THESUBSTRUCTURECANADIANMUSIC FESTTAKES OVER DOWNTOWN TORONTO FOR A WEEKPAGE 12

INTERVIEWS WITHBEEKEEPER & LALPAGE 14

THE RETURN OFFALL OUT BOYPAGE 6

THE VINYLRESURRECTIONREVIEW, REMASTER & REISSUE OF THE GOODOL’ DAYSPAGE 22

FEB/MAR 2013: VOLUME 1, ISSUE 2

February & March2013

4 | NEWS ACRES OF LIONS, FALL OUT BOY, THE BOX TIGER, DANGERBAND, THIRTY SECONDS TO MARS

10 | AT THE SCENE 11 | GAIN MUSIC FESTIVAL 12 | CANADIAN MUSIC FEST

14 | FEATURED 14 | BEEKEEPER 18 | LAL

22 | EDITORIAL 22 | THE VINYL RESURRECTION 24 | GUIDELINE TO NEW MUSIC

27 | REVIEWS 27 | MUSIC REVIEWS 32 | LIVE REVIEWS

Canadiam Music Fest takes over Toronto for a week [12].

Dan Ball talks beards, bass and touring [27].

The Tragically Hip shows Toronto what they’ve got [34].

substructnews.com

EMAIL: admin@substructnews.com

EDITOR: Marielle TorrefrancaART DIRECTOR: Shonda White

CONTRIBUTORS: Julien DuPont, Marco Currie, Marielle Torrefranca, Meaghan Ritola, Peter Sanfilippo, Shonda White, Zachary Bourdages

PHOTOGRAPHERS: Julien Dupont, Meaghan Ritola, Shonda White

COVER: PartyCat by Shonda White

The contents of this magazine are the personal opinions of the au-thors and do not necessarily reflect

the opinions of the publisher.

INSIDE THE COVER

DENISE NESTOR is an Irish artist and illustrator. Her work has been featured on book covers and with-in The New York Times Magazine.

For a look at Nestor’s ongoingartwork, please visit:

www.denisenestorillustration.com

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NEWSACRES OF LIONS HITS THE ROAD

AND RELEASES A NEW ALBUMBY SHONDA WHITEAcres of Lions hasn’t been known to slow down, and 2013 definitely isn’t the year they’re going to start. The four-piece BC band’s third album, Home(s), will be available April 2nd and they’re al-ready heading out on a cross-Canada tour.

Following Canadian Music Week, the Lions hit the road on March 28th to promote Home(s) from coast to coast. To top it off, they will join Nova Scotia’s Town Heroes while on the East coast, and team up with Toronto’s Thunderhawks and Penn-sylvania’s Kingsfoil for the last five dates!

See Page 26 for tour dates!

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THIRTY SECONDS TO MARS SET TO RELEASE NEW ALBUM,

“LOVE LUST FAITH + DREAMS”BY MEAGHAN RITOLAAlternative rockers Thir-ty Seconds to Mars are set to release their brand new album Love Lust Faith + Dreams, which is expected to drop on May 21, 2013 in Canada. The album will consist of 12 tracks, featuring their first single “Up In the Air,” which is out now. This will be Thirty Second to Mars’ fourth studio album, following their 2009 release of This is War. Speaking about the new album, singer Jared Leto has described it as being “provocative.” You can check out the entire tracklist below and pick up the new al-bum in May!

DANGERBAND RELEASES NEW 7” RECORD, ‘STUPID BOYFRIEND’

BY SHONDA WHITEToronto’s Dangerband is bringing the weekend a little early with the release of their new seven-inch record, Stupid Boyfriend.

The five-piece indie rock band brings us the singles “Stupid Boyfriend” and “Sink,” two pop-rock tunes that you can get for free off the band’s Bandcamp.

The band keeps “Stupid Boyfriend” quite literal, mak-ing opinions clear with lyrics like, “I hate your stupid boyfriend. He’s not as cool as me.”

“Sink” follows shortly after telling a narrative of drown-ing which anyone can relate to the daily stresses of life. The tune is macabre in nature, yet it maintains an up-lifting tone from beginning to end.

The best part of Stupid Boyfriend? These songs are super catchy (and I’m totally diggin’ the bass). Worst part? This seven-inch clocks in at only six minutes and twelve seconds! I think everyone will agree that we al-ready need a second helping of new music from this promising group.

