- Food + Drink
TILDA says: FOLK THE WORLD!
It’s been quite a few years since the ‘neo folk’ band Tilda was formed in a sweaty storage closet in a warehouse district of downtown Toronto. Then, the task for Michael Peterson and Andrew Long was simple: collaborate, write, record, repeat. Then ironically, life happens… people move, play in other bands, buy houses, marry and make babies. Now, fast forward to a cold and dreary February 2012, Michael Peterson decides to step away from the Ottawa band The Flats, wanting to “Folk the World” and record a solo project as Tilda with Andrew Long.
After calling on drummer Brennan Pilkington, Trumpet player Nicolas Dyson and adding Tom Thompson on electric guitar into the world pops: Tinker Tailor Soldier Sailor – a fictitious “song- story” of a WW2 Bomber pilot who is forced to bail out of his plane and into the ocean only to bob out rescue falling in and out of memories and quite likely circling the drain.
“In a music scape too often leaning toward quirk, Michael Peterson’s often-hushed velvet voice feeds us smart lyrics while his bandmates’ experience delicately elevates the story-songs with gentle panache. The trumpet is a lovely back-up vocalist on Tinker, Tailor, Soldier,
~ Amanda Putz, host & producer of CBC Radio One’s Bandwidth: – June 2013
Pamela Brennan was the founding member of 90s independent pop/rock band Hennessey (Ottawa/Toronto). Debut solo album One Hundred Photographs released in 2009. New album entitled Wylie’s Point in the works, featuring Jack Breakfast and co-produced with Annelise Noronha.
Pamela Brennan’s One Hundred Photographs plays more or less by the rules of strummy folk and country music. But that doesn’t mean that Brennan doesn’t deliver a killer set of songs that is as perfect for the (hopefully) near days of summer as it is for a cold and chilly, blustery day. The tunes are inviting, sounding raw and real, with the band carrying the music, sketching out intriguing fills along the way without stepping on Brennan’s toes. That serves the record well, because Brennan’s voice is at its heart — her sculpted melodies pulling you into the song’s midst with the twist of a word. She throws a little “Wo-ho-ho” into the verses of “Amsterdam”; it’s not a lot in terms of complexity, but it’s the sort of thing that can make a song, elevating it beyond the norm and into the realm of beauty. And Brennan does that again and again on One Hundred Photographs, her voice dipping and weaving between disarming, hopeful, broken — whatever the song calls out for.
~ Eden Munro, Vue Weekly, Edmonton AB