Musical Artists We Love
Music Tracks from SPIRAL – Season 1:
- Adaline – Younger Days
- Belle Game – Ritual
- Belle Game – Keeps Me Up at Night
- Belle Game – In Secrets
Closing Credits, all episodes:
- Matthew Maimone – Talk to the Clouds
Led by the hypnotic vocals of Andrea Lo, Belle Game weaves ethereal soundscapes into, blown-out, crush-pop confessions. Sonically, Belle Game exists somewhere between new-age visions and unkempt basements. Keyboards and guitars swell between the cracks as a foundation of subsonic rhythm is splayed across the floor.
Their debut album Ritual Tradition Habit earned the band critical praise from the likes of Pitchfork and Rolling Stone: while their emotional live performances prompted Paste Magazine to name them one of the “10 Great New Bands from CMJ”.
From hushed anthems to distorted instrumentals, Belle Game is always teetering between two worlds. Whatever the mood, it’s always a celebration of the hard times and a refusal of fear.
What started as the creative release of Alexis Young, the music of Youngblood is dreamy but insistent, a feather-soft pillow of lush sound anchored by electronic grooves. The siren-like voice at the centre of it all is fierce and sultry in equal measure—a bit Grace Jones, perhaps a trace of Nancy Sinatra, but always pure Youngblood.
Heavily inspired by the French electronic retro-futurist duo Air, Young has described her music as “what the ’60s thought the future would sound like”, and that’s as apt a description as any of songs that fuse timeless melodies with an aesthetic rooted firmly in the here and now. This is dream-pop to be sure, but a close listen reveals that Young is singing songs of obsession, self-destruction, and romantic catastrophe.
Though still fresh on the scene, this is an act that has hit the ground running and has only gained momentum ever since. Barely a year old, Youngblood has already landed in the regional Top 10 of CBC Music’s nation-wide Searchlight competition, and won a coveted spot in the JUNO Master Class artist-development program. And Youngblood isn’t slowing down, either, with a new record already in the works.
It takes only a few moments of conversation with the prodigiously talented composer/songwriter Adaline to be drawn in by her insightful intelligence and charm.
It takes a similarly brief length of time when listening to the powerfully evocative, darkly cinematic and percussive poetic melodies of her music to experience another side of the artist – one that is intensely revelatory, emotionally unbound and searing in its honesty.
A successful and prolific composer of music for film and television the Canadian-born now Los Angeles-based Adaline has had music licensed more than sixty times including multiple songs on Grey’s Anatomy, 90210, Ringer, Lost Girl, Flashpoint and The Samaritan starring Samuel L. Jackson. She also collaborated on the score for the Bret Easton Ellis written film The Canyons with Brendan Canning of Broken Social Scene.
Adaline returns with a new album of hook infused percussive torchpop songs aptly entitled Aquatic.
Guitars and keys jangle and wail, calling out with a raw cry. A drummer plays his kick drum with his palm, his kit having just been destroyed in a furious explosion. The singer throws himself from the stage and into the embrace of the audience. It is a visceral celebration, a prayer to rock and roll. It is Gay Nineties.
They’re not indie darlings. They’re not beholden to a scene, a look. For them, one thing is sacred. The music.
The first thing you sense when hearing Gay Nineties is the feeling of total individual freedom. Each member is an accomplished, passionate musician that leaves an indelible mark on the music. Lead singer, guitarist, and songwriter Parker Bossley stands center stage, but all are in the spotlight. On drums: Malcolm Holt, Parker’s musical accomplice since they were 16. Together with Daniel Knowlton’s galloping bass, the rhythm section is complete. For a time, they performed as a trio, ripping through ragged psych pop. The Zombies by way of Nirvana. But something was missing. That’s when they found Bruce Ledingham, a synth wizard who brought a bed of texture and harmony that pulled it all home. Together they have found a tone, a vibe, an energy that none of them could control even if they wanted to. It doesn’t seem that they do.
Rococode’s strength lies in the contrast between dark and light. Vancouver’s Andrew Braun and Laura Smith infuse their hook-filled songs with lush synth textures and duet vocals, resulting in an infectious sound that Andrew calls “a marriage of our contrasting personalities.”
The pair formed Rococode in 2011 and released the debut album Guns, Sex & Glory the next year. The shadowy Panic Attack EP arrived in 2015 and the sophomore full-length Don’t Worry It Will Be Dark Soon followed in 2016. Meanwhile, the group’s music charted on commercial and campus radio across North America and they logged countless miles in the tour van in Canada, the U.S. and Europe.
The group melds teenage angst with bummer summer vibes that have them sounding somewhere between Mac Demarco and Homeshake. With their laid back sound and lush lead vocals, their songs tell stories of backstabbing best friends and dying end of summer romances.
Peach Pit’s quirky online posts and campy Ned Flanders-esque uniforms have ignited a highly engaged fanbase. They’re now gearing up to release their debut LP, “Being So Normal”, on legendary indie record label Kingfisher Bluez in September 2017, after which they’ll hit the road, touring the U.S. and Canada including a Bumbershoot festival date, with a European tour in early 2018.
Matthew Maimone is is an honors graduate of The Juilliard School in New York City, having studied piano in the College and Pre-College divisions for twelve years. Matthew has won awards in several international piano competitions including the American Fine Arts Festival, the MTNA Competition, the Golden Key Festival, and the Julia Crane International Piano Competition. He has performed in Carnegie Hall’s Weill Recital Hall, Lincoln Center’s Alice Tully Hall, Steinway Hall, Bargemusic, Guild Hall, and the Southampton Cultural Center, among others. Apart from his solo studies, Matthew completed studied in Juilliard’s Historical Performance Department where he was coached in vocal repertory on the period harpsichord and fortepiano. Matthew is actively involved in numerous artistic projects for community development. In 2007, alongside his parents, he established the Vladimir Nielsen Foundation, a 501c3 entity to promote young, gifted pianists, and will continue in this outreach by starting his own concert series in the fall. Currently, Matthew is the worship director at Epiphany Lutheran Church NYC and the organist at Central Presbyterian Church. In October, Matthew’s debut solo album – Provision – will be released.