That verve is present throughout his new album, titled “Here”: it’s a full-throated celebration of existence, floating on Nast’s message of how truly extraordinary it is to be alive. Along with the ultimate goal of navigating his listeners to reflect upon that sentiment, his entirely instrumental 12-track album allows for each individual to “absorb the sound and the mood, which causes them to think their own thoughts,” Nast told Bytown Sound in a recent interview.

“These thoughts are the lyrics to my songs.” 

The music speaks to a lifetime of immersion in song: having grown up on Vancouver Island, Tim’s entry into learning and playing piano was imposed from the early age of 6 by his mother, who taught him and all of his siblings to play. By the age of 14, Tim was allowed to choose for himself whether or not to continue on with the piano, and decided to take a step back. It was only a year before the lure of music was too strong and he returned full force, playing and composing incessantly.

“While other teenage boys were chasing girls, I was chasing melodic lines and composing endlessly on the piano, learning how notes curl into others, and chords set the framework,” said Nast. “I was surrounded by melody, even in my dreams. One morning, I woke with a full song composed in my head and I immediately headed to the piano where I played it in full. I recall my mother asking me where I had learned the new song and I told her I had dreamt it.”

A similar approach to songwriting has continued through his musical career. While it may seem somewhat unconventional to some, he describes it as mostly improvisational and “enter[ing] the piano as if it is an ocean and I am going for a swim.”

“Often I can just tell I have something inside me that needs to come out,”  he said. “A melody or a feeling that needs to be birthed…these are my favourite times to sit at the piano. Almost always something magical happens.” 

As many lifelong musicians do, Nast took a mid-career break from music to concentrate on raising his family. Time away can often change how one relates to music and the songwriting process, and when he returned to composition, he noticed a change in his creative process, as well as his relationship to music and sound.

“Now I let the music come to me. It’s a much gentler approach now, which I think is because I am older and, through the years, have gained a better understanding of myself,” said Nast. “I am no longer trying to compose, I am simply composing. I listen for the music, rather than trying to create it. It’s a lot like being very still in the ocean and letting the fish swim close.”

It’s a process he tries to encourage in his listeners as well. When live in concert, Tim actively tries to guide the crowd to authentically be in the moment, urging them to slow down and cherish the uniqueness of the space and place through sound. It’s a journey listeners have been willing to go along with, as one recent concert-goer even described Tim’s live performance as a “spiritual experience”.

“My goal with each concert is to share my music and help everyone forget about everything outside of the room and simply be in the moment,” said Nast. “It’s a beautiful experience.”

Now that he’s back in the water, expect a whole lot of music to emerge from Nast in 2020. He anticipates releasing two to three albums of original material, and will be doing so primarily through his website and online streaming platforms. He will also be focusing his live performances in the Ottawa-Montreal-Toronto triangle, along with a few shows in smaller nearby towns.

Tim’s final show of his 12-date tour in the Ottawa region is happening this coming Saturday, November 16 at Westminster Presbyterian Church in Smiths Falls, doors at 7pm. You can still purchase tickets via Tim’s website here: https://www.timnast.com/tour.

Keep an eye out for Tim in 2020 – which you can do so via his Facebook, Twitter, Instagram, and of course, his website.

The post Back in Familiar Waters: Tim Nast’s Return to the Ottawa Music Scene appeared first on Bytown Sound.

One thing has been proven time and again over the last 20 years: White Cowbell Oklahoma knows how to bring the party. And while the band may have toned it down some over the years, that doesn’t mean that their stage show isn’t still the craziest in Canada. And yes, there is indeed a cowbell, and a lot more besides.

White Cowbell Oklahoma (WCO) did not disappoint Ottawans on February 8 at Maverick’s, bringing their hard party and creative entertainment tactics to an audience that knew exactly what they were in for. At times flanked by two scantily clad burlesque dancers, and at others releasing flames into the air, the band’s Friday night spectacle was exactly what fans of WCO have come to expect and came out to experience.

This Southern-fried rock band which rocked the Maverick’s stage is a far cry from its debut in June of 1999 at Club 360 (a now-defunct venue just steps away from the legendary Horseshoe Tavern) in their home city of Toronto, having been whittled down from a staggering 13-17 members to a now comfortable five- (occasionally up to seven-) piece. Members present for the show at Maverick’s included Clem C. Clemsen (vocals, guitar), South Pawl Jones (bass, vocals), Curtis E. Flush (guitar), Betty Bullwhip (drums) and Charlie Chainsaw (power tools, percussion).

