Originating from the Montreal area, this group first appeared in 1992, when it was called Necrosis; in the same year it was reincarnated under the name of Cryptopsy. With just a demo called Ungentle Exhumation and then the album Blasphemy Made Flesh (1994), the group acquired a solid reputation on the international scene. Their release of None So Vile in 1996 was the first burst of brilliance in their career.
There are two bands named Archivist. One [1] from Montreal (long live Marie-Joseph Angélique) and one [2] from Belgium (long live King Leopold III). (1) It has become a common place to credit the deathly cold of Montreal’s lengthy winter season for the hot-chronology of creative outpour that has entered the global music scene from Canada’s tiny heart-shaped island. Archivist’s debut release Learning to Live on Poison, does not present an exception to this particular rule, though it will inevitably be accused of challenging a great many others.
CFCF is the stage name of Canadian electronic musician Michael Silver. Based in Montreal, Silver took the name CFCF from the call sign of the city's CFCF-TV. CFCF's debut LP, Continent, was an impressive collage of vintage electronic textures evoking grandiose landscapes worthy of a Michael Mann film. The River, an EP based partly on Werner Herzog's classic film Fitzcarraldo, deepened a growing obsession with conjuring far-away landscapes and voyages through a style which is at times melancholy, propulsive and ecstatic.
Moon Ate the Dark is the shadowy moniker of Welsh pianist Anna Rose Carter and Canadian producer Christopher Bailey. Between them, the two London-based transplants make a soundtrack to longing, memory and displacement and inject fresh life into the solo piano subgenre.
Claude Vivier (14 April 1948 - 7 March 1983) was a Canadian composer.
Born to unknown parents in Montreal, Vivier was adopted at the age of three, by a poor French-Canadian family. From the age of thirteen he attended boarding schools run by the Marist Brothers, a religious order that prepared young boys for a vocation in the priesthood. The young Vivier's religious inclinations were supplanted by a love of modern poetry and music.
The Tea Party is a Canadian rock band from Windsor, Ontario, with blues, progressive rock and Middle Eastern influences who formed in 1990 and disbanded in October 2005. They reformed in 2011 to play some shows in Canada. They have released seven albums commercially during their time together. Guitarist and vocalist Jeff Martin, who has perfect pitch, was also producer for almost all of their albums.
1) Necronomicon were formed in 1971 in Aachen, the Western part of Germany near the Belgium and Netherlands border. With an album title (Tips zum Selbtsmord) that means "How to Commit Suicide," Necronomicon's one album, from 1972, featured bleak progressive garage rock with long instrumental passages. With wailing acid guitar solos, dark organ swirls, and angst-ridden singing in German, Necronomicon has created a dark and powerful vision that blends psychedelic and progressive music with a proto-punk garage band sensibility.
KEN mode is a metallic noise rock band from Winnipeg, Manitoba, Canada that was formed in Sept, 1999. http://www.facebook.com/kenmode
http://www.kenmode.bandcamp.com
http://www.twitter.com/kenmodenoise
http://www.myspace.com/kenmode
At least two bands call themselves Mare: one was a progressive sludge band from Oakville/Burlington, Canada, the other is a black metal band from Trondheim, Norway. 1) Mare from Oakville/Burlington was a band orchestrated primarily by frontman Tyler Semrick-Palmateer, previously on vocal duty for tech-metal outfit The End. In a unique mixture of sludge, doom metal and and other textures that defy immediate genres or categorization...
Instrumental Tourist, by Tim Hecker and Daniel Lopatin (Oneohtrix Point Never), is the first chapter of SSTUDIOS (Software Studio Series), a new venture in the Software Recording Co.’s expanding catalog. SSTUDIOS invites artists in the field of electronic music to create collaborative works of quality and vision. With a deliberate focus on source material of a synthetic and mimetic nature, Hecker and Lopatin designed a sound palette from the acoustic resonance of digitally-sourced “Instruments of the World.