Paradise Animals

This is a band that’s contemporary, full of energy and multitalented.

Let’s address that ‘multitalented’ statement first. This band changes arrangements on just about every song. About half way through the set you start to realize that you’ve lost track on who was just playing what. Take Kerry Silva. Through the set you’ll watch her bounce from electronic drums, to a traditional drum kit, to a left handed pink Telecaster; and she sings the entre time. It really is a hell of a spectacle to watch Paradise Animals play musical chairs at the end of every song. You’ll see switches from guitar to bass, drums to synths, synths to guitar. Some songs have electronic and conventional drums, while some songs have no drums at all. In some songs all three members sung, in others only one. It’s not only impressive, but also really exciting to watch. After every song you’re left speculating on what instrument arrangement is coming up next.

What’s best is that while the entire instrument switching fills you with the feeling that you’re just watching some friends jam out, Paradise Animals also puts a lot of effort into the visual elements of their show. Of course Steam Whistle’s lighting and smoke machines aided them, but Paradise Animals also had background visuals running on the stage screen. Most interesting was a montage of a Google search for the band name.

This bands had a sound that just seems bang-on with what’s going in music right now. There’s an essential blending of electronic and soft rock that give the band a very contemporary noise. You’ll get small hints at the “whup-whup” sounds of dub-step, but then the sharp tings of a high hat, fading into the soft synths and a gentling flowing melody.

The ingredients are very, very familiar. You hear a lot of bands trying the same kind of thing, but Paradise Animals do manage to package it all together much more neatly. Pulling it all off with only three people on stage is all the more impressive. - iscreammusic

This is a band that’s contemporary, full of energy and multitalented.

Let’s address that ‘multitalented’ statement first. This band changes arrangements on just about every song. About half way through the set you start to realize that you’ve lost track on who was just playing what. Take Kerry Silva. Through the set you’ll watch her bounce from electronic drums, to a traditional drum kit, to a left handed pink Telecaster; and she sings the entre time. It really is a hell of a spectacle to watch Paradise Animals play musical chairs at the end of every song. You’ll see switches from guitar to bass, drums to synths, synths to guitar. Some songs have electronic and conventional drums, while some songs have no drums at all. In some songs all three members sung, in others only one. It’s not only impressive, but also really exciting to watch. After every song you’re left speculating on what instrument arrangement is coming up next.

What’s best is that while the entire instrument switching fills you with the feeling that you’re just watching some friends jam out, Paradise Animals also puts a lot of effort into the visual elements of their show. Of course Steam Whistle’s lighting and smoke machines aided them, but Paradise Animals also had background visuals running on the stage screen. Most interesting was a montage of a Google search for the band name.

This bands had a sound that just seems bang-on with what’s going in music right now. There’s an essential blending of electronic and soft rock that give the band a very contemporary noise. You’ll get small hints at the “whup-whup” sounds of dub-step, but then the sharp tings of a high hat, fading into the soft synths and a gentling flowing melody.

The ingredients are very, very familiar. You hear a lot of bands trying the same kind of thing, but Paradise Animals do manage to package it all together much more neatly. Pulling it all off with only three people on stage is all the more impressive. - iscreammusic

Jam-packed with ever fresh tunes, Mixed Tape has been around since 2004 – and scored some impressive milestones along the way. Championing talents from pretty much any genre, provided that they strike a chord, the free download compilation has proved an amazing springboard for tomorrow’s talents between Auckland and Oakland, Osaka and Odessa.

Spurred on by 40+ million downloads and 100,000 Facebook fans, former Mixed Tape contributors have shot to the top of the charts (Wagner Love in Japan, Fat Freddy’s Drop in New Zealand and Bev Lee Harling – as part of the Mediaeval Baebes – in the UK), claimed some amazing awards and nominations (including Grammys), produced tracks for global stars like Nelly Furtado or Destiny’s Child, shared stages with the likes of Lauryn Hill, Dizzee Rascal and Stevie Wonder, rocked the legendary Boiler Room and written soundtracks for movies, games and TV spots. Not to mention a steady stream of recording contracts, averaging out at one per compilation!

Preferring to look ahead rather than back in time, our latest selection of 10 curated gems does not draw on past Mixed Tape talents, but heralds the future of great music with a fresh batch of artists who have a mind – and sound – of all of their own.

Part of the Mixed Tape #50 package and free download compilation: folk rock bliss from New York’s Steady Sun, spine-tingling soul courtesy of “Germany’s Adele” Miu, electronica by German producer Kurare and French trip-hop artist Kognitif, indie pop nirvana via Toronto’s Paradise Animals, alternative folk from Liverpool-based band Red Sails, prime Americana from the Southern Coast of England thanks to New Desert Blues, spell-binding songs by tropical dreamwave specialists Young Hare and dream pop experts Vows and, finally, a welcome injection of uplifting indie rock by D.C.’s The Sea Life. Download the dynamic selection and find out more about these artists.

