Ora Cogan/Aimee-Jo Benoit & Trio Velocity
Ora Cogan
Bells in the Ruins // Prism Tongue
On Bells in the Ruins Ora Cogan continues experimenting as she douses her psych-folk embers with a bucket of experimental dream-pop before dancing in the midsummer moonlight. Her tender yet haunting vocals float over sparse arrangements and crowded sonic reveries alike. She never sounds as if she’s imitating anyone, but Bells in the Ruins illustrates a dream in which Radiohead is fronted by Lana Del Ray.
The aptly-named album opener “Sleeping” starts things off with some beautiful dream pop à la Beach House as Cogan’s guitar jangles along with her voice. The second track “Skull” kicks off with a looped bass run, and as the song progresses the dueling electric guitars and synth parts build towards a dizzying, cacophonic finish. This song shows what these sonic architects are capable of. Many of the songs feature a deluge of instrumental parts flowing over each other, but somehow the songs never feel congested. Cogan’s voice always transcends the instruments when it needs to, and all of the tones fit together. There’s tremendous balance from song to song as well. Frantic drums and a jittery guitar line set the pace on “Kills” and layered vocal parts overlap into a disorientingly delightful crescendo, but then the band slows down and simplifies things on the following song, “The Devil.” These dynamics suit the album well, thanks to Cogan’s ability to ensnare listeners with her haunting voice regardless of what the instruments are doing underneath it. The chaotic songs are transcendental, but songs like “The Devil” feel like siren songs that elicit just as strong a response as the tempests. In a slightly different mode, “Fixe” finds Cogan in an In Rainbows-esque trance. Cogan’s voice is the principal element on each of these songs, and her alluring performances, mixed with the various studio techniques that are applied to her voice adroitly throughout bring this album into a new realm. Layering her vocals and making them drip with echo combined with the rich interplay of the instruments puts the “singer/songwriter” label in the rear-view mirror and leaves it in a cloud of dust.
Reminding people of Radiohead is usually a good thing unless you’re Muse, and the trick is to sound like Radiohead without just sounding like you’re imitating Thom Yorke’s vocals. Cogan and her cast of fellow musicians manage to channel that same je-ne-sais-quoi as Radiohead without ever feeling like copy cats. The music is just good in the same ineffable way that Radiohead music is. What’s more, Ora Cogan exhibits the same fearlessness as she explores new territory. In good company with Phoebe Bridgers and Angel Olsen, she has made an expansive record that eclipses her earlier work, and she deserves the same accolades as her peers to the south. Ora Cogan is Canada’s answer to the flood of formidable female-fronted indie rock acts coming out of the United States right now, and Bells in the Ruins proves that she’s capable of matching her contemporaries stride for stride.
- Devon Dozlaw
Aimee-Jo Benoit & Trio Velocity
Borjoner // Independent
Picture yourself walking in a field full of wildflowers, the sun is shining and the breeze is keeping you fresh. That’s what Borjoner by Calgary based artist Aimee-Jo Benoit & Trio Velocity will make you feel.
Borjoner is a collection of loosely arranged, somewhat improvised tunes close to the heart of the vocalist’s musical journey. Released in June 2020, this record is loaded with sweet vibes and soft melodies that show the fresh approach that Benoit has when it comes to making music. The energy captured in these songs is the result of the inspiration that comes when the band plays together.
Strongly influenced by jazz music and improvisation with a modern touch, Benoit and the Trio are capable of drawing the listener deeply into an immediate experience of shared creation. They want you to be an active part of this musical journey.
Aimee-Jo Benoit grew up singing in church choirs, with a deep appreciation for harmony, major chords and the unity of voices in choral settings. She is always trying to use “what you know” to go “where you’ve never been” and currently, the jazz ensemble, Trio Velocity is her vehicle for this exploration. Joined by Simon Fisk on bass, Robin Tufts on drums and Sheldon Zandboer on piano, in their collective experience of improvisation, every note chosen is a reaction to the note before.
Simple but not basic, melancholic but not sad, romantic but not cheesy. These are only a few of the emotions that this record has captured. Now it’s your turn to take a listen and let the music take you places. Check out Borjoner on any music platform and make sure to follow the artists.
- Fel Gamarra
