Welcome to the Night Sky
Welcome to the Night Sky is the third album by Canadian indie rock band Wintersleep. It was released October 2007, by Labwork Music. In 2008, just after the album's release, Wintersleep won the Juno Award for New Group of the Year; the album was produced by Tony Doogan, famous for his work with Mogwai and Belle and Sebastian, among others. All songs were written by Wintersleep. Special edition bonus tracks "The Kids are Ultra-Violent" – 3:33 "Early in the Morning" – 4:30Wintersleep.com MP3 download bonus tracks "The Kids are Ultra-Violent" – 3:33 "Oblivion" - 2:57 "Weighty Ghost" - 3:04 "Nerves Normal, Breath Normal" - 14:00 Paul Murphy - Guitar, Lead Vocals Greg Calbi - Mastering Loel Campbell - Drums, Backing Vocals Tim D'Eon - Guitar, Backing Vocals Tony Doogan - Engineer, Producer Jud Haynes - Bass guitar Jon Samuel - Guitar, Backing Vocals Darren Van Niekerk - Assistant Janesta Boudreau - Backing Vocals Graham Walsh - Backing Vocals "Weighty Ghost" and "Oblivion" both received extensive airplay on Canadian modern rock radio.
The song "Weighty Ghost" was the opening theme of the Canadian TV show Cracked and was featured in the show Being Human. Wintersleep performed "Weighty Ghost" on The Late Show with David Letterman
Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Used to describe independent record labels, the term became associated with the music they produced and was used interchangeably with alternative rock; as grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, some indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term. Sometimes used interchangeably with "guitar pop rock", in the mid-1980s, the term "indie" began to be used to describe the music produced on punk and post-punk labels; some prominent indie rock record labels were founded during the 1980s. During the 1990s, grunge bands broke into the mainstream, the term "alternative" lost its original counter-cultural meaning.
The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status. By the end of the 1990s, indie rock developed several subgenres and related styles, including lo-fi, noise pop, slowcore, post-rock, math rock. In the 2000s, changes in the music industry and in music technology enabled a new wave of indie rock bands to achieve mainstream success. In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream; the commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hives and The Vines. Emo broke into mainstream culture in the early 2000s. By the end of the decade, the proliferation of indie bands was being referred to as "indie landfill"; the term indie rock, which comes from "independent," describes the small and low-budget labels on which it is released and the do-it-yourself attitude of the bands and artists involved. Although distribution deals are struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds and subjects of limited appeal to large, mainstream audiences.
The influences and styles of the artists have been diverse, including punk, post-punk and country. The terms "alternative rock" and "indie rock" were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s, "indie rock" began to be used to describe those bands, working in a variety of styles, that did not pursue or achieve commercial success. Aesthetically speaking, indie rock is characterized as having a careful balance of pop accessibility with noise, experimentation with pop music formulae, sensitive lyrics masked by ironic posturing, a concern with "authenticity," and the depiction of a simple guy or girl. Allmusic identifies indie rock as including a number of "varying musical approaches compatible with mainstream tastes". Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.
In fact, there is an everlasting list of subgenres of indie rock. Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but unknown elsewhere. However, there are still indie bands that start off locally, but attract an international audience. Indie rock is noted for having a high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed Riot Grrrl music of acts like Bikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear. However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels; the BBC documentary Music for Misfits: The Story of Indie pinpoints the birth of indie as the 1977 self-publication of the Spiral Scratch EP by Manchester band Buzzcocks. Although Buzzcocks are classified as a punk band, it has been argued by the BBC and others that the publication of Spiral Scratch independently of a major label led to the coining of the name "indie".
"Indie pop" and "indie" were synonymous. In the mid-1980s, "indie" began to be used to describe the music produced on post-punk labels rather than the labels themselves; the indie rock scene in the US was prefigured by the college rock that dominated college radio playlists, which included key bands like R. E. M. from the US and The Smiths from the UK. These two bands rejected the dominant synthpop of the early 1980s, helped inspire guitar-based jangle pop. In the United States, the term was associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Meat Puppets, Dinosaur Jr. and The Replacements. In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986, it gave its name to the indie pop scene that followed, a major influence on the development of the British indie scene as a whole. Major precursors of indie pop included Postcard bands Josef K and Orange Juice, significant labels included Creation and Glass.
