Dusted, Jo Passed, Common Holly, Everett Bird, Mythless

Sat May 12 2018

8:00 PM Doors

The Garrison

1197 Dundas Street West Toronto, ON M6J 1X3

Ages 19+

Share With Friends

Limited tickets available at the door.

 

Royal Mountain Records Showcase @ CMW presented by Exclaim! 

Dusted
Jo Passed
Common Holly
Everett Bird
Mythless 

 

This event is part of Canadian Music Week for more info / set times check out cmw.net/music

Line up subject to change 

Royal Mountain Records and Exclaim! Present
Dusted, Jo Passed, Common Holly, Everett Bird, Mythless

  • Sorry, you missed this event.
  • Check out other similar events on TicketWeb.
  • Dusted

    Dusted

    Alternative Rock

    Perhaps best known for being one of the founding members of the noisy electronic group Holy Fuck, Brian Borcherdt has spent years making unhinged dance music and touring relentlessly as the band’s envelope-pushing sound developed. Behind the scenes, however, Borcherdt has been writing songs of his own that branched out in dramatically different directions than his main gig. At a low-key hometown show during a holiday break, Dusted was born as an almost total antithesis to Holy Fuck’s bomb-dropping sound. 

     

    If Brian’s work in Holy Fuck represented a reckless night out, Dusted was the somber comedown the morning after.

     

    After his 2012, debut, “Total Dust” Borcherdt spent much of the next year on the road supporting Great Lake Swimmers, Perfume Genius and A Place To Bury Strangers. In addition to steady touring, Dusted also made an onscreen cameo in Jean-Marc Vallée's 2014 film, Wild.

     

    On April 6, 2018, Dusted will release a sophomore album, Blackout Summer, via Royal Mountain Records/Polyvinyl. Lead track, Backwoods Ritual is concise, logging in at 1:43 and is as lyrically sparse as the accompanying lyric video’s transfixing wander through the woods. “There’s no ledge to coax you from, soothing words to bring you home”, but it is wrapped in the exquisite gauze of dusty haze that neatly stands alongside the other nine album tracks, and is deeply focused.

  • Jo Passed

    Jo Passed

    Alternative Rock

    The nicest thing anyone has ever – ever – said to Jo Hirabayashi, frontman of Jo Passed, is that his band’s debut album sounds like “fucked-up Beatles”. Titled Their Prime, the LP does sound like fucked-up Beatles. It sounds like, somewhere across an ‘80s universe, Lennon and McCartney discovered Can and Neu!, and maybe a little Sonic Youth and XTC along the way. Opening with “Left,” it demonstrates that timeless knack for dreamy melodies – chord progressions that sound like they were created in a land far far away. Lyrically, however, it’s imbued with a philosophical longing for answers to questions that have resurfaced for the first time since the explosion of counterculture in the late 1960s and early 1970s.

    “We gave you everything, what’s left?” asks Jo in the refrain. It’s a question about art, about socialism, about the point of life. Considering the heaviness of the record, it’s relieving to find Jo in his home studio in Vancouver (the unceded traditional territory of the Musqueam, Squamish and Tsleil-Waututh First Nations) with a regular tendency to burst into chuckling fits. You could put the laughter down to a nervous energy, and a charming one at that. Despite the fact that he’s crucially aware of the world around him crumbling, he’s not lost sight of his sense of fun. His approach to Their Prime was to create a collage record of everything he’s inspired by. The last track “Places Please” he says is his attempt of trying to make Grouper dine out with Frank Ocean, whereas “Undemo” is This Heat versus Leonard Cohen. “I was trying to infuse different sounds I thought could really work,” he explains. “Like, what if Nick Drake fronted Swans?” I suggest Nick Drake might struggle in that role. He laughs again.

    On the West Coast, Jo has been part of the DIY music scene since his late teens. Initially it was just him and his high school best friend Elliot Langford against the world. They were the “freaky music weirdos” and they began their own band projects. Jo was pretty sure that it would be two of them riding into the sunset – or maybe the gloom – together. Personal circumstances and the phenomenon of the late 20s return of Saturn (for those who believe in astrology) got in the way. Their band Sprïng called it a day. That’s where the life of Jo Passed began. The idea of a band dynamic is far more appealing to Jo than solo projects, and the current incarnation of Jo Passed feels like its most robust yet. 

