Tag: Toronto ON

Single Review by William Ruben Helms

New Audio: Toronto’s Career Suicide Returns with a Blistering and Furious New Single

Featuring founding members Martin Farkas and Jonah Falco, who splits his time as the drummer in renowned punk act Fucked Up, the Toronto, ON-based hardcore punk band Career Suicide formed back in 2001 and over the past 16 years, the band has written and recorded several records and played a ton of shows across the world. Machine Response, the band’s forthcoming full-length effort is the much-anticipated follow-up to their blistering and critically applauded Attempted Suicide and interestingly, the album which is slated for a February 24, 2017 release finds the band’s most recent lineup — founding members Farkas and Falco, along with Dallas Good (guitar), who has played with The Sadies, Andre Williams, John Doe, Half Japanese, Elevator and others, and guest vocals from Souichi Hisatake, a member of Forward, GISM, Insane Youth, Gudon and others furthering the band’s long-held reputation for blistering, furious, acidic and mosh pit worthy punk rock.

Now, if you had ben frequenting this site last month, you may recall that I wrote about Machine Response’s first single “Suffocate,” a blistering, furious and acidic and mos pit-worthy bit of punk rock that lyrically evoked claustrophobia and desperation. The album’s second and latest single “Distractions” clocks in at 80 seconds and sonically bears an uncanny resemblance to Suicidal Tendencies’ “Institutionalized” — while further cementing their reputation for crafting furious and blistering punk.

Video by William Ruben Helms

New Video: Introducing the Radio-Friendly Pop of Up-and-Coming Canadian Pop Artist Dani

Up-and-coming Canadian indie pop artist Dani is a classically trained pianist and vocalist, who grew up in a small Alberta Canada town and upon realizing that being in her small town wasn’t going to help expand her career, she relocated to Toronto, where she spent as much time as possible to develop her own sound. The Canadian pop artist began receiving some attention with the release of her debut single “Love U More,” earlier this year, and building upon the attention she’s received, the Toronto-based indie pop artist recently released her latest single “Cruel,” a slickly produced and radio-friendly pop song that’s reminiscent of Phoebe Ryan, CAPPA and others — while being deeply personal.

As Dani explained via email “‘Cruel’ is the follow up to my debut single ‘Love U More.’ The lyrics were not only intended for myself, but also for others who may have experienced the strange and disconnected feeling of being addicted. The feeling of wanting to make excuses for someone who you are aware, deep down, is influencing your life in a negative way. Every so often you will get this glimpse of beauty from them and you just want to feel and relive that moment again.” And as a result, the song possesses the realization that a great deal of our relationships leave us feeling a conflicting and confusing array of emotions, even in the best of circumstances.

Directed by Chad Rook, the recently released music video for “Cruel” continues the up-and-coming pop artist’s burgeoning reputation for accompanying her songs with cinematically shot, stylistic visuals that nod at commercials and art films.

Uncategorized by William Ruben Helms

New Video: Canadian Indie Rock Quartet’s Sultry Post-Modern Take on the Art of Seduction

Since the release of their full-length debut, the members of July Talk have developed a reputation for explosive live shows in which they have grown their national and international profile as the band has toured across Canada, the US, Europe and Australia with festival stops at Toronto’s WayHome Music and Arts Festival, Atlanta’s Shaky Knees Music Festival, New Orleans’ Voodoo Music and Arts Experience, Montreal’s Osheaga Festival, the UK’s Isle of Wight Festival and Austin’s Austin City Limits Music Festival. And building upon the band’s growing profile, their sophomore effort Touch was released earlier this year with the album’s first single “Push + Pull” holding the number 1 spot on the Canadian Alternative Radio charts for more than 8 weeks.

The band is currently on tour to support Touch and it includes a December 15 stop at the Bowery Ballroom; but in the meantime, the band’s latest single “Picturing Love” will further the quintet’s reputation for their unique sound in which Dreimanis’ gruff, whiskey and cigarette-tinged growl and Fay’s coquettish and ethereal vocals are paired with bombastic, anthemic hooks, twinkling keys, angular yet propulsive power chord-based guitar and bass chords and thundering, arena rock-like drumming in what is arguably one of the sultriest songs I’ve heard this year. Lyrically, the song focuses on the art and act of seduction in the modern age.

The recently released music video was filmed and shot in a gorgeously cinematic black and white and much like the song is a post-modern take on love in the modern age, as it features the central couple viewing each other through several layers of screens — and it suggest that the video’s central couple, the band’s vocalists are almost always at a sense of remove from one another, yet desperately wanting each other’s touch. But on another sense, it also evokes the game and roles people play when it comes to lust and love.