Just like previous Mixed Tape compilations, the sonic jewel comes wrapped in a bespoke artist cover, this time devised by New York based graphic artist Craig Redman aka Darcel Disappoints whose popular quirky Cyclops character thematically explores the highs and lows of big city life, and graces anything from gallery walls to hot dog stalls – and our current compilation cover.

All of the aforementioned artists are the reason we are still going strong after almost a decade. Splicing style and substance, Mixed Tape is all about the audio/visual talents who keep pushing the boundaries of sound and art – our thanks goes to you all for contributing to Mixed Tape and making this compilation happen!

Ready for some excellent tunes? Why not join the free download fun or head straight to Spotify. - Mercedes Benz

Jam-packed with ever fresh tunes, Mixed Tape has been around since 2004 – and scored some impressive milestones along the way. Championing talents from pretty much any genre, provided that they strike a chord, the free download compilation has proved an amazing springboard for tomorrow’s talents between Auckland and Oakland, Osaka and Odessa.

Spurred on by 40+ million downloads and 100,000 Facebook fans, former Mixed Tape contributors have shot to the top of the charts (Wagner Love in Japan, Fat Freddy’s Drop in New Zealand and Bev Lee Harling – as part of the Mediaeval Baebes – in the UK), claimed some amazing awards and nominations (including Grammys), produced tracks for global stars like Nelly Furtado or Destiny’s Child, shared stages with the likes of Lauryn Hill, Dizzee Rascal and Stevie Wonder, rocked the legendary Boiler Room and written soundtracks for movies, games and TV spots. Not to mention a steady stream of recording contracts, averaging out at one per compilation!

Preferring to look ahead rather than back in time, our latest selection of 10 curated gems does not draw on past Mixed Tape talents, but heralds the future of great music with a fresh batch of artists who have a mind – and sound – of all of their own.

Part of the Mixed Tape #50 package and free download compilation: folk rock bliss from New York’s Steady Sun, spine-tingling soul courtesy of “Germany’s Adele” Miu, electronica by German producer Kurare and French trip-hop artist Kognitif, indie pop nirvana via Toronto’s Paradise Animals, alternative folk from Liverpool-based band Red Sails, prime Americana from the Southern Coast of England thanks to New Desert Blues, spell-binding songs by tropical dreamwave specialists Young Hare and dream pop experts Vows and, finally, a welcome injection of uplifting indie rock by D.C.’s The Sea Life. Download the dynamic selection and find out more about these artists.

Just like previous Mixed Tape compilations, the sonic jewel comes wrapped in a bespoke artist cover, this time devised by New York based graphic artist Craig Redman aka Darcel Disappoints whose popular quirky Cyclops character thematically explores the highs and lows of big city life, and graces anything from gallery walls to hot dog stalls – and our current compilation cover.

All of the aforementioned artists are the reason we are still going strong after almost a decade. Splicing style and substance, Mixed Tape is all about the audio/visual talents who keep pushing the boundaries of sound and art – our thanks goes to you all for contributing to Mixed Tape and making this compilation happen!

Ready for some excellent tunes? Why not join the free download fun or head straight to Spotify. - Mercedes Benz

Opening was Toronto’s Paradise Animals, who, if you read this blog regularly, are personal favourites. This time around, the three-piece had a slightly different stage setup, with an extra set of percussion courtesy of a drum pad. As per usual, the three band members moved around constantly, with Mark Andrade switching between drums, keyboard and guitar, Kerri Silva going back and forth between the two drum kits and occasionally throwing on a guitar, and Gary Pereira rocking percussion and bass guitar.

Their set started with a ambient song that incorporated several vocal samples as well as Andrade and Silva’s vocals. Though the sound system drowned out the electronics whenever a guitar appeared in a song, the band didn’t lose the inherent groove of basically every song they played. “Tea Guide” made an early appearance and Andrade nailed the song’s passionate delivery, and the back-to-back EP tracks “Utility” and “Coastal Lines” really brought the dance party. As per usual, the set closed with the psychedelic “Day Fort,” (which now has a video), with begins with Andrade’s deep, smooth vocals over sparse but ominous synths before bringing in the full instrumentation. It culminates in the instrumental sections, with the extra percussion.The set never lost its groove, and it served well to prepare everyone for Maylee Todd. - Grayowl Point

Opening was Toronto’s Paradise Animals, who, if you read this blog regularly, are personal favourites. This time around, the three-piece had a slightly different stage setup, with an extra set of percussion courtesy of a drum pad. As per usual, the three band members moved around constantly, with Mark Andrade switching between drums, keyboard and guitar, Kerri Silva going back and forth between the two drum kits and occasionally throwing on a guitar, and Gary Pereira rocking percussion and bass guitar.

