THE PLAYLIST
Dylan Hudecki is a Canadian indie-rock vet having played in many different bands, including By Divine Right, Cowlick and Junior Blue and The Dill. He’s a proud Hamiltonian covers local album releases for HAMILTON CITY Magazine.
Golden Feather – Golden Feather
Golden Feather’s self-titled debut album is a vibrant celebration of soul, and improvisation, marking a groovy new chapter for this Hamilton band. Their long-awaited LP, released through local label Sonic Unyon, serves as both an introduction to the band’s dynamic sound and a testament to their years of honing their craft through live performances and earlier singles.
Blending elements of funk, jazz, psychedelia, classic rock, and yacht rock, Golden Feather is an immersive jam-band experience that takes you by the hand to your closet for your tie dye shirt and dancing shoes.
From the opening track, “Life Without You,” to the emotionally charged closer, “Goodbye,” the album showcases the group’s ability to craft infectious rhythms, intricate guitar solos, three-part harmonies and euphoric crescendos while maintaining the energy of a live performance. Standout singles like “Awakenings,” “Anything, Anymore,” and “What Your Heart is Telling You” highlight the band’s knack for improvised exploration and feel-good vibes.
The seamless flow between tracks mirrors the spontaneity and continuity of a jam session, creating a cohesive listening journey. Themes of freedom, loss, uncertainty, self-discovery, and, most importantly, love are brought to life through soulful vocal harmonies and evocative lyrics, adding depth to the record’s instrumental brilliance. Golden Feather’s ability to balance emotional resonance with technical mastery is particularly evident on tracks like “Just For Now” and “Til the Dawn.”
For fans of Little Feat, The Allman Brothers Band, or the Grateful Dead, Golden Feather offers a modern take on the jam-band tradition, as the album embodies the communal spirit and creative exploration as the heart of the group.
Capitol – Sounds Like a Place
Hamilton band Capitol (not to be confused with the Capitol Bar in the east end of town) has grown leaps and bounds since their 2019 debut Dream Noise. Their sophomore album Sounds Like a Place, released on Meritorio Records, is a testament to this evolution — a meticulously crafted record that balances introspective songwriting with lush, cinematic modern new-wave soundscapes. The five-piece band set up shop at Toronto’s Union Sound Company, and Sounds Like a Place was created by seamlessly blending Capitol’s industrial Hamilton roots with the dream-pop and shoegaze aesthetics that have defined their core sound since their debut single, 2017’s “English Girls.”
Drawing influence from the alternative indie scene of the early 2000s while adding a healthy dose of ’80s new wave, the album moves effortlessly between these decades of sound, creating a timeless, atmospheric experience.
The 11 tracks on Sounds Like a Place form an emotional and sonic journey, tied together by Capitol’s signature abstract storytelling. Standout songs like “Long Way From Down” and “Your Heart is Everywhere” showcase Josh Kemp’s evocative lyrics and emotive synth work, while “Twenty-Eight in Drag” and “People & City” highlight the band’s ability to weave intricate guitar melodies with driving rhythms. Tracks like “Psychomancy” and the hauntingly brief “Sound Speed” feel like cinematic moments, rich with atmosphere and depth.
The interludes “Days on Mute” and “Night Tourist,” alongside tracks like “Interior Metropol” and the closing “Evening Season,” reinforce the cinematic quality of Capitol’s music, making Sounds Like a Place feel like the soundtrack to a vivid, unmade film. Produced by Capitol alongside Ian Gomes, the album represents a new chapter for the band. With a refined clarity in both sound and vision, the record captures moments and feelings, inviting listeners to connect each song to their own experiences. Their attention to detail extends beyond the music to the visual and thematic elements of their work, creating a cohesive project that feels complete from every angle.
Whether it’s the industrial hum of their hometown, the shoegazey haze of their melodies, or the emotional weight of their lyrics, Sounds Like a Place is a beautifully layered record. Capitol — comprising Josh Kemp (vocals/synth), Robert J. Kemp (guitar), Wes Lintott (guitar), Matt Lintott (drums), and Chris McLaughlin (bass) — has truly leveled up with this release.
If you’re a fan of Joy Division, the Strokes, My Bloody Valentine, Sigur Ros, or The Cure, Sounds Like a Place is for you. An experience rich with texture and emotion, cementing Capitol as a great example of Hamilton’s diverse new crop of musical exports.
