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Southwell is a garage rock band from Oshawa who have just released their debut self-titled EP. Members include Dillon Nowicki (vocals, guitar), David Burke (drums), Jonah Savage (guitar), and Logan Soulliere (bass.) I’ve been to a couple of their live shows and they never fail to pack a room filled with a high energy crowd, paired with a fun and upbeat performance. After hearing their songs live, it is exciting to now have them on an EP. I sat down with the guys (virtually) for an interview about production, lyricism, and next steps. What inspired this EP lyrically and instrumentally? David: The starting track instrumentals we wrote by Jonah and me. We had different lyrics behind it and then we brought it to Dylan and Logan. We all jammed it together and that’s how that song was created. We were sitting on those chords just jamming in the basement for a few months though. Then with “Nostalgia” Dylan just wrote it. Were there certain artists or bands that inspired the sound of the EP, and what were the themes lyrically? Jonah: All of us have diverse music tastes. In terms of the tone of the album, I think we’re inspired by a lot of Southern Ontario bands like PUP, and Hollerado. The tone we are going for is really just to have fun, and not trying to take ourselves too seriously. Dillon: Like Garage-Rock. So, you all write the lyrics then? Logan: We are pretty collaborative on each song. Everyone chips in and works together especially when we jam. We just come up with the chords in just play it. Dillon: Sometimes we will have a riff or certain chorus, or melody in our head, and we will either unplugged work a song out, or even jam and on the spot finish the song. David: When we’re jamming and playing in the basement we’re loud usually as long as we can be, and then we transfer over to the couch and write lyrics. Dillon: Then we can really focus and hear what we’re saying. Jonah: That’s Dylan’s favourite part of the jam for sure. He loves to get that acoustic guitar out on the couch and just lay down some lyrics. *laughs* How long have you guys been together? David: Since grade eleven for Jonah, Dylan, and I. With Logan, the history with that is unbelievable. We were looking for a bassist before the Ryley Patrick Atria show which was our first real show, being an opener. We didn’t have a bassist, and we were already jamming with Logan and then we said if you can learn this set within a month, you’ve got the gig. When did you guys come up with the name Southwell and why? Jonah: When we started the band in grade eleven we were just a slew of terrible band names, I don’t even want to say the ones we were under. When it came time to get serious and Logan was joining we just wanted something kind of simple. The street I grew up on was called Southwell, so yeah. And you guys all live relatively close together, yeah? Logan: All within five minutes of each other! Do you guys have a favourite song from the EP? David: My favourite to listen to is “My Head” but this changes so much over time. I’ll love something and then I’ll hate it. It’s usually when something is new I think I’ll love it forever but once we start playing it and playing it and it gets more difficult, it’s not just a new idea anymore, I’ll start to like it a little bit less, but it always comes back. I really loved how “Nostalgia” turned out. There was a lot of studio add ons when we were recording it, these ideas we would think of we’d throw it in. I really love how it turned out. Dillon: I’d say my favourite is “Nostalgia.” I like playing it live, it has so much energy and makes for a fun performance. Jonah: I’d say the same as David. When we wrote “My Head” it turned out to be one of my favourite songs for sure because it’s such high energy. When we wrote it we were always like, ‘I can’t wait to play this in front of people and get them jumping, clapping, singing along.” “Nostalgia” was written very close to the production of the EP and I think the stuff we came up with when we were recording it, not necessarily writing it, made it stand out on the EP for me. Logan: Yeah, I’m in the same boat. Nostalgia is definitely my favourite one there. I just love the bassline on it because I got to be part of creating it, and I love to play it and jam out. It’s cool how you all agree across the board and it really shows your chemistry as a group. Do you have any tips for musicians on how to collaborate with songwriting? David: You just have to be patient. If someone has something in their head, or at least when I hear something in my head, I can probably only bring about 50% of that to light but I still hear the rest of what I hope for it to be. Then I’ll play whatever I can, show them that, and we bounce ideas off of each other. Play everything, hear everything. Dillon: When we’re writing a song, whoever has started the bass of the song whether that be vocals or a melody, that will usually determine the theme. Then we are all on the same page of what the song is about, then we can all brainstorm when we are together or apart and brainstorm on the same topic and it comes together better. Logan: I’m kind of like David. The majority of songs I bring to the table I usually dream about them, wake up at like 3 AM and try to figure them out again. Usually, I get a lot of it. When we jam I know what it is but it can be hard to describe to people. We usually spend hours playing the same thing over and over and over again until we iterate it, and then try new ideas to get things working out, it;s a lot of patience, working together, and trying literally everything. Dillon: Rhymezone! David: Rhymzone kind of does help a little bit. If you are really missing that one last rhyming word and you just gotta find something. For me it could just be a placeholder, then you go to Rhymezone and it’ll specify right down to the syllables, it’s nice. One other thing that I think is really helpful though is our similar taste. We all have core favourite bands amongst the band that we can just say to one another, “Hey, do something like PUP” and then we will get it to a certain extent. Jonah: I think it’s about putting your ego aside and not shutting ideas down right away. Flush it out and see what can happen, I think that’s the best way. I don’t think we really have egos, to begin with, and if we did, we put them aside. How do you envision the upcoming album to sound? David: We have a lot of songs written, it’s just whether they would all work on the same LP, and we’re still writing. We’ve been writing in the background for that. I think we are still finding our true sound. We haven’t really locked into one thing. Jonah: If I was a fan, I’d expect something a bit different coming up next. There will be a bigger focus on lyricism and instrumentation in this next project than this one had. Dillon: This EP is our base sound. From this point on it will only get better. We are going to keep growing and releasing new music. Any tips for people recording their first EP? Dillon: We found that with recording it took a long time because when we recorded at Jareds there were some mess-ups and we had to redo them at our own places. Then some of the files weren’t added properly so we had to record again so for next time we have to have our shit down. It was tough because only a couple of us are familiar with the software. Some of the boys had to learn the software from scratch. David: It’s definitely a hurdle. You think going into it it’s going to be you recording songs and you get them up to studio quality, you’re not wasting anyone’s time by tracking over and over and making mistakes but, that’s only half the job when you’re doing a DIY project. I’m still not great on any of the software but I can set up a mic and take down a track. That’s the furthest I can get but its a big learning curve and it opened my eyes to a whole other world of music, being production. Jonah: Don’t be in a pandemic. Dillon: Yeah, we would’ve had the EP drop way sooner if the pandemic didn’t happen. A special thank you to Jared Burke for recording and production. Listen to the Southwell EP on Apple Music and Spotify. Follow Southwell on Instagram.

