Imagine yourself at the helm of a storm-beaten ship. Shaking and rattling toward destruction as you break the crest of a monstrous, swelling wave. You’re thrown to the wind, losing all sense of direction, and, heart pounding, you tumble - into a sea of warm blankets. Halifax's Floodland is both that vessel and the sea.

Astute and adept, this four piece take their sound and its delivery as seriously as their audience allows. Fluctuating from lyrically thoughtful complex ballads, through furious noisescapes and back to stripped-naked and earnest rockers, Floodland’s body of work is ever-evolving yet consistently unpretentious. From the very first verse, it becomes clear to the listener that Floodland take their inventions, though not necessarily themselves, seriously.

Floodland’s obsession with detail and dynamic live performance have been reaping reward from risk, evident in the effortless stride from the clean electric of Shake & Rattle (2012) to the alluringly haunting acoustic of Ampersand (2013) and finally their most recent project It’s The Fire EP. Insistent in their craft, these zealous practitioners of indie rock produce hooks that will pick you out of the surging crowd, follow you home and stay the night.


“‘It’s The Fire’ lives up to the promise of its title, delivering the amped up modern power pop that [Floodland] have been delivering in recent live shows. The band has taken great care with its arrangements from chattering guitars and electric harmonies to mood-setting keyboards, but doesn’t sacrifice energy for intricacy. ”

Stephen Cooke - The Chronicle Herald















Golden Bay Promotions has worked with the following artists on radio, soclial media, campus radio or PR campaigns 




“You brought it on yourself / and now it hurts like hell / and dragging me down won’t make you a better man.”

With that line from “Black Cherries,” the opening track of Hello Delaware’s My Mistake, Dana Beeler sets it all out clearly: There will be no more of these shenanigans. Or, as she tells it, this new album is “a little edgy, a lot pissed off, a lot done with stupid boys and their stupid shit.”

Growing up in rural Nova Scotia, as detailed on “One Horse Town,” Beeler’s environment practically dictated her beginnings as a solo country music artist. After one record, some cross-country touring, and a terrible break-up, Beeler was ready to branch out into new sounds. Enter Hello Delaware. “Being a band allows me to really let down my wall on stage and become the person I want to be,” she says. “I can be weird and honest and outpouring and abrasive, and not worry about how people will react.” 

Beeler followed Halifax peers like Jenn Grant and Heather Green in amongst the trees of Echo Lake Studio to craft My Mistake with two-time ECMA producer of the year Daniel Ledwell. “Danny blew my mind and expectations on this album,” she says. “He played basically all the instruments, save drums and a few guitar parts, and created dynamic and beefy musical hooks that really make these songs everything I wanted for them.”

The result sounds like a Jenny Lewis who grew up in small-town Canada—less Hollywood, more trees—but emerged just as heartbroken, and as insightful about it. It’s Americana with shades of *Red*-era Taylor Swift, the elemental pop of Gwen Stefani while a splash of country seeps across the whole affair, as Beeler’s voice bends into a twang with lyrics like “there’ll always be one horse you can’t tame.”

“I am not going to go quietly into the night,” she declares. “I'm ready to get loud and angry and abrasive and point fingers at someone for breaking my heart. I was hurt and openly bared my heart on my sleeve for a year while I tried to move on. I learned a lot about myself, how to be alone (#SOLOYOLO), how to be a better person, how to tie a tie, and sew my own pants. Life lessons.”