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CREEM’s 2nd New Issue In 33 Years Out Is Now Now

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This month, the iconic and newly reborn CREEM debuts its second issue in 33 years, following the magazine’s audacious relaunch earlier this year. Inspired by the punk zines of yesteryear, CREEM’s new cover and limited edition apparel capsule are designed by visionary artist Jeremy Dean, best known for his “Wonders of Black Flag” tees mashing up Grateful Dead Black Flag iconography, alongside working with The Rolling Stones, Circle Jerks, Ceremony & more.

The Winter 2022 issue is mailed exclusively to print subscribers and available at CREEM.com, along with the entire CREEM archive to those who subscribe or sign up for a 30-day free trial. It includes Melissa Auf der Maur’s never-before-seen Smashing Pumpkins & Hole photo diary, a Creedence Clearwater Revival CIA scandal, an insider account of the last days with David Berman, a feature by Michael Friedrich that pointedly connects the cultural dots from Henry Rollins to Joe Rogan, a feature by Sam McPheeters on billionaire CEOs like the Winklevoss twins “purchasing” rock-star status and more.

If anyone missed the window to subscribe, a limited number of individual copies of the Winter 2022 issue are available for purchase at CREEM.com.

One of the most unlikely and successful media launches of the year, CREEM debuted its first magazine issue since 1989 in September, along with the CREEM Archive featuring every issue from the magazine’s original 20 year run. Vanity Fairrevealed the first print cover for the new oversized subscription-only premium quarterly, featuring original art by the legendary Raymond Pettibon (responsible for Sonic Youth’s Goo album cover & others), along with stories on The Who, Terry Allen, Special Interest & KeiyaA, a reassessment of The Osmonds’ metal albumand revival of their Stars Cars column with Slash.

Founded in 1969 Detroit, CREEM grew from underground paper to national powerhouse – an essential source of music journalism for twenty years. It reflected and shaped the culture, cultivating some of the most legendary writing talent of the era: Lester Bangs, Cameron Crowe, Patti Smith, Robert Christgau and Jaan Uhelszki, who now returns as editor. The magazine’s original rise and fall is chronicled in the critically-acclaimed 2020 documentary CREEM: America’s Only Rock ‘n’ Roll Magazine, which earned praise everywhere from The New York Times to CBS This Morning

Today, CREEM Entertainment is led by former VICE publisher John Martin as CEO, alongside Chairman JJ Kramer (son of original CREEM co-founder & publisher Barry Kramer). In addition to Uhelszki, the new CREEM editorial staff includes VP of Content Fred Pessaro formerly of VICE’s Noisey, Executive Editor Dan Morrissey from Entertainment Weekly, and Senior Editor Maria Sherman, following her work at NPR, Rolling Stone, BuzzFeed, Jezebel, Netflix, ELLE and her critically acclaimed book, LARGER THAN LIFE: A History of Boy Bands. Editorial Director Dave Carnie has worked with Jackass, ESPN, Big Brother, andPenthouseGrace Scott joins as Associate Editor after her work with VICE & The Toronto Star, and Zachary Lipez as Editor at Large, following his work with Pitchfork, The Washington Post and others. This fall, CREEM welcomed Stephanie Augello as Photo Editor. Augello is an entertainment photographer and editor who has worked with Live Nation, Shutterstock Editorial, and ABC.

Ron Carter: Tiny Desk (Home) Concert

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The velvety sapphire of what may be the most recognizable curtains in jazz are the backdrop for this special Tiny Desk (home) concert. Dapper and distinguished in matching ties, legendary bassist Ron Carter and the members of his trio sit comfortably on the prestigious stage of The Blue Note in Manhattan. This is jazz with a capital J, complete with cocktails and “Candlelight.” The first tune in this set romances us, inviting deep sighs as the lushness of the trio’s intricate interplay carries us away to moments spent gazing deeply into the eyes of a lover.

