Nova’s debut album, midnight midnight, is a juxtaposition of light and dark: unabashedly simple keyboard lines sound charming and innocent atop mysterious and dissonant baritone guitar chords; catchy-as-hell vocals — brought to life by sweet, nigh doo-wop style harmonies — hover above the stern pounding of drums.
Light and dark; triumph and defeat; celebration and mourning; power and weakness; love and hate; binaries coalesce to form place, the city in which we live. Nova taps into this enduring contrast to create music of monumental self-expression.
Sonically, Nova is a marriage of a darker, less commercial version of the Cars with the subtle and restrained beauty of Yo La Tengo. In truth, however, the strength and singularity of Greg MacPherson’s writing renders accurate comparisons limited at best. Five full-length solo albums, countless national and international tours: MacPherson has rightly found himself in the top-rung of active Canadian songwriters.
In Nova, the fresh talents of Jackie Hogue and Molly McCracken carry MacPherson’s tried and true skill to new and exciting heights.