Ev has synesthesia, and they incorporate their sensory experiences into music reviews. Synesthesia is a condition in which the brain links a person’s senses together in a rare manner, prompting unusual sensory responses to stimuli. People with synesthesia, for example, might see a certain color in response to a certain letter of the alphabet. Those who experience synesthesia “hear colors, feel sounds, and taste shapes” in a remarkably consistent fashion.
The first band to rip open the night was Spell Runner, from Albany, New York. Their wild playing bordered power punk and garage punk, teetering from one to the other. The drumrolls, guitar riffs, and throaty screams melded together and created a chaotic unity.
The guitar playing was of higher pitch and let loose. Each stroke came quickly after the last while leaving a resonance that echoed in the background. Deconstructed and split into two parts, the guitars seemed to squabble with one-another whilst adding a spacey sci-fi-esque sound to the songs. It painted the atmosphere with several shades of electric green, and yellow. The solos were rapid and executed with ease. They provided teal splashes and they drew you in.
The vocals dominated with the throaty screams that ripped from the lead singer. They created the illusion of the instrumentals mellowing out around them. Amidst the technical issues, the stage presence and sheer power of the screams were enough to get people moving and thrashing. The wild screams blasted bursts of irritated reds through the soundscape and allowed for rusty oranges to come through in bubbles.
The bass rumbled in the background and incorporated deeper greens due to the heavy weighted tone. It wasn’t quite warm but it droned on, having kept a steady tempo while snapping in an aggressive edge. Buried in the midst of mass amount of noise, it found a way to stand out and rattle your ribcage.
The drumming remained warm and hollow. They didn’t boom and cling to the air. Instead, the sound fell short, one beat after another. The fills and rolls tied the songs together in a grimy fashion. Tainted in raw golden orange, sunset yellow, and yellow-green, the drumming provided something to thrash to while maintaining a welcoming presence.
Next up was Ottawa’s own thrash metal band World War 4. Crossing over to punk and doom metal, the band brings forth something unconventional yet they do it in such a way that it blends together near perfectly. The fusion of chaos and disorder find a mutual unity within this bands music.
The guitar progressed with violent chugs of muted chords that would unleash themselves wildly, deep navy blues and lime greens taking over progressively. The riffs had a sharp tone to them and splashes of celeste would spray across the field of vision. Meanwhile, the bass found a deep rumble in the background and served to stabilize the wild guitar riffs. It too was played without mercy and with brutal ferocity. It was the steel blue backbone to the mess.
The vocals cut in with brutality and rage. Throaty and as rough as the guitars chugging, they showed absolutely no mercy whatsoever. The vocals cut in with rusty oranges and brutal murky yellows. The sounds ripped from the very back of the throat were a deep stark burgundy, contrasting with the tones of the guitar.
The drumming was quick and each beat fell viciously after the next, having melded into a disarray. Vehement, the crash of the cymbals was brutally cold and sprayed trails of teal across the field of vision. Meanwhile, the snare and the toms found a thick, full, warm sound that couldn’t be ignored.
The last band of the night was High Command. Dissonant aggression and tight drumming, slow buildups, and wild basslines, the band did not disappoint.
The vocals came from exhaled screams, and quite literally ripped themselves free from the lead singers body. They were meant to comes out. Matched to the overall intensity, the seasick green that erupted from the vocal stylings was incredible. Backed by the enraged reds of the power chords, there was nothing held back. Every ounce of energy and soul was thrust into each song. The guitar playing was quick in tempo, and there was much tremolo, despite this, the hostility did not waver and only became more prominent.
The bass seemed to follow the guitar but would rip out its own deep solos that couldn’t help but catch my attention. Adding to the thrashing, it provides a depth to the pieces. Brutal, brisk, and murky, the swampy colours it radiated fit perfectly together and created a backbone to the guitar.
The drums were boney and full. Cold and thrashing, they held absolutely nothing back and gave everyone something to headbang to. The sheer frosty feeling they possessed took over the atmosphere and really drove the moshpit home. The brutality was remarkable and there was nothing quite like it.