Gone is the once-giant melee of members sharing the stage with countless dancers, replaced with a streamlined stage lineup, resulting in a much tighter and controlled chaos. This is in stark contrast to the sheer madness of earlier years, when nothing was too excessive, too outrageous, or too scandalous. The fact that this new version is this good just goes to prove the old adage that sometimes, less truly is more.

Charlie Chainsaw served as master of ceremonies, regaling the audience with wooly tales of travelling through the American south. He acted almost as the personification of the band itself: drawling, reckless, and hard partying. Charlie led the audience’s march into a night of no consequences, a sort of bacchanalian revelry. Did we mention there was a chainsaw involved?

During one of the songs, while Charlie Chainsaw played the cowbell, he turned to pick up another item that at the time was hard to make out but soon became abundantly clear. Moments later, sparks begin flying upward toward the ceiling before raining onto the band in a wholly fantastic display of light, as Charlie took an angle grinder to his trusty cowbell. Soon after, he hopped down off stage into the audience with what turned out to be a flamethrower, spitting flames in time with the song with a healthy dose of actual heat. The showmanship of this band is radically unmatched.

Closer to the end of the show, Charlie briefly exited the stage. Moments later, as the smell of gasoline filling the air and after a brief struggle in getting it started, a fully operating chainsaw materialized in his hands in conjunction with a triumphant swagger.

Two volunteers then emerged from backstage, holding a 10-foot wooden pole with two industrial-sized rolls of toilet paper strategically placed in the middle. Charlie, demonstrating his confident, steady hands with the chainsaw that only comes with years of practice, takes it to the toilet paper, unleashing a constant flood of white streamers onto the audience. It’s a carnival of chaos, with the crowd meeting the insane energy flowing forth from the stage, as members of the audience gather up the giant mound of freshly shredded toilet paper, and throw it over their shoulders like a cape.

Besides the antics that the band gets up to on stage, this well seasoned ensemble is clearly adept at writing, performing the rock genre, adding a healthy dose of blues and country. Songs like “Cheerleader” and the latest single “Into the Sun” (video found here), as well as the old fan favourite “Put the South In Your Mouth” showcased the entire band’s technical skill and onstage dynamic. In this live show, WCO brought lots of vocal harmonies, an unrelenting rhythm section, and solo trading, giving each member room to display their virtuosity. Though the band has had many musicians come and go over the years, this particular lineup is as solid as they come.

Anyone who attends a White Cowbell Oklahoma concert will be blown away not only by the theatrical feats in their live show, but also by the band’s skillful embodiment of deep fried rock: their musicality is off the charts. WCO tours throughout the year, so keep tabs on when they’ll be coming to bless a “holy temple of rock and roll” near you on their website. Find them, follow them, and be sure not to miss another live show.

www.facebook.com/WhiteCowbellOklahoma
www.instagram.com/whitecowbell
www.twitter.com/whitecowbell
www.whitecowbell.com

The post Show Review: White Cowbell Oklahoma @ Mavericks — Feb 8/19 appeared first on Bytown Sound.

If you could use a bit of a break from all the standard holiday tunes but still want something grand and magical, the Ottawa Pops Orchestra have created an incredible aural experience for all ages with their upcoming concert, “The Music of Star Wars”. Even if you’ve never seen the movies, you’ve likely heard a theme or two, given how large the films loom in pop culture; indeed, the beauty of a concert showcasing this music is that the films and music are adored by all generations. This is the perfect opportunity to familiarize yourself with the films with a family Star Wars movie marathon over the holidays, followed by one of these concerts.. These shows run from Friday, December 21 to Sunday, December 23, and best of all, the tickets start at only $25.75, a reasonable cost for an extraordinary event.

The Ottawa Pops Orchestra (OPO) is the newest orchestral ensemble in Ottawa’s classical music scene. Founded in 2017, OPO is trying to shift the experience of the concert hall from something inaccessible and stuffy to a fresh and exciting option for a night out. Their programs feature music that you’ve probably heard of before, often including scores from beloved films and classical favourites. Earlier this year, the OPO sold out their concert series featuring the music of the Harry Potter films, and it looks like they might do it again with their upcoming concert dates for “The Music of Star Wars.”

