On Tuesday, June 2nd, 2020, thousands of musicians and other industry professionals across Canada will be taking a day off.
There will be radio silence from members of the music industry on Tuesday, June 2nd, 2020 as they enact a Music Industry Blackout in solidarity with protesters across the world.
The blackout entails not performing, posting or talking about music for 24 hours on June 2nd. This is to give space for civil rights leaders and protesters against systemic racism and police brutality to air their demands.
We spoke with local musician Anndy Negative about why they’re participating in this black out, here is what he had to say:
Rock, punk, metal; all of these genres were built on the backs of black musicians. If you can’t pay the due respect to the people who made what we do possible, then you need to open a history book and rethink your understanding of music.
We as artists, are the gate keepers of culture and we have the power to shape society. Art is inherently political, whether you want to admit it or not. Most modern western music comes from the culture of slaves brought to North America. Without POC we wouldn’t have guitars, banjos, and many other instruments. We wouldn’t have blues, jazz, rap, metal, punk, rnb, etc. So, join me and many other artists on June 2nd for a total music industry black out. Do not talk about or post your music. You don’t have to talk out in support of the protests (you should but you don’t have to) you can just be silent for one day.
Local metalcore/djent behemoths, Held In Secret have dropped their second EP, Nomads.
“Nomads” is, according to the band, an improvement from their debut EP. “Nomads” is a concept release with highly relatable subjects, set to clean and heavy metalcore. Moving away from “repetitive early 2010’s metalcore”, Held In Secret diverges into a more accessible sound, interesting to a broader public, incorporating choirs and piano, all while retaining all of the heaviness of the first EP. It also features guest vocals from Garrett Russell of Silent Planet on the title track.
The band comments on the release:
“‘Nomads’ is an EP that talks about what we believe to be five of the biggest problems in today’s society, Abuse, Racism, Depression, Pollution, Addiction. Five subjects to make the mood go dry at Thanksgiving dinner, but five incredibly important issues that we need to talk about. In each of these songs, you can find a world of emotion twirling into abstractness, the sheer heaviness of the music mixed with the intensity of the lyrics makes for a completely immersive experience. This EP is about the power we have if we stick together. Together, we can stand against abusive households, and improve the system that these poor beaten kids get thrown into. Together we can put an end to hate crimes and racism of all kinds and nature. Together we can beat this global depression, and just by caring a little bit more about one another. Together we can stop putting so much god damn plastic into our oceans. Together we can stand a chance against our opponent in this battle against the opioid crisis. Together we can fight this oppressive system and give a fair chance to all to reach for the stars and not be limited by social constructs such as “Social Class” and prejudice. Never One Left Behind Nomads”
Recommended for fans of Silent Planet, Volumes, and Architects, “Nomads” is available on all digital platforms including Bandcamp, Spotify, Apple Music, and Amazon.
Veteran country singer, songwriter and LGBTQ+ activist Drake Jensen teams up with Broadway legend Rob Preuss and award winning songwriter Jon Hemingway for the release his new single and equally sexy music video, “Burn The Floor.”
“Burn The Floor”, is an innovative, modern country tune born out of the collaboration between Drake, Nova Scotia LBGTQ singer/songwriter/producer Jon Hemingway, and Rob Preuss, former keyboardist of The Spoons and Honeymoon Suite, and former Associate Musical Director for Mamma Mia on Broadway.
“Burn The Floor” is scheduled for release on May 29th!
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.
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.
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
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)
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)
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.
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.
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.
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.
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
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.
Who are your influences?
Guns N’ Roses Daft Punk The Beatles Pink Floyd
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.
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.
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.
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.
Fave venue in you’ve ever played at?
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.
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.
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!