A crossover show of punk and metal is something that is generally turned down or slightly frowned upon but I must say that these bands absolutely throw those notions out the window. They are must sees that will inevitably change your viewpoint on the genre.
The group consists of multi-instrumentalist Zachary Perron and songwriter/vocalist/synth player Amanda Lowe, who have come together once again to bring us a larger-than-life album that transcends sonic boundaries. On first listen, Collapse seems to inherit much from its predecessor in the Novusolis catalogue—the exceptional debut entitled Fevered Dreams.
However, when listening closer, there are some specific features about Collapse that set it apart—not only from the group’s past work, but also anything else that the nation’s capital has to offer.
Collapse is the product of some very clear growth by the band. It is an expansion of their sound, and a refinement of their approach and arrangements. Novusolis create an ethereal soundscape from which the listener can bask in, layering reverb-heavy backing synth parts with staccato guitar and restrained percussive elements. This is particularly evident in tracks such as “Closer” and “Collapse.”
Lowe’s vocals are the element that, for me, tie the whole thing together. While her voice offers a delicate cushion for the listener to fall back on, it is also a powerful and emotionally impactful aspect of the album. Lowe’s songwriting emanates her experience and growth as a musician, as she harnesses her own strengths and combines them more effectively than ever with Zachary’s instrumentation. The arrangements are complex, and truly create a dream-like atmosphere throughout. While I’m not particularly familiar with the genre of post-rock, their music certainly reflects the grandiosity of artists such as Sigur Rós and Explosions in the Sky. I’m sure that anyone who has an appreciation of those bands will fall into Novusolis with great ease.
Be sure to keep your eyes and ears out for live show announcements from Novusolis, as their live performance is something you don’t want to miss. Have a listen to their album Collapse below.
Ottawa;s very own Jonathan Becker & The North Fields recently played the album release show for their new album Sober Dawn at Babylon Nightclub in Ottawa. They were supported by other local favourites Claude Munson and John Aaron Cockburn. It was a wonderful night of music and an awesome way to celebrate such an excellent album. You can read our full write up of the album and have a listen here.
Our photographer Aidan Thatcher was there to catch the action, check out his photos below.
Last weekend was stacked with good shows. No matter what I chose to do there was an equally solid show happening elsewhere. One of the options was Mushy Gushy, No Aloha, and Casa Lagarto at Black Squirrel—and there are no regrets.
The night started off with friends hugging and smiles abound. It’s always nice to see a lineup where the bands know each other or have worked together in the past. The weather was warm and soggy, but the sky was clear and folks began to trickle in as local garage-psyche marvels Casa Lagarto took the stage.
Casa Lagarto is a mashup of well-seasoned artists in the community, including Jonny Yuma (formerly of The Yips), Arturo Portocarrero (Lost To The River), Grant McNeil (Tropical Country), Jason Barkhouse (Black Lab Studios), and Jonathan Pearce (Winchester Warm/Mushy Gushy) filling in for Travis Kinnear who just recently celebrated the birth of his first daughter. Their set was tight and their arrangements came through crisply into our ears.
Casa Lagarto at Black Squirrel. Photo by Matías Muñoz.
I’ve said it before and I’ll say it again—Casa Lagarto’s music could be the soundtrack to a Hunter S. Thompson novel. I mean that in the best way possible. I feel like their music would fit perfectly into an acid trip on a desert highway in Nevada somewhere. Casa’s sound is clearly influenced by psych and rockabilly, taking elements from various styles and making them their own. Johnny Yuma’s low, brooding vocals enthralled the audience and his exquisite clean guitar tone could give you goosebumps. Jon Pearce filled in perfectly, and somehow knew the songs like the back of his hand. Some key tracks they played were “Lights Out” and “Scarecrow,” and I highly recommend you go dive deep into Casa’s albums on Bandcamp. The group layered their sound well in the live setting, using the intimacy of the bookstore to enhance their individual instruments to create a warm and rich atmosphere for us all to enjoy the show.