01. Birth02. Conquistador03. Up In The Air04. City Of Angels05. The Race06. End Of All Days

07. Pyres Of Varanasi08. Bright Lights09. Do Or Die10. Convergence11. Northern Lights12. Depuis Le Début

THE BOX TIGER RELEASES NEW SINGLE, “KNIVES”BY SHONDA WHITEToronto/Portland band The Box Tiger have released a second single, “Knives,” from their much anticipated full-length album, Set Fire. While currently releasing under their own record label, Nice Friends, the band will also be partnering with Cardinal White Records for the release in early June.

Can’t wait until June? The Box Tiger will hit the road during April and early May for a pre-release tour and will have a limited number of physical copies of the album for sale.

Check out the music video for “Knives” HERE and their upcoming tour dates below!

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BY MEAGHAN RITOLAAfter all the rumors and speculation, the members of Fall Out Boy have decided to come clean.

The band states:

“when we were kids the only thing that got us through most days was music. its why we started fall out boy in the first place. this isn’t a reunion because we never broke up. we needed to plug back in and make some music that matters to us.

“the future of fall out boy starts now.

“save rock and roll…”

Yet not only has the band released word of their re-turn, they have been working on a new album entitled Save Rock and Roll, which is now available for pre-or-der here on the band’s website. The new album will be available May 7th worldwide. Along with the new album, Fall Out Boy has announced a new upcoming North American tour.

THE RETURN OF FALL OUT BOY

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Love music?

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Love music?

Want to interview bands?

Think you’ve got what it takes to be a journalist?

How about you

to Substruct News, then?

Because really, what the hell else are you doing right now?

Substruct News is always looking for passionate writers, photographers and videographers acrossCanada who are interested in spreading awareness about the Canadian music scene and beyond.

Consider applying to be a contributor today!

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THE RECENCY EFFECTThe principle that the most recently presented items or experiences will most likely be remembered best.

RECENT SUBSTRUCT NEWSVIDEO INTERVIEWS

Benjamin Francis Leftwich from York, England

Bosa from Toronto, ON Boxer The Horse from Charlottetown, PEI

Elos Arma from Toronto, ON

Esther Maria from Aarhus, Denmark

Go For The Eyes from Calgary, AB

Pretty Odd from Toronto, ON

RECENT MUSIC VIDEO PREMIERES

Boats “Getting Worst.jpeg” | A Fairway Full Of Miners

Great Lakes “Charlatan” | Single

Luke Lalonde “Undone” | Rhythymnals

METZ “Wasted” | METZ

Weekend Riot Club “Things Are Looking Up Again” | Psychotropia

Wavves “Demon To Lean On” | Afraid of Heights

Yukon Blonde “Guns” | Tiger Talk

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THE RECENCY EFFECTThe principle that the most recently presented items or experiences will most likely be remembered best.

RECENT ALBUM RELEASES FROMFEBRUARY & MARCH

BoatsA Fairway Full of Miners | February 5th, 2013

Ricky HillSYLDD | February 5th, 2013

DangerbandStupid Boyfriend | February 7th, 2013

Navy SkiesCut My Teeth | February 26th, 2013

Three CrownsCommodity | March 5th, 2013

Fur EelFind Your Way | March 5th, 2013

BeliefsBeliefs | March 5th, 2013

Shotgun JimmieEverything, Everything | March 26th, 2013

Go For The EyesSix Through Twelve | March 31st, 2013

UPCOMING ALBUM RELEASES FOR APRIL & MAY

Acres of LionsHome(s) | April 2nd, 2013

ZeusCover Me | April 2nd, 2013

Born RuffiansBirthmarks | April 16th, 2013

Yeah Yeah YeahsMosquito | April 16th, 2013

PhoenixBankrupt! | April 23rd, 2013

Fall Out BoySave Rock And Roll | May 7th, 2013

Vampire WeekendModern Vampires of the City | May 14th, 2013

Thirty Seconds To MarsLove Lust Faith + Dreams | May 21st, 2013

Monster TruckFuriosity | May 28th, 2013

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AT THE SCENE

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CARDINALS PRIDE

The Québécois hardcore band showed Guelph a good time in early January. The show was a part of the band’s first tour, but they pulled it off effortlessly and made some new fans along the way.

