By Stevie Connor.
Diamond Day unveils a fourth single entitled Connect the Dots, produced by Jorge Elbrecht.
With odd-meters, gothic themes and field recordings, Béatrix’s upbringing in Québec’s musical traditions is audibly twisted on the title track of their debut record to be released on February 29th.
Featuring angsty drums, ‘80s synths, shoegaze guitars and Broadcast-esq samples, Connect the Dots has a grungy yet uplifting pop-y quality that lives somewhere between Björk and My Bloody Valentine.
“We’re so happy with how the song ended up, says Béatrix. It represents the album and project as a whole; the death of our pasts and ascension into something new as Diamond Day”, Quinn adds,“The type of songs that could play both on Christian and satanic radio.”
Diamond Day will be dropping their debut record, Connect the Dots; a hypnotic and shoegazey alt-pop fever dream. With Rosier’s Béatrix Méthé and Grammy-nominated Quinn Bachand at the helm, the Montréal duo enlist a dream pop A-team–including Jorge Elbrecht (known for his work with Japanese Breakfast and Wild Nothing) and feeble little horse’s Sebastian Kinsler–to synthesize their expansive aesthetic over 10 dreamy tracks.
Béatrix’s haunting vocals soar through the band’s retro-futuristic musical ether, flowing through the record’s themes; identity, heredity, mental health, death and rebirth. These topics sparkle through otherworldly soundscapes ranging from mysteriously aggressive Not Going–electronica made with vintage digital keyboards and oral history archives–to Noisemaker, a low-bit shoegaze anthem with janky breakbeats and organ drums.
Méthé’s dynamic song cycle is jumpstarted by the record’s grungy yet uplifting title track and quickly mulls over an array of emotions like ferocious Fiction Feel, Come Over Here’s seductiveness and highly angsty Centre-Ville. The meditative song cycle winds down with an ambient instrumental called Turning before leading us to their closer, Tina; an ultra-personal ballad about anosognosia.
Independently, Méthé and Bachand have toured extensively with award-winning projects, carving their way through international folk and jazz music scenes. A native of Vermont, Béatrix was raised with the traditional music of rural Québec, moving to Canada as a baby and acquiring Lanaudiere's regional repertoire from her father, founder of the legendary folk-trad group Le Rêve du Diable. Her mother, a singer-songwriter and fine arts graduate versed in early digital media, inspired her aesthetic eye. After venturing deeper into visual art, Béatrix moved to Montréal to study filmmaking, discovering indie and psychedelic folk music along the way. She cut her studies short in 2015 to pursue music full-time, fronting her award-winning outfit, Rosier. Their fusion of Québécois folk and indie-rock garnered nominations and awards, leading them to tour across 15 countries, including stops at SXSW, NPR'S Mountain Stage and the BBC.
Quinn Bachand grew up on Canada's West Coast in a home where art was omnipresent and the family's 40-year-old record collection was on a permanent loop. As the son of a luthier, he began playing guitars handmade by his father and was touring internationally by the age of twelve. After graduating from Berklee College of Music in 2019 on a presidential scholarship, Bachand earned nominations and awards, including a Grammy nomination with the band Kittel & Co. His involvement in the U.S. folk scene prompted collaborations with like-minded artists, including Chris Thile. In 2019, Quinn began collaborating with Rosier, quickly establishing himself as an influential, genre-bending producer on Canada’s music scene.
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