Cheryl Stornelli

Cadence Weapon of Mass Destruction

2009-03-04T17:35:00.000-08:00

By: Cheryl Stornelli
Published: Mar. 2, 2009 – SoundProof Magazine

http://www.soundproofmagazine.com/Canada/Features/Cadence_Weapon_of_Mass_Destruction.html

He's not quite hip hop, not entirely rap. Cadence Weapon pushes the boundaries to bring an entirely new sound to the mix.

Breaking through the music industry's barriers of genre can make a climb to the top a lot more challenging. But every so often you stumble upon an artist who doesn't quite fit into one, two or even several genres. An artist who shies away from the norm, the typical, and from the repetitive. Mixing together electronic dance, hip hop, rap and a variety of styles from contributing artists, Cadence Weapon brings us Separation Anxiety – an album that touches on just about every genre within reach.

And in an effort to reach a wider audience, Cadence Weapon released the record as a pay-what-you-can album. "I wanted to release the music, but considering it's so different from what people would normally expect from me, I decided to give people the option. Also, I figured more people would actually give it a listen if they didn't necessarily have to pay for it," he says.

Fuelling the pay-what-you-can concept was not just a desire to reach more people, but for a desire to break away from the expectations of a "rapper". Feeling somewhat stereotyped into the genre, Cadence Weapon holds no punches in stepping out into uncharted territory, and he does so throughout the entire album.

The rap element that is evident in Cadence Weapon's music is undoubtedly his being able to tell a story and make an emotional impact using words. However, barriers – like low expectations of his musical aptitude because he doesn't play an instrument or read music – still remain.

"I feel like people look at me a certain way, like just because I'm a garbage man doesn't mean I don't like to do other things. Maybe I compact garbage and make sculptures out of it, you know? Being portrayed as a ‘Canadian rapper' instantly closes people off from the music, which is the whole point of this project anyway, hearing the music," he says. "People have a lack of understanding of the foundations of rap and preconceptions of what rap has to be. I wanted people to listen to the music without expectations."

Separation Anxiety is an open-ended compilation of random ideas, demos, remixes and collaborations. Released in-between Cadence Weapon's more personal, artist-based albums, the content wraps around his breakup with an ex-girlfriend and disillusionment. His previous full-length release, Afterparty Babies, consisted of mutant-dance rap using solely vocals on every track.

"I wanted to make something culturally relevant. Something undeniably important that shapes the world in a certain way. The ‘Sex with My Ex' remix was really important to me, because as soon as I heard the original by D.B. Buxton, I felt like I had a lot of words to add to this idea. It's something anyone can relate to," he explains.

Like many artists from any genre, Cadence Weapon's first steps in the music industry began with his parents' love for music. With a mom who sang and played piano and a dad who made waves as an influential funk and rap music DJ in the city of Edmonton, many of his initial musical ideas were formed around the house.

"Eventually I discovered things that spoke to me even more. I started out fooling around with raps on the Internet and started getting into playing shows through my uncle's funk band, Magilla Funk Conduit. From there, I taught myself to make beats and really refined my lyrics away from battle rap and it's been evolving ever since."

Luckily, Cadence Weapon's family understood the life of artists and the music industry when he made the decision to drop out of journalism school and move back home with his mom to pursue a music career.

"I started out spending most of my time getting drunk and bemoaning my general failure. At that point, I knew I was doing something interesting [in music] but never entertained any thoughts of people outside of my immediate family actually wanting to listen to it. I'm really glad I grinded so hard to get people's attention back then, the timing was perfect," he reflects.

Now, Cadence Weapon has a strong fan base that reaches further than his family, but he remains humble. "Most people just want to be my Facebook friend it seems. I think having people curious about my process and what I'm doing is cool. I'm actually kind of shy around people who actually like my music so I'm not exactly well-versed in this," he admits.

His current release is already well received and jam-packed with contributing musicians and experimental pieces. He's planning on exploring unrequited love, dishonest DJs, weight lifting, girls from Golden, B.C., and death through his next solo record, Roquentin.

"I sing a lot on it and there's feedback and screaming and guitar and other people's songs. I'm also doing a rap album with Subtitle called Fall Fashion; it's a hardcore rap album about wearing clothes."

Whether intended or not, Cadence Weapon is breaking down fences not only with other rappers, but for future Canadian rappers – kicking over barriers of the music industry with a pay-what-you-can attitude, and shoving through a saturated market of "ideal" musicians.

And whatever he's doing, it's working.

TJ Kong EP - what you're missing out on...

2009-02-04T18:50:00.001-08:00

Here's a follow up to the article on TJ Kong & the Atomic Bomb. Just releasing The Hinterlands EP, I'm continuously impressed with every piece of music these guys put out; it's refreshing to hear a decent band for a change. For those of you in Philadelphia don’t miss the show on Feb 6th at the Tritone.

With a nitty-gritty, boot-stomping sound running through TJ Kong’s EP, The Hinterlands, this is like nothing you’ve heard before. An underlying blues tone that goes perhaps hand-in-hand with a ‘60s folk feel is a continued appeal from this Philadelphia band.

Breaking away from the mostly upbeat EP and standing out the most is possibly track four, Chris’s Song. The tempo is agonizingly slow as Kong lets out raspy sung, honest lyrics. You’ll find yourself crooning and sympathizing with every single beat in this tune...so clearly heartfelt, it paints a picture of an old man with his guitar sitting in a rocking chair on the porch of his country home, whiskey in hand, just laying it all out for the empty fields to hear.

The songs are brilliantly crafted and somewhat encrypted - but once you uncover their secrets, they have the power to completely change your first initial song impression. These aren't just everyday rambling songs - they're clues and hints to deeper meanings and thoughts.

Take careful listen to the songs in order (as per “subtle” instructions from Kong), and you’ll likely find a few purposely hidden gems. You’ll be pleasantly surprised from start to finish with this EP.

The Clown Prince

2009-02-02T08:26:00.000-08:00

Published: SoundProofMagazine - Jan. 22, 2009
http://www.soundproofmagazine.com/United_Kingdom/Features/Quick_Dirty_-_The_Clown_Prince.html

A pair of eccentrics making their mark in and out of the UK, The Clown Prince are no strangers to pounding out new beats that offer a refresher to the tired, typical hip hop song. Does the inspiration to try everything musically come from Russell Simmons? Their musical backgrounds? Or could it simply be an unfading ambition to always progress?
Their EP, Put Em Up, shows The Clown Prince clearly pushing forward and writing for a broader audience. Following the "less is more" point of view in terms of production, the EP is built around traditional drum, bass and guitar. Sure, producer Neel the Wiz throws in synth and effects to give each song colour and uniqueness, but the EP doesn't rely on those extras.
The gem on Put Em Up is clearly "Favourite Girl" – set for release in the spring of 2009. Though it's your usual "loved a girl and lost her" story, the vocals are smooth and soft overtop of familiar beats. It leaves you singing the chorus and feeling the story - minus the cheese and clichés we're used to hearing from this style of song.
"I wrote 'Favourite Girl' about a certain someone in my past. I just needed to give a subtle shout out to let them know it's all good," admits frontman CHiF, explaining that the EP was largely inspired by his becoming single and being out in the world. "My inspiration changes with where, what, how and why I am. I was inspired on this EP by my newfound freedom and the rekindling of old friendships. I hope it shows on this record that I learnt to write songs that impact everyone of every creed and colour."
And the end of a relationship isn't the only one of life's special moments that CHiF credits as having given him a new outlook on his music. Take, for example, the first time he met Russell Simmons, when he saw him waiting outside his hotel. Green with envy, he ran up to offer his CD and to ask for any advice the famed co-founder of Def Jam Recordings could offer someone trying to get into the game. "Brother," Simmons told him, "Get in where you fit in. Do it all, do it good, then do what you like." Still fine-tuning his sound and style, it's a piece of advice that directly impacted The Clown Prince and CHiF's music.
"That's how I look at my music. I've done a lot, but now I'm honing in on what I like to do," he says. "It comes second nature to me and I'm very lucky to have made a career out of it."
It's a career full of passion and learning. Having grown from the first time he met one of his musical idols, through his first recordings, CHiF also teaches music, passing on his knowledge to aspiring musicians. "I always start the first class by telling there are no rules in music. To show no fear in the studio. To aim beyond what they think they can accomplish as musicians," he explains. "If you want to write a verse, then write a song. If you want to make a song, let's make an EP; you want to make an EP, let's smash an album out."
Taking his own words of advice, CHiF is taking The Clown Prince's EP on the road. Keep your eye out for an upcoming tour that CHiF expects will have "Neel the Wiz spitting out sixteen bar a cappellas and lots of sweat, rock and energy."

