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But then, time flies when you’re fighting large multinational energy corporations who want to redevelop precious green space and threaten endangered species. Since the mid-2000s, the Canadian indie-folk singer-songwriter has been involved in various eco-preservation efforts in Southern Ontario, but after the release of 2010’s Oh Little Fire, those sideline pursuits became full-time passion projects. “I guess I got used to not being a musician for a while,” Harmer tells Apple Music. “Once you crack into local grassroots organizing, it’s a lot of work—like writing letters and attending municipal meetings. Music just wasn't front and center in what I was interested in.”
\nBut during her extended hiatus, Harmer would always have a guitar nearby in case inspiration struck, and by spring of 2017, she had amassed enough songs to begin working on her sixth album—which would’ve been finished a bit sooner had she not spent the next year helping her partner renovate an old house. By kismet, Are You Gone has finally surfaced on the 20th anniversary of her 2000 breakthrough, You Were Here, and Harmer sees the records as complementary bookends, born of a simliar DIY methodology and a shared feeling of “coming out of the wilderness.”
\nHowever, unlike its spiritual predecessor, Are You Gone uncorks the restless energy of an artist who’s been cooped up for far too long. The urgent indie pop of “Take Me Out” and the brooding alt-rock of “Wildlife” (written by her friend Dave Hodge) hark back to her time fronting the fuzzy ’90s outfit Weeping Tile, and the rabble-rousing anthem “New Low” is powered by a scrappy cowpunk gallop and a muscular brass section. But while the latter song supports the reasonable assumption that an avowed activist like Harmer would use her first record in 10 years as a pulpit to speak out against the various injustices consuming our world, Are You Gone ultimately favors heart-to-heart addresses over politicized proclamations. The opening “St. Peter’s Bay” is classic Harmer, an intimate portrait of fading romance framed by a gently swaying arrangement, gorgeous lyrical scenery, and a wistful, swoon-worthy hook. The brisk, Fleetwood Mac-esque folk-rocker “The Lookout” presents a cliffside rendezvous so intense and all-consuming, “the beauty of the place was blocked by the way I held you too close.” And the jaunty piano-rolled rhythm of “What I Was to You” belies its tragic source material: Originally inspired by a dying friend, the song eventually evolved into a tribute to late Tragically Hip singer (and fellow Kingston, Ontario, fixture) Gord Downie.
\nBut for Harmer, Are You Gone’s preference for the personal over the polemical doesn’t so much represent a break from her activist intrests as a means to disseminate them more widely. “I think part of the album's motivation for me is to spend less time doing all the minutiae of fighting The Man in my own little tiny way, and to get my engine rolling a bit bigger so that I can have a larger voice.” She then adds, with a laugh: “I’ll just speak out about all that [political] stuff during my in-between song banter.”","short":"After 10 years away, the indie-folk activist is both urgent and intimate."},"isCompilation":false}},{"id":"1441352309","type":"albums","href":"/v1/catalog/us/albums/1441352309?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music128/v4/e9/35/a1/e935a1fc-162c-76aa-07d7-7383ab39a35e/00827590156159.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"000201","textColor1":"f9fdfe","textColor2":"d4e9f5","textColor3":"c7cbcb","textColor4":"a9bbc4"},"artistName":"Sarah Harmer","isSingle":false,"url":"https://music.apple.com/us/album/you-were-here/1441352309","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Country","Alternative Country"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2000-08-29","name":"You Were Here","recordLabel":"Arts & Crafts Productions Inc.","editorialArtwork":{},"copyright":"℗ 2000 Cold Snap Music Inc. under exclusive license to Arts & Crafts Productions