Search Results | thesoundtrack.ca

Live Music Every Day is here again on our Instagram! Check out the artists and set times below: April 14th | Julie Title | 8 PM singer-songwriter. April 15th | Basement Revolver | 8 PM Basement Revolver have been crafting both noisy and graceful shoegaze-esque tracks out of their hometown of Hamilton, Ontario since releasing their 2016 breakout hit ‘Johnny’. Their affinity for blending 90s-infused indie rock with fuzzy, dreamy pop and poignant, yearning lyrics has earned them a devoted following throughout their native Canada, the US, and UK. April 16th | Passport Radio | 8 PM Gnar Toronto Garage Rock. April 17th | Pony | 9PM Grunge-pop from Toronto. April 18th | Sweet Tooth + Special Guests | 8PM Quite possibly the sweetest indie rock band in Toronto. April 19th | Tequila Nosedive | 8PM Ghost punk from Toronto.

By: Gemma Mastroianni I’m so happy that artists are still releasing music in this pandemic. I’ve seen some artists pull back and delay, which I totally understand. With that said, as a music-loving human, I need the new tunes to function! Here are some noteworthy ones that I’m into: Fleece – Love Song for Haters Such a gorgeous track with beautiful components, and glistening vocals. This one gets me in the feels! The video is absolutely stunning and takes you on quite the trip as well. MBG – Too Slow Some badass rock & roll here! Leena absolutely kills this track with powerful riffs and edgy vocals. Higher Than The Drugs – Stuck on Planet Earth This is such a fun one – both the video and the song. This is some fun rock & roll that you can dance to, maybe even a bit Foals inspired!? The video is a must-see! Afterglow – Luna Li Another beautiful and feminine track from Luna Li. The violin always adds a nice touch! Strange – Jordan Paul Jordan Paul definitely has an old soul when it comes to music. His Beatles/Queen-esque vocals lay beautifully over his slow-paced instrumentals and synths. With the pandemic, this is the perfect time for the release of “Strange.”

By: Michael Del Vecchio I spoke with Toronto pop artist, Aunty Social, (aka AuntyDanny on Instagram, aka Daniella Gitto IRL) about what she’s been doing since her EP, The Day my Brain Broke, released this March. The emotional power-pop chronicles her successes, failures and learning experiences as a musician and human being. Getting through writing blocks Aunty Social: I get my biggest bout of writer’s block when I’m not listening to any inspiring, new music. During that downtime, I randomize the instruments I choose on my MIDI. I’ll pick something that has a cool name and try all these different chords with it. And if that doesn’t work, then I’ll move on to the next one and the next one. It’s a lot of trial and error when it comes to melody making. If I can’t think of any melodies, I’ll grab my journal and start reading and try to form that into a melody. Sometimes that works. And if none of that works – I quit. Cortex Michael: You said that Crash Bandicoot (PS1) inspired Cortex. How do video game soundtracks affect the way you write and compose music? Aunty Social: I grew up really relying on video games for that imaginative effect. I used to put myself in those characters’ positions a lot. It’s almost like those soundtracks were the soundtracks for my day to day life, it was this games I would constantly play. Now, when I hear a sound or something that reminds me like one of those video games, I’m more inclined to use it. Especially because one of my favourite emotions is nostalgia. I love everything to do with that specific feeling. If I hear a specific sound that brings me back to something, even if it’s an old McDonald’s commercial – or anything, of that matter – it’s way more of an attachment and I use those kinds of sounds. Thinking about “Thinking about Thinking” Michael: How have your feelings of the song changed – from the demos to playing the songs for crowds? Aunty Social: Thinking about Thinking started as just my vocals and this really, terrible sounding, hip-hop keyboard. Last-minute, we ended up changing the demo to electric guitar and this CASIO toy thing that ended up as the main chorus. That was literally on the last day of production. We had the song done, and then we did a 360 to make it something completely different. That made it even more special when I played it on stage. Every time I listen to a demo over and over again, it loses its substance, you hear every part of it and start feeling repetitive. We had this new song, it had this great new feeling, playing it on stage seeing it all come together. The themes I hit on in this EP will always be relevant for me. I’m not talking about a single relationship or something that’s in the past. I’m talking about issues and feelings and coping mechanisms I use every day. I feel like it will never change when I get on stage. It will always be me expressing those things on a day-to-day basis that I can’t really shut off. Crack a Deal Michael: The vocal riff brings it all together. Did it develop over time? How did it stick? Aunty Social: It was the first thing I made for the demo at home in my room. When I brought it to the studio, Sam wanted me to redo it. And I decided not to, even though it was a shitty pitch or whatever, I felt it was significant as part of the demo. It bled into the actual song, and I kept it because it had a lot of meaning. Michael: You mentioned the “9-to-5 Gods” as inspiration for the song. Are they the primary antagonist for the album? Aunty Social: No, not the primary antagonist. It was how unhappy I was with the life that I was living. That was just an aspect of this great big discontent I was feeling at the time. While