Their set started with a ambient song that incorporated several vocal samples as well as Andrade and Silva’s vocals. Though the sound system drowned out the electronics whenever a guitar appeared in a song, the band didn’t lose the inherent groove of basically every song they played. “Tea Guide” made an early appearance and Andrade nailed the song’s passionate delivery, and the back-to-back EP tracks “Utility” and “Coastal Lines” really brought the dance party. As per usual, the set closed with the psychedelic “Day Fort,” (which now has a video), with begins with Andrade’s deep, smooth vocals over sparse but ominous synths before bringing in the full instrumentation. It culminates in the instrumental sections, with the extra percussion.The set never lost its groove, and it served well to prepare everyone for Maylee Todd. - Grayowl Point

Paradise Animals are a Toronto outfit that combines two cups of Casiotone For The Painfully Alone with a dash of Morrissey croonology and a lot of existential romanticism, kneading it all into a dazzling lighter-than-air chimera of emotional resolve. Paradise Animals are masters of the floating, off kilter, ever well balanced dissonance that imbue their otherwise dance floor soft pop sensations with a calculated gravity. Simply put, I love this record. I can’t get enough. Whatever they have for us next, I am sure it will not disappoint. I hope they head West. - Argue Job

Paradise Animals are a Toronto outfit that combines two cups of Casiotone For The Painfully Alone with a dash of Morrissey croonology and a lot of existential romanticism, kneading it all into a dazzling lighter-than-air chimera of emotional resolve. Paradise Animals are masters of the floating, off kilter, ever well balanced dissonance that imbue their otherwise dance floor soft pop sensations with a calculated gravity. Simply put, I love this record. I can’t get enough. Whatever they have for us next, I am sure it will not disappoint. I hope they head West. - Argue Job

The raw emotions of Paradise Animals will soon be pouring out of your iPod. Mark our words: this is a band you need to watch. Fronted by Green Go's Mark Andrade, Paradise Animals boats some multi-instrumental amazingness with layered songs and some real talent behind it in the form of Gary Pereira (bass), Mike Zimic (drums) and Kerri Silva (guitar). We were recently lucky enough to get Andrade to talk to us for a bit and let you get to know Paradise Animals a little better.

How do you describe your music to someone who hasn't heard you before?
Electro-Indie-Funk…(it’s always tough)

If you could open for one current band that you haven't played with before, who would it be?
I would love to open for Tortoise. They represent such a critical musical evolutionary point for me in my musical development that sharing a stage would be next to perfect.

If you could play one venue you've never played before, what would it be?
I still haven’t played Lee’s Palace. I’ve seen so many of my favourite bands there. Just a nice Toronto staple.

What's the worst album you own?
Portuguese Folk Soccer Songs Vol. 1. Sometimes I wish my family was Brazilian (not Portuguese) because the music is just so much cooler.

What was the craziest live show you've ever seen?
I saw Kim Deal of the Breeders at Lee’s Palace. She was so drunk on stage that she was yelling back at the crowd who was asking her to play bass and Pixies songs. She has a cigarette hanging out of her mouth as she sang and forgot entire guitar and vocal parts. It was intense.

What was the craziest live show you've ever played?
I play in another band called Green Go. We started by playing a lot of house shows. One particular show saw us cram 40-50 people into an attic with poor foundational support. The floor boards were bouncing and I thought we were all going to collapse the roof with our dancing. It was so hot in the attic that everyone took off whatever they could to stay cool. It was fun (and terrifying). Oh, did I mention that I am a tad claustrophobic.

What's your favourite song to play live? Why?
“At this Time” is a lot of fun. It’s got a groove that lends itself to re-interpretation each time we play. It’s a bit longer with instrumental moments and a lot of room for weird electronic noises.

What was the first record you ever bought? When was the last time you listened to it?
The first album was a Hip-Hop album by Black Sheep called A Wolf in Sheep's Clothing. I love old school Hip Hop from Tribe to Rakim, and this album was on repeat for a while: “Engine, Engine number 9 on the New York transit Line….!”

Who was your favourite band (or artist) when you were 12 years old? Do you still like them?
I was really into Hip Hop and anything that my Dad liked, which was a lot of New Wave music. Bands like the Spoons, OMD, New Order, and Depeche Mode were common in my house. I have to say that I started to get into the Smashing Pumpkins, more specifically Siamese Dream. That album was my summer anthem. I still dig that album and Gish, but can’t really handle too much Billy Corgan these days.

Say, for some strange reason, all the music in the world is going to be destroyed, but you can save all the songs from one decade. Which decade's records would you save?
Give me the 1970s hands down. Still didn’t have the cheese of the ‘80s. So many good albums. Synths became a part of music and things were still raw and unchartered.