The Jesus and Mary Chain's sound combined the Velvet
Holy Fuck is a Canadian electronica band from Toronto. They were a part of Dependent Music, a music label and artist collective that began in Yarmouth, Nova Scotia in 2004 until its closing, they were a part of the Young Turks label and in 2016 they signed with Innovative Leisure. The band uses live instrumentation and miscellaneous instruments and non-instruments to achieve electronic-sounding effects without the use of laptops or programmed backing tracks. According to Pitchfork Media, "The band was formed with the intent of creating the equivalent of modern electronic music without using the techniques—looping, splicing and the like—of that music." Since their formation in 2004, Holy Fuck have performed at Coachella, the CMJ Music Marathon, the Halifax Pop Explosion, POP Montreal, the Montreal Jazz Festival, All Tomorrow’s Parties, Evolve Festival, Osheaga Festival, Rifflandia Music Festival, the SXSW music festival in Austin, Texas in 2006, 2007 and 2008. In the summer of 2007, Holy Fuck performed at the Glastonbury Festival, one of the largest music festivals in the world, where they were named the No. 3 top new act at the festival by NME magazine.
They performed at Lollapalooza in 2008, replacing Noah and the Whale, returned to headline the London Ontario Live Arts Festival. Their music can be heard in the 4th and 5th season of the Canadian comedy television series Kenny vs. Spenny. On August 30, 2009, Holy Fuck played the Virgin Mobile FreeFest dance stage at Merriweather Post Pavilion, Maryland. Before Holy Fuck, Borcherdt was a member of the band By Divine Right, Burnt Black and Cafe' Selectronique with Doug Barron and Phollop Willing PA, their debut album, Holy Fuck, recorded with Laurence Currie and Dave Newfeld, was named one of the Montreal Mirror's top ten albums of 2005. Holy Fuck have toured the United States with Wolf Parade, Super Furry Animals, Enon,!!!, Mouse on Mars, Do Make Say Think. They went on a European tour with Buck 65 in early 2006. In January 2006 they were named one of ten finalists for the $3,000 Galaxie Rising Stars Award of the CBC, part of Canadian Music Week's Indie Awards held in March; the band released their second album, entitled LP, in 2007.
The album was nominated for Alternative Album of the Year at the 2008 Juno Awards, was shortlisted for the Canadian Polaris Music Prize. In 2008 Holy Fuck added a remix of "Nude" by Radiohead to Radiohead's remix website, where Internet users could vote for the best remix. Holy Fuck's remix had the top spot for a time, they toured venues in North America with M. I. A. in 2007 and 2008. In 2008 former Enon drummer Matt Schulz joined the band during their live performances. In August 2008, the Ottawa Citizen and others reported that the ruling federal Conservatives had issued a talking points memo regarding the cancellation of the PromArt program, funding international promotional tours by Canadian artists; the memo justified the cancellation on the grounds that its recipients included, among other notables, "a rock band that uses an expletive as part of its name" referring to Holy Fuck. The band took offense at this suggestion. In an interview, the band said regarding their name: "It’s been pretty annoying, but it’s gotten us a lot of publicity, so we can’t complain about that."Brian Borcherdt took time away from the band to support his next solo album, released on October 7, 2008.
The track'They're Going to Take My Thumbs" appears in the first episode of Season 2 of Breaking Bad. "Royal Gregory" was used in the 2008 video game Midnight Club: Los Angeles as well as in the official trailer for the game. The song "Lovely Allen" can be heard in a Dodge Chrysler Jeep commercial and in the 3rd episode of Season 2 of "Mr Robot". In 2009 Holy Fuck took; the series, which featured 20 Toronto artists, had Brian Borcherdt reflecting on his time at Sneaky Dees. Holy Fuck's third full-length studio album, Latin was released May 11, 2010 through Young Turks and XL Recordings. In the United States, the album reached No. 14 on the Billboard Dance charts and No. 40 on the Heatseekers chart. The song "Latin America" was featured in Scott Pilgrim vs; the World. The band were chosen by Les Savy Fav to perform at the ATP Nightmare Before Christmas festival that they co-curated in December 2011 in Minehead, England. Borcherdt & Walsh have done production and extra instrumentation on the album Siberia by Canadian songstress Lights.