Inc.","playParams":{"id":"1441352309","kind":"album"},"isCompilation":false}},{"id":"371739753","type":"albums","href":"/v1/catalog/us/albums/371739753?l=en-US","attributes":{"artwork":{"width":1544,"height":1544,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music/29/0e/ee/mzi.paizzzpu.jpg/{w}x{h}bb.jpeg","bgColor":"dbd6b8","textColor1":"1c1c12","textColor2":"5d0606","textColor3":"424133","textColor4":"762f29"},"artistName":"Sarah Harmer","isSingle":false,"url":"https://music.apple.com/us/album/oh-little-fire/371739753","isComplete":true,"genreNames":["Singer/Songwriter","Music","Rock","Adult Alternative","Country","Alternative Country","Pop"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2010-06-22","name":"Oh Little Fire","recordLabel":"Zoe Records","editorialArtwork":{},"copyright":"℗ 2010 Zoe Records","playParams":{"id":"371739753","kind":"album"},"editorialNotes":{"standard":"Sarah Harmer reaffirms her gift for closely-observed, finely-wrought songwriting on Oh Little Fire, her first new album in four years. After taking a break to work as an environmental advocate, the Canadian singer/songwriter returns to her craft with a refreshed perspective and a strengthened sense of melody. She also benefits from Gavin Brown’s production, which adds some astringent guitar and propulsive rhythms to her dreamy style of folk-pop. Harmer’s bemused, often bittersweet take on human relationships are expressed in quick, deft lyric strokes — tunes like “New Loneliness,” “The Marble in Your Eyes” and “Washington” are at once vivid and subtly evocative. “Captive” and “Late Bloomer” come from her sweeter side, though even these songs retain a wry edge. Though all the tracks here are solid, “Silverado” (a duet with Neko Case) stands out for its spacey blend of alt-country sounds and gorgeously visionary language. Harmer’s wistful vocal style — reminiscent of Leigh Nash and Leslie Feist – makes each track feel like a personal confession."},"isCompilation":false}},{"id":"1439742278","type":"albums","href":"/v1/catalog/us/albums/1439742278?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music118/v4/97/54/14/975414cc-7cf1-34ef-2139-a489c5a0b416/00827590158153.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"ffffe7","textColor1":"0d0c08","textColor2":"1c1a15","textColor3":"3d3c34","textColor4":"49483f"},"artistName":"Sarah Harmer","isSingle":false,"url":"https://music.apple.com/us/album/im-a-mountain/1439742278","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Singer/Songwriter","Contemporary Folk","Country","Contemporary Bluegrass"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"2005-11-15","name":"I'm a Mountain","recordLabel":"Arts & Crafts Productions Inc.","editorialArtwork":{},"copyright":"℗ 2005 Cold 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Instead, she’s spent the two-plus decades that followed the Kingston, Ontario, band’s 1998 demise sharpening her craft to become one of the country’s most nuanced singer-songwriters. Harmer's solo turn came by accident, in a way, when she decided to record an album of back-porch folk songs as a gift for her dad—1999’s Songs for Clem. Within those covers is the DNA for the rustic, gentle tunes she’d write for her Polaris Prize-nominated 2005 LP I'm a Mountain—and for a number of other songs that speak to her commitment to environmental activism. But Harmer can just as quickly toggle back to her poetic rock instincts: On tunes like “Basement Apt.” and “The Hideout,” she finds a deep connection to places while also exploring the people and relationships they’re tied to.","short":"The former Weeping Tile singer connects deeply with people and places."}}}]},"genres":{"href":"/v1/catalog/us/artists/2607020/genres?l=en-US","data":[{"id":"14","type":"genres","href":"/v1/catalog/us/genres/14?l=en-US","attributes":{"parentId":"34","url":"https://itunes.apple.com/us/genre/id14","name":"Pop","parentName":"Music"}}]}},"views":{"live-albums":{"href":"/v1/catalog/us/artists/2607020/view/live-albums?l=en-US","attributes":{"title":"Live Albums"},"data":[]},"featured-release":{"href":"/v1/catalog/us/artists/2607020/view/featured-release?l=en-US","attributes":{"title":"Featured Release"},"data":[]},"featured-albums":{"href":"/v1/catalog/us/artists/2607020/view/featured-albums?l=en-US","attributes":{"title":"Essential Albums"},"data":[]},"latest-release":{"href":"/v1/catalog/us/artists/2607020/view/latest-release?l=en-US","attributes":{"title":"Latest Release"},"data":[{"id":"1486362070","type":"albums","href":"/v1/catalog/us/albums/1486362070?