New Audio by William Ruben Helms

 

If you’ve been frequenting this site over the past couple of years, you’ve certainly been very familiar with Toronto, ON-born, New York-based singer/songwriter and electro pop artist Joanie Wolkoff, who has long been a JOVM mainstay, thanks to her work in a number of attention-winning projects including Her Habits, her solo work as Wolkoff, collaborations with The Hood Internet and others, as well as Gemology, a project Wolkoff began with the then-New York-based multi-instrumentalist and producer Natasha Chitayat, who has since relocated to Los Angeles. Now, it’s been a while since we’ve last heard from the duo as a writing and recording unit, as the aforementioned Wolkoff and Chitayat have been busy with a variety of other creative pursuits; however, the duo recently reconvened to write and record their latest single “Come Again.”

As for “Come Again,” Wolkoff’s ethereal vocals float over a dramatic and slow-burning production consisting of shimmering  and twinkling synths, tweeter and woofer rocking boom-bap like beats, stuttering and skittering drum programming, warm blasts of guitar and a sinuous bass line.  Underneath the shimmering surface is a slowly swooning and euphoric giddiness over stumbling on to someone (whether as a friend or a lover) with whom you speak the same language, and with whom you find an instant and profound connection — and it comes about easily, frequently without explanation; it just is and always will be. But there’s also an underlying uncertainty that comes from the fact that relationships can be endlessly frustrating and short-lived; that sometimes there are moments in which you feel that maybe you’re not quite ready to give yourself — and you find that you’re freely and happily giving yourself. But no matter what, considering how frustrating and confusing relationships of any sort can be, lucky and are are those who find such a profound connection.

 

 

 

 

Single Review by William Ruben Helms

 

Comprised of Darius Byrne (vocals), Brian Ireland (beats, production) and Andrew Eyles (bass), Adult Future is a Toronto, ON-based trio, whose forthcoming full-length effort In The News draws from the contemporary feeling of disconnect and alienation that many of us feel so very deeply. As the members of the band mention in press notes, “the band wanted to make a record that emphasized the singular stories that we all have and share as human beings. All of the songs on this record were inspired by personal stories and were utilized as a method to reconcile those feelings of estrangement. It was an attempt to bridge those feelings of isolation that seemingly contradicts a shared environment where people are literally living on top of each other. Drug abuse, mental and physical illness, violence and love — all of these things impact us individually, but when seen as an amalgamation == is the totality of human history.”

 In The News‘ first single “The Leaf House” doesn’t shy away from the fact that we live in dangerous and fearful times but at its core, is a love song — an urgent call for love in the face of a world that seems hopeless and insane; while suggesting as the Buddhists would suggest that opening oneself up to love when things are at their most precarious is an act of true bravery and the most important weapon we have in such fucked up times. Sonically speaking, the Canadian trio pair a looped strummed acoustic guitar line, boom bap beats, twinkling synths and plaintive vocals — and in some way, the song reminds me quite a bit of Jose Gonzalez and his work with Junip but with a desperate and forceful urgency.

 

 

Single Review by William Ruben Helms

 

Comprised of Canadian-born and based Imran Haniff (vocals), British-born and Canadian based Alex Roberts (guitar), Irish-born and Canadian based John Coman (drums) and Canadian-born and based guitarist Colin Bowers, the Toronto, ON-based indie rock quartet The Holiday Crowd can trace their origins to when its founding duo Haniff and Bowers met in high school. As the story goes, the band’s founding duo had started a conversation over Bowers’ Stone Roses t-shirt, which quickly lead to the duo bonding over a mutual love of 80s guitar pop — i.e., The Smiths, The Stone Roses, The Chills, etc. — and to the duo began songwriting.  Interestingly with the release of their full-length debut Over the Bluffs, a cover of Duran Duran‘s “Friends of Mine” for the charity tribute album Making Patterns Rhyme and bit of international touring, which included a set at the 2012 PopFest Berlin and a 2013 European tour, the Canadian band quickly developed a reputation as one of their country’s finest, up-and-coming indie pop bands.

“Anything Anything” is the latest single off the band’s forthcoming, self-titled, sophomore effort, slated for an October 21, 2016 through Shelflife Records and the single will further cement the Toronto-based quartet’s reputation for shimmering and jangling guitar pop that’s not only clearly influenced by 80s guitar pop but also sounds as though it could have been released in the period that influenced it, complete with a swooning and aching Romanticism.

