Blurring Time Bells Larsen

• 1 Blurring Time 02:26
• 2 514-415 03:44
• 3 The Way the Wind Blows 03:23
• 4 Calme incertain 02:54
• 5 Questions 04:26
• 6 My Brother & Me 03:50
• 7 Composured Veneer 02:47
• 8 143 03:54
• 9 Might 04:20
• Total Runtime 31:44

Info for Blurring Time

How can we forge new forms of coming home to ourselves? On his sophomore album Blurring Time (2025), Bells Larsen collapses time into a series of patient ceremonies. Guided by the satisfaction of simply “being” as a political act, the record explores the ways we write the ever-arriving self into existence. Oscillating between lo-fi 90s indie and searing folk ballads, Larsen’s project features the haunting accompaniment of voices frozen in time. Aligning with his transition timeline, he recorded his previous “high” voice and instrumentation in 2022, waited for his voice to drop after starting testosterone, and asked longtime friend and frequent collaborator Georgia Harmer to arrange harmonies for his new “low” voice. Together, they created a multilingual, intentional act of surrendering to change. Unlike past projects where vocals were set in the backdrop, Blurring Time unites both voices at the forefront, delivering an unyielding devotional.

Produced by Graham Ereaux, Larsen’s intricately-crafted arrangements evoke Elliott Smith, Sufjan Stevens, and Adrienne Lenker. His lyrics meditate on sibling dynamics, queer world-making, and shared epiphanies, enveloped in soundscapes of quiet intimacy. Larsen’s debut album Good Grief (2022), created during an artist residency in Banff, mourned the death of first love as a collective empathy exercise. Featured in The Line of Best Fit, Under the Radar, and CBC, he has shared stages with Buck Meek, Martha Wainwright, and Land of Talk. If Good Grief reached outward in loss, Blurring Time archives Larsen’s journey of self-actualization, harmonizing voices of past and present into a quiet yielding to the constant state of becoming.

Bells Larsen, acoustic guitar, vocals, hand Percussion, percussion
Daniel Crowther, electric guitar, guitar, percussion, pedal steel
Graham Ereaux, guitar, percussion, hand percussion, piano
Evan Matthews, bass, drums, electric guitar, percussion, piano, synthesizer

Produced and engineered by Graham Ereaux
Additional production by Bells Larsen and Georgia Harmer
Mixed by Mathieu Parisien
Mastered by Philip Shaw Bova

Bells Larsen
Toronto-born, Montreal-based songwriter, Larsen crafts intricate acoustic arrangements and searing folk ballads that trace the contours of queer world-making, memory, and becoming.

His forthcoming sophomore album, Blurring Time (out April 25 via Royal Mountain Records), collapses time into a series of patient ceremonies—guided by the satisfaction of simply being as a political act.

Aligning with the timeline of his transition, Larsen recorded his previous “high” voice in 2022, paused, and returned after beginning testosterone to record new vocals with producer Graham Ereaux. Longtime friend Georgia Harmer helped arrange harmonies for his “low” voice, creating duets between past and present selves. “I didn’t want to have to choose between showcasing my past or present,” says Larsen, “I wanted to change or to and.”

With the quiet intensity of Elliott Smith, Sufjan Stevens, and Adrienne Lenker, Larsen crafts grounding reflections on sibling dynamics, queer world-making, and shared epiphanies—songs that hold space for tenderness, transformation, and time, while remaining unmistakably his own.

Bells’s 2022 debut album Good Grief marked him as a singular voice in indie folk—earning features in The Line of Best Fit, CBC, and Exclaim!, and sharing stages with Buck Meek, Land of Talk, and Martha Wainwright.

“Listening to a Bells Larsen track feels like a homecoming.” - The Line Of Best Fit

“The unvarnished honesty and worn charm of a bedroom recording while retaining a sense of immaculate beauty.” - Under The Radar

This album contains no booklet.