I was also dealing with the social anxiety that’s in Traveling Circus, or coping with the traumatic event from Cortex, another thing that added to that was working the 9to5 job that was really dull and not at all something wanted to spend my life doing. Traveling Circus Michael: Has writing the music been as helpful as you thought it would have been when you were writing the demos to now that the music is out? Aunty Social: Yeah… it did. It didn’t fix the problem, that takes a lot more work than writing a journal entry. There’s a cathartic essence to being able to publicize those thoughts you have that nobody knows or hears. Especially when you’re in such a public space. The whole song is about me thinking about these things being surrounded by people and thinking everyone can read what’s on my face. I don’t feel like enough people actually get deep down with the thoughts that they feel – “I feel this physical effect, and then I start shaking or I start sweating.” I feel like a lot of those roots are from the thoughts we have – “nobody thinks I’m funny, I should just sit in the background – am I too filled with expression?” That’s the part I really wanted to hit on because that’s what causing all these physical effects. Being able to tell people definitely helps. It makes me feel better to know that other people relate to it and find solace in it – “if she can talk about her thoughts like that, maybe I can too.” Trying Michael: It’s the first single, is it fair to say this is the origin story for the album? Aunty Social: It kind of is! It’s the one that sends back all the way to my upbringing, raised in a catholic family, going to a catholic school. Unintentionally, yes. Michael: I appreciate how confident the songwriting is. Did taking risks come to you naturally as a songwriter? Aunty Social: There’s an easy route where you can guarantee a lot of people will understand and enjoy the song. Or do I want to experiment and try something new that I can’t guarantee everyone will understand, but through my ears, it sounds good. And I think I’m always stuck at that crossroads. But it always feels good to take the experimenting path and have it pay off. I think “Trying” is a good example of that for sure. Collages Michael: What was the goal of giving each song a collage? Aunty Social: I had been collaging a lot during that time period. It had been very cathartic. Having a job to do during that really weird time in my life was motivating like I was doing something good. In that vein, I was also using a lot of photos from different times in my life. I made sure to do that to look back at photos I haven’t looked back at in a while. Looking back at my high school and college photos, the most tumultuous time of my life, became the craziest parts of this EP. It wasn’t the music or the lyrics, it was trying to find a photo for one collage. Unintentionally, it became part of the concept – making it a release from that part of my past. Michael: I thought the clamshells were interesting. Aunty Social: Yeah! I thought this is the only good to be like – “I broke my brain”. I could break a shell, and it would look like a prettier version of guts and gross blood and stuff inside. Like a broken brain! Sam Arion Michael: Could you talk about the effect your producer, Sam, had on you as a musician and communicator? Aunty Social: He took these really terrible demos that I was so ashamed of and embarrassed to show. Half of them weren’t even recorded to a metronome. But he didn’t acknowledge any of that, he saw what I was trying to say, and built on that. He did his research into the person I am and the artist I want to be and channeled that into the music I wanted to make. There’s always a power dynamic when you walk in somewhere, whoever has the most experience – and I’m always the one with less experience! No matter what, I always feel like that. But it’s just me and him in a room making music, there’s no power dynamic there. He’s someone I feel lucky to call my producer and my best friend, and also someone I look up to as a musician. Overrated / Underrated Aunty Social graciously let me pick her brain over some topics on a round of Underrated/Overrated, serious and silly alike. You can decide which is which: 1. Disney + ? “Uh… overrated,” she says. “I feel like it’s going to be one of those things everyone watches for a while and then say – Okay, I have my fix of nostalgia, I’m never going to watch Suite Life of Zack and Cody again.” 2. 20/20 Vision? “Is this – eyes?” she asks, laughing after a bewildered pause. “I feel like that’s perfectly rated!” 3. Fabric Softener? “I don’t use it – overrated. Based on the fact I never use it.” 4. Having your coffin shot into outer space? “Overrated!” she scoffs, “that seems like something only Elon Musk would do.” 5. Getting lost in a hedge maze and discovering a ghost? “Underrated. Definitely want more of that in my life.” 6. Montreal? “Perfectly rated? I guess… underrated. The music there is great, I don’t know if it gets the recognition it should.” 7. Getting the back row of the GO bus to yourself? “Underrated! That is truly the most satisfying situation ever. Yes.” 8. Quentin Tarantino Movies? “I just watched Once Upon a Time in Hollywood. Can I say perfectly rated? For the credentials and acclaim, he’s received.” 9. Lunar Landing (Landing on the Moon in 1969)? “Overrated,” she says tongue-in-cheek while laughing, “whatever! It’s all fake anyway.” 10. Sleeping without socks on? “Underrated! I can’t sleep with socks on.” Future With shows canceled, there is some (semi)-unannounced music coming out soon. Stay tuned to Aunty Social’s social media for updates! Listen to their tunes here.