By: Gemma Mastroianni I grew up with candles burning all the time, so naturally have been inclined to do the same. I find that there is something special about setting a vibe with candles by adding a scent to whatever mood we may be feeling, complementary to our environment. Scent can be tied to memories, places, people, and even songs depending on when and where you are burning the candle. A few years ago I discovered how great Soy candles were. I never thought to purchase them for a long time as they were higher in price however, one day I bit the bullet and bought one from Saje because well, treat yourself? I very soon realized the hype. They smell more natural and last waaaaaay longer. It only made sense to keep buying soy candles as I did not need to purchase them as often as I typically would need to. With that said, I still buy normal candles here and there too! More recently I discovered Kamu, a small woman owned business based out of British Columbia. Founded in 2020 by Jennifer Grace and Levania Zefanya, they have grown quickly to be reputable for being a clean and sustainable online candle shop. These ladies make candles to empower, inspire, and care for each individual, and strive to have their candles be part of those moments in life where we allow ourselves to take a pause and focus on self-care. On top of it being a Canadian female-led small business, their products are 100% natural, vegan and cruelty-free. All candle ingredients are ethically sourced and crafted with 100% natural soy wax, with phthalate-free fragrance oils, lead-free cotton wicks, and recyclable glass jars and containers. With six different scents available (and more to come), there is a Kamu candle for just about every mood. Below you can see a few different ones that I own, that help set a certain mood accompanied by music: Calm – Kirana Neroli, Lavendar, Green Tea, Rosemary When the weather allows it, the first place I’ll be bringing this candle is the beach. This candle reminds me of being in the ocean and staring up at the sky, followed by watching the sunset. Although I haven’t been able to hit the beach all winter long, it’s reminded me of my memories there with my loved ones. Next time you hit the beach, bring Kirana with you- she will be your best bud. Album Recommendation: Beach Music – Alex G Blissful – Terindah Bergamot, berries. What’s better than a bright and blissful Spring morning? Not many things, especially when you have Terindah burning. Wake up and start your day with Terindah. Go for a quick walk then come home and light your candle. Pour yourself a fresh glass of water with fresh lemon, followed up a cup of matcha or coffee. Have some fresh fruit, play some music, and be prepared to start your best day yet. Album Recommendation: Anak Ko – Jay Som Reflective – Kenangan Sandalwood, Cinnamon, and Vanilla- perfection basically. This warm scent is perfect for settling in after a long day on the couch and manifesting calm. Light up your candle and pour yourself a nice glass of chamomile tea, or whatever drink relaxes you in the evening. Put on a face mask and indulge in self-care. Call a friend, or perhaps reflect and write down your thoughts from the day. Kenangan, meaning a collection of timeless treasure, is the ideal name for our earthy, sweet, rustic candle that will bring back those beautiful childhood memories. Album Recommendation: Midnight Snack by Homeshake Visit https://www.kamuessential.com/ to purchase your candles today, and receive 20% off with the code GEMMAxKAMU20. Follow Kamu on Instagram.

By: Samantha D’Alessandro Last week I was on a casual late night drive with a friend of mine, jamming to some tunes and talking about life, when he showed me a song called “Eyes Don’t Lie” by an artist named Daggy. I was at a loss for words after hearing the classic bluesy tune and couldn’t believe it wasn’t more popular, and that Daggy didn’t have any more songs online. The song stuck in my head and I had to find out more about the artist behind it, so I took to social media and reached out to Chris D’Agostino, the voice and guitarist behind “Eyes Don’t Lie.” Chris was very happy to hear how much I loved the song and was willing to do a mini virtual interview with me and answer some of my questions. I was really eager to know how long he had been making music, in which he explained to me that although he’s only been producing for a year and a few months, he has been practicing and writing music from a very young age and began guitar lessons in the fifth grade. This led me to ask about upcoming projects and possible releases, seeing as “Eyes Don’t Lie” is the only song we have access to, “Right now we currently have a bunch of songs being worked on in the studio, just going through the mastering process. We’re aiming for a smaller project to start, most likely an EP ranging from 3-6 songs. All that is being finalized and should be ready to go in the near future.” Hearing that he is currently working on an EP had me curious if a full-length album was in the works for the future in which he answered, “Eventually yes, I think that’s the goal for every artist out there. As of now, our main focus is being heard with a shortlist of songs that represent us best musically. Also, music in this generation has become easily digestible in smaller numbers, and although an album is still the goal, the idea of releasing music a little at a time seems to be working best for the way the community responds to it.” Although he could not give an exact time frame that we can expect new music, it is apparent that Daggy will be releasing a short EP in the very near future (I hope). Given the challenges over the past year with the pandemic putting our lives on pause, I ventured to ask Chris how this has affected him in his new music career. “When we had initially started recording, it was a couple of months before covid. When all of that surfaced, we took a break halfway through the recording process so it was a bit of a blow. Then after a couple of months, we came back and finished everything we couldn’t at first. I would say the major downfall to being a musician in these times is the restriction of not being able to perform and play live. If there’s one way to truly show what you’re all about, and one platform to