Tag: Austra (Page 1 of 2)

AUSTRA Chin Up Buttercup

Classically schooled Canadian vocalist and composer Katie Stelmanis is back as AUSTRA with her fifth album ‘Chin Up Buttercup’.

As the title suggests, ‘Chin Up Buttercup’ is a cathartic record that captures the aftermath following her break-up with her long-term partner in early 2020; “I was completely blindsided” Stelmanis said, “the person I loved woke up one day, told me she wasn’t happy, and I basically never saw her again…”

Stelmanis kept smiling outwardly and with her co-producer Kieran Adams, she found solace in the sound of Madonna’s 1998 album ‘Ray of Light’ which was produced by William Orbit. Inspired, the end result is a set of hypnotic dancefloor-friendly arias to soothe a broken heart.

With Stelmanis admitting “I’m so chaotic in love”, the opener ‘Amnesia’ starts delicately before engaging into a rhythmic Europop bounce. However, like a discontented ‘Can’t Get You Out Of My Head’, the superb ‘Math Equation’ offers a sad syncopated dance tune shaped by elegiac synths with frank observations on modern dating and the revelation that “you said I needed my own friends and then you f*cked them”

The very short ‘Chin Up Buttercup’ title song combines flute with drum ‘n’ bass in a delightfully oddball style but providing another fine highlight, the angelic ‘Fallen Cloud’ clubs it up but the tune remains atmospheric, melodic and uplifting throughout without resorting to EDM clichés. Meanwhile the emotive ‘Siren Song’ utilises subtle percussive chatters in its backbone.

Taking proceedings down slightly with rests and gentle arpeggios, our heroine gets ‘Blindsided’ as ‘Think Twice’ bleeps and beats in an avant operatic style with bursts of “oh whoops!” as she questions her lover’s dropping of the hand grenade.

‘Look Me In The Eye’ starkly captures Stelmanis’ upset and disbelief to declare “I don’t want to cry…” but as the longest offering on the album, ‘The Hopefulness of Dawn’ builds from an ambient, almost acapella intro to go full-on rave complete with happy hardcore chipmunks signalling that optimism might be on the horizon. Now with an acceptance of the need to move on, ‘Good Riddance’ gives the finger in a blippy minimal ballad that is almost like an electronic hymn.

Photo by Lamia Karic

Everyone has experienced romantic grief in one form or another… while many see break-up as an embarrassment, the reality is that it cuts much deeper. Unafraid to express contrasting emotions like anxiety and excitement, pleasure and pain, jealousy and attraction, Stelmanis gets into an uncomfortable but relatable headspace.

Heartbreak set to a dance beat, ‘Chin Up Buttercup’ presents AUSTRA’s most accessible album since 2011’s debut ‘Feel It Break’ as Katie Stelmanis exposes her vulnerability in a manner not heard previously.


‘Chin Up Buttercup’ is released 14th November 2025 by Domino Recordings, available on limited edition neon orange vinyl, standard black vinyl, CD and digitally

AUSTRA 2026 UK + Ireland live dates include: Glasgow Stereo (21st March), Salford White Hotel (22nd March), London Village Underground (23rd March), Dublin Workmans Club (25th March)

https://austra.fyi/

https://www.facebook.com/austrafyi

https://www.instagram.com/austra/


Text by Chi Ming Lai
13th November 2025

ROBIN HATCH Noise

A purveyor of neo-classical piano and synth, Robin Hatch is a composer from Toronto.

Primarily known as a classical virtuoso and a touring keyboardist for Canadian alternative rock band OUR LADY PEACE, she effectively leads a triple life. She had experimented with synths previously on 2019’s Wendy Carlos influenced ‘Hatch’ which featured improvised instrumentals using a Jupiter 8, Prophet 12 and Malekko Industries Manther. It was all very different from her debut solo album ‘Works For Solo Piano’ which also came out earlier that year and an eponymous piano only follow-up that came at the end of a prolific 12 month period.

Recorded at home during the lockdown, ‘Noise’ is unlike her three previous works as an avant synth record that incorporates vocals and drum machine. It is also presented with some rather raunchy imagery, although this amusingly offset by the wry use of a Ford Focus! By way of an ‘Introduction’, the opening track of ‘Noise’ does not deviate too far from the experimentation of ‘Hatch’ although it contains more pulsing rhythmic elements.

‘Trophy’ though brings in vocals although this is far from a conventional format of song, with Hatch expressing herself poetically over a sparse backdrop of drones, ring modulation and minimal machine percussion. Meanwhile ‘Hivemind’ is instrumental avant pop with hints of Berlin based Nordic duo ULTRAFLEX and their ‘Olympic Sweat’. The incessant synth bass, sweetened with the flute of Alia O’Brien, provides a tune with a marvellous cosmic groove.

