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Queens of Grunge-Pop Punk BAD SKIN Denounce “Clowns For President” in Deliciously Aggressive Anthem

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Canada’s reigning queens of grunge-pop punk Bad Skin are back with an aggressive and immersive new anthem in “Clowns For President.”

The sonic middle finger, per se, unabashedly denounces control and constraint, and lands straight from their recent EP offering, Live Fast Die Punk.

The glorious 4-piece from Quebec swing truth bombs like axes in this pulsating follow-up drop. Refusing to back down, to be censored, or controlled, Bad Skin slices through the narrative and beguiles the listener in a race against conformity; a punk quid pro quo in sending the message that Gen Z is awake, and paying attention to the global society around them. And punk is here to save the day.

For Dope (lead vox, rhythm guitarist), Caro (lead guitar), Aurély (bass), and Christine (drums), the idea behind the track came from real-life anecdotes from friends forced into situations where they felt incapable of saying “no.”

“We wanted to share with our fans that it’s okay to say ‘no’, even when it’s not easy,” says Bad Skin. “Of course with everything going on right now with the COVID situation, we had to pursue that idea at its largest!”

No doubt the message couldn’t have been larger — or louder — than the group revving up the female punk scene bop after bop. Dope’s husky vox commanding “no government” is a near-nod to Pussy Riot; her attitude is a melding pot of Peaches and Dolores O’Riordan. Caro’s expert punk licks lashed around Aurély’s rumbling bass lay the framework of anarchist punk rock. The track is committed to its rapid tempo thanks to Christine who refuses to back down from the haul — her epic throwdown of the beat snaps together with a familiar nod to original punk masterminds who defined the genre.

“Clowns For President” wouldn’t be complete with a Bad Skin video to accompany the track. As gritty, dark, and hasty as the song, the track delivers on dark visuals to tell the rest of the story.

“For this video, we went completely in another direction from our past videos,” the band explains. “It’s darker and more serious but still with our Bad Skin touch. The video was shot in half of a day and we added actors for the first time. Such an amazing experience! We have a wonderful professional team and we couldn’t ask for more!”

A band raising their voice for the voiceless, talented and brazen, refusing to back down, bow down, or explain themselves, Bad Skin isn’t afraid to call it like it is or say it like it is; refusing to comply or conform.

Even if they’re calling them “Clowns For President.”

“Clowns For President” and Live Fast Die Punk are both available now.

Alt-Folk Rockers Village Manor Implore the World to Put “Gunsaway” with Release of New Single

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Canadian alt-folk rockers Village Manor are encouraging the act of “Gunsaway” with the release of their new single.

The imploring plea arrives as their debut release, and was inspired by how “tired everyone is waking up every morning to the news of gun violence on a consistent basis,” co-frontman John Weinberg says.

“It’s every single day!”

“How many times can we wake up, how many times can we hear,” asks the lyrics. “It’s only time – and a time for winning, time for losing, time for loving, and a time to stop saying goodbye.”

Picking up where Mumford and Sons paved the path, “Gunsaway” is poignant prose woven within music that’s well-steeped in roots before it branches out into indie alternative, and incorporating harp and rushing percussion along the way. The track re-imagines a genre marked by the Drive-By Truckers and made notorious by Wilco, and Village Manor succeed in bringing alt-folk rock to the foreground of musical soundscape — stitching themselves into the fabric of the pattern: excellent songwriting, beautiful lyrics, and impeccable musicianship with a message.

Hailing from the indie mecca of South Western Canada, Village Manor sprang up in Toronto, back in 2018. A chance encounter between group founders John Weinberg and Sam Kay during an open mic at the Free Times Cafe set the band in motion; they soon collected up an amazing singer in Mike Levine (Tragically Hits Band), percussionist extraordinaire Corey Weinberg (Numb Tongues), and sound engineer/bassist Mike Grundy (Wychwood Sound), fleshing Village Manor into the soundscape we’re hearing today.

For the guys who lined the halls, cafes, stages, and spaces of Toronto’s open mic community, it’s a testament to the coming together of Canadian musicians. Village Manor became an open door for a collective of indie artists with a common love of songwriting, and performing, and now it’s home to all of us.

And within a similarly welcoming sentiment arrives their plea for a safer world.

Nova Scotia Music Week Submissions Are Now Open

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Nova Scotia Music Week (NSMW) is heading to Sydney, Cape Breton November 3 – 6, 2022 for the 25th anniversary of the event. Music Nova Scotia is calling artists and performers of all genres from across the province to take part in the big anniversary and apply to play at NSMW 2022.

