Sainte Cécile| Spotify | iTunes | Apple | Bandcamp

JAMES IRWIN’S 3rd album, SHABBYTOWN is a record about the disappearance of a particular Montreal.


May 19 Montreal @ Bar le Ritz PDB w/ Alexia Avina + Cedric Noel

May 20 Ottawa @ Bar Robo w/ Beth and Soft Life

May 23 Peterborough @ Garnet w/ Carodiaro & Ben Rough

May 26 Toronto @ Burdock w/ L Con & EONS

May 28 Hamilton @ This Ain’t Hollywood w/ Delta Days

June 3, London @East Village Arts Collective w/Dan Edmonds & Jenny Berkel

SHABBYTOWN was tracked live off the floor over four days in Spring 2015. The band was ¾ of The Luyas – Pietro Amato, Stefan Schneider, Michael Feurstack—and Pat Bass Latreille. Patrick Gregoire (Pat Jordache) engineered and mixed. Maya Kuroki, Maica Armata (Carodiaro), and Lisa Conway (L Con, Del Bel) added guest vocals. Adam Kinner added sax.


Track List           

First of May

Carlo What Do You Dream

Pink Noise


Natural Feeling

Blonde Tobacco


Sweet Light (For Katherine)

Unreal Now Out On Sainte Cécile


So happy to say Unreal is now out on Sainte Cécile, a digital wing of Montreal label Dare to Care Records.

You can buy Unreal on iTunes and buy/stream it on all the other web whatevers. You can also still buy the CD via bandcamp.

Un gros merci à Eli et Gabrielle et tout l’équipe à Sainte Cécile.

Review & Interview by French Blog J’ai Tout Lu, Tout Vu, Tout Bu


Read the full review here at J’ai Tout Lu, Tout Vu, Tout Bu

Read the full interview here at J’ai Tout Lu, Tou Vu, Tout Bu


Western Transport, de James Irwin, est peut-être le plus beau disque de l’année 2012.”

“Aucun disque, selon moi, n’avait jamais aussi superbement exprimé la mélancolie moderne. James Irwin est, osons la comparaison, le Baudelaire de la pop.”

Release of My People Sleeping EP for 12/21/12

This is a reissue of my songs from My People Sleeping as an EP for the solstice apocalypse 12/21/12.

It’s available on CD and as a digital download here

Tracks 1, 3, 4 are from My People Sleeping’s album Feye recorded in the glory year, 2009 at the Pines in Montreal by David Bryant.
Track 2 is from My People Sleeping’s self-titled EP recorded in 2007 in an apartment on Fairmount, Montreal by Tyler Rauman.This 12/21/12 reissue is dedicated to Ruby, Katherine, John, Pat and Logan.



released 21 December 2012
James Irwin – vocals, guitar, mellotron
Ruby Kato Attwood – vocals, keyboards
Katherine Peacock – vocals, keyboards
John Ancheta – guitars, bass on 1, 3, 4
Patrick Bastedo – Drums
Logan Laird – guitars on 2
(Joe Grass guests on pedal steel)


The first review of the EP came in on InYourSpeakers. Check it out here
and on Hoedaaenger. Check that out here.

Western Transport Album of the Year at Bandcamp Hunter


I’m so much happier than Bodie with the cone on his head. My album is the album of the year at Bandcamp Hunter, an Australian site posting about Bandcamp discoveries. Thank you James Baker. Here is the article –


“My task, which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel-it is, before all, to make you see.” 

Joseph Conrad

Rock and roll can save, don’t let anyone tell you otherwise. Those who scoff at the power of music simply haven’t been listening to the correct things. When an album comes along that gently places a key in your heart, turns it slowly, opens a reservoir of understanding and feelings that you thought had long gone, colours your world in the prettiest of colours, then you know you are listening to music of real power. Music produced by someone creating something magical, created by someone that deserves to be classed as something higher than an artist. James Irwin is magical.