BENJAMIN FRANCIS LEFTWICH & GREY KINGDOM

UK singer/songwriter Benjamin Francis Leftwich travelled across Canada this winter, hitting up Toronto’s Rivoli on Feb-ruary 20th along the way. Toronto’s Grey Kingdom opened up the night with equally soothing music, and even some comedy thrown in for good measure.

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GAIN MUSIC FESTIVAL

The 2013 GAIN Music Festival took over all three floors of Van Gogh’s Ear in downtown Guelph on March 7th. Thirteen bands in total took to the stages, ranging from the soft indie rock of the Medicine Hat to the technical metal of Mandroid Echostar. Other acts included Odd Years, The Decay, Little Brian & The Oat Cereals, Par-tyCat, Cardboard Nationals, Adverteyes, and Arkham Awaits. The event brought a lot of truth to the phrase, “there’s a little bit of everything for everyone.”

In the end, we were extremely impressed with how smoothly the event went, allowing guests to travel from floor to floor and spend a decent amount of time viewing all the talent if they so wished to. Medicine Hat

The Ben Doerksen Band My Son The Hurricane Jeremy & The Pink Band

Mandroid Echostar Will Currie & The Country French

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CLICK HERE

to check out all of ourCMF coverage, including

interviews with Go ForThe Eyes, Acres ofLions, and more!

ESTHER MARIA

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3PM JAM SESSION, REVERSING FALLS, ESTHER MARIA, THE TOWN HEROES, GO FOR THE EYES, & GREY KINGDOM BY SHONDA WHITE. ACRES OF LIONS BY MEAGHAN RITOLA.

CANADIAN MUSIC FEST

THE TOWN HEROES

CANADIAN MUSIC FEST

GO FOR THE EYES

GREY KINGDOM

ACRES OF LIONS

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Canadian Music Fest is an annual event that takes over downtown Toronto for a week, featuring over 1000 artists from Canada and beyond.

2013 was no different, showing off some of Canada’s best musicians including The Darcys, Bee-keeper, JOJETO, The Box Tiger, Indigo Joseph, Yukon Blonde, Aidan Knight, The Dirty Nil, Ben Caplan, Elephant Stone, Serena Ryder, Stuck On Planet Earth, Cai.ro, Teenage Kicks, Monster Truck and The Balconies.

This year’s festival also had a Nordic, Korean and Japanese spotlight, hosting musicians such as Heidi Happy, Pirates Canoe, Yoshiko, Esther Maria, Goo-nam, Jake Stone Garage, No Brain, Reptile Youth and Sandra Kolstad.

Canadian Music Fest 2014 is sure to be just as much of a hit as the festival will aim to put a spotlight on Germany and is moving from the cold March weather to the sunnier May 6th to 10th of 2014.

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INTERVIEW BY SHONDA WHITE

Vancouver’s Beekeeper were one of the many Canadi-an bands to perform at this year’s South By Southwest in Texas. We had a chance to chat with bassist Brandi Sidoryk and guitarist Devon Lougheed during their trip, learning about their latest EP Shout At People, their up-coming albums, and how they feel about Nibs on hot-dogs.

How are you?Devon: Good! It’s warm here and the internet is con-stantly broken, but here we are!

You’re at South by Southwest. How has that experi-ence been for you guys?

Brandi: It’s been really crazy actually. The funniest thing about South by [Southwest] is that, I think, kind of you see all of the Canadian artists here, and it’s like, you know, all of our good friends and it’s such a select few that are down here. It’s like a weird little Canadian reunion in like a little pocket in the United States. It’s a weird thing, but it’s a really fun and like, sort of, it’s got this comradery to it. It’s really nice actually.

Devon: Yeah, it’s fun that it kind turns the people that we, not that we’re competing with on a day to day basis, but the people that we bump into on a day to day basis and we’re like at the office working together and you see too much of each other and we’re kind of annoyed with each other. But then we go on this like retreat, and we’re just like, “It’s so good to see you! We’re friends!” So that’s been pretty fun.

That’s awesome! So your latest EP, Shout At People (which I love by the way), came out in early February. What’s the story behind that EP?

Devon: It’s the first glimpse into what Beekeeper is doing now that we have figured ourselves out. I think we went through some growing pains, tried to figure what it was exactly we wanted to be. [Shout At People] is our business card to our friends and to our fans to say, “Here’s what’s coming.” We’re working on the new record right now and it’s wild. It’s really going to be something. I’m very excited. Shout At People is a bit of a departure, I think, from our last stuff. I think it’s like, it’s crazier and it’s slicker and it’s poppier and it’s mathier.

