*
26/07 - US LA, Fonda Theater*
27/07 - US Phoenix, Crescent Ballroom*
28/07 - US Santa Fe, Meow Wolf*
30/07 - US Dallas, Deep Ellum Art Co*
31/07 - US Austin, Mohawk*
01/08 - US Houston, White Oak*
02/08 - US New Orleans, One Eyed Jacks*
03/08 - US Atlanta, Masquarade/HELL*
04/08 - US Nashville, Exit/In*
06/08 - US Durham, The Pinhook*
07/08 - US Richmond, Broadberry*
08/08 - US DC, Union Stage*
09/08 - US Brooklyn, Music Hall of Williamsburg*
09/15 - US Pittsburgh, Skull Fest
09/24 - US Chicago, Empty Bottle RECORD RELEASE
* w Drab Majesty, Body of Light
27/09 - BE Antwerp HetBos-**
28/09 - DE Leipzig Zoro Fest**
29/09 - DE Munich Rote Sonne**
01/10 - UK Bristol Exchange**
02/10 - UK Manchester Soup Kitchen**
03/10 - UK London The Shacklewell Arms**
04/10 - FRA Paris Espace B**
05/10 - DE Freiburg Slow Club**
06/10 - DE Berlin Urban Spree +**
08/10 - Russia Moscow Bumazhnaya Fabrika #
09/10 - Russia St Petersburg Mosaique #
10/10 - SWE Stockholm Slaktkyrkan #
12/10 - FIN Helsinki Blow Up Festival #
- Drab Majesty, SrSq
** co headline w/ Kontravoid
+ Lingua Ignota
# only HIDE
Loscil: "Equivalent 6"
(via Rarely Unable / kranky / YouTube)
LOSCIL SHARES A VIDEO FOR "EQUIVALENT 6" TAKEN FROM THE NEW ALBUM
INCOMING VIA KRANKY, 16 AUGUST, PRE ORDERS AVAILABLE
Canadian composer Scott Morgan shares a video (via the 4:3 website) for the track "Equivalent 6" taken from his 12th long-player as Loscil, Equivalents - watch the video here.
The album takes its title from an influential series of early 20th century photographs by Alfred Stieglitz, abstracting clouds into miasmic, painterly canvases of smoke and shadowplay. It’s a deeply fitting analog for Morgan’s own musical process across the past two decades, fraying forms and tones into widescreen mirages of opaque texture and negative space. The name Equivalents referred to Stieglitz’s notion of the photographs as being equivalent to his “philosophical or emotional states of mind;” the same could be said of these eight weighty, shivering chiaroscuros of sound. Each piece unfolds and evolves enigmatically, adrift in low oxygen atmospheres, shifting dramatically from pockets of density to dissipated streaks of moonlit vapour.
The entirety of the record was created specifically for the album with the exception of “Equivalent 7,” which began as a dance score for frequent collaborator Vanessa Goodman. The album version of this track was reworked with Vancouver musician Amir Abbey aka Secret Pyramid.
Via Stereo Sanctity:
The Paranoyds: "Carnage Bargain"
(via Stereo Sanctity / Suicide Squeeze / YouTube)
Via Stereo Sanctity:
Today LA newcomers The Paranoyds have shared the title track from their forthcoming debut album, Carnage Bargain, due for September 13th release on Suicide Squeeze.
The album Carnage Bargain sees the four-piece deliver a raucous blend of garage rock grit, new wave swagger, classic horror film soundtrack campiness, and a myriad of other left-of-center influences. Following the album’s first single of feminine-empowerment “Girlfriend Degree,” the record's title track “Carnage Bargain” shows the band delivering scathing lyrical observations wrapped in jubilant punk-pop hooks.
“People want things all the time—there seems to be a constant manic need of consuming, now more so than ever. 'Carnage Bargain' is about the people higher up wanting to get all this evil work done at a wholesale price,” bassist and vocalist Staz Lindes says. “It’s impossible for us to get through a day without thinking of the thousands of migrant children in cages at the border alone, some without proper beds, soap, toothbrushes, and with lights on 24/7. We can not continue to ignore the black lives, young and old, taken by police almost every week. The plastic crisis. The mass shootings. The extreme need of prison reform. The opioid crisis. The water crisis in Flint, Michigan. The list goes on, and the hole gets deeper. Sometimes I can’t sleep and I wonder: do they sleep well in the White House? What else can I do as a privileged citizen? They want to get a Carnage Bargain. I want to pick up garbage.”
