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Written by: Gemma Mastroianni Photo Credits: Dakota Arsenault Hollerado played their final performances ever in Toronto at the Danforth Music Hall last week. Dakota Arsenault and I were lucky to be attendees of night one on Wednesday, Dec. 11th. Tokyo Police Club opened the night. Their set consisted only of songs from 2010 album Champ, fitting into the nostalgic theme of the night, and was excited to be a part of Hollerado’s final shows. As for Hollerado, this was such a treat. This show wasn’t packed, which was great as I got to stand closer to the stage without feeling cramped. This had to do with the fact that they had four different final shows for fans to choose from. The guys were in a great mood and were ready to rock. The set was filled with playful banter and they even stopped to take questions from the crowd. They were questioned about their coordinated Adidas outfit and jokingly said they were sponsored… or were they? They played a variety of uplifting classics including “Pick Me Up,” “Born Yesterday,” “Juliette,” “Americanarama,” “So It Goes” and more. There were a variety of confetti explosions throughout the show, and they even brought up an audience member to play “Juliette” on guitar and brought another audience guest to dance and play the tambourine. Although this was Dakota and I’s first and final time seeing Hollerado, this was well worth it. They put on one hell of a party and have amazing chemistry between one another. It’s so much more than just a show with tunes they unite the crowd and bring back old memories, the entertaining banter, fun lighting (including blacklights), audience interaction, and impressive musicianship. Hollerado will be incredibly missed, and I’m happy we be part of them going out with such a bang!

By: All Staff The end of the decade is here, and it’s been one filled with amazing music. As for 2019, there have definitely been some fantastic album drops. In no particular order, check out the top albums of 2019 curated by The Soundtrack team. Fear Inoculum – Tool By: Ryley Chorowiec After 13 years of patiently waiting, TOOL fans were finally greeted with the band’s follow up record to their 2006 release, 10000 Days. The record debuted at number 1 on the Billboard rock charts and spans a whopping 86 minutes. Many of the songs, over ten minutes long, take the listener on a polarizing and meditative journey, while still maintaining the heaviest of grooves throughout the record. While the whole band is impeccable on this release, Danny Carrey seems to be the highlight of this record- taking absolutely no prisoners on tracks like “Chocolate Trip Chip” and “Invincible.” After 13 years, I would say this was definitely worth the wait. Anima – Thom Yorke By: Gemma Mastroianni Radiohead frontman Thom Yorke put out his third solo album this year titled, Anima. This eclectic collection of songs had me listening all year long. It contains elements of techno, alternative rock, pop, ambient, and psychedelic vibes. Each track falls into one another perfectly, and it is very much an experience. The detail and sounds on these records are mixed so beautifully and have me impressed even more after each listen. Additionally, the overall theme is about sleep and dreams, which is so fitting when you put that together with the tracks. THE OCTOBER ALBUM – Ever By: JerShotYou Over the last few years I’ve found mainstream hip-hop to be stale and repetitive, so I’m constantly trying to find new underground music. This piece of work by 17-year-old Ever emphasizes the progression of the young star. Touching on subjects such as his love life, constant weed-smoking, feeling lost with himself, the changes of moving into a new town, battling depression and the struggles of growing up; Ever gives the listeners a raw look into his emotions. Ever uses the album to prove how broad his sound is. His melodic rap may remind some of Joji and Lil Peep, in songs such as “EVERY NIGHT COVERED IN SMOKE”, “LINGO”, and “GLOWING CHERRY”.  Other tracks on the album like “building burning sights’ and “FINDING MY HEART” have a strong alternative sound which contrasts nicely together when listening to the album in full. Ever’s relatable lyrics, a variation of sound, and the choice of beats create a great freshman album. I’m excited to see where Ever goes in the future, and I hope you guys give it a listen. Orville Peck – Pony By: Dakota Arsenault Listening to Orville Peck is like trying to remember hearing an Elvis Presley or Hank Williams song. You know the chord progressions and the twang of their vocals, but everything else is kind of hazy and out of sight. When you put it all together in your head, you have this psychedelic country music that is like nothing you’ve heard before, but exactly how you remembered it too. Peck burst onto the music scene this year with a slight gimmick. We don’t know his real name and he only performs wearing a long fringed Lone Ranger style mask covering most of his face. He is the quintessential cowboy that we need and he has become a queer icon in the process. Songs like “Turn to Hate” and “Queen of the Rodeo” are songs that hit you right in that country nostalgia sweet spot, while tracks like “Kansas (Remembers Me Now)” and “Big Sky” make you think your radio has gone out of tune, that is, of course, until you remember that you are playing the album on Spotify and the trippiness is all a part of the aesthetic. We know Peck is Canadian and has been involved in the music scene in other forms before, but to what extent is still up in the air. Pony was longlisted for the Polaris Music Prize but was shockingly not included in the final ten. It’s is the best Canadian album