Author: Mia Pearson

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Music

New punks drop the politics in favour of surf

Photo by Marcel van Leeuwen from Flickr

Burger Records helps shine light on the new wave of garage-rock and punk bands

By Mia Pearson, Music editor.

Photo by Marcel van Leeuwen from Flickr

You can now find Ramones t-shirts hanging on Forever 21 clothing racks, mass-produced Dead Kennedys band patches on backpacks, and Reagan Youth stickers on that 14-year-old’s laptop. Those high-energy, three-chord punk bands that rattled the bedroom walls of many a ‘80s angry teenage misfit were seemingly discarded by the time the ‘90s hit. Didn’t punk die and get replaced by shoegaze and grunge bands willing to go the extra chord?

A few years ago, I interviewed a band called FIDLAR–that stands for Fuck It, Dog. Life’s a Risk. That interview kind of changed my life–no, for real, it did! I started listening to so much FIDLAR (way before they were popular, by the way) that the effect was contagious, and all my friends who hung out with me in close proximity were bitten by the FIDLAR bug. FIDLAR mix the quick adrenaline of punk with the catchiness of pop and wrap up each song with some cleverly crafted slacker lyrics. FIDLAR was the gateway band for my discovering the heavenly roster of Fullerton, California’s Burger Records.

The community of bands united under the Burger bun mostly share the same attributes—their DIY attitude often turns their first EP into a lo-fi release brimming with power. Most of the bands have that punk foundation: Together Pangea, Audacity, The Garden, The Lovely Bad Things, and Cherry Glazerr, to name a few. But all these bands have branched off way beyond that traditional punk sound. The New York Times, in its article “Garage Rock’s Latest Nerve Center,” calls this Burger revolution the “fourth-wave of garage rock,” and cited garage and punk bands of the past like The Cramps and the Mummies as those who made-up the former waves. This fourth wave, the article claims, is jutting out in directions hard to predict: weirder and more daring than before. Whereas the bands’ sound may not mirror the punk bands of the ‘80s perfectly, their attitudes certainly do. DIY shows thrown in skate parks, basements, or all-ages venues are where the community meets, trashes and grows.

 

 

Burger was founded by Sean Bohrman and Lee Rickard, who run Burger Records out of the back room of their strip mall storefront. They started releasing cassette tapes of L.A. bands they knew, as well as their own music, and opened the Burger store in 2009. The norm in L.A’s urban sprawl is for youth to have crappy old cars that still have cassette players, comprising the cassette-buying market Burger tapped in to.

Whatever the sound, these SoCal punks have created a scene and a feeling unlike any in other cities, way different from the musical waves before them. I think Burger are putting out some of the best stuff in modern music. Maybe there’s something in the air, or maybe music grows better under the sun, but man it’s a lot of… fun.

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Music

Speedy Ortiz and Alex G were a summertime sadness remedy

On a humid Saturday night, three bands captured the gloomy mood just right

By Mia Pearson, Music editor. Online Exclusive to The Concordian.

Photo by Tyler Kalinowicz.

The crisp layer of snow longtime melted, summertime blues and anxieties are in full swing. A mixture of lethargic loafing and worrying about accomplishments in the thick summer heat. Uneasy souls flocked to the Palehound, Alex G, and Speedy Ortiz show at Bar le Ritz on June 6, possibly drawn to Alex G’s cast down lyrics and/or Speedy’s swift switching from loud to soft, like your mood jumping from happy to sad for no reason.

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Music

Doldrums dreams of dystopia

Doldrums’ album release show will be at Bar Le Ritz on April 9 with opener, Moon King. Photo of Airick Woodhead by Mia Pearson.

The Montreal artist’s new album, The Air-Conditioned Nightmare, is a chilling journey through modern chaos

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Quickspins

Doldrums – The Air-Conditioned Nightmare

Doldrums – The Air-Conditioned Nightmare (Sub Pop; 2015)

Montrealer Airick Woodhead’s The Air-Conditioned Nightmare, begins with scorcher,“HOTFOOT,” a song that storms in with grainy laser-like synths jutting out in every direction. Woodhead explores the album’s underbelly with the lower bass layers: the percussion ranges from beats pulsing quickly in 16th notes, to sometimes thumping loud and languidly. Synthesizers battle for space throughout, ambivalent in their tone. On “Blow Away,” one light and dainty synth riff dances over a basal synth, which sounds like it’s being manipulated like a malleable metal. The real charm is its production, some sounds hailing from a manufactured electronic background, to others featuring the inimitable sound of real reverb slapping back off of four walls.

