THE EDITED PRESS RELEASE: “Danger To Dream is the definitive Kandle record. On her fifth studio album, influences of trip-hop, rock, and soul share a drink, meditating on the state of the world with cheeky nihilism and a dash of sultriness. It’s to be expected, having spent most of her life in an industry better known for breaking dreams than granting them.
Alas, not all is as it seems. While moonlit melodies have become a signature of Kandle’s sound, we start to see the light on Danger To Dream. Not a holy white glow, but a raging flame, ready to burn its path to enlightenment.
Kandle, originally from the West Coast and now based in Montreal, was first signed at 19 years old by an indie imprint in Quebec. With Juno and Prism Prize nominations under her belt, she has toured Europe, Asia, North America and beyond. Her collaborations include Jack White, Half Moon Run, July Talk and more recently, she has joined with members of Eagles Of Death Metal in the outlaw country group Midnight Cowgirls. As destiny would have it, in 2020 she became an independent artist again, now sculpting her own path as a seasoned veteran. In this spirit, she has crafted Danger To Dream, self-produced alongside her collaborative partner Jeff Mitchell.
The album begins with the aptly titled Intro. It is a magnificent prologue featuring spoken word, electronic beats and cinematically scored arrangement, setting up the scene for the listening experience ahead. It is followed by Never Gonna Love You, a Western-meets-Motown piece featuring Mitchell on vocals sounding like Iggy Pop on horseback. Mitchell’s vocals and programming prowess add a whole new dimension to Kandle’s already kaleidoscopic world. There is magic in their collaborative chemistry, whether it be through shades of jazz and electronica (Wallpaper) or Bristol-via-Berlin industrial (Burn).
Collaboration is key on Danger To Dream, with inspired performances from drummer Yato Noukoussi, vocalists Debra-Jean Creelman (Mother Mother), Kendel Carson, and the aforementioned Mitchell. But this is a Kandle record after all, and her ability to breathe poetry into the darker corners of life is what makes her work so special. She laments her experience with endometriosis on the icy trip-hop of St. Paul’s. She coyly pontificates existential dread in Seen It Before. On the album’s closing title track, she is hopefully vulnerable, as expressed by her signature vibrato and self-assured control. Banshee screams of contorted string and vocal arrangements decorate the production, threading in and out of songs seemingly on their terms.
In truth, Kandle has returned to form in every possible way. Back to her chosen hometown of Montreal, back to her roots of dark and moody rock, back to her signature slinky vocal delivery reminiscent of both a late-night jazz singer and pop diva. It is arena-sized rock via the cozy confines of a home studio. Danger To Dream sees Kandle as a fully realized artist, achieving the finest balance of both mastery and ingenuity.”