Next on deck was No Aloha, a summer-friendly garage rock group from Montreal that has some loving fans here in Ottawa. As an aside, we presented No Aloha at Mugshots back in 2015 along with Bonnie Doon and Nightshades and it still remains one of the funnest shows we’ve ever done to date. They are fresh off the release of their new EP Cigarettes for Optimists and rocked the house at Black Squirrel.
No Aloha at Black Squirrel. Photo by Matías Muñoz.
This group may seem like a bunch of slacker rock dudes, with their long hair and rarely-groomed faces. However, they’re anything but. This band is well-rehearsed and have a chemistry that is instantly noticeable when they hit the stage and start playing together. With flying guitar riffs, impactful percussion, and Ben Griffiths’ smooth vocals, this group injected some energy into the room. They dug into their impressive catalogue from the past few years throughout the set and pleased the audience and got some bodies moving. Black Squirrel is a versatile venue for all kinds of shows, and the place was perfect for the diverse sounds of this lineup. Lets hope these dudes come back to Ottawa soon, because they’re a party.
Last up was Mushy Gushy, an Ottawa “butt-rock” band that takes a fun spin on rock and roll. While it’s hard to imagine these guys ever not having fun, this night was bittersweet. Kyle Woods, the original drummer and founding member of the band has recently moved to Toronto and got a job there (congrats to him!). But the show must go on. Thus, this show was to be his last as he moves on to new journeys. While this kind of mutual parting is difficult for friends and band mates, it was clear that the sweet outweighed the bitter. Kyle was radiating smiles and hugs, and obviously this was to be a memorable night for him and the band as they decidedly wanted to end his tenure with a bang.
Mushy Gushy consists of more music scene veterans here in Ottawa—bassist Jon Pearce (Winchester Warm), drummer Kyle Woods (fmr. Kalle Mattson), guitarist Cory Lefebvre (fmr. Baberaham Lincoln), and vocalist Dave Gervais (fmr. The Gallop). But more than anything, this group of buds just wants to have fun, and that is evident in their compositions. They don’t take themselves too seriously, and that’s refreshing.
Mushy Gushy at Black Squirrel. Photo by Matías Muñoz.
The ‘Gush have released two excellent EPs so far since coming together in 2016—Tight Snake and More Butter. I just can’t wait to hear what their third release will be called with titles like that. We presented their tape release party at Bar Robo a few years back, and let me tell you—it was a time. Kyle carried the whole set through, and he played the drums more fervent than ever. His rhythm was flawless and his beard was flying to-and-fro to the uptempo rock and roll his group performs. Cory’s fluttering guitar riffs flew over Jon’s steady bass lines as the tracks kept the crowd energized and engaged. They had the crowd singing the irresistible catchy “Oh Oh Ohs” in “Heartbreak Motel” and had booties shaking during “Summer Lusting.” Closer to the end of their set they played their most well-known jam, “Schemestress,” at which point the night hit its climax. The song is a feel-good summer tune, and the hook will grab you and hold on tight. David Gervais’ songwriting is on point, and his vocals add the finishing touch to their part pop, part-garage rock sound with just enough catchiness and grit to go around. All in all, it was a night of good vibes and good memories were made.
Punk band Metz rolled through Babylon a few weeks back, presented by Ottawa Explosion and CHUO 89.1 FM. The band, which was originally formed in Ottawa and is now based out of Toronto, has gained some much-deserved notariety over the years for their music. They released their debut album through Sub Pop, were nominated for the Polaris Music Prize in 2013 and 2015, and their latest release Strange Peace was recorded by the one and only Steve Albini (most known for his work with seminal punk rock band Big Black). Supporting Metz were local noisemakers DOXX and Deathsticks, which turned out to be an explosive night.
Our photographer Aidan Thatcher was there to catch the action, check out his photos below.
Hip hop is like any other genre in the music industry. There are some real artists that work hard and pay their dues to bring listeners and fans material that is impactful in one way or another. But there are a lot of people out there that find shortcuts, step on others in their community, and rip off material to get ahead, too. That’s the music industry, in any genre—it can be a dark, dark place.
