Writing a song or a record is a careful mixture between escapism and reality. Hopefully evoking a feeling or a mood that cannot be simply said in words, but all the while saying something that everyone knows and feels.

For me this record is very firmly rooted in reality.

I talked in an old blog post about how I feel like with this record I am finally singing about things I truly believe in. That is definitely true, & in a lot of ways this is a record about hope. A hope that things will get better. A hope for the future. A hope for "someday”. Someday, The Moon Will Be Gold.

Fundamentally though, this is a record about death.

My mom passed away five years ago. I was sixteen years old, in grade 11, and walking home from school on a Friday listening to a leaked version of Wilco's Sky Blue Sky, which would come out the following week. For anyone that knows that record, or the song On & On & On, you can understand how hearing my favourite songwriter in the world sing about the exact same thing I was going through at that moment made me feel. It seemed serendipitous. It heightened every emotion I had, all the while comforting me to know I wasn't alone in this. That record still means a lot to me now.

Grieving is not something that is programmed into anyone at that age, especially grieving for the loss of one of your parents. People usually build up to losing the person who is closest to them throughout their life. I didn't. In the weeks that followed all I really wanted was someone to relate to, to tell me it would be alright, to know what I was going through. Tweedy knew. But, I still put off fully dealing with extent of my feelings and grieving for years because I wasn't ready, I was too young, it was too new and I didn't know how. Until roughly a year ago.

My grandmother passed away in May of last year, almost to the day of my mom's anniversary. I was on tour and about to move back to my hometown of Sault Ste. Marie for three months to work and make enough money to pay for a portion of the recording of this new record. I left my band, my girlfriend and my friends back in Ottawa, and for the first time since I was sixteen I was alone in my childhood home. I felt like all I had left was this record and finishing it. What I had put off for five years all came back to me in that house and I dealt with it by writing the lyrics for this record.

I had written about my mom in the past but never as open as I was on all of these new songs. A track called 'Someday', which ended up being on an EP I released last year that served as a compilation and transition piece to this record, was a real breakthrough for me. It was exciting to actually sing about how I felt even if people didn't know my past. It didn't matter. What mattered was actually singing about something that felt real and significant.

I'll be home soon mama don't you wait
Oh we'll meet up in the stars down at the pearly gates
& St. Peter will shake my hand and say "Son, it'll be okay"
I'll be home soon mama don't you wait

I felt like people really reacted positively to that honesty and it helped me move forward. It was the path I was going to follow.

A lot of my lyric writing also correlated with the release of the newest Evening Hymns record Spectral Dusk. Hearing Jonas sing so openly about the passing of his father I instantly related and sympathized. It was a huge inspiration for me how much courage that record took, I wanted to fully put down my own story.

The last song I wrote for this record is called Amelie. It took me months to nail down the structure and lyrics to the song and I finished it on the plane ride to Toronto for the album's last recording session.

In the months after someone passes away people call to check in on you, to see how you're holding up and dealing. Then there are people who call and have no idea someone in your home had passed away. These are the people that we talk to maybe once or twice a year, usually because we were both close at one point in our lives and still keep in touch. When I was younger my mom had a boyfriend, I have no recollection of him aside from pictures and I have no idea where he is or what he is doing, but I decided to write Amelie from his point of view, of him finding out that someone in his past had passed away. I imagined how he would feel if he ever made that call and found out.

I should've known
Because it felt like the end
Now every time I say that I'm fine
Well it's just pretend
& Some say life
Is just death inside out
So I stay where I am but I'm making a plan
To get myself out
& I'll wait for you will you wait for me
It's just a piece of the part and the end of the start
Darling Amelie

I tracked the song on a Saturday night live in Gavin's studio with most of the lights off and him laying the floor listening to the playback through headphones. I played the song four times and after that we were done tracking the final song. It's my favourite memory of making this record.

The reason I am writing all of this though is not for any sort of pity or sympathy, but for context. When this record is finally released and people listen to it I want them to listen with a bit of the backstory, knowing about where I was at. This record is extremely important to me for a variety of obvious reasons, but in the end it's not just about finalized product. The process of writing the songs, lyrics and the recording has been just as significant for me, and for lack of anything but a huge cliché to describe it, this record has really been a "journey".

Looking back on it now, I grieved through this record and came out the other side. I really feel like I'm ready for people to hear it, for it to hopefully reach people, and if not it doesn't matter to me. I escaped into these songs, and in a lot of ways they seem like all I have left, but at least I have them.

Talk soon & thanks.

- Kalle.

Someday, The Moon Will Be Gold

Produced by Gavin Gardiner.
Mixed by Gavin Gardiner.
Mastered by Phillip Shaw Bova.

Engineered by Gavin Gardiner @ Lincoln County Social Club
& Swinfan69 Studios & by Rory Lewis @ The Lebreton Institute.
Additional engineering by Dave Draves @ Little Bullhorn Studios.
Released February 11 2014.

An American Dream & Darkness

Produced by Gavin Gardiner.
Mixed by Gavin Gardiner.
Mastered by Phillip Shaw Bova.