Showcase submissions to play NSMW 2022 are now open. To celebrate the 25th anniversary of NSMW, the cost to submit has been reduced to $25.

Showcasing submissions will close March 22, at 11:59 p.m. AT.

To apply, click here.

SUE FOLEY Scores Three Blues Music Award Nominations for Her ‘Pinky’s Blues’ Album

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Pinky’s Blues, the new Stony Plain Records album from award-winning blues guitarist/singer Sue Foley, scored a trifecta of nominations at the recently announced nominees from the Blues Foundation for the 43rd Blues Music Awards. Foley garnered nominations for “Album of the Year,” “Traditional Blues Album,” and “Traditional Blues Female Artist.”

“I’m over the moon about these three Blues Music Award nominations,” said Texas-based Sue Foley after she heard the news. “What an incredible honor to be acknowledged in Memphis. Speaking for everyone who helped create Pinky’s Blues, we’re proud to have made a real blues album and are thrilled that folks are loving it.”

Featuring several Sue Foley originals, as well as songs from some of her favorite blues and roots artists, Pinky’s Blues showcases Sue Foley (guitar, vocals), accompanied by Chris “Whipper” Layton (drums), Jon Penner (bass), and Mike Flanigin (Hammond B3 organ), who also produced the album. The legendary Jimmie Vaughan joins is a special guest on rhythm guitar on the track, “Hurricane Girl.”

Pinky’s Blues is the follow up to Sue Foley’s award-winning album, The Ice Queen, (2018). Foley’s new album is a raw, electric guitar driven romp through the backroads of Texas blues, with Foley’s signature pink paisley Fender Telecaster, “Pinky,” at the wheel.

Foley won “Best Traditional Female (Koko Taylor Award)” at the 2020 Blues Music Awards in Memphis, was nominated for a Juno Award (Canadian Grammy), and she took home the award for “Best Guitar Player” at the Toronto Maple Blues Awards. For the last few years Foley and her band have kept a rigorous touring schedule across the USA, Canada and Europe. Some highlights were appearances at Love Rocks NYC (with Cyndi Lauper, Dave Mathews and Tedeschi Trucks) at The Beacon Theater (NYC), guesting with Jimmie Vaughan (opening for Eric Clapton) at Royal Albert Hall in London, Montreal Jazz Festival, Ottawa Bluesfest (with Buddy Guy), Moulin Blues (Holland), NPR’s Mountain Stage (with Bela Fleck), and The Jungle Show (with Billy F Gibbons and Jimmie Vaughan) in Austin, Texas.

Ronnie Earl And The Broadcasters Deliver a Loud and Clear Shout-Out of ‘Mercy Me’ On New Album

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Ronnie Earl, a four-time Blues Music Award winner as “Guitar Player of the Year,” follows up the critical and commercial success of his last album, Rise Up, with Mercy Me, a new set of wondrous music with his long-time band, The Broadcasters, on April 15 via Stony Plain Records. Mercy Me will also be released later this summer on vinyl LP.

Over a 45-year career as one of the world’s top blues musicians, Ronnie Earl has transfixed audiences with his distinct sound of emotion-laden blues. On his own and with his band The Broadcasters, Ronnie is a four-time Blues Music Award winner as “Guitar Player of the Year,” with 28 albums and multiple chart-topping compositions in his catalogue.

Ronnie sets the songs of this album into context with a quote from Reverend Dr. Martin Luther King Jr prominently placed in the album art: “The Blues tell the story of life’s difficulties, and if you think for a moment, you will realize that they take the hardest realities of life and put them into music, only to come out with some new hope or sense of triumph.”

These 12 songs present triumphant Blues – uplifting and hopeful songs that point to a better tomorrow, including “Soul Searching,” “A Prayer for Tomorrow,” “The Sun Shines Brightly” and “Your Love Keeps Lifting Me Higher And Higher.” Celebrating artists who have contributed to the theme of hope, Mercy Me includes “Blues for Ruthie Foster,” “Blues for Duke Robillard” and “Dave’s Groove,” co-written with Dave Limina.

Dave Grohl of Foo Fighters Can Play Drums With His Teeth

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Dave Grohl reveals the “dental drumming” habit he and Nirvana bandmate Kurt Cobain shared and demonstrates it for Howard Stern.

Country Rocker Marshall Potts Brings “The Storm” with New Single

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Available now, Marshall Potts is blowing in strong with “The Storm” — the fierce new single from his forthcoming third album of the same name set to arrive this Spring.

