JUNOfest '17 Ottawa
Pugs and Crows and Tony Wilson
Saturday, April 1, 2017
Doors: 7:00 pm / Show: 8:00 pm
St. Albans Church
This event is all ages
8pm Flying Hórses
9pm Her Harbour
10pm Charles Spearin
11pm Pugs and Crows and Tony Wilson
Individual advance ticket - Ticket guarantees entry to this specific show. Advance sales represent 50% of each venue’s capacity. If a show is listed as sold out on TicketFly, we will still be allowing access to JUNOfest wristband holders & individual sales at the door (subject to capacity).
JUNOfest wristband - Offers you priority access to ALL JUNOfest venues over BOTH nights Friday March 31 & Saturday April 1 (subject to capacity). Click HERE to purchase a wristband.
Download the official 2016 JUNO Awards app HERE!http://www.spectrasonic.com/event/1441078/
Showcasing the 10 year long collaboration between an ensemble of individually accomplished and highly sought after players, Pugs and Crows has emerged as one of Vancouver’s most prominent instrumental bands, earning a rabid following of fans from all corners. Their third release, Everyone Knows Everyone, snagged a 2016 West Coast Music Award for Best Instrumental Album, adding to momentum that has been building since their 2013 JUNO win and this year’s nomination to the 2016 Polaris Prize Longer List. Praised for their “music of great strength and beauty” by The Georgia Straight, and as “rejuvenating, visceral and absolutely stunning” by the CBC, Pugs and Crows continues to bring new fans into the West Coast’s rich tradition of creative instrumental music.
Everyone Knows Everyone is a double album that features a collaboration with long-time friend, West Coast guitar legend Tony Wilson, as well as a guest appearance by vocalist Debra-Jean Creelman (Mother Mother, Frazey Ford). Creelman and Wilson seamlessly insert themselves into material which alternates sonic ferocity with a sense of sweet melancholy that’s vintage Pugs and Crows. Luscious textures rove across each other, swell and refine into united riffs which showcase both the band’s time-honed tightness, and their ability to make rigorous, complex music feel easy and close to the heart. Propelled by the entire band, the erratic rhythmic figures breath with beautiful, rock n’ roll simplicity, rounding off improvised sections with avant-garde ear candy that’s hard to resist. The improvisations are where the expressivity and musicianship of the individual players really shine, through explorations that tease the edges of Cole Schmidt’s compositions with adventurous soloing and detailed textural additions, often augmented by producer Chris Gestrin’s audio wizardry. The result of all this is something that Henning Bolte of Jazzism (Netherlands) puts most succinctly: This album sounds like good music should sound. Grounded, great consistency, entrancing beauty, elevating.”
The inspiration behind this new project comes partly from his love of music and fascination with sound and partly from his experience and education in Buddhism. Charles was raised with a blind, Buddhist father and, before the birth of his own two children and subsequent familial responsibilities, dedicated much of his time to studying Buddhist philosophy and practicing meditation (including annual retreats in meditation centers, monasteries and solitary cabin-retreats).
Buddhist practice puts emphasis on analyzing the nature of one's own awareness and experience through study, contemplation and meditation, and often includes long periods of silence and reflection. Returning home to ordinary life and ordinary conversation after extended periods of quiet is what brought Spearin's attention to what would be the focus of this new album: The natural, unselfconscious, music of speech. By replicating the rising and falling of the recorded voices on different instruments Spearin, in true Buddhist form, attempts to illuminate some of the beauty of ordinary life.
Spearin has performed snippets of his new project while on tour with Broken Social Scene and Do Make Say Think and is now preparing a live version the Happiness Project for a few select performances this spring.
Winter’s Ghosts, was recorded by Giguere in her childhood home from February 2011 to February 2012. A collection of nine intimate songs touching on loss, heartbreak, family, abuse, mental illness and addictions, Winter’s Ghosts finds Giguere marrying her lyrics and voice to music she crafts blending traditional instruments (autoharp, piano, guitar) with textural elements drawn from vocal layering, vintage keyboards, field recordings and a collection of household objects. “I wanted to record the songs in the environment they were bred from. I wanted the listener hear my homes sounds; it‘s creaks, breaths, echoes, and distant voices.” “The hope was that solitude and the familiarity of the space would allow me to yield more honest recordings.” Winter’s Ghosts features performances by many of Giguere’s friends and local musicians including André M. Bluteau and Dave Draves who also mixed and mastered the album out of his studio Little Bullhorn (Kathleen Edwards, Wooden Stars, Snailhouse, Julie Doiron, ect.).
Her Harbour’s live performances have grown to include the likes of Jamie Kronick (drums, percussion), Pierre-luc Clement (guitar, lap steel, percussion, vocals) and Philippe Charbonneau (keyboard, bass synth, vocals).
Winter’s Ghosts was released on E-Tron Records April 23 2013
Flying Hórses debut album, Tölt was recorded with Sigur Rós’ producer, Biggi Birgisson, at Sundlaugin Studio in Iceland. Shortly after the release of Tölt she joined the 1631 Recordings roster alongside Oscar-nominated composers Dustin O’Halloran and Hauschka. The Montreal composer and musician recently paired up with award-winning Director Alexandre Richard from Quebec production house Cinearcale to release a captivating filmic video that explores the bliss and trauma of childhood.
It premiered on The FADER: http://www.thefader.com/2017/02/23/flying-horses-tolt-music-video-premiere
Tölt is available now.
St. Albans Church
454 King Edward Av
Ottawa, ON, K1N 7M8