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New Order Announce Release Of ‘Low-Life’ Definitive Edition And Limited Edition 12” Singles

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New Order are delighted to announce the release of the definitive edition of their 1985 studio album Low-Life. The collection includes an LP (180g), x2CDs, x2DVDs, a book and features unreleased rare material across the different formats and new sleeve designs.

CD 2 contains previously unreleased mixes and alternative versions, including Love Vigilantes and Sub-Culture instrumentals, Sooner Than You Think Full Length Unedited.

The two DVDs include an unreleased performance from The Manhattan Club, Belgium and rarely seen footage from Rotterdam Arena (Netherlands), International Centre (Toronto, Canada) and a BBC filmed Whistle Test at The Hacienda, 1985.

The 180g vinyl LP will be wrapped in its original ‘heavyweight tracing paper’, designed by Peter Saville. In addition, the CD will also be wrapped in the same way for the first time ever

Also included in the set is a beautifully presented hardback book featuring rare photos and a new interview with all band members.

In addition to the boxset, New Order are also releasing the 12” singles including a limited edition version of The Perfect Kiss pressed on Crystal Clear vinyl in a ‘mirror sleeve’. Sub-Culture’s plain black (no label) sleeve has also been updated with a new design, incorporating the original concept.

Peter Saville says of The Perfect Kiss “The mirror finish for The Perfect Kiss sleeve was the idea at the time (1985) that unfortunately was not realised. I have wanted to see it ever since. The original concept was intended to evoke the reflective glamour of a lipstick (re Perfect Kiss) in a minimal / pop art style. The Perfect Kiss in this form will be transformative and a must-have for fans and collectors alike”.

Peter Saville says of Sub-Culture “LABEL ONLY was specified in 1985 due to time pressure around the original release and as a consequence, a sleeve design for the re-release has no actual precedent. However, exploring the principle ‘the solution is in the problem’ has led to the subliminal evocation of a sleeve that is still LABEL ONLY”.

Low-Life was recorded in 1984 at Jam and Britannia Row Studios and produced by New Order.

TRACKLISTING AND FORMATS
12” Singles
● Sub-Culture (with updated sleeve)
● Shellshock
● The Perfect Kiss
● The Perfect Kiss D2C exclusive (Crystal Clear vinyl & Mirror Sleeve)

LP 180g Vinyl
Side one
1. Love Vigilantes
2. The Perfect Kiss
3. This Time of Night
4. Sunrise

Side two
1. Elegia
2. Sooner Than You Think
3. Sub-Culture
4. Face Up

CD1
1. Love Vigilantes
2. The Perfect Kiss
3. This Time Of Night
4. Sunrise
5. Elegia
6. Sooner Than You Think
7. Sub-Culture
8. Face Up
CD2: Extras
1. Love Vigilantes – TV Pitch Instrumental Edit (mono)
2. The Perfect Kiss – Writing Session Recording
3. Untitled no. 1 – Writing Session Recording
4. Sunrise – Instrumental Rough Mix **
5. Elegia – Full Length Version *
6. Sooner Than You Think – Album Session Unedited Version
7. Sub-Culture – Album Session Early Instrumental Version
8. Face Up – Writing Session Recording
9. Let’s Go – Album Session Instrumental
10. Untitled no. 2 – Writing Session Recording
11. Sunrise – Writing Session Recording
12. Love Vigilantes – Writing Session Recording
13. Sooner Than You Think – Writing Session Recording
14. Skullcrusher – Demo
All tracks previously unreleased except * and ** (previously unreleased on CD and Digital)

DVD1
Live in Tokyo
The Koseinenkin Hall, Tokyo, Japan 1985
1. Confusion
2. Love Vigilantes
3. We All Stand
4. As It Is When It Was
5. Sub-Culture
6. Face Up
7. Sunrise
8. This Time Of Night
9. Blue Monday

Live in Rotterdam
The Rotterdam Arena, Netherlands 1985

10. As It Is When It Was
11. Everything’s Gone Green*
12. Sub-Culture*
13. Ceremony*
14. Let’s Go*
15. This Time Of Night*
16. The Village
17. The Perfect Kiss*
18. Age Of Consent*
19. Sunrise
20. Temptation*
21. Face Up*

Live in Manchester
Whistle Test, The Hacienda 1985
22. As It Is When It Was
23. Sunrise
24. Face Up – Restored version using available footage from The Hacienda Dec ‘85 and July ‘85.