connect with people who want to be a part of the music, doing it face to face is a connection like no other. Until we can have that luxury, all we can really do is be disciplined and stay optimistic while anticipating the return of the life I’m sure all of us have taken for granted.” D’agostino mentioned that the use of social media platforms and streaming as a way to perform may be something that he is looking to participate in. In order to capture the raw sound of his music as well as the environmental element, he suggested the use of studio space as an ideal location to stream virtual concerts that represent him and his music in its truest form. As we continued discussing the music itself, it was inevitable to ask what genres he is most influenced by and where the inspiration to start creating came from. “Heavily inspired by mostly rock and blues. I owe it to the amazing artists way before me who set the tone for the style of music I love so much. I find it hard to definitively staple a genre to an artist, but understanding that artists’ inspirations gives a more rounded conclusion of where the answer lies.” When it came to the inspiration to create music Chris had a very interesting and relatable story to tell. “I remember listening to an ad on youtube before the video I actually wanted to watch started. It was a promotion for John Mayers upcoming album Paradise Valley. I eventually clicked skip and thought nothing of it. Then the same ad popped up again and I remember thinking I would give this album a try. After a thorough listen, I liked his style a lot and never pictured myself being interested in this particular style of music. Listening to this album eventually got me to check out his album Continuum. Ever since that day, my life has never been the same. I became obsessed. This obsession led to wanting to know his influences and where he started. To make a long story short, I went down the deepest rabbit hole I had ever fallen into, and from that point on I had never climbed out. From delta blues to rock and roll generation after generation, the inspiration exponentially grows everyday. One thing is for certain, I will never remember the video I actually wanted to watch to begin with, but I’ll never forget where it took me.” I find this story particularly interesting in the sense that in this day and age, it seems that media is both an inspiration and downfall to classic art forms. In this case, Chris’s adventure down the Youtube rabbit hole, led him to find his passion and develop it into an art form that he can share with everyone. Rather than getting consumed or lost in the abundance of Youtube content, it became his turning point. The song that led me to contact Chris, “Eyes Don’t Lie”, is the only single that is currently available from the band so naturally, I had to know the story behind it. “Eyes Don’t Lie, along with everything else I write is aimed to be about a general idea and not necessarily about a specific moment or scenario. It’s for sure love based on the sense that there is a connection between two people (typically a romantic relationship) where the people involved are not going through the greatest of times. That’s not to say it could be taken from a different standpoint, but the intention was rooted more towards a romantic relationship. Talk is cheap and I stand by that. No matter what certain people say to you, sometimes all it takes is a good look in their eyes to know exactly what you were looking for in the first place. It’s about that sort of insecure feeling you have when you’re skeptical about someone lying to you. Someone you would expect more from. Someone you love.” A song about trust and betrayal that everyone can relate to, but with a bluesy and upbeat character to it. This song may have the typical meaning of a love-inspired track but it most definitely captures the classic representation of that emotion in music. My final question for Chris touched on challenges that he has faced in the industry when it comes to releasing such a classic sound in the modern age of music. And to this question, he gave a very insightful response: “It’s not an easy question to answer. It’s no secret that over the past 20 years this style of music has slowly been on the decrease, but what defines a decrease? Popularity? Being put in the mainstream light? Sure. But that doesn’t directly correlate to a decrease. If it did, how could ACDC have had one of the craziest crowds ever seen in River Plate 2009? The crowd was filled with people who weren’t even born through some of the band’s best early years either. The truth is, the love for this music is only dead in the eyes of an industry that doesn’t see it fit to be profitable. Rock and rock will never die. I believe it can rise again just like it did the first time around, in the backroom of crowded bars where nobody thought it would escape. The challenge here is reviving a strong enough platform for it to stand on. I consider it a challenge accepted, and if anything, only adds fuel to the fire inside of all of us who carry it in our hearts.” Between Chris’s passion and determination for the music he is creating, I believe he’ll find loads of success in the coming years. With only one single released he’s already begun to catch the attention of me and my friends and I’m so looking forward to the release of his EP. If there’s one thing I can say about this group, it would be to keep your eyes and ears open because music like this is rare and unique in today’s pop culture scene and I’m so excited to see it coming back. Follow Daggy on Instagram.

By: Gemma Mastroianni The #FreeBritney movement has been in the media for quite some time to spread word about the conservatorship she has been under for twelve years, helmed by her father Jamie Spears. Britney Spears was the first concert I have ever attended, and I have been a fan ever since. I don’t claim to be a super fan, but she certainly holds a special place in my heart as I’ve been listening for just about my whole life. Vinyl enthusiast Emma Furrier (aka Emma’s Jammin) joins me for a discussion about the documentary, the ethics of the conservatorship, Justin Timberlake, and what we predict will happen next. Click below to listen via Anchor, or listen on Spotify or Apple Podcasts.