By: Amanda McMillan Rumours started swirling about the Strokes meeting with production legend Rick Rubin in 2017, but were shot down by guitarist Albert Hammond Jr, claiming the band had only met with him to discuss “some ideas.” Well, well, well. Looks like those ideas turned into a full album, with Rubin sitting in the producer chair. For those who perhaps think they don’t know any of Rubin’s work, here is a list of artists he’s worked with (not including the role he played in popularizing hip-hop as a mainstream genre in the 80s as one half of Def Jam Records): Adele (21), Justin Timberlake (FutureSex/LoveSounds), Red Hot Chili Peppers (pretty much every album), Kanye West (Yeezus and Life of Pablo), and Lady Gaga (Art Pop). Quite frankly, there aren’t many producers who have been around as long as Rubin that still has as much clout in the industry as he does. That is to say, a band as iconic (and seeking a comeback) as The Strokes does not just “meet” with Rick Rubin to shoot the shit. Truthfully, I was expecting a messy album. But at the end of the day, even when they’re messy, The Strokes are still tight as hell. Part of their appeal has always been their air of not being bothered, which has proven to either be wildly successful for them (Is This It? And Room on Fire) or…supremely lackluster (First Impressions of Earth). The two outliers in that dichotomy are perhaps Angles (2011) and Comedown Machine (2013). For what it’s worth, I thought Angles was an incredible album from top to bottom, while Comedown Machine had its moments but was overall skippable. Apparently that is a controversial opinion because very few people I have discussed this with agree with me, but I’m sticking to it! How fitting it is that amidst a global pandemic that has changed daily life as we know it, we have an album titled The New Abnormal? Granted, the band could have never guessed it would be released during such strange times, but here we are. Although, it isn’t the first time the band has released an aptly titled LP: their debut Is This It? (2001) squeaked in as one of the last Major Label, old-school music industry records before the likes of Napster and other forms of illegal downloading of music would change the industry as we know it. Alas, it’s been seven years since we last heard from The Strokes, and the question on the mind of fans is whether or not The New Abnormal will have been worth the wait. What we get out of the album is a lot of what we have always loved about The Strokes: catchy guitar riffs, high-fret bass lines that are practically melodies in and of themselves, flawless drum beats, and that je ne sais quoi quality of Julian Casablancas’ vocals that remains no matter which effects get placed on it. Checkmarks across the board – this is 100% a Strokes album. As a producer, Rick Rubin has a history of getting bands back to their core sound, so perhaps that’s where we can hear his influence the most. We can also hear it in some of the in-between moments: the screeching guitar about two minutes into “Eternal Summer,” perhaps the bleeding out of synth and vocal pedals toward the end of “At the Door,” whatever that guitar effect is just past the minute mark on “Why Are Sunday’s So Depressing?” and the electronic drums off the top of the last track. While everything feels authentically The Strokes, there is still an undeniable kiss of something else in there. As a whole, The New Abnormal is a great collection of songs. Each one fits nicely beside the next, telling a story in parts. Every song is super tight, despite all being fairly long. Sure, there’s no notable radio hit à la “Last Nite”, but we’re certainly not missing anything; so far as The Strokes go, it all seems to be there. So what is this album about? It’s about what was and what could have been, and also where they’re headed. It’s about their collective ‘unsticking’. It would seem that after having “taken the 2010s off” as Julian Casablancas put it, the band is ready to start again. Considering each member of the band is now either fourty or pushing it, it would make sense that we would get an album that is reflective, focussed, and dare I say emotional. When they started on this great big adventure, they were all barely twenty years old – a lot has certainly changed. Not only for them all personally and as individuals, but in the industry and, indeed, the world in which they exist. As a group that, at the turn of the millennium, was considered the Last Great Rock Band, I am not entirely sure they have been able to hold up to that title over the years. So, with a new album in our midst at a time that is allowing for our own introspection, it begs the question: were The Strokes the Last Great Rock Band? Does the myth prevail, nearly twenty years later? perhaps The New Abnormal won’t offer a definitive answer all on its own…but if it’s not The Strokes, then who is it? 8/10

By: Amanda McMillan My vinyl collection started slowly at first and then all at once. It began fifteen years ago when my mother bought me a rinky-dink portable turntable and a handful of albums at a garage sale. Among them: Slippery When Wet by Bon Jovi, Frampton Comes Alive by Peter Frampton, and not one but two Deep Purple albums. I am not and never have been a Deep Purple fan but I assume it was slim pickings and, I guess if nothing else, Ritchie Blackmore can shred. After I graduated from university, I started collecting again on my own. It was around this time that I was deeply, deeply into 70s punk & glam. So, I started there and expanded outwards. It was and continues to be, important to find vintage versions of records any time I can. The majority of my collection dates in the late 60s through to the early 80s. Anything outside of that is typically 180-gram re-pressings of old albums or net-new records. I rarely buy new artists on vinyl, but every so often I cannot resist due either to special edition versions, the cover art, or it’s iconic status. As I looked through my collection, which is probably about 100-120 albums deep (certainly small by comparison to many collectors), it was hard to choose just five. So hard, in fact, I had to choose six. I love all my vinyl babies, but these are the ones that