The country rocker from Canada’s West Coast is fusing Americana with classic rock on this heavyweight song — supercharged and ready to rip off the shingles and tear down the roof.

A rural songwriting superstar living on a 160-acre oasis in his native BC, Potts treads the line on folk, country, and rousing rock and roll on an album drenched with his powerhouse vocals. Delivering on his commitment to convey the universal messages of positivity and optimism, Potts creates music he calls “moving beyond your past, taking back your power, embracing the moment and living in the here and now.”

True to form, his crossover track “The Storm” is as buoyant as a thunder rolling cascade of heavy guitar, and raining melody. “This is a song of understanding, realization, and action,” Potts says, adding, “We realize what’s important to us when we have massive change, and like a storm, it will pass but it’s what we learned about ourselves that makes us better human beings as a result.”

In addition to gearing up for the song’s titular album and its upcoming release, Potts has celebrated two previous album drops, international airplay and touring, plus movie soundtrack credits. Of the new album, Potts says: “it foreshadows the positive outcome we can all expect when we take the time to learn about ourselves, seek our own truths, heal our old scars and reemerge standing our ground in our own power. The hero story we are all meant to walk and the gratitude that leads our lives as a result.”

Armed with his band of brothers, Potts has scored label distribution through Sony/The Orchard, with the release at the helm of his 2022 performance plans — including getting back on the road touring. In addition to the singles, Potts provides a visual component to the tracks through music videos available for streaming on YouTube.

“When the wind comes it brings change,” Potts muses on the lyrics of “The Storm”, “and only truth alone remains. ‘Cause it reveals your pain, that’s why the Storm came.” His anthemic challenge on the record implores for self-reflection. “We get the chance to redefine what’s most important to us and where we need to refocus our intentions.”

Forget battening down the hatches, or boarding up the windows; “The Storm” has already arrived and Marshall Potts is commanding it.

Rocker EDISON RUPERT Recounts A Tale of Hard Living in “Ticket To A Place”

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Life can be punishing, and the world can be a cruel place, and sometimes we just want someone to lay it all out how it really is, without varnish or artifice. Canadian indie folk-rocker Edison Rupert does just that in his rollicking ballad of hard luck, “Ticket To A Place.”

“Ticket To A Place” starts out with marching, percussive electric guitar as Rupert tells the sad tale with plain-voiced candor in the vein of Johnny Cash. The story begins in the first person, as Rupert narrates the empty, anonymous existence of a cipher:

I’ve got a ticket to a place that nobody knows
I’ve got some years on my back with nothing to show
If you come looking for me, I’m hiding in the shadows
I’ve got my own dirt pile pillow, It feels like home

The accompanying music video depicts Rupert walking alone down a dirty snow-crusted street in Ottawa in the dead of winter, singing and playing his electric guitar. The guitar begins to rock and the tale takes on an infectious, bluesy melody as Rupert croons right up to the edge of a moan about the soul-shaking shame of this life, slouching in the shadows: “There’s nowhere to go/Beneath this low,” he laments. “And I’d lay my bones/Anywhere that you can’t find me.”

And then the song’s perspective suddenly shifts, with Rupert now recounting an encounter he had with a haggard man: “I picked up a ragged man from laying in the street/He said it’s my day to go son, can’t you see?” It’s this perspective that’s actually based on one of Rupert’s own life experiences – he was inspired to write “Ticket To A Place” after a sad and memorable encounter with a homeless man in Ottawa, on the very street where the music video was filmed.

“The song ‘Ticket to a place’ is about a real-life experience I had more than 15 years ago,” Rupert said. “I saw a homeless man lying in the middle of the road with the traffic stopped in front of him. People were just watching from the sidewalk, and I went over to him and got him up and onto the sidewalk where I asked if he was ok, and in the end, he just wanted someone to care.”

The experience struck him as a reminder to not let his compassion get diluted and desensitized by the overflow of homeless people in downtown Ottawa. This is perhaps why he chose to tell half the song’s tale in the first person — to humbly put himself directly in a homeless person’s shoes, to live the experience through song. “I was reminded to keep my kindness towards people no matter who they are,” he said.

Edison Rupert is a new musical artist from Ottawa. He has been making music for more than 15 years, and yet he is just starting to put it out there now. He’s a one-man show, and everything you hear is Edison writing, performing, engineering, mixing, and mastering in his basement studio. Equipped with a heart full of sincerity, a house full of gear, and a drive to put his new music out to the world, Edison Rupert is not looking to slow down anytime soon.