By: Gemma Mastroianni UK-based Indie-Pop/Rock band Ralph TV is back with a vibey new single, “4 U.” It’s been brightening my mood all week long and I hope it does the same for you! I originally discovered RALPH TV a couple of years ago through Nice Guys Radio, which is who is an indie label whom they have dropped this single with. The song was written collaboratively and produced by all four band members featuring airy synths, and a beat inspired by funk. The vocals are a bit drowned out as expected but feature an echo effect to emphasize the idea of reaching out for the attention of their love interest which is so creative and fitting for a February single! Will explains: “This track is one where we’ve tried to encompass all of our elements into one. The funky side and the dreamy side working in tandem with each other.” He adds: “Even though we still record all of our tracks DIY style we have also consciously tried to make this one sound a bit more polished by focusing on developing our techniques and songwriting.” Guitarist, vocalist and producer Ben Brown elaborates: “I wrote them in the wake of the first lockdown last year. It reflects on the mundane repetition of life during the pandemic and the longing for a return to normality. But then it also has the chorus of a love song. Love is always something that we can use as a nice distraction for when the world is so chaotic, it’s always there to keep me grounded. So, I guess the track is about that personal experience and the interplay between those things, which is something that really shaped my experience in 2020.” I truly cannot wait to see what else they have in store for this year. There is not a single song in their collection I don’t like! They bring a funky flare to the Indie scene and I think their UK influence brings a unique flare to the Indie-Pop scene. The cherry on top? They are one of the nicest bands I’ve ever interviewed! If you love what you are hearing, be sure to check out their debut EP ‘Cabin Fever’ which dropped in 2020, available on all streaming platforms. You can also listen to my podcast episode with them here. Give the band a follow on Instagram, Spotify, and Apple Music.

By: Gemma Mastroianni Niagara-based rock band Revive the Rose is back with a brand new single and video titled, “Need You Now.” The hard-hitting rock song was produced by John Angus of The Trews, singer Andy Colonico’s favourite band. They were just finishing up a session with Angus when guitarist Matt Cookson suggested they revisit the track, originally titled “Need You Bad.” Angus then insisted that they move forward with the song. Although the song was written pre-covid, the theme ended up being very fitting for the times we find ourselves in. The music video was shot in a car storage unit, and definitely brings up feelings of nostalgia with a bit of comedy! The song is bigger, better, and potentially one of the edgier singles they have released thus far. Expect intense vocals, guitar solos with a crunch, and steady bass. Expect more from Revive the Rose in the late spring. Follow them on Facebook, Instagram, and Youtube.

By: Amanda Mcmillan I must start this with a confession: The first time I ever heard Daft Punk was in the early 2000s. I was a young teenager, rife with angst and a penchant for music that matched. I was a fairly serious teenager, moody and discerning, resulting in a fairly strong stance against anything that was, even remotely, “pop.” The music video for “One More Time,” would sometimes play on MuchMusic and I would always change the channel. It would come on the radio, and I would sigh and switch to something ”edgier”, something more serious. A couple of years later, at age sixteen, a friend of mine from South Africa that was a huge house/techno guy, put Daft Punk on while we were hanging out. I told him to switch it, and I am embarrassed to admit that I may have even said “I hate Daft Punk.” He launched into a righteous sermon on why Daft Punk was so great, but I wasn’t ready to hear it. That’s right, I used to hate Daft Punk, and I was wrong. The lens through which I was evaluating Daft Punk was misguided. I was just coming into my own musical tastes and trying to define what they were. I wanted to stand out and be taken as a ‘serious’ music person (or as serious as someone who listened to as much pop-punk as I did could be) and Daft Punk seemed too pop, too dancey, too Electric Circus. What I hadn’t yet been able to see, or rather to hear, is that Daft Punk was making some of the edgiest, genre-bending, and truly punk music out there. As I got a little older, approaching my early twenties my feelings changed. I attribute some of it to the fact that I was starting to party a little bit and letting go of the chip I had put on my own shoulder about being alternative. I found myself becoming increasingly more attracted to EDM, and I assumed it was because I liked to dance when I got drunk. That was, to some extent, definitely true. Plus, you know, Kanye. But as time has gone on, I have come to realize that it wasn’t about the drinking, or the parties, or even Kanye for that matter. It was a realization that when I listened to Daft Punk, I was having fun. When I listen to Daft Punk now, I feel like how I did as a ten-year-old dancing to Spice Girls, and ABBA; pure joy. Over time, Daft Punk’s discography became a soundtrack to feeling good, letting loose, and getting lost in the moment. So when the announcement of their disbandment was released earlier this week, I had an epiphany: Daft Punk taught me how to have a good time. Beyond just telling me how to “Lose Myself To Dance” in 2013, a time of intense self-discovery, beyond piquing my interest about the technologic magic that is early EDM, and beyond an obsession and adoration of their mysterious metallic aesthetic, learning to love Daft Punk truly felt like finally learning to accept them as my robot overlords. To this day listening to Daft Punk just wakes something up inside my soul. It is a full-body experience. Daft Punk gives me permission to surrender, and as a self-proclaimed anxious (some might even say neurotic) person, surrender does not come easily to me. But, Daft Punk sets me free. In the end, Daft Punk redefined what music was to me. They allowed me to see that the ideas and ideals I had about rock music are an attitude, not just a sound. Dressing up like robots is a punk rock aesthetic. Using computers, synthesizers, loopers, and vocal distortions to create music is punk rock engineering. They subverted a growing fear of technology and turned it into music that made people excited, mashing it together with the growing rave subculture of the 90s and early aughts. They made people want to dance, and jump around, and release all the bullshit. One spin of their live set on “Alive 2007” is enough to jack you up for days. They made so much noise; the noise of a generation. It might have taken me a while, along with most of North America, to jump on the electronic music train, let alone whatever it is that Daft Punk was making. I resisted, and then I gave in. I was lost, but then I was found. So, I guess in the end, it’s come full circle for me. This is a love letter to Daft Punk. Thank you for showing me what music could be. Thank you for waking something up inside me I didn’t even know was sleeping. Thank you for teaching me how to let go. Thank you for the robot rock. I love you, Daft Punk. Harder, better, faster, stronger than ever.

