Between 400 and 600 million years ago, a period marked by the evolutionary emergence of both sharks and trees, an ocean stretched between unrecognizable continents. Iapetus, named for the Titan father of Atlas, would be the precursor to the Atlantic Ocean, but so far removed from our current era it may as well have been an alien planet.
For experimental electronic musician John Kennedy, it’s a wonderfully suitable title for his richly ambient debut album. Iapetus represents a journey through foreign territory using familiar elements but arranged for a hauntingly esoteric landscape. It represents a beginning. Continue reading John Kennedy’s ‘Iapetus’ is the Soundtrack to an Eon→
A long-standing pillar of the Hali hip-hop scene returns with a slew of bars and beats that intertwine modern topics with a classic approach. The latest release from Tachichi bridges a 30-year gap with its gritty yet stylish production and flow. Gremmy Sip could seamlessly sit amidst the shelves of Music World in 1998 just as easily as it will settle into your Spotify playlist today. Continue reading Tachichi’s ‘Gremmy Sip’ is the Perfect Album for an After Midnight Snack→
TV Dinner is the high-water mark of Mike Trask’s musical career. Which isn’t to say that his latest full-length album has shown us Trask’s final form—every time he has released an album, we’ve consistently had to ask ourselves if this new and bizarre manifestation is peak Trask and he continually shows us that there is still more behind the curtain—rather, he’s arrived exactly where he’s meant to be all this time: on vinyl. Continue reading Vinyl is the Medium of Choice for Mike Trask’s ‘TV Dinner’→
The world of fiction has begged these questions time and time again, yielding answers that range from heartwarming to apocalyptic.
Saint John synthwave wizard Lazermortis takes the idea a step further; of course, robots can feel things. What if that thing was the afterlife? On her latest EP, Autonetic Afterlife, we come to learn that truth; a truth that’s as heavy as it is hypnotic, and mesmerizing as it is melancholic. Continue reading Lazermortis Picks Up Where Ray Kurzweil Left Off With ‘Autonetic Afterlife’→
The latest EP from Halifax-based solo artist Julian Hanson, otherwise known as High October, is certainly evocative of some somber times. While Hanson has categorized his work as “dark-folk”, Medication for the Rats incorporates a variety of influences from outside the world of folk music including emo and electronic music. Continue reading High October Invites Us Into the Darkness on ‘Medication for the Rats’→