Brandi: It’s a nice prequel to what is to come later this year.

I listened to some of your older stuff, as well, and the first album was two guys and you had a whole bunch of people helping you. Now you’re three people, but you guys sound like so much more than three people. How do you feel like you can pull that off?

Brandi: That’s actually the goal, and we love to hear that!

Devon: Yeah, thank you! We actually like to aim pretty high for what we can do with a three piece. It’s a lot of failure, but when we succeed, it’s so fun. It helps that Brandi can sing in an opera voice on command. I love to leave people with that question where they’re like, “I don’t understand how that just happened from three people.” That’s sort of our goal. Larger than life is the most fun place to be.

Brandi: The indie rock band way to be right now is to be an eight person band. So it’s kind of nice to kind of challenge that mould and be a really full sounding three-piece, and we really take a lot of pride in that.

And how has the response been to that?

Devon: You know, it’s been good to the EP. I’m really stoked. People have been into it, I think. We did a kind of a big retooling in September, just really sat down and looked at our live show and tried to make it very much a show than just, “We’re a band and we’re play-ing our songs.” We’re that, but we’re also, umm, kind of a show in a classical sense. Not quite like circus per-formers, but like old school jazz musicians, old blues bands and stuff. It is an event. We’re not there to just really provide background music. We’re not good at background music, but if you like action, adventure movies and comedies then we’re the band for you.

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Cool! So besides the full-length, what’s in store for 2013?

Devon: We’re going to be touring like crazy. We’re hop-ing to get over to Australia, and to the UK. That’s our two targets. We’re actually working on a second full-length right now; we’re working on a kids’ record.

That’s awesome! Are you expecting that one to be re-leased this year, as well, or next year?

Devon: We’ll start it this year, but it won’t be out until next year.

So I have a couple fun fact questions. Something I ask a lot of people: Twizzlers or Nibs?

Brandi: Nibs.

Devon: I think, Twizzlers.

Brandi: Really?

Devon: Yeah. You can’t turn Nibs into a straw.

Brandi: That’s true, but there’s just so much effort in-volved in the eating of a Twizzler as opposed to a Nib.

Devon: Yeah, Twizzlers are SO hard…

Brandi: God, yes it is. [Laughs] I like food that requires little to no effort. That’s why I eat a lot of McDonald’s and Arby’s.

Devon: Could you put Twizzlers or Nibs on a hotdog?

Brandi: You absolutely could. Anything’s allowed on a hotdog in my mind.

I really want to do that now.

Devon: I feel like on a hotdog Nibs would be better, so let’s go with Nibs.

So besides making music, what’s something you guys like to do together as a pass time?

Brandi: There was actually a time on this last tour where we were stuck in the mountains behind a car accident. We were in between a car accident and ava-

lanche control, so we couldn’t go either way.

Devon: We were stuck there for like 8 hours.

Brandi: It was for pretty much all day, and we sat in the car watching episodes of The IT Crowd. The IT Crowd is absolutely our guilty pleasure, and I think it’s because we basically are… the cast.

Devon: Yeah, we’re basically the characters.

Brandi: It’s the two dorky guys and the very cool girl.

Devon: But I think there’s the cool guy, and the dorky girl and the dorky guy.

Brandi: Of course, you do, but that’s not what it is!

Okay, one last question! There’s so much great music coming from Canada. Which Canadian artists inspire you?

Devon: Oh man! I’m pretty inspired by the eating hab-its of Mother Mother. I think the beards of The Sheep-dogs are very good.

Brandi: Can we just say that I think that we as a band (and we really realised this at South By South West) have a huge crush on Royal Canoe.

Devon: Royal Canoe blew our minds!

Brandi: We love them. We think they’re amazing.

Devon: Royal Canoe’s musicianship with the beards of The Sheepdogs. And I’d like to wear the tights of The Balconies.

Ahh! I see this as a new band forming.

Brandi: Yeah, yeah!

Devon: It’s going to be a really weird band [laughs], beards and tights!

Well, thanks a lot for chatting with me guys!

Brandi: Our pleasure!