By: Gemma Mastroianni I have been a fan of Teen Daze over the last five years and his music has accompanied me through various experiences in my life, the good and bad. His library is a mixture of atmospheric ambiance and laid-back dance music, with his new EP ‘Breathing Tides’ leaning more into the ambiance. The BC-based artist joins me on the Wavy podcast to discuss an in-depth review of his creative process, gear, his new EP, and how his growth has looked over the past ten years of his career. Listen below: Or, listen on Spotify and Apple Podcasts. Listen to the EP here.

By: Erica Gellert I wish I went to more concerts. I spend a lot of time these days (as I’m sure you do too) thinking of what I wish I did more of when we were able to do anything at all. Concerts and live music are something that creeps up to the top of my list often. It should be noted I rarely went to concerts at all, maybe two a year at most. Living in a place like Toronto, big bands are here all the time! So when your favorite artist is in town and you can’t make it- you don’t really get hung up on it since you’ll probably have another chance to catch them again soon, and I’d comfort myself with this thought for years. I’d think to myself, “Oh, so-and-so is in town next month? That show would be awesome, I gotta go. Okay, time to get a ticket. Shit, half sold out? Okay, payday is this week. The concert’s tomorrow night. It’s like $100 for the worst seat in the house? I’ll just catch them next time,” then “next time” would come around, and the same process would unfold. I was consistently in the mindset that it cost too much money, or I wouldn’t have anyone to go with, which would cause enough anxiety for me to just drop the whole thing, and that bums me out. Especially now when there’s not much I wouldn’t do to be able to go to a concert, any concert. Even if I was alone, broke, or both. There was one time I did go to a concert alone, and it was an absolute blast. I bought a ticket to the Strumbellas one December night after their album “Hope” came out and I was stoked to see them live. All of my friends had already gone home for the holidays, so I didn’t waste time asking around who wanted to join me- plus? I kind of wanted to go stag. I felt really “adult” about it. The ticket I purchased said to go to the Danforth Music Hall for 4 pm, which I thought was weird, but I rarely went to concerts so I didn’t overthink it. I show up around 3 pm (it was General Admission and I wanted a good spot) and I started to wonder if I was at the right place because there wasn’t a single soul in the line with me. Correction: there were people there, they just weren’t… my age. I was thinking how it was strange that there were so many families out on the Danforth walking with strollers and children under eight in tow, but then they kept stopping and slowly lining up in front of the Hall. Panicked, I check my ticket, “Strumbellas, Danforth Music Hall” it said. Then, in a smaller font, “Family Friendly Matinee”. It legitimately took every muscle in my body to keep me from yelling “FUCK” in front of a crowd of toddlers and their hipster parents. After realizing my mistake was actually quite funny, and more importantly, that the bar was open, I bought a beer bigger than the kid in front of me and made my way to the front of the stage. I didn’t have a problem seeing anything and felt no shame blocking a full class of third graders standing behind me. At one point I tweeted at the band about my mistake, and to my surprise, the band’s keyboard player, Dave Ritter, took a moment to read this tweet out loud to everyone. I waved and shouted “THAT WAS ME, I’M HERE!!!!” because listen, I was probably a little drunk at that point. Everyone in the crowd (who was a legal adult) cheers’d me in the air, beer sloshed on the ground, surely splashing into the mouths of a few lucky children, and it felt like we were all old friends. Then, we continued singing Rudolph the Red-Nosed Reindeer because again, we were at a fucking kids show. After that experience, something changed. Maybe I didn’t have the budget for a solo night at the Air Canada Centre once a month, but I couldn’t deny a few nights at a dodgy bar that featured either a tragic open mic or a hidden gem bluegrass band (shoutout to The Local and the Hamstrung String Band). I once braved the Horseshoe Tavern by myself to see my buddies The Honest Heart Collective play, and ended up meeting a music and beer blogger (my type of lady) who introduced me to The Elwins (great guys), pointed out that the Glorious Sons were standing a few feet in front of me, and entertained my drunken spiel about how “I do comedy, but love music, and wanna like, marry the two worlds together somehow, you know!??” I remember getting home that night thinking that I could get used to this. That was last February, right before- well, you know. I miss so much about The Before times, but more often than not I find myself aching for a night at a place that either resembles a Legion Hall or straight up is one, waiting for whatever band Blog TO said would be playing that night. One time I caught a random blues band and made friends with a group of women who were in their 70’s, one in her 90’s, who would get together and go see live music somewhere in the city once every month. They were inspiring to say the least and had the best stories. Plus, the 90-year-old could dance (and drink- holy shit.) I cannot wait till it’s okay to put my arm around a couple of seniors again, and more to the point, see live music. So when we get out of this, because we will get out of this, invite me to your band’s show. I’ll be the one in the front loving every minute.