of the year and for my money the best overall regardless of genre or country of origin. Bank on the Funeral – Matt Maeson By: Valentina Caballero I don’t think I’ve ever enjoyed playing an album on repeat as much I’ve loved listening to Bank on the Funeral. I first heard of Matt Maeson back in 2017 when he released “Cringe” and let me tell you, his music has only gotten better since. Both emotional and laden with intensity, this 12-song debut album hits you with some beautiful prose and extremely rhythmic drum beats that are followed by ballad-like guitar riffs. Though not part of the actual tracklist, the other lovely component of Bank on the Funeral were acoustic, “stripped down” covers that were progressively released throughout 2019 after the original album made its debut back in April. These raw versions of the original songs give listeners the opportunity to take in the lyrics that make these songs so poetic and introspective. This album was released at a time when I really needed it– this year has been a weird mixture of both chaotic good and evil and this album has been provided a constant, reassuring soundtrack throughout all of it. If you’re into Barns Courtney, grandson, MISSIO or just want to listen to some electro-acoustic music with lyrics that bring you on a small emotional journey, give Matt Maeson a listen. Assume Form- James Blake By: Alyssa Keighan January 2019 seems like just a faint whisper now, but it is worth the revisit as this is when my favourite album of the year was released: the industry’s notoriously melancholic sad boy, James Blake’s fourth album Assume Form. With features from André 3000, Rosalía, Moses Sumney, and rap powerhouse Travis Scott, the album has since been nominated for Best Alternative Album at the 62nd Annual Grammy Awards, taking place this upcoming January 2020.   I’ve read some critiques on this album that discuss the album’s slight hodgepodge feel – the reason being that many hip-hop production elements should belong on a different cut of the album – but in my opinion, “Mile High” and other songs on this album that are undoubtedly hip-hop-influenced just speak to the versatility of Blake as an artist. Trap beats and heavy bass evaporate into the soft piano melodies and his unmistakeable falsetto at multiple points throughout the album, and it truly is such a sonic journey, especially upon the first listen. It all works together.  Perhaps the reason why this album has earned my top pick of the year is because of the shift in outlook and emotion from his first album to this present one. Honesty has always been unapologetically at the heart of James Blake’s work, which is what might have earned him the title of “sad boy”. The vulnerability and candidness are still present on this album, but the emotions are instead lending themselves to love and a new relationship. This album symbolizes growth both in Blakes’s personal life, and as an artist. When that growth ‘assumes form’ through sleek minimalist beats and a haunting falsetto that I have literally thought about for the past 11 months, then that is something I can get behind. A Different Shade of Blue By Knocked Loose By: Tye Hardy The Kentucky Hardcore outfit’s sophomore release is hard-hitting, aggressive, and full of energy. With slow, heavy breakdowns, groovy riffs, and harsh, but coherent and clear vocals. there’s nothing on this album you can’t love. Featuring guests Emma Boster from Dying Wish on A Serpent’s Touch, and Keith Buckley from Every Time I Die on Forget Your Name, it adds dynamics to the already diverse and unique sound. The first single, Mistakes Like Fractures, introduced me to the band. Previously I had heard of Knocked Loose, mainly from friends within the hardcore scene, but never really gave them a listen. The single instantly caught my attention with its heavy guitars and incredibly catchy chorus. The breakdown towards the end sealed the deal for me. After this introduction, I did nothing but listen to their debut album, Laugh Tracks on repeat. There is a reason why Knocked Loose is beating the odds by becoming more known outside of the scene than other hardcore bands. This album was unbeaten by any other release of 2019, and it only gets me excited for eventual new material from them. WHEN WE ALL FALL ASLEEP WHERE DO WE GO? – Billie Eilish By: Nes Aliu Very few recent musical upstarts have been able to capture the world’s attention, provoke a handful of religious skeptics, and break several records within a year as gracefully as Gen Z’s Billie Eilish. It goes without saying that her well-crafted and pensive debut When We All Fall Asleep, Where Do We Go? deserves the amount of hype accumulated, earning the accolades of the industry’s top dogs and humbly sweeping the charts since its release. The general consensus is that it’s a great album, and I’m not just saying that because I’m biased and would precisely take a bullet in my teeth for this girl— it’s a genuinely authentic depiction of Eilish’s colorful imagination and all the torment and desolation and yearning and euphoria of youth. In spite of all the naysayers and concerned parents, brother-sister duo Billie and Finneas O’Connell have finally pieced together their most cohesive collection of songs that has already left a massive mark on the music world and grew her following exponentially, and they ought to be proud of themselves. The sweet, at times gritty and sub-heavy production has been often compared to fellow synesthete Kanye’s Yeezus era, songs like ‘xanny’ or ‘bury a friend’ going from delicate synth ballads to bass wobbles that will shake your car if played loud enough. And that one song you probably know, ‘bad guy’; similarities are drawn to a teenage Fiona