Edmonton native, Calvin Love, is taking listeners along a journey of self-discovery with the recent release of Super Future – his first album under the esteemed indie label, Arts & Crafts, and his second to date. Featuring themes of love, loss, frustration and nostalgia, the album’s title befits its distinctly celestial sound – think dream-like synths and textured melodies underscored by funky bass lines and upbeat drums.
Like 2012’s New Radar, Love wrote and recorded Super Future entirely by himself, only bringing in outside help for mixing. As a self-professed “control freak”, the solitary recording process is something that works well for Love. “I’ve played in bands before and I like collaborating, but I just kind of needed to prove to myself that I could do it all on my own – and it’s nice to be the only one calling the shots.”
I’ve played in bands before and I like collaborating, but I just kind of needed to prove to myself that I could do it all on my own – and it’s nice to be the only one calling the shots.
But despite the similar recording process, Super Future is a markedly more optimistic effort than New Radar – something he partly credits to a change in disposition. “Yeah, I was in a good place. I was feeling really stoked on life at the time. I met a new girl, so that was cool.”
The otherworldliness of Super Future is beautifully captured in the video for “Calls from Jupiter”. It was shot and recorded using only Love’s iPhone while visiting Castillo del Mundo – a Haitian art gallery and UFO museum found in an alien-sighting hotspot of the Dominican Republic. “I thought the UFO vibe and the song worked together,” says Love. “So I just shot it at magic hour, pieced it all together and put it on the Internet.”
If he makes shooting a music video look easy, perhaps it’s because Love has a deep-rooted appreciation for the relationship between film and music. “In everyday situations, I’m always kind of hearing music in my mind – kind of like a soundtrack.” Expressing a desire to someday score music for film, Love says, “I tend to write cinematic kind of movie music, so I think it would come pretty naturally to me – I’d like to try that out.”
Already knee-deep in writing his third record, Love is preparing to break out of his comfort zone. He wants his next release to have more of a live feel – for instance, using drums instead of drum machines. “I’m still going to be the guy who comes up with the songs, the melodies, the riffs, but for this next record I’m definitely way more open to collaborating. I’m hoping to work with a likeminded engineer or producer who can push what I do even further.”
A few years ago, Danielle McTaggart was ready to throw in the towel on her music career. Now she and her husband, Drew, make up the powerhouse duo known as Dear Rouge and have two full-length albums and a Juno to their name. Known for their hook-driven tracks—and being “the nicest couple in Canadian music”—Dear Rouge just dropped their sophomore LP, Phases. The record recounts a season of emotional extremes for the couple, including winning the 2016 Juno for Breakthrough Group of the Year, and losing a loved one. We caught up with Danielle over the phone to talk about finding joy in music again, and the personal and public significance of Phases. G—On your website, you describe your style as “sinewy, hook-driven indie rock”. Where did that particular style evolve from? DM—I was always very into hook-y music with beautiful melodies. I grew up listening to The Carpenters and they have beautiful melodic parts, but I also always loved harder music and really rock-driven music. Bands like Metric or Yeah Yeah Yeahs or St. Vincent were hugely motivating for me, and I loved that these frontwomen were powerhouses. They’re very confident and trying to push the boundaries while
What do you get when you combine the start of a worldwide tour and the release of a highly-anticipated album on the same day? Ask Lord Huron’s founder and frontman, Ben Schneider, and he’ll say a pretty damn exciting journey ahead. The band’s third album, Vide Noir, released April 20, is already receiving accolades for its raw, lyrical storytelling from songs like “Wait by the River” and “When the Night is Over”. To engage fans at a deeper level, the band plans on creating immersive experiences that elevate the album’s narratives. Lord Huron’s tour includes a stop at Toronto’s Sony Centre on July 25, and at Osheaga in Montreal on August 4. Schneider spoke to us about his love of storytelling, Raymond Chandler influences, and what it was like working with Flaming Lips’ producer David Fridmann. G—You grew up in Michigan. Is that where your interest in music began? BS—There was always music on at our house, and I remember imagining the people the songs were about. The storytelling of songs is what’s always captured me most. As time went on, I was able to convince my parents to let me play bass in the orchestra, which led to me
Morgan Saint was born into a creative life. Upon growing up in Mattituck, NY with a family of musicians on her mother’s side and parents who worked in interior design, Saint graduated from Parsons School of Design in Manhattan, where she has lived for the past six years. With a major in illustration and a focus on photography and graphic design, Saint has executed a clear vision of her musical artistry. In 2017, at the age of 23, Saint released her debut EP, 17 Hero, on Epic Records. She is a storyteller at heart, combining all of her talents to reveal her narrative as truthfully as possible, one vignette at a time, as seen in all three of the EP’s videos, “Glass House”, “You”, and “Just Friends”. She co-produced each glossy, beautifully choreographed, and high-definition clip with Nathan Crooker, but the lyrics are all hers. They come from personal places yet are vague enough to be relatable. Her electronic pop is lo-fi, but you’ll most likely find yourself snapping your fingers to it. As Saint prepared for a sold-out show supporting Missio in Austin, Texas, Georgie connected with her to discuss coming into her own as a songwriter and