The Rural Alberta Advantage (The RAA)

2009-02-02T08:21:00.000-08:00

Published: SoundProof Magazine - Jan. 20, 2009
http://www.soundproofmagazine.com/Canada/Features/Quick_Dirty_-_The_Rural_Alberta_Advantage.html

Sometimes the most heartfelt, honest music originates from familiar times and rediscovered memories. On an album filled with the theme of a changing province, elements of heartbreak peek through.
After picking up and leaving Fort McMurray, Alberta, population 35,000, in search of music, and putting together a band in the multicultural city of Toronto, Nils Edenloff was left a little intimidated and homesick.
"Once I got here in 2002, it seemed like all this great stuff was happening. How could I do something that was me when there's all this other great stuff going on? I actually didn't do music until things fell through with a previous girlfriend and I was living alone," Edenloff explains.
With a juvenile start at hosting empty open mic nights to amateur recordings by friends to playing a sketch comedy show, The Rural Alberta Advantage (The RAA) began to take form. Their acoustic style began with just Paul Banwatt on drums and Edenloff bringing guitar and vocals to the mix; other members were coming and going. Then Edenloff wanted to "fill out what the band was lacking" and singer Amy Cole was added to the group.
"After Amy joined it just came together," remembers Edenloff. "It gave us a simple, stripped down sound. The first show we played was like, yes, this is the way it should be!"
The RAA's first album, Hometowns, is a beautiful combination of soft guitar and light piano. Lying perfectly overtop are Edenloff's strong vocals and Cole's sweet, pure tone. Standing out on the album is "Frank, AB", a song that hung like a stone around the band's neck for some time.
"Nothing seemed to work with the song. Right before I was going to Germany on vacation, we got the keyboard dance feel and there was excitement of something new. The other songs were previously recorded as demos, so there was less excitement and feeling of, wow this is happening right before our eyes!" Edenloff exclaims.
Among the things happening before Edenloff's eyes was his realization of how growing up in Alberta not only shaped who he is today, but contributed to lessening the feelings of intimidation and being homesick. "I started writing about things I identified with. Remembering stories of kids running away, vacation in the town of Frank, all these things made me who I am. They're special to me," he says. "Everyone has a special place that's their home. That's what I hope people can identify with."
Unfortunately, with every annual Christmas visit back to Fort McMurray, he becomes painfully aware of the city's growth that's bringing about an unsettling change. Only in his memories does the small town you could take a walk through at anytime remain. Now, his family relays stories of drugs and crime.
"Maybe it's because I remember it as my small hometown where I went to high school. But when I went back, it was this totally scary town. More and more people are just going down there to have fun, make money and blow money. It's completely different than my memories. All these oil clowns are ruining it for everybody."
Though no aspect of our lives remains the same for very long, Edenloff won't completely rule out going back home. "I'm not about to cut up my Alberta health card and piss on the border," he jokes. "I'm here [in Toronto] for a reason. There isn't a lot of diversity there and I've got a pretty open mind." Plans are in the works for a new recording that will complement Hometowns, along with possible tour dates in the US.
Though it's easy to get lost when you're in the big city of Toronto, it was here, thousands of miles from what is now an unrecognizable hometown, that Edenloff eventually found the music niche he was looking for. Sometimes it takes challenging not only yourself, but your comfort zone, to realize who you really are.

The Bicycles Pedal Their Way Into Your Heart

2009-02-02T08:19:00.000-08:00

Published: SoundProof Magazine
http://www.soundproofmagazine.com/Canada/Features/The_Bicycles_Pedal_Their_Way_Into_Your_Heart.html

Oh No, It's Love may follow The Bicycles' usual 1960s bubblegum pop sound, but the themes of the album take an unexpected turn toward unbearable heartbreak and fear. The album takes you on a rollercoaster ride; each song bravely admitting to fears of vulnerability. Amidst the wide variety of song styles are lyrics that ooze with hurt and pain, sung in perfect, yet opposite combination with cheerful melodies. Meshing the two contrasting song styles together creates a somewhat eerie feeling; you're left dancing to songs that echo hard and difficult times.
"It's still our traditional pop songs when you actually listen to them, but with more meaning," says singer and drummer Dana Snell. "The two different kinds of songs together are kind of creepy, but we couldn't write a fully sad song if we tried. It always comes out with our usual pop feel."
With the album's theme and sound being on opposite ends of the spectrum, it becomes difficult to gain an accurate idea of what The Bicycles are actually like as people. In comparison to their previous album, The Good, The Bad and The Cuddly, their latest release carries a darker feel and weightier subject matters. The Bicycles may be full of inner struggle or may see everything as sunshine and lollipops – then there's always the possibility that they're erratic control freaks who run from the slightest feeling of vulnerability.
"We're actually all kind of grumpy. We're not running around hugging everyone, but we're not sourpusses either. I guess you would just have to meet us and decide for yourself. People may get the impression we're just having fun, but we know how to be serious and still have fun," explains Snell.
What it comes down to is that The Bicycles are like each and every one of us. They're vulnerable in sensitive situations; they consistently put themselves on the chopping block with every new release, every new performance and every new contributor. In fact, The Art of Loving, a motivational book that teaches readers how to overcome their fears, inspired much of Oh No, It's Love.
"It's all about how to overcome your fears of loving and being vulnerable. It's about the fear of getting out of a serious relationship and licking your wounds. It's also all about how frightening it is to fall in love and how it's often something you want to run from," explains Snell.
Unlike The Good, The Bad and The Cuddly, which took about four years to complete due to each band member producing their own songs with complete creative control, Oh No, It's Love was recorded in just over a year, live off the floor at Head Wounds studio. (And yes, the band actually hit their heads on the studio's very low ceilings.)
But even with fears of vulnerability running high, The Bicycles' newest release is littered with contributing musicians. Each member gave their song files to other musicians to overdub at their leisure, emphasizing their multi-layer sound and resulting in two long rows of contributors listed in the album's liner notes.
"Even our demo was layered. I like the contributors on there. It doesn't bother me because we still had final say, and it's actually a nice bonus. It's an exciting atmosphere when everyone is thinking of ideas and putting them down," shares Snell.
Having lost their previous bass player with no sign of a good fill-in, everyone except Snell began to learn bass for the new songs, with various members taking over depending on whose style suited what song. "We just try and make the switching as smooth as possible. There's a lot of it, but it ends up really interesting because everyone has their own style. It's exactly like that on album with the number of contributors we had. But the live show is just us."
Oh No, It's Love is made up of a whopping 19, mostly hit-and-run style tracks, all with a perfect blend of sweet vocals and catchy melodies. Even with an extensive number of contributors, The Bicycles managed to maintain their identity and old fans without straying too far from their '60s pop feel while throwing in some country, easy rock and metal pop influences.
Though it may be difficult and scary to open up and let something so cherished be played with by other musicians, it doesn't seem to bother Snell or the rest of the band. To follow the out-of-the-ordinary interactive DVD board game that accompanied The Good, The Bad and The Cuddly, the band is considering handing over their songs from the new album to be turned into dance remixes.
"With the contributors on the album we still had creative control when we got the tracks back. For the remixes, we'll just be handing them over. I don't think we'll hate it and I don't think it will damage the songs. We're fans of the people who want to remix it so it's going to be awesome."
Ironically, the band sees the opportunity to have someone skew and change their songs as fun and exciting. "We've had a couple people interested in turning our songs into dance remixes. We can just let people put their own spin onto our songs. The album is already out, the songs aren't going away. I guess the only danger would be if they become more popular than the original songs, then we've created a monster!" Snell exclaims.
As Oh No, It's Love creatively explores the rollercoaster ride of love, it effortlessly inspires listeners to stare their fears in the face. Although The Bicycles' newest release is not likely intended to change or manipulate your outlook on life or love, you may just find yourself a step closer to overcoming your fears of vulnerability and saying oh yes, to love.

