We're excited to feature, for the first time in our home-away-from-home here at NMC, a selection from our Cameo series of guest-posts from other incredible Canadian curators. The elastic duo from Silent Shout hipped us to one of our favorite releases in March: Galaxius Mons, a side project of EXPWY.
March has played host to a wonderous racket of strange sounds on Weird Canada. From Mas Aya's destructive rhythms to Moon's warbled departure, we continue to marvel at the spectra of sound all over Canada.
Galaxius Mons – Galaxius Mons (Self Released, Montreal, QC)
“The sounds they discover on this album could be considered the Platonic Ideal of synthesis, with the two skilled songwriters penning memorable singsong melodies over hypnotic drum loops.” – Alt Altman & Andrew Pulsifer
Mas Aya – Pockets (Tomaturj/Errata, Toronto, ON)
“The ur-global rhythms played by Valdivia on gaita, likembe, kalimba, mbira and a whole bucket-load of percussion instruments are run through reverbs, delays and distortions creating a Fourth World haze and Konono murk.” – Brandon Hocura
Andy Boay – Music From ‘RIP Eifdn AOD Sulie’ (Ataraxia, Montreal, QC)
“King Andy, The Wicked breaks manacles on this meandering long-take for his RIP Eifdn AOD Sulie video series, which couples deeply delayed 12-string, voice, and responsive video feedback to ecstatic effect.” – Graeme Langdon
Cindy Lee – Tatlashea (Isolated Now Waves, Vancouver, BC)
“A downcast collection of stunners tucked amongst outbursts of ramshackle abrasion” – Jesse Locke
Not The Wind, Not The Flag – The Star Maker (Inyrdisk, Toronto, ON)
“A little like wandering through a post-everything landscape where destructive forces have reduced the entirety of man into a point of singularity.” – Trevor Blumas
Moon – Moon (Self Released, Halifax, NS)
“This is an impressive debut. It is a snake in dog’s clothing, moulting expectations, shedding careless first impressions and slithering towards the heat lamp of your heart. Moon’s reflective pop music offers itself as a companion, setting the world to a kraut-beat like a ticking clock, a soundtrack for all that happens until that unseen final moment when death's famous black horse arrives.” – Tobias Rochman