An Album from Those Who Brings on A Cinematic Rock Experience

An album from Those Who recently dropped, and the record blends what I would consider cinematic rock with alternative, indie, and more. This is a very robust record that does have certain tracks that boast some emotional backbone, and the guitar work is absolutely outstanding throughout the entire thing.

The album is called Solace, and its first track, "Spineless (Inter Alia)", doesn't waste much time getting straight to the point by delivering some of that cinematic drive I mentioned earlier, with great layers of guitars, giving off this amazing rock texture that's not really over the top, but instead perfectly balanced.

There's something about tracks like this that feel almost theatrical in a sense. It's about some of the time signatures during those choruses and how the whole thing just comes across.

It's vivacious and colorful but still has a hint of edginess lurking just beneath the surface, which really blends amazingly.

This is a great track to introduce the record with because it gives you some idea of what you might expect.

You already know it's going to have a vibrant indie rock approach with some unique time signatures throughout it, but believe me when I tell you, this is a record with plenty of surprises around its corners. It's one of my favorite aspects about it. This album sort of keeps you on your toes in a very particular way.

Tracks like "Night Plumes" come in with some experimental guitar sections that turn into a sort of gritty and rambunctious sound, but only for a few seconds before it breaks into a more alternative rock sound.

Although songs like this can be super driving and have a lot of sonic presence to them, it is very evident that the songwriting is very melodically based.

Yes, the way the guitars are constructed and laid out throughout this record is brilliant. There are almost always two separate guitar tracks that sort of bounce off of each other at certain points and then mend together at others.

It really makes for an album that is thick with those tones and textures and feels very full-bodied.

One of my favorite aspects about the entire thing has to be the drumming, though. The drumming is absolutely outstanding because it doesn't just sit in the pocket. Again, it gives some unique time signatures, really brilliant, and adds a very unique liveliness to everything.

It also portrays such an intense energy level at times that, although it goes with the flow, it also gives you the sense that a lot of the rest of the band sort of pushes off of that energy.

The drumming on this record really helps the record push its way past the envelope, and I really love that about it because energy is what this record is all about.

The vocals are always in character. When songs get heavier and edgier, she belts out louder, giving you memorable hooks almost all the time, even in the verses.

When guitars are more clean, subtle and delicate, so is she. did she always give you a perfect way to pay attention to those lyrics which is awesome, because the lyrics often tell stories.

Sometimes those stories can be a bit more personal in terms of their perspectives which come through relatable and connective but other times she's telling a story in general and I really like that because it's not exactly a concept album, but it feels that way at times.

This is one of those albums you listen to all the way through from start to finish simply because again, there are those surprises around its corners, but it also gives you a full experience when you listen to the entire thing.

Listening to one or two tracks will not give you the full inspection of what the entire album has to offer.

Although songs don't exactly connect in general, it does feel like reading chapters out of a book, and you wouldn't skip chapters in a book, so I wouldn't skip songs on this record either.

Although the indie and alternative rock backbone is normally there, there are songs that have a certain kind of warmth to them.

"Fixated" is a damn near perfect example of exactly that. It does get a little heavier and edgier with the guitar tones, but in the beginning, it has a very particular warmth in its tonality, and it's almost inviting.

Another thing about the record, going back to the energy level, is that it feels almost like everyone is just feeding off of each other the entire time. The sense of synergy when you listen to this. It's almost as if they recorded a lot of it live on the floor.

Of course, I wasn't there, so I'm not sure exactly how they recorded it, but listening to the record definitely makes you want to go see them perform it live.

If they can capture this kind of aesthetic and energy on record so well, then seeing them live must be great.

Either way, you can definitely tell there was a lot of attention to detail when creating this record.

Yes, the mix was really perfected and has plenty to do with it, but it's about the tones of their instruments, that synergism coming together to create an atmosphere, and how they always have this element of vastness in their underbelly, which is why I go back to the whole cinematic rock vibe.