Ruby Coast - Coast to Coast

2009-02-02T07:18:00.000-08:00

Published: SoundProof Magazine
http://www.soundproofmagazine.com/Canada/Features/Ruby_Coast_Coast_to_Coast.html

Hand-drawn stapled cover art, a mere 28 hours of studio time and burned copies of laptop recordings are what Ruby Coast's first two EPs consisted of. But now, the over-simplified days of get-in-and-get-out-style recording sessions are long gone. The Aurora-based five-piece have put together Projectable Collections, an EP to be proud of.

The record is jam-packed with quirky, hooking vocals laid perfectly overtop danceable indie rock. For an instant boost of energy all you need to do is hit play, turn it up and dance to wherever you need to go.

The EP all started with an offer from Dave Monks of Tokyo Police Club to re-record their previously released songs. Ruby Coast and Monks settled into Chemical Sound, a great recording studio run by Jay Sad and Dean Marino. Finally able to get a taste of what actually goes into the making of an EP, the guys were able to experiment and find the right sound, rather than just throw together a few songs for a last-minute tour.

"The other EPs were kind of sketchy, they were made quickly for short tours. We'd just quickly make some songs so if people would remember us we'd be able to give them out or have them pay what they can," explains Justice McLellan, guitarist and vocalist. "This EP is a lot more detailed."

Take the captivating, ever-changing tune "More Than Television"; McLellan doesn't hesitate to agree with keyboardist Keith Bradford that it stands out the most on Projectable Collections. A clear pop feel runs through it from start to finish, but the song purposely avoids the typical structure of a pop song.

"Nothing comes back around in the song. It's consistently changing. There's no real hook that repeats itself. That's what makes it kind of special. I like to experiment with song structures, otherwise it'd get boring" states McLellan.

With a half-and-half ratio of songs above and below the three-minute mark, Ruby Coast have adopted a hit-and-run style similar to their live shows. The catchy pop-like songs on the EP have a leave-them-wanting-more feel. But don't get your hopes up because you're certainly not going to get more just yet.

"We just released our EP and no one wants to hear over half an hour of songs," says McLellan. "It can all just mould together and sound the same. When you're starting out, I think your set is better in small doses to keep people intrigued. You don't want the audience to be drowned in the set."

Don't be mistaken – the band didn't adopt the hit-and-run style because it works for other bands or because they want to stand out in the eclectic Toronto music scene. Their goal is simple: To play what they, as musicians, are inspired by. To be different and to enjoy it. Unlike some bands, Ruby Coast don't care if they're compared to similar bands. In fact, they like it.

"I think it's nice to be compared to bands like Tokyo Police Club," says McLellan. "People used to compare them to The Strokes. I like Tokyo, so why should it bother me? We've also learned a lot from them; they're wicked guys."

Song choices for albums, live shows and EPs can be daunting, especially as a new band stepping into the music scene. On Projectable Collections Ruby Coast have developed a sound that's both magnetic and distinctive, injecting excitement into the audience during shows. Add a charismatic lead singer and Ruby Coast are free to invest their time into recording songs that keep their energy high and keep you hooked.

"It always takes some time to know if you're satisfied with your songs," says McLellan. "You could be really excited about one for a bit but it all depends on how quickly that excitement dies down. If it stays when you're playing them you know it's a keeper."

That's the stamp of approval a song must receive before the band makes a set-list or track listing. Maybe it's a newfound taste for professional recordings or the endless possibilities of where their indie rock sound could go, but the bottom line is that the music needs to make them feel good before it's going to reach your ears. "We've gone through so many songs that when I think back to them they could have been alright. But nobody wants that," explains McLellan. "You're an artist and you're trying to bring the best you can possibly bring. There's no reason for settling for something mediocre, especially when music is your passion."

Aspiring and working toward futures as respected musicians definitely rules out the slight chance of getting by on mediocre quality. To McLellan and Bradford, success doesn't have to mean mansions and fancy cars, personal drivers or private jets.

"Being a successful musician is to be able to take a bus somewhere and just live. It's getting by, even scraping by, but playing shows," states Bradford.

Agreeing, McLellan adds, "It's being able to eat and not be homeless, being able to have groceries. I don't want to be 40 and living in my mom's basement."

"I'm either going to be a successful musician or not," says Bradford. "But at least I'm getting to do what I love to do, everyday."

"I was thinking about it the other day. And I was like, what do I actually love? And music was definitely a for sure. Playing shows is the best. It's my favourite thing to do," says McLellan.

With untainted certainty propelling Ruby Coast forward and a solid EP turning heads across the music scene, it doesn't seem this band will miss a step anytime soon. And with Ruby Coast picking up speed and progressing musically, it's seems likely that laptop recordings and stapled cover art are a thing of the past.

The Library Voices

2008-10-10T09:27:00.000-07:00

Published: SoundProof Magazine - October 10, 2008
http://www.soundproofmagazine.com/Canada/SoundBytes/Quick_Dirty_-_Library_Voices.html

Much like the hidden gems of music venues within Regina's deteriorating downtown, Library Voices are a ten-piece colourfully bursting out of their overpopulated, yet inviting indie music scene. Amidst low-income housing, pawnshops, drugs and crime the home of dozens of inspiring bands are crammed into a few city blocks.

With the closing of a grocery superstore that brought people and jobs to the downtown roughly ten years ago, the city has essentially left the core in pieces and with very few resources. Each day, Michael Dawson (guitar, organ, synth) watches as people crawl into the city for their day jobs and crawl back out, never breaking the cycle that is crippling the downtown. Yet out of this spawned a spectacular music scene.

"Regina is a ten city block with like 20 bands in that area. They stretch boundaries; it's hard not to be inspired by them. It's a very supportive scene for local music, it doesn't feel competitive (and) everyone takes turns playing with each band," Dawson explains. "However, we're about ten blocks away from what's deemed the worst neighbourhood in Canada. There's a ridiculous amount of drug use and crime. Our city is split down the middle in terms of a moderate amount of young families and crime."

Adding unbearable winters to the mix, there doesn't seem to be much to do in a city like Regina. Most bands hibernate and lock themselves away to make music and record. It's a bit ironic for Library Voices that they began in the summer and plan to tour out west in February and out east in May.