    Jo, along with his friend and drummer Mac Lawrie, moved across the country from Vancouver to Montreal. The two would play shows in Montreal and eventually tour the far right corner of North America. Upon Jo’s return to the west coast, multi-instrumentalist Bella Bébé officially joined the band in January of 2016, expanding Jo Passed from trio to a full quartet. Multimedia artist Megan-Magdalena Bourne began working with Jo Passed on a video project for the song “Rage” (from the Out EP). This creative partnership would eventually lead to her taking on the role of bassist for the band. 

    When not geeking out over The Zombies, or Nirvana, or Johann Sebastian Bach… Bella, Mac, and Megan have worked with Jo to realize the live experience of Their Prime, following two Jo Passed EPs titled Up and Out. Tonight is their first ever show as a foursome, and Jo is pumped.

    “A project like this was never supposed to happen for me,” he says, still surprised. “Sprïng was falling apart and was turning into something resembling my project, which was never the point of that band. Then I started to get this really bad insomnia and it culminated in me starting Jo Passed. The second I finished one song my insomnia went away.” Jo needed a functional channel to pour his excess energy into. He’s always been fidgety, writing songs from a young age, reared as a classical pianist, then learning guitar in his mid teens. “Jo Passed has been the first thing where I know that if I funnel all my energy into just being a songwriter, it’ll be better for my health. It wasn’t a career choice. It was survival.”

    Upon Jo’s return to Vancouver from Montreal, he’d found a completely different way of existing. He admits to still having a love/hate relationship with Vancouver, and that’s documented extensively in ‘Their Prime’, but it wasn’t till moving to Montreal that he was afforded the informed perspective to re-investigate his identity as a Vancouver-based artist. Having spent his whole life here as the child of two dance choreographers, he has a very unique and informed perspective but is very quick to recognize the privileges his upbringing have granted him. In fact, his parents’ leased studio space (KW Studios) allowed him to split the creation of ‘Their Prime’ between his own living space and a proper room. Sticking to his DIY approach he engineered and produced the album himself.

    Growing up, he saw many facets of Vancouver – the gentrification, the poverty, the reality check he’d have when he considered his family’s struggles compared with those of Indigenous communities. He channeled his political and social awareness into the music communities he found when he was 18.

    “This album is my concept record of dealing with the idea of calling Vancouver home. There are struggles with the border, cost of living, space…” Jo shares a home with many others, and it doubles down as a venue, of which there’s a dearth of sustainable venues in Vancouver. “There’s this big question mark where even people in Vancouver are like, ‘What is this city?’” 

    Their Prime is a record about identity and the loss of time that happens as a direct consequence of being in the city with nowhere to rent, no time outside of employment and no realistic expectations to live up to. It encompasses that fear of being beyond the glory years, the most creatively fruitful period of one’s life. Those years were lost to contemporary struggles for working relationships, home, identity and space. “It’s me owning my worst nightmare,” he admits. “A lot of the Jo Passed project has been about confronting fears. I was afraid to move away from Vancouver to Montreal on my own. Afraid to leave musical relationships I had. Afraid to bare the full responsibility of a project. I’ve been putting out records and not ones anyone’s necessarily heard. Being open about those fears is a good way of dealing with them. You end up at this point where you hit 30 and you’re like, ‘Oh what happened? Am I done? Did I not activate my main creative energy?’ It’s a ridiculous idea but 30 feels a little like 1000 in rock n roll terms.” You can hear the frustrations and the jitters in the crashing loud-and-quiet motifs throughout the album’s twelve tracks, which offer up a patchwork quilt of sound, similar to Faust’s IV or Fugazi’s Red Medicine. 

    The first half of the record begins with the most doom-laden themes. ‘Left’, ‘MDM’ and ‘Glass’ are particularly end-of-the-world-y. “The songwriting was finished the day Leonard Cohen died, which was two days after Trump’s victory, so there’s a lot of that energy in the record,” he says. The lyrics are troubled with a lack of purpose, a search for what even matters in art now, whether there’s any way to impact still. “I was trying to not get too grandiose in political statements and re-centre them in my own experiences,” he says. “Glass” moves around the idea of a lack of belonging, a crisis of self: “I’m just a tenant in my birthplace” sings Jo.  “‘Glass” is pointed at Vancouver. I’m a guest here. I’m trying to encapsulate the experience of what it’s like. I relate it to a slow regurgitation of a body: you’re gradually being repulsed out of something sick, but you’re fighting to be swallowed into it. I’m asking – What’s a home? Can you just buy one?”

