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JUNO Award-Winning Rock Duo Crown Lands Unveil “White Buffalo”

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Juno Award-winning, powerhouse rock duo Crown Lands – Cody Bowles (vocals and drums) and Kevin Comeau (guitar, bass, and keys) – share two new tracks, “White Buffalo” and “The Oracle” today. Both tracks were recorded with three-time Grammy Award-winning, Toronto producer David Bottrill (Tool, Mastodon, Rush, Peter Gabriel).

“White Buffalo” arrives as a symbol of aspiration, in recognition of the resilience and strength of Indigenous communities to overcome injustice while manifesting a prosperous future. The big guitars, stomping baseline and pummeling drums barrel forward as if to conjure the movement of a giant buffalo.

“White Buffalo is the third instalment in our trilogy of songs about Indigenous rights,” says Crown Lands. “Mountain” is what happened. “End of the Road” is what is happening. White Buffalo is manifesting what will happen: overcoming oppression and rising up to reclaim one’s land. The White Buffalo is a symbol of manifestation. When Colonizers came to North America they tried to wipe out the Buffalo to starve Indigenous people to death. The buffalo are still here. We are too, and together we’ll overcome. Also, never has 7/8 ever been more danceable.”

“White Buffalo” is released today with the accompanying official music video, directed by Alim Sabir. The spirited visual sees Crown Lands immersed in the elements, performing in a new age forest with dancers that fortify the theme of movement.

Over the course of a thirteen-minute, multi-part composition, “The Oracle,” continues another story that Crown Lands is creating, revealing the origins of the Queen character featured in the “Context: Fearless Pt. 1” music video. “We wanted to take the listener somewhere and evoke a sense of adventure,” says Bowles. Taking solace from the realities Crown Lands confront in a fictional world they continue to create.

Crown Lands were introduced to Grammy Award-winning producer David Bottrill after he produced the vocals for the band’s last release, “Context: Fearless Pt. 1.” Comeau recalls, “The riff for ‘White Buffalo’ came to me during the Context / Right Way Back session with Nick Raskulinecz back in February 2020. It felt addicting and special then. It was originally written in 13/8 and the chorus was in 7. It kept popping its head up in jam sessions, but we weren’t sure how to make the chorus work. Enter David Bottrill.” On working with the esteemed producer, Comeau continues, “Dave is one of the most meticulous and detail-oriented people we’ve worked with. His precision helped make these songs exactly what they needed to be.”

Fans now have a chance to experience a Crown Lands live set up-close-and-personal as the band announce a hometown show on December 1, 2021 at the Axis Club (Formally The Mod Club) in Toronto. Tickets are available now on Ticketmaster.

Mad Fer It! Oasis Knebworth 1996 Documentary Will Be Released On September 23

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Oasis have today unveiled the title, release date and ticketing details for their eagerly anticipated Knebworth cinematic documentary, Oasis Knebworth 1996. After almost two years without significant live events anywhere in the world, the cinematic release of Oasis Knebworth 1996on 23rd September will serve as a timely reminder to fans new and old of the euphoria and togetherness that only a great concert can bring. Oasis Knebworth 1996 is the story of the special relationship between Oasis and their fans that made the largest concert of the ‘90’s possible. It is told entirely in the moment through the eyes of the fans who were there, built around extensive, and never before seen archive concert and backstage footage from the event, with additional interviews with the band and concert organizers. Directed by Grammy Award-winner Jake Scott, this is a joyful and at times poignant cinematic celebration of one of the most iconic live concert events of the last 25 years, driven entirely by the music, and the fans’ own experiences of that monumental weekend. Tickets for Oasis Knebworth 1996 will go on sale on Tuesday 10th August, marking the 25 years to the day since the first night of the concerts.

Oasis’ two record breaking nights at Knebworth took place on 10th & 11th August 1996, with over a quarter of a million young music fans from all over the world converging on Knebworth Park, Hertfordshire to see the legendary sets. Tickets went on sale on 11th May 1996. Queues formed outside local record shops and ticket offices overnight, and fans around the world spent the day on their landline phones trying to get through to constantly engaged booking lines. All tickets sold out in less than 24 hours, breaking every UK box office record in the process. Organisers estimated the band could have sold two or three times as many tickets. Over 2% of the population of the UK had attempted to buy tickets.

The monumental shows were set against a backdrop of the UK slowly recovering from a decade of recession. Emerging from the ‘80s, the mood of the nation was changing. A cultural resurgence in arts and culture was giving rise to Cool Britannia and, in their meteoric rise, Oasis embodied that new found optimism and swagger. Two short years had taken the band from their council estate in Manchester to becoming one of the biggest bands in the world and for the congregated masses, seeing themselves in the five men on stage in front of them, anything felt possible. Featuring a setlist absolutely packed from beginning to end with stone cold classics, from the opening salvo of ‘Columbia’ and ‘Acquiesce’, all the way to ‘Champagne Supernova’, ‘Don’t Look Back In Anger’, ‘Live Forever’, a triumphant, orchestra backed ‘I Am The Walrus’, and the first song from the 1990s to cross one billion streams on Spotify, ‘Wonderwall,’ the Knebworth concerts were both the pinnacle of the band’s success and the landmark gathering for a generation.