Luckily, having shared a stage with high profile indie outfits like Broken Social Scene, Stars and Plants and Animals, Library Voices were fortunate enough to have their turn and get an up-close look at what these bands "twist into each song". With a loose, fun vibe and a different level of professionalism, it quickly became an enlightening experience for the band.

"We just watch in awe of how it comes together for these other bands. I like to find out that they do a lot of things similar to your own band," says Dawson.

A great song or a great band may stem from a simple melody or small verse, but what's important to remember is the majority of the time it was never pre-meditated to sound a certain way or evoke specific emotions.

"The nature of art is that you stumble upon your best ideas; no one wants to admit that. But it's when you're not paying attention and fooling around that something great comes out of it. It's when the best ideas fall out of you," Dawson claims.

"The first song of our six-song EP came from ideas when we were just sitting around. We went with what felt right. When we went back to work on new stuff the songs almost set the tone for the band."

Though falling under the large pop umbrella, Library Voices carry an upbeat, dance style with an overall ‘60s feel. However, rather than falling into "bubblegum pop," their sound is self-reflective, ironic and sincere.

Their full-length, set to be released in January 2009, carries a more mature sound combined with the parts the band loved from the EP, Hunting Ghosts & Other Collected Shorts.

In a way, Library Voices prove that some hope and inspiration can be brought to decaying cities that used to overflow with life and opportunity. As unappealing as Regina and its deteriorating downtown may sound, hidden within the run-down buildings, empty streets and crying babies lives a thriving music scene filled with artistic gems, offering a glimmer of light in hard times.

Coming soon - Cancer Bats

2008-10-08T17:00:00.000-07:00

Having just finished chatting to Liam of Cancer Bats the article will be coming very shortly along with live photos from their show at J's Place in Brantford!

Keep an eye out for a peek into their tour lifestyle, his advice to young musicians and the differences between everyday bands and the Cancer Bats (you'll be pleasantly surprised!)

Also coming up, The Library Voices. Perhaps the most intriguing first-hand look from Michael Dawson about the music scene in Regina. It's bursting with talent that breaks past the mold of drugs and crime filled streets. You don't want to miss this one!

In the meantime, check out the recent TJ Kong and the Atomic Bombs for a little folk rock.

Tj Kong and the Atomic Bomb

2008-10-08T16:56:00.000-07:00

Published: SoundProof Magazine - October 3, 2008
http://www.soundproofmagazine.com/Globe/SoundBytes/Quick_Dirty_-_TJ_Kong_and_the_Atomic_Bomb.html

Overnight success stories are common for dime-a-dozen pop acts, but to put a twist in the mix, and maybe a couple of months in between, this is one band that's gaining a buzz a little quicker than first intended.

For vocalist T.J. Kong, it was as simple as grabbing his guitar and sitting down with drummer Deej Martin, crackin' open a few beers and jamming to see what would come out. Although a tried-and-true process for bands of every genre, it's not often that a first-time jam session turns into an all day, all night long event that concludes with recorded demos.

"We gelled really quick," says Kong. "I've never played with anyone who I've connected with so fast and with something I'd written. Without even talking, we hit on all cylinders right away."

Now known as TJ Kong and the Atomic Bomb, the band traffic in boot-stomping, guitar picking, raspily sung songs, reminiscent of late ‘60s folk rock with an overall blues tone. The tunes are so enthralling and catchy it becomes increasingly harder with each play to stay in one place. The weary at times, yet always truthful lyrics have you moaning along with Kong and banging around with the rest of the band.

"I just write the melody and words," Kong explains. "Then, the drummer [Martin] adds to it and takes it in one direction or another. There's not really a message in all of the songs, but you can pull things from them."

Along with the vague symbolism from this Philadelphia-based band, comes a diverse way of promoting their upcoming EP, The Small Apartment EP, set to be released in early October. (Most of the songs can already be heard on their MySpace.) "I vote we go out on top of city hall, play as loud as we can or drive around, blast it guerrilla style, and then just vanish! Or maybe we can walk through the streets playing it, see how far we can push it, you know, hands-on style," exclaims Kong.

For a band that takes prides in their live experience more than anything else, the idea of their public display of talent doesn't seem out of the ordinary. Neither does the band's 'what if' thoughts about their future together. "We treat every live performance as if it's the last one," Kong reveals. "We try to make it something in itself. If the band blows up and gets complicated and takes away the idea of connecting to the audience on a personal level, I won't do it anymore. If it doesn't, and I can still have one-on-one feel, I wouldn't mind doing this and nothing else."

With the band's buzz quickly growing around the Philly indie music scene, where everyone seems to have a venue in their basement, it doesn't seem as if it would be a hard task to sell their EP and gain more fans – regardless of whether or not they sing on top of buildings or in the middle of the street.

"In the back of my mind I'm already thinking that we can go up or down with the EP. Right now we're enjoying the immediacy of this new thing and the small scene," Kong says. "There's clearly no reason to have an agent. If it works, it works." And with these methods of opening minds to new thought processes, ideas and first releases, he's probably right

Hell Yeah!

2008-09-24T16:50:00.000-07:00

Just confirmed is an interview early next week with Liam Cormier of Cancer Bats! I saw these guys at J's Place in Brantford a couple weeks ago and shit, they put on a crazy show. Real kick ass guys, keep an eye for the posted article!

Also coming up is an interview/article for SoundProof Magazine. Indie band from Saskatchewan, The Library Voices. The leader singer grew up right around the corner in Paris, Ontario! They're getting a lot of buzz, watch for the interview!

Coming up...TJ and the Atomic Bomb

2008-09-16T16:14:00.000-07:00

Soon to come is an article on TJ and the Atomic Bomb. These guys are from Philadelphia, what a different music scene over there! They've been together since April 2008 and already creating a buzz in Philly and Toronto. Didn't take long eh?

Think Bob Dylan style here...rough folk rock that you can't stop stomping your foot too.

Check back soon!

Fond of Tigers

2008-09-16T16:01:00.000-07:00

Published: SoundProof Magazine - September 16, 2008

http://www.soundproofmagazine.com/Canada/SoundBytes/Quick_and_Dirty_-_Fond_of_Tigers.html

As music lovers we've become too accustomed to constantly attempting to decipher lyrics and the hidden messages within an artist's song. The real secret is that most songs aren't meant to instill the same feelings the lyricist had at the time of writing. Most songs are simply meant to be felt and self-interpreted, which is exactly how Vancouver's Fond of Tigers have so far intended it.

Starting out as a solo project by guitarist Stephen Lyons, a few current band members were "lured with a promise of a fairly big show which ended up getting cancelled entirely. It was like using it as bait," says Lyons. "I swear I had nothing to do with the cancellation!" After a wish-wash of members since that day and a few statics, Fond of Tigers has become settled as a creative, instrumental septet.

The instrumentals are written based on vocal phrases composed by Lyons. Instead of leaving the lyrics in the song, Lyons says he "finds speech rhythms more interesting when played on guitar" and he adapts them to a violin, trumpet or guitar. "Not having lyrics allows for people to apply their own narrative and use it as their brain soundtrack. Lyrics in music puts ideas into singularity."

As hard as it is to make a name in today's music industry, bands without lyrics can be seen as less than memorable and can be overlooked by an audience that continuously seeks more interaction.

"It's an issue that has come up a lot. But it's becoming less of an issue in our live shows because they're full of intensity and detail. There's so much going on and to process [besides lyrics] that some people can suspend that human need to have someone speak to them," adds Lyons.