Buck n’ Nice is a group that consists of two entities. On one side there is producer, beatmaker, Cypher radio host, and DJ—DJ So Nice, who has been cutting his teeth in the art of hip hop beats since he was 13 years old. He’s a huge grassroots community supporter who throws some of the best parties in town, not least of which is the monthly Hip Hop Karaoke at Elmdale Tavern. On the other side, there is Sawbuck—a proven MC who came from difficult circumstances and worked his way to where he is now. His honesty and untethered lyricism fist in seamlessly with his masterful delivery, digging deep into his hip hop influences such as Mobb Deep, EPMD, Wu Tang, and Gang Starr.
That’s the subject of Ottawa hip hop duo Buck n’ Nice’s new album EMAG. Good hip hop is clever with words (obviously), and it took me a second to realize what “EMAG” actually meant.
“After getting our feet wet with our debut album, we learned from the inside out how backwards the industry is,” they say. “It’s a machine filled with appropriation, shortcuts to success and all-around deception. This is the theme of EMAG, an album titled so because the GAME is backwards.”
With the duo’s sophomore release, they aren’t mincing words or beating around the bush. Having gained momentum in Canada’s hip hop landscape with multiple releases since 2014, Buck n’ Nice have taken from their real life experiences in the music industry and applied them to their new record. It doesn’t take long for them to sink their teeth into the subject, as they dive right into it on the second track, also called “EMAG.”
It’s important to mention that although this concept may sound jaded or negative, I don’t get that sense when listening to the album all the way through. They’re not saying “fuck the music industry” per se—they’re pointing out the problematic parts of it, the deception and fakers, the toxic people and money that drives a lot of the music made in it. To me, what goes part-in-parcel with these criticisms are the things that do matter in music—things like community, real life experiences, people’s everyday struggles, and most of all, valuing more than just money when making art. One of my favourite rhymes from the album is from the track “Leader”, which goes “What’s the difference between me and you? I see the bigger picture, you crop the image just to see the view.”
On EMAG, the duo collaborate with talented artists such as Prufrock Shadowrunner, REKS, Freddy Printz, Whitney Delion, Cheko Salaam (a.k.a. Hyf), as well as Patience and Bender of Flight Distance (RIP Bender), among others. These guys are part of a hip hop community that is stronger and more cohesive as ever. On tracks like “Le Coeur” with Cheko Salaam, both he and Sawbuck bounce words off each other, with rhymes that weave seamlessly and that effectively builds the climactic pillars on the album. In “Ocean or Shallow End” with the guys from Flight Distance, So Nice slows things down and the sample includes strings. Their metaphor of “Ocean or Shallow End” comes across effectively, and hits the listener right in the face. The brilliance with tracks like this is that although the beat is more restrained, the rhymes and lyrics are highlighted to an even greater degree. The same can be said for “Three Sides” close to the end of the album—there’s no letting up here.
After giving EMAG a few listens, any hip hop fan should know that these guys are for real. There’s no filler. There’s no bullshit. Buck n’ Nice had something to say and they did that by packing all of their ideas into an album with a tonne of dynamite and then lighting the fuse. The result is an intelligent, groove-laden record that pays homage to hip hop of old, while keeping true to their own style and modern interpretations of rap. This album will stand the test of time, and will surely make waves across communities in Ottawa and the country as a whole.
Buck n’ Nice are officially releasing EMAG at a party called ANIMAL HOUSE this Saturday, July 28th at The 27 Club (27 York St.), where a triple album release will be taking place. Other releases at the party will be the Feel EP by Freddy Printz, and SpaXe Camels by Missing LinX. Needless to say, if there’s one party you don’t want to miss this weekend, this is it.
Stream EMAG below or click here for full list of streaming links. Check out their full album video on YouTube here.
On Bluesfest Day 10, I arrived super early to the “doors” and waited in line, in the non-bag line. There were about 8 people ahead of me, until a security guard came over and made more lanes for the metal detectors so now I was first in line in one lane. I wanted to be up front center for the last day of Bluesfest since Rise Against is a band I use to listen to growing up.