Apple singing about seducing naive men over an incredibly infectious bass riff. Her soft whispered laments on songs like ‘i love you’ and ‘listen before i go’ could have easily been mistaken for Elliott Smith covers, as she touches on more depressing subject matter like unrequited love and suicide. Nominated for six Grammy’s and got her a $25 million documentary deal with Apple, there’s no denying that this bedroom-produced LP is going to shape a generation. As for why this may be the best album of 2019— that’s up to the rest of the world to set their differences aside and give it a little listen. Eve – Rapsody By: Amanda McMillan Every single song off of this album is intricate, quick-witted, and political. The entire album is a celebration of iconic and powerful women of colour who have inspired Rapsody, including Nina Simone, Aliyahh, Tyra Banks, Michelle Obama, Whoppi Goldberg, and Ibtihaj Muhammad. Every note, beat, lyric and rhyme hit like a ton of bricks! She is poetic in her flow, paired with the swagger of Missy Elliot. The album features notable guests like GZA, D’Angelo, SiR, Queen Latifah, and J. Cole; it’s absolutely stacked. I am shocked that this album hasn’t absolutely blown up, and I wonder if it’s because, in the eyes of the music business, it has three fatal flaws: it’s political, it’s hip hop, and it’s made by a woman. Plus, she doesn’t fit the mold of Nicki and Cardi, which is somehow more palatable due to their antics and leanings toward pop. This is a massive oversight on the part of the music industry in particular and pop culture in general. Rapsody is special. I don’t always like to compare male and female artists, but if I had to I would say that Rapsody is the female Kendrick Lamar, and may I remind you that Kung foo Kenny won a Pulitzer. It is my strong opinion that Rapsody, and this album, deserve the same respect. If you’ve slept on this album or never heard about it, think for a second why that is – what has kept this from entering your radar? Then listen to it, watch the music videos, and look the songs up on Genius. Prepare to have your mind blown. Violet Street – Local Natives By: Tressa Mastroianni My music taste is intensely diverse—from hip-hop, to indie, to European techno and so on. I experience many ‘seasons of listening’ throughout the year, typically saturated with one or two of these genres at a time. I have to say as the year has progressed and my ‘seasons of listening’ changed from one to the next, I, for the most part, was unable to find an album I was happy with altogether. A top album of the year for me is one that is whole in its ability to tell a really good story, a story that is rooted by a couple of strong central feelings. Whether these specific feelings are provoked by instrumental storytelling or a lyrical one or maybe one that combines the two, it’s something that is very important to me in making a top album determination. By this definition, I felt that Local Natives’ Violet Street gave me what I was looking for. Violet Street is transitioned nicely from beginning to end and there are great combinations of moderately upbeat and catchy choruses with well-timed bridges. This album never has me feeling bored with the instrumentals or the lyrics and the contrast between songs is never so jarring as to put me off from the central feelings I have while listening. Top to bottom, I feel complete by this listening experience in its ability to invoke strong senses of desire and longing throughout. Violet Street puts together lyrics, rhythm, and melody in a crisp and thoughtful manner in order to achieve this. A great narration by Local Natives. EDDYEVVY – EDDYEVVY By: Michael Del Vecchio EDDYEVVY birthed a heart that beats with energy and emotion, weaving through rock, grunge, shoegaze, pop, and noise. For their first album, the band takes familiar genres and gives them a new spin through experimentation and a blend of vulnerability and resilience. I discovered the album back in January and since then, the songs remain staples in my playlists throughout the year, never having lost the initial spark from the first listen. Four musicians made ten tracks, none of which are slackers. Certain songs build too loud, abrasive, almost grating sections that could easily destroy your speakers, only to be followed by moments of quiet and calm – gentle strums, thoughtful vocals and lyrics that paint in your imagination. For an album that makes heavy use of noise and distortion, the production value is no slouch. Every strum, snare drum hit, and everything that hits your ears is designed to wrap you up in a big blanket of sound. For the moments on the album when the instruments lose each other in the mix, it’s during the album’s noisiest, most emotional crescendos, and the breakdown in clarity feels earned because of the pacing the band takes to reach those moments. It’s a 36-minute experience I would recommend to anybody interested in new-and-upcoming music. Father Of The Bride- Vampire Weekend By: Olivia Mokryzcki It took me until 2019 to dive into the interesting world of Vampire Weekend. Now, looking at my results for most played music of the year, the band reigns at #1. Father Of The Bride really opened a new set of ears for me. The record’s brilliant collaborations made it unique from multiple angles. 