DVD2
Live in Leuven
The Manhattan Club, Leuven, Belgium 1985
1. Let’s Go*
2. The Perfect Kiss*
3. Age Of Consent*
4. State Of The Nation*
5. As It Is When It Was*
6. The Village*
7. Sub-Culture
8. Atmosphere*
9. Blue Monday*
Bonus Tracks
10. Thieves Like Us*
11. Temptation*
12. Confusion – Restored version from damaged tape with mixing desk audio.*

Live in Toronto
Filmed by Paul Boyd
The International Centre, Toronto, Canada 1985
13. Elegia*
14. Sub-Culture*
15. The Village*
16. Sunrise*
17. We All Stand
18. As It Is When It Was*
19. Love Vigilantes*
20. 586*
21. Age Of Consent
22. Temptation
23. Ceremony*
24. The Perfect Kiss*
The Perfect Film
Rehearsal Room, Cheetham Hill, Manchester 1985
25. The Perfect Kiss
*unreleased

Toronto’s Legendary GROSSMAN’S TAVERN Announces The Five And Ten and Wayling James Win Annual Amy Louie / Grossman’s Music Scholarship

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The Five And Ten and Wayling James are the winners of the annual Amy Louie / Grossman’s Music Scholarship, which returned to Toronto’s legendary Grossman’s Tavern after a two-year hiatus due to the pandemic.

Created in memory of the late Amy Louie — a member of the family that has owned Grossman’s Tavern since 1975 — the ALGMS is an artist development bursary that provides two musicians or bands from the Greater Toronto Area $2000 and $1000 to help with career development.

Winner of the $2000 was The Five And Tens, an instrumentals band built around the Vidal brothers, Ray (guitar), Anthony (keyboards) and Nick (drums), alongside Sean Jackson (bass). The $1000 runner-up prize was awarded to Wayling James, a group comprised of Tim Wayling (vocals, guitar), Darrell James (vocals, bass), Chris Bender (drums), Rob Pelletier (guitar) and Larry Gould (guitar).

Performers at the Sept. 27 event were The Swingin Blackjacks, Caution Jam, Frankie Foo, The Happy Pals, Action Sound Band, Quail, Hedifine & Roderman, Camp Combo, Mike Nagoda & The Spectrum Blues Band and both scholarship recipients.

The fundraiser segment of the event raised $1005.

Artists submitted applications to participate. The successful candidates were chosen a panel of judges that included members of the Louie family, music industry professionals, and individuals with long-standing connections to Grossman’s Tavern.

Previous recipients of the scholarship include The Big Butter and Egg Men, Mike Nagoda, The Swingin’ Blackjacks, Dan McKinnon, Bad Luck Woman & Her Misfortunes, Chloe Watkinson & Park Eddy, Jerome Godboo, and The Responsables.

As one of the longest-running live music venues and a stalwart within Toronto’s vibrant and dynamic music scene, Grossman’s has long been considered an incubator for an impressive roster of local artists who got their start inside the Tavern, including the late Jeff Healey, the Downchild Blues Band, Rough Trade, and more.

Breakthrough Musical Pioneers Bara Jonson and Free Tease New Album With “The Sky Is The Limit”

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Bara Jonson and Free, simply put, are pioneers in the music world, introducing the world to their unique brand of music – Crockpop. Fusing country, rock, and pop music, this dynamic duo delivers a listening experience unlike any other in their newest single “The Sky Is The Limit.”

