MONTREAL BAND PROMOTES SAFE SEX WITH CANADA’S FIRST “LATEX SINGLE”

Montreal, Quebec avant-garde rock group, The Maximum Chill, is releasing their new single on custom printed condoms to promote safe sex after gigs. The single, “Long Distance Friction,” will be available on latex and digitally on May 15, 2020 at https://themaximumchill.bandcamp.com/ along with their full discography. 

Long Distance Friction is a zany jazz-rock tune about emotional and sexual tensions that can arise during long distance relationships. The condoms will be housed in a custom printed wallet in Canada by Say It With A Condom and feature a psychedelic design with the lyrics to the song on the inside of the box. The condoms themselves will have a QR code on the outside packaging for quick access to the single.

The Maximum Chill will be donating 10% of proceeds from the single to Action Canada for Sexual Health and Rights’s Sex-ed Saves Lives campaign which promotes the teaching of quality sex-ed in Canada and WILL work to promote consent, reduce STIs, create LGBTQ+ visibility and inclusion and generally make young people HAPPIER, HEALTHIER and SAFER!(https://www.actioncanadashr.org/https://www.actioncanadashr.org/campaigns/sexedsaveslives).

Elmsley: In Balance Review

Hey folks!

I know that these last few months have been stressful for everyone and I hope that you are all staying safe. We were recently contacted by local instrumental acoustic duo, Elmsley about doing a review of their upcoming singles, In Balance and Everything In Moderation, and I realized that it’s been a while since we did a review. So here we go!

To start the violin adds a very nice subtle ambiance to the song, the bassline is very nice and the tone is beautiful. The guitar work is complex but not overly complex. It’s very soothing to listen to. As the song continues you can feel some tension building and the bass becomes the driving factor for a few measures. I love the tapping and slapping of the guitar strings to add in some texture. For an acoustic bass the tone is absolutely beautiful and rich.

The production is very well done and the song is very soothing and relaxing to listen to. The piano and violin add some subtle texture and ambiance to the music.

Overall I think the song is very well written and produced. It sounds very cinematic and could easily be used as the intro to a high budget documentary or TV show. I honestly cannot wait for more from these very talented musicians.

The singles are due out very soon, and will be available very soon.

Follow Elmsley on Facebook for more updates.

Follow us on Facebook and check out our new livestream series featuring Elmsley and more!

TOSMA Winners

This year was our biggest year for TOSMA; we had more options for each category and, we had more votes than ever before. Over 3000 votes were cast and some categories were decided by less than 10 votes (4% of votes cast), others were won by more than 70% of the vote. On behalf of the team, and the scene, I want to thank you all for taking the time to show the scene your love and support.

Now, let’s get to what you’re all waiting for, the winners

Fan Vote

  • Rock Artist Of The Year: Sunday Riot Club
  • Rock Album Of The Year: They’ll Watch You Learn and Watch You Burn (Cody Smith)
  • Rock Song Of The Year: The Friendly Town (Cody Smith)
  • Pop Artist Of The Year: Kanaska
  • Pop Album Of The Year: The Answer Doesn’t Exist (Lessons In Crime)
  • Pop Song Of The Year: Suicide (Kanaska)
  • Metal Artist Of The Year: Fractures & Outlines
  • Metal Album Of The Year: Defenseless (Fractures & Outlines)
  • Metal Song Of The Year: Echoes (Fractures & Outlines)
  • Instrumental Artist Of The Year: Skybound
  • Instrumental Album Of The Year: Winter. Spring (Yarns)
  • Instrumental Song Of The Year: Liquid Courage (Skybound)
  • Live Act Of The Year: Sunday Riot Club
  • Producer Of The Year: Joe Lyko
  • Videographer Of The Year: Joe Lyko
  • Photographer Of The Year: Jessy Dwyer
  • Music Video Of The Year: Defenseless (Fractures & Outlines)

Editor’s Choice

These are awards chosen by me.