I’ll admit it, it’s a rare thing these days for me to listen to a full album from beginning to end and truly appreciate every nuance, every subtlety. To appreciate the structuring and sequencing of songs that contribute to said album becoming a cohesive whole. An entire work, ten songs that fit together beautifully and offer something you can sit and listen to and become completely engaged with. A collection of songs that offer something new and fascinating with each listen. I probably don’t appreciate lyrics quite so much anymore either, I don’t obsessively analyse metaphors and messages in songs like I used to. Where these confessions are leading, of course, is to Western Transport. An album that reignited my love of well crafted lyrics and the album as an art from.

Thrown out on the burning road, 

where the wind was moving stones, 

blood pools around my throat, 

like river mud between my toes. 

Let it sink it in. Give it space.

You are on my mind. Are you in my body too? 

When the need goes away will the wanting stay? 

Will you sit seven days hanging on guilty dreams? 

Are you halfway here? Are you halfway to Mexico? 

There’s no way for me to do the quality of these songs justice outside of quoting the lyric. You can listen yourself and read, as these are lyrics that can be read and appreciated on a poetic level. What I can do is expand a little on how they make me feel and what are some of the ideas that lurk within their gently crushing haze.

The reflective quality of these songs from Iriwn are not navel gazing, are not overtly introspective, they are the concise capturing of a vague existential ache that lurks in us all. Music that captures the sad and beautiful feeling of gazing at a glorious sunset, of walking an empty street in the middle of a foggy night and considering it all and nothing at all. Of feeling brutal heartache and wishing it would be gone but understanding this is what we all endure, that this is being alive. “Hearts Like Old Cars” is one of the finest songs I’ve heard in a long, long time. It’s a seemingly simple metaphor that Iriwn uses yet-like the entire album-it is filled with a brilliant swirling depth. The hardening of the heart comes not from cholesterol or double down burgers, but is generated gradually from disappointment, from unrequited love, from too much of life.

Without you I’d be out on a prairie, under a plain blue sky 

with my steady eyes, steady mind, steady rolling, steady engine. I’d drive all night. 

Hearts like old cars, breaking down, breaking down. 

Everybody is haunted, and you cry and cry, never satisfied. Never satisfied.

The longing here is bittersweet and real but there is more to these songs than heartache borne of love gone wrong. These are songs that of an artist that is looking at people, looking at how we live, considering how we all think and feel. It is songwriting that posses a power that I rarely find in music, a power usually found only in the greatest literature.

Tie my friends down to their beds 

Tie my loves down to their beds 

Let these crazy birds fly from their heads 

Put me back in old orange town where we drink alone and go home 

Cause we are up in the middle of the night 

Ringing bells, shining searchlights 

The master asked for a word to pass, 

We don’t have it anymore 

They are words that stop me, that slow time and gently shift gears in my head to different places. To better places. There’s humour in these songs too, quite often I find myself smirking at some of the wonderful, strange imagery within the lyrics. The meandering, otherworldly ”Anyone To Serve” is a softly flowing spring of enchanting words, backed by peculiar sounds that sound something like a passing of miniature steam ships.

Now you’re lying on a lion fur, telling me what you deserve. You wrap your lips around a blur of words, strangest thing I ever heard. 

How can anyone, listen to anyone, who’s got their luggage lying all around the room. Love somebody like a child would do. 

As if anybody’s blind with faith. As if there’s anyone to serve. 

Irwin alludes to big questions of faith here but the disarming humour of “How can anyone, listen to anyone, who’s got their luggage lying all around the room” is the work of an artist at play, of a supreme lyricist. Then there’s the (non) appearance of Alice…

Everyone this is Alice, Alice this is everyone. She came all the way from Baltimore with me, and the only one who can see her is me. 

Though they tell me she was never even there, I will carry clothes for Alice to wear, as if anybody’s blind with faith, as if there’s anyone to serve. 

I find these lines so funny and fascinating. They are some of the final words of the album and they leave you confused, exuberant and utterly delighted. In these songs Irwin has created a work of art that can be returned to time and time again. An album that you can pick up like that old paper back you love so much and be transported, be given faith in life, be gently reassured that everything is ok and find affirmation that the world is-despite it all-a terribly beautiful place.

Don’t waste your mind. We die all the time. 


W/T Review On Danish Blog Regnsky

I’m posting this in it’s Google translated glory, for those, (most), of us who don’t read Danish. If you do, the original review can be found here.