The OPO is focused on appealing to younger audiences and fostering a sense of community around classical music. Led by their principal conductor Jonathan Dagenais, the community orchestra has been working tirelessly to reach out and appeal to a younger audience/generation by combining classical orchestra with popular music, and encouraging Ottawans to bring the whole family to enjoy orchestral music.

In addition to providing a family friendly concert hall environment and programming, the orchestra also engages in educational initiatives. They’ve opened up their dress rehearsals, performing a condensed version of upcoming concerts, to students from grade 5 to grade 12. The OPO will also be expanding their educational initiatives in 2019, the organization is passionate about getting young people excited about orchestral music.

We were fortunate enough to interview some of the board members and the conductor for the Ottawa Pops Orchestra. Each interviewee conveyed their dedication to making their concerts as inviting as possible. Their love for the orchestral genre and sharing that passion with newcomers to the concert hall, both old and young, is an incredibly welcome addition to Ottawa’s music community. Vive l’orchestre!

Why did you choose to feature the music of Star Wars this season? Why do you think this music resonates with audiences?
Mathieu Roy, Artistic and Executive Director

For me, John Williams is film music and part of the reason why I am so passionate about orchestral pops repertoire. And after the success that was Harry’s Musical World in the spring, we thought it would be a good idea to create another concert with such a huge following. It was also important for us to program music that could connect with a wide audience even if they have never heard of Star Wars. Williams’ themes are so ingrained in today’s pop culture that you would be hard pressed to find someone that could not at least hum the Imperial march or Hedwig’s theme. The majority of our audience will be experiencing a live symphony orchestra for the first time and so it is important to present material that they can identify with and have been previously exposed to.

Many believe that the symphony is boring and for old people, when in reality it is anything but! Back in the day, in the time of Mozart and Beethoven, there weren’t any movie theatres to go to on a Friday night! The common form of entertainment was the opera house, which was their primary source of entertainment and for social gatherings. Fast forward 200-odd years, and we find that the symphonies of today exist in the realm of the cinema. Sure, the way they are presented is different, but the reason for their existence is essentially the same. In a film, it’s easy to forget that there was a full symphony orchestra recording the music in real time while the conductor is watching the movie! But wouldn’t the experience be different if there wasn’t such a lush score accompanying the images? We want to bring this music to the forefront and have audiences feel the emotions being conveyed by the score. Those that have seen the films will have the added bonus of seeing it in their minds as the soaring melodies bring back fond memories.

How did you select which Star Wars pieces to perform, considering there are so many scores that span the series of films?
Jonathan Dagenais, Principal Pops Conductor

(translated from French by Alexandre Bigeau)

Of course, my main objective was to explore the most impressive and magnificent themes of this great saga, all while covering as many films as possible. Therefore, the concert will showcase the amazing classics and create an unwavering sense of nostalgia that the fans will adore, but we will also explore some of the lesser-known themes (e.g. Rogue One by Michael Giacchino).

Were there any songs selected that presented some interesting challenges or opportunities?
Jonathan Dagenais, Principal Pops Conductor

(translated from French by Alexandre Bigeau)

Yes, many pieces that support intense action scenes (battles in space or on land, galactic chases, etc.) are more difficult to execute (Here They Come or Asteroid Field come to mind) and uncover several performance challenges for the ensemble when it comes to precision and timing. The OPO is facing these challenges brilliantly and with enthusiasm by listening to each other collectively and embracing teamwork.

Are the same selections played for each of the three concerts? Is there an overall story or plot progression to the concert?
Mathieu Roy, Artistic and Executive Director

The same selections will be played for all three concerts.

Over the course of the films, over 18 hours of musical material was composed, which posed quite a challenge in the selection of the music that is to be performed. I essentially had to choose just 70 minutes out of all the music available. This could have been presented in many ways: following the film release date, chronological order etc. Ultimately, the choice was made to not necessarily follow the correct film order (whatever that might be!), but to use some of the most iconic and unforgettable musical moments to build a narrative. Every concert should have a flow with proper ups and downs, and since there are no images to accompany this performance, I was able to stitch together selections from every film, completely ignoring the order and connecting themes that fit well together and made sense — essentially creating an overview of the Star Wars franchise. This concert will take you on an emotional journey and leave you utterly satisfied, no matter your age or planet of origin.

What can audiences expect from Ottawa Pop Orchestra’s Star Wars concerts?
Jonathan Dagenais, Principal Pops Conductor

(translated from French by Alexandre Bigeau)

An emotional evening with colourful sounds mixed with the joy and nostalgia of experiencing these magnificent musical frescoes in concert. We wish to create a tremendous musical voyage and relive the impacts of this ground-breaking science fiction epic. It will all take place in a friendly, accessible and dynamic environment fostered by the Ottawa Pops Orchestra!

