I got the chance to speak with Gordon Grdina (guitar and Oud) on the radio tonight. He plays at La Vitrola tomorrow. We spoke a bit about his experiences learning from Gary Peacock, playing in the vastly diverse Vancouver scene, as well as the group Haram who he’s currently touring with.
On her debut, Montreal folk-rocker Brigitte Naggar showcases a songwriting knack over sonic brilliance. The album feels almost episodic as Naggar’s intimate vocal delivery is surrounded by hints of math-rock riffage, string quartet landscaping and blues rock pastiche. Lyrically, Naggar battles with herself in trying to completely let go of a manipulative ex. Early cuts remain simply textured, but as the self-hate becomes harder to fight, the layering becomes all-encompassing. Rare is it that a songwriter is able to craft a debut chock full of solid tunes, but Naggar’s done that and more with impeccable album flow and vivid detailing.
Armed with a voice that could slice through steel and a flourishing sonic foundation, Moses Sumney sounds untouchable on his debut full length. There’s a Björk-like sensibility in the way that Sumney sounds wholly unique and a bit odd, yet completely relatable and emotionally vulnerable. Beneath his ridiculous high croon lies a folk-tinged landscape, occasionally minimalist with rupturing textures heralding climaxes — rules seem to fall by the wayside when brass sections and flute soloists appear. His lyrics are poetic and sparse, coping with the beautiful yet wrenching world of solitude. It’s a work out of a new world, sure to confound for years to come.