Teasing the release of their newest album, BjF – New Era, Bara Jonson, and Free have been hard at work touring and promoting. Performing one-offs during the live shows combined with a unique blend of bluegrass and pop synths gives this breakthrough duo of musicians the perfect ingredients to have a successful launch – and a highly anticipated one at that.

“The Sky Is The Limit” is a well-executed fusion of everything this band is passionate about, featuring uplifting messages of “making it or faking it” while “shaking off people who get in our way.” Jonson and Free passionately refer to themselves as “hardheaded fools who invite you to board their Crockpop train where “The Sky Is The Limit.”

Jonson and Free speak on their newest song’s message: “Never let anyone else put you down or deter you from what you want to achieve. Believe that anything is possible – that The Sky Is The Limit.”

“The Sky Is The Limit” has been a well-received single drowning in praise and admiration. This powerful Crockpop anthem prepares audiences for the duo’s up-and-coming album release, BjF – New Era. Bred through mystery and improvisation, the 14-track vinyl includes an interwoven story from a distant future – possibly even a parallel universe.

Jonson and Free describe how they feel about the album saying, “The show we announced the album release at was interrupted occasionally with fragments of pictures or video snippets. We couldn’t really tell where it came from. As we showed off our album again… it had changed right before our eyes!”

Songs from this album reflect the dynamic duo’s views on climate change, the decline of democracy, separations, and the endlessness of possibilities for change so long as you believe. You know – “The Sky Is The Limit.”

Jonson and Free are breakthrough musicians with unparalleled chemistry. The duo has recently been nominated as “Best Emerging Artist – International” at Indie Week Showcase Festival in Toronto as well as selected as INES#Talent for 2020/21.

The duo recently was picked up by Canadian management company Entertainment Music Group for distribution through the Americas as well as MusicHelp for distribution through Sweden and Europe. While this has bolstered the group’s level of seniority, Jonson and Free are no strangers to Swedish music festivals and showcases. Their live performances have taken them to venues throughout Denmark, Holland, Germany, UK, France, and Canada.

2021 saw the debut of Jonson and Free’s own music festival, Lilla By Festivalen which has already grown into a hybrid festival – walking the line between a music festival and a showcase.

Most recently, the group opened with Cirque Arte Diem at Byggnad’s 2022 Congress in Stockholm, spreading the duo’s message while giving them a global platform to reach hundreds of thousands of listeners. It is this dedication to music and positivity that sets this duo far above the rest and will drive them to lengths unseen – the sky is the limit for this Jonson and Free.

Lady Charles’ Single “Noella (Can’t Get Enough of You)” Elevates Relationship Adoration and Self-Love

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Right out of Ottawa, Canada, comes an ethereal-sounding pop delight, otherwise known as Lady Charles. Lady Charles radiates exuberance and shiny tones throughout their explorative and vivid discography.

Ethereal-sounding lyrics emanate from Lady Charles’ flirtations into the meshings of bright electropop and subtle rock genres. Following their latest single off their album Manic Pixie Dream World, ‘Godx’, a synthy, electronic pop delve into the relationship between gender and religion, Noella (Can’t Get Enough of You) is a deeper look into what the pandemic meant for loving relationships. On the surface, Noella explores a romantic relationship, one shared between those in the spotlight. Lady Charles and their partner, Stef, concocted fictional personas for the subjects of this track. Noella personifies a glorified version of Stef as a Youtuber who shapes their persona around the “parody of the eccentric artist archetype.”

Lady Charles admitted the original iteration of the single included calls of real names of some YouTubers who Stef and they enjoyed watching. After the controversy, cancellations, and negative media connotations, Lady Charles scrapped the references and landed on “a wannabe YouTuber, singing a love song to this artist who he barely understands.”

During the production and writing of Noella, Lady Charles mentioned their rising popularity in Latin America, and their visit to Frida Kahlo’s house reverberated through the construction of the song. “She is the reason I don’t pluck my eyebrows. This is how the line ‘You’re Frida, but I’m no Diego’ came to be – both as a nod to a country that has supported me and an artist that has inspired me.”