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INTERVIEW BY MARIELLE TORREFRANCA

A chat with Nicholas Murray and Rosina “Rose” Kazi of LAL is an eye-opening experience. The Toronto elec-tronic band is not only a three-piece group of musi-cians, but activists who are described as parts of a “jus-tice-hungry organism.”

In celebration of their R3d Caravan Tour, happening throughout this month and the beginning of April, we interviewed LAL about their mediums, messages and music.

You’ve just kicked off the R3d Caravan Tour with stops in Toronto and Hamilton. How’s it been so far?

Nicholas: Really good. Our Toronto show was filled with our friends, and the Hamilton show was really good. The crowd was super into it.

We have a long history of playing Hamilton. We were lucky enough to work with the same booker from back in the day, so the venue was a good match. Hamilton is one of my favourite places to play in Ontario, for sure. I guess anywhere is good as long as you are amongst good people.

It’s nice to see that you’ve got some good support go-ing on. I’m sure the rest of the tour will turn out just as well.

Nicholas: We were lucky enough to connect with some really good people early on in our touring career who still support us to this day.

There’s a great story behind the tour and R3collective itself, what’s that all about?

Rose: R3 is an arts collective that is about decolonizing and social justice. We create art to heal and acknowl-edge the wrongs done to native people in Canada. [It’s also] a collective of queer people, mostly from Toron-to, with different art backgrounds. On this tour we have Amai Kuda, Brixia Bloorbeard and Sonny B [with us]! Also it’s a bit of a mentoring thing by LAL to help support emerging radical artists with touring.

We also support reparation projects in Africa through Moyo Africa and indigenous projects in Canada through 7 Directions. Both organizations are trying to rebuild their communities.

That sounds incredible. Of course, there’s a ton of roadblocks for up and coming indie artists needing exposure, but it’s nice to see a movement like this with support between artists and cultures.

Rose: It’s a lot of work to be indie, and I really wanted to support up and coming artists who are fantastic but who might not get the exposure. It’s a hard thing to be indie without cash for things like PR, etc.

You guys seem to be proactive in terms of network-ing towards different justices. Do any of you do more work of the kind with other organizations?

Rose: Yeah, for sure! We’ve been working with and link-ing with different political groups for over 15 years — anything from No One Is Illegal, to Women’s and Trans’ centres, to environmental and Palestinian support or-ganizations, to Queer organizations, [to] a bunch of dif-ferent things in Toronto and abroad. I worked at [the Toronto] Women’s Bookstore for over six years, and I’ve been involved with feminist and political commu-nities through music… and personal work.

Plus, our goal has always been to mix social justice with art. I am of Bengali heritage, so mixing art and politics runs in my blood! We have a space called UNIT2, our home and arts centre, where we have underground music and art shows — anything from punk, to hip-hop, to techno, to book launches and community gath-erings.

That’s awesome! Sounds like such a rich culture as well, which is funny, as opposed to Canada, where arts and politics sometimes clash.

Rose: It’s weird ‘cause theres a lot of art and political communities across Canada. The folk music tradition is huge, I just don’t think it gets acknowledged. We’ve

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found so many brilliant communities along our travels in Canada, at least in mainstream media!

The band has a very interesting type of music. How would you describe the genre?

Nicholas: It is electronic music [heavily focused] on sample technology and post productions. Everything usually starts from that approach — [a] heavy post production esthetic. We are always challenging the way we do music and are always fighting. Rosina and I have two completely different outlooks on music, but it seems to work.

I see! When two different things come together, it makes it that much more interesting.

I’ve read that you were involved with Canadian hip-hop acts in the past. Was the change just a case of evolving into a more intricate, electronic sound?

Nicholas: I would not say [it’s] more intricate; it is like apples to oranges. You have to look at the elements of production more harmonically when working with a singer, and less rhythmic, for obvious reasons. I am still figuring this one out. Playing with harmonics, coming

from a rap music standpoint, leads to some wonderful experiments in dissonance. A bit of a life journey.

I’m looking forward to seeing where it takes your sound. What’s on the road ahead for LAL?Nicholas: [A] new record. We are working backwards on this one. We booked the record release at the music gallery for February 2014, so it has to be done by then. After this tour, we will be doing some shows along the west coast in June, then writing over the summer. [During the] fall, [it’s] back to India for a tour of some sort.

I want to do a folk record. Rosina wants to do a punk record with just screaming. We are still working it out. Also Rosina is trying to develop her Rosi Futcha project.