CQ – Eternal Dawn
Hamilton’s CQ (Coszmos Quartette) delivers a mesmerizing second album with Eternal Dawn, a collection of inventive dream-folk that feels so necessary to counterbalance today’s current political global landscape. With their Bandcamp four-word bio telling you all you need to know, “tea time/dream time,” CQ’s music speaks volumes where words are sparse, painting vivid emotional landscapes with intricate harmonies and timeless arrangements. Eternal Dawn is steeped in the delicate aesthetics of late '60s and early '70s folk, blending acoustic simplicity with complex musicality. Shades of Vashti Bunyan, Nick Drake, John Martyn and The Free Design echo throughout the album, creating a sound that is retro yet undeniably fresh. Tracks like “Purple Flowers,” arguably one of Brad Germain’s finest compositions, showcase his remarkable ability to conjure gorgeous floral imagery with poetic lyrics and a tender melody.
The group’s signature sound is anchored by the warmth of Germain’s soft classical guitar and velvety pitch-perfect emotive vocals, effortlessly complemented by Kate Quigley’s lilting flute, voice and piano, Sara Froese’s haunting violin and harmonies, Joel Banks’ grounding baritone and stand-up bass, and the rhythmic subtleties and occasional backbeat from the tastefully restrained Jason Bhattacharya. Together, they weave a musical tapestry that is intricate, rich, warm and inviting, reminiscent of modern contemporaries like Fleet Foxes, Jessica Pratt, Devendra Banhart, Kings of Convenience, and Jose Gonzales.
Recorded live off the floor at the Hamilton institution Boxcar Recording Studio helmed by Kirk Starkey, Eternal Dawn radiates an organic intimacy. The raw, real unfiltered approach adds a golden sheen to the album, giving the listener the sense of being in the room with the band as they pour their hearts into every note. The vocal arrangements are particularly striking, layering sunshine pop harmonies with folk introspective heart, creating a sound that is both fragile and lush. Standout tracks like “Love Is Easy,” “Purple Flowers,” and “Christiania” embody the group’s duality: seemingly light on the surface, yet brimming with emotional depth and precise production. The album’s fragile themes feel unguarded and honest, offering solace to the listener, like a warm blanket and a comforting cup of tea on a quiet rainy evening.
For those lucky enough to catch one of CQ’s extremely rare live performances over the last few years, the experience of their intricate musicality, authenticity and fearless sincerity is unforgettable. Eternal Dawn captures that essence beautifully, making it a treasure for dream-folk aficionados. While perhaps too retro, slow and whimsically hippyish for some mainstream tastes, CQ’s music holds a timeless quality that transcends trends and cements their place as torchbearers of a unique, transcendent soft-folk tradition — one that feels like a gentle embrace from another era while remaining in the here and now. Couldn’t recommend higher.
Tarek Funk & Onglish – Cherry Tree
Tarek Funk (formerly known as Mother Tareka) and Onglish deliver a bold and thought-provoking collaborative LP with Cherry Tree, a powerful blend of socially conscious lyricism and genre-spanning production. The project is both a reflection of Funk’s Syrian-Palestinian heritage and an incisive critique of the global struggles faced by working-class communities under oppressive systems.
With seven tracks, Cherry Tree masterfully fuses funk, ’80s NYC hip-hop and Afrobeat into a cohesive and impactful sound. Onglish, a seasoned Hamilton-based producer, provides a gritty, layered backdrop of beats, seamlessly weaving in funky rhythm sections, Beastie Boys organ hits, Tribe Called Quest feel-good grooves, Afrobeat-inspired lines, and clever samples peppered throughout.
Tarek Funk’s sharp, evocative lyricism sits at the forefront, tackling heavy themes of resilience, identity, xenophobia, oil spills, global warming, and hope for a better world. Standout tracks include, “Relax,” a compact and fun funk jam, and “Futuretroneofeudalism,” which critiques modern systems of prison and class war, all over a hypnotic groove. “We Massive,” featuring Hamilton’s own political activist legend Lee Reed, is a collaborative highlight, pairing razor-sharp verses with a woozy, organ-tinged beat. Each track on Cherry Tree showcases Funk and Onglish’s ability to merge diverse influences into a unified and immersive listening experience. Cherry Tree also holds a greater purpose — proceeds from the album purchased on Bandcamp support the Burj Al-Barajneh Palestinian refugee camp in Lebanon, further emphasizing the album’s connection to global struggles.
Tarek Funk’s flow and lyricism, combined with Onglish’s eclectic production style, create a sound that is culturally rich and musically compelling. This LP isn’t just a collection of songs; it’s a call to action and a vision for a more just and equitable future. For fans of innovative, socially conscious hip-hop like Tribe Called Quest, Mos Def, Dead Prez, Talib Kweli, Cherry Tree is an essential listen — a soundtrack for the times, blending art, activism, and collaboration into something far greater than the sum of its parts.