The tune opens with a catchy piano and electric guitar lick before dissolving into warm lyrics shrouded in infatuation. The vocals fluctuate throughout the song from higher-pitched glows to deeper, almost spoken-word phrases like “Have you had enough of me? And you’re not regretting cuffing me?” These dialogue licks serve to evaluate the relationship of the singer with the alleged love interest, but also with Lady Charles’ connection to their musical talent.

“On a different level, the song speaks to my own relationship with art, Lady Charles explained. “I feel at home wearing crazy outfits and glamorous makeup because that’s authentic to me, even though I’ve had people tell me I should just keep it simple. I am drawn to artists who get labeled as pretentious or try hard because I admire their commitment to pushing the boundaries of art itself, even if they don’t really succeed. In a way, Noella is my love letter to art itself.”

Classic Rockers Blu Bones Recall “Summertime In Europe” With New Single

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Rock five-piece Blu Bones are digging up nostalgia on their latest emotive single, “Summertime In Europe” – out now on the traditional platforms, but also on the SING! Market.

The song is equal parts rock anthem, scored with pounding percussion, electric riffs and soaring vocals as it is a longing, journal entry to yesterday’s memories – turning the key, and unlocking them from the past.

The track “was inspired by an experience lead singer Gord Prior had with his girlfriend Lana while on vacation a couple of years ago,” the band explains, adding: “They shared an unforgettable psychedelic experience one evening that is subtly referenced in the song.”

Blu Bones – comprised of Gord Prior (lead singer); Boris Novosel (guitars) ; Barry Donaghy (bass guitar); Steve Thomas (drums) and Ray Coburn (keyboards) – reunited after 25 years apart, dropping their comeback single “She’s Got A Way With Love” in February, 2021. Wasting no time as performers and songwriting comrades, “Summertime In Europe” falls neatly in line with the group’s charismatic hard rock sound. It chisels away at familiarity, while taking exciting chances through the lyrics and Prior’s exceptional vocals. The song was written by masters of their craft.

“It’s a bit of real life, a bit of fantasy, and some psychedelia all rolled into one!” says Novosel, with Prior explaining: “It’s a song of hope and about moving forward, out of pain and into bliss. Falling in love. Starting a new journey. Something all of us can relate to.”

Recorded and engineered by Siegfried Meier, with mix by Matty Green at Studio 55, Los Angeles (Paul McCartney, Dua Lipa, Ed Sheeran, Weezer). The track was produced by Gord Prior, Boris Novosel, Siegfried Meier and Matty Green, and its subsequent video was shot by legendary director, Frank Gryner (Alice Cooper, Def Leppard).

The music video plans to land ahead of the Canadian Thanksgiving (October 9th, 2022), with Gryner’s artistic vision at the helm. “It’s a brilliant song. Gord’s vocal performance is so dynamic and uninhibited. You don’t often hear that sort of thing in indie music, unfortunately,” Gryner says, adding that having 100% reign over the video was a “dream come true, artistically”. “I think Gord is at a place in his career and life where he values relationships and artistry over ego,” Gryner explains. “It’s a hard thing to not micro-manage a project to death when you care so much about it, but ironically, when you choose the right people to help you and let those people do their thing freely, then the end outcome ends up being so much better.”

Take a summertime journey through Europe with rock warriors, Blu Bones. It’ll leave you asking for directions to the rest of their discography. And on a road trip through how rock and roll was first created – authentically loud, and insanely good.

 

Bad Bunny is Apple Music’s Artist of the Year for 2022

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Global recording artist Bad Bunny was announced today as Apple Music’s Artist of the Year, in acknowledgement of the musician’s artistic excellence and influence on global culture in 2022. So many of music’s biggest stars released amazing music in 2022 —  one truly owned the year. Released this past May, Un Verano Sin Ti, the artist’s sixth project in four years, is Apple Music’s most streamed album of 2022 and now the biggest Latin album of all time. And beyond the eye-popping numbers, Bad Bunny has truly ushered in a seismic shift in global pop over the past few years.