Graham Walsh has produced and recorded albums for such Canadian bands as METZ, Viet Cong, Hannah Georgas, Operators. A new album, titled Congrats, was released on May 27, 2016 on Innovative Leisure and Last Gang Records. Brian Borcherdt – keyboards, effects Graham Walsh – keyboards, effects Matt "Punchy" McQuaid – bass Matt Schulz – drums Kevin Lynn – bass Mike Bigelow – bass Loel Campbell – drums Glenn Milchem – drums Brad Kilpatrick – drums Holy Fuck EP CD and 7" vinyl 12" split vinyl with Celebration Lovely Allen 7" and 12" vinyl 12" split vinyl with Foals + Ghost Bird Brains Official website
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Hello Hum is the fifth album by Canadian indie rock band Wintersleep, released on June 12, 2012. The band started writing the album during the New Inheritors tour in 2010 and 2011, via "late night voice memo'd bedroom demos, hallucinogenic dreams of Paul Schaeffer"; the group recorded the new songs in the late summer of 2011 with Scottish producer Tony Doogan, who had produced their last effort New Inheritors, Dave Fridmann, who had worked with such bands as The Flaming Lips, Mercury Rev, MGMT. All tracks written by Wintersleep. Notes^a Some iTunes stores lists it as Bonus Track Version, due to having Deluxe Edition of album with the bonus track titled Papa Time. Michael Bigelow – Composer Greg Calbi – Mastering Loel Campbell – Composer, Group Member Marianne Collins – Illustrations Tim D'Eon – Composer, Group Member Tony Doogan – Engineer, Producer Dave Fridmann – Additional Music, Mixing, Producer Jud Haynes – Design, Layout Jon Samuel – Composer Paul Murphy - Composer, Group Member Wintersleep – Primary Artist
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Exclaim! is a monthly Canadian music magazine that features in-depth coverage of new music across all genres with a special focus on Canadian and cutting-edge artists. Content is based on the monthly print publication, which publishes 9 issues per year, distributing over 103,000 copies to over 2,600 locations across Canada; the magazine has an average of 361,200 monthly readers. Their website, exclaim.ca, has an average of 675,000 unique visitors a month. Exclaim! began as a discussion among campus and community radio programmers at Ryerson's CKLN-FM in 1991. It was started by then-CKLN programmers Ian Danzig and Ron Anicich, together with other programmers and Toronto musicians; the goal of the publication was to support great Canadian music, otherwise going unheralded. The group worked through 1991 to produce their first issue in April 1992, with monthly issues being produced since. Ian Danzig has been the publisher of the magazine since its start. Anicich was the magazine's founding editor, was succeeded in 1995 by James Keast.
To an alternative weekly newspaper, the magazine is distributed as a free publication at campus and community radio stations, record stores and coffee shops. With Chart's decision to cease publication of its newsstand edition in January 2009, Exclaim! is now Canada's only nationally distributed general interest music magazine operating as a print publication. The magazine's website features reviews and profiles, some of which are not found in the print publication, it includes a news page, updated with the latest in music and music-related culture. The site reaches over 675,000 unique users every month, it features Exclaim! TV, which includes regular instalments of video interviews with musicians, as well as a streams section featuring new albums, EPs, music videos and full performances. In recent years, exclaim.ca has increased its film coverage, covering festivals, such as the Toronto International Film Festival, the Sundance Film Festival, Hot Docs Documentary Film Festival, the Toronto After Dark Film Festival, publishing interviews with a number of high-profile directors and movie stars.
Its comedy section focuses on profiles and interviews with established and up-and-coming stand-up comedians. As well as music, exclaim.ca reviews films, comedy specials, live comedy. The magazine's website has contests where readers can enter for a chance to win various music and film-related prizes. Many notable writers have worked for Exclaim! over the years, including Canadian radio personality Matt Galloway, Canadian punk chronicler and new media personality Sam Sutherland, hip-hop scribe and CBC Music producer Del Cowie, published author Andrea Warner, Canadian editor at The FADER Anupa Mistry, award-winning DJ and author Denise Benson. Some of the artists who have graced Exclaim!’s cover over the years include: Arcade Fire St. Vincent Chance the Rapper Mac DeMarco Feist Father John Misty The Weeknd Metric Broken Social Scene Converge Wolf Parade Outkast Yeah Yeah Yeahs Tokyo Police Club The White Stripes In February 2009, Exclaim participated with CBC Radio 3 and Aux.tv to launch X3, a new collaborative cross-promotional platform which sees all three outlets air or publish feature content spotlighting a particular "Artist of the Month".
These artists are featured on the cover of Exclaim's monthly issue. X3 artists of the month have included K'naan, Thunderheist, Apostle of Hustle, You Say Party! We Say Die! and The Rural Alberta Advantage. Since 2012, senior editor Stephen Carlick produces a week-in-review segment for!earshot 20, a nationally syndicated campus/community radio program available through the National Campus and Community Radio Association and produced by CFMH-FM in Saint John, New Brunswick. Staff writer Calum Slingerland took over producing the segment in 2017. Official website