With a lack of lyrics mixed with intense, deep emotions, the show becomes creatively involved and inspiring for an audience. The audience becomes free to form their own thoughts and let their minds create the meaning for each song.

Describing himself as "anxiety-ridden and edgy," Lyons purposely transfers his tense personality into the band. Lyons makes extremely last-minute, absurd changes to already-complicated songs in an effort to create tension.

"When a great deal of self-doubt is instilled and everyone is on edge - that's where the intensity of Fond of Tigers comes from," says Lyons. "We become nerve-racked and don't mellow out [before a live show]."

Sure, it sounds a little sadistic, but laying everything on the line musically is essential to creating something that will reek of value and caliber, much of what a fair number of musicians today severely lack. Besides, an audience feeding off a high level of energy and intensity may not be something to escape from. "When I used to play solo I'd end up having sporadic nervous breakdowns on stage or just a freak out on guitar. I don't know if I enjoy it or have just come to harness it. Maybe in five years I'll be singing about ulcers and grey hair!" Lyons jokes.

The next step for Fond of Tigers is a common one. They plan to record a new album in the winter. But what fans have come to expect from the septet is that an ordinary album isn't in their vocabulary. Lyons is throwing in a twist that wouldn't normally sound scary coming from a calm, collected band:

"I'm thinking of upsetting the relationship with the audience and starting to sing."

Wakestock 2008 - review

2008-08-16T18:58:00.000-07:00

Published: SoundProof Magazine - July 27, 2008
http://www.soundproofmagazine.com/Canada/Events/Wakestock_2008.html

A successful festival is not always determined based on ticket sales or the size of the audience during a band's performance, and Wakestock proved that.

On Sunday, around noon, Wakestock's Telus Stage started out with only a few handfuls of spectators. Many festivalgoers saved their voices and dance moves for their preferred band, while others were gawking in awe at the intense motocross demonstrations by the stage.

Kicking off the day with the catchy, feel good songs of Port 26, the guys never blinked an eye at the somewhat small crowd. Each song was filled with energy and punch that made them easily danceable with sing-along choruses. As spectators took notice, the small crowd added a few dozen extra fans.

"Our set went great. The whole purpose was to get people up to the stage, have a good time and start off the day, and that's what we did. There weren't that many people at first, but we're a very catchy band," admitted singer Dave Ricci when I caught up with him later.

Up next was the passionate and smooth styling of Toronto's Shawn Hewitt. The audience couldn't stand still as he danced across the stage with a captivating and commanding presence. With lyrics full of spiritual and inspirational notes delivered with smooth, sexy vocals, Hewitt took the crowd on a ride with every high or low note he sung.

"It's always amazing when the songs come alive, these songs are meant to be lived and experienced," said Hewitt after his set.

Taking over the stage late in the afternoon was Dragonette, who gives any typical front women who uses only sex appeal and little talent to gain publicity a run for her money. Considered a breath of fresh air to the festival and music industry, the whole set was packed with in-your-face danceable tunes the crowd went crazy for. Hopefully at least some of the crowd noticed that Dragonette proved a woman doesn't have to be over-the-top scandalous to have sex appeal to gain a fan base. Their lead singer and somewhat feminist, Martina Sorbara, chooses to have unshaven armpits (which society doesn't view as attractive) and yet she remains sexier because of her confidence and empowerment, which today's music scene severely lacks.

Meeting her later, she explained, "It seems there's one kind of sexuality that's allowed and it's completely accepted. My kind of sexuality is not accepted or something."

"It's the idea that if a woman sucks boys off and shows it online she'll make money and get publicity. Pathetic acts like that are saying that's what you've got to do if you're a girl. It's bullshit," added guitarist, William Stapleton.

It was a late start for We Are Scientists after technical difficulties on the Island. Their set was the most crowd-interactive with witty banter between songs that got a few laughs, including telling the crowd two people on side stage suggested cutting two songs from their set because they suck. The band obliged and decided to just get to the meat of the set.

From the front of the stage, right to the back of the field, excitement and energy were widespread. The set was bursting with unique, catchy songs the crowd belted right back at the band, especially the chorus "my body is your body" of the popular song, "Nobody Move, Nobody Get Hurt."

Closing out the festival was Metric, almost an hour later than scheduled due to earlier technical difficulties. As if on cue with the start of the set, the rain poured as Metric opened with "Dead Disco". And the rain only got heavier as they played.

It didn't stop the majority of the crowd as they went crazy for Emily Haines' robotic-like dance movements and continuous synthesizers. It appeared the crowd was most excited for Metric, even though their lyrics were somewhat depressing. A thoughtful gesture of throwing the crowd five red umbrellas was a little late as the rain stopped about five songs prior, and only their encore was left.

Where most bands choose a feel-good song for the encore, Metric did the opposite with a rather sad one. Most continued to brave the possibility of the rain returning and sang along with the sad song. Hopefully Metric felt the projected love from the fans. About halfway through the song the crowd began to filter out to the ferry docks, leaving the true fans watching right up until the last second.

Overall, Wakestock was packed with raw and talented bands that each brought something unique to the stage. No band was exactly the same except for their common interest to put on a kick-ass rock show for their spectators. And together, they did just that.

Diving into The Wet Secrets

2008-08-16T18:50:00.000-07:00

Published: SoundProof Magazine - July 27, 2008
http://www.soundproofmagazine.com/Canada/SoundBytes/Quick_and_Dirty_Diving_Into_The_Wet_Secrets.html

CHERYL STORNELLI

When it comes to Edmonton's The Wet Secrets, it's likely a good thing there's only a kernel of truth to their quirky, unconventional lyrics. Coming up with song titles such as "Grow Your Own Fucking Moustache, Asshole", "I Tea Bagged Myself" and "Anal Rape Santa", they're sure to raise a few eyebrows under any normal circumstances. The band, however, never blinks an eye when their eccentric personalities spill into their music. With more than a few Canadian tours under their belts, the funky five-piece is quickly grabbing the attention of the Canadian indie scene.

"We're all kind of quirky and the songs are often a reflection of our collective sense of humour," says bassist Lyle Bell. "Often it's just us coming up with ideas, having a few drinks and everyone just chimes in."

By taking only a small piece of truth from their otherwise normal, everyday lives and "making it a little more poetic and not as blunt," they end up with their recordings. "Grow Your Own Fucking Moustache, Asshole" was written about a friend at a party who was, "very regal about his mustache and was screaming at everyone who had fake mustaches," Bell reflects.

Although the band may come across as regal when it comes to touring, the idea is often misinterpreted. With five band members' full-time schedules and side projects to work around, The Wet Secrets have still managed to obtain a following.

After putting in more than a few hours touring across Canada the classic way, "slumming it, sleeping in a van and coming home malnourished without showering for three weeks," the band feels that smarter touring (think planes and hotels rooms) would mesh into their lifestyles more easily.

Bell says it is possible to experience this type of touring in a band that's just starting to make waves in the music scene. "You can get a foothold in places where you haven't been because of things like MySpace, YouTube or Facebook. You don't have to do it like the old way and play the same place over and over just to double a crowd," says Bell.

The Wet Secret's first album and first show took place within just one week of forming the band, mirroring their ongoing, somewhat peculiar tendencies. With the second album, Rock Fantasy, taking roughly two years to produce, Bell plans to go back to the one-week style and focus solely on recording The Wet Secrets.

"The last record was bogged down with everyone being scattered and having to come and go. Trying to re-record a vocal track from six months ago is hard when you can't remember where you left off," says Bell. "It's really fun and challenging to do it in one concentrated burst with your head completely in the creative process."