“We’re thrilled to celebrate the achievements of Bad Bunny, whose influence on every corner of culture could not be ignored in 2022,” said Oliver Schusser, Apple’s vice president of Apple Music and Beats. “Watching Bad Bunny ascend from an Apple Music Up Next artist in 2018 to our Artist of the Year this year has been nothing short of extraordinary. We congratulate him on his record-breaking year and for continuing to bring Latin music to a massive global audience.”

“When I started, I didn’t have a global fan base,” Bad Bunny tells Apple Music in an exclusive film, out today, that gets up close and personal with the 2022 Artist of the Year. “I’m grateful for everything I’ve accomplished and everything I’ve experienced. The Latin music movement has grown so much. I would never take full credit or say, ‘It’s because of me.’ No, it’s every one of us. A whole generation. Our energy and presence is always felt.” Upon being presented with the Apple Music Award, he adds: “Thank you to Apple Music and to all the people who listen to my music every day. I’m super happy!”

Explore Bad Bunny’s meteoric rise, the music he helped revolutionize, and the historic 2022 that made him Apple’s Artist of the Year here.

Today, Bad Bunny takes over the La Fórmula playlist and handpicks his favorite tracks from Myke Towers, Rauw Alejandro, Mora, Jhayco, and others across Apple Music. And on Apple Music 1, it’s all Bad Bunny, all day. Listeners can tune in to an array of radio content celebrating Bad Bunny — including new specials, archived programming, early career interviews, and playlists that showcase the many different sides of the artist and his historic year. Tune in at apple.co/am-1.

A Look Back at Some of Bad Bunny’s Biggest Moments on Apple Music

  • Bad Bunny is the biggest Latin artist of all time by streams worldwide on Apple Music.
  • Upon its release on May 6, 2022’s Un Verano Sin Ti became the biggest Latin album of all time on Apple Music, holding the record for first-day streams worldwide.
  • Bad Bunny’s “Moscow Mule” holds the record for the biggest Latin song of all time by first-day streams worldwide.
  • Bad Bunny has logged 22 songs on the Daily Top 100: Global, breaking the record for most simultaneous entries by a single Latin artist.
  • Bad Bunny’s songs have reached No. 1 on the Daily Top 100 in 34 countries worldwide — more than any other Latin artist. He’s hit the top 10 of the chart in 77 countries.
  • 44 of Bad Bunny’s songs have reached the Daily Top 100 in countries across the globe, and three of his songs have hit No. 1 on the Global chart — more than any other Latin artist.
  • Bad Bunny holds the No. 1, No. 2, and No. 3 Latin albums by first-day streams.
  • In February 2018, Bad Bunny became Apple Music’s first Latin Up Next artist for the platform’s rising artist program.
  • He also served as the debut host for Trap Kingz, the first Spanish-language global radio show on Beats 1 radio, and hosted the show’s first six episodes in 2017.

“Folsom Prison Blues” : The Story Behind The Johnny Cash Song

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By Julia Menard

My band is performing Folsom Prison Blues soon and my experience is that learning the historical or narrative feel for a song can strengthen the depth of connection to it.

So I dived in…

Come with me!

Folsom Prison Blues was written about a real prison in California and about Johnny’s experiences in prison.

Or was it?

Johnny Cash never really did spend time in jail.

He did spend one night in jail – seven times – almost always for drunk and disorderly conduct. Once it was for trespassing late at night onto private property to pick flowers! A musician through and through.

What did happen was in 1953, Cash saw the crime film Inside the Walls of Folsom Prison. It was shot inside the real Folsom Prison, close to Sacramento, and depicted many of the brutalities of prison life, if in fictional form.

That piece of film art did work its magic on Cash and resulted in him writing Folsom Prison Blues as his response.

