Blue Odeur is me, Montreal-based producer lbardsley. Angular electronic art-pop, Blue Odeur playfully turns genres on their head, combining and contrasting where I see fit. Refusing to settle for tedium, I embrace spontaneity, taking you by the collar and asking you to dance. In live performances, I captivate and charm, teasing out the syncopation of your inner erratic (im)pulses. ;) My new EP, Inspector Knife, is due just as you start to get really sick of winter.

OUT EVERYWHERE FEB 1 Inspector Knife is a series of nights out and the days after spent walking home. It spoons you when you're sleeping, but will leave before you're awake. The tracks act as a viscous fluid, disobeying expectations to give you a newfound smoothness. "Veered" accompanies you to a laundromat and listens to you complain about change. "Just 2 Feel It" reminds you to curb your judgements and let your feelings go. "ILOVEYOU" tackles lust into the alleyway and gives it a piece of my mind. "Old Alien" is a porn version of jeeper's creepers scored by prodigy. The last track, "I've Been", is a confession, and through confessing, a letting go. To sum it up? Think polyamory meets polyrhythms in a dive bar while The Knife and Todd Terje take turns circuit bending the jukebox. all songs by lbardsley

Official music video for Blue Odeur's newest single, "Just 2 Feel It". Two travelers explore a dying star known as "Poisson Noir" and encounter a few residents along the way. An earthly mission guides them, something intensely human. This single, along with previously released "I Love You"will be featured on the upcoming Inspector Knife EP. Featuring the last known footage shot at Poisson Noir, a Montreal DIY venue and collective that ran for years. If you're interested in putting out this release, or just talking to me, lbardsley, please hit me up at planetblueodeur @ or my goddess of a manager, Sarah, at sarah @

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 @ or my goddess of a manager, Sarah, at sarah @ 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. The end? Another pit stop. You know nice girls never really finish, and bad bitches get what they want. HYACINTH

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. BLEU RAY

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. PALE SHELTER