18 songs, filling just under one absolutely divine hour. Tons of catchy little riffs stayed ringing gloriously through me since I first heard them. The album is a perfect collection of songs including fun and feel good parts, instrumentally dramatic sections, somber moments, and sweet duets. It is simply one of the most beautiful, interesting and modern things I’ve ever heard. XYZ – Iglooghost, Kai Whiston, BABii By: Kevin Brown A beautifully pure and collaborative album from Britain’s GLOO collective that places each artists’ eclectic and established sounds on full display. Containing what feels like an infinite amount of sounds, this 30 minute fast and chaotic record almost defies definition because there simply is nothing else like it. Each track expands at exponential rates, becoming denser and rich with each sample and just when you think the song is about to lose momentum, you’re immediately hurled into the next track and a whole other world. If you’re looking for a disorienting, frantic, bass-heavy album, check this one out! i,i – Bon Iver By: Robyn Bond With each release, it becomes increasingly hard to imagine how Bon Iver will manage to improve upon their impressive library. Each full length thus far has been audible gold in my opinion, and I was excited but scared by the coming of i’i. I was unsure if it would bring the same heart-pulling melodies and nostalgic feeling as For Emma, Forever Ago , Bon Iver, and even the most recent release 22, A Million from 2016. Although all albums have some very stark differences in terms of instrumental usage, production, and structure, the feeling remains constant, hence Bon Iver’s incredible success. “Hey Ma” and “U (Man Like)”, the singles released as a first peak at the album allayed much fear, both carrying stunningly beautiful melodies, and Justin Vernon’s signature smooth falsetto. After that, I abstained from listening until the full album was released to be able to truly soak it in. It seemed right away to be a culmination of the strengths of each previous LP without a hint of recycled material. The project pushes hard on the walls of indie and what mainstream music can be and, as usual, showcases new ways to combine classic melodic elements with modern ideas. From a nod to hip hop on the feel of the collaborative song “iMi” and the low lulls of “We”, to the soft folk feel of “Marion”, to hints of jazz on the horn-heavy masterpiece “Jelmore”, it is near impossible to corner exactly what Bon Iver headed for on this release which is part of what makes it so objectively incredible. Shortly after the release of i’i my family and I travelled to New York to see Bon Iver’s sold-out performance at the Barclays Centre as they toured promoting i’i. I have never and potentially will never again see such an incredible performance. Both sound and lighting were done in such a way it was as though the members of the group, all restricted in their own triangular neon risers, had an angelic presence that filled the entire arena. Nearly all of i’i was performed that night, along with classics Holocene, Perth, 33 GOD, Blood Bank, and more. Seeing the majority of the album performed alongside the group’s older songs shows how this music ages like wine. This new album will be a gift that gives new ideas and inspiration for years to come. Bon Iver proves again and again that whatever they try, however they experiment, they can pull it off. The songs are just that good. It is the pure raw emotion and completely fearless creativity that allows them, time and time again to release collections of songs that strike directly to the heart of the listener – if you open yourself up to it, that is. The Search – NF By: Josiah Botting The album follows Nate as he explains how his life was flipped upside down after the Christian Hip-Hop artist got a taste of mainstream fame in early 2018. On the second track “Leave Me Alone,” Nate gives us a look at the new following he gained as well as how it affected his emotions. The song features raw emotion and shares how even with millions of listeners hearing his message of hope, he still felt hopeless and empty inside. The Search features hard-hitting bass and raw emotion similar to the style of Eminem. Nate talks about real issues and labels his work as “Real Music” that talks about depression and shows us the other side of fame, and how it isn’t all that the media makes it out to be. Djesse – Jacob Collier By: John Mendoza While this Grammy award-winning artist worked alone for his very first album, Jacob Collier’s four-volume project titled Djesse has been highly collaborative and unrestricted in its creativity. The wild mix of playful, experimental sounds in this second volume surpasses the first volume in scope and variety. While the first volume was more orchestral and slow-paced, this album is bursting with fresh creative ideas and sounds. From the funky “It Don’t Matter” ft JoJo (yes, that mid-2000s pop singer JoJo) to the hypnotic, groovy goodness of “Nebaluyo” ft. Malian singer Oumou Sangare, this volume blends cultural styles and musical ideas into a much more fluid album than its predecessor. His signature harmonic sound and genre-bending instrumentals have caught the eye of musicians all over the world. Nothing explains this best than his cover of “Moon River”. In his interpretation of the Breakfast at Tiffany’s ballad, he layers hundreds of recordings to create cascading waves of vocal harmonies microtonal inflections. The song opens with a massive chord consisting of recordings from all one hundred and forty-four Djesse collaborators and uses it to build one of the most interesting introductions to a song in 2019. Some of the voices included in this opening include Daniel Caesar, Coldplay’s Chris Martin, Herbie Hancock, Ty Dolla $ign, Kehlani, Tom Misch and many more. The collaborations continue from there, with Jacob Collier being featured on Daniel Caesar’s “Case Study 01” and Coldplay’s latest album. Djesse Vol 2 is riveting, ambitious and sets up the bar high for Vol 3. With the next volume around the corner, I can’t wait for what he has in store for the future.

