![]() Still, despite the musical legacy of Rankin’s family and her early success, she says she never set out to turn music into a career and still doesn’t know how long it will last. With their third album, the band’s momentum shows no sign of slowing. The next leg of the tour begins on March 1 in Ottawa and makes a stop at the MacEwan Hall Ballroom in Calgary on March 11. They have been to South America, the U.K. Since the album’s release, the band has been touring at a steady pace. “Thankfully, Shawn Everett is a very open-minded, non-territorial type of person and let us use a lot of what was in the demos to capture that energy.” “We really wanted to make sure that everything resonated in a way that the demos did,” Rankin says. If we can find that overlap and balance of how we want everything to feel, I don’t really get caught up in other people’s opinions of what we put out because a lot of it is all about energy and things that are, for the most part, out of your control.” “It’s a very rigorous thing for us to do. “Alec and I put so much pressure on each other mixing (the songs) the way that we want them and finding that overlap that we have,” she says. ![]() But they don’t really need external forces to push them forward. Which doesn’t mean they don’t appreciate all the glowing press and fan devotion. The band seemed to take a “let-the-music-do-the-talking” stance as soon as it was professionally feasible, which only deepened the allure. But for journalists who have covered Canadian music for any length of time, it hasn’t been unusual to have interview requests turned down by their management. It may be a stretch to call Rankin and her bandmates - drummer Sheridan Riley, bassist Abbey Blackwell, guitarist Alec O’Hanley and keyboardist Kerri MacLellan - press-shy. “But that’s not something I’ve ever really felt comfortable with and luckily the people we work with don’t really care if we’re invested in putting ourselves out there in that way.” “I don’t know if that’s because we don’t interact a whole lot with the world, which is hard in itself to do because you do have to build this personality, it seems, and be in the conversation, ” she says, in an interview with Postmedia from her Toronto apartment. But when asked how she deals with the attention, and whether it adds extra pressure, Rankin seems typically Canadian in her modesty. Whether or not the aforementioned publications carry the same career-boosting prestige that they did 20 or 30 years ago, when a Canadian indie band would have given anything to even warrant a mention in their pages, is up for debate. Plus, it has been five long years since its 2017 sophomore record, Antisocialites. Granted, the quintet has been a favourite of critics since blasting onto the scene with its 2014 self-titled debut, which was produced by Calgarian Chad VanGaalen. This advertisement has not loaded yet, but your article continues below. Rolling Stone began writing about the record in July, suggesting the album had “songs that cut with a new sharpness and bounce with a new energy” and proclaiming vocalist Molly Rankin “one of her generation’s most sparkling lyricists.” The Guardian gushed “it has a brilliantly contradictory spirit: it is a literary shredder, a white-knuckled daydream, a mild-mannered barnstormer whose songs deftly tease out complex emotional threads for the smallest details.” The New York Times did a lengthy feature in October that explored Rankin’s background as part of Canadian music royalty - her father was the late John Morris Rankin, fiddler with The Rankin Family - and suggested “Blue Rev pushes the band’s sound toward dreamier and noisier frontiers while deepening its narrative-driven songwriting.” ![]() While Alvvays is still an indie band from Canada, the release seemed like a full-blown major event. The next issue of Calgary Herald Headline News will soon be in your inbox. If you don't see it, please check your junk folder.
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