If you absolutely had to get a face tattoo of album art from one record, which record would you want to have on your face for the rest of your life?
I really like the mountains and lines on Radiohead’s Kid A. I’d tattoo that right on my forehead.

Do you hate your hometown?
With a passion. Mississauga is an unfortunate consumerist, cultural flop in more ways than one. - The Little Red Umbrella

The raw emotions of Paradise Animals will soon be pouring out of your iPod. Mark our words: this is a band you need to watch. Fronted by Green Go's Mark Andrade, Paradise Animals boats some multi-instrumental amazingness with layered songs and some real talent behind it in the form of Gary Pereira (bass), Mike Zimic (drums) and Kerri Silva (guitar). We were recently lucky enough to get Andrade to talk to us for a bit and let you get to know Paradise Animals a little better.

How do you describe your music to someone who hasn't heard you before?
Electro-Indie-Funk…(it’s always tough)

If you could open for one current band that you haven't played with before, who would it be?
I would love to open for Tortoise. They represent such a critical musical evolutionary point for me in my musical development that sharing a stage would be next to perfect.

If you could play one venue you've never played before, what would it be?
I still haven’t played Lee’s Palace. I’ve seen so many of my favourite bands there. Just a nice Toronto staple.

What's the worst album you own?
Portuguese Folk Soccer Songs Vol. 1. Sometimes I wish my family was Brazilian (not Portuguese) because the music is just so much cooler.

What was the craziest live show you've ever seen?
I saw Kim Deal of the Breeders at Lee’s Palace. She was so drunk on stage that she was yelling back at the crowd who was asking her to play bass and Pixies songs. She has a cigarette hanging out of her mouth as she sang and forgot entire guitar and vocal parts. It was intense.

What was the craziest live show you've ever played?
I play in another band called Green Go. We started by playing a lot of house shows. One particular show saw us cram 40-50 people into an attic with poor foundational support. The floor boards were bouncing and I thought we were all going to collapse the roof with our dancing. It was so hot in the attic that everyone took off whatever they could to stay cool. It was fun (and terrifying). Oh, did I mention that I am a tad claustrophobic.

What's your favourite song to play live? Why?
“At this Time” is a lot of fun. It’s got a groove that lends itself to re-interpretation each time we play. It’s a bit longer with instrumental moments and a lot of room for weird electronic noises.

What was the first record you ever bought? When was the last time you listened to it?
The first album was a Hip-Hop album by Black Sheep called A Wolf in Sheep's Clothing. I love old school Hip Hop from Tribe to Rakim, and this album was on repeat for a while: “Engine, Engine number 9 on the New York transit Line….!”

Who was your favourite band (or artist) when you were 12 years old? Do you still like them?
I was really into Hip Hop and anything that my Dad liked, which was a lot of New Wave music. Bands like the Spoons, OMD, New Order, and Depeche Mode were common in my house. I have to say that I started to get into the Smashing Pumpkins, more specifically Siamese Dream. That album was my summer anthem. I still dig that album and Gish, but can’t really handle too much Billy Corgan these days.

Say, for some strange reason, all the music in the world is going to be destroyed, but you can save all the songs from one decade. Which decade's records would you save?
Give me the 1970s hands down. Still didn’t have the cheese of the ‘80s. So many good albums. Synths became a part of music and things were still raw and unchartered.

If you absolutely had to get a face tattoo of album art from one record, which record would you want to have on your face for the rest of your life?
I really like the mountains and lines on Radiohead’s Kid A. I’d tattoo that right on my forehead.

Do you hate your hometown?
With a passion. Mississauga is an unfortunate consumerist, cultural flop in more ways than one. - The Little Red Umbrella

It’s very rare that I pay attention to any project that adds the words “synth pop” to their bio, but over the last few years Guelph’s Green Go offered up some fantastic reworkings of the biggest names in the Canadian indie scene.

The EPs were stellar; imaginative and well thought out remixes that helped the band get an audience, and build enough excitement for the band to record two LPs. The fact they gained the reputation of a can’t miss live band didn’t hurt either. That is, as the kids say, indie cred and was more than enough motivation to listen to former Green Go decathlete, Mark Andrade’s new project, Paradise Animals.

On this song, Andrade’s baritone bobs along the waves of synth and programming, trying desperately (with futility) to signal danger for any onlooker. The infectious melody and backing vocals – courtesy of Allie Hughes – feel alive; they are the surf in which we splash without worry, or maybe the dance floor on which we flail awkwardly without worry, but Andrade vocals hint at stormy seas just over the next crest.

These programmed sounds could have sound tracked any of John Hughes’ melodrama, somehow using computers to remind us of the moments when our heart beat so strongly we thought it might explode.
- HeroHill

It’s very rare that I pay attention to any project that adds the words “synth pop” to their bio, but over the last few years Guelph’s Green Go offered up some fantastic reworkings of the biggest names in the Canadian indie scene.