The film will be produced by Black Dog Films. Noel Gallagher and Liam Gallagher will serve as executive producers. It will be financed and distributed by Sony Music Entertainment and released theatrically by Trafalgar Releasing.

Liam Gallagher says “Knebworth fo​r me was the Woodstock of the 90’s. It was all about the music and the people. I can’t remember much about it, but I’ll never forget it. It was Biblical.”

Noel Gallagher says “I can’t believe we never played Rock ‘n’ Roll Star!”

My Next Read: “All Things Must Pass Away: Harrison, Clapton, and Other Assorted Love Songs” By Ken Womack and Jason Kruppa

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George Harrison and Eric Clapton shared a legendary and tumultuous friendship that shaped not only their respective lives and careers but the shifting face of rock music itself in the early 1970s.

In All Things Must Pass Away: Harrison, Clapton, and Other Assorted Love Songs (Chicago Review Press, July 20, 2021), renowned Beatles expert Ken Womack and music historian Jason Kruppa explore Harrison and Clapton’s musical and personal collaboration, friendship, and rivalry.

Close attention is devoted to the climax of Harrison and Clapton’s shared musicianship—the November 1970 releases of All Things Must Pass, Harrison’s powerful emancipatory statement in the wake of the Beatles, and Layla and Other Assorted Love Songs, Clapton’s impassioned reimagining of his art via Derek and the Dominos—two records that advanced rock ’n’ roll from a windswept 1960s idealism into the wild and expansive new reality of the 1970s.

Authors Womack and Kruppa interrogate these two iconic albums, from inspirations to studio sessions to legacies, and unearth new perspectives on Harrison and Clapton. Drawing on a mountain of archival material and featuring new research and new interviews with key participants, including drummer Alan White and bassist/Beatle confidant Klaus Voormann, All Things Must Pass Away sweeps aside the myths in favor of a richly detailed exploration of these two remarkable albums and the men who made them.

All Things Must Pass Away will provide readers with a powerful overview of Harrison and Clapton’s relationship—especially in terms of the ways in which their revolutionary musicianship and songwriting would eclipse rock music and redefine the genre.

Jethro Tull Announce ‘The Zealot Gene’, Their First Studio Album In 20 Years

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InsideOutMusic/Sony Music are extremely pleased to announce the signing of progressive rock legends Jethro Tull to the label. The band has already completed a new album titled ‘The Zealot Gene’, which can be expected in early 2022.

Ian Anderson had this to say about the new signing – “After 54 years in the world of music recording, it is with great pleasure that I now sign Jethro Tull to a record company which reminds me, in many ways, of the old Chrysalis label – both as an independent and in its later years in partnership with EMI. Here are real music guys with a passion for the best and most creative in rock music. We look forward to a long and fruitful relationship and more releases to come.”

InsideOutMusic Label Manager Thomas Waber states, “Adding Jethro Tull to the roster is an incredible honour for us. The band are true innovators of the genre and we are looking forward to working with them on their new album. We are sure their countless fans will be as excited about it as we are!”

With more than 30 albums to their credit and sales totaling more than 50 million, Jethro Tull are one of the most successful rock bands of all-time with a catalog that contains classics that still resonate today. Led by Ian Anderson, Tull still continue to tour throughout the world, entertaining audiences of all ages.

The band currently consists of Ian Anderson – Flute, acoustic guitar, harmonica, vocals; Joe Parrish-James – Guitar; Florian Opahle – Guitar (album only); Scott Hammond – Drums; John O’Hara – Piano, keyboards and accordion, and David Goodier – Bass guitar.

Deadpool and Korg React

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Two members of the MCYouTube react to the upcoming film #FreeGuy featuring Ryan Reynolds and Taika Waititi.

Mickey Guyton Will Release ‘Remember Her Name’ Debut Album On September 24

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Mickey Guyton will release her album, Remember Her Name, on September 24.  Mickey co-penned 15 of the 16 songs on the album. Remember Her Name follows the release of her critically acclaimed EP Bridges which included “Black Like Me” for which she went on to receive a historic GRAMMY nomination.  Her performance on the prestigious GRAMMY show was the first by a Black female country artist and was touted by NPR as “the night’s most affecting live performance.”

Remember Her Name is a culmination of the last ten years of my life in Nashville,” shares Guyton.  “This album is the closing of a chapter.  All those years ago, I set out to create music that would make people feel self-empowered, loved, and comfortable with being themselves and this album holds true to all of that. I hope everyone who listens finds something that connects and speaks to them.”