Midway through, “Loops” punches in with a pop beat pleading to be danced to, then breaks periodically for Woodhead’s dreamy voice to amble over his emotional past relationship. “My Friend Simjen” flushes out like a pop song boiled in a pot of chemicals and showered in hallucinogens. A dialogue between Woodhead’s boyish voice and Simjen’s guttural snarl plays-out, while synths are stretched to the brink, and sound like liquid fuzz.

Trial track: “Loops”
Rating: 10/10

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Music

Waste away in Wand’s weird world

The band’s frontman, Cory Thomas Hanson, finds musical inspiration in uncommon places

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Music

CJLO’s The Oven sounds warmer than ever

The ConU radio station revamped their recording space with fresh new equipment

CJLO 1690AM, Concordia’s campus radio station, just renovated their recording space and it now has all the features a band would look for to record their latest tunes—a warmer sound, enthusiastic and experienced engineers, and sunlight. CJLO has been recording bands for live broadcasts and pre-recordings for a while. The room has been filled with the sounds of Montreal locals like Ought, Nancy Pants, Motel Raphael, and so many more. CJLO’s production manager, Patrick McDowell, recorded Montreal band Fleece’s latest album, Scavenger, in the space as well. The Concordian caught up with McDowell to talk about what The Oven hopes to cook-up next.

Recording sessions are $5/hour for Concordia students and free for CJLO DJs and volunteers.

The Concordian (C): Could you give me brief introduction of what the new studio looks like, and why it’s important for CJLO?

Patrick McDowell (PM): We acoustically treated the live room, so it sounds a lot better and looks a lot better. There’s fresh hardwood on the floor now, we painted the walls and put-up new acoustic treatment on the walls, new panels, and it’s a lot brighter in there and welcoming. The reason it’s important to CJLO: one, we have always done our live sessions out of there—like, say a band tours through, we can broadcast performances live on air. We can also pre-record it and share it on social media.

C: If someone wants to record an album, can they rent the space?
PM: We really want to get the community involved, especially students involved in recording profesional albums there, which has been done a number of times in the last few years. We just wanted to take it to the next level, promote it more, and have that happen a lot more often. My goal is to make it a place which is known for creating, you know, profesional albums—whether it’s an EP or an LP or any format, really.

Inside The Oven at CJLO.

C: Would bands be working with an engineer?

PM: Yeah absolutely: me and Marshall Vaillancourt. We’re the engineers there at this point, and we’re always interested in meeting more people. If people get involved, say, like, volunteering with us, it’s a really good opportunity to learn a thing or two, or to just practice your skills. Eventually, down the road, who knows, those engineers could start to do their own work with us.

C: What kind of backlined gear and equipment do you have?

PM: We have the latest version of Pro Tools, we have a new focusrite interface, we have a new Urei 1176 compressor, which only nerds will know about, but they might enjoy it. We just have a drum kit, so that’s all we really offer in backline. We’re working on finding [more equipment] either through sponsors, or once we start creating revenue and stuff, then we can invest, more and more, into the space.

Recording sessions go for 10$/ hour for non-students, 5$/ hour for students and free for CJLO active DJs and volunteers.

CJLO will be hosting a re-launch party for The Oven at Le Cagibi April 2 with performers, Saxsyndrum and Fleece. They’ll be hosting an open house to visit the studio April 7 from 3 to 8 p.m.

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Quickspins

Leopardism – Extraversion/Introversion

Leopardism – Extraversion/ Introversion (2015)

Extraversion/ Introversion as a whole is a flawless skeleton of songs drawing from rock and pop and perfectly settling in the band’s self-described styles of Marg Prock and Cool Pop.

This Montreal-based duo consists of Samuel Grandholm, whose gritty voice glazes over themes about his libido and rockstar aspirations. His voice’s grainy quality seems to have more natural distortion than his completely clean guitar—which remains completely clean throughout the album. “Faithful” and “Space Unicorn” both unfold in ambiguous directions by jumping from quirky single-noted guitar riffs, to strong rock and roll choruses, to soft muted strumming and gentle vocals. Victor Tremblay-Desrosiers’ drumming is mixed-in at a high level, allowing for a clear platform to sample Tremblay-Derosier’s percussionary creativity.