Slightly more gothic overtones make their presence felt on ‘Heatstroke’ in the shape of baroque vocals in the manner of a deeper AUSTRA crossed with BAT FOR LASHES; the percolating drum machine pattern is reminiscent a more minimal ‘Pearl’s Dream’ and compliments the bed of bubbling electronics.

The excellent hypnotic instrumental ‘Lake Water’ swoops like a sci-fi odyssey driven using an understated rhythmic passage, while the delightfully odd ‘Planetarium’ chills hauntingly over a metronome beat. But then over eight minutes comes the mysterious sound sculpture of ‘The Mirror’ before ‘Tie A Bow’ closes proceedings.

Structured around rumbling drones, some exquisite synth tones are displayed as well as an honest weary vocal for Hatch to provide a superb introspective set piece of ‘Twin Peaks’ proportions. Despite its disconcerting title, ‘Noise’ is an intriguing esoteric adventure that showcases an inherent musicality and documents the beginning of a journey into more accessible climes.

Across eight tracks, it develops Robin Hatch’s avant garde inclinations into pop, not unlike the Ana Klimova character in the wonderful independent French film ‘Le Choc Du Futur’ that celebrates female synth musicians.


‘Noise’ is available as a download album from https://robinhatch.bandcamp.com/album/noise

https://www.patreon.com/robinhatch

https://twitter.com/robinhatch

https://www.instagram.com/robin__hatch/

https://soundcloud.com/robinhatch/sets/noise

https://open.spotify.com/album/1HQQsS2yoihiHyyu6Jiwhb


Text by Chi Ming Lai
11th January 2021

TR/ST The Destroyer – 1


Since releasing ‘Joyland’, TR/ST’s second album in 2014, mainman Robert Alfons has relocated from Toronto to work in southern Ontario and Los Angeles.

An ambitious two volume work, ‘The Destroyer’ sees Alfons reunite with debut long player collaborator Maya Postepski, who co-wrote and co-produced six of this project’s songs. “My first two records were put out so close to one another that I think of them as one” said Alfons on the reasoning for the new two part work, “Sonically, it teeters between warmth, melody and exhilaration on one hand, and isolating, industrial hardness on the other.”

With rumbles of sub-bass and Alfon’s deep grouchy baritone, the metronomic ‘Colossal’ offers the mysterious TR/ST that people know and love, as does ‘Unbleached’ but with doses of cosmic arpeggiation. But in ‘Gone’, Alfons springs a surprise with possibly the most TR/ST accessible song yet. Neon-lit and extremely melodic, it could be mistaken for COLDPLAY going synthwave but don’t let that be a deterrent; ‘Gone’ is glorious.

With a slight touch of muscular aggression, ‘Bicep’ provides some dynamic weirdness with a few industrialised textures thrown in for good measure during which Alfons’ noted “Eeyore gone Goth” vocal style takes centre stage.

The dramatic ‘Grouch’ sends up Alfons’ public persona, the combination of spacey vibes, hypnotic percussive pulses and neo-Wagnerian overtones providing a wonderfully usual dancefloor template. It’s a wonderful slice of gothic disco that makes the most out of Alfons’ vocal stylings.

The stuttering rhythms of ‘Poorly Coward’ with its swirling dubstep dressing develop on the vibe while more steadfast and atmospheric, ‘Control Me’ exploits an emotive widescreen side to TR/ST not heard before.

Closing proceedings with a decisively moody tone, ‘Wake With’ is one of those rare things, a TR/ST love song and perhaps a signal to the more personal compositions slated for Part 2 of ‘The Destroyer’.

So with the second volume promising to reveal a more mellow intimate side of TR/ST, ‘The Destroyer-1’ presents an initial collection of enjoyable industrial pop alongside more dreamy backdrops and a sincere if weird emotional centre.


‘The Destroyer – 1’ is released on 19th April 2019 by Grouch / House Arrest in vinyl LP and digital formats

TR/ST 2019 Tour Dates:

Amsterdam Bitterzoet (15th April), Copenhagen Vega (17th April), Berlin Urban Spree (19th April), St Petersburg MOD (20th April), Moscow Pluton 21st April), Toronto Phoenix Concert Theatre (26th April), Montreal Corona Theatre (27th April), Boston Brighton Music Hall (1st May), Brooklyn Elsewhere (2nd – 3rd May), Philadelphia Underground Arts (4th May), Washington DC Street Music Hall (5th May), Detroit El Club (9th May), Chicago Lincoln Hall (10th May) , Minneapolis Fine Line Music Cafe (11th May), Portland Wonder Ballroom (14th May), Seattle Neumos (15th May), San Francisco Great American Music Hall (17th May), Los Angeles Fonda Theatre (18th May)

https://tr-st.xyz/

https://www.facebook.com/dressedforspace/

https://twitter.com/tr_st


Text by Chi Ming Lai
Photo by Eliot Hazel Lee
13th April 2019

FRAGRANCE. Now That I’m Real


Little is known of Matthieu Roche aka FRAGRANCE. apart from the self-description as a “dreamy synthpop project from Paris”.