  • Artist Of The Year: Fractures & Outlines (For winning all 3 categories in the Metal genre and winning Music Video Of The Year, I believe they are the Artist Of The Year this year.)
  • Editor’s Choice: Cody Smith and Elementals (I usually use this award for an individual or group who has made an impact on the music scene. Last year Noi Ya won after announcing he was leaving Ottawa after years of involvement with us at The Ottawa Sound. Since Cody and his band Elementals had 2 sold out farewell shows, which were both cancelled due to the current state of emergency, and are leaving the Ottawa music scene, I decided they were my Editor’s Choice this year.)
  • Promoter Of The Year: Jessy Dwyer. (Jessy and his company Beyond The Pit, have exploded onto our scene as concert promoters this year, helping bring acts such as Hunt The Dinosaur, to the city. They hosted a battle of the bands to help promote and grow our scene, and did we mention they’re making a movie? This is why they are our Promoter Of The Year)

BandCamp Stopping Revenue Share For 24 Hours

To help artists affected by the Covid-19 outbreak, music platform BandCamp.com will be stopping the revenue share system on March 20th starting at 12am (00:00 Hrs) Pacific (3am/03:00 Hrs EST) and ending 24 hours later.

What Is Revenue Sharing?

BandCamp makes their money through fees that artists pay on sales of their music, but, when an artist sells merchandise through BandCamp, the website can’t take their cut of the sale. To make up for this, they take an extra cut of your music sales, until you make up 10% of the revenue from your merchandise sales in music sales. They also take 15% of each digital sale to start.

For example, my band sold $80 worth of merchandise on the site, we will have to sell $8 worth of music in order to start being paid from music sales.

Artist accounts are free. We make money through our revenue share on sales, which is 15% for digital, 10% for merch. We also offer Bandcamp Pro (our premium tier for artists), and Bandcamp for Labels, both for a monthly fee.

BandCamp.com FAQ on Revenue Sharing

For more details on how sales will work on March 20th please follow this link.

For more information on fees click here

For more information on revenue sharing go here

Sinking City Fest Update

Hey,

Due to Cafe Dekcuf unexpectedly closing down and not giving us any advance notice, we have been unable to re-schedule the festival, because of this I have decided that at this point the best option is to cancel the festival and try again next year.

A music festival has a lot of moving parts and involves many people. It may seem simple to some of you to just move the show to another venue, but unfortunately the venues have other shows scheduled, staff to schedule, etc. and it also costs a lot of money.

Myself and the team worked really hard and created something we were really proud of and it sucks that it is ending like this, but we will be back next year and it will be bigger and better than this year was planned to be.

While this situation was beyond my control I still feel bad for this decision. I hope you all understand and will still come and see the other amazing shows we have scheduled for this year.

I’m sorry for letting you all down,

Kyle

Heaven’s Little Devil by Eve Of Uprise Review

Our first musical review of 2020 is the latest release from Lanark County hard rockers, Eve Of Uprise. Heaven’s Little Devil was released on December 14th, 2019 and is available on most streaming services. We are trying a new style of review for 2020 so please comment down below if you like the new way we are reviewing or not. We are always open for new ideas and constructive criticism, if we can dish it out we can take it!

Song Structure & Listening Notes

The song starts with a roaring intro guitar riff. The guitar tone is absolutely amazing. It has just the right amount of distortion, and the tone still has a nice warm feel in the mix. The vocal melody fits very nicely with the guitar riffs and the transitions from verse to chorus is executed very well. The guitar solo near the end is very well done. The chorus is very catchy and overall the song feels very tight and well written. The main riff is very catchy and makes me want to move my head or dance along. The song gives me Avenged Sevenfold vibes.

Mixing and Technical Notes

The high notes in the vocals can feel a little harsh at points and there does seem to be a slight amount of clipping at some points on the vocal track, but other than that the mix is very nice and warm with a rich full sound. I was using Audio Technica studio quality headphones through a UR 22 MKII Audio Interface while listening to the song, so your headphones/speakers may give you a slightly different sound that what I heard. The bass seems to fill out the sound very nicely and the drums are excellent. The mix on the drums was nearly perfect. I personally may have boosted the cymbals a slight touch and have lowered the highs on the guitar and vocals to reduce the harshness in certain spots, but that is mostly personal taste. I may have also added just a touch of reverb to give the song a more roomy feel. I may have also lowered the vocals in the mix by about 1.5 or 2 and add a bit of compression with a touch of reverberation just to get it a bit less forward, but again that is mostly personal taste.