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music123/v4/40/f6/ca/40f6ca16-1882-8b09-7fcb-5cf8edd78633/19UMGIM99389.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"d1d1d1","textColor1":"0b0b0b","textColor2":"232323","textColor3":"333333","textColor4":"464646"},"artistName":"Sarah Harmer","isSingle":false,"url":"https://music.apple.com/us/album/are-you-gone/1486362070","isComplete":true,"genreNames":["Singer/Songwriter","Music"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2020-02-21","name":"Are You Gone","recordLabel":"Arts & Crafts Productions Inc.","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features114/v4/50/3a/74/503a74cf-d496-a644-36bd-b8c4c1e6ea46/source/{w}x{h}bb.jpeg","bgColor":"969696","textColor1":"080808","textColor2":"0f0f0f","textColor3":"242424","textColor4":"2a2a2a"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features123/v4/dd/2c/93/dd2c936e-cbfa-ac9f-522e-c31e80e640ea/source/{w}x{h}bb.jpeg","bgColor":"585858","textColor1":"fafafa","textColor2":"eaeaea","textColor3":"d9d9d9","textColor4":"cdcdcd"}},"copyright":"℗ 2020 Arts & Crafts Productions Inc.","playParams":{"id":"1486362070","kind":"album"},"editorialNotes":{"standard":"As Sarah Harmer explains, she never planned to take 10 years off between albums. But then, time flies when you’re fighting large multinational energy corporations who want to redevelop precious green space and threaten endangered species. Since the mid-2000s, the Canadian indie-folk singer-songwriter has been involved in various eco-preservation efforts in Southern Ontario, but after the release of 2010’s Oh Little Fire, those sideline pursuits became full-time passion projects. “I guess I got used to not being a musician for a while,” Harmer tells Apple Music. “Once you crack into local grassroots organizing, it’s a lot of work—like writing letters and attending municipal meetings. Music just wasn't front and center in what I was interested in.”
\nBut during her extended hiatus, Harmer would always have a guitar nearby in case inspiration struck, and by spring of 2017, she had amassed enough songs to begin working on her sixth album—which would’ve been finished a bit sooner had she not spent the next year helping her partner renovate an old house. By kismet, Are You Gone has finally surfaced on the 20th anniversary of her 2000 breakthrough, You Were Here, and Harmer sees the records as complementary bookends, born of a simliar DIY methodology and a shared feeling of “coming out of the wilderness.”
\nHowever, unlike its spiritual predecessor, Are You Gone uncorks the restless energy of an artist who’s been cooped up for far too long. The urgent indie pop of “Take Me Out” and the brooding alt-rock of “Wildlife” (written by her friend Dave Hodge) hark back to her time fronting the fuzzy ’90s outfit Weeping Tile, and the rabble-rousing anthem “New Low” is powered by a scrappy cowpunk gallop and a muscular brass section. But while the latter song supports the reasonable assumption that an avowed activist like Harmer would use her first record in 10 years as a pulpit to speak out against the various injustices consuming our world, Are You Gone ultimately favors heart-to-heart addresses over politicized proclamations. The opening “St. Peter’s Bay” is classic Harmer, an intimate portrait of fading romance framed by a gently swaying arrangement, gorgeous lyrical scenery, and a wistful, swoon-worthy hook. The brisk, Fleetwood Mac-esque folk-rocker “The Lookout” presents a cliffside rendezvous so intense and all-consuming, “the beauty of the place was blocked by the way I held you too close.” And the jaunty piano-rolled rhythm of “What I Was to You” belies its tragic source material: Originally inspired by a dying friend, the song eventually evolved into a tribute to late Tragically Hip singer (and fellow Kingston, Ontario, fixture) Gord Downie.