Story goes Cash was serving in the US Air Force in 1953, stationed in Germany and scheduled to catch a plane out of Memphis. He saw the movie and immediately after boarded the plane. While on the plane and refusing his meal (how do people know this) – he put pen to paper and got it written.

Folsom Prison Blues wasn’t only a song, it became a defining part of Cash’s life.

Not only did he open most of his shows with that song, that original inspiration grew into him becoming a big advocate of prison reform. He’d go on to perform in multiple prisons over the years, for free. He recorded live albums at several prisons in front of the prisoners. He was in letter correspondence with prisoners.

He even performed a song that one of the Folsom Prison inmates penned, called Greystone Chapel. He wanted that song recorded for the live 1968 album. He’d learned that one of the inmates, Glen Sherley, had written a song about Folsom’s Greystone Chapel. Cash learned the song the night before and performed it the next day. There’s more to that story that tells more of the magic of the man, but will leave that aside there!

Cash encouraged compassion and rehabilitation for prisoners, including eventually going on to testify in front of a US Senate subcommittee on national penitentiary reform.

At that time, Cash was also invited to a personal audience with Richard Nixon. He talked prison reform and when Nixon asked him to perform a few songs, Cash chose songs which were anti-war, advocating for indigenous rights, for the disenfranchised and the vulnerable. He chose:

  • What Is Truth?
  • Man In Black
  • The Ballad of Ira Hayes

So, Johnny Cash’s Folsom Prison Blues was the start of, and the clarion call for, his life’s mission as both a musician and a man.

And what made Folsom Prison Blues so popular?

Well, he originally brought the song to Sam Phillips at Sun Records and was able to record it there in 1955 as part of his debut studio album. That was near the start of his career.

But it was more than a decade later, when he convinced Columbia Records to let him record the album live at Folsom Prison in 1968, that the song and his own acclaim really took off.

His career had taken a dip and June Carter was still only his girlfriend. But he wanted to record Folsom Prison Blues live in the prison – and that’s what he did. The Live album hit number one on the Country Music charts and top 15 on the national charts.

Now, it is true that Cash did take the melody and some lyrics from the song Crescent City Blues written by Gordon Jenkins and sung by his wife Beverly Mahr. But it wasn’t a secret as Cash had told Sam Phillips of Sun Records that he had used Crescent City Blues as its base. Phillips apparently told Cash that because the original blues number hadn’t become a hit, there was no need to be concerned about a plagiarism lawsuit.

Years later, Jenkins did hear the song, when it came out the second time on the Folsom Prison Blues Live album in 1968 and he did pursue a plagiarism lawsuit. There was an out of court settlement Cash paid of $75,000 as an acknowledgement that Crescent City was indeed a key influence.

The original song was centered on love – Cash’s changes were significant, not only to the lyrics but the tempo and adding guitar licks.

One example of the lyrics is the infamous verse in Folsom Prison Blues, when Johnny laments that he shot a man in Reno just to watch him die.

Well, no, that was not in the Crescent City version and no, Johnny Cash never did shoot no one…

He said he thought of what could be the worst thing he could think of doing and that line came to him. Some prisoners didn’t known that and of course that endeared him even further.

Interestingly, the opening line of the song is identical in both Folsom Prison Blues and in Crescent City Blues:

“I hear the train a comin’ it’s rolling ‘round the bend…”

Crescent City veers off to a torch song though:

“And I ain’t been kissed Lord, since I don’t know when.”

Although the opening lines are identical, inspiration would have it that there was great significance to the train in the context of the prison.

A lot of significance.

Free labour was used to build that railroad using those very prisoners. Those prisoners were also used as free labour to build the nearby canal and dam.

This song is a cry for justice.

And that railroad is a symbol of injustice, as it has been for other disenfranchised and oppressed groups. So what better way to start that song than by talking about hearing a train.

Plus it situates the listener right in the prison. So much empathy built for the listener – right in that first sentence:

“I hear that train a comin’ it’s rolling round the bend.

And I ain’t seen the sunshine since I don’t know when.“

Why?