“We’re living in the dystopian future. Our lives are completely tracked and programmed, our extension of ourselves is a handheld computer with a microphone and camera that stays on while were unaware, and, on top of everything, the extreme right is gaining continuous world power,” The Paranoyds explains of their name. “What isn’t there to be paranoyd about?”
It’s ironic that the band’s moniker winds up being an apt summary of the band’s general outlook on technology and modern culture given that The Paranoyds’ humble beginnings can be traced back to a friendship forged between Staz Lindes (bass/vocals) and Laila Hashemi (keys/vocals) over Myspace in their early teens. Bonded by a shared interest in local underground music, the pair eventually moved their online friendship into the real world. Laila’s childhood friend Lexi Funston was brought into the fold and the first vestiges of The Paranoyds began to take shape. “We would all go to our friends’ shows and it hit us that we could start a band and play shows too,” Funston says. With the addition of drummer David Ruiz in 2015, the band found the perfect personnel for their sonic balance of jubilant energy and foreboding undercurrents.
Carnage Bargain captures this chemistry perfectly—channeling the genre-mashing weirdness of guitar-and-keyboard provocateurs like The Intelligence on tracks like “Laundry,” the fever-dream kitsch of early B-52s on“Ratboy,” krautrock’s motorik groove on “Hungry Sam,” and the beguiling pop of Blondie on the sweet-and-salty highlight “Courtney.” The band may indeed be paranoid, but they offer a solution to our modern ills through the simple act of being an inspiring, independent, and unflappable musical force.
Carnage Bargain comes out on September 13th via Suicide Squeeze. Pre-order HERE.
The Paranoyds tour dates:
THU SEP 5 - San Diego, CA, Casbah^
FRI SEP 6 - Pomona, CA, The Glass House^
SAT SEP 7 - Phoenix, AZ, Valley Bar^
MON SEP 9 - Austin, TX, Barracuda^
TUE SEP 10 - Dallas, TX, Club Dada^
WED SEP 11 - Houston, TX, Satellite Bar^
FRI SEP 13 - New Orleans, LA, Gasa Gasa^
SAT SEP 14 - Atlanta, GA, Masquerade (Hell Stage)^
SUN SEP 15 - Durham, NC, Motorco Music Hall^
TUE SEP 17 - Washington, DC, U Street Music Halll^
THU SEP 19 - Brooklyn, NY, Elsewhere^
FRI SEP 20 - Philadelphia, PA, PhilaMoca^
SAT SEP 21 - Boston, MA, Brighton Music Hall^
MON SEP 23 - Toronto, ON, Horseshoe Tavern^
TUE SEP 24 - Columbus, OH, The Basement^
WED SEP 25 - Nashville, TN, Exit/In^
SAT SEP 28 - Minneapolis, MN, 7th Street Entry^
SUN SEP 29 - Chicago, IL, Lincoln Hall^
MON SEP 30 - St. Louis, MO, Firebird^
THU OCT 3 - St. Louis, MO, Firebird#
FRI OCT 4 - Des Moines, IA, Vaudeville Mews#
SAT OCT 5 - St. Paul, MN, Amsterdam Bar & Grill#
MON OCT 7 - Denver, CO, Larimer Lounge#
FRI NOV 1 - San Francisco, CA, Cafe du Nord
SAT NOV 2 - Santa Cruz, CA, The Crepe Place
SUN NOV 3 - Reno, NV, The Holland Project
TUE NOV 5 - Portland, OR, Bunk Bar
WED NOV 6 - Seattle, WA, Barboza
^ = with Bleached
# = with White Reaper
Via Stereo Sanctity:
Corridor: "Carnage Bargain"
(via Stereo Sanctity / Sub Pop / YouTube)
Via Stereo Sanctity:
Today Sub Pop welcome Corridor, a Montreal-based, Francophone-band who will release their label debut in 2019. While we await more details, check out the band’s official video for “Coup d'épée” from Supermercado, the group’s acclaimed album from 2017.