I turn to the most and/or are the ones that I just love having on display. Rumours – Fleetwood Mac (1977) I would be remiss not to include this album. This is one of the greatest albums of all time and is probably in most people’s collections. My version is a 1977 pressing, and is in relatively good shape, although it always sticks during the solo on “Go Your Own Way”, which I find kind of charming. I put this record on the most often when I have people over because it is a crowd pleaser! Listening to this album on vinyl through a decent pair of headphones brings it to a whole new level. As a bass player, I’ve gone back to this album for the sake of this piece and really intently listened to the bass on each track as recorded on vinyl and it’s super special. Ultimate track: “The Chain”. Sonically, all things considered, I think “The Chain” is peak, Fleetwood Mac. Sticky Fingers – The Rolling Stones (1971) If you were to ask me the age-old question of “The Beatles or The Rolling Stones?” I would say The Beatles every time. However…Sticky Fingers is a magnificent and very, very cool album. One of my all-time favourite songs is “Moonlight Mile,” a deep cut and the last track off of this album. It’s truly beautiful. “Wild Horses,” one of the Stones’ best ballads is also on this album, along with bangers like “Brown Sugar” and “Can’t Hear Me Knocking.” This bad boy is chock-a-block full of Stone’s realness. My version is the 1971 pressing in less than great shape BUT it does have the original real zipper on the front. The titillating album art was shot by none other than Andy Warhol, and had this album art been released 20 years later you might mistake it for a George Michael album. What I’m saying is, it is many shades of homoerotic, but given the time period of the androgynous 70s and the sex appeal of Mick Jagger, it’s passed off as another provocative photo by infamous weirdo Warhol. It’s fucking iconic! Ultimate track: Gotta stick with my fave, “Moonlight Mile.” It sounds even warmer and more emotional on vinyl. Never Mind The Bollocks – The Sex Pistols (1977) Again, another absolute classic. My version is a 1977 pressing. The album artwork on this is fucking brilliant and stands the test of time. The neon pink and green are delicious and chaotic. It is truly symbolic of The Sex Pistols and what was going on in England during the late 70s. The key difference between UK punk and US punk at the time (boiled down to its most basic and simplistic comparison of The Ramones vs The Sex Pistols) is that The Ramones were bored, and the Sex Pistols were angry. The Ramones were messy weirdos, and The Sex Pistols were psychotic. This album is top to tail a fuck you to The Man, to the Monarchy, and to the brutal class system that existed at the time (and to some extent, still does). Ultimate Track: “Anarchy in the U.K.” I mean, c’mon! Aladdin Sane – David Bowie (1973) I searched high and low for a vintage copy of this album, including in multiple cities (and even then the best I could find is this ‘Best Buy series’ stamped version, pressed in 1980). This is a hard album to come by, largely due to its iconic album artwork, but also due to how hard it is to find classic vintage Bowie records after he died in 2016. Alas, I was very pleased to happen upon this gem as I am a very big Bowie fan – his section is the largest within my collection. What can I say about this album that hasn’t already been said? This album was the making of an icon. Hot off the trails of “Ziggy Stardust and the Spiders from Mars”, Bowie reinvented himself as Aladdin Sane, creating a new visual persona as much as a sonic one. Where Ziggy Stardust was raw and curious, Aladdin Sane is truly an alien, strange and provocative. The album is as much the art as it is the music, and this look became one of the most recognizable symbols of rock music. Props to make-up artist Pierre Laroche for giving us this face! Ultimate track: “Lady Grinning Soul.” It is my favourite David Bowie song, it is spooky and delicate, and the piano is to die for. Random Access Memories – Daft Punk (2013) I think this was the album that got me into buying new music on vinyl. I absolutely had to have this album art in my collection. It’s fucking brilliant and cool, and well-designed. That early-80’s inspired font?! It is such a gorgeous nod to their roots and EDM as a genre. Daft Punk is fucking pioneers of the genre, and they do not get nearly enough credit for how they took the roots of electronic audio production and turned them into music that is truly transcendent. This album is banger after banger, with some of the craftiest and catchiest hooks in their catalogue. They are masters of the dance hook. Featuring a spoken-word track by none other than the godfather of EDM Giorgio Moroder, plus writing credits from Nile Rogers, Julian Casablancas, Canada’s own Chilly Gonzales, and of course Pharell Williams, Random Access Memories is an absolute gem. I dare you not to dance while listening to it…it is not possible! Ultimate Track: You’re thinking it’s gonna be “Get Lucky” but I have to give it to “Lose Yourself to Dance.” It’s so grooooooovy! A Seat at the Table (2016) What an absolute feast of an album. Solange is the true definition of an artist. Her work is so purposeful, so intentional, so deeply personal. Her evolution as an artist is so beautiful to watch; she is always leaving us with something to feel, something to look for, something to want. A Seat at the Table came out the same year as Lemonade, which was lauded as the best album of the year (rightfully so, it is also a masterpiece). The fact that these two ‘sister’ albums entered our orbit in the same year without really being compared or pitted against one another is a testament to both Solange and Beyonce’s talent, artistry, and indeed how they have built their own brands. This album is stunning, and it gets me every time. It’s so warm, and plush, and tender on vinyl. It is truly a full meal. Ultimate track: This is a very difficult choice. Every single song is worthy. I think I’m going to have to give it to “Cranes in the Sky” because it makes my heart sing every time I hear it. The lyrics, the vocals, the bass, the piano…all of it. Stunning.