Though the songs demand attention naturally because of the tight and clever melodies, it runs on for, about, five songs too long. The last half of the album sticks together like an indecipherable cluster, especially because of the absence of any new sounds being introduced. The band’s got creative talent, but the lack of detail leaves the album under-processed and repetitive; maybe try a chorus pedal?

Trial track “Faithful”
6/10

-Mia Pearson

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Music

Branch into BRONCHO’s bottled dreams

The band plays their infectiously catchy songs on tour with the legendary, Billy Idol

“Da da do do do do do do do do do do do do do da da da do do do do do do do do do.” If you haven’t heard BRONCHO’s new hit, “Class Historian,” the lyric above means nothing to you. If you have heard the song, you’re probably cursing this article for bringing the catchy chorus back on repeat in your head.

Ryan Lindsey cements himself on stage, taking the shape of a slacker rocker—baseball cap and loose sweater dragging down to a low-hanging guitar—but within this static slacker figure is a musical mind, gifted with a natural aptitude to flush-out pop hit after punk hit. Perhaps a dead giveaway of the genius behind Lindsey, who languidly chews gum between lyrics, are his furrowed brows and determined angry eyes aimed at the back of the room the whole set through. Pairing melody and lyric comes effortlessly to Lindsey—like a dream.

“I have these recurring dreams of the town I grew up in, but it’s really squished together. Like all the main parts of the city are really close to each other and you can just walk everywhere, like from my house to downtown to my friend’s neighbourhood. Everything is almost cartoonish—how close it all is. Those are my favourite dreams to have about growing up, because it’s this different version of the way things happened. They’re always kind of dark, and it’s always at night, the temperature’s always perfect.”

The distorted dreams of Lindsey’s youth in his native town, Norman, Oklahoma, creeped their way into his psyche while writing the band’s second album, Just Enough Hip to Be Woman.

“When writing [the record], I never was consciously thinking about this being a record about all these things. It just kind of happened,” he said.

Lindsey’s childhood revelry is tell-tale of BRONCHO’s sound: the songs have soaked-up the fleeting moments of the songwriter’s childhood. They’re quick, upbeat, and bottle the badass attitude of a kid at a punk show. The songs also meet youth with nostalgia; one of the slower songs on the new album, “Stay Loose,” pulls at your heart strings by means of the minimal guitar riffs hitting the saddest and happiest notes of your past.

“That’s a song on the record that really hit a certain tone with the nostalgic past,” he said. “It kind of connected some dots between where we were going and where I wanted the record to end up going from our first record to our second record.”

Whatever elixir Lindsey draws from his dreams and injects into his tunes has been picked-up by big names in sales and shows. Lindsey’s songs have been used by Starbucks, Old Navy, and even a Payless commercial. The band’s song, “It’s On,” was also featured on the HBO series, Girls. The excitement a BRONCHO record induces in a listener can’t be cast aside. Can’t Get Past the Lips, released in 2011, is an album you can pick a fight to—or, at least, fuel a small rebellion.

“We almost got kicked out of our hotel the other night because we found a way onto the roof,” Lindsey said. “There was a phone on the roof, and [Ben King] used it to try and order pizza to the roof…. it was the front desk and they said they didn’t have any pizza. And then they asked if we were on the roof, and [King] said ‘no,’ and they sent a guy up there. So we went up there a few more times, and the last time, the guy came and said ‘no way. You guys gotta get off this roof. No way. Uh uh. Uh uh, guys.’” Lindsey paused for a moment, and concluded with, “Ya, I think we like to have fun.”

Currently on tour with the legendary Billy Idol, BRONCHO has been warming up the sold-out crowds and getting people “feeling good and loose and comfortable.” Idol, whose hit songs have surfed the airwaves for decades, has not yet partaken in any of the band’s parties or pizza-ordering endeavours. “We haven’t had a good ‘Billy hang.’ I really hope it happens,” Lindsey said.
BRONCHO plays Metropolis Feb. 3 with Billy Idol.

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Music

Borgore can ‘suck it’

The artist rises to fame all while putting down women

“Girl, take example from these bitches/In bed, act like a ho but first, do the dishes!” is a lyric from Borgore’s song, “Act Like a Ho.”

It’s cool, though, because he said in an interview with Rolling Stone that the lyric is just a joke. I’m sure that Borgore’s joking nature was quickly understood by Stacey Anderson, who met with Borgore, to conduct the Rolling Stone interview.