\nBut for Harmer, Are You Gone’s preference for the personal over the polemical doesn’t so much represent a break from her activist intrests as a means to disseminate them more widely. “I think part of the album's motivation for me is to spend less time doing all the minutiae of fighting The Man in my own little tiny way, and to get my engine rolling a bit bigger so that I can have a larger voice.” She then adds, with a laugh: “I’ll just speak out about all that [political] stuff during my in-between song banter.”","short":"After 10 years away, the indie-folk activist is both urgent and intimate."},"isCompilation":false}}]},"similar-artists":{"href":"/v1/catalog/us/artists/2607020/view/similar-artists?l=en-US","next":"/v1/catalog/us/artists/2607020/view/similar-artists?l=en-US&offset=10","attributes":{"title":"Similar Artists"},"data":[{"id":"31691340","type":"artists","href":"/v1/catalog/us/artists/31691340?l=en-US","attributes":{"name":"Jason Euringer","artistBio":"","url":"https://music.apple.com/us/artist/jason-euringer/31691340","editorialArtwork":{},"genreNames":["Alternative"],"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music118/v4/dd/81/c7/dd81c736-7fd5-436e-8475-54f762f172b8/00827590155152.rgb.jpg/{w}x{h}ac.jpeg","bgColor":"ffffff","textColor1":"040002","textColor2":"3c2e1c","textColor3":"363335","textColor4":"63584a"}},"relationships":{"station":{"href":"/v1/catalog/us/artists/31691340/station?l=en-US","data":[{"id":"ra.31691340","type":"stations","href":"/v1/catalog/us/stations/ra.31691340?l=en-US","attributes":{"name":"Jason Euringer","playParams":{"id":"ra.31691340","kind":"radioStation","format":"tracks","stationHash":"CggIARoEzKSODxAB"},"mediaKind":"audio","requiresSubscription":true,"url":"https://music.apple.com/us/station/jason-euringer/ra.31691340","artwork":{"width":3000,"height":3000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music118/v4/dd/81/c7/dd81c736-7fd5-436e-8475-54f762f172b8/00827590155152.rgb.jpg/{w}x{h}rc.jpeg","bgColor":"ffffff","textColor1":"040002","textColor2":"3c2e1c","textColor3":"363335","textColor4":"63584a"},"isLive":false}}]},"albums":{"href":"/v1/catalog/us/artists/31691340/albums?l=en-US","data":[{"id":"1436635604","type":"albums","href":"/v1/catalog/us/albums/1436635604?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music118/v4/dd/81/c7/dd81c736-7fd5-436e-8475-54f762f172b8/00827590155152.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"040002","textColor2":"3c2e1c","textColor3":"363335","textColor4":"63584a"},"artistName":"Sarah Harmer & Jason Euringer","isSingle":false,"url":"https://music.apple.com/us/album/songs-for-clem/1436635604","isComplete":true,"genreNames":["Alternative","Music","Country","Alternative Country","Rock","Adult Alternative"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"1999-05-29","name":"Songs For Clem","recordLabel":"Arts & Crafts Productions Inc.","editorialArtwork":{},"copyright":"℗ 1999 Cold Snap Music Inc. under exclusive license to Arts & Crafts Productions Inc.","playParams":{"id":"1436635604","kind":"album"},"isCompilation":false}}]}}},{"id":"3177140","type":"artists","href":"/v1/catalog/us/artists/3177140?l=en-US","attributes":{"name":"Kathleen Edwards","artistBio":"Having opened for Bob Dylan and the Rolling Stones before she turned 30, Kathleen Edwards made quite a name for herself at a young age. After studying classical music while growing up in Ottawa, Edwards immersed herself in the likes of Dylan, Neil Young, and more modern influences such as Gillian Welch. She released her debut, FAILER, which was re-released by Zoe/Rounder after some South By Southwest-inspired buzz. In the subsequent years, Edwards rounded out her alt-country sound with some poppier edges, and has become a fixture on the female Americana landscape, alongside iconic inspirations like Lucinda Williams.","url":"https://music.apple.com/us/artist/kathleen-edwards/3177140","editorialArtwork":{},"origin":"Ottawa, Ontario, Canada","bornOrFormed":"1979","genreNames":["Rock"],"artwork":{"width":500,"height":500,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music123/v4/3e/6f/4e/3e6f4e4b-6aa3-c512-564a-054c1a5c9bac/pr_source.png/{w}x{h}bb.jpeg","bgColor":"dcd8d1","textColor1":"271712","textColor2":"31211a","textColor3":"4b3e38","textColor4":"53463f"}},"relationships":{"station":{"href":"/v1/catalog/us/artists/3177140/station?l=en-US","data":[{"id":"ra.3177140","type":"stations","href":"/v1/catalog/us/stations/ra.3177140?l=en-US","attributes":{"name":"Kathleen