If it took The Wet Secrets two years to come up with their bizarre lyrics and unusual music on Rock Fantasy, fans can only imagine what's in store for the next one-week recording. With a half-written Spanish record and another carrying an outer space theme, it's not out of the question that some old tracks could resurface. "Once we sit and get a couple of drinks in everyone, who knows what could happen!"

Ohbijou – A storybook inside your mind

2008-08-16T18:42:00.000-07:00

Published: The Satellite Newspaper - February 6, 2007

CHERYL STORNELLI

In the middle of a traffic jam, in the midst of an argument or even in a crisis, the sweet sounds of Ohbijou are enough to settle any troubled soul. With the simple push of a play button the seven-piece band effortlessly takes you on a swift journey with a carousel of pictures playing throughout one’s mind.

It’s a collection of instruments mixed with a small town girl’s hopes, dreams and losses, the angelic songs could be compared to those resonating from a music box on a bedside table.

“Inspiration, song writing and lyrical content spurs from personal experience from love and friends and heartache. It’s trying to make sense of all those experiences and condense them into songs that are 3 to 4 minutes and are little flashes that I can look back on but in melodic form. Just everyday life is where I draw inspiration from,” said singer Casey Mecija.

For many growing up in a small-town such as Brantford, Ontario (about half an hour from Hamilton towards Kitchener) it doesn’t provide much excitement for young people. However, Casey and her sister, Jenny Mecija discovered it could be inspiring and a push in the right direction.

“Sometimes I miss Brantford. Our parents re-located to Oakville so it was nice to plant roots somewhere and have friends and go to school. I think a lot of your life is determined by how you spend your teenage years. It had a big effect on me,” said Casey.

Although both sisters miss the quiet life of the small town their roots at The Ford Plant, a tiny, culture filled venue allowed them the opportunity to grow and progress as musicians.

“I think that if we didn’t live there then we wouldn’t have the same aspirations in Toronto,” said Jenny. “I’m glad the Ford Plant is in Brantford. It will inspire people and I’m sure there’s a lot of great music that’s just brewing there. It’s a good nuturing place.”

From a small town to a big city the band wanted to keep the same “small town feel” when they relocated. Settling into a dimly lit, crowded house, Jenny, Casey and roommate Kim created their own community, the Bellwoods house. Composing music from the basement with various artists passing through, Mecija and bandmate James Bunton created the Friends in Bellwoods Compilation, donating ten dollars from each CD to the Daily Bread Food Bank.

Listening to the variety of contribution and sounds on the compilation (including their dog Appleby running in the house) has brought about a small misconception.

“It’s really just about creating an open and comfortable environment for those who are like minded, enjoy the arts and creating music,” said Casey. “But the people are often affiliated to us in some way, we can’t just let anyone into the house…we’ve found our address on websites! However we’ve had shows [held in the basement] where strangers have come but ended up being amazing people. We’ve been really lucky.”

Ohbijou plans to head to Quebec in the next couple weekends to play a few shows with Habitat. Coming back to Toronto and surrounding area for a few shows including the Brampton Arts Indie Music Festival and Canadian Music Week. In May the seven-piece will be taking two weeks to go away and begin the recording of their new album. A tour either across Canada or out West is in the works for July.

Whether the band moves across the world or into a town with less than a thousand people they’ll renew your senses and take you back to the days you dreamed of living in a fairy tale. Sweet lyrics, soft ballads and vivid imagery make Ohbijou an escape from anything you’re running from.

Mugshot takes time to pause and reflect

2008-08-16T18:39:00.000-07:00

Published: The Satellite Newspaper - January 16, 2007

CHERYL STORNELLI

Just like they splattered themselves with bright blue paint for the release of their full-length album, Pause and Reflect, Mugshot paints a picture with their catchy, pop-punk music.

Not to be confused with the typical cliché of today’s pop-punk and emo bands, Mugshot isn’t singing to you about cutting themselves, hating the world and rebelling. It’s catchy music about the problems in everyday life, with a positive spin that leaves a little pep in your step.

“[The songs] are straight up love songs, they’re about when you miss someone, rocky relationships, just everyday life, but there isn’t a song that doesn’t end on a positive note,” said Nick lead vocals and bass.

Mugshot’s California tour was a big wake up call for the band, the moment when their hard work paid off and they were doing what they loved.

“It was so far from home,” Nick said. “Basically, we got to go because we wrote songs in our basement.”

Swapping band members isn’t uncommon on tour for Mugshot.

“We would be like okay you take this guy and we’ll take that one. Kyle always went to play videogames with the other bands,” Nick said laughing.

Sitting in Mugshot’s tour van (not like Cobra Starships tour bus, but that’s what happens when your song is in a movie Nick pointed out to me) complete with peanut granola bars and bunk beds the guys shared, you would never see this band as one to be involved in a fight, let alone street brawl.

“We went to this Chinese restaurant and there were these people making racist remarks,” Nick said, “I’m a very calm person but it was getting to the point I had to say something, I was really biting my tongue. I told the guy I wasn’t gonna fight but he actually spit in my face! That’s when all hell broke loose. We told some of the other guys and four bands ended up going to look for them with us. It turned into a five on five street brawl pretty quick.”

If you had just seen Mugshot’s performance in which the band covers Shakira’s “Hips Don’t Lie”, while dancing across the stage, you wouldn’t have known what to say either. But make no mistake; the band really is how they appear.

“On tour, Matt [drums/vocals] is probably the Daddy of the group, he takes charge,” Nick explained. Nick is considered the most responsible.

“Kyle [guitar/vocals] is…well…” Nick started to say, “The most random one in the band. He’ll get paid, buy random things like pythons, guns to shoot in the woods and then doesn’t eat for a week,” Kyle says with a laugh and a nod.

“I’m a total Mama’s boy though,” Kyle said and put his fists together to show the words tattooed across his knuckles. He also proudly displayed a pink carebear on his hand.

“Funny story about tattoos, Nick said, “We made a drunken bet that if we got a record deal we’d get snowmobile tattoos. I got ‘Sweeter’ written underneath because it’s one of our songs.”

For Mugshot, there doesn’t seem to be anything sweeter than the success of their first album, Pause and Reflect and recording their next album this year. Maybe a tour van is in the cards for this Toronto-area band, it’s undoubtedly “worth the fight” as the song goes.

Trews

2008-08-16T18:35:00.000-07:00

Published: The Satellite Newspaper - April 3, 2007

CHERYL STORNELLI

Take the sound variety on Den of Thieves, the experience of playing four hundred shows with well known bands, and you’ll get an idea of what’s next for The Trews. Sharing the stage with Finger Eleven and The Rolling Stones has left the Canadian rock band with a feel for what it takes to be successful and a taste of fame.

“You gotta be good to be in the business, be talented. Especially now, it’s not going to be about the fabricated stars with a million dollars behind them because people just won’t buy the record if they don’t like it. They’ll just go and download the one song, realize they don’t like it and be done with it,” said lead guitarist John Angus Macdonald.

Upon learning about themselves as a band and where they fit into the music scene, it’s evident where music is heading. Winning Best Rock Group at the Indie Awards this year opened doors and eyes.

“I think the Indies are going to become more and more significant as the industry tries to figure itself out. I think more bands are going independent and it doesn’t necessarily mean there is no corporate help. But you start to hear names like Sum41 and Barenaked Ladies in the nominations and you start to think the industry is totally changing. Indie awards are going to become like Grammy’s!” said frontman Colin Macdonald.