“When I first met Borgore, he locked eyes with me and said, ‘The thing I love most is cummin’ on your face, suck it, bitch,’” Anderson said in her Buzzfeed article entitled “Borgore Wants You To Know That He ‘Fucking Loves Women.’”

I had initially intended to write a piece on how painfully muscled-up his EDM songs are, and how the synth-generated melodies, really, introduce nothing innovative to the world of electronic music. I would have further delved into how his disinterested vocals match the tone of a prepubescent teen trying to reach high notes. In the same immature fashion, Borgore sings about “blow[ing] your mind” if you were to go over to his place tonight on his song, appropriately titled, “Blow Your Mind.” I would have then pointed out that no lyric of that low a calibre should be accepted by any music genre—but, then, with a quick Google search on this electronic artist, Borgore did blow my mind.

Borgore calls his style of music Borestep—it’s a mix between rap and dubstep—but there’s also a handful of scum mixed into his tunes. In his song entitled “Glory Hole,” he labels a woman as a whale and then sings “Nah, sea mammals are not on my fuck list.”  Is this another of Borgore’s jokes? I would expect such a line to induce disgust rather than laughter.

Misogynistic tendencies are rampant in pop-culture songs, though often hidden under the blanket of double-entendre. Without justifying lyrics that demean women, Borgore seems to take a step further than many popular artists, and appears to live what he leeches.

At the end of his interview with Anderson, she describes Borgore as commenting “disinterestedly on the lack of celebrated female DJs in EDM.” Borgore replies to the question by saying  “I have no idea…It’s a lot of travelling. Maybe that’s it?”

As the music editor for The Concordian’s bumping music section, I had received Borgore’s press release, and set-up an interview with a willing writer—this was before I was aware that Borgore’s music was synonymous with whatever you may find in a vacuum bag. Borgore did not answer his phone, and after rescheduling the interview with his manager, Borgore still did not answer his phone. Moreover, Borgore texted the writer that he would be ready for the interview now after having rescheduled twice, but the DJ kept rejecting the writer’s calls— toying with a writer who’s just trying to do his job.

Borgore is like a spoiled child desperately grasping for attention—trying to push the boundaries of what he can do and say. His music also exudes the cleverness of a souped-up monkey. I just couldn’t believe how hilarious the song “Dolphin Attack” was, because, you see, at multiple points in the song, Borgore will say “dolphin attack” and, in quick response, a sound sample of a dolphin is heard. After having mopped-up the drink I spewed from my mouth in laughter, and kicking myself for not having come-up with something that clever, the album continued to roll, and I thought: “IS THAT A LASER SAMPLE I HEAR?!”

If only more people were like Boresnore.

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Music

Ambitious Concordia students want to help your band

Two students kickstart their own companies by diving into music promotion and production industries

When a canary is brought down into a coal mine and survives, coal miners can assume that the mine is safe to work in and free of hazardous gases.The riskful behaviour of the canary is something Jason Athanase Baronette can relate to.

“I jump into things pretty head first—I always have,” he said. Baronette is the creator and owner of Yellow Bird, a music production studio located in Outremont. The 27-year-old Concordia Geography student spent the last two years building the studio from the ground up, and the final product is a musical candy store—it’s a building perfectly equipped and designed for a musician or music producer’s needs.

“Yellow Bird has two parts to it. There’s the professional recording side where my team and me do a lot of different movies, we produce albums, we manage some artists. On the other side, we work on fostering relationships with musicians. So we have a community center-style building, and we have three or four different rehearsal rooms. Bands can come in and build relationships [with] each other, have a place to practice, a nice place to record, and overall just learn.”

Walk the halls of the Yellow Bird jam space, and you’ll be greeted by two spacious jam rooms booming with the sound of local bands. Around the corner, there’s a lounge area that occasionally sees a packed box of neatly ordered empty beer bottles. Across the hall, another recording facility is the the process of being set-up.

Alec Johnson describes Yellow Bird as his second home. Johnson is the creator and owner of 93 productions.

“We specialize in artist representation and promoting them,” Johnson said. “We also do the production of concerts, shows, and various events. Recently, we decided to branch off into catering as well.” The 21-year-old Concordia Urban Studies student started 93 productions in order to help artists learn the ropes of the industry, and to help spark their musical career.