Edwards","playParams":{"id":"ra.3177140","kind":"radioStation","format":"tracks","stationHash":"CggIARoEtPXBARAB"},"mediaKind":"audio","requiresSubscription":true,"url":"https://music.apple.com/us/station/kathleen-edwards/ra.3177140","artwork":{"width":500,"height":500,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music123/v4/3e/6f/4e/3e6f4e4b-6aa3-c512-564a-054c1a5c9bac/pr_source.png/{w}x{h}rc.jpeg","bgColor":"dcd8d1","textColor1":"271712","textColor2":"31211a","textColor3":"4b3e38","textColor4":"53463f"},"isLive":false}}]},"albums":{"href":"/v1/catalog/us/artists/3177140/albums?l=en-US","data":[{"id":"1443277410","type":"albums","href":"/v1/catalog/us/albums/1443277410?l=en-US","attributes":{"artwork":{"width":1500,"height":1500,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music118/v4/69/ac/d5/69acd550-cdf3-cc37-50e6-ec74b2ff294c/00601143209727.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"eeebdc","textColor1":"1b1514","textColor2":"27362c","textColor3":"453f3c","textColor4":"4e5a4f"},"artistName":"Kathleen Edwards","isSingle":false,"url":"https://music.apple.com/us/album/voyageur/1443277410","isComplete":true,"genreNames":["Singer/Songwriter","Music","Rock","Adult Alternative","Country","Alternative Country"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"2012-01-01","name":"Voyageur","recordLabel":"New Rounder","editorialArtwork":{},"copyright":"℗ 2012 Zoë Records. 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The release of her independent debut EP, Universe, followed soon afterward. Already an accomplished classically trained pianist, the Pickering, Ontario native pursued her studies in the music program at the University of Toronto while gradually carving out a name for herself as a charismatic, ebullient live performer. \r\nWhen a number of relatively high-profile opening stints helped Slean sell over 4,000 copies of Universe, the major labels soon came knocking. After much deliberation and a reported bidding war, Slean eventually struck a joint deal with Warner Canada and Atlantic in the U.S. The unorthodox pact allowed Slean to release a full-length independent album before her contract kicked in; the resulting record (1999's Blue Parade, released independently on Big Brother, her own label) showcased Slean's significant maturation as a songwriter. 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Following the success of War Brides, Lullabies for Barflies was given a digital reissue by Sandbar Music, and in 2009 she struck a deal with the independent Six Shooter label and issued the album Hunter, Hunter. (Curran said the title was a play on the phrase \"Hunter, Gatherer.\") Hunter, Hunter earned Curran more East Coast Music Awards nominations, as well as a Juno Award for Roots and Traditional Album of the Year. \r\nWhile War Brides and Hunter, Hunter were largely recorded with just a pair of musicians accompanying Curran, 2012's Spectators found her expanding her creative boundaries, with a bigger and more diverse variety of backing musicians and a glossier production. They Promised You Mercy followed in 2014, which found Curran experimenting with rock-oriented arrangements. As the album was released, Curran went public with her struggles with depression and anxiety; she would become a vocal advocate for reforms in the Canadian mental health system, as well as co-founding It's Mental, a nonprofit organization designed to boost awareness of mental health issues and helping to provide education, services, and support. Curran's activist side would also inform her 2017 album, Watershed, with several songs addressing issues of sexism in the music industry and within Canadian culture. 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A one-time member of the '90s indie rock bands Thrush Hermit and Neuseiland, he embarked on a solo career in 1999. His fifth solo album, the three-disc set Three, was issued in 2009 and won a Juno Award for Best Adult Alternative Album in addition to being nominated for a Polaris Music Prize.