This crosses over into different rock genres but all in all, if I had to say one genre, I would absolutely call it cinematic rock.

There's something about the record that wraps itself around you keeps you right where it wants to.

The vocals are outstanding but it's not just about that alone. It's about the craft of songwriting and how they put a lot of energy into that.

This was a fun and charismatic record that showcased as much color as it did edginess and really branched off into some different directions while always staying under that rock umbrella perfectly.

Upon listening to this one I wanted to ask the band a few questions in terms of where this actually came from and what might be coming up next for them.

So, while you check the record out, dig through our interview with the band below and don't forget where you heard it first.

Let's talk about Solace! This record had all kinds of indie rock infused with progressive and hints of garage! Where did this album come from? 

We’re very excited to have this album out! Solace has an assortment of songs that have been on the backburner of life for 10 years or so and some that were born after the band’s formation. As we all come from a diverse background of musical influences, you can begin to hear distinct voices from what we’re bringing to the band and also us learning how we all click into place with one another. This helped really inform our thought process in the album as we needed to be vulnerable to how we are individually and collectively and, from this, we came to find our solace in the effort and the album title as well.

I'm hearing a few different approaches to this record! Who are some of your biggest musical influences?

Stéph: The album is shaped by a diverse mix of influences, pulling from the energy and emotion of punk and alternative rock bands like Paramore, The Cranberries, and Yeah Yeah Yeahs, while also incorporating more progressive elements inspired by A Perfect Circle and The Contortionist.

Matt: Oh man...just to name a few, my greatest influence is Radiohead along with all their side projects, especially Jonny Greenwood’s guitar work and orchestral scores. Also, artists and bands during the 2000s-2010s were highly formative for me such as Interpol, The White Stripes, The Strokes, José Gonzalez, My Morning Jacket, Tool, Eric Whitacre, Bon Iver, Korn, Broken Social Scene, Wolf Parade, Sunset Rubdown, Deftones, A Perfect Circle, Bob Dylan, Coldplay, Fionn Regan, Sigur Ros….the list goes on and on. Something that deeply impacted me, along with all these artists, was reading Michael Azerrad’s Our Band Could Be Your Life and Ernest Becker’s Denial of Death. These books solidified in my head and actions the beauty of committing to you and your peers' craft with intention and intensity so as to make a mark in this world that will outlast you after you have died. Personally, I want to express all that I can while I’m alive and, if possible, have the most important experiences documents (i.e. music).

Did you record this at a home setup, or at a big studio?

The eight songs on Solace were recorded across several sessions and studios. Spineless (Inter Alia) and Acupuncture were recorded at Raven Street Studios by students from the Tara Program. Veiled was also tracked at Raven Street Studios, recorded by our friend Alex Hodges. Night Plumes and Fixated were initially recorded as single takes at Raven Street Studios; while we kept those original stems, the vocals and additional parts for both songs were later re-recorded DIY by Mathieu Malette. Tempered was recorded by Dave Draves at Little Bullhorn Studios. Phoney Phantoms was recorded DIY by Matthew Wood. All songs on the album were mixed by Mathieu Malette, except for Causa Sui, which was recorded and mixed DIY by Matthew Wood. Once all songs were mixed to our liking, we sent them to Bova Sounds for mastering. 

Do you guys write songs together, or are there a few main songwriters that bring ideas back to the rest?

Songwriting typically begins with Matthew or Mathieu introducing an instrumental idea. Stéph writes the lyrics and vocal melodies, then brings them back to the band. From there, we develop the song together in rehearsal—adding more guitar, bass, and drums, and making adjustments to the arrangement and vocals until it’s finalized.

How did this all start for you as a band?