Plus, doing workshops with various organizations like Diaspora Dialogues, the Academy of the Impossible, etc.

That sounds great. You guys are really pushing at the boundaries and setting some goals.

Nicholas: Setting goals, pushing boundaries — every-thing stays the same yet always changes.

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EDITORIAL

Review, Remaster, Reissue:The Vinyl Resurrection

BY PETER SANFILIPPO

In the early 1980s (1983 in the United States to be exact), music began its speedy transition from analog to digital with the release of compact discs. With the switch came convenience; tracks could be navigated with the press of a button and they came in small, eas-ily transported packages.

LPs started to fade into obscurity and eventually, bands stopped releasing albums on vinyl. Music formats evolved further in the late 90s and early 2000s with MP3s and other digital file formats. iPods and other

players flooded the market and quickly became the main way people listen to music. Now, having 2000 songs in your pocket is pretty common place.

In recent years, however, something odd has hap-pened. Somehow, vinyl records have made a bold comeback. Shelves are filling up and turntables are get-ting manufactured again (or in some cases, dusted off). Analog music is enjoying a renaissance and for a lot of people, music is back in black.

Joel Scilley has a modern take on turntables – Chirp Table shown.

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When it comes to other media formats, this is almost unheard of. When was the last time someone went searching for a film projector to watch the 1933 King Kong when they could just as easily watch it on DVD or Blu-ray? Or better yet, download it? Generally, if some-thing is available in the newer, more advanced format, people stick to it until it gets dethroned by the newer, smaller, shinier model. And yet, that’s the opposite of what’s happening with vinyl. People are willingly put-ting up with flipping fragile discs and maintaining belts (or gears) and needles, and the bulk and weight of re-cords.

Seems odd indeed, but it actually makes sense. Despite the conveniences digital formats bring, the warmth, fullness and sonic diversity that comes with analog re-cords were lost. The return of vinyl brings back the natu-ral sound that only a needle and grooves on a spinning piece of plastic can bring. This shift is making the cur-rent musical landscape a re-ally interesting one. Albums are becoming available in a wide range of formats and new doors are opening up for artists. It’s a new sonic pallet to play with and be-cause of it, some unusual things are happening.

In 2011, the Foo Fighters re-corded their seventh studio album, Wasting Light, en-tirely on analog tape – a feat few bands today will take on. It’s a slower process as it’s not as easily manipu-lated, and bands need to be playing perfectly to get a good recording on tape. Considering how much easier it is to record an album digitally and make it sound tight and clean, it’s completely illogical to record on analog today. Yet they did it, and it payed off in full. Wasting Light sounds noticeably more natural than their previ-ous four records and even on CD it sounds warmer and fuller. They also reissued all of them on vinyl shortly after Wasting Light hit shelves.

Other less crazy artists have taken the rediscovery of vinyl as an opportunity to reissue or re-release al-

bums. Take Pantera for example. They reissued their final three albums, The Great Southern Trendkill, Offi-cial Live: 101 Proof, and Reinventing the Steel, on vinyl in the last half of 2012. These three albums had been long out of print and were only available for high prices (if one was lucky enough to track a copy down).

Peter Gabriel’s 1986 album So celebrated its 25th an-niversary and a remastered version of the album was released across all formats, including an LP that came packaged with an additional disc with bonus tracks.

The end of 2012 also saw the first solo album by Cana-dian country singer, producer, and ex-Attack in Black frontman Daniel Romano, Workin’ For the Music Man,

released on vinyl for the first time. The album featured new artwork, a new design and a crisper sound than its previous CD release.

It’s interesting to note that a lot of reissues aren’t nec-essarily coming from a par-ticular anniversary. Some albums are just being reis-sued by artists who desire a new sound for their album or a new way for people to experience their music. It shows that a lot of bands and artists are caring about the sound and offering their fans something they didn’t offer before.

All in all, 2012 was a good year for reissues, but there may be more to this shift than just some fan service or a quick cash grab. It might even show a change in the way recording and production is done. The re-emergence of vinyl shows that not everyone listening to music is content with small, compressed, digital files. It shows that there’s an audience of people who will pay the extra dollars and put up with a little hassle for the sound and feel of analog music, and it shows that there are artists who want their music to sound the best it can.

Something unusual is indeed going on, and I hope it keeps up.