\n\nBorn William Joel MacDonald Plaskett in Lunenburg, Nova Scotia in 1975, Plaskett was raised in Halifax and began making music in his early teens. One of his strongest influences was his father, folk musician Bill Plaskett. In 1992, Joel formed the indie rock band Thrush Hermit with guitarist Rob Benvie, bassist Ian McGettigan and drummer Michael Catano. Plaskett was the group's lead singer, guitarist and primary songwriter, and they released two full-length albums and three EPs before parting ways in 1999. That same year, Plaskett launched his solo career with the concept album In Need of Medical Attention. It introduced a more power pop-inflected, indie singer/songwriter-oriented sound that contrasted to the harder rock of Thrush Hermit. In the meantime, he had formed Neuseiland with guitarists Charles Austin and Drew Yamada, keyboardist Andrew Glencross, and bass player Tim Stewart. Plaskett played drums. The group released one album, 2000s Neuseiland, before disbanding. \n\nOn his second album, 2001's Down at the Khyber, Plaskett introduced his new band, the Joel Plaskett Emergency — Plaskett on vocals and guitar, bassist Tim Brennan and drummer Dave Marsh. Down at the Khyber earned Plaskett a Juno Award nomination as Best New Artist, and 2003's Truthfully, Truthfully finally provided him with a commercial breakthrough in Canada. He made his television debut in 2004 as a coach on the CBC reality series Rock Camp. \n\nPlaskett traveled to Arizona to record his next album, 2005's La De Da, a solo effort with Plaskett handling most of the instruments himself (though his former Thrush Hermit bandmate Ian McGettigan played bass on the sessions and Jon Rauhouse sat in on pedal steel). He reconvened with the Emergency for the 2007 concept album Ashtray Rock, before striking out on his own again for 2009's ambitious solo effort Three. The three-CD set earned Plaskett a Polaris Music Prize nomination and a Juno Award for Best Adult Alternative Album. It also marked his debut in the Top 15 of Canada's albums chart. Plaskett followed it in March 2012 with Scrappy Happiness, a collection of ten songs that had been recorded and released at the pace of one song per week for CBC Radio and iTunes. Named for a particular guardrail in Dartmouth, Nova Scotia where he was based, Joel Plaskett & the Park Avenue Sobriety Test followed in 2015. Its guests included Mo Kenney, J.P. Cormier, and the Emergency, among others. The album reached number 14 on the album's chart in Canada. In 2017, Plaskett released a collaborative album with his father Bill Plaskett, co-founder of the Lunenburg Folk Music Festival. They supported it with tour across Canada. ~ Mark Deming & Marcy Donelson, Rovi","url":"https://music.apple.com/us/artist/joel-plaskett/31691618","editorialArtwork":{},"origin":"Lunenburg, Nova Scotia, Canada","bornOrFormed":"April 18, 1975","genreNames":["Rock"],"artwork":{"width":2314,"height":2314,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music123/v4/7a/24/e6/7a24e631-353c-13a6-50ab-be0a3f048301/pr_source.png/{w}x{h}bb.jpeg","bgColor":"222222","textColor1":"f4f4f4","textColor2":"dedede","textColor3":"cacaca","textColor4":"b8b8b8"}},"relationships":{"station":{"href":"/v1/catalog/us/artists/31691618/station?l=en-US","data":[{"id":"ra.31691618","type":"stations","href":"/v1/catalog/us/stations/ra.31691618?l=en-US","attributes":{"name":"Joel Plaskett","playParams":{"id":"ra.31691618","kind":"radioStation","format":"tracks","stationHash":"CggIARoE4qaODxAB"},"mediaKind":"audio","requiresSubscription":true,"url":"https://music.apple.com/us/station/joel-plaskett/ra.31691618","artwork":{"width":2314,"height":2314,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music123/v4/7a/24/e6/7a24e631-353c-13a6-50ab-be0a3f048301/pr_source.png/{w}x{h}rc.jpeg","bgColor":"222222","textColor1":"f4f4f4","textColor2":"dedede","textColor3":"cacaca","textColor4":"b8b8b8"},"isLive":false}}]},"albums":{"href":"/v1/catalog/us/artists/31691618/albums?l=en-US","data":[{"id":"1498861857","type":"albums","href":"/v1/catalog/us/albums/1498861857?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music114/v4/0f/f6/7e/0ff67e3e-fbcd-d4e6-8d6a-6cb403f94436/823674214449_Cover.jpg/{w}x{h}bb.jpeg","bgColor":"0a0c0b","textColor1":"e6a63b","textColor2":"fd8119","textColor3":"ba8731","textColor4":"cc6a16"},"artistName":"Joel Plaskett","isSingle":false,"url":"https://music.apple.com/us/album/44/1498861857","isComplete":true,"genreNames":["Singer/Songwriter","Music"],"trackCount":44,"isMasteredForItunes":true,"releaseDate":"2020-02-21","name":"44","recordLabel":"Pheromone Recordings / Fontana North","editorialArtwork":{},"copyright":"℗ 2020 Songs For The Gang / Pheromone Recordings","playParams":{"id":"1498861857","kind":"album"},"editorialNotes":{"standard":"Many men in their forties grapple with the anxiety of aging and an ever-changing world by buying a sports car, going on an extended yoga retreat, or getting hair transplant surgery. Joel Plaskett dropped a quadruple album instead. One-upping his triple-LP set Three from 2009, 44 is an even bolder act of musical numerology: 44 largely autobiographical songs, broken up into four 11-song chapters, released on the day before Plaskett’s 45th birthday.