By: Dakota Arsenault Toronto synth-pop singer Ralph played a huge hometown show in celebration of the release of her new EP, Flashbacks & Fantasies. Graduating to The Mod Club, she remarked how she had only ever been an opener at the venue and how this was a big deal for her. GRAE opened up the show for her. Ralph spent the early part of 2019 by opening for Carly Rae Jepson on her latest Canadian tour, endearing the singer to many new fans. On the night of December 5th, this Mod Club had everything: Surprise appearances by members of The Beaches, TOBi singing a guest verse, all-male dancers, a four-piece horn section and even a drag queen. Stefon would surely recommend Toronto’s hottest new club to all music lovers looking for a good time. On a more serious note, Ralph premiered a song that she had written before but never released called “Gasoline”, bringing out a former band member to play the delicate ballad on a keyboard while she showcased her powerhouse vocals. Leandra Earl and Kylie Miller of The Beaches came out to do a surprising guest appearance on Headphone Season to the delight of the crowd while TOBi, a fan favourite, sang his part on Girl Next Door. Ralph brought out a horn section to rock the house on Gimmie and while they were tearing the roof off, she ran off stage to do an outfit change, going from slouchy sweater and acid wash jeans to a puffy pink bodysuit. Ralph has already announced another Toronto date at Velvet Underground on February 14th playing with JOAN.

By: Kevin Brown Omar Apollo’s ‘Speed of Sound’ tour came to The Danforth Music Hall Saturday night with support from singer-songwriter Dijon. Dijon Omar Apollo

By: Gemma Mastroianni Sicayda is an alternative shoegaze band based out of Toronto. Their sound is built of layered melodies, rich tones, and melancholic characteristics. Kevin Tipan is on guitar and vocals, Marcos Villar plays guitar and synths, Ian Fragomeni is on drums, and Zachary Clarke is on bass. The guys came over to my basement apartment and I learned a bit more about them. Tipan and Villar have been friends since elementary school and began playing together in high-school. They both grew up with parents who were zealous with religion, so they were both listening to strictly Latin music that aligned with their culture, along with easy-rock hits. As they grew older, they were looking for more music to listen to and became intrigued by Black Sabbath, Megadeth, Iron Maiden, Metallica, and more. They eventually got into Alternative rock including Radiohead, Dinosaur Jr, Sonic Youth, Nirvana, and Stone Temple Pilots which lead them to their interested in Shoegaze. As they explored more music, they began molding their influences together and formed Sicayda. Why the name Sicayda? As three out of the four members are Hispanic, they wanted to take inspiration from their culture. It’s inspired by ‘to fall’ in Spanish. They went with Sicayda because of it being a bug. An early rendition of the band was originally called ‘Humbug’, but they went with Sicayda, sticking with the theme of bugs. They stumbled upon Fragomeni after they posted an ad on Facebook looking for a drummer. Fragomeni messaged them, but they were skeptical as he was younger, and they had already gone through five unreliable drummers, “We told him to just play anything and he blew us away, leaving us in literal awe and that’s reflected in our music. Just the sheer musicianship he brings to our sound,” Tipan said. Clarke too responded to an ad on but this time on Kijiji. He was actually only looking to gain a client as he was beginning his sound engineering business. He felt a lingering curiosity and decided to try out for the band. He quickly learned one of their tracks overnight. This impressed the rest of the band because he knew what he was doing, and brought professionalism they had not yet witnessed first hand in their music careers. Ever since he joined the band, they have felt a stronger motivation to push things further, and they’ve been doing it for a bit over two years. They’ve been playing ‘notable’ shows for the past year at a variety of hit Toronto venues. Although their music can be pretty shoegaze, their live show is very high energy. They described their previous show to me as much more “chill”, but they have dramatically changed their style, which always has people jumping and dancing at their shows. “When we first started, we were playing more Indie stuff, and then we slowed things down and played more Shoegaze. When we started playing with the new lineup, we started putting the energy back into the songs and going back to that Indie flavour, but now its more hard rock energy,” Villar said. Fragomeni stressed to me the new emphasis on dynamics in how their songs are performed. When live, they capture the energy that takes place in the rehearsal room where everyone is on the same page, musically speaking. “Even in terms of not just physically playing the instrument, but movement and engagement have stepped up in the past year. We’re definitely more of one steady link and the music is more