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Written by: Jared Burke Photographed by: Dakota Arsenault 2019 has proven to be a rather eventful year for PUP. On July 21st, the punk rock outfit played the biggest show of their career to a packed audience at RBC’s Echo Beach in Toronto. This highly anticipated homecoming show was in support of the bands third LP entitled “Morbid Stuff”. Chicago Indie-Rock band, Twin Peaks, opened the show. Having first saw PUP perform at the Danforth Music Hall nearly six years ago when they opened for Hollerado on their So it Goes tour, this was not my first rodeo. I’ve seen them play several times in venues ranging from mid-sized theatre halls and festival grounds, to a secret barn show in Whitby, Ontario. No matter the venue, PUP never fails to exceed my expectations. Seeing PUP play one of Toronto’s biggest stages was both awe inspiring and sentimental. PUP opened the show with the title track of their new album, Morbid Stuff, followed thereafter with Kids and My Life is Over and I Couldn’t be Happier. While you’d expect familiarity not to be so well established with new songs, the audience clearly couldn’t get enough. The band then launched into Back Against the Wall, their high-energy crowd pleaser from their debut self-titled LP. This was their first time performing the track throughout the entire tour. Each song came off like an anthem, as the hometown crowd belted out every line that came from singer/guitarist Stefan Babcock’s mouth. One of the distinct pleasures of seeing a band breaking out into the big stages is the enhanced special effects that follow suit. PUP incorporated a large display screen, featuring bright colours and what I’ve been told are original animations illustrated by Babcock himself. Babcock, who is PUP’s primary lyricist, is known for penning lines that lack the typical subtlety or mystique we’ve often come to expect from artists. During tracks, Sleep in the Heat, and Mabu, PUP opted for graphics featuring Babcock’s now deceased lizard and car, as each song is dedicated to their memory respectively. PUP’s stage presence consisted of a moderate degree of banter. The band offered humble sentiments, describing the tremendous gratitude they have for their hometown fans. Towards the end of their set, lead guitarist Steve Sladkowski embarked on what began as an impassioned plea for his audience to become civically engaged in their communities, as Canadian’s will soon head to the polls for the 2019 federal election. While his remarks began with noble intentions, his speech devolved into vulgar obscenities, directed at Ontario’s current premier, Doug Ford. While PUP is most certainly entitled to use their earned platform to freely express their views, I found the band’s remarks to be somewhat sanctimonious. Considering the fact that PUP has directly and indirectly received financial support from the federal and provincial governments to aide their career, I could’ve done without the partisan divisiveness. Notable performances from the show included a cover of Canadian rock band The Weakerthans’ track entitled Plea From a Cat Named Virtue. PUP later welcomed onstage friend and labelmate Jeff Rosenstock to perform his song Hey Allison! Finally, the band wrapped up their set with the singalong, If This Tour Doesn’t Kill You, I Will, followed immediately by the raw fan-favourite entitled DVP. PUP’s Echo Beach performance was downright spectacular. The band brought their infamous blend of infectious hooks combined with their technically accomplished musicianship, to rock the biggest stage of their career (thus far). It only goes up from here!

By: Gemma Mastroianni The Soundtrack is excited to exclusively premier ‘Homesick’ by Toronto based Indie Rock band, Cigar Club. The brand new single begins off with soft acoustics, with soft but intense progression throughout the track. While listening, you can’t help but admire the soft vocals, with a hint of a reminder of Chris Cornell’s vocals. Although the vocals don’t stray much from one tone, the emotion and sorrow is evidently there, and it compliments the detailed instrumentals perfectly. If the vocals were anything more, it would be a bit oversaturated. Overall, production is perfectly balanced from a vocal to instrumental ratio. Once reaching about three minutes in, guitar becomes heavier and you get more of a 90’s rock and roll vibe, straying away from the main focus of acoustics. I personally love that this song progresses and becomes heavy, but you still get those acoustics from the beginning of the song. There are also moments where tempo is nearly brought down to silence, allowing you to take in the intensity of the previous licks. Cigar Club absolutely killed this track. Production, songwriting, and overall sound is incredibly sharp. I’m excited to hear a studio version to hear even more detail on the intricate instrumentals.This is truly just the beginning, and I’m so excited to see what else they’re going to be bringing to the table. Follow Cigar Club.

