Patina Tallies

• 1 No Dreams Of Fayres 03:21
• 2 Hearts Underground 03:49
• 3 Wound Up Tight 02:56
• 4 Catapult 03:38
• 5 Heavens Touch 04:28
• 6 Special 04:36
• 7 Memento 04:27
• 8 Am I The Man 03:21
• 9 When Your Life Is Not Over 03:45
• Total Runtime 34:21

Info for Patina

With their brand-new sophomore album, Patina, Toronto-based indie pop band Tallies have found a way to expertly walk that razor-thin tightrope between nostalgia and the present, nodding to their favorite bands of the past while transforming their sound into something tight, bright, and undeniably fresh.

The band’s 2019, debut self-titled album solidified the their stature as Canada’s leading dreampop scholars as its mix of upbeat pop hooks and heady, larger-than-life production won the band critical acclaim from the indie underground to the mainstream alike. They began work straight away on a second record, which would prove to be an even more life-affirming endeavour than their debut.

Coming produced by Graham Walsh (of Holy Fuck, whopreviously helmed records by METZ and Alvvays) alongside Dylan Frankland of the band at Palace Sound, Baskitball 4 Life and Candle Recording in Toronto, the new record arrives as a true labour of love, one that was delayed due to the pandemic but ultimately is a truly rewarding collection for the band. It pricked the ears Cocteau Twins’ Simon Raymonde – a hero of the band – who signed Tallies to his Bella Union label, providing “a light at the end of a dark tunnel” according to Sarah Cogan of the band.

The juxtaposition of light and dark is a strong theme in the music of Tallies. While many of their tunes are upbeat, with Frankland’s breezy guitar lines drenched in reverb, soaring over Cian O’Neill’s propulsive drumbeats, Sarah’s lyrics can add a hint of shadow to even their most jangly tunes. This idea is also apparent in “Hearts Underground”, a track that describes the slippier side of personal relationships over effervescent indie-pop – undercut, of course, by a deliciously discordant guitar solo.

Tallies

Tallies
The late 80’s and early 90’s were a huge influence for many new artists. But when they cite sounds from great artists like Johnny Marr, Cocteau Twins, The Durutti Column and the Beach Boys, you know they are on track to something great.

Combining up-beat drum beats, melodic bass riffs, jingly guitar leads, and fluttery lighter-than-air vocals, Tallies gives out a soft, yet bouncy ray of sunshine not unlike The Sundays’ debut album ‘Reading, Writing, and Arithmetic’. Tallies bridges that long lost sound with yet a new and youthful take on something all their own.

Coming out of Toronto, this indie pop band was formed by lead singer and guitarist Sarah Cogan and guitarist Dylan Franklin, with Cian O’Neill on drums.

Nostalgia: it’s a fickle beast, isn’t it? Everyone loves music that evokes a strong sense of days gone by, but stare through those rose-tinted glasses too long and you lose the magic of the present. With their brand new sophomore album, Patina, Toronto-based indie pop band Tallies have found a way to expertly walk that razor-thin tightrope, nodding to their favorite bands of the past while transforming their sound into something tight, bright, and undeniably fresh.

Tallies started in earnest when singer Sarah Cogan, guitarist Dylan Frankland, and drummer Cian O’Neill began collaborating in late 2017. A proto-version of the band began at Algonquin College, when Sarah met Dylan during a music engineering course that saw the two become lab partners. All throughout their career, they’ve dove into the bands that would influence their sound–the Sundays, the Smiths, Aztec Camera–all while adding their own signature elements; Sarah’s airy-yet-arresting vocals, Dylan’s stunning gossamer guitar work, Cian’s astronomic drumming. They got down to business rather quickly, as in 2019, their debuts elf-titled album was released on Hand Drawn Dracula in Canada and Kanine Records in the United States. Solidifying the band’s stature as Canada’s leading dream pop scholars, its mix of upbeat pop hooks and heady, larger-than-life production won the band critical acclaim from the indie underground to the mainstream alike. They began work straight away on a second record, which would prove to be an even more life-affirming endeavor than their debut.

This album contains no booklet.