Sarah Good and the Bads – The Drifting
Sarah Good and the Bads return with their new album, The Drifting, a collection that effortlessly mixes angular whimsical dream pop, psych rock, and math rock. Following their 2019 release The Glorious, Disgorged, the Hamilton-based power trio continues to carve out their unique sound, blending influences that range from “folk to baroque to flower petal.”
Recorded at Boxcar Studios with Matt Montour and Ben Somer, mixed by Sean Pearson, and mastered by Phillip Shaw Bova, the album exudes the polish and inventiveness that have become the band’s hallmark. Sarah Good, a dynamic force as a songwriter, guitarist, and vocalist, combines poetic lyricism with complex, playful arrangements, creating music that both challenges and comforts.
The tracklist is as eclectic as the sound, with highlights like “Oh Well,” a dreamy opener; “Comfortably Uncomfortable,” a math rock gem with intricate rhythms; and “Faces Falling,” a soaring, emotional centerpiece. “Naked Slaw” and “Elemental Stew” bring in quirky titles that match their unpredictable yet deeply satisfying musical twists.
For fans of Joanna Newsom, Julie Doiron, Kate Bush, or late ’90s math rock like American Football, The Drifting offers a fresh take on familiar sounds, blending intricate musicianship with Good’s mezzo soprano voice. The album is perfect for those who love music that’s playful yet introspective — a journey for both quiet reflection and lighthearted escapes. The Drifting is a delightful theatrical ride that keeps you coming back for more.
REVISIT ME
Not many publications have ever done retroactive reviews for albums that are fantastic and overlooked. Why not? Why does every music review have to be for a new release? Why do we have to wait until certain songs have made comebacks thanks to movies and TV shows — like Kate Bush’s “Running Up That Hill” in Stranger Things or Redbone’s “Come and Get Your Love” from Guardians of the Galaxy — to remind us how good a song or album is? So at HCM we’re introducing a new feature in this issue called: “Revisit Me.” In each edition, we’ll spotlight a Hamilton album that deserves the spotlight again.
Young Rival's Interior Light is a sleek, dream-like ride through hazy ’50s & ’60s nostalgia and modern indie rock, wrapped up in extremely catchy hooks and lush harmonies. Released in 2015, it has the energy and sound like it could've come out in 2025. The band’s third full-length album channels a distinct retro vibe while keeping one foot planted firmly in the present, making for a listen that blends psych-pop, indie, ’50s & ’60s rock, surf rock, and 2000s garage rock.
The album opens with “Carry the Weight” and its frenetic swirling, building tension with reverb-drenched hammering bass and guitars and intense drums. It sets the tone with local songbird–turned-realtor Aron D’Alesio’s jangly guitars and laid-back vocals that feel effortlessly cool. From there, Interior Light plays like a sonic trip through a kaleidoscope of retro influences — ’60s pop harmonies, garage rock grit, and the breezy melancholy of vintage surf music. Tracks like “Throw It in the River” and “Elevator” showcase the band’s ability to weave together shimmering guitar lines with tight vocal melodies, driving creative drums and solid moving bass and fuzzed out production.
What makes Interior Light so compelling is the songwriting and seamless fusion of old and new production. The album feels nostalgic without being derivative, offering listeners a fresh take on familiar sounds. There’s an inherent warmth and glow to the production that pulls you in, making it feel like an intimate record despite its polished surface. Graham Walsh (Holy F&%k, Hannah Gorgas, METZ) compressed the warm and gritty sound into a cohesive package, with that touch and sheen and the catchy indie garage psych, it brings back the old feeling of the album as a stand-alone, memorable and special piece of vinyl from start to finish, as opposed to the modern typical routine of singles, playlists and TikTok clips.
“We listened to a lot of Roy Orbison and the Everly Brothers, stuff like that," says the band's D'Alesio. "We brought in some psych elements as well. So ‘croon psych’ became a term we were throwing around at each other in the studio, like Sinatra dropping acid with Deerhunter.”
With stand out tracks like “Elevator,” “Strange Light,” “Bent Out of Shape,” and “Scruples,” fans of bands like The Walkmen, Spoon, Born Ruffians, Phil Spector, The Strokes, Kinks and Television will absolutely adore Interior Light. A must-hear record that evokes dreamy, sun-soaked afternoons and midnight drives, with enough sonic depth to keep you coming back for more. Young Rival crafted an album that’s infectious and timeless, making Interior Light shine bright as a strong highlight in their impressive discography.