By: Kevin Brown 2019 has been an active year for Clairmont The Second. Between releasing his self produced, mixed & mastered album “Do You Drive” in January, he also carved out time to produce Hezi’s project, “Your Mother’s Favourite Kid”, self-direct two videos shot by his girlfriend Aysha “Beee” Brown and now, putting on his first headlining show of the year. Listening to Clairmont’s music has always been a trip for me as it’s impossible to not appreciate and revel in that everything you are hearing is the blood, sweat, and tears of one man, something only a handful of artists are brave enough to do today. His shows are no different from his music. From the merch table to the opening sets from Govi and Hezi, it was abundantly clear that Clairmont wanted to give nothing but the best for his fans and he delivered. Clairmont The Second proves the old saying to be true, that there are no secrets to success, it is the result of preparation, hard work, and learning from failure. “Remember me asking for help/ Forced me to do it myself/ Slowly but surely/ Tortoise vs everyone else”

Straight from the suburbs of Brampton Ontario, “MARVIN”is a continuation of the story from Mr.A the Martian’s last project. With this LP, Mr. A the Martian speaks out about his ongoing struggle to balance his music career alongside his personal life. Altogether, this full length release is solely his creation, as all tracks were written, produced, and mastered by Mr.A the Martian himself. The first track, entitled MARVIN, begins with aggressive vocal line around an eclectic synth-based beat. The second track “Pressure (Victory)”, follows suit with a synth heavy hype track that’ll have you vibing. However, it’s when the LP gets to “D.O.M.L” that the LP takes a significant turn. The tone shifts towards a place of vulnerability and loss, while incorporating religious symbolism. I loved the instrumentals for this song, along with Mr.A the Martian’s raw lyricism. In “Therapy”, Mr. A the Martian muses on his struggle as a musician, complemented by wavy arpeggiation and soft 808s. The shining star of this section is “Letter To My…”, where he laments the loss of his stillborn child and speaks about his father. Underneath it all, a resonant piano instrumental guides his vocals through his emotions. It’s a song that comes from a place of heartfelt vulnerability and I can really feel his passion throughout the song. Similarly, “Need You” follows a similar style but doesn’t have the same feeling as the previous song. Stepping away from the emotional concept from the previous few tracks, On You hits heavy the certified dance song of this LP. With an infectious xylophone sound and syncopated rhythms, this track has a catchy hook that’ll have you grooving. Overall, I see significant potential with Mr. A the Martian. This was an ambitious LP that covers significant ground. From hype tracks to emotional ballads, Mr. A demonstrates great versatility. Mr. A the Martian’s production quality truly shines in songs like“On You”and “Letter to my…”. Throughout the whole LP, Mr A. the Martian shows his strength in the lo-fi realm. In a future release, it would beneficial to see some higher production to show his true demonstrate his true capacity as an artist with no holds barred.

By: Gemma Mastroianni A.D. Wells is singer/songwriter based out of Brooklyn,NY. He released his debut record “The West Hollywood Broken Hearts Club,” just under a month ago. The chilled out indie record ranges from lounge rock sounds, to singer-songwriter style. In terms of the lyrical side, the album covers themes of sweet yearning, desired loss, hopeful love, failure, but self-driven optimism throughout it all in the moody setting of Hollywood. Although the recording style is most definitely lo-fi, it gives the record a more raw and personal feel to it, coinciding with such open and emotional lyricism. Not to mention, Wells’s chilling and impeccable vocals. If you’re in the mood for something moody with hints of indie rock and a lo-fi vibe, this is the record for you. Listen here. Follow A.D. Wells.

By: Gemma Mastroianni Lexington based Pop-Rock band, Rags and Riches, have recently released their new EP, “Arrival.” Brothers Tanner & Peyton Whitt released their debut single ‘Speed of Sound’ on Spotify which received over a million streams through Spotify and Youtube within just a few months. Now, they have released their follow-up EP. The duo has recorded their material in their hometown as well as in Nashville, TN where they worked alongside multiple producers and sound engineers, including 2 time Grammy Award winner, Tedd Tjorhom. If you like Imagine Dragons, this EP is for you. Production is sleek and powerful, and each song is unique, yet flow together well on this collection of tracks. Additionally, each song is exciting and uplifting through the utilization of synths, giving it an electronic feel, along with fantastic guitar licks, giving the true Pop-Rock feel, as described. This EP is the perfect addition to your summer playlists, if you’re looking for something up-beat, fun, and impressive- Give it a listen. Follow the band and stay in the know for what’s next. Like what you hear? Catch them on the road this summer: Tour Dates July 13th– Cincinnati,OH – Top Cats July 16th– Memphis,TN – Growlers July 18th– Knoxville,TN – Fort Sanders Yacht Club July 20th– Greenville,NC – Trollingwood Taproom & Brewery July 22nd- Fairfax,VA – Epicure Café July 24th– New York,NY – Pianos July 31st– Youngstown,OH – Westside Bowl August 21st– Louisville,KY – Zanzabar August 23rd– Huntington, WV – Alias14W August 24th– Muncie,IN – Rise Up & Conquer Music Festival August 30th– New York,NY – Rockwood Music Hall, Stage 1 August 31st– Brooklyn,NY – The Nest