Mickey is coming off an incredible year that saw her co-hosting the 56th Academy of Country Music Awards in April with labelmate Keith Urban, a historic performance and nomination for “Black Like Me” on the 63rdGRAMMY Awards in March and “Black Like Me” being named a Top 5 song of 2020 (all genre) by NPR and The Associated Press.

Mickey Guyton’s Remember Her Name Track List

  1. Remember Her Name (Mickey Guyton, Parker Welling, Blake Hubbard, Jarrod Ingram)
  2. All American (Mickey Guyton, Victoria Banks, Emma-Lee, Karen Kosowski)
  3. Different (Mickey Guyton, Emma-Lee, Karen Kosowski)
  4. Love My Hair (Mickey Guyton, Anna Krantz)
  5. Lay It On Me (Mickey Guyton, Jaden Michaels, Gavin Slate)
  6. Higher (Mickey Guyton, Nathan Chapman, Fraser Churchill, Preston Glass, Narada Walden)
  7. Dancing In The Living Room (Mickey Guyton, Karen Kosowski, Victoria Banks, Emma-Lee)
  8. Do You Really Wanna Know (Mickey Guyton, Melissa Fuller, Andy Skib)
  9. Black Like Me (Mickey Guyton, Emma Davidson-Dillon, Fraser Churchill, Nathan Chapman)
  10. Words (Mickey Guyton, Abbey Cone, David Kalmusky)
  11. What Are You Gonna Tell Her? (Mickey Guyton, Karen Kosowski, Victoria Banks, Emma-Lee)
  12. Smoke (Mickey Guyton, Nathan Chapman, Balewa Muhammad)
  13. Rosé (Mickey Guyton, Karen Kosowski, Victoria Banks)
  14. Indigo (Mickey Guyton, Jimmy Robbins, Laura Veltz, Mozella)
  15. If I Were A Boy (Toby Gad, Brittany Jean Carlson)
  16. Better Than You Left Me (Fly Higher Version) (Mickey Guyton, Nathan Chapman, Jennifer Hanson, Jenn Schott) Produced by Johnny Simmen

a-ha Song ‘Take On Me’ Performed on Stylophone

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MaroMaro has brought out his trusty Stylophone again, this time to cover a-ha’s “Take on Me.” This is going to be the first of a number of 80s throwbacks, as he says, “I’m planning on making some more 80s songs because I love the 80s in all of its fun musical glory. Let this be a beginning. On a side note, the chorus of this song with its wide octave shifts is as wide as the Stylophone’s full scale. If it was even a half step higher it would be unplayable.”

The Foo Fighters Perform The Bee Gees’ ‘You Should Be Dancing’ as The Dee Gees

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HAIL SATIN – the vinyl debut of Dee Gees (or the Foo Fighters) – coming to a local record store and dance party near you July 17th for the next Record Store Day drop on July 17.

Alex Whorms Delivers Stunning Rendition of Jann Arden’s Timeless Smash Hit “Insensitive”

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With a song on her heart, Hamilton, ON pianist prodigy Alex Whorms has leant her ethereal vocals and masterful penchant for delicate homages to a new interpretation of Jann Arden’s “Insensitive.” It’s breath-taking, and it’s available now.

What was it about the chart-topping smash hit that would come to ring true with legions of fans — and other artists who cover it — all flocking to the track’s aching melancholy? Its truly honest lyrics of heartbreak and longing… Of letting go after being let down… All relatable, earnest words delivered by the honest-to-God truth of feeling every crack in your soul from losing love.

In short, it’s the perfect combination of sense and sensibility for the Hamilton-based indie songstress.

Whorms has been on a path of self-happiness and confidence since leaning into the full scope of her musical abilities. As a teen, she was eager to learn, perform, and conduct. Whorms, a self-described “classical music kid” who became a “musical theatre nerd” in high school, went from practicing piano five hours a day, to reading charts in pit bands and conducting choirs. She loved the dramatic melodies, the lyrics that told stories. She could handle Chopin, Rachmaninoff, Beethoven, Rodgers and Hammerstein.

What she couldn’t handle back then was the Top 40. “I hated it,” she admits. “I used to have an old iPod I would listen to in the car so I didn’t have to hear the radio. I used to go to the library and grab whatever CDs looked interesting, load them in and put them on shuffle.”

But it was a chance hearing of Sarah Slean that compelled the young Whorms to expand her listening wheelhouse, and encouraged her to learn songwriting of her own. Drawn to female songwriters, Whorms honed her skills as bandleader, and performer, focusing on creating masterful lyrics; those that tell a story. As she says, she has one specific goal: deliver honesty. Authenticity. Passion.