Eddie Vedder Celebrates Acclaimed Ukulele Songs Solo Release With A Pair Of Vinyl Reissues

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On May 6, Eddie Vedder is set to reissue both Deluxe Edition and Standard Edition LP versions of his acclaimed second solo album, May 2011’s Ukulele Songs, the first time this record has been pressed on vinyl since its initial LP release a decade ago.

The Deluxe Edition LP features the original 16-track Ukulele Songs album on high-grade 180-gram black vinyl in expanded packaging that includes a 16-page booklet and a special lithograph. The Standard Edition LP has also been pressed on 180-gram black vinyl.

Ukulele Songs comprises a fine mixture of original material penned by Vedder that he initially performed live, alongside vintage classics and standards. A recast, uke-driven version of “Can’t Keep,” which originally appeared as the opening track on Pearl Jam’s hard-charging November 2002 album Riot Act, opens the proceedings, while newer-bred original songs like the resigned lament of “Sleeping By Myself,” the charming love orbit of “Satellite,” the hopeful brightness of “Light Today,” and the instrumental interlude “Waving Palms” all set the table for the 35-minute album.

Guest vocalists appear on a pair of key Ukulele tracks, both of them fine covers of notable standards. First, Glen Hansard (The Frames, Once) adds his Irish folk DNA to “Sleepless Nights,” which was written by Felice and Boudreaux Bryant and remade by The Everly Brothers in 1960, in addition to later being covered by the likes of Emmylou Harris, Patty Loveless, and Elvis Costello.

Second, Cat Power lends her passionate tone to “Tonight You Belong To Me,” a jazz standard written in 1926 by lyricist Billy Rose and composer Lee David. This track has also been subsequently covered by the likes of Frankie Laine, Patience and Prudence, and Dottie West. Versions of “You Belong To Me” were also recently featured in the acclaimed 2019 film drama Blackbird and in an episode of the 2020 HBO horror-drama series Lovecraft Country.

The LP’s other noteworthy covers include stirring takes on Billy Rose and Edward Eliscu’s “More Than You Know,” Michael Edwards and Bud Green’s “Once In A While,” and the album-closing reading of Fabian Andre, Wilbur Schwandt, and Gus Kahn’s “Dream A Little Dream.”

Produced by Eddie Vedder and Adam Kasper (Foo Fighters, Soundgarden), Ukulele Songs peaked at No. 4 on the U.S. Billboard 200, hit No. 2 on the U.S. Top Rock Albums on Billboard, and achieved Gold status in Canada.

EDDIE VEDDER: UKULELE SONGS [Deluxe Edition LP & Standard LP]

Side A
Can’t Keep
Sleeping By Myself
Without You
More Than You Know
Goodbye
Broken Heart
Satellite

Side B
Longing To Belong
Hey Fahkah
You’re True
Light Today
Sleepless Nights
Once In A While
Waving Palms
Tonight You Belong To Me
Dream A Little Dream

Jake Clemons Band Free “Pop-Up” Show Tomorrow in Montreal in support of Red Cross Ukraine Relief Fund

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Gifted singer, songwriter and multi-instrumentalist Jake Clemons is a magnet for positive energy and emotion, consistently sharing stories and thoughts about life, his beliefs, and experiences through music. Jake and his Band are performing a Free Pop-Up Fund-Raising Show in Montreal this Friday March 11th at URSA Montreal, 5589 Park Ave, Montreal in support of Red Cross Ukraine Relief Fund. Donations Accepted at the door. Doors open at 7:30pm, show starts at 8:30pm.

“Watching this industrialized warfare against innocent civilians in real time is heartbreaking. Hope requires action, so I’m doing this show as a vehicle for those willing to actively say we are hopeful for Ukraine, and we’re actively sending resources for healing to the many who are hurting because of this terrible, unjust aggression.” Clemons’s song Eyes On The Horizon is a statement about the need to reach towards something better. “We always have to carry that hope with us,” he says. “We have to use it to look towards the horizon.”

Jake’s vast array of musical endeavors over the past decade have made him a familiar figure around the world. From recording and/or performing with Eddie Vedder, Glen Hansard, Tom Morello, Prophets of Rage, Roger Waters, US Girls as well as touring the world, to performing his own music with The Jake Clemons Band and spending the last 9 years as the tenor and baritone saxophonist with Bruce Springsteen’s E Street Band including appearing on Springsteen’s latest album “Letter To You” and the companion Apple TV Documentary.