genre-fluid,” he continued. Their new single “It Changed” is a way to show their audience what they were, but not necessarily what they are doing now. The single is a fun high energy song that has been in their line-up for a long time, and has actually seen three different versions! Currently, the band is more influenced by Alternative and Metal Rock, but it steps outside of those genres. When I asked about musical influences they mentioned Mastodon albums such as Crack in the Sky and The Hunter, along with the band Deftones. “We like the aesthetic of Deftones, the ability to play a lot harder music but at the same time really vibing. A lot of passion in there too, because in metal you often lose the passion that you get in alternative music,”Villar explained. With that being said, they do believe metal does have a lot of unique emotional qualities to it. Their new single was inspired by the band Tripping Daisy, “I was inspired by it as I wrote the song and I liked how they contrasted a lot of ideas. It was a fun song but the lyrics were talking a lot about society, and things they found issues with, but most of the album isn’t like that,”Tipan explained. The band also told me that they were also influenced by Johny Marr, Dinosaur Jr, Sonic Youth, and vocals from Tame Impala and Black Sabbath. I was confused hearing those two bands in a sentence, but Tipan told me that he is inspired by their higher vocal registers- it all made sense! What’s next? They are going to be releasing a series of new singles, followed by an EP to be released this Summer. They plan to tour across the Midwest to the East Coast. Keep your eyes peeled- I sure will be! As we approach the year end, I wanted to know their favourite albums of 2019. See below! Ian Fragomeni (Drums) New Tame Impala singles, “When We All Fall Asleep Where Do We Go” by Billie Eilish, “Case Study 01” by Daniel Ceasar, “IGOR” by Tyler The Creator. Kevin Tipan (Singer and Guitar) Bathouse EP Marcos Villar (More of a 2018 kind of guy) It Won/t Be Like This All the Time by The Twilight Sad Zachary Clarke (Bass) Baroness – Gold & Grey Follow Sicayda on Facebook, Twitter, Instagram, and Bandcamp.

By: Gemma Mastroianni Mstrkrft performed a DJ set in Toronto last Friday at Coda for the first time since 2016. The duo played an eclectic two-hour DJ set to a sold-out crowd. You can hear a live recording of the set below: I was grateful for the opportunity to chat with them before their set. In 2016, they released an album titled ‘OPERATOR’, with Last Gang Records. Not only do I love their past releases, but I’ve been super into their newest EP, ‘Sunshine of My Life.’ I was eager to chat with them about their new direction. The duo was recently on-boarded to mau5trap, which is deadmau5’s record label. They have been touring with him since October and will be performing at various other deadmau5 shows until February 2020. Mau5trap asked Mstrkrft to release a record on the label, which also included touring with deadmau5. The label wanted the guys to get involved in support of touring with deadmau5, and they were thrilled to do so. Their new EP was released for this purpose, but they were excited about it. “It was a concrete opportunity to put an EP together to make a statement, a bit more than just singles. It’s been great working with mau5trap and Joel on tour!” said Al-P. Although they are now working with mau5trap, they also have their own record label, which is called Oro. The Toronto based label currently has a roster with 15 local artists, in which a brand new single is released every Friday. “When we started out, the main goal was to do a release a week- nobody thought it was possible. Now, we’ve got over 50 releases and even a full-length record. There will be a single out every Friday all year, forever,” Jesse Keeler said. Ever since January 2019, Mstrkrft has been releasing new singles with Oro, some of which include music they have been making for the past three years that was kept under the radar. With that being said, they began releasing it under an alias by the name of 4×4. Keeler explained to me that the techno world is a bit of a niche scene and not something you can just walk into. “We wanted to start letting the music out without the pressure because it’s hard to change musical directions when people are very attached to what you did in the past,” said Keeler. He compared it to when an artist makes a sculpture it’s not typically as big of a deal as when a musical artist changes direction, “If you’re going to make music you want to make, you have to be willing to do that. We weren’t so willing to do that initially, but we just eased our way into it,” Keeler explained. I personally really enjoy their new EP. It’s definitely deeper into a house and techno vibe, in which some fans have argued that this is a display of them going back to their roots. All of their artwork is very different from one another. I really like their latest, and was curious about what inspired it, “Throughout all of the releases we’ve put this year, both as the alias and as Mstrkrft, we just