The security finally let us go through the gates at around 3:20 pm, a crowd of about 30 people (15-ish were from the bag line) speed walked or walked casually towards the main stage, or beer tent. As I was going towards the stage I caught a whiff of what smelled like cow manure… The smell stayed in the air the entire day, but lessened throughout thankfully.
Animal Confession rocking Bluesfest 2018 in Ottawa, ON.
The first band that played was called Animal Confession, They are a 3-piece Ottawa hard rock band. I had never heard of them before, but they were pretty damn good! It’s really great that Ottawa Bluesfest supports local bands and doesn’t just try to go for what’s already “popular.” The group seemed very happy to play at Ottawa Bluesfest, even with the small-sized crowd that was there super early. I think the lead singer even mentioned it was their first time playing Bluesfest, so it’s definitely something to be proud of. If you ever get the chance to see Animal Confession I would definitely recommend it—they’re a great sounding local Ottawa band!
The Jerry Cans bringing a northern touch to Bluesfest 2018 in Ottawa, ON.
The Jerry Cans were the second band of the day for the City Stage. The crowd had grown a bit more by now. The Jerry Cans are an Inuktitut rock n’ roll band that combine folk and country music with throat singing. The Jerry Cans—also known as, ᐸᐃ ᒑᓚᖃᐅᑎᒃᑯᑦ (Pai Gaalaqautikkut)—are from Iqaluit, Nunavut. This band was definitely something special and unique. Most of their songs are sung in the beautiful Inuktitut language, combined with traditional throat singing. They talked about how life is different where they are from, up north, where they deal with problems such as high suicide rates and depression. One of the members even mentioned how they lost a loved one about two weeks ago to suicide. The band talked about the meaning of their songs and what each one is about, songs about encouraging young ones to live life and to be happy. It was truly moving. The Jerry Cans also played cheerful and happy songs to dance to, even teaching us some phrases and words in Inuktitut! Traditional throat singing, which I had never really heard before, was actually really interesting and beautiful. If The Jerry Cans are ever playing a show near you, I highly recommend you go check them out—they’re awesome.
Dear Rouge performing at Bluesfest 2018 in Ottawa, ON.
The third band of the day for the big stage was Dear Rouge. Now this was a band I’ve heard of and seen before. The crowd had grown significantly by this point, a large crowd. Last time I saw Dear Rouge was in 2016 at HOPE Volleyball, I didn’t know who they were back then as I was waiting to see Hey Rosetta! but I don’t remember much from that day anymore. Dear Rouge is a pop/rock group from Vancouver. The band started to play the beginning of a song and Danielle, the lead singer, walked onto stage with this flashy large-sequin dress and ready to rock.
The band played three songs and everyone was having a good time, they start the 4th song and about half-way through we hear a pop noise and then silence from the stage, shortly followed by the digital displays turning off. The stage lost power! All the band members looked puzzled with Danielle not knowing what to do, holding out her hands in confusion. Danielle then decides to hop down off stage while tech scramble to try to figure out the problem and solve it. Danielle walked up to the front of the crowd in the media pit and then down the catwalk greeting and thanking people for coming. People were saying things like “I love you” to her and she replied with “I love you too,” I found it funny but also sweet. Since I was at the very front I heard a security guard talking to someone from the crowd saying “I thought it was a weird way to end a song so suddenly, and then I started to see puzzled looks on people’s faces and turned around to see the band just as confused!”
Danielle finally made her way to where I was to give people handshakes and high-fives, instead we gave an awkward hand-grab since I didn’t know which hand she was going to use—I chose poorly. Danielle then left backstage while we waited for the problem to be sorted with the power, the same security guard from before made a joke along the lines of “What a bad time to forget to pay the electricity bill!”. We then see the drummer come onto stage to test the drums and see if the power is back but alas it is not yet, the crowd then starts to chant “drum solo”. The drummer hears and then begins to drum the start of the 20th Century Fox intro theme and then points to the crowd when it comes to the brass instrumental part and the crowd sang the rest of the tune with their mouths and the drummer drumming along.
