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The songs also cover plenty of ground stylistically, from the dark synth-pop of Blackhole to the fuzzy guitar-pop of Anemone Sound, Beck-like psych-folk of Entropy, to the album closer Dream Club, which starts as a breezy instrumental before surging into unhinged epic pop with chanted vocals. Like those acts, he offers sturdy songcraft and melody beneath experimental sonic excursions. While Bourne’s sound is certainly singular, he does possess an adventurous spirit that recalls the work of collaborators VanGaalen and Ghostkeeper. Most of the harmony lines and harmonic counter-point lines were mine, but a handful were Chad’s: Synth lines that tie a chorus to a bridge or something.” Chad has such a keen ear for pop and hook. The collaborative aspect is a big part of that, being able to bounce it off such amazing creative minds as Dadge and VanGaalen. They detach themselves from the chronology of my life and they feel like their own thing. The sequence just feels totally right to me. It almost feels like a concept record to me. “I’m really proud of it as I feel like it’s a cohesive document. “We pretty much deconstructed everything,” he adds. “We crunched dry leaves for one song,” Bourne says. This advertisement has not loaded yet, but your article continues below. These were built upon using synths, guitars and some unique in-studio techniques to get what Bourne calls “textural layers.”

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Bourne sent Dadge 15 or so rough stripped-down voice memos to full demo-ed songs. Many of the songs began life as rudimentary recordings from a four-track cassette recorder. Since 2018, Bourne has been working in studios owned by VanGaalen and Chris Dadge, a multi-instrumentalist who also plays alongside Bourne in VanGaalen’s backup band. Vibrant and healthy seems to be a good place to start when discussing Plant City, which began in 2018 as a follow-up to Bourne’s 2010’s Super Modern World of Beauty. “I’m always hesitant to comment on the Calgary scene because it seems so indefinable to me. “In some ways, I felt like an outsider, not in a negative way,” Bourne says. They are festivals he has played before, albeit perhaps more often as a side musician than solo act. Bourne will be playing both the East Town Get Down on May 27 and at Sled Island on June 20. Still, despite his long tenure in the Calgary scene, he doesn’t see his music as being particularly reflective of it even if it’s hard to imagine it without him. Manage Print Subscription / Tax Receipt.