The EPs were stellar; imaginative and well thought out remixes that helped the band get an audience, and build enough excitement for the band to record two LPs. The fact they gained the reputation of a can’t miss live band didn’t hurt either. That is, as the kids say, indie cred and was more than enough motivation to listen to former Green Go decathlete, Mark Andrade’s new project, Paradise Animals.

On this song, Andrade’s baritone bobs along the waves of synth and programming, trying desperately (with futility) to signal danger for any onlooker. The infectious melody and backing vocals – courtesy of Allie Hughes – feel alive; they are the surf in which we splash without worry, or maybe the dance floor on which we flail awkwardly without worry, but Andrade vocals hint at stormy seas just over the next crest.

These programmed sounds could have sound tracked any of John Hughes’ melodrama, somehow using computers to remind us of the moments when our heart beat so strongly we thought it might explode.
- HeroHill

While looking through the tags of the Bandcamp page for Paradise Animals (the project of Mark Andrade, formerly of Green Go) I was slightly perplexed by the genre descriptions in the page’s tags. It had both the terms “electro” and “soul” which are usually contradictory. However, recently a few acts like Rae Spoon and Triple Gangers have shown that electronic music can have emotion behind it, and Paradise Animals is continuing this notion.

The emotion you’ll be hearing mostly in the song is pretty melancholy, though the EP isn’t all like that. The EP itself opens up with “Raised in the Wild.” The song is instrumental and shimmering with synths and other things, giving a sense that something is just starting.

The track quickly gives way to “Coastal Lines,” one of the strongest tracks, that features Allie Hughes on vocals. The first instrument you’ll hear predominantly is the guitar, but some background grooves come in pretty quickly that will have you bopping in your seat. You’ll also be introduced to Andrade’s deep vocals which seem to fit the music well.

“At This Time” continues the groove of the previous song, though it takes a few seconds to get rolling. It builds up sounds slowly before launching into a solid melody complete with handclaps and slick guitar and bass. There’s also the first hint of melancholy with the subject matter of the lyrics. The line “Dreams aren’t foolproof” should speak volumes.

Then suddenly the EP plunges into sadness. “Wooden Box” is slightly ethereal but also extremely gritty and sounds less refined than the other tracks (probably on purpose). See the accompanying video for the song at the bottom of this review.

“Utility” contrasts the sadness of the previous song very sharply. The steady drumming and unusual instrumentals make this a great song to move to. “Hearts” is the only song that doesn’t quite get up to the levels of the rest.

The EP finishes with “Falling on Rock and Stones.” The song is very dense, with seemingly four or five different things going on at once. Andrade’s vocals are barely distinguishable, but I suspect the vocals are just meant to add another layer to an already chaotic song.

This EP will definitely make you feel something, whether it be sadness or something else, and Paradise Animals can definitely say they’ve found a niche in the electro-pop circuit.

Top Tracks: “Coastal Line”; “Utility”

Rating: Proud Hoot (Really Good) - Grayowl Point

Dark synth-pop is probably the best musical oxymoron I can name… I’m not the one who came up with the term – but there is something intriguing about the way that it rolls off the tongue.

By it’s nature synth-pop shouldn’t even begin to conjure the imagery of being dark in any possible way, and yet with the resurgence of electro in mainstream music over the past few years this mythical musical genre continues to pervade the public consciousness.

Mark Andrade (of Guelph dance-rockers GREEN GO) and his indie-electro outfit PARADISE ANIMALS have spent the past year crafting their own dark sway-inducing style of synth-pop, that has gathered comparisons to and mentions of influences ranging from New York new wave revivalist TWIN SHADOW to LEONARD COHEN.

It’s not overtly pop, but it has the hooky musical flare that disco-era pop tunes in the late 70s had as new wave was starting to emerge and that weird overlap was going on where they hadn’t yet become distinctly separate genres.

PA’s latest efforts have culminated in their official seven-track debut EP (released Feb. 7th) – and while a few of the tracks have been kicking around on 7? since early-ish 2011, their reappropriated release here as a full debut EP is meaty enough to warrant further inspection… and all the more so for a FREE DOWNLOAD (see streaming player above).

Opener “Raised In The Wild” is an eerie instrumental track that delves deep into the thudding bassline and synths and doesn’t come up for close to two minutes until it trickles away into nothingness, paving the way for the remainder of the EP – if you’re a stickler for the 80s comparisons here because of the genre, imagine it’s THE nothing from The Neverending Story… it probably wouldn’t be out of place in the slightest on the soundtrack.

“Costal Line” (feat. Toronto singer/songwriter Allie Hughes) subsequently captures the mid-tone-heavy bass-filled groove that emanates throughout their live shows to the letter.

