I Love You is Blue Odeur's new single from her upcoming electronic EP, Inspector Knife
I Love You is a nightly stroll you won't soon forget.
Combining etheral vocal samples and breathing with polyrhythmic layers,
the track gets to know you, falls in love with you,
and then leaves you as the autumn leaves start to fall.
Expect the EP Inspector Knife out in the next few months.
If you're interested in putting out this release, or just talking to me, lbardsley, please hit me up at planetblueodeur @ gmail.com
or my goddess of a manager, Sarah, at sarah @ hottrampmanagement.com
bye for now, love you!
HYACINTH - BLUE ODEUR
A bulbous perennial herb blooms in a fog.
Covertly unsure and therefore inklingly afraid, their anticipation drawing on the past for guidance (but using tricks as old as consciousness itself), strangers pass a screen.
On it, self-reliance plays self-loathing in a chess game, and a deeper blue falls on Garry Kasparov. He's fazed, and willingly follows with us the deep synth trails.
We ignore a diagnosis of hyper tension linked to synthetic understanding.
With the controlled confusion of Delta 5 coming home to the disarrayed living arrangements of Mars and DNA, we pass Talking Heads, chattering on as their rose quartz glares with refracted police lights.
The graffiti echoes in the underpass:
blue is the odeur, gray is the sky, shoulders to boulder, we argue to qualify
but to walk away can also serve to edify.
Mounting the tracks, ascending waves of processed memories caterwaul disjointed beats, interrupted regularly by echoes of desperation.
Here, the poet grows vulnerable.
The melancholy interplay of Am and E underlie her poem, with a string section taking over the melody and complimenting the vocal timbre's transition into clarity.
For a moment, the fog clears, and the sun prevails with its Midas touch.
Outside the supermarket a bad bitch dog-eyes, begs, and finally overtakes another bad bitch.
At this point, it's unsure where one begins and the other ends; the guitar pulls us further and further down until the brink of insanity strikes, and with it the melody comes back, insinuating a return to mania.
A woodblock, a tongue-click, and an inconsistent shaker walk into an insignificant bar, and meet the poet nursing her wounds through song.
Self-doubt still creeps in through the smash of the resonated kicks, but the poet is persistent.
A collect call leads to confusion, but the keys have a resolving melody, as though it isn't necessary to dwell on these matters.
Rejuvenated, she mounts a streetlamp and shouts:
"Regular Arguments is a call to arms; to arm ourselves with logic and to distinguish fallacious arguments in an age where they appear every second in every twitter thread, every comment thread, and in the most dangerous political arguments."
Retreating into self-reflection after her performance, the poet consults the book of hours, wandering like her bass line, looking for answers from a neighbour god.
Atease eagerly eased elongates distresses astutely appeased or displeased, unsure because it's a tease at ease.
Imitation is often said to be the highest form of flattery.
The poet, frustrated and obsessed, fiercely humps her bass guitar as she attempts to swallow the microphone whole.
In the mirror, she gets closer to god.
Another pit stop.
You know nice girls never really finish, and bad bitches get what they want.
Live at La Plante Ballroom
Off the record Pop set (better than Pop really)
Quickly and with charm Johnny de Courcy makes an appearance like a good friend cameoing in a dream
while Nyssa Brown (Hagface, Polly Dactic) takes us in for the hammer on and hammer off of life's rollercoaster
and Greg Debicki catches it all, zoom zoom!
LIVE AT LA PLANTE BALLROOM
blue odeur's Bleu Ray is their first studio album and first LP, recorded by Raf McMahan
at the Oscar Peterson Concert Hall in Montreal, QC. Filled with feminist lyrics, soft synths, hard guitars,
smooth bass hooks and sharp percussion, Bleu Ray is an extremely satisfying bounce added to the flux of emotion
and determination. Featuring an undeniably dancey and upbeat revisiting of "R.E.S.P.E.C.T.", it flows, resolving itself with its lyrical content.
A perfect lead-in to "Rose-Tint My Girl", a track which according to ridethetempo
"starts out with a deliberate pace, but before long it turns into...well, mayhem. Frank Zappa would be proud."
The mood smoothes out between the Suspects and traverses holographic territory by "Regular Melon",
landing on the ever-morphing surface of planet blue odeur.
A marching band harkens your arrival, dear listener, and guides you into the party.
Pale Shelter is the brain child of lbardsley, written and recorded over the course of 6 months. After weeks of listening to
Tears for Fears on repeat, this album comes as a continuation of capturing the struggles of confidence and control over oneself,
but with the addition of other influences who also capture this, such as Weezer, New Fries, St. Vincent, Michael Jackson, and Feist.
"Draft 2" opens the album with an intriguing story inspired by a dream guitarist Laura Donohue had, narrated by a voice all too familiar.
"Indigo" and "Hunger" poke fun at the navigation and negotiation of female sexuality through a patriarchal and misogynist landscape.
"2081", in reference to the opening line of "Harrison Bergeron" by Kurt Vonnegut, is a cynical take on the future of the human race,
of our further degredation into valuing 'image' and 'social credit' over honesty, compassion, and humanity.
The last track, "Peacemeal" features David Kleiser playing a synth tone that
'makes me want to pass out' (c#). Leaving a complex and alluring taste in your mouth,
Pale Shelter is a journey into the complex
atmosphere of planet blue odeur.
February is definitely the hardest month in Montreal - everything is wet and cold, no one has any money, but to lighten our loads,
there is always music to make together. Added to the Blue Odeur mix are Mackenzie Cruse (Crack Cloud), Laura Donohue (Mono No Aware),
and Matteo Ciambella (Karneef). During a rehearsal, as we're free jamming on different instruments, I start recording.
As Matteo tries out his new saxophone, Mackenzie and Laura flex their synth and vocal muscles. At times jazzy, at times funky, at times not
unlike "Space Oddity" by Pavement, Contraband Jam's mood is playful, like clouds and buildings shadow-playing with the sun.
As merchandise for the album, we thought kiwi jam with neither french or english on it a good candidate.
"Outsource Resource" makes reference to Janna Jihad, whose reporting you can see here
"Peacock Dialogue" and "Laughing Myself Across the Street" were made exclusively on a PS-77.
Even in the glow of what poet Cason Sharpe once called "a shiny plastic toy on the highest shelf", and in the beneath clear skies,
darkness can still find you and take hold, like a leech or itch that won't go away. Again, you avoid the light, and with each gain,
a void grows to consume it. "Disavow" is an attempt at reasoning oneself out of the void, but the exit involves breaking into pieces.
A grooving bassline riding subdued drums is over-voiced by a robotic delivery of poetry. Due to semiotic distortion, things fall apart.
"2081", in it's original version, is set to a drum track of breaths and sighs guided by a haunting, very Cure-inspired bassline. The keyboard line
brings the boat ride into Bowser's castle to mind, and tying the whole song together are slow, ghostly vocals.
A GAIN/A VOID
Tunnel Vision On Vacation I was recorded in concrete pedestrian tunnels in NW calgary on an android.
TV.V/II was recorded in Georgia Lee's bunker in vancouver, featuring the ultimate haunting beauty that is the tone of her singing bowl.
Even when travelling, I find it necessary to make music as a record: of the time,
place, experiences, and equipment available; I am less interested in making
"clean" and "professional" recordings as I am producing honest and genuine documentation.
Recorded on the (free!) J4T 4 track app.
TUNNEL VISION ON VACATION