New York, NY (September 15, 2022) – Toronto’s post-punk, world-beat duo Bedouin Soundclash return today with “Walk Through Fire,” their ecstatic new single featuring Aimee from The Interrupters on vocals. The track is featured on the band’s upcoming new album, We Will Meet In A Hurricane, due out October 21 via Dine Alone Records.
Co-produced by Jay Malinowski and Colin Stewart (The New Pornographers, Destroyer, Dan Mangan, Black Mountain), the buoyant and soulful tracks on We Will Meet In A Hurricane find the beloved duo digging back into their musical roots, steeped in the border-bending sounds the JUNO award winning and platinum selling band is known for. Pre-order/save the album here.
Discussing “Walk Through Fire,” Malinowski noted, “When we finished this song, we knew that Aimee from The Interrupters would take this it to another level. We love her voice so much. It’s strong and fragile at the same time. We first met them on their California tour after we had been away for a long time. Their band has an inspiring energy. The song is about not worrying about the knocks, the fires, the destruction that can happen in our lives, and that we can walk through it if we don’t lose track of each other. It’s a reflection of the longtime bond Eon and I have. Sometimes I don’t think we understand it. We can say a lot to each other without saying much.”
The album will drop with a special companion remix 12″ EP, Hurricane Dubs, from Bedouin’s long time mentor Darryl Jenifer of Bad Brains.The We Will Meet In A Hurricane pre-order includes a milky clear w/ black smoke Dine Alone Exclusive 12″ (limited to 100), a Standard Peach 12″, Hurricane Dubs Darryl Jenifer remix EP 12″ and CD format. Pre-order here. Cover artwork below:
In the spring of 2021, Bedouin co-founder and bassist Eon Sinclair booked an open-ended trip to join Malinowski at his new home on Vancouver Island with the hope of reigniting their once-prolific creative spark. “We didn’t really have a set agenda,” notes Sinclair. “We’d been sending a few ideas back-and-forth between Toronto and Victoria early in the pandemic, and it was a welcome outlet considering everything that was going on. So even though I wasn’t really sure of what I wanted to do next, I thought I’d go out for six months – maybe come back early, maybe stay longer – just to see where things would lead.”
They quickly settled into a comfortable workflow, riffing and writing through the week at Malinowski’s family home and then heading into The Hive studio every couple of weeks with co-producer Stewart to capture the results. Despite it being their first collaboration, there was an obvious and rewarding synergy that contributed to the ‘back to basics’ aesthetic. “There wasn’t a lot of discussion beforehand about limiting things in terms of instrumentation, but I think the way it unfolded was really enjoyable for us – a really powerful sound from basically just guitar, bass, and drums again,” shares Malinowski.
Indeed, the parallels to Bedouin Soundclash’s earliest efforts come easy, sounding like a passport crowded with overlapping stamps on every one of its well-worn pages. Sinclair elaborates: “No matter where we are or what’s going on in either of our lives, if one of us picks up an instrument and plays something, everything else kind of dissolves and our shared focus becomes, ‘How can we turn this into something people want to hear?’”
That’s especially true this time around, and while Bedouin Soundclash’s loyal following will surely relish in this return to their roots, the real excitement is in anticipating where the metaphorical stream might once again take them from here.
Formed in 2001 and named after Israeli dub artist/producer Badawi’s 1996 release, Bedouin Soundclash’s debut album Root Fire (2001) received critical acclaim before sophomore album Sounding a Mosaic (2004) sent the band global, culminating in a series of sold-out shows and festival appearances around the world. The album featured the smash hit single “When The Night Feels My Song”, produced by punk-hardcore royalty Darryl Jenifer of Bad Brains, and the band went on to pick up their first JUNO Award in 2006 for Canada’s Best New Group, along with numerous accolades around Europe.
The follow-up album Street Gospels (2007) earned a ‘Pop Album of the Year’ nomination and ‘Video of the Year’ nomination for the single “Walls Fall Down” at the 2008 JUNO’s as well as three Much Music Video Award nominations for their video for “Until We Burnin the Sun” in 2009.
Bedouin Soundclash released their fourth studio album Light the Horizon in 2010. Produced by King Britt, the album included the singles “Mountain Top”, “Elongo” and “Brutal Hearts” which featured French-Canadian singer-songwriter Coeur de pirate.
The band’s last offering,MASS, was co-produced by Bedouin Soundclash and legendary Philadelphia House DJ King Britt, along with musical direction from Ben Jaffe of Preservation Hall, ‘MASS’ spans two communities, recorded at Marigny Studio’s in New Orleans with the Preservation Hall Jazz Band, and in Vancouver at St. James Church with the children of the St. James Music Academy. While pulling from their old catalogue, the band journeyed further into New Orleans jazz, afro-pop, electronic and gospel, reflecting a creative rebirth influenced by the cities and musicians that surrounded them.
Bedouin Soundclash have toured all over the world and have shared the stage with the likes of No Doubt, Ben Harper, Damian Marley, The Roots, The Interrupters, Gogol Bordello, Bad Brains, and Thievery Corporation among many others.