\nTo help you make sense of this deluge of tunes, each of the four records is loosely organized around a certain vibe—the welcoming, off-the-cuff roots reveries of the first set, the amplified rock crunch of the second, the more sonically adventurous country-rock spirituals and distorted blues blasts of the third, and the mellow folk comedown of the fourth act. But they’re all united by Plaskett’s signature mix of poignant, scenic storytelling and clever, self-referential wordplay. (As he sings on the rustic serenade “Fall Guy”: “If you’re looking for a quote/To use in your review/How about ‘I could use an editor before I mention you.’”) Where extended-album sets often encourage an experimental sprawl, Plaskett treats each of these songs as a means to further fine-tune his craft and produce timeless songs that can proudly stand alongside the greats, be it the gospel-graced Stones-y ballad “If There’s Another Road” or the rollicking Springsteen-like character study “Tim” (a touching tribute to a departed old friend).
\nBut more than simply showcasing a prolific songwriter operating at peak strength, 44 functions as a storehouse of Plaskett’s life experience to date, its most affecting moments steeped in nostalgic teenage memories (the psych-spiked shuffle “The Wizard of Taz”) and tragedy (“Matthew Grimson Songs,” a raw acoustic elegy for an unsung Halifax-scene hero who died in 2018). The albums also feature a “this is your life” procession of guests that the former Thrush Hermit frontman crossed paths with throughout his career, spanning Nova Scotian peers like Sloan’s Chris Murphy and indie-rock heroes like Dave Shouse of The Grifters (whose greasy fingerprints are all over wobbly rockers like “Spray Tan”). True to that communal spirit, Plaskett corrals several of his East Coast musician pals for the closing “A Benefit 4 Dreamland,” less a grand finale than a loose kitchen-party sing-along reinforcing the fact that, for all its grand designs, 44’s most salient qualities are its humble charm and homespun intimacy.","short":"The singer-songwriter erects a quadruple-album monument of his life."},"isCompilation":false,"contentRating":"explicit"}},{"id":"441747408","type":"albums","href":"/v1/catalog/us/albums/441747408?l=en-US","attributes":{"artwork":{"width":600,"height":600,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music/e0/4c/52/mzi.tsbdvtic.jpg/{w}x{h}bb.jpeg","bgColor":"351405","textColor1":"eca869","textColor2":"dc9e61","textColor3":"c78a55","textColor4":"ba824f"},"artistName":"Joel 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But then, time flies when you’re fighting large multinational energy corporations who want to redevelop precious green space and threaten endangered species. Since the mid-2000s, the Canadian indie-folk singer-songwriter has been involved in various eco-preservation efforts in Southern Ontario, but after the release of 2010’s Oh Little Fire, those sideline pursuits became full-time passion projects. “I guess I got used to not being a musician for a while,” Harmer tells Apple Music. “Once you crack into local grassroots organizing, it’s a lot of work—like writing letters and attending municipal meetings. Music just wasn't front and center in what I was interested in.”