Engineered by Gavin Gardiner @ Lincoln County Social Club & Swimfan69 Studios. Additional engineering by Rory Lewis @ The Lebreton Institute.
August 2012 - May 2013.
Released October 1 2013.

Lives in Between

Produced by Kalle Mattson.
Mixed by Rory Lewis & Brian Babcock.
Mastered by Gavin Gardiner.

Engineered by Brian Babcock @ Algonquin Studios & by Rory Lewis @ The Lebreton Institute. October 2011 - January 2012.
Released May 1 2012.


Produced by Kalle Mattson & Mark Gough.
Mixed by Howie Beck.
Mastered by Mike Bozzi.

Engineered by Mark Gough @ Sir James Dunn Studios.
May 2010 - August 2010.
Released November 8 2011.

Whisper Bee

Produced by Mark Gough.
Mixed by Mark Gough.
Mastered by Mark Gough.

Engineered by Mark Gough @ Sir James Dunn Studios.
Jan. 2009 - April 2009.
Released May 12 2009.


"In a lot of ways this is a record about hope. A hope that things will get better. A hope for the future. A hope for someday. Someday, the moon will be gold.” Someday, The Moon Will Be Gold is the title of the upcoming Kalle Mattson album, an album that is as much about hope as it is about death. Written in his childhood home in Sault Ste. Marie, Ontario Someday, The Moon Will Be Gold chronicles Mattson as he returned to the place where he began writing songs, and gradually came to terms with the death of his mother 5 years prior.

Recorded throughout 2012 & 2013, Kalle Mattson’s newest full-length was produced by The Wooden Sky’s Gavin Gardiner and features appearances by Juno-nominated artists The Wooden Sky, Cuff The Duke & a song co-written by Kalle & renowned singer-songwriter Jeremy Fisher. Someday, The Moon Will Be Gold fully embraces the duality of hope and death, from the summery jangle of “Pick Me Up” to the opulent & euphoric “Eyes Speak”, this is a record that takes the young 22-year old songwriter to the next level both musically & lyrically.

"I had written about my mom in the past but never as honest as I was on all of these new songs” says Mattson. "I wanted to fully put down my own story. In a lot of ways I felt like all I had left was this record and finishing it. What I had put off for five years all came back to me in that house and I dealt with it by writing."

With STMWBG Kalle Mattson follows up a string of two critically acclaimed full-lengths (2009s Whisper Bee & 2011s Anchors), an EP (2012s Lives In Between), and two viral music videos for “Water Falls” (over 250,000 views) & “Thick As Thieves” (over 1,000,000 views). Anchors was mixed by Howie Beck (Feist, Jason Collett, Hayden) and saw Kalle tour in support of the album with stops at CMW, NXNE, Pop Montreal, Ottawa Bluesfest, tours with Sunparlour Players, Cuff The Duke, Jeremy Fisher and opening slots with Jim Bryson, The Rural Alberta Advantage and Blue Rodeo. The album also received a pair of Northern Ontario Music Award wins for Album of the Year (Group) & SOCAN Songwriter of the Year.

In November 2011 Kalle Mattson’s music video for “Thick As Thieves” went viral with over 1,000,000 views to date. Created for only $250 in materials, it was covered by such media outlets as Time Magazine, The Huffington Post, Yahoo and Much Music, amongst others and leading The National Post to highlight Kalle Mattson as one of five musicians poised to breakout in 2012.

In Spring 2012 Kalle released a second viral music video for “Water Falls", which depicted a camera 'slingshotting' through San Fransisco in a revolutionary new stop-motion technique. The video was premiered by NPR's All Songs Considered and was featured in The Atlantic, CBS News, Gizmodo, and led The Huffington Post to ask "Is this the coolest music video of 2012?”.

Kalle Mattson returns January 21st with his third full length album titled Someday, The Moon Will Be Gold. He will be touring Europe and Canada throughout 2014.

Kalle: kalle@kallemattson.com

Management: Andrew Kennedy @ Marked Music - akennedy@markedmusic.com
Management: Heather Kelly @ Marked Music - hkelly@markedmusic.com

Label (Europe): Trickser Tonträger - trickser.org

Booking (Canada): Adam Kreeft @ The Agency Group - adamkreeft@theagencygroup.com
Booking (Europe): Dennis Adler @ Burning Eagle Booking - dennis@burningeaglebooking.de

Publicity (Canada): Ken Beattie @ Killbeat Music - kb@killbeatmusic.com
Publicity (USA): Jeffrey Smith @ Crash Avenue - jeffrey@crash-avenue.com
Publicity (Europe): Sönke Strauch @ Trickser Tonträger - soenke@trickser.org

Publishing (North America): Blair Purda @ Endearing Publishing - blair@endearing.com
Publishing (Europe): Dirk Wilberg @ Community Publishing - dirk@community-promotion.com

We acknowledge the financial support of the Government of Canada through the Department of Canadian Heritage (Canada Music Fund) and of Canada's Private Radio Broadcasters.