|
|||||||
|
“This is the most personal music I have ever released,” MacNeil acknowledges. “I tried to be honest (brutally at times) and not hide meaning or intent behind flowery language. It’s a record about my life falling apart and then trying to pick up the pieces. This album was half written while I was messed up pre-rehab, the other half while I was in rehab. This is a record about all the people I’ve met along the way. This is a record about hope. This is me at my most vulnerable.”
Dooms Children is arguably the purest distillation of MacNeil’s artistry and identity to date, and frames a rather tumultuous and ultimately transcendent few years of his life. The record digs into entirely new musical and emotional territory for MacNeil which, considering his resume, is saying a lot. You might call it rock, blues, or psychedelic. You could compare it to the Grateful Dead, the Allmans, even Skynyrd or QOTSA at times. But that falls short. More aptly, Dooms Children sounds like twisting the throttle towards a hazy sunset on a bare highway.
The video for first single, “Flower Moon”, features Team Canada global pro street skateboarder Annie Guglia navigating the unusually quiet and empty streets of Montreal during the pandemic lockdown. Watch it here.
Central to the aural experience is its live-off-the-floor recording and organic production style. The effort was co-produced with the inimitable Daniel Romano, a prolific and acclaimed artist in his own right, with talented multi-instrumentalist Ian Romano, and Montreal guitarist Patrick Bennett rounding out the record’s musical contributors.
DOOMS CHILDREN – SELF-TITLED
Out October 20 via Dine Alone / Cooking Vinyl Australia
|
|
|
|
