Tag: Toronto ON

 

Throughout the course of this site’s eight-plus year history, I’ve written quite a bit about the Los Angeles-based singer/songwriter, bassist and JOVM mainstay Stephen “Thundercat” Bruner, and as you may recall Thundercat has developed a reputation as a highly-desired collaborator and a critically applauded solo artist; in fact, he has collaborated with Kendrick Lamar  on Lamar’s Grammy Award-winning album, To Pimp A Butterfly and  Brainfeeder Records labelmate, Kamasi Washington’s The Epic, which he promptly followed up with one of my favorite releases of 2015, the mini-album The Beyond/Where the Giants Roam. 2017’s Drunk, Bruner’s critically applauded third full-length album was written as an epic journey into the bizarre, hilarious and sometimes dark mind of the singer/songwriter and bassist, and it featured an All-Star list of collaborators including some of his go-to collaborators Kamasi Washington, Kendrick Lamar, Wiz Khalifa and Pharrell Williams, along with Michael McDonald and Kenny Loggins.

Currently comprised of founding members Matthew Tavares (keys), Chester Hansen (bass), and Alexander Sowinski (drums) with newest member Leland Whitty (saxophone), the Toronto, Ontario, Canada instrumental act BADBADNOTGOOD derive their name from an abandoned comedy TV project that Tavares was working on before the band formed – and whether as trio or a quartet, the band has developed a reputation for a sound and compositional approach that draws from hip-hop, electronica, jazz, prog rock; but they’re perhaps best known for their jazz-based interpretation of hip-hop tracks, which have allowed them to collaborate with Kendrick Lamar, Tyler The Creator, Earl Sweatshirt, Denzel Curry, Danny Brown, Mick Jenkins, Ghostface Killah and others. Interestingly, the band can trace its origins to when the band’s founding trio bonding over a mutual love of hip-hop – in particular MF Doom and Odd Future.

As the story goes, the then-trio played a piece based on Odd Future’s music for a panel of their jazz performance instructors, who didn’t believe it had much musical value – but interestingly enough, after they released the track as “The Odd Future Sessions, Part 1,” the track caught the attention of Tyler The Creator, who helped the video go viral. The Canadian act followed that up with the 2011 release of their full-length debut BBNG, which featured interpretations of A Tribe Called Quest, Waka Flocka Flame and Odd Future. Building upon a growing profile, the members of BADBADNOTGOOD recorded a live jam session with Tyler The Creator in Sowinski’s basement, with videos from the session amassing more than a million views each.

2012’s sophomore effort BBNG2 was recorded over the course of a ten-hour studio session and featured Leland Whitty (saxophone) and Luan Phung (electric guitar) and featured their own original material, as well as renditions of songs by Kanye West, My Bloody Valentine, James Blake, Earl Sweatshirt and Feist. That year, the band was the official Coachella Festival house band, backing Frank Ocean and Odd Future over the course of its two weekends.

2013 saw the release of III, which featured “Hedron,” a track that was also featured on the compilation album Late Night Tales: Bonobo; “CS60” and “Can’t Leave the Night,” which was released with the B-side “Sustain,” and they were involved on the soundtrack for The Man with the Iron Fists, assisting with the production and composition.

2015’s fourth, full-length album Sour Soul, found them collaborating with Ghostface Killah – and interestingly, the album is more of a hip-hop album that nods at (and is largely influenced by) jazz. They ended the year with covers of a handful of holiday standards, including “Christmas Time Is Here” with Choir! Choir! Choir!

Leland Whitty joined the band as a full-time member in early 2016, and they followed that up with producing “Hoarse” off Earl Sweatshirt’s full-length debut Doris and “GUV’NOR,” a remix, which appeared on JJ DOOM’s Keys to the Kuffs (Butter Edition). By the middle of that year, BADBADNOTGOOD released their fifth full-length album IV, an album that featured guest spots from Future Islands’ Sam Herring, Colin Stetson, Kaytranada,Mick Jenkins and Charlotte Day Wilson, and was named BBC Radio 6’s #1 album of the year.

Interestingly, Thundercat and BADBADNOTGOOD have collaborated on what may arguably be one of the most hotly-anticipated collaborations in recent memory, “King of the Hill,” a track that’s a seamless meshing of Bruner’s soulful and dreamy falsetto with his dexterous bass work, a swaggering, boom-bap like backbeat from BADBADNOTGOOD and an atmospheric and shimmering production from Flying Lotus — and as a result, the track manages to be a soulful yet psychedelic take on jazz fusion that’s retro-futuristic yet incredibly contemporary.