TL;DR Version

  • The guitar tone is amazing.
  • Mix is very well done.
  • Bass really builds and fills out the tone.
  • Transitions are amazingly executed.
  • Seems to be a little clipping on the vocals.
  • Melody fits very nicely with the guitar
  • High notes can be a little harsh in the mix
  • Would lower vocals a touch
  • maybe raise cymbals, lower highs on guitars and vox
  • add a touch of reverb
  • Guitar solo was nicely executed
  • The chorus is very catchy
  • Fade out at end is done nicely
  • Intro is sick
  • The main riff is very catchy and makes me want to move head.

A Chat With: Stranger On The Bus

Hey! Our fist interview of 2020 comes all the way from Australia!

If there’s something Stranger On The Bus has to give is palpable nostalgia for all. Melbourne local one-man band can challenge every little soul out there due to its introspective and exciting songwriting.
Damián Gaume’s side project has been described as “a perfect example of what you get when you mix 90’s boy band vocals with our newly beloved bedroom pop atmosphere”.
(SSG Music)

The decadent and tragic melancholy is evident in Stranger On The Bus. It is a deep departure taking into account multiple sub-genres to make a 3D crystal of modern music.

“Damián Gaume’s project Stranger On The Bus is a fabulous psyche infringement of the current wave of pop and rock. The Buenos Aires, Argentina originating Melbourne Australia based singer/songwriter, glances at the highlight of life with ‘You Gotta Be Mad’. And through it he takes you on a short journey of instincts and platitudes, regrets and successes. This Beatles-vibin’ single hits all with all its might, as the fun in the sun feelz come alive. Take this single and let the sunshine, roll, right in”.
(Come Here Floyd – Jan 2020)

His single “When I’m The Prey” has been described as “a visit to the styles of the 60’s and 80’s pop converge to make this George Michael-like digital extravagance”.
(Come Here Floyd – Jul 2018).

Official artist bio received via e-mail prior to interview
  1. How would you describe your sound?

I record combining old and modern recording techniques and use analog and digital synthesizers. The idea is to achieve a textured, organic sound with a lot of character. Could be considered analog lo-fi but modern and pristine.The final audio is analogically distorted via tuve pre-amps.

  1. Who are your influences?

Guns N’ Roses
Daft Punk
The Beatles
Pink Floyd

  1. What’s on the horizon for your music in 2020?

It’s a new project. Sort of. I’ll release music quite frequently and non stop.
I decided I’m not going to release albums anymore unless they are compilations.
I actually haven’t with this project. Albums are fine from a concept perspective and all that, but a waste of time if you want to keep the thing going in a quick world.
I haven’t played live yet so that’s a must for 2020.

  1. What is your creative process?

Each song is different for me. Sometimes I start randomly mumbling no-sense over guitar chords. Normally I don’t think what to write about. That no-sense I don’t know how turns into something that makes sense and then I realize it’s something I actually feel deep inside me. Quite magical.
Recently I started songs with an improvisation on drums then dropping some synthesizer chords on top and see what happens.

  1. Where do you draw inspiration from?

If it isn’t something that happened to me it would be something that happened to someone close to me. Sometimes I feel emotional about certain topics and I just go in that direction. Other times I just make up stories.

  1. How do you deal with nerves before a show?

I just try to relax. If I practiced enough I shouldn’t be nervous but, I guess there’s always insecurities that can’t be controlled that easily. If I get lost or forget lyrics I just try to think that people don’t give a shit anyway.

  1. Fave venue in you’ve ever played at?

The streets.

  1. Craziest thing you’ve seen at a show?

A guy from the public got on stage to wee on the hole in the kick drum head where the microphone goes.

  1. If you could tour/play a show with any line up who would it be?

Unknown Mortal Orchestra
STRFKR
Boom Boom Kid

10.Advice for new artists?

Just be yourself. Don’t fake it. People are not stupid. Also, quite often the song that you like the most is the one that you’re audience will ignore. They’re not you.

  1. Any shout outs you want to make?
    Yes. I’m really enjoining another Australian band at the moment. Please go and check out Timi Temple!
  2. Social media links/music links

Spotify: https://open.spotify.com/artist/0K76g8wQYb6PPZhyUn5Vtv?si=iPvkjfhCS8efOnp7uA38jw
Twitter: @strngronthebus
Instagram: @strangeronthebus
SoundCloud: https://soundcloud.com/strangeronthebus