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Bernice s Subverted Pop Shines Brilliantly on Eau de Bonjourno
Published Mar 01, 2021
9Bernice s entrancing music holds no bounds the Toronto-based group are keen to throw genre expectations to the wind, and ultimately for the best. Keeping things unexpected and askew are what Bernice excel at, and with their second LP,
Eau de Bonjourno, the follow-up to 2018 s acclaimed
The brainchild of songwriter and musician Robin Dann, Bernice are rooted in expansive experimental pop that weaves elements of jazz, electro, R&B and soul into something simultaneously complex and playful, and utterly unique. Dann wrote Eau de Bonjourno with long-time collaborators Daniel Fortin (bass), Felicity Williams (vocals), Thom Gill (keys/guitar), and Philippe Melanson (e-percussion/drums), at a Toronto Islands artist centre. Between them, they ve performed with Bahamas, Andy Shauf, Lido Pimienta, Beverly Glenn-Copeland and others, and their extensive CVs are apparent from the first song. Adding
Happy New Year, indeed. Many lessons were learned from the previous 365-day span … but most importantly, it is the music that shall continue to help see us through. So here we go, giving you the skinny, the business, and the 415 about what is good and on the horizon this year. Good Things!
BERNICE, GROOVE ELATION
I’m going on four years of being oh-so-deep in the bag for Bernice, the Toronto-based project of vocalist and songwriter Robin Dann, so much so that I’ve even drummed up comparisons between the group’s work and that of Joni Mitchell. Those correlations may be a bit overstated Bernice is a tad funkier version of Laurie Anderson. I’ve actually gone out of my way to play the group’s uncanny songs that’s their vibe to a friend who in turn looked me dead in the pupil, while writing down a trustworthy weed connect, and then walked away briskly, in silence.
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In times when you can go from TikTok to Top 10 in the tap of a screen, it’s a miracle just how under the radar The Weather Station have flown since their beginnings in the early 2000s. Yes, those in whatever “the know” means these days have touted Toronto-based songwriter Tamara Lindeman and high review scores have duly followed. Yet whether it was the soul deep heartache, the lyrical nature rambles, the oh-so understated delivery or whether we had just had enough folk at the time, it didn’t quite break through. A flurry of releases – What Am I Going to Do With Everything I Know EP (2014), Loyalty (2015), The Weather Station (2017) – picked up the pace but it was only regular watchers who saw the increasingly not-so-quiet evolution that was going on as folk musings gently gave way to a more forthright approach. That 2017 self-titled album was Lindeman’s turning-point but, while the guitars had been cranked up, still those Joni Mitchell-like v
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