By: Gemma Mastroianni Multi-instrumentalist, singer, songwriter, and producer Kyle Duke is a rising artist in the indie rock scene. Since moving to New York in 2015, Duke has been hard at work spreading his own lo-fi brand of psychedelic, guitar-driven rock to new audiences. We chat about the NYC music scene, music lessons (are they worth it?), Netflix, and more. Listen on Spotify or Apple Podcasts. Follow Kyle Duke.

By: Gemma Mastroianni Here’s your lineup and set times for week three: Lea Danis – Monday 7:30PM Lea Danis is a Slovak singer and songwriter, and a former Victoria’s Secret fit model and actress. Her soul voice engaged with electro-pop vibe promises new fusion you just cannot miss. After Lea’s debut single Sunshine produced in Belgium/Holland region together with producers Arker and Guido Aalbers (Muse, Franz Ferdinand, Coldplay…), a fresh single is coming out. Summer song called “Dance” produced under Universal Music CZ producer’s (Jan Zborovjan) wings was released in July 2017. Cassie DaSilva – Tuesday 8PM Cassie Dasilva is a budding pop singer-songwriter from Orillia, Ontario. Turning heartbreak and self-discovery into glittery pop anthems with a purpose, she claims that a combination of social rejection, and several hilariously failed attempts at a love life have inspired her committed relationship with music. Dasilva has just released her newest single “Still in Love”, independently. Goodnight Sunrise Tuesday 9PM Goodnight, Sunrise is an indie-rock-and-roll-super-fun-dance-party band from Toronto, Canada. Founded in 2011 through a shared love of pop hooks, EDM drops, and the raw power of classic rock, their sound has naturally evolved into a hybrid reminiscent of CHVRCHES, Muse, and July Talk. They’ve taken their explosive live show to over 300 audiences across Canada, US, and Europe, opening up for Bon Jovi, Monster Truck, and The Sheepdogs along the way. Josh (Tripper and The Wild Things) – Wednesday 9PM Tripper and the Wild Things are an indie rock band from Hamilton, Ontario. The four-piece outfit consists of Josh Keillor on vocals and guitar, Eric Tarquinio on bass, James Puntillo on guitar, and Brian MacMahon on drums. Tripper’s brand of noisy, high energy rock is balanced by melodies that invoke their ‘90s surf rock and alternative roots, with themes of lo-fi ‘80s pop. Honey Harper – Thursday 7PM Universal Country. Scheduled to tour with TOPS this upcoming Fall. Stuck On Planet Earth – Friday 9PM Toronto-based alternative rock band Stuck On Planet Earth communicates the messy, real-life truths of life bluntly and straight up. Founded in 2007, by Adam Bianchi (guitars/vocals), Al Capo (bass/vocals), and Andrew Testa (drums), they’ve logged thousands of hours on stage and uncountable miles on the road, beginning that same year with what they call The Backpack Tour. As their audience grew the band toured more widely, leading them to full North American tours. Being able to play acoustically, anywhere and at a moment’s notice, also helped the band make friends at college and satellite radio across North America, and to get rotation for early songs like “Fast Forward,” which spent eight consecutive weeks at #1 on CBC Radio 3’s Top 30 Countdown. The group has landed regularly on the Canadian iTunes Alternative and Canadian Rock/Alternative charts, gained play on The Verge (XM), Aux TV, CBC and CFNY 102.1 The Edge, and shared the stage with artists including Finger Eleven, Weezer, The Offspring and Scott Weiland & The Wildabouts. Lost in Japan – Saturday 8PM Lost In Japan is an upcoming indie rock band from the roots of London, Ontario. Founded by frontman Addison Johnson in late 2016. After the release of their first EP ‘Ghost & The Wolf’ they have had many amazing opportunities to open for acts such as ‘Hollerado’, Won the 98.1 classic rock made in London contest and they are just getting started. Their live show is surely something to be remembered it truly is entertainment in every sense of the word. With a new Album on the way and new songs being written almost daily you will surely get lost in this band’s music. Having accomplished so much in a short amount of time the band is still just getting started.

