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It’s been a month since Dan Misha Goldman dropped his Champion of the Afterworld album and the praise continues to roll in.

Late last month, Impose Magazine in NYC premiered ‘Corners’, the opening track from the album, calling it “a beautiful song with a melodic tune and tranquil lyrics that make you feel as if you are in a dream.” The song is actually a cover from Great Aunt Ida‘s 2003 debut Our Fall.

Read the premiere // Listen to ‘Corners’

Bandcamp also recently featured the song ‘Hollywood Jerusalem’ on their weekly show.
Listen to that song here and order a LP, CD, or Digital copy.

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Paper Beat Scissors’ first album was released in 2012 and praised as “ a genuine work of effortless art.”(Pop Matters), “Absolutely stunning… wonderful… startling and beautiful” (‘Whispering’ Bob Harris, BBC Radio 2), and  “potent enough for an otherworld experience.”  (CBC).

To mark the 5th anniversary of the release, Tim Crabtree wrote some words and dug out some pictures of the recording process which you can read and peruse here. We’re offering a PWYW (pay what you want) download until the end of April – go have a listen while you read – and have dropped the prices for LPs and CDs as well. Order now.

After a brief winter break, Montreal’s Paper Beat Scissors returned to the stage earlier this month at Montreal’s Sala Rossa for a rare chamber ensemble-accompanied performance that brought together musicians from Montreal, Ottawa and Halifax. These included Erla Axelsdottir (Björk, Foxtrott) on French horn, Pemi Paull (Richard Reed Parry, President of the National Viola Society) on viola, Hilda Cowie (NAC Orchestra) on double bass, Devin Wesley (Rich Aucoin, PEI Symphony Orchestra) on bassoon, Louise Campbell (In Extensio) on clarinet and Camille Delean (Michael Feuerstack) providing vocal accompaniment.

“These arrangements are really taking the songs to different places. This particular concert is a synthesis of pieces I worked on with a symphony orchestra out in Nova Scotia and a chamber ensemble performance I did during a festival in Saskatoon in 2015,” said Crabtree. “I’m learning so much every time I work through these different iterations, and how these pieces are developing this time is feeling really special.”