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Pop/Rock - Publicado el 16 de mayo de 2011 | Domino Recording Co

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Austra's Katie Stelmanis fits right in with the resurgence of dark electronic songstresses in the late 2000s/early 2010s, sharing the aloof beauty of Glasser, Esben and the Witch, Fever Ray, and Zola Jesus. Unlike some of the band’s peers, however, there’s a humanity to Stelmanis' vocals that, even when distorted, keeps Feel It Break's songs from feeling too remote. Stelmanis is an operatically trained vocalist, though that background reveals itself more in the nuances of her singing than in any showy displays of technique. Her voice is huge when it needs to be, as on “The Choke,” where she wails “lover, don’t do anything!” into the sparkling darkness, and it’s delicate on “Lose It,” where her vibrato blends into the shimmering electronics around her like ripples on a pond. Songs such as the frosty “Darken Her Horse” and the aptly named electro alchemy of “Spellwork” resemble ice castles in their massive yet fragile sounds, but Feel It Break shines brightest when there’s momentum behind its delicacy. The outstanding single “Beat and the Pulse” does exactly what its title suggests, pitting Stelmanis' keening vocals against hard-edged rhythms that speak to her fondness for industrial music, while “Shoot the Water” takes an even sharper turn toward the ominous with lyrics like “I want your blood/I want it in my hand” to match its driving rhythms. At times, Stelmanis' lyrics veer from genuinely disturbing to borderline goth cliché, but when the music is as beautiful as “The Beast” -- which sounds like it was written and performed in some cloistered, shadowy conservatory -- it’s more than forgivable. On this consistently hypnotic debut, Austra carve out a place of their own among their contemporaries. © Heather Phares /TiVo
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Electrónica - Publicado el 17 de junio de 2013 | Domino Recording Co

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Electrónica - Publicado el 1 de mayo de 2020 | Domino Recording Co

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Después de un comprometido tercer álbum hace tres años, Future Politics, Katie Stelmanis, el cerebro del grupo canadiense Austra, ha decidido cambiar su tono y sus ideas en HiRUDiN, nuevo álbum para el que se encerró durante tres días en un estudio de Toronto con músicos a los que apenas conocía, incluyendo parte del ensemble de improvisación de música contemporánea c_RL, el dúo Kamancello (un violonchelo y un kamanche) y un grupo femenino de kulintang (una forma instrumental realizada con gongs, procedente del sudeste asiático). Convertida en una especie de icono del indie LGBT+, Katie Stelmanis trata en este álbum temas más íntimos, las consecuencias de las relaciones tóxicas o la inseguridad ligada a su sexualidad. La influencia de la new wave es también más difusa en la orquestación, con una tendencia clásica, su pasión juvenil, asegurada por el violonchelo y el piano. Más pop que synth, a juzgar ya por el primer tema Anyways, muy Supertramp en el espíritu, Austra lanza en este disco un puñado de potenciales éxitos – Risk It, con su ritmo roto y su violonchelo sucio, el pegadizo It’s Amazing, Mountain Baby con su coro infantil o el bailable I Am Not Waiting -, que bien podrían llevarla a un mayor nivel de popularidad. © Smaël Bouaici/Qobus
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Electrónica - Publicado el 19 de enero de 2017 | Domino Recording Co

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After Austra's Olympia tour finished, Katie Stelmanis moved to Montreal for a change of pace that ended up feeling more like solitary confinement than solitude. However, the unexpected isolation may have been a blessing in disguise for her music: Future Politics is a direct, affecting set of songs about intimacy, technology, and above all, hope. The group strips back a bit from Olympia's lavish sounds, trimming down from a six-piece to the trio of Stelmanis, drummer Maya Postepski, and bassist/sound designer Dorian Wolf. Though there's nothing superfluous here, Austra's influences are wide-ranging, spanning Star Trek, Naomi Klein, and electro cumbia (a discovery Stelmanis made after leaving Montreal for Mexico City), which leaves its stamp on the haunting finale, "43," a song inspired by the 2014 kidnapping and massacre of 43 men in the Mexican city of Iguala. By acknowledging darkness, Stelmanis makes her idealism that much brighter -- a duality she uses brilliantly on Future Politics. She channels it through her vocals and beats, the forces driving Austra's music since "The Beat and the Pulse." The delicate waver in her voice does a lot of heavy lifting, carrying the pain of the present and hope for the future on songs like the slow-burning opener "We Were Alive" and "Utopia," where her tentative optimism is more poignant and powerful than a straightforward anthem. Later, the operatic purity of her high notes adds to the uncanniness of "I'm a Monster," while her tender delivery on "I Love You More Than You Love Yourself" reaffirms that no matter how conceptual it gets, Austra's music always has a personal element. The rhythms that animate Future Politics are just as expressive, adding defiant danceability to the title track, a crisp edge to "Gaia"'s swooning chorus, and an alluringly mechanical sensuality to "Angel in Your Eye." Austra may have traded some of Feel It Break's compelling rawness for a more polished approach on Olympia, but Future Politics' rare balance of poise and intensity makes it their most accomplished and emotionally satisfying album yet. © Heather Phares /TiVo
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Electrónica - Publicado el 5 de marzo de 2020 | Domino Recording Co

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Pop/Rock - Publicado el 9 de mayo de 2011 | Domino Recording Co

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Electrónica - Publicado el 16 de junio de 2014 | Domino Recording Co

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Pop/Rock - Publicado el 10 de enero de 2011 | Domino Recording Co

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Electrónica - Publicado el 16 de noviembre de 2020 | Domino Recording Co

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Electrónica - Publicado el 6 de agosto de 2020 | Domino Recording Co

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Electrónica - Publicado el 17 de abril de 2020 | Domino Recording Co

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Electrónica - Publicado el 29 de enero de 2020 | Domino Recording Co

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Dance - Publicado el 22 de julio de 2011 | Domino Recording Co

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Alternativa & Indie - Publicado el 5 de septiembre de 2011 | Domino Recording Co

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Electrónica - Publicado el 16 de junio de 2013 | Domino Recording Co

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Electrónica - Publicado el 25 de noviembre de 2013 | Domino Recording Co

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Electrónica - Publicado el 3 de diciembre de 2016 | Domino Recording Co

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Electrónica - Publicado el 12 de diciembre de 2017 | Domino Recording Co

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Electrónica - Publicado el 7 de marzo de 2013 | Domino Recording Co

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Electrónica - Publicado el 12 de noviembre de 2020 | Domino Recording Co

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