Corridor have also shared international dates for 2019, including stops in Amsterdam, Paris, London, Hamburg, Berlin, Toronto, Montreal, Quebec City, DC, San Francisco, Portland, Seattle, and Los Angeles. For more information on tickets, visit Corridor’s Sub Pop tour dates page.
Oct. 23 - Philadelphia, PA - Boot & Saddle
Oct. 25 - Washington, DC - Comet Ping Pong
Oct. 29 - Amsterdam, NL - Paradiso
Nov. 04 - Paris, FR - Point Ephemere
Nov. 06 - London, UK - Waiting Room
Nov. 08 - Hamburg, DE - Hafenklang
Nov. 09 - Berlin, DE - Westgermany
Nov. 10 - Kortrijk, BE - Sonic City Festival
Nov. 20 - Toronto, ON - The Garrison*
Nov. 22 - Montreal, QC - M for Montreal Festival (Le National)
Nov. 28 - Quebec City, QC - l'Anti
Dec. 04 - San Francisco, CA - Milk Bar
Dec. 07 - Portland, OR - Bunk Bar
Dec. 10 - Seattle, WA - Barboza
Dec. 13 - Los Angeles, CA - Moroccan Lounge
* w/ Absolutely Free
Corridor began when Jonathan Robert, Julian Perreault, & former drummer Marc-andré Chapdelaine started jamming together in 2012. Though it wasn’t until bassist & longtime friend Dominic Berthiaume joined the band later that year that they began calling the band Corridor. In November 2013 the band delivered Un Magicien En Toi (tr. “A Magician in You”), a motorik guitar-pop record.
On the heels of this first EP, Corridor re-entered the studio in June of 2014 to work on their first full-length record. Collaborating with producer Emmanuel Ethier, the band spent nearly a year perfecting what would be their structured and assertive LP, Le Voyage Éternel (tr. The Eternal Voyage). While they laboured on the record, they were also each invested in their own creative pursuits. Singer and guitarist Jonathan dove into his animation and illustration work (This would later prove useful as he has assumed the role of the band’s creative director, setting the tone for the visual aesthetic of their records and videos); Dominic began writing as a music journalist and photographer for outlets in Canada; And Julian continued pursuing an environmental design career, working on installations for well-known music festivals.
In the spring of 2015, the group released Le Voyage Éternel via L'oeil du Tigre Records, and plans for their first European tour began to take shape. Marc-André departed the band shortly after the record’s release and was replaced by current drummer Julien Bakvis. Julien, like his bandmates, works in visual arts as a co-owner of a screen-printing shop in Montreal. This group (Jonathan Robert, Julian Perreault, Dominic Berthiaume, and Julien Bakvis), has become the permanent lineup of the band. That year Corridor toured Europe for the first time, including a show in Paris, promoted by "La Souterraine," where they met the mystic psych-pop outfit Halo Maud (with whom they would later collaborate on the single "Deux Coeurs" (tr. Two Hearts).
2016 was predominantly spent writing and recording. Corridor returned to the studio with Emmanuel Ethier to record their follow-up LP Supermercado (tr. Supermarket). Repetition, progression, and minimalist rhythms would be the core of Supermercado, with melodic counterpoints coming together to form exhilarating sonic mosaics. The cult success of the album allowed Corridor to return to Europe, as well as make their first foray into the United States at SXSW 2018. That year in Austin they played notable showcases for Brooklyn Vegan, Margin Walker, Felte/Part-time Punks, and M for Montreal.
In 2018 Corridor also appeared at Northside Music Festival in Brooklyn, where they performed with the likes of Snail Mail, Deerhoof, and Protomartyr. Shortly thereafter, they returned to the U.S. supporting U.K. post-punks Shame. They even found a fan in actor Michael Shannon who attended the show in Chicago and he requested a CD from the band. In April of 2019, Corridor accompanied the band Crumb on a sold-out American tour. Then in May of 2019, they followed with performances at London Calling Festival in Amsterdam and La Villette Sonique Festival in Paris.
Corridor will release their Sub Pop debut later this year.
Letters From A Tapehead