It all started with Jamie Orser (drummer) and Matthew Wood (songwriter, guitarist) reconnecting during the Covid pandemic. They were in the band Galapagos together and, after the end of the band, they missed making music with one another. They reached out to Mathieu Malette (songwriter, guitarist) to join the band as Jamie and him were in the band The Tackies together. Ben was Matthew’s neighbor so we asked him to join to make it a quartet.  When Stéph joined, the group already had a strong musical and interpersonal chemistry. As the only woman in the band, Stéph felt like she had something to prove in terms of what she would be able to contribute to the band and there was a fear, for her, that her writing-style through a female lens would not be honored. Luckily, creating music together felt effortless, thanks to the openness, honesty, and support within the band. The songwriting process was fluid and intuitive.

Are you performing live right now? 

Absolutely. Our first show was in February 2024 and we usually have 1-2 shows a month within the Ottawa region. This year, we plan on expanding our reach for shows to festivals both in Ottawa and around Canada. Our live performances have improved the more shows we play, and we absolutely love all the interactions and connections we have had throughout this musical journey so far. 

Now that this is out, what's next for you as a band?

We are currently writing and recording our second album. The “Third Album Theory” suggests that bands find their definitive sound by their third album, so you can expect our second album to sound a bit different then Solace. We are honing in on our craft, maturing and growing as musicians and songwriters, and we are eager to showcase that musical growth in our future releases as well as in our live performances. We are also bringing in more song ideas from all the members in the band, so we are very excited to see this collaborative effort deepen. We also plan to play more shows and festivals in 2026, hopefully playing in other cities to grow our fanbase.

Who's in all your headphones right now?

Stéph: I’ve been listening to a lot of local artists lately. There is so much talent around us and I make sure to devote quite a bit of my time listening to my favourite local artists. To name a few, I’ve been listening to All Bark No Bite, The Space Between and Just Fine from Ottawa, ON. I’ve also been listening to a lot of Canadian artists like Lights, The Beaches, JJ Wilde and Charlotte Cardin. Other than that, I always have the Mer de Noms album by A Perfect Circle playing on repeat, anything by The Pretty Reckless, Tool, Deftones, and Miley Cyrus’s newest album Something Beautiful is my guilty but not-so-guilty pleasure at the moment; she is incredible.  

Mike: The Weakerthans, Deftones, Pedro the Lion, Peter Gabriel, Pinegrove, Maritime, I Feel Fin, Noah Gundersen, and Pink Floyd

Travis: Magdalena Bay, Madison Cunningham, Ethel Cain, Knower, Marina Allen, and Blink 182

Matt: I have been demolishing Idles both with my 5 year old son and by myself. They’re approach to music and their positive messaging is deeply inspiring and to see my son chant to songs like Pop Pop Pop and NFAMWAP fills my heart. I’ve also been enjoying Le treizième étage by Louis-Jean Cormier, Aldous Harding, DIIV, MARO, Wet Leg, and Counterparts albums.

Jamie: Great Grandpa, Wet Leg, Pinegrove, Trace Mountains, Lizzy McAlpine, and Justin Vernon

Mathieu: oh, here we go! Madison Cunningham, Magdalena Bay, Turnstile, Pinegrove, Marie Dresselhuis, Lizzy McAlpine, Mini Trees, and Momma

Ben: A ton of Palace lately! I’ve also been listening to The Stews, Sweet Pill, Unknown Mortal Orchestra, St. Paul & the Broken Bones, Turnstile, and Masayoshi Takanaka.

What would you tell people they can expect on this release?

An introduction in the myriad directions we could go. There are elements of garage rock, indie rock, math/prog rock, experimental, and folk. It’s a nice mixed bag of songs that capture a moment of the band nicely. I know we are already excited to get album 2 and 3 up and running to keep the creative growth.

Before we go, what would you like to express to fans of the music? 

We would like to express to fans of our music that every successful band started exactly where we are now, and would not have made it far without the love and support of their fans. To every person who purchases or streams our music, comes out to shows, and shows us support of social media, just know that you mean the world to us and we are eternally grateful that you want to hear us. We will not stop making music for you. 

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