A couple more minutes passed by and then the bassist came onto the stage and it seemed like they’ve fixed the power now. The bassist starts to play “Seven Nation Army” by The White Stripes with the drummer joining him, this goes on for about 15 seconds or so until they quit, and Danielle and Drew rejoin them on stage ready to start rocking again. Danielle later takes out a purple smoke bomb with a good amount of smoke blowing into Drews face, while shes dancing and singing on stage. Dear Rouge’s performance was definitely an unforgettable one with so much stuff happening. I would recommend seeing Dear Rouge whenever possible, they are a fun band, and definitely kick ass!
The fourth band of the day hit the stage, and oh boy did the crowd grow in numbers! Three Days Grace is a rock band from Norwood, Ontario. To be honest, I never really listened to any of their music but definitely heard of them before, and of course heard a few songs here and there without knowing who it was. I only found out at the show that the previous lead singer (Adam Gontier) left the band in 2013, and a different guy (Matt Walst) from a band called “My Darkest Days” filled Adam’s position. Knowing this, I wondered how the crowd would receive this new guy, especially for old classics by Adam. Everyone seemed to love the new guy as he was very energetic. The band had roughly 50 guitar picks, most of them white and a small amount were red, on the microphone stands of the 3 guitarists. No they do not shred guitar picks so fast that they constantly need new ones, they throw all of them into the crowd at fans throughout the show.
The members were a bit far away from the crowd due to the large gap created by the big media pit being, so a good number of the picks thrown didn’t make it into into the crowd right away, and security had to pick them up and give them to us or throw them further into the crowd. I managed to get one of the many guitar picks, its white with a very quick and rough doodle of a guitar one one side and “Three Days Grace” in fancy script writing. During the show Matt got two mosh pits going on both sides of the crowd (we were separated in the center by a catwalk). Matt was full of energy and it was to fun watch him running around and singing, I even saw some of the security guards at the front mouthing the words to some of the older songs such as “The Good Life,” which was pretty cool. I would see Three Days Grace again if they came back, but next time I’ll be sure to learn the songs so I can sing along!
Rise Against getting loud to close out Bluesfest 2018 in Ottawa, ON.
Rise Against, rocked the final night for Ottawa Bluesfest 2018 with a 17-song set. Rise Against is a punk rock band from Chicago, the only non-Canadian band to play the main stage on the final day. When I was younger I used to listen to Rise Against a lot as I would listen to whatever music my father liked and had in his collection, but over time I haven’t listened to them as much. I hadn’t listened to their newest album Wolves at all before going to the show, so I was kind of excited to hear some new stuff (to me), they ended up playing three tracks off the album.
My father once told me that he saw Rise Against at Bluesfest before, and when they finished they headed over to the merchandise tent for signing stuff and meeting the fans, according to my father they had a really large line and they didn’t leave until the entire line was gone. They were loyal to their fans and made sure everyone was happy, that’s something that I felt when I saw them. The members of Rise Against seemed like very kind and genuine guys, they were here to share a good time and make memories, and not play just for money and go home. This was my first time ever seeing Rise Against, and hopefully not my last. During the song “Megaphone,” the lead singer Tim McIlrath was singing with a megaphone in his hand. The crowd got crazy whenever they played their classic songs, and crazy again when Tim was in the crowd singing with everyone.
The band played fast songs but also some slow songs, it was a good ratio. Tim played three songs on the acoustic guitar for a little acoustic intermission, and everyone was suddenly more calm and things slowed down, well for a little bit. I think the crowd was most boistrous during the song “Saviour,” which is one of my favourites and one of their most popular ones. During the show I noticed that even more of the security guards at the front were singing along with the words to the songs, I think just about everyone was having an awesome night, an amazing way to end Bluesfest 2018.
When Rise Against finished, they threw more guitar picks, drumsticks, and stuck their taped setlists to water bottles to throw into the crowd. They also threw some of what appeared to be rolled up t-shirts into the crowd! If you ever get the chance to see Rise Against, do it, they’re an awesome punk rock band! 11/10 would see again.