By: Amanda McMillan Katie Crutchfield, better known as Waxahtachee (named after the creek in her home state of Alabama), is back with her fifth studio album, Saint Cloud. She has proven to be a force to reckon with in the alt-rock genre, managing to consistently find her way onto playlists, countdown lists, and catching the attention of tastemakers in the digital music critique sphere. Crutchfield has always been a thoughtful lyricist, and vocals that have always had a charming twang to them. In speaking with Apple Music about the making of this newest release, she mentions that she had always tried to hide or shy away from her southern roots as if it were something she wasn’t eager to celebrate about herself and her influences. But on Saint Cloud, she gives herself permission to out her inner country girl; it’s a love letter to her southern upbringing. There is a certain level of philosophizing happening on this album, a consideration of life and growing up, what it all means. Lyrically, it draws attention to experiences – to joy, to bliss, to love, but also pain, confusion, and grief. If creating a synergy between the ups and downs of life isn’t country well then I don’t know what is. Something I’ve come to expect from a Waxatachee album is that there will always be one song that just stays in your head, creating that “earworm” effect. It becomes the song that I associate with the album. For me, on American Life it was “Be Good,” on Ivy Tripp it was “Summer of Love,” and now on Saint Cloud it’s “Fire.” This song has all the makings of a Waxahatchee track, but a slickness in the production and little details that make it feel fresh and new. Every time I hear it, I want to sing along. On “The Eye”, Crutchfield goes full country melody, twangy and sweet. There’s a great little guitar lick, and as we approach the two minute mark there is this delightfully joyful harmony when Crutchfield sings “lit up behind the sunbeam” that made me smile the first time I heard it. Early on, it’s clear this is an album that sought out nuance and the sonic sweetness an artist can find there. But with the lovely, light bits there also comes denser, heavier moments as well. “Ruby Falls” is a tribute to Crutchfield’s late friend who died of an overdose. She sings about choices, and sadness, and grief. It’s honest and poetic, an ode to someone she clearly cared about deeply. The album ends with the melodic and slightly haunting “St. Cloud,” which is the rawest song on the album from a production perspective. It almost sounds like a demo track, but that’s what makes it so special. The album overall is very well produced and mixed, but “St. Cloud” is steeped in emotion, which you can hear in Crutchfield’s voice, as well as the tempo and style of the instrumentation. It’s a really nice way to send off the album. Saint Cloud seems to mark the beginning of something new for Waxahatchee, as Crutchfield put it “a return to form.” It’s sweet, honest, and grown-up. She’s clearly dug deep here, beyond the woes of everyday life, beyond the surface level highs and lows of love and loss. She’s freed the pieces of herself that perhaps she had been drowning out, or tucking away, and found a way to meet herself in all the places we tend to overlook. As a listener and a fan, this feels like the musical equivalent of being invited into her home. It may not be a groundbreaking, genre shaking album, but it certainly has the makings of something special.

By: Gemma Mastroianni Sonja, also known as Sofie Mikhaylova, is a DJ, electronic synth artist, music writer and editor, workshop organizer and facilitator, and creator of independent record label Biblioteka Records. We chat about modular synths, running workshops, the Toronto EDM scene and more. Listen to the episode on Spotify and Apple Podcasts. Follow Sonja.

By: Samantha D’Alessandro The Tiger King has stolen the world’s attention yet again. If you have yet to see the documentary series on Netflix, you totally need to. Here are his top five music videos: 1.) Here Kitty Kitty This isn’t only Joe Exotic’s best song, but it’s also his best music video. In this video, Joe successfully reenacts the conspiracy that his arch-nemesis Carol Baskin, fed her late husband to her collection of tigers. It’s complete with one of Joe’s many interesting outfits, a look-a-like Carol actress, tigers, a car dealership intro and fake body parts. Not to mention, Joe holding real tiger feces in his hand and wearing a priests collar… Not much of this video makes sense except for the fact that Carol most definitely fed her husband to the tigers. My favourite part is Joe’s disappearance with the snap of his fingers. 10/10 editing on that one Joe. I have to give him credit for his creativity in this video making it his most entertaining one by far. 2.) I Saw a Tiger Another Joe Exotic classic takes the number two spot on this list with “I Saw Tiger”. This song is clearly about Joe’s love and affection for this species of animals and it actually is quite wholesome regardless of the video’s humorous nature. This video features John Finlay, Joe’s first husband. It also contains adorable tiger cubs, and Joe’s iconic scene standing on top of some sort of cruiser/ pick up truck playing guitar. The corniness of this video is what makes it so iconic and keeps you watching all the way till the end. We also get to see another one of Joe’s iconic outfits, his sequin tiger print button-up, and jeans; A true style icon. 3.) Pretty Woman Lover This is a video you may not be familiar with as it wasn’t featured in the Tiger King documentary. I had to do some research to find this gem, and you will not be disappointed. “Pretty Woman Lover” threw me for loop simply because of its context. If you’ve seen the documentary or even the memes, you’d know that Joe Exotic is openly gay and married to not one, but two men. This video is flashy and the definition of redneck. It’s got motorcycles, leather, cowboys, tattoo shops, bars, women and singing on rooftops? Imagine Joe Exotic had an entourage of groupies… That’s this music video. Best of all, John Finlay, Joe’s husband, is also featured! What a wild ride. 4.) You Can’t Believe I’m almost at a loss for words for this video, you just have to see it to understand. This song is a tribute to Terry Thompson. For those of you who don’t know, Thompson was responsible for the Zanesville massacre which led to hundreds of exotic animals being murdered after being turned loose on the town. In the video, Joe pays to tribute to Thompson by acting out a redneck style execution of Thompson… Joe’s creativity never ceases to surprise me and he is definitely the nasty of raw, uncut shock factor. 5.) How Was I To Know I had to do some digging to find this one too and to put it simply, this one made my list because of the retro intro, the corny drive-in screen edit, oh and Joe’s coffin scene… that’s right COFFIN SCENE. The song itself is about heartbreak and I’m not quite sure how to video compliments that, but it’s worth the watch just to see the random scenes of Joe Exotic in a casket in the middle of an empty field.