By: Gemma Mastroianni Haviah Mighty is a hip hop artist from Toronto, ON. She was inspired to start a career in music by growing up around her talented family. After winning the Polaris Prize in 2019 for her hit album 13th Floor, things have only gone upward. I chatted with Haviah to discuss her success thus far, her new single “Obeah”, fallouts with friends, self-care, and so much more. We are proud to have her as our artist of the month. How have you been doing over the last year? I’ve been good, I think up and down, but mostly good. I’m grateful for the opportunities that have come my way, the ability to keep making music keep doing new things, and being able to release music which is really good. I’m definately very up and down mentally which is something we are all dealing with, and I do feel the waves of that. There are times when you know, what I used to do as a musician, those kind of guarantees and the way that your progression looked like, travelling and being able to get to a new place, not having those kinds of structures in place that you’re used to is tough because it’s hard to know how you’re progressing when you have new ways to look at it. For example, you can’t go to a show and see how your attendance is improving or see how a region recognizes you from the last time they saw you there. You don’t get to see how your brand is growing in those ways, and it can be discouraging at times not knowing how people are responding to what youre doing but at the same time, the opportunity to do those things and the responses I am seeing are reminders that I’m lucky to still be making music during these times. How do you cope through those times of mentally being up and down and stay creative? For me, the thing that works the most is tapping into self care. When I get really distracted I have to like, make a meal from scratch to reinspire myself, or clean my space, or re-organize my car. Those things help me find my core, foundation, and solace and remember my values. In a weird way, sometimes it’s the outside stuff that distracts so much that you can’t be creative, so I feel like reducing the clutter when that happens is the thing that works the best for me and reminds me, outside of being a musician, who I am and what I offer. I understand you were very influenced by your family in music growing up. I would love to hear more about that, along with what other artists played a part? I had three older sisters who played the piano and I was in singing lessons in the same music school in Scarborough. That was my earliest introduction into music and eventually my younger brother who also produces a lot for me now, and my parents being music lovers. My Dad hand built a sound system in the house and was always into music, playing reggae, so for me that was where early inspiration came from. I originally got inspired from broadway and Disney because I was a child singer. I was singing a lot of the musicals and performing with the Mighty Sisters, doing that sort of thing. As I sort of started to expose myself to other things, I started to find more R&B like Lauryn Hill, and Celine Dion in the car with my parents. As I got a little older and was listening to radio on my own, I got into rap. I found rap in the 2000’s like 50 Cent, Ludacris, and fell into that era of quirkier rap with cutting edge music videos. Kind of educated rap, and also fun, there was a lot of that in that era. There were well written songs that really make you think with well put together videos and cool budgets. It was a little bit different before then and now, that was the age where I was the target audience. 50 Cent was my first favourite rapper. I’m not big on favourite albums, I like a lot of individual songs and individual things that people do but 50 Cent “Get Rich or Die Tryin”record, that whole era had me for a long time. I can look back to that as a jump off point for feeling like I was good enough to be a rapper, I should be recording myself. There were a lot of artists I was listening to, but 50 Cent from the perspective of a single artist with an album and music videos, even just his ability to be a storyteller, was inspiring. I really paid attention to how he was able to tell his stories and how they would impact you even though you didn’t grow up in the hood and haven’t experienced any of the things he experienced. The songwriting and the way it was put together and shared, was still so impactful and I think even just the value of the strong album with a strong rollout- that whole concept I first understood it through 50 cent becoming an artist. Looking to Eminem before that and liking his production and hearing the familiarities and similarities of Dr. Dre being involved in 50’s career and Eminem, and people from the past that you kind of know their catalogue, but then now it’s this newer artist with this new era. I didn’t know his catalogue from the very beginning like I wasn’t listening to all of his mixtapes like other people were, but once he started putting out albums in the mainstream facet that changed a lot for me in terms of understanding how marketing works and how to impact an audience. How would you describe your experience in the music industry since winning Polaris? My exposure. A couple of contacts reaching out now who trusted I could work on their project because of Polaris. It was kind of a validator for some people like yes, she can do this festival, produce this thing, participate in this commercial. In ways it changed moreso other peoples perceptions of what my capabilities were, and gave me the opportunity to prove myself. That kind of became more of a regularity because of Polaris, the ability to reinvest financially because of the financial aspect of Polaris, being able to put money aside and save it for the next thing you’re investing in. With the pandemic being the next thing it really helped me out to be able to afford to put music out this year without any touring budget. Touring was definitely going to be the main way I would have been able to make money this year, to be able to use that and have the foundation from Polaris and have a bit of money that was invested properly, and also getting some side back-end opportunities to work with corporate companies and stuff, it just really helped me feel invalidated internally and also see examples of being validated externally. Do you have any advice fors up and coming artist specifically during this time? I think my biggest advice, and I’m trying to learn to take my own advice, is that there is so much time right now. This is the time! We are all hoping for things to reopen but we’ve all probably complained about not having enough time in our day, “everything moves so fast, we’re so busy,” like we all probably have those very similar complaints. This is one of the only times where we can’t make that complaint, and hopefully it is going to go away in the next couple of months. With that being said, this time is critical time to use. Even me, I’m recognizing like, there were so many complaints I had about the inability to execute things and it’s like, I should be executing more with this time, there is so much time! There are 24 hours in a day, there is content that can be created, songwriting that can happen, there are so many things to stay inspired. Yeah, every day is not going to be your most productive day, but trying to maximize these days I think is the best advice I could give to any musician. We are never going to have this time again and what you do with this time, you can take action on that in the future when things change. There are things you can learn, other types of technology you can tap into, new ways to market. Touring is just one of those ways, there are many other ways to utilize the internet let’s say for your career. Those things you haven’t established yet like your social media, establish that! Work on all the things that you can do in a pandemic that are still conducive to your career because not everything requires you to travel or leave your house. There are a lot of foundation things, even investing in a home studio. Create an environment where you create content from the house and it’s cheap and inexpensive. Even a little research- learn how to use a different platform that can help you access fans. Hop on Twitch, do an Instagram live. There are a lot of things to explore and we really are too busy when we are out and about all day. Now that most of us have a real genuine break somewhere in our schedule, I think it would be really valuable for most musicians. I have done it, but I want to do it even deeper and even more to maximize the time that I have right now. When did you start writing your new single Obeah? Obeah is one of the earlier songs that I wrote after 13th Floor. I think I started writing that one shortly after the Polaris in 2019 sometime between September and November. I sat on it and worked on other records, but it was always one of the records that was one of the standards and one of my favourites for the longest time, and all of the other demos