Now, the staggeringly talented young musician boasts two recordings to her credit — the 2017 EP Our Lives and 2019’s Burgundy. And with the releases, Whorms has also received wide-fair share of honours and accolades, including the 2019 Hamilton Arts Award of Emerging Artist in Music, and notable gigs including Toronto’s coveted Canadian Music Week (2019), Hamilton’s Festival of Friends (2018), and even the Sidewalk Café in NYC (2017).

In the wake of the 2020 pandemic, Whorms – as many of her musician peers and fellow performers – found herself in a creative space, with time to flesh out other endeavors and projects. This time, it was a stunning cover of Jann Arden’s 90’s classic, “Insensitive”. Stripped down to acoustic, Whorms’ rendition is a raw, pure, piano-based heartbreak. It’s quietly eerie. It’s quietly beautiful. It’s moving, touching, and devastating. Whorms’ delivery is sheer perfection — it pleads with the desire to just let go. To just move on. Even if it’s what the soul and the heart rejects.

Her adjoining music video is equally simple and poignant. In one black and white shot, we’re shown Whorms from the back, playing the piano quaintly and quietly. In a rushing moment, you’re transported to the innermost thoughts of a woman reluctantly saying goodbye, penning her tears into diary pages.

The future is bold and beautiful for Alex Whorms, as she continues her journey into the wider fringes of the industry; not only does she continuously collaborate with other artists, but she also composes for film and is working towards licensing her music for film and television. In the here and now, she’s looking ahead to getting on the road and performing. “I have enjoyed playing with a band, but when I’m up there alone, I’m totally free,” she says. “I can change the setlist in the moment. I can slow down or speed up. I can get the audience singing along. Or I can talk to them — or with them. It’s like having an intimate conversation in real time. The show can basically go anywhere and be anything.”

In the meantime, “Insensitive” is available now.

Inspired by Lost Love & A Big Move, ALEX GOUPIL Drops Bittersweet Indie Pop Ballad “Drowning”

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Bittersweet and moving, Canadian indie pop artist Alex Goupil has just released his fifth single, “Drowning” — available now.

Possibly his most ambitious offering to date, the undeniable love song stands out with its unique sonic and lyrical contrast. Though the Ottawa-born musician is singing his heart out about a lost love, the brazenly happy-go-lucky instrumentals suggest otherwise; as If there’s a light at the end of the tunnel — which is exactly what Goupil was going for.

Give “Drowning” a few listens and you’re bound to discover a sound or hook that you didn’t in the previous listen. The melody, however, is likely the first thing you’re going to notice, other than Goupil’s extraordinary vocal capabilities. The cheerful nature of this song is just downright infectious, and could easily have a crowd of people singing together arm in arm, with wide-eyed grins on their faces.

A prolific and conscientious writer, Goupil is constantly working on his craft at his home studio where he tries to “mix everything that’s good but, on the face of it, doesn’t go together — until you find (the) chord or that beat to make it all click.”

While he was born and raised in Canada’s capital city, he moved to England a year prior to the ongoing COVID-19 pandemic to further pursue his music career. He spent two full years living in London, playing a myriad of shows and new music to audiences completely new to him. It wasn’t until recently — after releasing his first four singles — that he returned home to the Great White North.

Fittingly enough, the three-minute serenade was inspired by his move across the pond.

So why is it a bittersweet love song, some might ask? Well, “Drowning” came from an intense feeling of inner-conflict which shrouded Goupil in a wave of confusion. A classic “should I stay or should I go” situation, if you will. The young, aspiring musician had caught feelings for a special someone right before his departure and, while he was ecstatic to pursue his dream of taking on a brand-new city on his own, he couldn’t seem to get his Juliet (per se) out of his mind. He says it was “driving (him) crazy.”

Lyrics like “I want you to want me to stay” make it evident that the love-stung artist was writing about a certain someone, however, he revealed that it now means something different to him. “I (can’t) help but think of London every time I (sing) that line,” he says.

Goupil admitted his romantic desires initially made leaving Ottawa “so much harder,” but at the end of the day, “it was the best thing (he) could have done…

“I got some good song inspirations out of it,” he added, looking at the positives of it all.

Yes, he lost out on an opportunity at love, however, it was his own choice, and for an opportunity he’d dreamed of his whole life.

Growing up, Goupil used his parents’ garage as a space to write and record music on GarageBand with his classmates. Though they were able to catch the attention of locals with their early demos, their temporary band slowly disbanded as they each parted ways to begin respective post-secondary school educations. Goupil, on the other hand, worked seemingly-endless weeks to save money to fund his move to England, before inevitably doing so in 2018.

As well as “Drowning,” Goupil’s back-catalogue includes: “Letting Go,” 2020’s “Lost in Dubai” and “Ocean Waves,” as well as his 2019 debut, “Crazy.”

“Drowning” is available now.