Can you tell us about the musical direction of the orchestra and its mission or goal?
Mathieu Roy

The Ottawa Pops Orchestra aims to foster the next generation of musicians, redefine the orchestral experience, and create a sense of community in the Ottawa-Gatineau Region. This means that we are reaching out to the under-35 demographic and are trying to show them how great orchestral music can be, that it is still relevant, and a very important source of entertainment. We want to change the stigma of the ‘’classical orchestra hall’’ where you are dressed to the nines, and phones are turned off, and that orchestral music is for the elite and privileged. You want to come to the show in a comfortable onesie, or dressed up in a stormtrooper outfit? Go ahead! We want you to enjoy your experience however you want. The music that we program is designed to be accessible to the general public and a gateway to the wider orchestral music world. We will continue to program lighter classical favorites, with some tunes that almost anyone can recognize and eventually venture into some more advanced selections, but we want anyone to be able to come to the show no matter their previous knowledge, and leave having enjoyed themselves and possibly learned something new.

What is the composition of the orchestra: how many members, community-based or professional? Can you tell us a little bit about your conductor?
Mathieu Roy

The orchestra for this concert is made up of 65 musicians. Depending on the program, this number might range from 55-75. The orchestra’s core is composed of young professionals, university graduates that have or are currently studying musical performance, many of which might very well continue on to become well respected musicians. The rest is made up of very talented community players that range in age and walks of life.

Jonathan Dagenais, our Principal Pops Conductor, is an established Montreal conductor and composer. His love of the franchise is second to none, and I could not think of a more perfect match for this ensemble.

Jonathan’s Bio:

Jonathan Dagenais holds a master’s degree in Conducting from McGill University and a bachelor’s degree in Composition from the Université de Montréal. Formerly conducting the McGill Wind Orchestra and the Montreal Pop Symphony Orchestra, he currently conducts for Cercle Philharmonique de Saint-Jean-sur-Richelieu, Orchestre à Vents Non Identifié (OVNI), and Orchestre de jeux vidéo – OJV (Montreal Video Game Orchestra – an ensemble dedicated to video game soundtracks). Being a long-time fan of video games and their music, this was a natural marriage of his two passions.

Finally, for the year 2018-2019, he was appointed guest conductor for the Ottawa Pops Orchestra. Additionally, he has been the artistic director of Quebec MusicFest since 2017 and was appointed the conductor of the National Youth Band of Canada (NYB) for the 2013 edition. He is also the appointed conductor/clinician /educator for the company Twigg Musique in Quebec and a Yamaha Canada Master Educational Artist.

What can you tell us about your educational initiatives?
Lindsay Allen, Artistic Administrator

We believe that gaining performance experience should be widely available, regardless of financial background. In 2018, we initiated the Orchestral Development Bursary, which is a monetary award presented to outstanding musicians in the orchestra under the age of 30 as they gain the orchestral experience to help them in their musical careers.

We also began opening our dress rehearsals to students between grade 5 to grade 12 in the Ottawa-Gatineau area. The Student Matinees are a 1 hour condensed program that is performed to local schools during the orchestra’s dress rehearsal, and is an opportunity to showcase the musical arts in the community to students who are just beginning to fully explore the arts in school. We also believe in fostering the next generation of musicians and music appreciators and that this starts early on in the classroom! As of 2019, we hope to expand our educational endeavors directly into the classroom offering concerts and workshops for students of all ages. The majority of our musicians are fairly young and from experience, we see that youth identify well with people closer to their age group. If a high school student who is considering a career in music — be it as a performer, music management, music therapist, writer etc. — but are afraid to pursue it, seeing others succeeding could help them make a decision.

What should we expect from the Ottawa Pops Orchestra in 2019 and beyond?
Mathieu Roy, Artistic and Executive Director

As far as the program goes, I can’t say too much because we have yet to confirm anything, but I can definitely say that you can expect more movie soundtracks. We also don’t want to limit ourselves to one genre while also continuing to push what it means to be a pops orchestra. This might mean combining Star Trek with Gustav Holst’s The Planets; merging film music and 20th century classical music in an outer space musical expedition; or taking a trip to the Big White Way with guest vocalists for some Broadway blockbuster. I am also very interested in combining more than one artform, as it would be really neat to integrate visual art, dance and theatre into the orchestral performance.