“I’m stuck in Folsom prison and time keeps draggin’ on“

Thank you Johnny. Thank you.

References
https://folsomcasharttrail.com/the-trail/blog/the-real-story-behind-johnny-cash-folsom-prison-blues

https://www.tpr.org/show/texas-matters/2017-10-13/johnny-cash-and-the-story-behind-folsom-prison-blues

https://pen.org/i-hear-the-train-comin/

https://faroutmagazine.co.uk/johnny-cash-richard-nixon-man-in-black-1972/

Happie Pens Op-Ed For Spin On Her Jewish Heritage, Antisemitism In The Music Industry

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Today, in a moving op-ed for SPIN Magazine, the indie-pop artist HAPPIE, who doubles as the cantorial soloist for one of the largest congregations of Reform Judaism in the U.S., reflected on her Jewish heritage, her experience performing at Auschwitz-Birkenau in the past, and the recent wave of antisemitism that has riddled the country and music industry. “While I might not be on a physical platform like I was at Auschwitz, I have the responsibility to say that this is not ok. It’s not normal,” she writes. “I am grateful for the support of my non-Jewish friends and leaders who have spoken out and have stood up for a loving humanity. It’s on each of us to continue to call it out and continue to build a community where hate is not only not accepted, but is rooted out.”

The op-ed comes just before the release of HAPPIE’s debut EP ‘Heartbreak Season’ on Friday, November 18th. Mixing warmly organic instrumentation with sleek electro-ambience, storyteller narratives, sultry grooves, and seductive sentimentality, the album has received critical acclaim over the past few months, with SPIN calling it “a stunning debut,” Under The Radar Magazine describing it as “sleek and seductive,” and The Big Takeover writing: “HAPPIE is a revelation.” Last month HAPPIE stunned audiences on the main stage of the Austin City Limits Festival, just after leading Yom Kippur services at Temple Israel in Memphis.

HAPPIE recently shared “Heartbreak Season,” the title track of her new EP. Written in the middle of a New York winter, Happie describes the song as a “soulful and sultry expression of a moment in time.” The release followed the EP’s first single “All I Needed,” a sultry and honest offering that exudes a sensual longing, featuring a mix by David Block of The Human Experience, whom HAPPIE met while performing in Antarctica.

HAPPIE’s fans have long said that her voice helps them access their emotions. For that calling, she’s traveled the globe delivering soulful catharsis in song as a full-time musician. Today, HAPPIE’s musical mission is a personal one. ‘Heartbreak Season’ is an emotive 5-song collection that marks a radical reinvention, born from the end of romantic and professional relationships and an artistic rebirth.

“These are the most vulnerable songs I’ve ever released, and I definitely shed tears writing them,” HAPPIE reveals. “’Heartbreak Season’ is about what we have to go through to find real love. It doesn’t have to represent sadness, but rather bravery, empowerment, growth, truth, excitement, and knowing that anything is possible – that the love I’m seeking is seeking me.”

Conceptually, ‘Heartbreak Season’ is a snapshot of dating, relationships, and the quest for deep romantic connections. The EP was written with HAPPIE’S dear friend, the pop-rock artist iRO Music, aka Ori Rakib—a talented songwriter who has worked with Macklemore, Shane McAnally, and won NBC’s Songland songwriting television competition. It also features the soul/electronic/folk production and multi-instrumentalist skills of Gene Evaro Jr.

Previously, HAPPIE toured the world as one half of indie folk duo Eric & Happie, with Eric Hunker. The duo specialized in modern indie-folk versions of traditional Jewish music and new originals, and took their vibrant musicality around the world, including powerful performances in Poland, Russia, and Moldova, at festivals like SXSW and the Sundance Film Festival Israel, and for the UN.

Chiiild Announces New Album “Better Luck In The Next Life”

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Multi-talented and genre-bending artist Chiiild has revealed a trailer for his forthcoming album Better Luck In The Next Life, marking the beginning of a new chapter. Quickly following up on this trailer, today Chiiild releases his new single “Bon Voyage” with an accompanying music video directed by Trey Lyons.

