6@8 avec Mike O’brien et Michelle Topkins – GRATUIT
Alt / RockYou can immediately recognize the playing of Patrick Krief, guitarist extraordinaire for The Dears, on this new solo release. In fact, even his soulful vocals sometimes echo those of Murray Lightburn, so fans of The Dears are sure to enjoy Hundred Thousand Pieces. Having honed his singer-songwriter skills as the leader of Black Diamond Bay for a few years, Krief delivers a truly stunning album here, opening his heart via nakedly personal lyrics, which he surrounds with sublime arrangements that cover an impressive scope. There are plenty of guitars, of course, but also proggy synths, a dash of strings here and there and other trippy flourishes. Among many highlights, Tell Yourself shines particularly bright. - Kevin Laforest
Alternative / Rock
Though the suburban Montreal native is only just in his thirties, he’s already gone through more experiences, turmoil and hardships than a person twice his age. All of these experiences have shaped who he is today and are reflected in the eclectic and colourful musical landscapes he’s created for his The Death of Reason debut solo album for Shoreline Records/Fontana North.
Alt Rock / Singer-Songwriter
"The shock never really wears off", says Michael Mooney, unshaven and bundled against the winter's first minus 20 morning. "Each year I'm fucking flabbergasted."
It's the singer-songwriter's third winter in Montreal, and slowly but surely, this native of Jamberoo, Australia, (population 935), is adjusting. In 2008, Mooney met his wife to be, Anne, and decided to follow her here. And so he landed, at first plying his trade in the service of music for advertising, but all the while amassing a bundle of songs and connecting with like-minded collaborators to form the collective that has become the Mooney band.
There is definitely a sense of transformation and turmoil in the songs on Mooney's debut EP, Machine Made Hand, the inner workings of a human being finding his footing and confronting demons in a strange, new, cold place. And Mooney admits it -- "the next record won't be nearly as freaked out and miserable, I promise"
There is brutal honesty too, delivered with a dramatic showmanship that almost makes fun of itself. And in the sound, a marriage of rusty, folky instrumentation to dense electronic trickery. It's vulnerable and tough, obscure and direct --like the man himself, a little hard to read -- there's a wisecrack hiding behind the sensitive singer-songwriter mask.