Michael Scott Dawson, Hot Mud, Bonnie Trash, and knitting
Michael Scott Dawson - The Tinnitus Chorus
I dove into the new ambient work from Michael Scott Dawson with some emotional trepidation based on the album’s name. I have tinnitus and it’s been getting worse, the album title made me wonder what I was getting into before I ever hit play. I later found out the title reflects Dawson’s own personal struggle with the infliction and how it’s made composing his solo ambient works a struggle. This is where the ‘chorus’ part of the title comes in; the album is a collaborative effort with a plethora of established artists who helped get Dawson over the finish line. But before I knew that, I listened and heard all the described sounds of tinnitus turned into beautifully relaxing music. Wooshing, hissing, ringing, and static are all common descriptions of what tinnitus sufferers hear and all those sounds are used at points to craft the ambient backdrop for his collaborators to add sparse instrumentation. Listening to this album has been a reflective experience for me, particularly when I notice the sharp ringing in my ears adding to these tracks and tying them together as one ends and the next begins. If you don’t have tinnitus, this album is a beautiful ambient work but for those of us that do, this album is an intense, reflective listen.
Hot Mud - Pink Cloud Pop
For the uninitiated, Hot Mud is the alter ego of Ottawa’s Muddy Watters and the project was created while he worked to get well in rehab. His debut album, Rehab Rock, came out at the start of the year to rave reviews (including a fantastic write up from CnC’s Chris Lammiman). In a flurry of immediate creativity, Hot Mud delivered their 2nd album of the year at the start of September. The title and theme refer to the term ‘pink cloud’ known in addiction recovery circles as a temporary phase of euphoria and extreme optimism during the rehabilitation process. That is a great description of the content found within Pink Cloud Pop. Hot Mud’s sophomore record is chock full of positive sentiments over a wild, spastic power-pop sound that is both chaotic and uplifting. Hot Mud’s creative surge has given the world the art we need in our precarious times.
Bonnie Trash - My Love Remains The Same
Twin sisters Emmalia and Sarafina Bortolon-Vettor have finally returned with new music from Bonnie Trash. On their new EP, the duo have expanded into a full band with the addition of longtime friends Emma Howarth-Withers (bass) and Dana Bellamy (drums). The EP is three tracks of their signature gothy take on shoegaze. The release opens with “Kisses Goodbye” which is how I’d picture Alvvays to sound if they ditched the blue for black. It’s followed by the best of the three songs, “What Have You Become” which is highlighted by an incredible riff that makes this track a sludgy delight. The cover of Nick Cave’s “Red Right Hand” had me raising my eyebrows because covering such an iconic song is gutsy as fuck. But like covering The Beatles, it’s impossible to craft a new version better than the original but they do a great job and their take is worth a listen. This is a fantastic little reminder that Bonnie Trash rip, a small offering to tide us over while we wait for their next album.
knitting - Some Kind of Heaven
I don’t know why, but I seem to have the toughest time coming up with words for artists that draw influence from 90s rock/alternative/grunge music. This is my era for goodness sake! I grew up in a time where the top of the charts had rock music battling it out with pop music… Those were the days! It’s so very refreshing to see a younger generation drawing inspiration from the music I loved when I was young, it’s given me a newfound appreciation for the music of my past. Case in point, Montreal band knitting. Their debut album takes the familiar sounds from my youth and modernizes them for our current time. There’s big crunchy riffs, piercing feedback, booming baselines, and energizing drum fills all wrapped up in familiar song structure. Knitting founder, Mischa Dempsey sings with a cool, hushed delivery that gives a laissez-faire vibe to songs. The album was written over many years and serves as a vehicle for Dempsey to come to grips with their transition to a non-binary identity, all while learning how to navigate the world and its many anxiety-inducing moments.
- Jeff MacCallum