“Bon Voyage” offers a first glimpse into Better Luck In The Next Life, an in-depth exploration of creative freedom, personal equilibrium, and a return home. The track’s stripped-down instrumental and deep-rooted reverb places Chiiild’s rich vocals and introspective lyrics in the spotlight, taking listeners on a journey through his world. The single is accompanied by a video shot in Chiiild’s hometown of Montréal, Canada that sees him traversing through dark and disorienting surroundings that seem almost larger than life.

About “Bon Voyage,” Chiiild says “’Bon Voyage’ marks the beginning of this new chapter. My aim with Better Luck In The Next Life is to give you a look inside my mind. Into the doubts & fears, ambitions and a few connections along the way. It was a form of healing putting these real situations into songs. When everybody is out here on the same thing, we’re just out here levitating.”

Better Luck In The Next Life will be the follow up project to Chiiild’s 2021 debut album Hope for Sale, which upon release was met with critical acclaim from NPR, Complex, NYLON, and more and has amassed over 58 million streams to date. The album was nominated for Alternative Album of the Year at the 2022 JUNO Awards, and Chiiild was also named one of VEVO’s 2022 DSCVR Artists to Watch. Chiiild delivered a soulful medley of two of his most well-known songs from this album, “Pirouette” and “Sleepwalking” on Jimmy Kimmel Live! – watch the performance HERE. Prior to Hope for Sale, Chiiild released his debut EP Synthetic Soul in early 2020.

Earlier this year, Chiiild embarked on Leon Bridges’ “The Boundless Tour” for select dates. Previously, Chiiild sold out his debut headline tour in the US, The Apocalyptic Optimistic Tour, which featured festival performances at Lollapalooza, Life Is Beautiful, and Governor’s Ball.

From Montréal, Canada, Chiiild has spent years honing a unique blend of pop, R&B, soul and jazz behind closed doors. Chiiild uses music to tell stories about diversity, ask questions about humanity, and unify people over shared personal experiences. Taking influence from music as diverse as D’Angelo, Tame Impala, Pink Floyd and Marvin Gaye, he’s created an expansive timeless sound that is uniquely genre-bending yet still somehow reminiscent of something you’ve heard, or felt, before.

Friends of Simon Wiesenthal Center Applauds Ontario Government for Mandating Holocaust Education in Elementary Schools

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Friends of Simon Wiesenthal Center (FSWC) commends the Government of Ontario for making Holocaust education mandatory in elementary schools for the first time.

Minister of Education Stephen Lecce made the announcement this morning during a news conference at Beth Emeth Bais Yehuda Synagogue in Toronto, where he unveiled a series of actions the government is taking to combat rising antisemitism in schools across the province.

The Ontario government will be revising the Grade 6 Social Studies curriculum to include mandatory learning about the Holocaust. Currently, students are only required to undergo Holocaust education in Grade 10.

The revised curriculum will be implemented in the new school year starting in September 2023.

The Ontario government has also outlined community resources it is investing in to further help students learn about antisemitism and how to address it, including FSWC’s Antisemitism Classroom Toolkit (ACT). ACT is a resource guide that provides parents and educators the content and learning strategies necessary to guide young learners through a curriculum-compatible introduction to the often complex and difficult topic of antisemitism.

“Recent studies amongst Canadian youth have revealed an overwhelming lack of knowledge about the history of the Holocaust, the ultimate example of what happens when hate is left unchecked,” said Michael Levitt, FSWC President and CEO. “We commend the Ontario Ministry of Education for taking this monumental step in ensuring that the lessons from the Holocaust and the legacy of survivors are never forgotten.”

FSWC will continue to bring additional Holocaust, antisemitism and human rights education to students and professionals across Canada, including with its Tour for Humanity mobile education centres. Every year, FSWC educates tens of thousands of Canadians through both in-person and virtual programs, inspiring them to stand up against antisemitism and all forms of hate.