Although the independent scene seems to be growing faster than in the past, bands the pressure to conform is just as strong as a few years ago.

“Our music might not be good to what’s going on at the time but times change so quick and trends change. It’s better to stick to the quality of what you’re doing and hope it will stand the test of time instead of just trying to jump on whatever train is happening that day,” said Colin.

More and more music lovers are going back to the roots of music in general. As people grow tiresome of the typical “good girl gone bad” Britney Spears image or the “I hate the world and my parents” sound, they start to look for more solid, quality tunes.

“The good music that’s being made today will be good in 25-30 years. We’re more concerned with a good song and a good performance because people still put those on now, people are still listening to 20’s and 30’s blues. The good stuff lasts,” said John Angus.

Never forgetting the roots of playing every Tuesday in Hamilton’s Hess Village for at least a year, one lesson they’ve learned is that, “You really just have to take it a day at a time. You don’t know if today’s your last day or tomorrow’s your last day. Planning can ruin a lot of things because you’re planning all the time and not doing, so we just have to concentrate on the now,” said Colin.

In regards to the eleven songs they’ve already demoed for the next album set to be released in late 2007 or early 2008, “It could be shit, it could be brilliant. We’re hoping for brilliant,” said Colin.

Photo by: Eli Leavitt

Manchester Orchestra

2008-08-16T18:31:00.000-07:00

CHERYL STORNELLI

Scanning through the radio presets on a long drive, you hear the same pop song three times. Then the usual rap song twice. The new hit song another couple times…now two stations are playing the same tired, overplayed song. Hoping for something different by pushing play on the CD player, a unique and refreshing sound slowly creeps through your speakers and into your tired ears. With honest lyrics, powerful vocals and just the right tune, it’s hard not to be intrigued at first listen. Manchester Orchestra, a band from Atlanta, Georgia is breaking into the industry with a unique sound that it’s definitely not what you’re used to hearing on the presets.

“It’s like loud, dynamic rock and roll, but it’s melodic that is sometimes put into the indie rock category. We always seem to bash it out a little more than we planned on doing,” said drummer, Jeremiah Edmond. “We’re not really doing anything outrageous or different; we’re not reinventing the wheel or anything. We’re just doing what sounds cool.”

Starting out with front-man Andy Hall, who soon began to bring friends to play along, much like “an orchestra of rotating people” as Edmond described it. After playing a battle of the bands in high school mixed with some encouragement from a magazine editor, Hall soon decided to home school himself senior year, allowing for time to make a record with bassist, Jonathan Corley. Although the beginnings of a band seemed to be set in motion, the record was never released.

Soon gaining a new drummer and a full band, people started to pay attention and Manchester Orchestra started to develop along with a completely different sound. When their current album, I’m Like a Virgin Losing a Child, was recorded the band chose to record the entire album while in the same room.

“We wanted to capture the energy we have when we play live, it wasn’t a big separate thing. We only overdubbed vocals for a few songs and some guitar parts,” said Edmond.

Recently finishing up a full U.S tour with Black Rebel Motorcycle, the guys are hitting the road again this fall, but with a minor change to look forward to.

“It’s exciting because we’ve been mostly opening for bands, we’re actually headlining this tour with another band [The Annuals],” said Edmond.

Previous tours for Manchester Orchestra have included Lollapalooza, before a record had even been released.

“We were blown away to be asked to play this festival, we didn’t really deserve to be playing. The record wasn’t out, we hadn’t really done anything. We didn’t expect anyone to be there or pay attention to us. It’s amazing to be able to say we played and were grouped in the same category as the bands there. It was mind blowing.”

To add to the band’s list of opportunities, they’ve performed on David Letterman, at Radio City Music Hall and at the Carling Festival.

However, with a lacking fan base when Manchester Orchestra started out in Atlanta, the band gained a following only after touring their recent record.

“Nothing was really happening at first. Now people are starting to pay attention and [after making a record] things started to snowball from there,” said Edmond.

Though the appeal of playing for thousands of fans in packed arenas is a hope for musicians, the boys haven’t strayed too far from their roots.

“Coming home is really cool and there’s support there. We love playing smaller clubs, we’re more comfortable. The crowd is right there in front of us, there’s no barrier, and it’s intimate.

If being able to bump elbows with a musician isn’t close enough, a forty-minute documentary on the band gives a behind-the-scenes look at life on the road, complete with interviews and clips of live performances. A snapshot of a week in the life of Manchester Orchestra accompanies the day-to-day pod cast updates to be found on their website.

Taking a look at the pod cast and hearing the album and performances will leave you inspired and curious as you read the blunt, poetic lyrics of front man Andy Hall.

“It’s hard to know where Andy’s head was when he writes, it’s sometimes broad and about life in general. In effort to explain the album’s title, I’m Like a Virgin Losing a Child, Edmond said, “it’s the idea of losing something you never had or deserved in the first place. It applies to the idea of life and morality of being good and having faith.”

A common downfall when a band finally becomes successful in the music industry is worrying too much about what everyone else is doing.

“Bands spend so much time worrying about the music scene or caring about what other people are doing wrong. It’s easier to focus on the music we’re making. We’re doing what we can to better the music scene but not focus too much on what everyone else is doing,” said Edmond.

In a constant struggle for musicians to keep their heads above water in an overly competitive music industry, Manchester Orchestra is easily standing out with their naked lyrics, pure vocals and diverse song style.

Word on the Street Festival 2007

2008-08-16T18:28:00.000-07:00

Published: Echo Weekly - September 27, 2007

http://www.echoweekly.com/viewstory.php?storyid=6591

CHERYL STORNELLI

In efforts to decrease the shocking statistic of 4 out of 10 Canadians lacking basic literacy skills, the Word on the Street festival is returning with new measures this year.

Taking place September 30^th in Vancouver, Calgary, Kitchener and Toronto, parks are going to be filled with authors, poets, musicians, discussions, games and books for any age. For the sixth year, Victoria Park in Kitchener, Ontario, is going to be home to seven event tents complete with over fifty exhibitors all dedicated to celebrating literacy and the written arts. With over 375,000 people attending the one day annual festival, the new attractions, workshops and authors are present to encourage exploration of the arts.

Taking a stroll down Kitchener Public Library’s Literacy Lane is a guarantee you’ll be inspired and learn a little something about the arts. Starting out at the 96.7 Chym FM Author’s tent expect to be enlightened by various authors from Canadian publishers sharing book readings and some small performances. Among the lengthy list is: Jennifer McCartney, Ray Robertson, Lee Gowan and Brad Smith and Marianne Paul.

Down the street from 96.7 Chym FM is the place to pick up gently used books at great prices along with information on how to download audio books. The library also offers connections to local agencies that assist with literacy needs.

“Literacy is the ability to be able to pick up something, like a book, and understand it easily. Festivals like this will help with literacy because it brings reading to the forefront and you get to hear from others who have been reading and writing all their life,” said Children’s performer, Erick Traplin. “TV takes away from that, it does your thinking for you.”

Not to far from these great authors is a place called Canadian Reading Rocks! Where there’s time to take a break for author signings, chalk on the street, face painting, a story and craft afterward to reinforce the moral of the story. Included at this tent is a high energy music performance by Children’s Entertainer, Erick Traplin. Whether it’s your sibling or child, kids are invited and encouraged to follow along with actions and even join in on stage during this music show.

“What we try to do is make reading and writing more accessible and presented in a fun environment,” said Festival Director, Alexandra Moorshead. “When people feel comfortable with the written word they’re more open to it, we try to take people out of their regular learning environment.”