We are still a very new organization and in the process of truly establishing ourselves in the Ottawa-Gatineau community. We are currently applying to obtain registered charity status which will allow us to establish the Ottawa Pops Foundation, and in turn permit us to achieve our goal much faster and secure other sources of funding. We want to collaborate with local artists and organizations and start a conversation surrounding music and art in general. We are appealing to a market that is looking for new experiences, and that is what we hope to achieve.

Felicia Persaud, President of the Board of Directors and Librarian

You can expect a lot from us in 2019 and beyond. We concentrate on three main ideas: the audience, the musician, and the future musician. You can expect the organization’s continued commitment to redefining the orchestral experience through unique programming and concert experience. We will help support the upcoming generation of orchestral musicians in various engagements that will help them grow and mature as an artist. Finally, we hope to increase our presence in education and continue student matinees and open dress rehearsals to keep arts in schools alive; without new musicians, where will we be in 20 years?

The Ottawa Pops Orchestra will be playing three shows of “The Music of Star Wars” at Meridian Theatres at Centrepointe: on Friday, December 21 at 7:30 p.m., the following night on December 22 at 7:30 p.m., and the final show on Sunday, December 23 at 2:30 p.m. Secure your tickets here

You can find more information about the show, as well as the concert program here: https://ottawapopsorchestra.ca/StarWars.html.

A special thank you to the Ottawa Pops Orchestra, and especially to Manager of Marketing and External Affairs Alana Fediurek for facilitating this interview.

The post The Music of Star Wars: Ottawa Pops Orchestra Interview appeared first on Bytown Sound.

This 22-show tour, titled “Feed the Obscene”, promises “theatrics, a lot of movement and good music,” lead singer Mike Horvath told Bytown Sound in a recent interview.

“We’ve added a lot of cool stuff, so even if you saw us on the last tour, it’s a whole new show.”

Describing the tour experience as “20% intimidating and 80% exciting”, Horvath (vocals) will be joined by Sterling Paterson (drums), Tryst Germaine (guitar), as well as James Holder (guitar), who collectively list Slipknot, Five Finger Death Punch, Motionless In White, Rammstein, Asking Alexandria as some of their musical influences.

On top of being able to hear tracks from their album “Transference”, Horvath says the band has refined its music over the years, and that focus will be on full display in Ottawa this Friday as they’re set to perform two new songs, which he says will “blow people’s minds”.

“I like to talk about personal issues that I feel like people can relate to on a personal level,” he said. “I think the best thing about music is the fact that someone could relate to a song for a completely different reason than I wrote it, and if it helps them through a tough time, than that makes it worth it.”

For a little preview of what can be expected at Mavericks, you can check out the band’s music video for their song “Ill Treatment”:

Be sure to keep an eye out for 2 Shadows on their YouTube channel, where you’ll be able to catch some upcoming behind-the-scenes videos being filmed on their current tour (along with some older, but equally entertaining clips). You can follow the band via Facebook, Twitter, Instagram and of course, their website.

Grab your tickets for this Friday, May 11 show to see 2 Shadows at Mavericks, along with Transmit, Final Fall, and ooluu, here: https://www.ticketscene.ca/events/20617/

The post Vancouver Metal Band 2 Shadows Makes a Stop in Ottawa on Cross-Country Tour appeared first on Bytown Sound.

Lead singer, guitarist, and founder Bo Menning will be joined in Ottawa by the other two thirds of the band’s lineup: Jurriaan (bass/keys/samples) and Ray (drums/samples). No strangers to Canada, this trio is now here for the sixth time, having toured parts of Ontario and Quebec, amassing new fans and friends along the way. They also came to record their 2014 album “No Map or Address” in Brantford, ON as well as their upcoming sixth album due out this fall, “A Lake Inside”, which was recorded in Kingston — a place they consider their “home away from home”.

In a recent interview with Bytown Sound, the band shared how their first show in Brantford initially led them to record in Canada:

“The first time we were over we played a show at the Brantford Arts Block, which was run by Glen Marshall and Bob Lanois (currently running the Mule Spinner in Hamilton, ON). The live venue was right next to their recording studio, a huge old rope factory hall that sounded great! We got off stage tired and sweaty and the guys were already mixing our live set at the board in the studio, they recorded it without us knowing it. We sat down listening to them fooling around at the board and looked at each other knowing we should be recording ‘No Map Or Address’ over here with them. We did half a year later in 2014.”

