#porteau

1) Porteau - “Split Screen Eyes”

Sometimes, it takes a hurtful dynamic to uncover quiet strength.

“Split Screen Eyes” is helmed by inner monologue—an emotional push and pull from “caring for someone with mental illness and concurrent substance use.” Victoria Williams and Craig Stevenson acknowledge the codependence and create distance with some whimsical, less orthodox language. The single combines Williams’ winsome vocals, relaxed guitars, synths, harmonies, and a hint of harmonica. “Aberration is uncomfortable but it’s what I need,” Williams sings, setting boundaries and deepening the sentiment simultaneously. Porteau’s sophomore album What I Need is out June 2, 2023.

Written by: Natalie Hoy

2) Hotel of the Laughing Tree - “Faraway Friends”

“Faraway Friends” is a fun and throbbing melody despite isolating emotions. It was lyrically inspired by the majority of their band members moving away from New York, and is sung from the perspective of vocalist AJ Estrada, who remained in their home state. “No need to let go, please keep me in your world / Back in your old back seat / Time never slows when I want to leave the scene...” Time can be unforgiving when you’re going through a period of change and uncertainty. The result is woozy, beautiful, bracing—vocals, drum machines, keys and guitars trying to shake the rearview mirror.

Hotel is comprised of Estrada, Brandon Peterson and Jonathon Streker. “Faraway Friends” is the title track off their fifth full-length album, out now.

Faraway Friends by Hotel of the Laughing Tree

Written by: Natalie Hoy

3) Grace Chiang (featuring Rebecca Sichon & Amanda Na) - “Played”

A modern day love triangle that leans on the shared experiences of women is at the core of “Played.” Encapsulating the manipulation and betrayal of a lost lover, the song’s use of two female vocalists plays on the misplaced anger and fraught emotion. It’s a sublime debut single from producer/songwriter Chiang, creating notes and tones that are sultry, distracted and resentful. The harmonies and vocal runs between Sichon and Na are sweet to the ear – a division and predicament that reaches an understanding towards each other. In the pop/R&B realm with a soulful lining, soft piano is richly elevated by punchy hip hop beats.  

I couldn’t be more thrilled to hear that Chiang is collaborating with other female artists and creatives from underrepresented communities, in a project set for release later this year. “Played” celebrates the strength of emerging women in music and encourages us to let go of those who don’t show us the same loyalty and respect.

Written by: Chloe Hoy

4) The Evan Williams Project - “Contact”

“I know that prison in the palace of a demagogue / Is ever better than the curse of being free.” 

Scott McGowan’s struggle with his spiritual belief is heard in “Contact,” omnipresent thoughts that err on regret and a looming end. They bring a new definition to raw—creating music while going through an honest bout of questioning one’s faith and mental health. It is less of the heavy, hard rock found in past releases, instead having a progressive, ambient feel built by vocal layering, clean guitar leads, and reverb. McGowan and his sister Launey have a perpetual quality to their voices that linger in the weight of Christianity and desperation. They have a mysterious, almost vigilant sound rooted in questioning reception and our existence; a very compelling listen and a story far from its conclusion.  

The Evan Williams Project is fronted by McGowan, with Allayne (Launey) McGowan (drums), Isaac Robinson (keys) and Jaxon Russell (guitar). Their new album Willpower is out now.

WILLPOWER by The Evan Williams Project

Written by: Chloe Hoy

5) Down the Lees - “Dead and Over”

Oh so bleak and penetrating as they veer into frustrating territory in “Dead and Over,” a release of negative emotions felt over the course of the past few years. Laura Lee Schultz fronts the post-rock/shoegaze act, carrying a piece of her soul and a jaded energy to elevate the single. Her voice is tired and anxious, angry and embattled in a losing fight. I love the mystifying sound, it’s both biting and tormenting as instruments crash in and out. In addition to the general overcast of the pandemic, they address artist mental health struggles and ageism in the challenges faced by older female musicians (“No one gives a f*ck about aging women”). 

For any creatives who have faced doubts about ability, recognition, assumed retirement or expiration, the band carves out the best of what is left—which is plenty of passion and perspective. Something to remember. Down the Lees is Schultz, Chris Carlson (bass) and Andy Ashley (drums).

Dead and Over by Down the Lees

Written by: Chloe Hoy

6) Odum Abekah - “GOOD FOR YA”

Odum Abekah’s “GOOD FOR YA” started with a sinuous beat, and blossomed into a dancefloor special with its lush layers and persuasive tone.

Originally from Fredericton, NB and now based in Calgary, Abekah is a graduate of both Humber College and Mount Allison University music programs. His sound is uplifting and put-together—retrowave mixed with modern rock guitars and sturdy drums. Abekah’s slick vocals play the part of wooing a potential lover well (“But the world they capture's digitized black and white / You deserve some colour”). “GOOD FOR YA” is a song with no regrets; leaving everything on the line for a shot at something special.

Track Listing:

1. Re:Birth 2. Penelope  3. Daughter of a Naiad 4. Stream (Élan Vital) 5. Scatter  6. Fall Apart 7. River Song 8. Wind & Isle 9. Astral Plane 10. Moon Maidens 

Water’s Gate is a lush and celestial debut release from Vancouver duo Porteau, drawing upon elements of folk and electronic to create a ranging sound that reflects and encompasses a multitude of natural and celestial elements. Members Craig Stevenson and Victoria Williams craft each song with care, synths being laid over their folk base to create the rich and textured album.

In the album, Porteau is intent on encompassing a full spectrum of sound, with sonic themes varying from elation to moodiness. The energy is on the higher end at the onset of the album with the track “Re:Birth,” featuring a punchy, march-like beat. Williams’ indie-accent voice is prominent in “Penelope,” the song a wistful, large, yet delicate balance that flows through the upper register, the pared-back production allowing each element to shine.

Porteau makes discerning and bold moves on the album, scaling back the folk influence in the earlier portion of the album with “Scatter.” A synthy dance-jam, it undulates between minimalistic beats and full-bodied dancehall beats, complete with a dubstep drop.

True to the album’s title, each song has a dreamy seascape element to it. There’s the simple modulated guitar in “Moon Maidens,” William’s vocals skillfully carrying the melody through celestial lyrics such as “the moon brought back the twinkle in my eye.” “River Song” is plucky and synthy, with simple harmonies adding an authentic air. The extended track slows down to create a softer sound, never quite settling on one sound as opposed to another, much like the rest of the album, adding an element of freshness throughout.

Deep, wandering, and otherworldly, Porteau effortlessly creates another universe for the listener to fall into.