Thanks to Eva Lakso, my new favourite Danish music writer…and many apologies for Google’s (goofy/surprisingly still impressive) machine-translation.

James Irwin Review

I am so glad that I discovered James Irwin at 23 and not at 11, that it was a very dark blue sky and not a damned light gray as a company. That the world was quiet, so there was time to slow canadierens numbers could find their place.

But now James Irwin here. He hardly even. I imagine at least that he is right now sitting in front of a hut far away in the Canadian wilderness. The perfect scenario for the melancholic sounding, folk influenced album lo-fi-singer/songwriter Western Transport, which came online in early May. Not that many people have figured it out. I think otherwise well that“Ringing Bells” could be played at The Electric Barometer and the home of anyone with a penchant for Bill Callahan ‘s story and evocative texts,  The Zephyrs yellowish color and Cuddle Magic ‘s intimacy – or present itself right next to The New Spring , which Dane’s country-oriented neighbour.

The instrumentation is strikingly confident. It embraces both the indiepop’ede and almost The Morning Benders-wide orchestrated “Nothing At All” , “Needleye” ‘s successful embrace of tradition, people (I would not dream of Cohen) and just after, as if it were not already enough, collectors ‘Boys And Girls Together “ ‘s finger games and tortured, but eternally beautiful vocal harmonies on my imagined heart and squeezes together. Not hard, but noticeably. The grip is loosened by the straightforward melodic “Halfway To Mexico” , stressing that James Irwin despite lo-fi approach hopes that his music is pleasant to hear.Which it is. Especially after the first few numbers. I need to get familiar with the half-husky, half nasal, while insanely endearing vokals often stumbling melody lines. James Irwin momentary tonal groping gives me so much pleasure to read this text, find out why it’s worth beating knot on the tongue to sing words like “prairie” and “pillage”.

Listening to Western Transportation ‘s like staring into the fire and seems an uncomfortable world is okay, because you just now just looking into the fire because there is absolutely quiet and because you are there, the rest of the world is far away. Western Transport takes me out of any situation and replaces it with a static, hot vacuum outside of time and place.As the opening track “Bluedust” ‘s referent initially makes it clear: I’m going to Disappear .

James Irwin lives in Montreal and playing in My People Sleeping , Paradise , Poor William andThe Coal Choir , which I probably will read about here. Western Transportation is his first solo album, and it can be purchased digitally through Band Camp as the only place . Here you can also read the lyrics and listen for free. A vinyl would love to come this fall.

Western Transport Review

Check it out here or read below


Western Transport

James Irwin is not a typical singer/songwriter.  Perhaps this is obvious, given his giant melting face.  This image, the album cover of his debut Western Transport, is fitting: the James Irwin we hear on this album is no person, but a voice seemingly severed from its source; a flat, tempered force that invokes, directs, and sustains.

With Western Transport, Irwin presents a cohesive tribute to the overwhelmed and underfed: the lost lovers and consumed; roles rarely acknowledged, often too close for comfort. With this delicate context, Irwin chooses to emphasize the holding of moments over their resolve, using striking imagery and artful nuance to powerful, distilling effect.

It’s a wonderfully lyrical album, far outside what I might expect from an unknown voice.  But Irwin is not exactly an unknown artist: attentive readers may recognize his unique cadence and tone from a decade of published stories and poems.

As a collection of songs, Western Transport shows influence from folk, pop, country, and poetry.  Considered arrangements create uncannily familiar moods, elevating lyrical themes and ultimately showing an impressive and effective sonic pallet.  Also present is a spatial and temporal awareness: Irwin displays a prowess in opening spaces for words to come to life and narratives to unfold (“Hearts Like Old Cars”,  ”Anyone to Serve”).

A rich yet directed production reminiscent of Bill Callahan or Will Oldham makes Western Transport well-suited for easy listening and atmosphere, but it absolutely shines when given full attention.  It is a rare debut: one that not only marks the entrance of a new voice, but broadens what I look for in an album.

How much do I like this album?  A whole lot.  You will, too.  Check out:

  • “Blue Dust”
  • “Halfway to Mexico”