Sonic Reducers: 5 minute video. 2 music geeks. 1 big story.
It’s New Music Friday, and we discuss albums from The Weeknd, Bowie, Springsteen, Burial and RuPaul. None, we can reveal, disappoint.
Sonic Reducers: 5 minute video. 2 music geeks. 1 big story.
It’s New Music Friday, and we discuss albums from The Weeknd, Bowie, Springsteen, Burial and RuPaul. None, we can reveal, disappoint.
Mattel made the best toys including the Mickey Jack-In-The-Box, and a Mickey Mouseketar.
Sonic Reducers. One topic. Two music nerds. Five minutes. Everything you need to know
Join us as we talk about the new documentary Ronnie’s, which chronicles the life and career of London sax player-turned-jazz club owner Ronnie Scott, and which will feature previously unseen footage of Ella Fitzgerald, Miles Davis, Nina Simone, Jimi Hendrix and more.
In watching Nirvana open for TAD on December 1, 1989 at Fahrenheit, Issy-les-Moulineaux, France, you can see the beginnings of the soon-to-be legendary group, and know that Chad Channing could still be a beast on the drums before Dave Grohl joined.
the dt’s speak unabashedly from their rock and roll heart on this, the release of their third single, “Need You (Forever)” — available now!
The duo from Springfield, NJ were brought together by a chance open-mic night and their shared passion for songwriting, performing, and love of harmonies. Fresh out of prior musical outfits, the dt’s — David Cacciatore and Tom Losito — dove head-first into creating; both multi-instrumentalists with influences from jazz, rock, modern and power pop, they formally began releasing music together this year, and their dedication to their craft, plus innate desire to experiment with sound, provides a shiny forecast to a bright future together in the music community.
On “Need You (Forever)”, the dt’s examined all facets of songwriting to juxtapose the music to match the lyrics — and the life experiences to carry the passion behind the delivery. “We recorded ‘Need You (Forever)’ in our home-studio during lockdown where we really took the time to dive deep into understanding the recording process,” Tom says. “Dave wrote the song while in college; he first came up with the riff, and later added lyrics. It naturally came together, infusing elements with some of his most beloved bands like The Beatles and Oasis.”
The track opens over an acoustic riff before it slowly creeps to a full band experience with lush layered harmonies, pleading calls of need and exciting dips and valleys, and charismatic crescendos before fading to calm.
“The song started just on two acoustic guitars,” the dt’s reveal. “From there, we added layers of electric guitars through our vintage Fender, Peavey, Vox amps. We utilized Dave’s Gibson Les Paul Custom SG and Tom’s dad’s 74’ Fender Strat heavily.
“We also experimented with vocal layering harmonies, which were tedious but rewarding.”
The lyrics, they say, are a recall on memories from a variety of facets of Dave’s life — from life experiences, to events, relationships, school and even work. “When Dave brought the song to Tom, they both agreed that it was a song that should be recorded along with the other singles,” Tom explains.
“Tom then added bass and scratch drums, which we then sent to our good friend Frank Letteri of The Paper Jets & Dust Of Days to record drums on a full batch of our songs in his home studio setup,” Dave continues. “We then decided to work with our friend Joe Pomarico over at Telegraph Hill Records for mixing and mastering.”
“Need You (Forever)” is a whimsical journey on where life is headed, and where we want it to arrive. It’s as much a call and answer as it is a self-reflection on needs and wants.
And it’s wrapped neatly in a production bow that renders the song an instant classic, and movie soundtrack-worthy. The kind that makes up the peak of the mixed tape… The kind that you play in the boombox high above your head…
The kind that lets them know you need them…
Forever.
Shattering relationship ideals and their lingering effects on the psyche, Toronto rocker Chris Nine looks left at angst and right at pure adrenaline for his raucously rebellious, fully super-charged pop-punk new single and video, “ghosts”.