Working by himself, Roche has been releasing single tracks via Soundcloud since 2016. Two years ago saw the artist present his first EP entitled ‘Dust & Disorders’ and more recently he covered the GALA hit ‘Freed From Desire’. ‘Now That I’m Real’ is his first long player and, for an album debut, this stuff is rather good. Featuring Neil Tennant-like vocals and clear musical influences from PSB themselves, Roche is introducing the listener to his own sublime take on Parisian synth.

Starting with ‘Gone In A Wink’ with its tribal arpeggios alongside bubbly synth and scant elements of EBM made classy, the curiosity leads the way to something ‘So Typical’, except typical is what it is not. With the dreamy synthwave textures and a vocal that seems to sit comfortably on one level, hypnotic yet awakening, Roche is onto something special here. This is neither retro, nor is it future.

‘Endless Cold’ encapsulates club components along with a claustrophobic feel of a defined space, leading into the depths of ‘Gravity & Grace’. Here, the beat picks up onto a cacophony of dance and rhythm, while ‘Hazy Strobes’ meets vocalist Hante presenting more of a relaxed approach, with the qualities of a good electronic ballad.

‘Crawling To The Void’ moves the body with something of a classic PET SHOP BOYS again; Roche clearly feeling at his best while in this skin. The uneven steps of ‘Leaving The City’ represent a sweet return to the classic synthpop era, with a twist. It’s vintage but modern at the same time, soured with added depths and peppered with sublimal approach to electronic machinery. ‘Heatwave’ ushers the warmth and comfort of comprehensive musical rhetoric, painting a landscape of purity, almost ‘Crystalline’.

Maya Postepski joins FRAGRANCE. on ‘At Last’. The former drummer of AUSTRA and a TR/ST collaborator, Postepski has been making music for a long time, and enjoys remixing and production; here she brings the newest of visions musically, as well as lending her vocals en Français.

The opus ends on ‘The Missing Part’, which rushes through the paces, putting all the pieces together, while the “missing part” cannot be located. The track transcends colourful visions and fragments of reality as seen by Roche.

Maybe not a newcomer as such, FRAGRANCE. has created something of a conversation piece here. The obvious PET SHOP BOYS connotations cannot be ignored, but this is neither a copy nor a direct steal.

Roche has provided some great new elements into something that could be described as retro, and he does it with Parisian style classic simplicity.

Certainly one to look out for…


‘Now That I’m Real’ is released by Synth Religion in CD, vinyl LP and digital formats, available direct from https://fragrancemusic.bandcamp.com/

https://www.facebook.com/thisisfragrance/

https://twitter.com/Fragrance_Fra

https://www.instagram.com/fragrance.music/


Text by Monika Izabela Trigwell
28th February 2019

Introducing TR/ST

With AUSTRA returning following their acclaimed 2011 debut album ‘Feel It Break’, a side project during their hiatus originally featuring their drummer Maya Postepski has almost passed under radar but deserves recognition.

TR/ST started as a synth duo comprising of Postepski and Robert Alfons who released their debut album ‘TRST’ back in early 2012 on the Arts & Crafts label.

Formed in 2010 in Toronto, they released their debut EP ‘Candy Walls’ in 2011 on Brooklyn imprint Sacred Bones Records. Like AUSTRA, the music is swathed in electro-gothic grandeur but differs in that it features predominately male vocals. The hypnotically sombre ‘Bulbform’ has been their calling card and features a grainy retro-futuristic video cut from archive fashion footage…

Meanwhile the album ‘TRST’ features a number of impressive tracks including the minimal ‘F.T.F.’ which features Postepski duetting with Alfons, her voice possessing the sinister spectre of LADYTRON’s Mira Aroyo.

There’s also the trancier synthscapes of ‘Sulk’ and the alternate Euro-disco of ‘Dressed For Space’ which comes over like a doom laden version of CAMOUFLAGE’s ‘Love Is A Shield’ with Alfons’ unsettling larynx dominating like Eeyore gone goth…

However, with AUSTRA releasing a new album ‘Olympia’ in June, Postepski has returned to the band while Alfons is currently completing a North American tour and working solo on a second TR/ST album.


‘TRST’ is available via Amazon, iTunes and the usual digital outlets

http://ttrustt.com/

https://www.facebook.com/dressedforspace/

https://twitter.com/trstmusic


Text by Chi Ming Lai
10th March 2013

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