had to be atleast as good as Obeah. What is Obeah? It’s interesting, a lot of people don’t know what Obeah is. It’s a spiritual or religious practice to some generally practiced in the Carribean and West Africa. It’s very familiarized to Jamaica specifically. Most people talking about Obeah are speaking about it from a negative perspective, but it can be used for good. It’s a set of practices that can be used for spiritual healing but often times is used to manipulate a course of events. A lot of people will attribute it to Voodoo or Santeria, which are similar spiritual practices in other cultures, but often times with Obeah people will look at it as a way to put a spell on you or somebody manipulating the course of events by practicing a certain behaviour, a certain chance, or a certain interaction with a specific object that’s purpose is to meddle with something in your life. It’s a very common practice in the Carribean and although some people will use it for positive, it is often described as a negative thing. When some people will say “Oh my friend went to go see the Obeah man or woman,” it’s generally not a good thing. It’s almost like seeing a psychic except you can utilize this person to help you make or not make something happen. It’s like meddling with spirits. Some people do see it as something positive so they may go see the Obeah woman to try and get a job which is more positive practice. For me, I believe that karma and energies of the universe and how you respond to those things, what you contribute every day to society, is what dictates the good and bad that comes to you. Don’t believe that any one person getting involved in that process is conducive to what that process is supposed to be. As for myself, the idea of Obeah and getting in between that process is a dangerous concept. My Dad, being a Jamaican, growing up understanding this concept and having encountered it a lot of times, I learned a lot about it growing up. It’s something I never really vibed with and there was a parallel to his teachings to me regarding Obeah and friends. There was always this focus on making sure your friends are actually your friends and how often times people come with energy that can often be discern. You can read the energy and often times you’ll have people in your life that are not actually beneficial and don’t want the best for you, and I’ve actually learned that the most in the past two to three years. As my career has kind of gone up a little bit, I’ve lost my somewhat so called closest friend at the time, people who I thought were on this journey with me that I thought I was giving opportunity to, trying to show value and loyalty and recognizing that it doesn’t really matter. Some people can’t be there for you and where they are in their life won’t allow them to be happy for you, and it’s not necessarily a personal thing. I’ve become very cogniscant of reading energies. I used to be not as good at it and I used to kind of let people in a lot quicker with the career. The moment someone tried to help with my career I would think they were there for the right reasons and so I think since Polaris, I really started to learn. People act really funny after things like that. They either act like they really care when they didn’t, or the people that seem to care all of a sudden won’t even congratulate you. You start to get really conflicted and you have to start reading energy instead of just trusting what the history of the relationship with that person was. The parallels of Obeah and my understanding of that spiritual practice and my parents constant teaching from when I was a kid of like, ‘Be careful who your friends are, be careful who you spend time with, you are what your friends are, you are what you eat,” that whole idea of what you surround yourself with will become you, will be a part of you, I think I really started to understand that teaching in 2019. That’s why I felt like I had to write a song about it as it was a part of my journey particularly after Polaris recognizing, “Oh wow, there is all these people around me who don’t necessarily want the best for me,” I was able to relate that to the concept of Obeah. I used my Dads voice in the recording and he’s in the video, my Mom is also in the video. I pulled the whole idea together that this teaching came from this person. The video depicts how that might look in the real world today and as opposed to it being a spiritual practice in the Carribean, you see that practice more-so in the Western world today almost like an everyday friendship experience that anyone could go through. It’s more relatable to people that are here but should still watch out for energies and things that might not have your best interest at heart. How was your experience collaborating with your parents? It was great! My Dad is a little actor and movie star, he did really good. He was really stressed about his part but he maximized it. It was funny because some of the people who were involved in the process but didn’t know it was my Dad were like “Did you hire an actor?” and I was like, “No, that’s my Dad!” and they were like, “Wow, he did so good!” It was just funny how stressed he was the night before and then he just really did a good job. It was a weird time with COVID stuff so I didn’t know if my Mom was going to be able to come to the set, and then she was able to make it out and she appeared briefly in the party scene. It’s cool to have a lot of my family in there, my sister was also the driver. It was great to have not only my family, but an awesome videography team and honestly be able to pull this concept together. As someone who grew up never having sleep overs and never doing those normal things people do to create long terms friends, I’ve never really had those devastating fall outs and stuff like that. I look at how that practice has helped me today and how I do have still long-term friends. The person in the video who does me wrong is actually my best friend of 13 years and also my DJ. There’s a juxtaposition of utilizing a really good friend to depict this visual, but like, I’ve utilized this way of thinking to eliminate that happening in this part of my life. Now, it’s almost the thing that I preach the most, especially as a musician or anyone who has oriented some sort of freelance business. If you are doing a freelance business and you have energies around you that are not helping or not conducive to this idea and this vision that you have, it’s only going to pull this thing down. If you keep that thing around and facilitate that thing where you invite it over, hang with it, give it food, you’re feeding something that’s only going to bring you down. It’s crazy how many people have talked to me about this concept. It’s a very valuable concept because when there is genuine people around, you are able to discern those things. I think it’s important for self protection and when you know where you’re going you have to know that whomever is around wants to see you go there and is going to push you in that direction. Just like if you meet someone you should be offering them that same thing and if you’re not, you shouldn’t go there. It’s just cool to be able to bring that concept to life through the visual and it was great to have my family in it. I’m excited! I think it’s one of my strongest music videos that I’ve ever done. What can we expect from you over the next year? There is going to be more singles and I think we will roll it out into a body of work. I’m not aiming to put it out as an album as much as I am as a project. I think this is a great experimental year, so that’s why rolling the songs out as singles is fun for me. I can watch how each song does, determine strategies, find out what works and what doesn’t, and see how people respond. This is such a weird year just like last year was, and I think we’re going to have fun with the data of it all, put some music out, I’ve worked really hard on it. It’s the next installment to the first thing that I think most people have heard from me so it’s a critical time. I think we are going to assess how everything does and really communicate and be direct with the fans and that way the next thing is super awesome but this year, there is a ton more music coming. There will be a couple of videos and I think everything is really going to step up in quality to let people know that taking a year and a half off from the 13th Floor record, doesn’t mean that there isn’t a lot of music to come. I want to reward the fans for this big hiatus and give them a lot of music because its been a long time. This focus is less about this Haviah Mighty story, and more about connecting with the fans in a time where I think we need to be connecting. This is the best way to get the messages out and I can’t play shows, but I can definitely put out songs and make sure they reach as many people as I can get them to, put out the best artwork and videos I can, and let people know that the train doesn’t stop. Follow Haviah Mighty on Instagram. Watch the music video for Obeah.