Taking a bayonet straight to the heart of the perilous emotional expedition that is love, and the raw vulnerability it takes to give it a shot, the singer/songwriter shares. “I wanted to embody the feelings of love with its heart-pumping feeling, juxtaposed by the heaviness it can leave,” Nine says. “‘ghosts’ captures how that overwhelming lust for another can topple one’s self-control over rationale, and open oneself up to the rollercoaster of emotion — just for the slim chance at happiness.”
Featured in the likes of Tinnitist, Canadian Beats, Cashbox, Record World, Find Your Sounds, BK On The Scene, and more, the song lands as part of Chris Nine’s recently unleashed post-hardcore pop-punk EP, the heavy. Produced, mixed, and mastered by Darren Benner, the video for ‘ghosts’ was directed and edited by Zeebrah Media’s Ryan Brough.
In a blistering trio of tracks that serve deeper purpose than an all-out, high-octane sonic sojourn — in fact, they nothing short of extricated the singer/songwriter after a devastating series of events (a concussion, a breakup, and a global pandemic, to start) — the searing series of songs are a two-way mirror, stripping ego and pride away as Nine earnestly parses pain through scathingly raw and honest sonic storytelling.
From there, a polished orchestration of razor-sharp guitar riffs and stadium-filling drums deliver Chris Nine’s supersonic yet melancholic musical offering.
“The songs on the heavy all resemble the past, present, and future components of dealing with relationships and trauma,” Nine reveals of ‘the rage,’ ‘fracture,’ and ‘ghosts.’ “I was navigating this mental fog, and confronting shadows of my past. From this, the heavy was summoned; each song sheds light on the different perspectives each version of self brings to the table, and the emotions that follow.
“This EP was a way of voicing frustration and growing pains in an incredibly cramped space that was the ‘quarantine,’” he continues. “I was lonely after a breakup, after losing friends, and I was feeling brain fog effects from a concussion. I felt I needed to become something new, and grow from it. With residual effects from my post-concussion syndrome, my eyesight and sense of self were removed. Ultimately, it forced me to adapt, and to start playing and writing in a different manner.”
One such way was using chord variations due to the decline of muscle memory. Focusing on simple, ‘to the point’ solos, all to avoid getting lost, Nine worked diligently to not only prevent forgetting ideas, but to not to create over-stimulus — which could have potentially worsened his symptoms.
“The first track started at ‘the rage’ and, vocally, something else came out of me,” he recalls of the process. “The harshness and sizzle in my vocals, that usually had to be held back, became paired with this aggressive rock sound my hands now shaped. Grit, and punchy, melodic vocal lines became my style of singing, and I knew I had stumbled onto something and needed to explore this true side of my voice, and myself.”
Nine also found the ongoing pandemic was exacerbating his experience and, after returning from a trip to the grocery store, feeling overwhelmed by the situation and its effect on his life, he experienced a breakthrough. “I came home, quickly grabbed my guitar, and played a riff I had never been able to write a melody line for,” he recalls. “I started to scream the first verse lyrics and, suddenly, a new style of lyric writing had become available to me.”
“fracture” was the first to receive this treatment, with “the rage” and “ghosts” followed soon after.
“‘ghosts’ was conceived in the idea of telling a full story, similar to the anime openings that had kept me sane and feeling secure the whole quarantine,” he shares. “Overall, this was the first time I delved into a more compressed tone, and really learned how to excel as a vocalist. Songs became more about melody and tight structure than they ever had before, and attention was paid to performance and emotion over what was ‘correct.’ It allowed me to open my writing to darker conversations, and take risks in my songwriting.
“Simply, the EP was there to support me; it was there to give me strength, and make me feel like I could be in the world once more. the heavy represents relentless energy, and hopefully teaches people to look inside and dig deep; to never give up, and never back down.”
the heavy — featuring “fracture,” “ghosts,” and “the rage” — follows additionally available singles “Stitches” and “jawbreaker.”