Little Shop of Horrors: Tiny Desk (Home) Concert

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Composer Alan Menken beams with pride as he introduces the Little Shop of Horrors Tiny Desk (home) concert. May 6, 2022 marks the 40th anniversary of the show’s first production. Menken is joined by the stellar cast of the current off-Broadway revival, which swept the Drama Desk, Outer Critics and Drama League Awards for Best Musical Revival. They perform a joyful medley of five earworm-filled tunes from the cult classic. Over the course of the tiny concert, Menken shares anecdotes about collaborating with the show’s late lyricist Howard Ashman. It’s obvious how much they loved working together hearing him reminisce.

Randy Begg, Founder of JUNO Award Nominee + Oshawa Music Award Hall of Fame Group Wednesday, Passes Away At 71

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Randy Begg, a founding member, drummer, vocalist, and songwriter of the Canadian band Wednesday, died suddenly in Belleville on December 20 at 71.

Born in Oshawa, Ontario, Randy began his drumming career in the late 1960s. A chance meeting in Oshawa in July 1967 of Paul Andrew Smith and Randy Begg set the seed that became Wednesday. Randy and Paul spent the summer hanging out, playing impromptu concerts at local Oshawa parks and drop-in centres until meeting up with Mike O’Neil and John Dufek. John Hall formed and managed the Cellophane Spoon until 1971, when Bill Diel, a former keyboardist with Ronnie Hawkins and Fats Domino, took over the task. In 1970 the name was changed to Wednesday with the release of their first single, “Hang On Girl.”

They scored a hit single on the U.S. Billboard Hot 100 in 1974 with their cover of the song “Last Kiss”, which peaked at #34. That same year, they were nominated for the JUNO Award for Most Promising Group and the following year for Best-Selling Single of the Year. The single reached #2 in Canada and #1 on the Canadian Billboard 100. A follow-up single, a remake of “Teen Angel”, was their final chart single in America. The parent album, entitled Last Kiss, was released on Ampex Records in Canada, Sussex Records in the U.S., and A&M Records throughout the rest of the world.

The group continued with success in Canada, before and after changing their name to Wenzday in 1976. They scored their second biggest hit with an Elton John cover, “Loving You Baby”. It reached #6 in Canada.

Randy’s career saw him in many bands in later years – Lockerbie, The Scott Street Band and releasing album material with The Edge and The September Skye Band. Randy’s passion for the drums kept him actively engaged as a performer for over 55 years, most recently working in a band for a Christmas stage show for the Stirling Theatre in Ontario. The band Wednesday was inducted into the Oshawa Music Hall of Fame in 2022.

Paul Andrew Smith says, “Randy’s insatiable love for music and performing was only surpassed by his infectious friendship, which touched everyone he met. He was always giving, always there when needed. He loved people, and I will miss him greatly.”

Jack Black, Dave Grohl, and Greg Kurstin Perform Rush’s “The Spirit Of Radio” For Hanukkah

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And you thought Dave Grohl would take the year off? He could have, but nope. On the 7th night of Hannukah Sessions, Jack Black, Dave, and Greg Kurstin performed a cover of Rush’s The Spirit of Radio.

“Dave notes, “Geddy Lee’s mother was so proud of her son that she put Rush posters up all over their family store and gave away Rush albums to kids who didn’t have money to buy them.”

Toronto Dark-Folk Luminaries Broken Wolves Mourn Lost Dreams On “The Summons”

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Every generation has had to deal with their share of existential threats, and the members of Broken Wolves are no different. With his Toronto-based dark-folk act Broken Wolves, lead singer and guitarist Lennox Campbell-Berzins grapples with the looming threat of climate change and channels his anxieties onto their Medieval-inspired new single “The Summons.”

Led by Campbell-Berzins’s affecting, Nick Cave-esque baritone, “The Summons” sets a gloomy, meditative tone with ethereal backing harmonies, atmospheric synth, and ominous, marching percussion. Meanwhile, the lyrics evoke images of nocturnal unrest and chilly forestal settings that are equal parts unforgiving and beautiful.

We chased it down to the viaduct
The portal to our dreams
Where all the hidden truths that we seek
Are splayed in winding streams
Lay my bones in bondage there
Beneath the naked moon
Set me free my sweetness
And I will join you soon

On the chorus, “The Summons” blossoms into a rich, thudding cacophony of sound, helped along by vox players Aniqa Qadir and Alex Gage (also on guitar), bassist James Atin-Godden, and drummer Matthew Wallace. Despite its grandiose delivery, “The Summons” is utterly haunting in its solemnity.