sort of found a theme and we just keep going with it,” explained Keeler. I was also curious about who did vocals on the tracks, and it turned out to be a mixture of the two! When it comes to performing live, they are currently focused on DJ’ing. ‘OPERATOR’ was a concept record completed with live sequenced synchronized hardware. “The only computer that was involved was the computer that was recording it,” he continued. Keeler jumped in and said, “We have played legitimately live and it was a ton of work, although enjoyable. DJ’ing is a bit more fun but also in the context of the record label, we can’t really support the label with what we’re playing if we just play live,” he explained. Al-P defined the duo as ‘prolific producers’ when they began the project, because in the first 18 months they made 15 mixes, along with a full-length record. “We were always producers that DJ’d. Throughout that time everyone said, “you should play live! and they compared us to Justice, or whoever was playing live. Inevitably, you know people who were playing live at that time, they had props and playback with some elements on top. We said, “No, we’re not going to portray the essence of production, rather producing music and DJ’ing and not compromising it by trying to approximate it with some kind of live set,” said Al-P. This inspired them to make their third record authentic and ‘real.’ When they toured the record, Al-P explained that they would “play elements of the songs on the record but also segway and interlude with it if there were anchor pieces with improvisation with live techno with no safety nets.” The duo wanted this not only due to their qualifications, but because that’s how they worked in the studio, but he explained that they are ready to move on from that chapter. “We’re kind of looping back to DJ’ing and our productions. The label supports that because it gives us a platform to release our productions quickly, seamlessly and allows us to have a greater body of work in the long run,” Al-P said. Oro has released over 50 tracks, and you can keep up with them in this playlist created by Keeler himself, which he consistently updates with the new releases. It was a pleasure to chat with Mstrkrft. Not only are they extremely talented and well respected in the music industry, but they put on one hell of a show. If this sounds like your vibe, definitely get out to one of their sets with some pals- it’s a good time. Follow MSTRKRFT Facebook Instagram Twitter

By: Amanda McMillan As you will notice, this list is compiled predominantly of female artists, as well as diversity . These musicians are dominating pop culture right now and those are also the artists that have been largely overlooked and oppressed, especially in the pursuit of creating musical film that captures the genuine image that the artist wishes to portray. This is not an exhaustive list of all that 2019 had to offer in the way of music videos, but these are the ones that stood out to me the most, either due to being unconventional, fun, nostalgic, or simply stunningly beautiful to watch. I grew up watching MuchMusic, MTV, VH1, etc. so the art of the music video is not lost on me. It’s pretty much the only thing I consistently watch on YouTube. I’ve narrowed it down to eleven videos, which felt like an odd number to have, but I simply could not cut any more than I already did. Enjoy, and please share your favourites with us. Now, in no particular order: Motivation – Normani This throwback to the early 2000s is instantly iconic, and one of the music videos that I kept re-watching back to because it’s such a good time. Normani is giving us Ashanti and Ciara, she’s giving us J. Lo. Hell, she’s giving us Missy Elliott. The choreography is incredible, and sequencing is classic early aughts, and the styling somehow manages to be both then and now. This was the unexpected hit of the year! Mine Right Now – Sigrid This video is hilarious to me because it was a made result of a real-life comedy of errors. As Sigrid explains in the beginning, she was unable to make it to the shoot, and so the director starred in it and they made it anyway. It’s both ridiculous and amazing. Boasty – Wiley, Sean Paul, Stefflon Don ft. Idris Elba This video is a TRIP. Not only does it have a stacked lineup, but the brilliant use of kaleidoscopic scene cuts is editing heaven. There is also a distinct throwback vibe, but dialed way up. The direct singing to the camera makes it feel like you’re behind the camera, following all these people around. Also, Idris Elba?!?! Who knew. Lark – Angel Olsen This may be one of the most beautiful songs of the year, and the music video follows suit. The lighting, cinematography, and the entire mood is stunning. The drone shots are giving me Sound Of Music opening credits vibes, conjuring this epic feeling while the first person close-ups are intimate and raw. There are so many filming techniques utilized in this video, but it all feels cohesive and captivating, thanks to the impeccable editing. Hungry Child – Hot Chip Featuring Martin Starr and Milana