By Tim Murr
I was late discovering The Sword. I came across their album Warp Riders at the library last year and checked it out based solely on the fact that there were tracks called “The Chronomancer I” and “The Chronomancer II.” Since I like a little sci-fi with my metal, I gave them a chance and just fell in love with the band’s brand of classic stoner metal.
In 1979, The Bay City Rollers shook things up. Eager to shrug off the mantle of being a teeny bopper band, they refused to do the cover versions that their record label Arista demanded and parted ways with their lead singer, Les McKeown, along with their exploitative manager (whom I will not name because he was a dreadful person), yearning to show the world that they rocked. On their last album for Arista, Voxx, they did just that. Mostly.
We—and by “we,” I mean no one but me—call it “State Fair Syndrome.” Creative differences between members split up a band. The musicians don’t like each other, but they like the money the band brings in. Sometimes,one band member, a smart one, will trademark the band name so no one else can use it. That way they still have the prestige and brand recognition of that famous name while ditching the rest of the band members for session musicians or road dogs who don’t charge as much. This is how you can have different iterations of the same band, with slightly different names, touring at the same time. These bands, with a splintered draw, end up playing smaller venues or, as previously stated, the state fair circuit, right next to the Tilt-A-Whirl along with Night Ranger without Tommy Shaw, who is currently fronting Styx without Dennis DeYoung.
By Tyler Hodg
Before he was known as an outspoken, gunslinging political pundit, Ted Nugent was a platinum-selling artist, with his first hit album being 1976’s Free-For-All. Nearly 40 years after its release, the album has been brought to back into the light in a polished remastered version. Free for All is arguably Ted Nugent’s finest musical achievement, and it’s only fitting that a celebration is called for on the eve of its 40th anniversary.
Fraser A. Gorman’s Slow Gum is a curious album. The Australian’s folk-flavored debut flirts with country music, boasts some clever lyrics, and features Gorman’s likable voice. There’s good stuff here, but there’s also a weirdly loose, “I recorded this in my bedroom” vibe.
By Tyler Hodg
Many would argue that rock’n’roll is in a sad state of suffering, and to be honest, those people have a strong case. Very few bands are flying the rock flag with originality and honesty, which is the core essence of the genre. Detroit band Wilson isn’t shy about the music they love and play, but which side of the respect coin are they on? Unfortunately, their latest release Right To Rise proves that they, as of right now, aren’t the band to lead the rock’n’roll army to victory.
There is a terrible problem with Sprinter, the new album from Durham, North Carolina’s The Old Ceremony: it only includes ten tracks. These ten songs are incredible: transporting, literate, cinematic. I yearned for more.
There’s an air of wanderlust to Heather Woods Broderick’s Glider. A gifted multi-instrumentalist and vocalist, Broderick has toured and recorded with Efterklang, Horse Feathers, and Sharon Van Etten’s band. On Glider, Broderick gently coaxes out her vision, one that is introspective with lovely layers of vocals.
By Tyler Hodg
Since its inception in 2008, Big Music Fest has been synonymous with delivering a weekend filled with performances by major acts, which over the years have included The Tragically Hip, Blue Rodeo, Bryan Adams, and last year’s insanely awesome headliner Aerosmith. This year is no different, as Big Music Fest is once again on track to prove that southern Ontario truly “rocks”! Big Sugar, Jane’s Addiction, and Soundgarden will all give performances that will undoubtedly make this weekend one to remember.
The musical tornado that was NXNE 2015 blew into Toronto on Wednesday, June 17, boasting hundreds of bands performing over a five-day span, not to mention various film screenings, installations, and even a record sale. It’s not for the faint of heart or the weak of feet, but it is an exhilarating, if exhausting, event.
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