Go see Ottawa's Fevers for their sick 24-hour album release party
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Electro indie rockers Fevers are getting set to release their debut full-length album, No Room For Light, this weekend with a fever that won’t require a trip to the doctor’s office.
“We’re making our album release more of a party,” says Fevers lead singer Sarah Bradley.
The album is officially out on Tuesday but the 24 Hour Fever gets going on Friday night when the band kicks off a series of shows beginning with an acoustic set at Mugshots (75 Nicholas St.) followed by an all-night party with a DJ set by Fevers and special guests.
Then, the band will perform a full electric show at Mavericks (221 Rideau St.) on Saturday night with the chance of impromptu sets in between — they’ll be dropping hints about locations via their Twitter page (@feversband) and Facebook.
The 24-hour party to release Fevers’ debut album is in stark contrast to the way the record came together.
In order to write No Room For Light, the band members escaped their busy schedules and the buzz of the city, locking themselves up in a summer cottage for 10 days.
“It was a very focused working session because we didn’t really have any other priorities except writing,” Bradley explains.
“It was very productive and also very relaxing.”
She says Fevers’ first EP, Passion is Dead, was a compilation of songs the band had written over the years, while their debut LP is more of a collaborative effort.
The band also enlisted the help of a producer this time around, Laurence Currie, who has worked with an impressive list of Canadian artists like Sloan, Wintersleep, Buck 65 and Holy F—.
Bradley admits that Currie’s input was “really beneficial to creating a coherent sound,” adding that he showed the band a different approach to recording music.
“Something we’ve never done is create visuals of our songs. So, we would play a song and he would be like, ‘Alright, let’s deconstruct this,’ so you could see the song visually.
“It kind of put the chaos that happens in our heads on paper so we could see it,” she says.
“That’s the great thing about working with a producer; you’re not only paying for an album, you’re also paying for a learning experience.”
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