“The Summons” is taken from Broken Wolves’ debut album of the same name, which Campbell-Berzins first dreamed up in 2016/2017 and later recorded in 2019 at Taurus Recording with Jesse Turnbull, Rogers Communication Center Multitrack Studio with Joseph Shemoun, Jordan Paluck, and Thomas Rapaport, and Blanket Fort Studios with James Atin-Godden.

“I was leading my old project Ruby Cikada… I was hinting at a new project I wanted to initiate that was darker, heavier, and more psych-inspired,” Campbell-Berzins says. “I was writing a lot of darker folk tunes with a hint of medievalism to it, most of which were inspired by my fears and anxieties around climate change. This topic, while maybe subtle or unrecognizable within the music, was one of the major foundations when starting the project. I wanted to talk about an issue that was universal, contemporary and in a lot of ways generational, and one that I thought, wasn’t being addressed by many peers.”

Originating in 2017, Broken Wolves blend baroque tones, alternative and progressive rock with added dashes of medieval and folkloric flair. Initially composed of previous members of Ruby Cikada (2012-2017), Broken Wolves released their official live debut in 2019 and a short live EP and video series, Live at Taurus, in 2020. Initially featuring a rotating lineup, Broken Wolves soon solidified their membership and released their first full-length album, The Summons, in October 2022. Through a gothic-folk lens, The Summons acts as a vehicle for Broken Wolves to examine the folkloric struggle of humanity vs. nature in the context of modern issues around environmentalism and climate change.

Toronto-Based Pop Outfit Techno Westerns Dazzle On “Mystery Man”

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Ethereal vocals and a multitude of carefully layered synths make it impossible not to dance to the catchy new single from Toronto-based pop outfit Techno Westerns, who dazzle with a tale of losing oneself on “Mystery Man.”

The electric single “Mystery Man” can be found on the new Techno Westerns EP “Midnight,” a collection of music meticulously crafted by New Zealand native and Techno Westerns frontman Wyatt Hautonga.

“’Mystery Man’ at face value is supposed to be a Halloween song, but once you push that aside, it’s more the tale of someone losing their sense of self.”

The song stems from Hautonga’s own experience of questioning what behaviour was a defense mechanism to keep others out, and which behaviour was a genuine reflection of personality.

“I think as someone not from Canada originally and having tried to both adapt to and adopt the many norms of North America while keeping hold of my own NZ culture. I’ve started feeling like an imposter in my own skin, where it seems like you’re lying to yourself no matter how honest you think you’re being,” says Hautonga.

Techno Westerns’ sense of artistic honesty extends all the way to the recording process for “Mystery Man.” The song’s vocals, along with the mixing was done by Hautonga in his car while sitting in a Cineplex parking lot. As Hautonga explains, “the band came along after I was done with everything, and from there they started learning their parts and getting the song ready for live.”

“Mystery Man” also represents the juxtaposition of losing yourself in a world where everyone encourages authenticity but is seemingly going through the same crisis of self. A sentiment Hautonga brilliantly captures in his lyrics.

“Where’s your humour, guy?
You used to laugh and smile at all these silly quеstions
Are you telling lies?
You fool thеm all the time but now you’re also guessing”

All tracks on the EP “Midnight” were written by Hautonga, except for “Dutch Angle,” which was written by Sean Rattan and Hautonga. All tracks performed solely by Hautonga except for “Cold Shoulder,” which features Sean Rattan and Joshua Napal on bass and guitar respectively, and “Dutch Angle,” which features Sean Rattan on synthesizer.

“Am I Empty Enough” was recorded and written in December of 2021, with “Cold Shoulder,” “Mystery Man,” “Dutch Angle” and “All My Friends” recorded and written between April of 2022 and December of 2022. All tracks were mixed and mastered by Hautonga remotely at home.

In 2015, New Zealand born Hautonga was busy finding band members instead of taking his studies in audio engineering seriously. During this time, he wrote and recorded the songs that would make up “In Transition” (2018), a collection of immediate, unflinching demos which would lay the foundation for what would become an unmistakable, inimitable Techno Westerns sound.

