Canada
Kieron Tyler
“No Control” feels like an instant pop classic. It opens with a brief introduction where layers of instrumentation are added in waves. There’s a restraint. Then, three-quarters of minute into what initially seems like a reflective mid-tempo ballad, a soaring chorus with contrapuntal drums and piano hits home. Basia Bulat’s gospel-like incantations reach the stars. Even so, there’s an intimacy.The Fleetwood Mac-esque “Your Girl” is equally arresting. It’s a different sort of song though – linear, with a rhythmic chug. The two are connected as each unites an understanding of dynamics with the Read more ...
Jill Chuah Masters
“I am not intense.” That declaration arrives early in Feel Good, the new Channel 4 and Netflix romantic comedy fronted by comedian Mae Martin, who plays a fictionalised version of herself. Over Mae’s shoulder, we see a literal trash fire. She’s lit up the evidence of a past drug addiction. It smoulders in the background while she smoulders in the front.This scene is Feel Good in miniature: it encapsulates Martin's brand of vulnerable, quirky comedy, pinned to her appeal as a character and a creator. The series is easy to watch and easy to like. Still, Feel Good has a hindrance. For a Read more ...
joe.muggs
Around the turn of the millennium, when Dan Snaith started releasing music – initially as Manitoba, then Caribou, and latterly also Daphni – he tended to get lumped in with the folktronica movement. In fact, the closest he came to actual folk was a heavy influence from the more delicate side of late 60s psychedelia. But, as with many of the other acts tagged with the f-word like his friend and ally Kieran “Four Tet” Hebden, it was really a clumsy signifier for people who were refusing to accept the artificial separation between “electronic music” and the rest which had become reified with the Read more ...
Miranda Heggie
Few will forget back in 2012, when Canadian singer Carly Rae Jepsen came crashing into the airwaves of pretty much every pop station on the planet, with the sugary synth-pop sounds of Call Me Maybe. With a track as big as that – even Jepsen herself has said she was sick of hearing it on the radio – it would have been easy to assign the singer to one-hit-wonder status. Instead, Jepsen has released a steady stream of highly credible pop music, proving herself to be musician first, celebrity second, building up a serious and loyal fan base. Her return to the UK saw her playing a far bigger Read more ...
Nick Hasted
That voice’s husky confiding wasn’t quite silenced. Working helped Leonard Cohen live a little longer, and old friends and family have gathered to complete these last bequests. “As for the fall it began long ago,” he sings, and more than a quarter of his rare, honed albums have now been released in the miraculous final arc since his financial theft-enforced, septuagenarian comeback in 2008.Cohen’s son Adam continues his co-production from 2016’s seeming swansong You Want It Darker, and with Jennifer Warnes, Sharon Robinson, Javier Mas and Anjani Thomas among the other returning compadres, has Read more ...
Lisa-Marie Ferla
Of 2019’s pop culture phenomena, the critical reappraisal of Céline Dion as an international treasure is one of the most delightful. It’s been six years since the Quebecois singer last released an English language album, a period in which she closed out 16 years of Las Vegas residencies, soundtracked both Disney and Deadpool and, most importantly, mourned her husband, René and brother, Daniel. Those losses unsurprisingly colour much of Courage, which across an expansive track listing features plenty of moments of recovery and resilience. And even, tentatively, hints at new happiness.Opening Read more ...
Thomas H. Green
Canadian DJ-producer Philippe Aubin-Dionne – AKA Jacques Greene – has had a successful career in global clubland. One release in particular, his spacey 2011 deconstruction of the song “Deuces” by R&B star Ciara, which he entitled “Another Girl”, created waves in the world of house music. His 2017 album Feel Infinite demonstrated he had vision enough to hold listeners on a longer electronic journey. Dawn Chorus steps forward likeably from that set.It is an album that’s all about mood, rather than songs, although there are vocals here and there. The lead single, the lazily acidic “Night Read more ...
Laura de Lisle
Mother of Him was written a decade ago, but its most prescient moment happens in the first five minutes of Max Lindsay's production at the Park Theatre. Brenda Kapowitz (Tracy-Ann Oberman) presents a sheaf of papers to Robert (Simon Hepworth, excellent), a family friend who’s also her 17-year-old son’s lawyer. “Report cards, awards,” she explains. “Grade six one doesn’t seem to be here but that shouldn’t make a difference.” We’ve just learned that the son in question, Matthew (Scott Folan, struggling gamely with a Canadian accent), has raped three women. Robert’s doing his best to Read more ...
Nick Hasted
New Pornographer-in-chief AC Newman grew up enraptured by how much and how little pop could be: from David Bowie shucking skins to the rush of the Monkees’ “Daydream Believer”, to Pixies' boiling down of a song to three chords and a scream. Eight albums in, and Newman’s Vancouver art-power pop veterans retain the capacity of a tightly edited musical thesaurus, spinning out compacted melodies and metaphors and challenging the listener to keep up, ideally with a code-book.The New Pornographers’ sometimes contentious personnel equation, always amorphous in their typically Canadian rock commune, Read more ...
Tom Birchenough
Canadian playwright Hannah Moscovitch’s “refugee musical” – now there’s a phrase you don’t expect to write – is a treat. Harking back to the early 20th century pogroms of Eastern Europe, it’s darkly steeped in history, conveying the sorrows of leaving behind an old world as well as the slow, painful process of integration into a new one, in this case Canada. In case that sounds too serious, it’s also a delight of performance and music, liberally – and rather often, illiberally – infused with a Jewish humour that is sardonic and survivalist by turn.It’s the work of the 2btheatre company from Read more ...
Sebastian Scotney
The Montreal Jazz Festival is vast. It attracts an audience of between 1.5 and 2 million people over its 12 nights. It has been estimated to bring the city more revenue than the Canadian Grand Prix.And yet size, as we were often reminded in this year's 40th edition of the festival, is not everything. The festival has been an increasingly powerful vindication of its co-founders’ original vision which dates from the heady idealistic days when Montreal was thinking really big: in 1980, the year of the first festival, there had been the Expo and the Olympics; it was also the year of the Read more ...
Joseph Walsh
It has been ten years since Canadian auteur Xavier Dolan first debuted I Killed My Mother at the Cannes Film Festival. A decade on he returns in competition with a title that shows an evolution of his filmmaking that leaves behind many of the problems of his previous work.Matthias & Maxime is certainly more accessible, and will appeal to mainstream sensibilities as a tenderly rendered examination of male friendship. Thankfully, this feature allows Dolan to step away from the enfant terrible image that has been thrust upon him. It’s altogether more meditative – calmer, even – and all the Read more ...