By: Gemma Mastroianni Toronto based musician Bodyhorror, aka Sean Panacci, has released a new EP titled ‘Between Years.’ The galactic three song EP is a dynamic follow up to his previous EP, ‘Spring in Toronto.’ While making the EP, Panacci drew inspiration from artists such as Daniel Avery, Peggy Gou., Kraftwerk, Boards of Canada, Automatic Tasty, and plenty of music from Nina Kraviz’ trip record label. In addition to a variety of electronic based music, he found influence by cartoons such as Superjail. He set out to create what he thought was the cartoon version of what the music could sound like. Panacci created this EP fairly quickly, which is unusual for him. It was all written and recorded within two weeks. It was all created and produced by him, along with being mastered by sound engineer, Count. While making the EP, he aimed for a precise and clean sound, with a touch of a ‘live’ feel. He recorded the drums live, while the rest was played on synthesizers with almost no samples. Listen to Bodyhorror. Follow Bodyhorror.

By: John Mendoza After a long eight-month winter, it’s finally summer! I also graduated from university so it’s definitely time to celebrate. Grab your iced drinks and sunglasses, here’s what I’ve been digging in the summer heat: Summer Playlists Seasonal playlists are how I typically start building playlists. I have a strong belief that the seasons affect our listening tastes over time. It’s why your summer bops and your winter cuffing season playlists tend to feel different. Though it’s not for everyone, I feel that it’s a great way to catalogue what music you listened to in the past. For example, I can pull up a vibe to Drake’s “Too Good” and transport myself back to the summer of 2016. Dungeons and Dragons online Somehow, my friends got me playing a game that came out in 2006 and I’m really diggin it. Despite being this old, the game has survived the test of time compared to other MMOs. There’s a lot more replay value to the game because of the rigorous character creation process, class pathways and the expansive world of this game. It’s enjoyable in a solo run and the experience is only enhanced when you play with friends! BLKMARKET Mockups That’s my face on a condom. This company creates high quality mock-ups and graphic assets for graphic designers and artists. I hope to buy a lot of their products once I scrounge up the money for them. They also offer free mockups every month and I’ve been having a lot of fun playing with them. They feature their favourites on their Instagram stories. Mob Psycho 100 This anime series follows this kid named Shigeo Kageyama, otherwise known as “Mob,” and his life. He’s also an incredibly powerful psychic and works as a exorcist for his boss Reigen Arataka. However, the main draw for me comes from his naivety and lack of social skills. He doesn’t know how to talk to girls, he’s not a very good student and he’s physically unfit for most things. Despite all his power, he’s still a child trying to figure himself out. Big Trouble Playing off of the film “Big Trouble in Little China”, this bar located in Toronto’s Chinatown has been a favourite of mine recently. As a snack bar, this place is wholly unique. Illuminated by neon signs, this snack bar pays homage to the Asian night markets. On top of this, the food fuses American pub fare with Chinese flavours. For example, they serve cheeseburger dumplings and crispy wonton wrappers with guacamole! Of course, it wouldn’t be a bar if they didn’t have great drinks. I recommend the spiced rum with honey and oolong tea. Follow John.

By: Daniel Dorta August Burns Red celebrated 10 years of ‘Constellations’ at REBEL in Toronto on Tuesday, June 25. Silverstein opened the show, see below: Silverstein August Burns Red Follow Daniel Dorta