By 2018, Hautonga had moved to Toronto and joined forces with local musicians while recording the Kia Ora EP (2019) and Memento Mori (2020). These recordings explored 1980s pop grandeur and examined themes such as isolation, desperation, and tales of late-night debauchery. Techno Westerns explored these themes further with an added level of maturity on “Lover Boy” (2021), a frizzy and flippant pop opus that saw Hautonga come into his own both creatively and musically.

Coming off a busy summer filled with sold out shows, a NXNE appearance and a headlining slot at Horseshoe Tavern, Techno Westerns are ready to dive into a busy 2023 with the new EP and two tours already planned.

The fiery new single “Mystery Man,” from Techno Westerns EP “Midnight” is available now.

Katery Ponders The Big Questions In New Single “TWO WORLDS”

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Who are you? What do you do here? Why do you make your decisions?

These are crucial questions for all humans to constantly evaluate, from now until death. In Mexico City-born, Los Angeles-based musician and actress Katery’s latest single, “TWO WORLDS,” and video, which she co-produced and co-directed with Edgar Pavia, she provokes listeners to ponder these principles.

Over a fusion of electronic and pop instrumentals, Katery lays down how we’re not all as different as we’re led to believe. War and other forms of fights have been mainstays throughout human history. These conflicts are rooted in the belief that we are different from one another – that the people on that side of the line are fundamentally not the same as people on this side of the line. But are they the actual enemy?

“Who is this person in front of me?
Are we really two different worlds?
Who is the real big enemy?
Is it you? Or who put us to fight?”

Katery’s goal is to inject empathy into our regular routines.

“I wrote this story because I believe it’s one way of describing how I see the world,” she explained. “One of the solutions that I see to live in harmony is to be more empathetic and understand that we are the same, we are exactly the same being, only expressed in different consciences, with different perspectives.”

“TWO WORLDS” is the first chapter in Katery’s first rock-electropop opera, “Undoubtedly Intertwined.” The story is set in a dystopian science fiction future where five cyborgs are programmed to collect information from post-apocalyptic planets to analyze what caused the end of these civilizations, including Earth. Ky, one of the cyborgs, is the focal point of the lore, evolving and awakening as its experiences mount.

This song was selected as the first on the project to promote the internal questioning Katery wants for her listeners.

“I invite us to start questioning ourselves,” Katery said. “Question yourself if you and I are really different worlds, are we really so different? Who are YOU and what are we fighting for? You who fight against me are from two different worlds, or that’s what they told us? Do you really believe it?”

It’s only when we consider these nuances, or lack thereof, that we can achieve a deeper connection with our fellow humans and find a greater peace in this world.

“I want us to be able to translate to a different scale where we can question why our decisions are made, what are the consequences after I do this, who am I becoming when I make this decision, big or small, which is what am I giving to others?” Katery explained. “What am I going to become when I do?”

“Undoubtedly Intertwined” is Katery’s third musical project, following her first to EPs, “Muses” and “Muses II,” both released in 2021. Since moving to Los Angeles in 2019, she has acted in Apple TV’s “Acapulco,” Mauricio Ochmann’s short film “Diaz,” Indigo Bates’s short film “Que falta,” and a handful of other productions and music videos. She has also written, directed, and edited music videos, digital commercials, and short films with internationally recognized producers and agencies, such as Aca Films, The Lift, and McCann.

“My hunger for knowledge and creation have made me travel to various countries and learn different cultures,” she said. “My need to explain the world made me write this science fiction story to explain what I perceive of life and to teach us more about empathy, forgiveness, and compassion of humanity by understanding that we are a mirror of each other.”

Sam Casey’s “Good Fight” Punches Through Self-Doubt and Industry Toxicity On New Single

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Sam Casey’s newest single, “Good Fight,” expertly braids two separate, yet overlapping themes together over a poppy beat and a contagious chorus. The powerhouse anthem tackles the idea of maintaining your mental health and navigating an, at times, brutal and demanding music industry.

Casey’s newest single hightails the release of her August single, “New Company,” an exploration into a relationship, errrrr…. situationship where one party hoped to take the fling to the next level. “Good Fight” dives into the same honest space of self-reflection.