By: Samantha D’alessandro On February 5th, 2021, The Foo Fighters released their tenth studio album titled Medicine At Midnight. Prior to the drop, the band announced that this would be different and not at all what you would expect from them. Boy, were they right. I’ve never been a huge Foo Fighters fan which comes as a shock to a lot of people I’ve met considering they are such a popular group, which is exactly why I was so compelled to write this review! To put it bluntly, the album changed my entire opinion of The Foo Fighters music. With almost every album, there’s gonna be a few songs that get skipped, and a few that you play over and over until you get sick of them. For this review, I’m gonna talk about those addicting, “play on repeat” tunes. The first song I heard off of the album was Shame, Shame. I was immediately drawn to the interesting beat and strumming, by the time I got the chorus it was impossible not to sing along to the simple “shame” lyric. I also appreciated Dave Grohl’s softer vocals that aren’t showcased as much in typical Foo Fighter’s music. Towards the end of the song I picked up on the subtle but hypnotizing string instruments in the background, and I fell in love with it! With the chaos going on in the world this past year, I can’t help but feel like Waiting On A War is a perfect reflection of that. The soft strings and melody make it an easy and soothing listen, yet as the song goes on it starts to build, it allows the listener to let out all of the frustration and pent up emotions that we’ve shared over the past year. These next two tracks I’m covering are total opposites in my mind but totally deserve the recognition, the first being No Son Of Mine. This track takes on a more familiar Foo Fighters style and is one of the heaviest tracks on the album. It’s impossible not to get amped up to the amazing guitar riffs and the passionate vocals from Grohl. On the other hand, we have the album’s title track, Medicine at Midnight. This track blew my mind. It is super groovy, to say the least, and there are parts of it that seem to be heavily influenced by David Bowie. Groovy Foo Fighter is not something I realized I needed in my life and I am so happy that it exists on this album! I’ve saved my favourite song for last and that would definitely have to be Making A Fire. This track is beyond catchy and fun to listen to. It has groovy 70’s rock vibes to it as well as a kick-ass sing-a-long part that is impossible not to jam to. This song makes me feel so happy and instantly puts me in a great mood. Before I wrap up this review I would also like to touch on the wicked visualizers that the Foo Fighter has released on their youtube channel. With vibrant colours reflecting the album cover and trippy animations which differ for each song, it’s so pleasing to watch as you listen to all these incredible tunes. Overall, I strongly recommend listening to this album whether you’re a Foo Fighters fan or not. In conclusion, Medicine At Midnight has converted me into a Foo Fighters fan for sure.

By: Gemma Mastroianni It’s been just about one year living in this pandemic, and I’m really feeling the effects. Every day is blending into one another and the nostalgia of normal life only continues to hit harder as the time goes by, as opposed to adjusting to this life. I miss my friends, family, restaurants, concerts, festivals, and the list goes on. It becomes increasingly more difficult to remain positive with no end in sight, but ‘I Miss the Days’ from Love Wagon really hits the spot for coping through these feelings. Love Wagon has just released a new single, ‘I Miss the Days’, a soft medley carrying an ode to memories, and the nostalgia is real. Most of their music has been very blues and funk-rock, but this song shows them taking a more slowed down approach, and leaning into folk. Oddly enough, the song was written over a year ago prior to the pandemic (is Love Wagon psychic?) The song is nostalgic, but also comforting and serves as a reminder to the fact that you are not alone. It originally took on a different meaning targeted at a more simplistic time in the world overall, but now carries a double meaning due to everything going on. “On the surface level, I Miss the Days is an anguished, nostalgic sentiment for simpler times. It addresses societal issues such as: an incessant need for validation and praise, especially on social media; obsessing over facts and minute details concerning politics and celebrities. These issues still ring true, however, the pandemic, and social upheaval that constituted 2020 subsequently altered the meaning of the song. It became clear over the past year that the idealistic world described in I Miss the Days, in fact never existed, but going forward we have the ability to enact positive change.” – Band statement Although written pre-pandemic, it was recorded through the year from home and apart from one another. This is not their first take on an acoustic track, but is the first ever folk inspired song for the band, which they absolutely crushed instrumentally and lyrically. Additionally, it features Jason Jones on the pedal steel guitar, adding to the classic Americana vibe of this flawless song. I hope to see Love Wagon lean more into this Americana and Folk inspiration. They do an amazing job at nailing down the classic sound! Be sure to check out their past releases as well- expect big sound, and an exciting classic vibe. Check out Love Wagon on Instagram, Spotify, and Apple Music.