By: Gemma Mastroianni Boston solo project of Jeffrey Gray Somers, Steep Leans, has returned since his groundbreaking LP, Grips on Heat. Somers found popularity through his haunting grunge sound, being signed to Nathan Willliam’s Ghost Rhamp label, and touring throughout the US with Wavves and Twin Peaks. I discovered Steep Leans while seeing them open for Wavves in 2015. Following this moody performance, I was hooked. The LP has been in my library ever since, but have been craving more ever since. When I got a notification on Spotify that he dropped a new single, “Paralyzed//Youthanized” I couldn’t be more stoked. I also wondered, where the hell has he been for the past four years? Through that, lead to my conversation with Somers. In 2016, Somers began working on a new album in LA with a pop producer who had worked with many notable bands, including Modest Mouse. After about a year, it wasn’t working out as anticipated. Following some artistic differences and wanting to stay true to his sound, and Ghost Ramp ending the relationship with this producer, Somers realized he had to start from scratch in the Summer of 2017. In the Fall of 2017, Somers started recording a new record in a DIY studio at a friends of his, where he recorded his first LP. After about eight months, of making a less hazed out and more angular sound, all worked out. His debut LP had a very specific dark and grungy sound. I was curious if this record would be a sequel to this, or perhaps sound much different. “I was trying to be like, just more sharp and angular and have the song writing be a bit more classic. It’s hard to say the exact thing that influenced but I’d say it’s a history of the stuff I’ve listened to in the past. Leonard Cohen, some Bob Dylan, Blonde on Blonde- to a degree you wouldn’t hear this all on the record but the band Woman- a lot of the guitar stuff is definitely influenced by that band.” He wanted to make a more American style record with pop influence. This scared Somers a bit because it sounds so different than the first, but it still sounds stellar, which you can hear in the two singles released thus far. Steep Leans has an interesting style to their album artwork, obviously I had to ask about it. All of his album art IS actually photographed by Somers himself. See his first below, followed by the upcoming album: Steep Leans will be dropping a brand new album, Naukeag, on June 28th. Naukeag is the name of a rehab, in which the lyrics will further explain the significance. . “Have open ears. I never tried to make a shoe-gaze or surf-rock record, but at the end of the day their really songs I could be playing on an acoustic guitar. I will constantly take new directions in whatever direction I feel like and never get locked into a sound.” Check out the brand new video for “Traphouse” below: Be sure to listen to the singer-songwriter album when it drops, you don’t wanna miss this one. Additionally, keep those ears open for a tour announcement. Listen to Steep Leans. Follow Steap Leans.

By: Michael Del Vecchio “We’re Death from Above, from… here,” said Sebastian, casually mentioning their Toronto roots. The Heads Up! is Now tour was a celebration of DFA’s first album, Heads Up, migrating to Ancient Fashion Records. DFA’s history covers four albums of phenomenal, thrashing, feedback-lathered loud rock music. Heads Up made an impression on listeners with its intensity and thrashing riffs, mixing elements from noise, dance, rock, thrash and punk. Stacks of amplifiers roared bass notes across the hall as Jesse moved around stage. Sebastian positioned himself over the drum kit like a dance-rock vampire hunches over his next victim. With music and riffing, the band and crowd fought off silence during the entire show. Energy in the crowd was consistent from Dead Womb to their final encore, Pull Out. Jesse’s use of feedback was great, and both men engaged the crowd between songs. DFA always delivers a full sound despite having half the members of the traditional rock band setup. Despite the hall’s size, the music’s reverberations cannibalized itself some points. During some parts, especially during the thrashier, most punk-blooded tunes on Heads Up, some of the passages were almost indecipherable in the mix. They played the version of Do It! they ended concerts with during their first iteration – with the extended ending after Jesse thumps away on bass, while singing and squeezing notes out of a KORG. The last notes of If We Don’t Make It, We’ll Fake It rang out to cheers and applause. DFA transitioned into the second half of the show with Outrage! Is Now. A drum machine played the opening beat, letting Sebastian stand at the front of the stage to sang to the crowd more intimately. He returned to the kit halfway through, ending the song in full force. DFA played favourites from the following three albums, including Freeze Me, Romantic Rights and White is Red. The music was loud, heavy and abrasive, but also melodic at times with their later releases. The guys remained casual and off-the-cuff. Sebastian engaged the crowd between songs, bringing up the Raptors and the Warriors. He compared Stephen Curry chomping on his mouthguard to a teenager swirling keys to show off after buying their first car. Sebastian mimed tucking drumsticks into his pants and asked how amateur he would look walking down the street like that. He said he would spare further comments because his mother was in the crowd. People fired up a “Let’s go, Raptors” chant. Sebastian got the crowd huffing and puffing to recreate the heavy breathing featured on the album version of Trainwreck 1979. After the set initially ended, the band was summoned back to the stage by the longstanding tradition of the crowd chanting “DFA! DFA! DFA!” The guys came back on stage to play an encore of two* (full) songs: a snippet of All Star and Little Girl, before ending the show with Pull Out. DFA delivered on their promise. They played every note from Heads Up, at least from what I could make out standing in the venue. The songs hit just as hard as they did seventeen years ago, lathered in the experience and skill DFA developed over almost two decades.