“Generally, if something is available in the newer, more advanced format, people stick to it until it gets dethroned by the

newer, smaller, shinier model. And yet, that’s the opposite of what’s happening with vinyl.”

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If you’re reading this, it’s safe to assume you have some interest in music already.

However, do you find yourself lis-tening to the same old stuff over and over again? Are you the kind of person who flat-out doesn’t like that kind of music? Perhaps you’re one who’s just trying to find more music to add to your daily playlist.

In any case, following these little nuggets of verified, tried and true info will help you find some fresh tunes that may give you those spine-tingling shivers. Chances are, they’re right under your nose!

Tools and methods of explora-tion (A.K.A the basic stuff)

Youtube has many copyright and litigation issues, but that’s Goo-gle Corporation’s problem. There’s a lot of free music of more kinds than you can probably handle, and it’s the easiest place to start. After that, there’s Soundcloud, a place where many musicians (mostly motivated amateurs free from the influence of money and adverts) go to post their newest creations. Finally, talk to your friends. They probably know what you like al-ready, and they’ll know what to recommend better than we could, to be honest.

Set and settingIf you’re trying to discover new mu-sic, it’s probably best to make your-self as comfortable as possible. Try

being alone or with fellow audio-philes in a tranquil environment where you have a good access to mediums of music. That being said, a great way to find new music is to meet new people, although large social gatherings tend to gravi-tate towards the lowest common denominator, especially when it comes to choice of music.

Keep an open mindYou never should declare a genre of music off-limits! They all have roots that can be traced back to groundbreaking, innovative and unique songs by true, inspired artists. There’s an old saying that goes “Don’t knock it till you try it.” Although not applicable in certain instances (like eating human flesh),

A Simple Guidelineto Acquiring New

Musical Tastes

BY MARCO CURRIE

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following that mantra on your mu-sical journey will guarantee you welcome surprises. Also, be pa-tient and listen to songs until the end. Your desires and responsibili-ties are nothing next to art.

Look for elements you already loveThink about the music you listen to already: What are the things you appreciate the most? Once you realize what your penchants are, you’ll have a better idea of what you’re looking to discover or what’s lacking in your current li-brary. Pro Tip: search by artists you already know, chances are they’ve got more than one musical project going on.

Perseverance can be required; the ear is practicedDedicating yourself to listening will enable you to fully grasp all the nu-ances and details you’d otherwise miss. The more you listen to music, the more you’ll pick up intuitively. Thus, your tastes will develop with new horizons and broadened sens-es, just like your taste buds. One way to start doing this right away is to concentrate on the lyrics or the rhythm – anything, as long as you completely absorb it. You’ll surely come to find passages that you’d otherwise miss doing that.

Every recorded song has a thought behind it; identify itAfter some time, you’ll find that ap-

preciation of music is intertwined with both your rational and emo-tional mind, thus your preferenc-es will go along with your general mood. Musicians are the same way. No one has ever written a song for absolutely no reason. Even if you hate a song, find what was the driv-ing force behind its creation. Like that, you’ll be able to bash it with the grace and panache of a music aficionado such as yourself.

Hopefully, you’ve learned a lot, or at least a little, on how to proper-ly listen to music. And hopefully, the monolith of the Top 40 charts that’s polluting radio nowadays will never control your mind again. You didn’t even have to put on a tin-foil hat!

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Q&A WITH DAN BALL BASSIST OF ACRES OF LIONS

What one word would you use to describe your beard? Epic

What’s your favourite part about being Canadian?Canadian Music. I love the talent that this country has. All the musicians come to-gether and love to hang out, as well. I al-ways get excited to see my friends when we play a festival or show together.

Why did you pick bass over guitar?We couldn’t find a bass player. When we started Acres of Lions in 2006, Aden Collinge from Immaculate Machine played bass and I played guitar. He decided he wanted to focus on other things, so we were without a bass player. Jeff was a bass player in his first band and Tyson was the bass player in his first band. I decided that it was my turn to play it, and I really fell in love after a few months. I didn’t ever really go back to playing guitar. Even now, years later, I still pick up a bass if I want to play music by myself.

What’s your favourite part about touring?My favourite part of touring besides play-ing music is getting to travel. I enjoy seeing all my friends who live in different places. I also like making new friends in every city we go to.

What is your current guilty pleasure?Right now it’s Civilization V and Star Trek: Deep Space Nine. On long drives you can usually find me in the back seat either playing Civilization V or watching some Star Trek.