\nBut during her extended hiatus, Harmer would always have a guitar nearby in case inspiration struck, and by spring of 2017, she had amassed enough songs to begin working on her sixth album—which would’ve been finished a bit sooner had she not spent the next year helping her partner renovate an old house. By kismet, Are You Gone has finally surfaced on the 20th anniversary of her 2000 breakthrough, You Were Here, and Harmer sees the records as complementary bookends, born of a simliar DIY methodology and a shared feeling of “coming out of the wilderness.”
\nHowever, unlike its spiritual predecessor, Are You Gone uncorks the restless energy of an artist who’s been cooped up for far too long. The urgent indie pop of “Take Me Out” and the brooding alt-rock of “Wildlife” (written by her friend Dave Hodge) hark back to her time fronting the fuzzy ’90s outfit Weeping Tile, and the rabble-rousing anthem “New Low” is powered by a scrappy cowpunk gallop and a muscular brass section. But while the latter song supports the reasonable assumption that an avowed activist like Harmer would use her first record in 10 years as a pulpit to speak out against the various injustices consuming our world, Are You Gone ultimately favors heart-to-heart addresses over politicized proclamations. The opening “St. Peter’s Bay” is classic Harmer, an intimate portrait of fading romance framed by a gently swaying arrangement, gorgeous lyrical scenery, and a wistful, swoon-worthy hook. The brisk, Fleetwood Mac-esque folk-rocker “The Lookout” presents a cliffside rendezvous so intense and all-consuming, “the beauty of the place was blocked by the way I held you too close.” And the jaunty piano-rolled rhythm of “What I Was to You” belies its tragic source material: Originally inspired by a dying friend, the song eventually evolved into a tribute to late Tragically Hip singer (and fellow Kingston, Ontario, fixture) Gord Downie.
\nBut for Harmer, Are You Gone’s preference for the personal over the polemical doesn’t so much represent a break from her activist intrests as a means to disseminate them more widely. “I think part of the album's motivation for me is to spend less time doing all the minutiae of fighting The Man in my own little tiny way, and to get my engine rolling a bit bigger so that I can have a larger voice.” She then adds, with a laugh: “I’ll just speak out about all that [political] stuff during my in-between song banter.”","short":"After 10 years away, the indie-folk activist is both urgent and intimate."},"isCompilation":false}},{"id":"371739753","type":"albums","href":"/v1/catalog/us/albums/371739753?l=en-US","attributes":{"artwork":{"width":1544,"height":1544,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music/29/0e/ee/mzi.paizzzpu.jpg/{w}x{h}bb.jpeg","bgColor":"dbd6b8","textColor1":"1c1c12","textColor2":"5d0606","textColor3":"424133","textColor4":"762f29"},"artistName":"Sarah Harmer","isSingle":false,"url":"https://music.apple.com/us/album/oh-little-fire/371739753","isComplete":true,"genreNames":["Singer/Songwriter","Music","Rock","Adult Alternative","Country","Alternative Country","Pop"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2010-06-22","name":"Oh Little Fire","recordLabel":"Zoe Records","editorialArtwork":{},"copyright":"℗ 2010 Zoe Records","playParams":{"id":"371739753","kind":"album"},"editorialNotes":{"standard":"Sarah Harmer reaffirms her gift for closely-observed, finely-wrought songwriting on Oh Little Fire, her first new album in four years. After taking a break to work as an environmental advocate, the Canadian singer/songwriter returns to her craft with a refreshed perspective and a strengthened sense of melody. She also benefits from Gavin Brown’s production, which adds some astringent guitar and propulsive rhythms to her dreamy style of folk-pop. Harmer’s bemused, often bittersweet take on human relationships are expressed in quick, deft lyric strokes — tunes like “New Loneliness,” “The Marble in Your Eyes” and “Washington” are at once vivid and subtly evocative. “Captive” and “Late Bloomer” come from her sweeter side, though even these songs retain a wry edge. Though all the tracks here are solid, “Silverado” (a duet with Neko Case) stands out for its spacey blend of alt-country sounds and gorgeously visionary language. 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