Marissa Burwell’s sophomore album Before the Hour’s Up was born from a push and pull from within. The record is titled after the closing track, which explores the hopeless desire for all of life’s issues to be solved by the end of a therapy session. The creation and release of this album echoed this sentiment; there was a hope that by the time it was released, Marissa’s questions would be answered and her feelings resolved. Instead, she is humbled (yet unsurprised) by the reality that no matter how many topics you address in the hour, they do not simply disappear.
Before the Hour’s Up explores a hundred different manifestations of longing: longing for things to be different, for someone to be near, for someone or something that is out of your grasp, to be understood and to understand. This album touches on topics of personal stagnation, the slow hardening of a heart, a faltering sense of identity, and the complexities of both platonic and romantic relationships – all tinged with an underlying sense of melancholy. Each song has a purpose, whether it is to feel something, heal something, remember something, or to be shared.
Marissa’s previous releases have been partially co-composed with her bandmates, but the lyrical content of every song has come solely from her. In this release, she explores collaborative writing with other artists including Sam Lynch and Cassie Dasilva. Going into these collaborations, there was uncertainty around how exactly to write a song with another person. Three songs later with Sam (Tell Me When It Rains, Say It Again and Everything), and two songs later with Cassie (Minneapolis and Tight Grip), things started to make sense. Songs that once left Marissa feeling stuck and frustrated had now been brought to life through the woman-to-woman connection she shared with these artists. Having never had the opportunity prior, this collaborative process was truly impactful. It is a gift to be heard, understood, and helped to articulate big feelings in a way that feels so true to you.
Other songs on the album (such as Before The Hour’s Up, Poplar Tree, and Inside Out) were written independently, influenced by her regular day-to-day experiences. Whether it was through reflecting on a counselling session, spending time looking out the window of her home office, or spending an August in a humid apartment in Greece, Marissa took inspiration from all aspects of her life to create this record.
This album was recorded at Astros West Studios in Regina, Saskatchewan with funding from Creative Saskatchewan. It was engineered by Chris Dimas and Madison Nicol, mixed by Chris Dimas, and mastered by Ryan Morey. Throughout the record, you will find songs produced by Chris Dimas, Madison Nicol, Sam Lynch and Marissa herself. Musical talents from Madison Nicol (bass, guitar, keys, mandolin, banjo), Tom Duffy (guitar), and Chris Dimas (drums, guitar, keys) will be found throughout the record, as well as from first time contributors Laura Heznek (violin) and Sam Lynch (guitar, banjo, keys). Chris, Madison, and Tom are foundational members in Marissa Burwell’s universe, not only present in the studio but also often found beside Marissa on stage. This album would not have been possible without the contributions of all these wonderful people.