Vayntrub, this meta music video is super fun to watch. It’s the story of a fairly dysfunctional and slightly mismatched couple who are trying to figure out how to get the Hot Chip song that this is a music video for…to stop playing. That is to say, they are aware of the song, and so is everyone around them, as it begins to torment their life. Juice – Lizzo This video is just fun to watch! It encompasses everything that Lizzo is from the wardrobe, to the choreography, to the skit within a skit montage. Moon Star Lover – Wild Black A little hit of ultra-cool Can-Con for you. Directed by Toronto’s own Lulu Wei, it’s a dream-like fantasy re-creation of summer camp for QPOC, surrounded by a killer disco-inspired, R&B track. It’s super cute, wholesome, and…campy. A Pearl – Mitski This is hypnotizing to watch. The animation is absolutely stunning, as you’re pulled deeper and deeper into the world it’s creating through this continuous, looping push-in effect. It’s very on-brand for Mitski – moody, and beautiful, and impactful. Becoming – Diana Gordon This video is gorgeous , particularly the overall colour scheme and casting. It’s sexy, intimate and effortlessly cool. It’s a nod to stereotypical hip hop videos of the mid-aughts but subverted to remove the male gaze. This is all about empowerment and authenticity! Ibtihaj – Rapsody, feat. GZA and D’Angelo This is one of the coolest music videos I have seen in a while. It takes a very familiar, classic style of shooting hip hop videos on the streets of New York and completely flipping it on its head. It’s smart, cool and so impeccably produced. There’s something new to love and appreciate every time you watch it! The song in itself also immaculate. Almeda – Solange Solange’s track record for music videos is fierce. Has the woman ever made a video that is less than breathtaking? She treats the medium as a true art form, a platform for her to further express herself beyond the album itself. This is a very heady video, every moment, every piece of clothing, choreography, prop, a hint of light is intentional and purposeful. That level of detail is fascinating to watch and analyze every single time. We are lucky to live in the time of Solange!

By: Kevin Brown Hardcore punk trio Show Me The Body steamrolled into Toronto a couple of weeks ago for the first time since the release of their 2019 album “Dog Whistle”, with support from Urochromes, Montreal- hardcore group Gazm, and Toronto’s Wlmrt.

By: Daniel Dorta Last night, Sirius XM hosted a surprise concert in Toronto at The Masonic Temple featuring The Glorious Sons. Check out the photos below: Thank you, SiriusXM, for letting us be part of this special moment!

By: John Mendoza Mac Ayres played The Velvet Underground in Toronto on Tuesday, November 26th. Myles Castello opened the gig. See photos below: Myles Castello Mac Ayres

By: Gemma Mastroianni Today, Toronto based funky jazz-rock band Love Wagon is sharing a hard-hitting and dramatic new video for us all, I Just Want Your Love. The funky jazz-rock band from Toronto,ON consists of Michael Oszertag on bass, Max Swiderski on guitar and vocals, John Abou Chacra on saxophone, guitar and vocals, Sam Ehsaei on keyboard and vocals, and David Matta on the drums. The track is from their EP, “What Wagon.” I Just Want Your Love is the demanding opening track, filled with emotion about a broken heart. It’s filled with stops and starts, keeping listeners at the edge of their seats. Although the song is more upbeat than your typical break-up song, the emotion of frustration going through a break-up is portrayed ever so perfectly, and intensely. The instrumental bridge is a smooth transition that also takes you through a whirlwind of emotions, with stellar production and a phenomenal guitar solo. Not to mention the harmonizing on this track is so consistent and impressive, giving off some modern-day Queen vibes. It has hints of jazz, rock, blues, and funk. Overall, it’s definitely one of the best opening tracks I’ve heard on an album this year- what an entrance. The video is a must-watch. It’s overdramatic but all too true about what going through a break-up can feel like. It brings comedic relief and the cinematography is amazing, taking place in a variety of locations, also showing so many physical interpretations of how to cope when breaking up- with comedic relief, as I said. I couldn’t believe that this came from a local band! At this pace though, they’ll be more than a local band in no time. The band formed in 2015 at Ryerson University in Toronto after meeting at an open jam. Ever since, the band has been playing at classic Toronto venues such as Rivoli, The Opera House, The Mod Club, and also deservingly won Ryerson’s 2018 Battle of the Bands. Catch one of their shows to experience a spectacle unlike anything else you’re seeing from Toronto bands. Catch their next show at The Horseshoe Tavern on January 18th!

By: Jayben Favila Neon Indian visited Toronto and played at The Velvet Underground on Thursday, November 21st. Sauna opened up the show. See photos below: Sauna Neon Indian