What’s really interesting though about this part of PA’s self-titled EP is the fade production that transitions between this track and “At This Time”, which has been included on the band’s earlier releases without the opening transition – whether this subtle little audio treat is courtesy of the band themselves or Lacquer Channel audio masterer Noah Mintz is never really clear, but it definitely helps the release come across as a more cohesive effort rather than just a bunch of tracks on an album like so many releases do.

“At This Time” is still among my favourite tracks of 2011, with its three-note synth hook – here, again backed by that groovy mid-tone-filled bass – and its insatiable ability to make one want to get up and dance. The extended bridge section transitions well from the live setting where the entirety of the venue is surely in full dance-mode, and the ooohs and aaahs here are just the icing on the cake.

And I loves me some cake.

As far as production goes, “Wooden Box” feels a little dropped in place after the meticulous transition that preceded it, but aside from that it’s a swirling static-tinged number with a little saxophone mixed in for ambiance – great emotionally-charged track for sure.

It’s really no surprise that PA’s song “Utility” ended up on The iM’s top tracks of 2011 – between the synth, guitar arpeggios, and Andrade’s “take two drinks to me, take two drinks” this thing is a catchy beast. When paired with subsequent, similarly rhythmic track “Hearts”, the back half of the release really begins to showcases the dancier leanings of the group.

Instrumental track “Falling On Rocks And Stones” is a great close to the album – and in most cases it forms a solid backbone to PARADISE ANIMALS’ live set: the saxophone rears its head again for a George Michael (or more recently M83) -style flare, the bass gets a little more disco and things come to a close with a rhythmic hi-hat pattern and cymbal hit that rings out like a gong.

Having seen the band perform live a number of times over the past year it’s great to finally get a good recorded chunk of material that can be listened to repeatedly at one’s leisure. And with the so-rarely-promoted baritone vocal making a serious comeback in the 2010s, if Paradise Animals keeps things going at this rate they’re sure to be among those leading the dark synth-pop charge in 2012.

Or at least they will be once other people figure out how to make a musical oxymoron work this well. - The Indie Machine

Dark synth-pop is probably the best musical oxymoron I can name… I’m not the one who came up with the term – but there is something intriguing about the way that it rolls off the tongue.

By it’s nature synth-pop shouldn’t even begin to conjure the imagery of being dark in any possible way, and yet with the resurgence of electro in mainstream music over the past few years this mythical musical genre continues to pervade the public consciousness.

Mark Andrade (of Guelph dance-rockers GREEN GO) and his indie-electro outfit PARADISE ANIMALS have spent the past year crafting their own dark sway-inducing style of synth-pop, that has gathered comparisons to and mentions of influences ranging from New York new wave revivalist TWIN SHADOW to LEONARD COHEN.

It’s not overtly pop, but it has the hooky musical flare that disco-era pop tunes in the late 70s had as new wave was starting to emerge and that weird overlap was going on where they hadn’t yet become distinctly separate genres.

PA’s latest efforts have culminated in their official seven-track debut EP (released Feb. 7th) – and while a few of the tracks have been kicking around on 7? since early-ish 2011, their reappropriated release here as a full debut EP is meaty enough to warrant further inspection… and all the more so for a FREE DOWNLOAD (see streaming player above).

Opener “Raised In The Wild” is an eerie instrumental track that delves deep into the thudding bassline and synths and doesn’t come up for close to two minutes until it trickles away into nothingness, paving the way for the remainder of the EP – if you’re a stickler for the 80s comparisons here because of the genre, imagine it’s THE nothing from The Neverending Story… it probably wouldn’t be out of place in the slightest on the soundtrack.

“Costal Line” (feat. Toronto singer/songwriter Allie Hughes) subsequently captures the mid-tone-heavy bass-filled groove that emanates throughout their live shows to the letter.

What’s really interesting though about this part of PA’s self-titled EP is the fade production that transitions between this track and “At This Time”, which has been included on the band’s earlier releases without the opening transition – whether this subtle little audio treat is courtesy of the band themselves or Lacquer Channel audio masterer Noah Mintz is never really clear, but it definitely helps the release come across as a more cohesive effort rather than just a bunch of tracks on an album like so many releases do.

“At This Time” is still among my favourite tracks of 2011, with its three-note synth hook – here, again backed by that groovy mid-tone-filled bass – and its insatiable ability to make one want to get up and dance. The extended bridge section transitions well from the live setting where the entirety of the venue is surely in full dance-mode, and the ooohs and aaahs here are just the icing on the cake.

And I loves me some cake.

As far as production goes, “Wooden Box” feels a little dropped in place after the meticulous transition that preceded it, but aside from that it’s a swirling static-tinged number with a little saxophone mixed in for ambiance – great emotionally-charged track for sure.

It’s really no surprise that PA’s song “Utility” ended up on The iM’s top tracks of 2011 – between the synth, guitar arpeggios, and Andrade’s “take two drinks to me, take two drinks” this thing is a catchy beast. When paired with subsequent, similarly rhythmic track “Hearts”, the back half of the release really begins to showcases the dancier leanings of the group.