Look for the track to be featured on Brainfeeder Records’ forthcoming 36 track Brainfeeder X compilation, and the compilation which is is slated for a November 16, 2018 release will celebrate the label’s decade of releasing the work of fearless and uncompromisingly forward-looking artists that will be split into volumes — a retrospective of their critically applauded releases and the other featuring even more forward-thinking work and collaborations.

 

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New Video: Introducing the Slick Yet Heartfelt and Radio Friendly Sounds of Toronto’s RALPH

Raffa Weyman is a Toronto, Ontario, Canada-born and-based singer/songwriter, and with her solo recording project RALPH, Weyman quickly emerged into the national and international pop scene with the 2015 release of her debut single “Trouble,” which […]

Comprised of Reid MacMaster (vocals, guitar), Sean Hackl (guitar, vocals), Duncan Briggs (bass, vocals) and Owen Wolff (drums, vocals), the Toronto, Ontario, Canada-based indie rock/garage rock act Fade Awaays have emerged as one of their hometown’s up-and-coming acts, thanks in part to a reputation for rowdy live sets centered around material with enormous, arena rock friendly choruses and hooks and fuzzy, 90s grunge rock-like power chords. In fact, the band has played some of Toronto’s most famed and beloved venues including Horseshoe Tavern, Mod Club Theatre and The Danforth Music Hall, have opened for the likes of Wolf Alice, Public Access TV, Hot Flash Heat Wave and The Sherlocks. And building upon a growing profile, the band has played sets at some of Canada’s largest music festivals including CMW, NXNE, Trapdoor Fest and Indie Week.

The Canadian band’s debut single “Get Along” is a gritty and anthemic garage rock barn-burner, complete with distortion heavy power chords, thundering drumming, howled vocals and a mosh-pit friendly, shout worthy hook. And while the song sounds as though it were indebted to The Hives and others, the song as the band says “is about trying to make the best of a situation and trying to get along with the ones you love in hard times.” Certainly, in light of our current sociopolitical moment, the urgent song is centered around a much-needed message for anyone trying to survive our mad, mad, mad, mad world.

As the band adds, the song was a last minute addition to their growing repertoire. “We wrote the arrangement for the song and sat on the lyrics for the rest of our days in the studio. I can’t even remember what we were trying to write the lyrics about because it took us way too long. Nothing felt right – it felt too rushed to be interesting but eventually we ended up writing lyrics about our situation, trying to get work done and how to work together in the studio. ‘I hope we get along / staying lazy ain’t no job couch driven trying to get along.’ It felt more accurate, natural, and engaging.”

 

 

New Video: JOVM Mainstays Stonefield Returns with a Decidedly Psych Rock-Inspired New Single

Over the past year or so, I’ve written quite a bit about the Darraweit Guim, Australia-based sibling psych rock quartet Stonefield, and as you’d recall the Australian band comprised of Amy (drums, lead vocals), Hannah (guitar), Sarah (keys) and Holly Findlay (bass) began playing together when they were extremely young — the youngest member was seven while the oldest was 15. And as the story goes, the eldest sister Amy recorded their first song “Foreign Lover” for a school project, and then reportedly entered the song into Triple J’s national, unsigned band competition for youngsters Unearthed High as an afterthought. Much to her and her sisters’ surprise, the band wound up winning the contest, and within an incredibly short period of time after their Unearthed High win, the Findlay sisters had two singles receiving regular airplay on Australian radio and an invitation to play at Glastonbury Festival.

Since their attention-grabbing Unearthed High win, the Australian sibling quartet has been incredibly prolific as they’ve written, recorded and released two EPs, their self-titled full-length debut, their sophomore album As Above So Below and their third album Far From Earth through King Gizzard and the Lizard Wizard’s Flightless Records earlier this year. Stonefield is currently on a North American tour to support both their recently released 7 inch and their third album that will include stops at Desert Daze, Toronto’s Night Owl Fest, Mexico City’s Hipnosis Festival and a special NYC area show at Baby’s All Right to celebrate the release of the “Through the Storm” 7 inch, a single that finds the Australian sibling and and JOVM mainstays cementing their reputation as one of the world’s hardest bands, while pushing their sound towards a new direction — doom metal with hints of 60s psych rock in a way that brings Black Sabbath, Soundgarden and Alice in Chains to mind.

