Back to My Memories: March 2024

The DOMINIONATED Newsletter is a monthly(ish) round-up of music and creativity from across the country, bringing reviews and recommendations from our writers right to your inbox. Enter your email address below to subscribe now.

The actual written reviews might be mini, but these mighty fine releases are more than worthy of your time, attention, and support.

Farser, “Back to My Memories”


There’s an inherent warmth and dreaminess to the debut single from Farser (Fez Gielen of Maybel) that fits in perfectly with the waves of nostalgia a title like this can bring. Over soft keys and guitar, Gielen conjures a myriad of images, from the arrival of a new doctor to “racing to town to meet the reaper.” Everything about this single goes down smoothly, as though a warm bath could be recorded. • Michael Thomas

C. Samms, “Bouquet”


When introducing the title track off his forthcoming second album, C. Samms had me at “Sonically, it’s a love letter to early albums from New Order, Depeche Mode, Kraftwerk, and Absolute Body Control.” While there is an element of all those bands in his heady musical mix, the lyrical concept of the song has resonated most deeply with me. The idea of “dissecting the psyche,” of examining how we move through phases of self-forgiveness and self-loathing, of loving and hating who we are, always with the goal—or hope—that the last petal plucked from the bouquet puts you in a good place. • Jim Di Gioia

Hannah Sloots, “Crying in My Car”


One of the few reasons why I (finally) want to learn how to drive is so that I can buy a car and have a place to cry when I’m out in the world. On her latest track, Hamilton-based singer-songwriter Hannah Sloots is living my dream: she has retreated from her exasperating reality to cry in her car. Despite the tears, “Crying in My Car” isn’t a bummer-sounding track. Its warm and soulful poppy sound mirrors the comforting safe space that Sloots needs as she navigates difficult relationship dynamics. • Laura Stanley

Time is an illusion, and a lot of great music always flies under the radar, so we gathered some standouts from the last twelve months that deserve a little more attention.

Camille Léon, “Panic & Apathy”


Camille Léon’s single “Panic & Apathy” explores the concept of teetering between extremes. With grungy guitars, vocal bends, and minimalist production, “Panic & Apathy” bops like an indie-rock hit off its tracks. As a self-proclaimed “illustrator turned musician,” Léon seems to have no trouble saying what she needs to say. • Tia Julien

Mulligrub, Tragical


Somehow, seven years passed between the release of Mulligrub’s debut LP, Soft Grudge, and their follow-up, released last summer, Tragical. As tragic as that may be, the Winnipeg trio haven’t lost any of their energy or unique and quick-witted lyricism. Mulligrub’s pop-punk feels even sharper on Tragical as the distinct voices of Riley Hill and Kelly Campbell come together in the name of perseverance. As the band explains, “The world may be burning up and flooding under water, but we still have a lot — or at least each other — to live for.” • Laura Stanley

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