Once your basic reading and writing is down pat and you’re inspired to learn more, the Multi-lingual Tent is right next door featuring Adowa Badoe, a native of Ghana, she is also African Griot and author. With popular titles such as, Crabs for Dinner and The Queen’s New Shoes, she’ll captivate your mind with her ability to tell stories to any audience at any event.

“Previous years have had people from different parts of the world as well. Authors bring their own special point of view on getting along with people and their different lives,” said Traplin.

Expand your view on what’s going on in the world by picking up newspapers from all over the world at this tent. Learn a new language with a “how to” guide to learn online or pick up books to teach you a new way of speaking.

Along with discovering other cultures and ways of life, many authors featured at Word on the Street write about different lifestyles. One author, Debra Anderson, who is appearing at the Toronto Word on the Street Proud Voices Tent, has always “been quite taken and interested in queer, outsider and misfit lifestyles.” Honoured to be a part of the exciting day, Anderson explains, “the goal behind this genre of writing is to create something that would speak to people about the various issues and voices that aren’t heard in the mainstream.” Bringing writers, artists and musicians together under one roof to share in learning about the written word in different contexts is a major asset of The Word on the Street.

“The aim is to get people writing and thinking at home. People come to the festival because they love writing and reading. Hopefully new writers will be inspired to write and people will write what they’ve been wanting to,” said Anderson. “They’ll leave with a fire in their pants!”

A festival is never complete without music. From Celtic to Chile, Andean folk tunes, and a taste of the Ukraine, this tent’s live music is another addition to an inspiring day. First on the performance list is Ed Koening with guitar and mandolin and Glen Soulis mixing in a variety of whistles and violin. Not to long afterwards be a treat from Chile from Fernan Enriques, playing Native traditional songs and familiar melodies all complete with a guitar and flutes. Playing the traditional mountain dulcimer (a fretted instrument with typically three or four strings), Angie Stock and Jena Mills bring Appalachian melodies, original songs and some Celtic melodies to the festival. Adding to the sounds of music from other countries is Andriy Tykonov from the Ukraine playing piano jazz and classic tunes from the Great American Songbook.

Lastly on Literacy Lane is Beyond the Page, a place to act, discuss, draw and admire. Starting early are students from Theatre & Company’s Youth filling in the blanks on the creation of their script for the upcoming production, Shadowboxing. Providing a first hand experience in this workshop, there’s the chance to contribute to the creation of scenes for a new work in progress. Artwork created from discarded library books from local teens and Kitchener’s Public Library are on display, as well as the opportunity to pick an artist’s brain. Throughout the festival artists will be working on smaller creations, festival goers are encouraged to create their own altered art project. A little earlier in the day is a workshop on how to illustrate comic art by the Blac Ice Family. Give your characters facial expressions, body poses and draw animals in this activity. Right after drawing feel free to voice your opinion in an interactive panel discussion based on young adults, fiction and what’s on the internet. Debate if the internet offers better communication among teens compared to adult readers and what new developments mean for this age. Fiction authors, James Bow, James Alan Gardner and Rebecca Anderson will be participating in the discussion sharing their thoughts on these hot topics.

“Expanding your horizons allows you to experience other points of view and different opinions. It helps people realize that others have valid points,” said Traplin.

From eleven until 5 in the evening this upcoming Sunday, The Word on the Street Festival is offering a chance to be inspired, expand your mind, voice your opinions and learn something new. Over half of the adults aged sixteen and over in the Waterloo region fall into the two lowest literacy levels. Many services are offered at this free event to increase literacy for any age and to encourage a positive outlook on literacy. With emphasis on reading, writing and the arts, Word on the Street is an invigorating and exciting way to spark your desire for the written word.

Tomi Swick - A rock n roll troubadour

2008-08-16T18:22:00.000-07:00

Published: The Satellite Newspaper - October 31, 2007

CHERYL STORNELLI

He was the jock in your high school, the guy who loved to party and the one who got a record deal. Hamilton’s own Tomi Swick presents his music with nothing but rock and honesty.

With comparisons to singers like Micheal Buble and Matt Dusk, Swick is often mislabeled as a “sappy crooner.” Swick’s album, Stalled out in the Doorway, is really a mix of rock and ballad. He says that he’s simply “not that guy.”

“We get a little soft and pretty [in some songs] but we’re not like that. I wanted an album with balance, without having an identity crisis,” Swick said. “I get referred to as a rock troubadour. Sure, we get soft and pretty but we’re not always like that.”

Getting a record deal seemed to change a lot of things for Swick. He’s currently touring with Stabilo and Goo Goo Dolls.

“I’m so proud to travel all over the world. But at the same time it’s crazy. In a way, there’s no regularity. It becomes regular to sleep on a bus,” said Swick.

Although he seems to have the hang of his new lifestyle, he’s not getting too comfortable.

“I’m still the new guy in the industry. So I’m constantly learning and playing with new and better musicians.”

Previously being in a band when he was just 19, they gained local success but didn’t get very far with record labels. Preferring to be solo, Swick feels this album is “all his own.” There is some compromise when signing a record deal.

“You have to respect the label and have faith in them,” said Swick.

“It’s like a marriage,” added Ryan Sheppard of Warner Music, “it’s give and take.”

Preferring to write in the quiet hours between two and six in the morning, it’s when Swick is able to think logically, chill out and be alone.

“There’s a formula for everyone who writes music. You just have to remember to be honest and go with your first instincts,” Swick said.

Swick has not strayed far from his roots. At Hamilton shows friends and family are always gathered and listening intently, usually providing shots for the singer.

Stalled out in the Doorway has effortlessly left Swick with a mark on the music scene and a road of opportunities ahead.

Stabilo inspires hope amidst disaster

2008-08-16T18:18:00.000-07:00

Published: The Satellite Newspaper - October 24, 2007

CHERYL STORNELLI

One strums, the other picks. One focuses on happiness, the other disaster. Together, they hit notes, change rhythms and tweak guitar tones to create the unique sound of Stabilo.

With two lead singers and guitarists in the band, Jesse Dryfhout and Christopher John have two different sounds that are brought together in the album Happiness and Disaster. Naming the album after the song makes the intent and concept of the album clear. It’s filled with positive and negative songs while inspiring hope. The contrast of song styles on the album is clear and perfectly balanced.

“What I really want people to take from the album is the message that it’s not the end of the world if you’re sad,” said lead singer Dryfhout. Although both lead singers think differently they follow similar processes for writing.

“I have to know no one is home when I write,” said Dryfhout. “But both Chris and I are alone with acoustic guitars [when writing].” For many, writing is used as outlet for emotion or in other words, an escape. “When I’m not happy or stuff is messed up, it triggers writing,” he added.

Although exposing your deepest emotions thought writing is a beneficial outlet, it’s allowing the rest of the world to hear them that brings a challenge.

“The most self conscious part is bringing the material to the band,” said Dryhouft. “It’s waiting to see if they like it and what I should change.”

The live shows aren’t always easily done either. “It’s tough, sometimes you do a couple bad shows and you think, why am I doing this? But then one good show reminds you why.”

On October 13^th Stabilo headlined a show with Tomi Swick and Suits XL. It was incredible as fans sang along with every song and crowded the stage at Hamilton Place Theatre. As the band performed and joked contently with the fans, they clearly felt at home. Earning an encore the band chose an acoustic song to bring the show to a close. But to many people’s surprise; John was on piano and guitar and also took over lead vocals.

Stabilo perfectly captures the “happiness and disaster” in our everyday lives. Whether you want something fun or mellow to listen to, Stabilo maintains balance and interest with a sound all their own.