By: Dakota Arsenault Soundtrack contributors were asked to share some of their record collections, so I figured I would do a post about mine. According to Disogs (which if you aren’t on as a record collector, get on it) I have 321 pieces of vinyl logged. I have bought a few more this year and haven’t updated it yet and I think there is a couple that just aren’t on the site. This list isn’t my favourite albums, or most rare items, but instead a collection of ten records that tell a bit of a story about who I am. My current set up is a Pro-Ject Debut Carbon Turntable in red with some Edifier speakers. 1. Ray Charles – Modern Sounds in Country and Western Music This was the very first LP I ever bought. After high school, and likely some time in college, I was at a Goodwill and saw this album for sale. I wanted a turntable for quite a while but knew next to nothing about collecting. I picked up this album (it may have been purchased by my mother for me) and I held onto it for several years, not knowing when I would finally be able to listen to it. This album is so influential that Sturgill Simpson named his breakthrough album Metamodern Sounds in Country Music. 2. Miles Davis – Kind of Blue This is my basic jazz pick, and laughably, purchased at Urban Outfitters. While I was in college, a friend lent me this album on CD and it was my introduction into jazz. I know it’s basically jazz for dummies, but it’s a classic for a reason. It has since lead me to expand and get records from Gene Krupa & Buddy Rich, Duke Ellington, The Quintet, Etta James and more. 3. Otis Redding – History Of Otis Redding Back in 2012 my then-girlfriend and I went to Chicago for the first time. It being the home of the blues we knew we had to get some records. I think in total we must have bought 3 or 4 different things, but one of the most important records in my entire collection is this Otis Redding one. It was our first Redding album, where we now have four plus some singles. But more importantly, when we got engaged we knew Otis Redding had to be the artist we had our first dance to at our wedding. We chose These Arms of Mine, a track that appears on side one of this terrific record. 4. Frank Ocean – Channel ORANGE This album has been rumoured for years to be officially coming out on vinyl, but it still hasn’t hit stores. When I walked into Play De Record on Yonge Street and saw both this copy and nostalgia, ULTRA. I knew that these were bootlegs. I quickly grabbed Channel ORANGE and I regret not getting the other one too. This album is a double record, with one being dark pink and the other being clear. 5. The Rolling Stones – Some Girls No record collection is complete without the classics, The Beatles, Pink Floyd, ABBA, Bruce Springsteen, etc. That includes The Rolling Stones. I’m a big fan of there’s and have a couple of records, but this is my favourite for a few reasons. Firstly the artwork might be the single best of any album I own. The cutout hairstyle ads on the front where you slide the sleeve back and forth to make Mick, Keith and company have ladies hair-dos, and the back has the tracklisting and record info styled to look like brassiere ads from a catalog. Secondly, this album has some classic underplayed Stones songs like Miss You and Beast of Burden. I bought this record used and it appears like the original owner was named Catty, as she wrote her name on both sides of the record sticker. 6. The Districts – The Districts My most prolific period of buying records came from 2012 to 2015. It seemed like every paycheque I would devote to buying a new record and going to concerts as much as I was, I was always in danger of spending there too. In 2014, I was going to Bonnaroo for the second time and knew I would have lots of conflicts, so if artists that were announced were playing in Toronto beforehand I decided I should check them off my list to free me up. I went to see White Denim at Horseshoe Tavern and the opener was a group of small shy kids called The Districts. They barely talked on stage, but when they performed they let all hell break loose. I was aghast at their sound and immediately bought their record leaving my spot up front and found them in the green room and got them to sign it. Lead singer Rob Grote was shocked that I liked them enough to buy their record and track them down, the guys were so humble and thankful for me saying I liked them. Amanda recently reviewed their latest album for The Soundtrack. 7. J. Roddy Walston & The Business – Essential Tremors In what might be the single most epic concert billing Foals joined up with Cage the Elephant to tour together. They came to the now-closed down Kool Haus with opener J. Roddy Walston & The Business. I had never heard of Walston, but he was scheduled to also play at Bonnaroo so I made sure I got there early. Walston played the piano, or more so aggressively threw himself on it, banging out the hardest rocking music I have ever heard from an instrument that has been around for over 300 years. I met Walston after his set and purchased the record and he signed it for me. 8. Majical Cloudz – Impersonator I know I’m cheating here by including two different record releases, but they need to have their stories told together. I had wanted to see Majical Cloudz for over a year and coincidentally had to miss their shows whenever they played. Somehow, this quiet ambient electronic duo was opening for Lorde, of all people, at Echo Beach. I wasn’t sure what time they were going on so I was checking their Twitter account, and they posted that someone from their crew was walking around on the grounds. If you spotted him, he had a few signed 45s to giveaway. I got to the show early and spotted the guy! He gave the record that contains Savage and Love Soul, songs not found on any other release. After their set, I went to the merch booth and picked up Impersonator and got Devon Welsh and Matthew Otto to sign it. We chatted for a bit over people we both happen to know (they came from the same Montreal scene as Grimes, Doldrums and Moon King). The band broke up less than two years later and I never got to see them perform again. 