 

 

 

Video by William Ruben Helms

New Video: The Dark Post-Apocalyptic, Industrial Sounds and Visuals of Toronto’s Odonis Odonis

“Needs,” the latest single off Post Plague has the trio pairing layers of undulating synths, howled and shouted vocals, industrial clang and clatter, rapid fire, staccato drum programming, chopped up vocal samples, a rousing, anthemic hook and a propulsive, hypnotic groove in a tense, anxious song that sonically channels early Nine Inch Nails, Ministry and others — but with a contemporary and stark sense of unease, uncertainty and the realization that we’re on the precipice of our own mutually assured self-destruction.

Directed by Scott Cudmore, the recently released video for “Needs” is the first episode of a series of short films, based around the material of Post Plague that blends virtual reality with traditional video to tell a larger, fictional story. And in the case of “Needs,” the video begins with a person transferring their existence into a barely functional AI robot — and are quickly pulled into a post-apocalyptic future that somewhat resembles our own present. As Cudmore explains in press notes, the video is about “Old, entitled, white men and the system of oppression and exploitation that they’ve created to serve their…well…needs, which are usually money and power. I’m looking at this through the lens of science fiction, but I wanted to depict that power structure breaking down finally. Breaking down internally. There’s no linear narrative and you are free to think of that aspect in any way, but each image is a depiction of this breakdown as well as of repression, exploitation and desperation.”

Single Review by William Ruben Helms

55 Lakes is a mysterious and fairly anonymous EDM/tropical house music production and recording project of two Toronto-based ghost producers, ghostwriters and musicians for several top Canadian artists — and their latest project together was specifically designed for the duo to create, have fun and anonymous collect the credit for their own work. Their debut single “I’ll stay for you” is a slickly produced track that has the duo pairing finger-snap led percussion, twinkling keys, layers of shimmering and undulating synths and electronics, a looped vocal sample and an infectious hook in a propulsive yet breezy and tropical song that sounds as though it drew from Larry Levan and classic house, as well as Zonoscope-era Cut Copy.

Single Review by William Ruben Helms

Earlier this year, I wrote about young, up-and-coming,  Toronto, ON-based singer/songwriter Charlotte Day Wilson, who initially began her recording career as the frontwoman of locally renowned act, The Wayo. And with the release of “After All,” the Canadian singer/songwriter quickly emerged out of her hometown’s jazz, soul and R&B scenes, adding herself to a growing list of nationally and internationally known acts including friends and collaborators  BADBADNOTGOOD and River Tiber.

 

Wilson’s highly-anticipated debut effort CDW is slated for an August 26, 2016 release and the effort will include the critically applauded singles “After All” and “Work,” as well as the slow-burning, soul ballad “Find You,” which features the Canadian singer/songwriter’s effortlessly soulful vocals over a contemporary and minimalist production consisting of twinkling keys and synths, gently swirling and fluttering electronics, finger snap-led percussion and stuttering drum programming in a song that evokes a plaintive and urgent need. And as much as the song is celebration of finally feeling ready to love someone else and desiring love from someone, it’s equally a celebration of finding one’s true self and place within the world — both of which are incredibly difficult, no matter how strong and sure of yourself you may feel. Certainly, for a singer/songwriter as young as Wilson is, her vocal range and her lyrics betray a wisdom and experience far beyond her years.

 

 

 

 

Single Review by William Ruben Helms

Pusher is a Toronto, ON-based electronic music artist, producer and DJ who specializes in a style that he has dubbed “neon,” which is comprised of elements of trap, electro pop, house music, 90s R&B, jazz and other genres in a slickly produced mix that manages to be simultaneously retro-futrutistic and futuristic while being wildly crowd pleasing.

“Tell You” is the first single off the Canadian producer’s forthcoming New Laces EP is a propulsive bouncy production consisting of skittering drum programming, cascading layers of synths, twinkling keys and wobbling bass lines and pairs it with Hunnah’s soulful 90s R&B-leaning vocals in a summery and club-friendly track that sonically reminds me of SWV with a slick, neon polish.

 

 

 

 

Video by William Ruben Helms

New Video: The Tense and Frenetic Visuals for Crystal Castles’ Concrete

“Concrete,” the latest single off the forthcoming album manages to be tense and propulsive as Kath’s production, which consists of layers of undulating synth stabs, propulsive drum beats, malevolent atmospherics and industrial clang and clatter are paired with Frances’ heavily distorted vocals. And while bleak and murky, the song manages to be dance floor friendly — thanks to an anthemic hook.