Interestingly, Far From Earth’s latest single “In The Eve” is  slow-burning, hypnotizing song that may arguably be the most decidedly 60s psych rock-inspired song centered around a propulsive and sinuous bass line, shimmering guitar lines, Amy Findlay’s ethereal vocals and a gently unfurling yet song structure — and sonically speaking, the song brings to mind JOVM mainstays Sleepy Sun, Secret Colours, and Elephant Stone but with a clean yet sensual sheen. The recently released video is equally hypnotic while visually drawing from 60s psych rock as it features the Findlay Sisters dressed entirely in white, wandering in a prototypically British field — and in some way it hints at some menacing ritual about to go down.

New Video: Up-and-Coming Canadian Duo Always Never Releases Dark and Seductive Visuals for “Wylin'”

Always Never is an up-and-coming Toronto, Ontario, Canada-based electro pop production and artist duo, comprised of Patrick Kirschner (vocals) and Dean Guilbault (production) — and with the release of “Millions,” “No Good,” “Morgan Freeman” and “Dangerous,” off their recently released self-titled debut, the Canadian duo have been compared to the likes of Majid Jordan, Miguel and The Weeknd among others — although with the attention grabbing single “Wylin,” the duo’s sound strikes me as bearing a closer resemblance to For Now and The Ways We Separate-era Beacon, as Kirschner’s soulful yet tender vocals are paired with gauzy, atmospheric and yet super modern productions featuring stuttering beats, tweeter and woofer rocking low end and infectious hooks; in fact, much like Beacon, the duo’s sound possesses a pensive, late night vibe, full of regret, confusion and longing.

Directed by Kid Studio, best known for his work on videos for The Weeknd, Big Sean and 6LACK, the recently released video is dark, murky, and dramatic — and features illicit drug use, overdosing, late night seduction and murder, but centered around a trippy and mind-altering series of flashbacks that further evoke the song’s regret, confusion and longing. 

Always Never is an up-and-coming Toronto, Ontario, Canada-based electro pop production and artist duo, comprised of Patrick Kirschner (vocals) and Dean Guilbault (production) — and with the release of “Millions,” “No Good,” “Morgan Freeman” and “Dangerous,” off their recently released self-titled debut, the Canadian duo have been compared to the likes of Majid Jordan, Miguel and The Weeknd among others — although with the attention grabbing single “Wylin,” the duo’s sound strikes me as bearing a closer resemblance to For Now and The Ways We Separate-era Beacon, as Kirschner’s soulful yet tender vocals are paired with gauzy, atmospheric and yet super modern productions featuring stuttering beats, tweeter and woofer rocking low end and infectious hooks; in fact, much like Beacon, the duo’s sound possesses a pensive, late night vibe, full of regret, confusion and longing.

 

 

 

Live Footage: Nick Cave & The Bad Seeds Perform “The Mercy Seat” Live in Copenhagen

Currently comprised of Australian-born founding member Nick Cave (vocals, piano, guitar), Australian-born multi-instrumentalist Warren Ellis, Australian-born Martyn P. Casey (bass), British-born George Vijestica (guitar),  American-born Toby Dammit (keys, percussion) (a.k. Larry Mullins), Swiss-born Thomas Wydler (drums) and American-born Jim Sclavunos (drums), the renowned indie rock act Nick Cave & The Bad Seeds can trace its origins back to 1983 when the band formed after the breakup of Cave’s and multi-instrumentalist Mick Harvey’s previous band The Birthday Party.  Throughout the band’s 35 year history, the band has gone through a series of lineup changes, but they’re known for featuring a cast of internationally-based collaborators — and perhaps most importantly, as one of the most critically celebrated and original post-punk, alt rock and indie rock bands of their era, managing to write and record material across a wide range of sounds, styles and genres — i.e., after the release of 1988’s Tender Prey, the band shifted from post-punk to experimental rock for a series of albums; 2008’s Dig, Lazarus, Dig!!! found the band playing gritty garage rock; 2013’s Push the Sky Away found the band increasingly incorporating synths after Mick Harvey’s departure in 2009.

Additionally, Nick Cave and The Bad Seeds have a long-held reputation for being one of the more intense live acts around and interestingly enough, the members of the band filmed one show, during their 2017 world tour — their Copenhagen stop — and presented in cinemas across the world for one night only as Distant Sky — Nick Cave & The Bad Seeds Live in Copenhagen. September 28, 2018 will mark the release of the digital and 12 inch vinyl release of a limited, special release EP of the audio from the show. Of course, it’ll feature this urgent, live rendition of the gorgeous and moody “The Mercy Seat.”