    On the more celebratory tip comes “Undemo,” which is a song about communities of show goers  and DIY music scenes. “Killing times in the end times together,” sings Jo. “Music scenes live under the guise of environmental collapse, neo-liberalism and Trumpism, yet we go and play music to each other. It’s amazing existing in these communities. It’s been life saving! You can get into this moralist guilt and think, if we’re gathering here shouldn’t we be forming activist groups? In my early 20s I felt a lot more of  that righteousness. But there’s two sides to all that. There’s fighting the bad and there’s also defending the good, ie, playing music in safe spaces and supporting each other creatively.”

    Physical spaces are so important in our social media-obsessed world. “Facetook” is a comment on that, whereas “Millennial Trash Blues” (a tongue-in-cheek poke at Bob Dylan) makes direct reference to this concept of the “snowflake generation”via lyrics about snowflakes lying on the ground. “We’re a bunch of unique snowflakes but it’s actually the snowflakes of a burning trash fire.” In as much as there’s matter-of-fact depictions of harsh realities, there’s also a sense of hope. None more so than on “Repair,” which was written the day of Trump’s election. It combines soft melodies with walls of chaos. “I was trying to make something that encourages fixing. We’re losing track of that,” adds Jo. Playing it live has proven itself to be particularly cathartic. 

    It’s touring Their Prime and hearing people’s reactions to it that are most at the forefront of Jo’s mind right now. “It’s like I’ve put all my negativity into a place and now I’m lighting it on fire as a way of releasing it” Indeed sometimes you have to banish the bad vibes to get to the great ones.

  • Common Holly

    Common Holly

    Indie Pop

    Born in New York and raised in Montreal, Common Holly (AKA Brigitte Naggar) puts unpredictable compositional elements into a singer-songwriter/folk framework, packaged in textured, eclectic electro-acoustic production. Her forthcoming album, Playing House, contemplates the notion that it is conscious thought and deliberate action that defines and cements maturation from child to adult.

    Her debut album, Playing House demonstrates Common Holly’s astonishing ability to structure and compose highly intelligent yet incredibly emotive songs. In 'If After All, beyond the compositional intricacy of each section, the real beauty and genius of the song can be found in how Naggar uses the meaning of the lyrics to mirror the structure of the music. Naggar sings about her difficulty moving forward from broken relationships, of attempting not to slip back into old vices but feeling hopelessly trapped in a cycle of failed recollection. She expresses a strong need to move forward, to progress and grow, a sentiment which is unmistakably mirrored in the way the music evolves within the track. 

  • Everett Bird

    Everett Bird

    Alternative

    Everett Bird released their debut record, People Person on February 22 2018 via Royal Mountain Records (Mac DeMarco, METZ, Alvvays).  Fueled by Guru Energy drinks, Pilsners and twenty years of friendship, childhood friends Everett Morris and Liam wrote the entire album in an old Montreal apartment. Everett drank so much Guru he turned purple.  To fill out the line up, they picked up Mikey Arcidiacono after they saw him him slappin' and tappin' on the razorback at Guitar World; they knew he was the missing link.  The band recorded the album at Breakglass studios in Montreal with Jace Lasek (Besnard Lakes, SUUNS), where they ended each session with celebratory 306’s (Pilsners) and stogies. The album they created meshes rock, jazz, r&b with overtones of Punk & garage.  Pairs well with liquor and a bucket of dark meat in the park.

  • Mythless

    Mythless

    Alternative

    When a note resounds, it’s not so different than brushstrokes of paint on canvas. Colors and tones both blanket empty space in their own ways. Hundreds of brushstrokes comprise a painting, and hundreds of notes comprise a song.

Royal Mountain Records and Exclaim! Present

Dusted, Jo Passed, Common Holly, Everett Bird, Mythless

Sat May 12 2018 8:00 PM Doors

The Garrison Toronto ON
Dusted, Jo Passed, Common Holly, Everett Bird, Mythless
  • Sorry, you missed this event.
  • Check out other similar events on TicketWeb.

Ages 19+

Limited tickets available at the door.

 

Royal Mountain Records Showcase @ CMW presented by Exclaim! 

Dusted
Jo Passed
Common Holly
Everett Bird
Mythless 

 

This event is part of Canadian Music Week for more info / set times check out cmw.net/music

Line up subject to change