Synth Pop by William Ruben Helms

 

Perhaps best known as being one-half of electro pop act Radar Cult, KC Maloney’s solo side recording project Adult Karate expands upon the sound that first captured the attention of the blogosphere as his solo project — and although arguably much more minimalist, the project’s sound and aesthetic draws from several styles of electronic music, including house, acid house, techno and ambient. Maloney’s solo debut “So Low” off his forthcoming LXII EP is a collaboration with Toronto, ON-based vocalist Adaline that pairs the up-and-coming Canadian singer/songwriter’s sultry and smoky vocals with a sleek, hyper-modern and minimalist production consisting of gentle cascades of shimmering synths, stuttering drum programming, a Nile Rodgers funky guitar line, wobbling bass line, swirling electronics and an anthemic hook in a breezily club-friendly and radio-friendly track.

 

 

New Audio by William Ruben Helms

 

Maya Killtron is a Toronto, ON-based DJ, violinist and singer/songwriter who first came to attention across both her native Canada and the States with the 2012 release of her debut EP Hipster/Gangsta, and as a result, Killtron wound up touring the festival circuit across both countries, including appearances at Miami’s Winter Music Conference, Pride Toronto, The Halifax Jazz Festival and CMJ. Adding to a growing profile, Killtron’s collaboration with NYC-based production duo Love Taps “Back For More” received attention from the likes of Stereogum and Huffington Post for a sound that meshed moomba and R&B – and for a video that showcased a sadly bygone NYC. Additionally, Smalltown DJs, The Slow Waves, Eyes Everywhere, Brothers In Arms and City Kid Soul have all have remixed the song — with the City Kid Soul remix being named in the Top 5 at Toronto’s Bestival.

Killtron is currently working on a multimedia mixtape project featuring MCP champ and producer Fresh Kills, videographer Diana Piruveska, best known for her work with Nelly Furtado and photographer Natalie Caine; however, in the meantime, her latest single “Never Dance Alone” is reportedly a return to the Canadian singer/songwriter’s roots in funk, pop and R&B — and much like the work of JOVM mainstays Rene Lopez, Dam-Funk, Tuxedo and others, the song sonically sounds as though it could have been a B side to Chaka Khan‘s “I Feel For You” as a sinuous and ridiculously funky bass line, warm and explosive blasts of horns and layers of synths are paired with Killtron’s sultry vocals. Along with that is a breezy bridge that emphasizes the song’s infectious hook. Listening to the song immediately reminded me of being out and about in the summer, whether at a house party, a roof top party or a block party desperately trying to talk up that pretty young thing you’ve wanted since the beginning of summer  — and more distinctly summer 1983.

 

Single Review by William Ruben Helms

Currently comprised of founding members Dean Povinsky (lead vocals, guitar) and Dwayne Christie (drums), along with newer members Derek Bosonworth (bass) and Nick Greaves (guitar), Chris Dawe (keys),  the Toronto, ON-based indie rock quintet Wildlife can trace their origins to when Povinsky along with guitarist Darryl Smith relocated to Glasgow, Scotland to form a band. Along with Scottish drummer Peter Kelly and fellow Canadian Billy Homes, the band spent time traveling, writing and recording songs and playing small venues around Glasgow; however that project split up with the Canadian members left Glasgow to return to Canada. Povinksy moved to Toronto with the intention of continuing Wildlife with childhood friend Plant, Christie and Julia Mensink (synths), along with Bosonworth to flesh out the band’s initial lineup.

Their full-length debut, Strike Hard, Young Diamond was released to critical praise from the likes of Exclaim!. Chart and others. After a series of lengthy tours across North America, which led to their first Top 10 hit single, the members of the band were also working on their first full-length album since 2013. “Dead Century” is the first single off that album, slated for release at the end of the year, and as the band explained to me in an email the song is about “moving forward through lost time; what it feels like to have one foot in an age that no longer exists, and coming to terms with having the other in a world you may never understand.” And as a result, the shimmering, moody and anthemic single produced by Tawgs Salter possesses a bittersweet sense of loss and confusion over what to do next, but underneath all of that a sense of time rushing past. Sonically, the song is incredibly contemporary and radio friendly indie rock as shimmering guitar chords, soaring synth chords, an anthemic hook you can hear kids shouting along and dramatic, propulsive drumming paired with plaintive and yearning vocals — and although aching, the song manages to have a sense of hope at its core.

 

 
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