Instrumental track “Falling On Rocks And Stones” is a great close to the album – and in most cases it forms a solid backbone to PARADISE ANIMALS’ live set: the saxophone rears its head again for a George Michael (or more recently M83) -style flare, the bass gets a little more disco and things come to a close with a rhythmic hi-hat pattern and cymbal hit that rings out like a gong.

Having seen the band perform live a number of times over the past year it’s great to finally get a good recorded chunk of material that can be listened to repeatedly at one’s leisure. And with the so-rarely-promoted baritone vocal making a serious comeback in the 2010s, if Paradise Animals keeps things going at this rate they’re sure to be among those leading the dark synth-pop charge in 2012.

Or at least they will be once other people figure out how to make a musical oxymoron work this well. - The Indie Machine

Former Green Go member Mark Andrade has now launched a project of his own, Paradise Animals, and he just released his debut EP and video with the new outfit.

The self-titled EP is stepped in dreamy reverb and bedroom-brewed electronics, making for an infectious sound that's part hooky synth pop, part dreamscape ambience. Best of all, the seven-song collection is available as a free download from Bandcamp, and you can stream it below. Scroll past the stream to check out the abstract video for the EP track "Wooden Box."

Paradise Animals' five-piece lineup will be playing two upcoming Toronto shows: March 3 at Drake Underground and March 23 at Sneaky Dee's. The latter is for Canadian Music Week. - Exclaim Magazine

Former Green Go member Mark Andrade has now launched a project of his own, Paradise Animals, and he just released his debut EP and video with the new outfit.

The self-titled EP is stepped in dreamy reverb and bedroom-brewed electronics, making for an infectious sound that's part hooky synth pop, part dreamscape ambience. Best of all, the seven-song collection is available as a free download from Bandcamp, and you can stream it below. Scroll past the stream to check out the abstract video for the EP track "Wooden Box."

Paradise Animals' five-piece lineup will be playing two upcoming Toronto shows: March 3 at Drake Underground and March 23 at Sneaky Dee's. The latter is for Canadian Music Week. - Exclaim Magazine

The four-member band, Paradise Animals, is breaking onto the scene and introducing themselves to the public with a self-titled seven track EP. But it’s just the first step toward their evolving future. With only 12 shows under their belt and a guarantee to make the listener uncomfortable, the group is embracing their self-produced sound.

Paradise Animals dropped their collection of seven songs, backlogged from earlier works of front-man Mark Andrade, on March 3 at the Drake Hotel. Live action visuals and reflections of the concert in real time, created by LiveActionFezz, danced around them on stage as their sound cascaded out to a group of family, friends and even unfamiliar faces.

“It was a friends and family celebration. It was a really successful night and it exceeded expectations,” says Mark.

Even with the intense dedication the group exudes, they have already gone through three drummers in just eight months. Their original drummer, Mike Zimic, who along with a family and full-time high school teaching job, had no time to make it into the city or perform on week nights. The second drummer balanced another band and university. Now with their third drummer in place, Adam Scott, they’re just seeing how it goes after only performing with him twice. “It’s hard, especially as people get older and start having lives, they’re not into just playing in a band,” says Andrade.

The three that have remained a part of Paradise Animals since the beginning balance day jobs and other musical projects too. Andrade’s previous group, Green Go, has since dissolved for many of the same reasons: some members got married and practice time couldn’t be scheduled. “The beginning of Paradise Animals was the end of Green Go,” he says. During the day, Andrade suits up to teach English literature, “It’s a fine balance. I play shows at night and teach by day.”

Aside from the days spent channeling into the moody melancholic sound that Paradise Animals exudes, Kerri Silva rocks her folky blues side in her other band, We Are Growling Woods.

Both of her musical endeavours are a huge contrast to her days spent at an audio post-production company where she makes audio for film and television. “Right now I’m doing kids cartoons,” said Silva. “I make farting noises for kids while [Mark’s] teaching English literature.”

Then there’s Gary Pereira who joined an activist drumming group, Rhythms of Resistance, who help facilitate protests for various social and political rallies. He also owns his own planet friendly landscaping business in the summer.

For a group that balances the seriousness of teaching, production and sustainability, their approach to music is lighthearted. For example, their first EP features a saxophone that they recorded in the bathroom of Andrade’s parent’s cottage. And, if there is one thing you should request at their next concert, it is the most unusual sound the band calls “Gary’s noise.” Sitting outside a Starbucks near High Park, Pereira gets into character and belts out his light vibrating buzz. Even Andrade has his own vice: a tendency to sing everything in operatic creed.