“I want to do something special … I want to be somebody that artists can rely on. Especially in the industry in general: there’s a lot lopsidedness and problems with it. 93 Productions is there to help an artist, a band, feel comfortable and grow,” he said.

These two ambitious Concordia students have often teamed together for artist representation and production. James Shannon, a folk/house singer/songwriter, is one of the artists whose album was recently recorded at Yellow Bird. Johnson and Baronette have developed a brotherly relationship of mutual respect; both parties’ talents complementing the other. The philosophy that surrounds both new businessmen is one of approachability, openness, and humbleness.

“Our philosophy at [93 productions] is that we treat everybody equally, we love each other like we’re family, and, when we do something, we do it well,” Johnson said.

However, both companies have encountered some bumps along the way that had the creators doubting whether or not they could proceed. Baronette had to rebuild the studio after experiencing two floods—gushing water being a fatal blow to a lot of expensive recording equipment and space. Johnson continues to knock heads with competing music promotion companies, but remains assured in his abilities and grounded in his philosophy.

“There’s a lack of resources for artists in Montreal … also at the same time it’s a really popping industry,” Johnson said. “We have bands on our radar that are coming up left right and center. I just think somebody needs to take the time to foster them and to teach them the ropes in order for them to able to accelerate. Montreal can be—and I think will be one day—a huge music hub.”

Yellow Bird is certainly a new resource that could be put to good use by bands of any genre. Baronette explained that “in Montreal, you’ve got two different stratifications: you’ve got the really not well run and not well-supplied studios and then you’ve got your really expensive recording studios– I wanted to hit that middle ground so that people who didn’t have a million dollars could come and record in a nice place, and that higher-end clients could also come in, and their needs would still be fulfilled,” he said.

Baronette spent a year on the road, working sound for big names like Akon and Mac Miller. Having played music since the age of 14, Baronette shared how his experience working with bands led him to learn how to work audio equipment. “I fell into this sort of by accident … somebody needed to work the PA system during rehearsal and somebody had to do it at the show. Somebody had to organize the shows… I ended up taking on those jobs. All these little fasets I was doing—because we couldn’t afford someone to do it—now I do them all as a business.”

The two music enthusiasts will be hosting an event entitled Encore on Jan. 10 at O Patro Vys. The event is the album launch for James Shannon, and it will be catered by 93 Productions.

 

For more information on 93 Productions, visit 93productions.com
For more information on Yellow Bird, visit yellowbirdaudio.com

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Music

No one sat at the SAT’s Party du Jour de L’an

NYE party at the SAT. Photo by Sébastien Roy

The Societé des Arts Technologiques’ New Year’s Eve party erupted with digital confetti and “unst unst”

SAT welcomed the new year by opening the whole building to party goers, who shuffled up and down the stairs in glittering gowns and tight tuxedos to taste the two party rooms. The top floor featured a dance floor under a dome-shaped screen, and downstairs, the smaller Espace SAT room with a candle-lit, speakeasy vibe where the music was loud enough for no one to actually speak easily. On the subject of music, party goers might conclude that there is not much to say about the music at all.

NYE party at the SAT. Photo by Sébastien Roy

Two words that best describe the night’s music would be “unst unst”. DJ’s, Harvard Bass, Bordello, Thomas Von Party, Iron Galaxy took turns DJ-ing the Stratosphere and taking selfies on the little stage. The DJ’s certainly delivered: the musical effect was reminiscent of Paris night clubs—the bar also served France’s popular 1664 beer. The highly popular electronic music, where musical layers are packed on, built-up, and inevitably dropped, pleased the crowd of people with eyes glazed over. Many pointed up to the ‘90s screensaver visuals of the Stratosphere, which shifted digital shapes, loosely matching the DJ’s music. When midnight hit, a countdown appeared on the dome screen, and digital confetti erupted. Couples kissed—some for too long—others texted their loved ones, and a few single souls suddenly found the dome visuals extra interesting as the minute of kissing passed. The dome itself had a dizzying effect if stared at too long. A cure for this was the igloo-looking hut set-up outside and frequented by shivering smokers.

Some hobbled down the stairs in heels to the Espace SAT, Prison Garde, Seb DIamond, Hatchmatik, Kyle Kalma, Jason Voltaire (VJ) manned the stage—the music and bass slightly louder than upstairs. Here, dancers were more loose and more apt to mingle. A large screen displayed a stagnant “2015” for some time (because a reminder of the new year was essential). One audible lyric could be deciphered from on the the DJ’s sets. It went “my body doesn’t lie,” or something to that effect. True to form, nobody’s body seemed to fib as elbows were flailed jauntily to the beat.