Their appreciation for Canada can be heard throughout every album since their first visit here. While they certainly reference their own personal lives, they also cite their Canadian experiences in their songs, having been a major influence in their music.

“Even though we haven’t seen that much, we think the country is beautiful. Everything is big and wide, it even feels like the sky is higher than back home. People are so nice to us and we feel welcome everywhere. It’s something we can learn from a lot in Europe.”

This influence promises to carry through Aestrid’s upcoming album, “A Lake Inside,” which finds their sound stripped down their essence, while still ensuring their specific feeling still set to shine through.

“There’s a lot to hear and to discover in these songs, without endless layers. There’s a lot more room to breathe within the songs, it’s very naked. The songs are intense, but they’re calm. For someone already familiar with our music, you’ll be able to hear Aestrid from up close. For someone new to the band, it’s exciting; there’s a lot of tension.”

Be sure to catch Aestrid while they’re in our city: they’ll be playing at The Record Centre on May 2 at 3 pm, and then House of Targ on May 3, when doors will open at 8 pm.

You can find Aestrid here: Instagram, Facebook, Bandcamp, Spotify, Twitter, and on their website.

The post Dutch Post-Rock Trio Aestrid to Play Ottawa This Week appeared first on Bytown Sound.

Exploring some of the darker themes and emotions that mark much of the band’s catalogue, “Anxiety2” is designed to create “a dreary, bleak, and desolate atmosphere,” says W, the band’s sole member. “I was attempting to portray the feeling of debilitating anxiety in audio form.”

The video for Anxiety2, which was filmed in December by Ian Conway, was made to visually accompany the feelings represented in the track itself: “being alone, isolated, lost, feeling inhuman, hence the panning shots of empty, barren fields, dark forests.”

Check out the epic video below, and be sure to keep an eye out for new music, along with Overwrought’s catalogue, here: https://over-wrought.bandcamp.com/

The post Video Release: Anxiety2 by Overwrought appeared first on Bytown Sound.

“I felt that this was a way to introduce myself to audiences around Ontario,” Rufus John told Bytown Sound in a recent interview.

“I wanted to create an opportunity for people to get to know me and the stories/influences behind the songs that I’ve written. I want to really feel the energy in the room and be able to connect with the audiences.”

Having grown up listening to a lot of gospel music like Tramaine Hawkins and Richard Smallwood, along with “secular” artists such as Tina Turner, Lionel Richie and Patti Labelle, Rufus naturally gravitated toward a career in R&B.  While he’s thrived in this scene, it’s a genre with some specific challenges, he says.

“With my career, there was never a doubt about what genre I was going to do. My concern was more to do with how I was going to make it work in Canada,” says John. He points to the international success of Canadian artists like Drake, The Weeknd and Jessie Reyez as a sign of the incredible potential of the scene, but adds that there are precious few opportunities for other R&B artists to be heard at the national level. He specifically points to Toronto as being home to some “crazy talented artists,” such as Tanika Charles, Slakah the Beatchild and Jully Black, who he counts as inspirations.

“I just wish that one day there will be room for more opportunities for R&B acts within Canada, whether it be on bigger stages or radio play. We have so much talent that needs to be heard but there aren’t many (if any) avenues for our music to pierce through.”

Still, it’s not as though Rufus hasn’t been striving to push the limits of what’s possible since discovering at the age of six that he could sing. He soon went from belting it out in his local church to winning talent competitions after moving to Kitchener at 10 years old, and by the age of 14 he was already penning his own songs and touring as the frontman of a funk/soul cover band while still in high school. Clearly, he is no stranger to hard work or paying his dues when it comes to his craft and his career.

Those experiences culminated in his first album, “Growing Pains,” a 2014 release which he describes as a “compilation of [his] youth”, summing up his life from the age of 9 to the age of 33. His upcoming album, “Gone But Not Forgotten,” marks a continuation of that release; he refers to it as an “honest album,” catching up on his intervening years while blending gospel, R&B, hip-hop, go go, soul, pop and jazz.

“My life experiences are infused with almost every song written on every album I have put out,” he says.

Wanting to provide fans with an even better glimpse behind the curtain, John decided to offer a much more personal live experience as well, and the idea behind “Soulful and Intimate” tour was born.