It’s these types of goofy moments that make it easier for the timid performers to get prepared to rock a stage. The laughter during this interview can’t be compared to their on stage performance that they claim is “in development and a tad uncomfortable.” As an audience member, we miss the backroom prep when they “make goofy faces to try to calm each other down.”

An upcoming slot in Canadian Music Week is garnering this band some much-deserved attention (and time to practice performing), with a line-up at Sneaky Dee’s alongside OTM alumni Dinosaur Bones and Bear Hands.

The band will be releasing a series of cover songs over the internet in the next few months from the likes of Bonnie Prince Billy and Leonard Cohen. They have chosen stripped back acoustic performers that they admire, and are looking to recreate these songs with an emphasis on electronics and experimentation.

“It sounds clichéd but we don’t want to get slotted into one category, we want each new release to be seen as a sort of departure from our last,” said Andrade. “Right now, we’re letting people get to know us through this first set of songs that we have been working on.”

Once the backlog of material that Andrade has been working on is cleared, the band is going to work together to produce some new material with inspirations from all four members to enter a new territory of sound.

Silva then adds, “[Our music] will just naturally change and evolve into something slightly different but that’s how we will grow as a band.”

- OTM Zine

The four-member band, Paradise Animals, is breaking onto the scene and introducing themselves to the public with a self-titled seven track EP. But it’s just the first step toward their evolving future. With only 12 shows under their belt and a guarantee to make the listener uncomfortable, the group is embracing their self-produced sound.

Paradise Animals dropped their collection of seven songs, backlogged from earlier works of front-man Mark Andrade, on March 3 at the Drake Hotel. Live action visuals and reflections of the concert in real time, created by LiveActionFezz, danced around them on stage as their sound cascaded out to a group of family, friends and even unfamiliar faces.

“It was a friends and family celebration. It was a really successful night and it exceeded expectations,” says Mark.

Even with the intense dedication the group exudes, they have already gone through three drummers in just eight months. Their original drummer, Mike Zimic, who along with a family and full-time high school teaching job, had no time to make it into the city or perform on week nights. The second drummer balanced another band and university. Now with their third drummer in place, Adam Scott, they’re just seeing how it goes after only performing with him twice. “It’s hard, especially as people get older and start having lives, they’re not into just playing in a band,” says Andrade.

The three that have remained a part of Paradise Animals since the beginning balance day jobs and other musical projects too. Andrade’s previous group, Green Go, has since dissolved for many of the same reasons: some members got married and practice time couldn’t be scheduled. “The beginning of Paradise Animals was the end of Green Go,” he says. During the day, Andrade suits up to teach English literature, “It’s a fine balance. I play shows at night and teach by day.”

Aside from the days spent channeling into the moody melancholic sound that Paradise Animals exudes, Kerri Silva rocks her folky blues side in her other band, We Are Growling Woods.

Both of her musical endeavours are a huge contrast to her days spent at an audio post-production company where she makes audio for film and television. “Right now I’m doing kids cartoons,” said Silva. “I make farting noises for kids while [Mark’s] teaching English literature.”

Then there’s Gary Pereira who joined an activist drumming group, Rhythms of Resistance, who help facilitate protests for various social and political rallies. He also owns his own planet friendly landscaping business in the summer.

For a group that balances the seriousness of teaching, production and sustainability, their approach to music is lighthearted. For example, their first EP features a saxophone that they recorded in the bathroom of Andrade’s parent’s cottage. And, if there is one thing you should request at their next concert, it is the most unusual sound the band calls “Gary’s noise.” Sitting outside a Starbucks near High Park, Pereira gets into character and belts out his light vibrating buzz. Even Andrade has his own vice: a tendency to sing everything in operatic creed.

It’s these types of goofy moments that make it easier for the timid performers to get prepared to rock a stage. The laughter during this interview can’t be compared to their on stage performance that they claim is “in development and a tad uncomfortable.” As an audience member, we miss the backroom prep when they “make goofy faces to try to calm each other down.”

An upcoming slot in Canadian Music Week is garnering this band some much-deserved attention (and time to practice performing), with a line-up at Sneaky Dee’s alongside OTM alumni Dinosaur Bones and Bear Hands.

The band will be releasing a series of cover songs over the internet in the next few months from the likes of Bonnie Prince Billy and Leonard Cohen. They have chosen stripped back acoustic performers that they admire, and are looking to recreate these songs with an emphasis on electronics and experimentation.

“It sounds clichéd but we don’t want to get slotted into one category, we want each new release to be seen as a sort of departure from our last,” said Andrade. “Right now, we’re letting people get to know us through this first set of songs that we have been working on.”

Once the backlog of material that Andrade has been working on is cleared, the band is going to work together to produce some new material with inspirations from all four members to enter a new territory of sound.

Silva then adds, “[Our music] will just naturally change and evolve into something slightly different but that’s how we will grow as a band.”

- OTM Zine