Cots, Marin Patenaude, and Earl D
Cots
Moonlit Building // Boiled Records
Just in time for the thickest throes of seasonal affective disorder, Cots’ delivers Moonlit Building, a somber, noir drenched EP replete with lyrical and instrumental poetry. Cots is the solo project of Montreal composer, singer, and guitarist Steph Yates. Alongside producer and percussionist Oliver Fairfield (Andy Shauf, Last X, FET.NAT, Album, etc.) Yates musters delicate and powerful arrangements driven by emotive percussion and buoyed by surreal lyricism.
The entirety of this tight EP feels like a few small, delicate pieces arranged gently on top of the other like a house of cards that could be knocked over by a gentle breeze. Because it is so sparse, every piece plays a significant role in the sonic tapestry. While the songs are built with few materials, they hardly feel thin. These songs tend to grow slowly and steadily until suddenly, like a frog in water, you’re overwhelmed with sound. A small bit of horns, electronics, or spirit from the percussion goes a long way in expanding Cots’ small world to make a big impact.
The most impressive bit of Moonlit Building must be the musical rapport between collaborators. The beauty and simplicity of the arrangements paired with Fairfield’s instinctual percussive movements makes for a uniquely engaging listen. The way Fairfield pushes and pulls the tempo, gently flirting with grooves just to shy away from them without notice. At times it’s like listening to raindrops falling erratically on a drum kit, at others, we’re comforted by the familiar sounds of Bossa Nova. Much tension is built and assuaged from Fairfield while Yates spins a web of poetic noir surrealism all around it.
Altogether, Moonlit Building is subtle, nuanced, and unassuming. Played in the background, it lands as comforting background music for a winter morning, but with a close listen it quickly shows itself to be a complex, somber and mysterious piece of music.
- Clay Geddert
Marin Patenaude
Sex & Dying // Dine Alone Records
The west coast is a special place in Canada, full of juxtapositions. Immense greenery doused in constant grey rain; mountainous expanses coupled with dense population pockets; ultra rich living along side some of the country's most vulnerable. In her latest release, Sex & Dying, Marin Patenaude channels these contradictions into a beautiful, thought provoking folk-jazz experience.
The album has a definite somber tone throughout, but not in a sinking way. It feels very deep and meaningful, even in just its musical arrangement. A laid back rhythm section anchors the collection with a great pace and well fit dynamic. Use of the pulsing Wurlitzer or searing pedal steel, provide a wonderful textured background to Marin's vocals and acoustic guitar. The perfect example of this is the song "Right From the Start". The melody and progression could easily stand on their own as a singer-songwriter track, but the addition of the pedal steel dripped in reverb along with the stripped down drumming really fill it out to another level. The choice to back the tracks on this album with this full band pays off, and leads to a much more immersive journey for the listener.
Of course, it doesn't hurt that Marin has one of the most soulful voices you will hear. She gracefully performs melodies throughout her entire range and owns every note. From the sultry singing in "Taste the Pain" to the piercing falsetto in "Out of the Woods", each melody matches the feel of the track brilliantly. Her songwriting and performance can't help but evoke thoughts of Paula Cole, Sarah McLachlan, and even Joni Mitchell; elevated company for sure, but well deserved.
This album does carry a very solemn tone in it, from the lyrics to the overall sound. However, Marin works to make it feel very inviting for the listener. It's like we are all stuck together in a small bar, fireplace roaring in the corner, sipping some wine, and listening to Marin belt the songs out on a small stage while the rain continues to pour outside. It's a very west coast feeling…and a very good album to check out.
- Matt Budd
Earl D
Selected Collaborative Works 20-22 // Self-Released
Earl D, an Edmonton based dance music artist has been releasing poppy bops all throughout the past year, and now it finally comes to a head with Selected Collaborative Works 20-22, and I could not be happier with the project. I have been a big fan of Earl D for a number of years, having seen his previous project Moonmuseum a number of times around my local Edmonton while they were active. And while a departure from the dreamy indie rock of Moonmuseum, or even the emo-inspired Hardcore music in his earlier band Oh Messy Life (Demo 11’ now available on music streaming), Earl D has had me hooked with this newest project starting way back in 2018 with Know Yourself.
Selected Collaborative Works 20-22, has managed to build hype and maintain that steam throughout last year through the various singles as well as the super energetic music video for the song “Not Forever,” which features Chartreuse, and Alton Upbeat, the frontman for Edmonton based New Wave band Chairman. As you may have guessed the ‘Collaborative Works’ selected are many and offer unique additions to the curated beats that Mr. D has brought forth. From clever rap segments to soaring angelic vocals the tracks that Earl has paired with each of his features was nothing short of a match made in heaven. That is not to overshadow the singing from the man himself; Earl D has sported a number of classic lines throughout his career that bring a sort of blatant honesty which makes all of his songs extremely relatable and memorable.
“Talk” was my favourite track off the release, the use of the featured singers -Aurianna Althea and Bk Shakur- bring a well utilised diversity in between sections of the song, employing a more trap-inspired beat. Each singer is given their own chance to shine on this cut, with a catchy backing chorus, as well as deep cutting and personal lines overlaid, eventually leading into a brilliantly written and performed rap segment which carries on the motif of relatability that is present throughout much of Earl D’s songs.
All in all this is one of my personal favourite releases of 2022, and I would highly recommend putting one, if not all, songs onto your playlists.
- Artemis Peaslee
