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From a more than tender age Pallett has been classically trained in various instruments, and by the age of 15 the musician had regularly been playing solo violin shows. As he grew up however his musical direction geared towards the indie world and Pallett was able to collaborate with a host of revered artists and bands including Jim Guthrie, Royal City, the Hidden Cameras and Arcade Fire. Pallett’s relationship with Arcade Fire is one that has flourished and the violinist has composed string sections and arrangements to the albums “Funeral”, “Neon Bible”, “The Suburbs” and “Reflektor”, all of which are critically acclaimed.
Subsequently Pallett was able to collaborate on the albums of artists including Fucked Up, Beirut, and the Last Shadow Puppets to impressive outcomes. These high profile collaborations were secondary however the Pallett’s own material, and in 2005 he released his debut album “Has a Good Home” under his Final Fantasy moniker. The album was released through Book Recording Club a Toronto-based label of which Pallet is a founding member.
The singer and violinist’s follow-up album “He Poos Clouds” was released in 2006 and won Canada’s most prestigious album award the Polaris, however given the award was sponsored by a mobile phone conglomerate, Pallett chose to give all the money away to bands facing financial trouble.
In 2009, alongside Arcade Fire’s Win Butler and Régine Chassagne, Pallett score the soundtrack for Richard Kelly’s film “The Box”. On top of this, in another collaboration with Win Butler, he composed the soundtrack to the 2013 Spike Jonze film "Her", which was nominated for Best Original Score at the 86th Academy Awards. Now releasing under his own name Owen Pallett, he issued his third studio album “Heartland” in 2010, which he was awarded another Polaris nomination for. The EP “A Swedish Love Story” arrived not long afterwards and his fourth studio album “In Conflict” was released on May 27, 2014.
The list of Pallett’s collaborations reads like a who’s who of esteemed artists including Grizzly Bear, Death From Above 1979, Pet Shop Boys, Duran Duran, R.E.M., Snow Patrol and the National.
Críticas en vivo
Dear reader, a confession: my name is Emily Carmichael and I’m an Owen Pallett-aholic. I know this, because unlike any other act I’ve seen, I’ve lost count of how many times I’ve paid money to watch the violin virtuoso from Canada who still occasionally plays with old mates Arcade Fire (though it’s been a bit of a Sophie’s Choice to decide who wins between the two live, for yours truly). However, as much as it’s a joy every time to see him play, there’s certainly one occasion that stands (red)head and shoulders above the rest. Union Chapel, London’s Islington, 2010 - everything sounds better at Union Chapel, doesn’t it? Though if you happened to be Mr Pallett that particular night, that’s something of an understatement.
Yes, there were his trademarks: the loop pedal which creates his intricate, layered compositions; the sweetly childlike projection art which used to accompany them (sadly he has since dispensed with their contribution, for reasons unknown). So far for Owen, so ordinary - or extraordinary, in his case. Yet this time around, the entire set seemed to be infused with the kind of magic that any regular gig goer occasionally sparks fizzing emotion and excitement within their seen-it-all-before selves. The songs soared. His voice - feminine, imperfect and utterly his own - had finally seemed to find itself. There was not one bad performance that night, not one. And when he played what you could tentatively call his ‘hits’ (from life-affirming meditation on death, "The CN Tower Belongs to the Dead" to his witty, exuberant love letter to aforementioned Arcade Fire pals entitled "This is the Dream of Win and Regine"), there were unabashed tears from this fan - and, I’m certain, from others in the room.
ecarmichael
It may sound a slight cliche but I truly believe the live performance of Owen Pallett is unlike anybody else on the circuit. The Canadian vocalist and multi-instrumentalist seems at a crossroads when deciding which musical discipline to focus on so he simply picks both. Not only is he a well trained and versatile vocalist, he has incredible skill with his trusty violin.
His show is a whole array of light and dark in order to compliment Owen's thoughtful discography. He creates real moments as his tracks submerge into lengthy violin instrumentals and an array of lasers illuminate him from behind. It is a beautiful sight soundtracked by equally beautiful music. 'The Riverbed' is perhaps the highlight of his original material but a personal favourite of the night was a brilliant cover of 'Odessa' by fellow Canadian Caribou. Pallett slowed down the synth and replaced all the exterior sounds with his wonderful strings, a truly momentous moment.
sean-ward
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