“I tell my audience that the two safest places for me are my living room and the stage. When I am home alone I will crank my system and sing, dance, laugh and cry. I will let it all out unapologetically – because I am safe and comfortable in my home. On the stage, I do the same. I always show the real me, and these shows will be no different. People will laugh, cry, dance and let it all out!  When it’s all said and done, I hope that experience will be enough for people to want to continue to follow my musical journey.”

It’s in that same spirit of openness that Rufus has chosen to reveal his process even further with the shared debut of his docu-series, which shares not only the name of the “Gone But Not Forgotten” album but also development. What started as a simple whim of setting up a camera later revealed footage that he says provided him something tangible that helped him to reflect and learn about his own experience in creating this upcoming release.

“I decided to do the docu-series because I wanted to show people that an anybody can pursue their dreams. Also, I wanted to show people (especially independent artists) the potential struggles and process so that they can see that it is possible to overcome obstacles – don’t give up!”

You can indulge in Rufus’s honest and mesmerizing upcoming performance this Thursday, April 19 at Pressed, alongside Ottawa’s neo-soul group No Fancy Parts and live looping project Already, Already, for only $7 at 8 p.m.

Follow Rufus on his website, as well as Facebook, Twitter, Instagram and YouTube to keep an eye out for his new album “Gone But Not Forgotten”, which is due to be released in June 2018, as well as his engaging docu-series of the same name, which comes out April 29.

The post Soulful & Intimate: Rufus John to Play Ottawa This Thursday appeared first on Bytown Sound.

“Dead Ringer” marks a towering step on a journey that Cast In Cadence began in 2010, when it was launched as a solo venture for lead vocalist/guitarist Ryan MacIntyre. With the release of its first EP “Serotonin” that same year, the band grew to include Nick Marson (drums), Skyler Radmore (bass/vox) and Adam Traversy (lead guit/vox); this line-up was responsible for the band’s first LP “Vocation” in 2014, and their energy has only grown as they’ve continued through to this recent release.

This history shines throughout “Dead Ringer,” and it’s a vibe that will be familiar to anyone who’s ventured through their back catalogue of endlessly playable tracks. The EP is a perfect showcase for the talent that’s led Cast In Cadence to perform with some of the country’s big names in music (July Talk, Sam Roberts) and claim second place in 88.5’s Big Money Shot in 2014.

Of course, the addition of nearly a decade as well as several band members will cause any band to evolve, and Cast In Cadence is no exception. “Dead Ringer” veers slightly away from the stronger punk/pop edge found in their earlier work, and instead focuses a bit further on their rock tendencies. As a result, this release exhibits a more polished feel without ever losing the energy and passion that has been the heart of the band’s sound since the beginning.

It’s safe to say that the band has truly hit their stride in this wonderfully cohesive rock/pop EP, pairing MacIntyre’s charming vocals with a steady stream of catchy hooks. It’s a seamless blend that just works, and marks this solid collection of tracks with a distinct focus and flow.

There’s just something truly satisfying about music that you just can’t help but sing along to, and “Dead Ringer” will have you doing just that time and time again. See for yourself by checking out this ultra-catchy EP (as well as their other two releases) on iTunes: https://itunes.apple.com/ca/artist/cast-in-cadence/388014375

You can check out their website here, as well as give them a follow on Facebook and Twitter in order to keep tabs on upcoming shows and to catch the release of their upcoming video.

The post Feature Friday: Cast In Cadence appeared first on Bytown Sound.

This passionately emotive scene is brought to life by a three-piece alt-rock crew made up of Liam Hoselton (vox/guitar), Eric Woodrow (bass), and Quddus Gordon (drums). Together, they explore — and ultimately conquer — some scarcely covered territory, offering listeners a refreshingly unique approach and a daringly original piece of work: a short story set to music. Representing the first entry in what promises to be an audacious seven-part series, this EP tells a heartbreaking tale from the perspective of two characters, Jon and Jane, who are in the throes of an ill-fated relationship.

While “If I Should Live Forever” deals with painfully weighty topics like abuse, alcoholism and suicide, XiL’s lyrical and musical prowess in navigating this incredibly challenging space proves that beauty can still exist within sadness. It’s a testament to their skill and to the perfect pairing of material and delivery that the music remains consistently catchy, compelling you to sing along despite the pitch-black themes and the anvil-heavy topics at hand.