“My role as an artist, which is to say the difficult things and be honest about the unattractive qualities in oneself, and, in turn, this may slowly minimize the fears of my listener’s self-perceived flaws. If we can be honest about our identity and even allow ourselves to feel shame about certain aspects of our own beings, then we can accept that shame for what it is and move on. We can be more accepting of ourselves and others,” Casey shared.

Casey mentioned one near-paralyzing fear present in her life is the metaphor of folding into a piece of paper whilst under immense pressure. Internal pressure and pressure from both the music industry and the uncertainty of her music’s reception. This metaphor resonates with Casey so much so that she admitted the original title of the single was “Fold.”

“And I fold like I might be made of paper,
I’ve been tearing myself into pieces lately.
I’m blank when I’m on my own
cause I don’t know how to stand up.
When I’m sipping on a downside,
I put up a good fight.”

Yet, while the title may have changed, the metaphor remains intact. Casey’s calls to her inner strength overlay the muted, melodious guitar. Her lyrics evoke the trying times when she must trudge through that negativity and come out stronger, ready to tackle difficult situations when life throws them.

“Most of all, this song helped me realize that I will fall, lose, be rejected, or have a crazy episode from time to time regardless of how hard I fight the feelings and, if I do fall, then accept it, move on, sweep it under the rug and don’t look back.”

Accompanied by a scintillating music video, “Good Fight” is a powerhouse, pop, feminist manifesto toward self-acceptance and against harsh standards perpetuated by the male-dominated industry.
“The hair and makeup for this video were supposed to mirror the ‘ideal beauty standard’ of the current people in power in the entertainment industry, which is mainly older men who would have grown up with the classic Hollywood bombshells such as Marilyn Monroe being their idea of beauty,” Casey said.

Sam Casey’s “Good Fight” is available now.

Pianist and Singer Heather Hill Releases Inspirational “I Rise”

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Sometimes we can feel the inspiration of an artist through their music. Singer-songwriter Heather Hill takes listeners on a journey through her inspirations of the naturally beautiful Blue Mountains in her latest single “I Rise.”

Hill’s new single is a stirring piano melody mixed with her soaring vocals. It is an example of her inspiration of the Georgian Bay coming to life to spread love and peace in the world.

For anyone familiar with the gothic inspiration of rural Ontario, “I Rise” contributes some of the most haunting representation of the beauty that can be seen throughout much of the province. Hill’s piano, mixed with acoustic guitar, adds depth to the lyrics that explore a humanity that is keenly observant, compassionate, and rooted in nature.

“I Rise” is the latest single from Hill’s third studio album We Are The Same, that was self-released on May 12, 2022. The album is a collection of 12 inspirational acoustic, piano-based songs that explore everyone’s impact on the world.

“This album was recorded in two parts,” explains Hill. “The first set of songs were recorded live off the floor with Julian Decorte. I collaborated with Harrison Fine on “I Rise” and Alec Steinwall and Orville Hyne on “We Are The Same.” The second set of songs were recorded in remote Singhampton with Adam Fair. I like to record live off the floor as I can deliver the song and story in its most raw and simple form.”

Hill recorded the album over the last five years while she moved from Toronto to the Blue Mountains. She sings about being gentle on yourself, calling for help, star gazing, acceptance, and being the flow of the river. The album was recorded and mixed at Canterbury Sound Company in Toronto. According to Hill, the album is like a warm hug on a stormy day.

After achieving a classical piano performance degree from the Royal Conservatory of Toronto and a Master of Arts degree from the University of Waterloo, Hill and her partner moved to New York City where she performed in some of the city’s most legendary clubs such as The Cutting Room and the Makor Room. She also recorded her first album Listen with platinum-selling producer Steve Addabbo.

When Hill moved back to Toronto, she recorded her second album Leuty Station that saw success after a variety of radio and television plays on stations such as CFRB, CBC Radio 1, Rogers Daytime Toronto, and several local college stations.

Hill’s soul-stirring and life affirming music transcends, uplifts, and remains steadfast in its joyful celebration proclaiming no matter who we are and where we are, we all belong together because we are the same.