9. Parker Millsap – Parker Millsap In 2015, I was going to go back to Bonnaroo for a third time in June and once again tried to catch up on acts I might not be able to see. This time it was Houndmouth, I arrived early to photograph the show at Lee’s Palace and experienced something I had never seen happen before. Opener Parker Millsap walked on stage and he belted out a long sustained note and the entire room fell silent. It was like the clouds opened up and a single ray of light fell on stage. It was like something I had never seen before or since. After the set, I ran to the merch booth and bought the album and got Millsap to sign it. 10. Justin Nozuka – Mr. Therapy Man This is a bonus last record I want to spotlight. Justin is an old friend of mine from high school and I will always support him. Unfortunately, despite having released four full-length albums and some EP’s, he’s never put any music on vinyl so I’m stuck only owning CDs or digital copies. Through Discogs I learned that in the UK only, Nozuka put out two 7” singles. The shipping is a bit too much so I only purchased one, but this has Mr. Therapy Man from his debut album Holly and Why an unreleased demo. One day I’ll pull the trigger and buy the After Tonight/Golden Train 45.

By: Gemma Mastroianni Live music is here for you every day of the week on our Instagram. Now, here is our lineup and set times for week 2! Quezal | Monday, March 30th 7:30pm Dream Pop and Alternative R&B with some beautiful and stunning vocals. The High Loves | Tuesday, March 31st 7:30pm High Loves are a Toronto based indie-rock four-piece, inspired by the likes of eternal greats The Beatles, and more recent indie darlings such as The Strokes and Arctic Monkeys. This band is on a mission — to bring good, sensible, pop music to everyone you know — to be classic, and yet to be novel — to be at home near the world of conventional classic songwriting, and yet to not be alien to the world of experimentation. Michelle Treacy | Wednesday, April 1st 7:30pm Driven by a need to create music that empowers, the indie-pop artist always seems to have something to say. Her songs are dark, unique and quirky, while her voice is dripping with angst and emotion. During Lady Gaga’s ArtRave tour, Treacy joined the pop icon on stage where she performed for 10 minutes alongside Gaga in front of more than 20,000 people in Montreal. Don’t miss her stunning and breathtaking performance! Zoe Xandra | Thursday, April 2nd 7:30pm From Waterloo to Toronto, Zoe Xandra has grown and shaped her melodic pop sound with life experiences and thrived off providing authentic emotions through each track. Her song “Better off Alone” serves sublime messages that relate to each and every one of us, capturing the essence of the difficulties of moving on from lost love. Brkn Love | Friday, April 3rd 8:00pm BRKN LOVE is Justin Benlolo. Born and raised in Canada, Justin cut his teeth by obsessing over the likes of Soundgarden and Led Zeppelin in his youth, while learning how to write music. With the advent of bands such as Royal Blood and Highly Suspect, he recognized the potential for a “different kind of band—that’s not too macho and slick, but edgy enough for the punks.” Olivia Rose | Saturday, April 4th 7:30pm Olivia Rose was born and raised in the small, Canadian farming town of Elk Point, Alberta. Having always been surrounded by country music, there was never a doubt in her mind that she would pursue her dream of music. Having already performed on some of Alberta’s finest stages, including opening for Brett Kissel, Aaron Pritchett, Chad Brownlee, Charlie Major & more, her determination and talent will only continue to push her to grow for years to come. Revive The Rose | Sunday, April 5th 7:00pm A gutsy, every-man band from Niagara. They’re the kind of band that turn heads when they play live.Revive the Rose provides the party and the most powerful shredding rock and roll in town! Telling real stories from an everyday point of view of hit and miss. A collection of honest and straight forward songs touching on themes of life, love, learning, and moving forward. Revive the Rose has conquered Southern Ontario, and always ready to prove that rock and roll will never die. The band has quickly made its mark in Southern Ontario, opening for acts such as Monster Truck, Danko Jones, Crown Lands, The Glorious Sons, The Standstills, illScarlett, The Lazys, The Mahones.After touring in Ontario, their lead single “Nine To Five” generated attention at Canadian radio, most notably at97.7 HTZ-FM. As well, they scored#1 pick for Alan Cross’ “Bands You Must Hear This Week” on 102.1 the Edge with their song “Moxie”. All doing so as an unsigned band.