In all, the night was extremely “unst unst” which was appropriate because, now, in 2015, people seem to really dig “unst unst” kind of music.

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Music

Allah-Las: sun-soaked sounds and ‘60s style

Allah-Las in Los Angeles, 2013. From left to right : Dunham, Michaud, Correia and Siadatian

Drummer Matthew Correia answers questions on Los Angeles’ deep roots in music and art

If you see a bright radiating light on the horizon, it’s probably Allah-Las’ tour van treading through the snow while on their current tour through North America. This four-piece of L.A. sun shaman met between the stacks of dusty LPs at the massive record store, Amoeba. Towelling off after catching a tube ride, these surfers laid down their boards to write songs on whatever came to mind. Their love of Los Angeles’ history, from the ‘50s Beatnik youth snapping their thumbs on the shores of Venice, to the aching nostalgia in Bukowski’s words on Hollywood, is all absorbed in their crystalline melodies and Western drawl. Their ‘60s-sounding songs have reverb cranked high, reflecting the slow tides hitting the shore of their native land.

Allah-Las in Los Angeles, 2013. From left to right : Dunham, Michaud, Correia and Siadatian

Drummer Matthew Correia didn’t know much about drums at the band’s conception. During soundcheck at the band’s early gigs, the soundman would ask Correia to test the kick-drum—but the drummer wasn’t sure which one that was. He’s since discovered where the kick-drum is, and his playing throughout the album sounds moody and wonderful, like crushing seashells under your feet. He answered The Concordian’s eager questions.

The Concordian (C): Is there an ‘old Los Angeles’ feel in your music? What does that mean to you?

Matthew Correia (MC): The literature, music, art, design and photography from Los Angeles have always interested us. Those influences, along with the history and geography of our hometown, somehow make their way into our sound naturally, I think. If we grew up somewhere else we would sound different I’m sure.

C: Why was it important for your music to stray away from digital effects and synthesized sounds?

MC: We’re not against digital.  We did what worked best for us. We dig music with synths, but like a lot of styles and instruments, it just hasn’t made its way into our sound.

C: Do you feel being compared to ‘60s rock in most music articles describes you well? Or are they too quick to generalize?

MC: We’re honoured to be compared to that music. We’re influenced by other places and other decades of course but people are going to hear what they’re familiar with and that’s fine.

C: Does your music correspond less with music from the ‘60s and, rather, match more with the ‘feel’ or ‘vibe’ associated with California’s previous decades?

MC: Sure. I think we’re very much a product of our environment. A mirror of a mirror of a mirror … We grew up digging through the past while listening to loads of local bands around L.A. Influence has been passed down to us as it was to them. Ariel Pink, Beachwood sparks, The Tyde, and The Brian Jonestown Massacre, are a few of our L.A. favorites.

C: Is your music best sampled by listening to the entire album, end to end? As if your music is a 40-minute trip into the old L.A. histories you’ve mentioned—a change in perspective.

MC: We hope it feels like a trip anywhere you’re listening. Nearest far away place.

C: On a more personal note, I was just in California, and listening to Worship the Sun while buzzing around L.A. The music definitely fits perfectly with the setting. When coming back to Montreal and listening to it while driving through a snowstorm, it seemed to have a totally different effect. If at all, why do you think your music carries with it such a strong ‘mood’ or ‘vibe,’ for lack of better words?

MC: We’re a moody bunch. I don’t know, we put everything into those records.

It changed our lives for better or worse and it’s all in there. If you ever need some tunes for the road check out Reverberation Radio. It’s a podcast we make with our six closest friends. Every Wednesday: a new mix.

C: Your self-titled album and Worship the Sun both share the general themes of “sun” and “girls.” is surfing under the sun a remedy for heartbreak.

MC: Things aren’t always what they seem. Songs that sound like they’re about a girl, the beach or fun in the sun might be about something else. We’re happy that people associate us with sunshine and sandy beaches because we love those things, but we hope that people make their own interpretations.

These sun worshippers will be blazing through their tunes on Montreal’s chilly Wednesday night. If you’re cold and blue, step into Allah-Las’ solar furnace.

Allah-Las play Petit Campus Nov. 26 with Tashaki Miyaki

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