Featuring a raw fusion of indie rock and funk, garnished with sprinkles of rock n’ roll riffs and country chords, Kingston, ON outfit JukeBox County released the accompanying music video for “Put Me Down” — available now.
The song is a fresh cut from their debut album, 2021’s Inner Space/Outer Space. Produced by Hugh Christopher Brown through Wolfe Island Records, the 10-track full-length release signaled Rich Tyo’s transition to headlining his newly crafted creative identity, JukeBox County.
Tyo’s biggest motivator when writing music for JukeBox County has always been emotion and the complex role it plays in our time on Earth. Notorious for lacing heartfelt messages into the power-anthem projects the group has managed to create, Tyo focuses heavily on the intricacies of comradery and the power of influence a good jam has on a crowd of people.
“‘Put Me Down’ speaks to oppression and power dynamics, and how music and art can be a gateway to create connection and compassion between people,” he shares. “It calls out people who try to bring others down for their own benefit or for their own ego and personal gain.”
One of the messages most poignant throughout a lot of JukeBox County’s music and cinematography is the theme of acceptance and banding together, and “Put Me Down” lands no differently. “This song encourages people to use their privilege to make positive changes to racial, gender, economic, and political systems of oppression,” Tyo explains. “It’s about the inspiration that comes with the flow of creatively engaging with life with an open heart while allowing others to seek their truth as well.”
On the topic of banding together, albeit in a different context, one listen through on “Put Me Down” shows Rich Tyo has a fantastic ear for assembling an all-star roster of musicians; while Tyo may be the creative mind and sultry lead vocals featured on the newly released works of JukeBox County, this established Kingston-based independent musician isn’t afraid to give credit where it is due… Tyo expresses much gratitude to the team of talented musicians that banded together to assist in the creation of the release, including Hugh Christopher Brown on keys, Pete Bowers on drums, Rocky Roberts on electric guitar, Sarah McDermott on background vocals, Teilhard Frost on percussion, and Jason Mercer on bass.
Drawing inspiration from artists like Neil Young, Nick Drake, and The Grateful Dead, JukeBox County creates an entirely human and excitingly unique listening experience for the group’s growing fanbase. “Put Me Down” carries all of the weight of an Artic Monkeys anthem with all of the grace and character that Rich Tyo has funneled into JukeBox County and the new album, Inner Space/Outer Space.
As time passes, it becomes exceptionally clear that JukeBox County and Rich Tyo are onto something good here. Not only that, but their intentions are driven by purely human emotion — intentions that are clearly transmitted through the group’s production ability and wholesome messaging.
Toronto Blues Society has changed the dates of the upcoming Blues Summit Ten and the 25th annual Maple Blues Awards to June 17 – 20, 2022 due to current provincial restrictions, travel limitations and rising COVID-19 cases.
The Maple Blues Award winners will be announced on June 20, 2022, at Koerner Hall in Toronto.
COVID protocols are strictly in place, with proof of vaccination and valid ID required, with mandatory masks everywhere in the building, including during concerts.
Detailed information will be provided to ticket purchasers prior to the concert dates.
Hosted by Ottawa’s Angelique Francis, Canada’s biggest night in blues music will feature performances from five Maple Blues Award nominees including Bobby Dean Blackburn, who is nominated for the Blues With A Feeling (Lifetime Achievement) Award, multiple nominee Sue Foley, who is up for Entertainer of the Year, Electric Act of the Year, Songwriter of the Year, Recording/Producer of the Year, and Guitarist of the Year. Also set to grace the stage are Female Vocalist of the Year nominee Crystal Shawanda, Songwriter of the Year nominee Kat Danser, and Colin Linden, who is nominated for Recording/Producer of the Year and Songwriter of the Year.
Sonic Reducers. One topic. Two music nerds. Five minutes.
Tune in to hear us talk about the Grammys being delayed again, ponder why they’re off when sporting events and concerts are still going, and fondly recall the days when winning (or even just being nominated for) a Grammy actually gave artists a large bump in sales overnight.