Hoselton’s vocal delivery is particularly effective in conveying the characters’ honest, raw emotion that it’s hard to not become completely invested in their journey. It’s haunting, heart-wrenching and poignant, and yet it somehow continues to compel you to keep listening. The opening track, “Tree Frog”, is a perfect example of how easy it is to become wrapped up in this story:

This narrative-driven approach works so well in part because XiL wholly commits to it, which becomes especially clear from their Facebook page, where they outline its appropriately finite nature: “We as a band write conceptually based music that tells the story of characters and worlds that we have conceived out of our heads. While we are still writing and working out the details about these characters and the worlds in which they live, we believe all good stories must have an end. As such, we will only ever release seven major projects as a band.”

It seems a shame to know that a storytelling entity as singularly possessed and talented as XiL has a defined end, but the more you absorb their tale, the more it makes sense. For instance, the second track “Bruised Apple” breaks up the EP’s melancholic tone with a fun, uptempo/punk feel, which belies the darkness of its lyrics. It’s at this point that a third character narrowly emerges, as the music itself begins to stand out as its own unique layer, bringing even more dimension and depth to the story and the characters.

This philosophy culminates in “If I Should Live Forever, Then Know That I Am Dead Inside“, which ultimately accomplishes what XiL has set out to do, painting a vivid picture that caps off six sincerely tremendous and emotionally rich tracks. It closes off a brilliant narrative in which you’ll find yourself completely immersed and wholly invested.

You can purchase this powerfully emotive EP on their Bandcamp or iTunes, or check them out on Spotify. Follow them on Facebook to keep updated on the rest of the series.

Also, be sure to mark your calendars for March 30 — they’ll be playing the Carleton Art Collective End of Year show at Cafe Dekcuf (doors at 7pm, $7), and then again at Dekcuf just a few nights later on April 1, with Solhounds and Seven Days of Fire (7pm, $10).

The post Feature Friday: XiL appeared first on Bytown Sound.

“When people hear the name ‘Double Magnum’, they think of many different things,” they told Bytown Sound when we recently spoke with them about the story behind some of their lyrics, the influences behind their diverse sound, and of course their clever name choice.

“A double magnum is actually a wine bottle that’s the size of four. We are four brothers and our last name is Boivin, which literally means ‘drink wine’ in French.”

This explains the warm buzz provided throughout this debut album, which brilliantly showcases the breadth of the Boivin brothers’ talent and skill. It’s a heady concoction that manages to evoke the distinct flavor of their individual musical influences without overshadowing the sharpness of their own sound.

“The reason the songs end up sounding like they do is because we’re big fans of artists like John Mayer, The Beatles, Billy Talent, and rap artists like Lloyd Carter. Also, Max can’t help it; he loves a rockin’ guitar solo.”

As a result, the album is filled with wonderful tunes that span the rock spectrum before diving into other genres: the Boivins flow into the funky jam ‘Queen of Pain’ with ease, pepper in some well-placed guitar solos, and even change up the pace by adding a rap verse to ‘One Way Trip’.

That same wide-ranging approach is reflected in their lyrics as well, as they tackle such topics such as relationship temptations, acceptance of loss, and the wonders of love.

“[These are] pretty much inspired by our lives, things we’ve been through, things we’ve heard about or spent a lot of time thinking about. We think that’s what makes them mean something: they’re not just rhymes that happen to sound good, they’re a piece of our story.”

This clearly shines through on their first single, ‘Flies In Berlin’, a rock tune that starts out delicately sweet before ramping up the musical emotion in a way that demonstrates the fine balance of “impossible love and the passion and frustration that comes with it.” The video for this track was filmed last November in Montreal with the help of two actors (Hugo Leclerc and Charlotte Morissette) and two filmmakers (Bruno Goulard and Francis Leduc).

With another video on the way while they continue to juggle live shows and school, these four have been busy since the September release of their album. It’s a pace that won’t slow down in 2018, which holds some even bigger plans such as a trip back to the studio, and plenty of live shows throughout the summer. You’ll have to give them a follow on Facebook and Instagram if you want to keep up to date on all the exciting surprises they have in store.

If you’re looking for a shot of Double Magnum, you can find their debut album on a variety of platforms, including Bandcamp, Spotify, Google Play, iTunes, as well as on their website. And luckily, you won’t have to wait long to catch them live, as they will be playing at Cafe Dekcuf on March 2, alongside Paper Shakers, Van Hoan and The Detours – tickets found here.

The post Feature Friday: Double Magnum appeared first on Bytown Sound.