SHOTGUN JIMMIE

EVERYTHING,EVERYTHINGRELEASE DATE: MAR. 26TH, 2013LISTEN TO: “I WILL CLIMB MOUNTAINS,” “CARRY ON” & “SKYPE DATE”

BY MARCO CURRIE

2.5

REVIEWS

Shotgun Jimmie reminds me of The Killers, if they were less a pro-totypical boy band and more like authentic musicians — the kind you’d find at your last campfire romp.

The 16-track album Everything, Everything is Jim Kilpatrick’s sixth solo album. Unfortunately, after five albums, it was disappointing to find that Everything, Everything was boring, for the most part. There were eight songs that were under two minutes; I’ve only seen this on a Napalm Death album before. That’s not to mention the average number of chords in those songs was three. Although they all seemed honest, there was more filler in this album than in a McDonald’s burger.

However, a great redemption was made with “I Will Climb Moun-tains.” This is the only song where, in my humble opinion, Kilpatrick and his various guest musicians came alive and soaring in terms of emotional depth beyond lyrics. I should mention it’s one of the very few songs on the album that’s not about a girl. I wonder if the lead singer’s ex also has a boyfriend that looks like a girlfriend.

The other songs that caught my ear were “Carry On,” which had a cool, grungy solo and ended with a smooth, elegant piano. Then there was “Skype Date”. Although short, it captured the sentiment of an online relationship in a clever way.

I almost didn’t hesitate to give Everything, Everything two stars, but decided to up it because of those brilliant moments that redeemed Jim Kilpatrick’s overall disappointing performance. Shotgun Jim-mie’s got one-hit wonder potential, but for now it’s confidential.

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Right off the bat, a sense of atmosphere was founded and accomplished in Belief’s self-titled debut album through the good guitar playing and prolonged, but pleasant, vocal partitions.

Right off the first three songs, they bring it home every time. A large variety of effects, and the guitar’s excel-lent compositions, allow great merit for the guitarist and the producer alike. The rhythms are also near-per-fect, punctuated by good fills and transitions by a per-cussion maestro.

However, said maestro should know that he or she be can become droning, and it’s not always fitting. But don’t cry too much, O ye simple drummer. The album is still very enjoyable.

The album is filled with post-punk, chord-crunching and fuzz-filled interludes, much like Sonic Youth before they knew they were good and subsequently started sucking a bit. Look at the songs up top! They’re even titled like they’re on Daydream Nation or something.

Seriously though, this band actually pulls off that old 90s sound and gives it an electro-pop twist, making it into whatever the fuck they want apparently, because every song has its own indescribable sound. It’s fresh, yet an instant classic, but that’s just Beliefs, really. Be-lieve it. You don’t hear a cool band name like that of-ten.

The variety of their songs is impressive and a lot of experimentation turned out successful. Due to some

prolonged intros, some patience is required at first. They all end up making sense, and best of all, they make you feel the melancholy twangs and the driven beat that defines a peculiar North American genera-tion of youth. Hint: It’s not the one listening to terrible television, and even more horrendous filth at the club.

I give this valiant effort 4 stars, because Beliefs has made a spectacular entrance, even a mark in the indie scene. I believe, however, that they could do better on their next album if they worked a little on their song structures and made them more interesting somehow.

The songs I picked out were definitely great ones in my book, but while I don’t think the others are simply fill-ers, I don’t think they manage as gracefully as these. Also, the lyrics are unintelligible. That doesn’t mean they don’t make sense, just that you couldn’t make much sense of them without reading them. Oh well, who cares about lyrics these days!

Nonetheless, bravo to the people responsible for this album. Hell, while I’m at it, encore! Toronto proves it-self a world-class music hotbed once again by throwing up more glorious souls on the Canadian stage.

The name’s Beliefs, ladies and gentlemen. Do yourself a favor and remember it. You’ll get to gloat about how you knew them before they started touring on their own bus and went *shudder* mainstream.

BELIEFS

BELIEFSRELEASE DATE: NOV. 5, 2013LISTEN TO: “DEAD WATER,” “LILLY,” “GALLOWS BIRD” & “VIOLETS”

BY MARCO CURRIE

4.0

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Rap artist Ricky Hil sure got fans excited after last month’s release of his highly anticipated album SYLDD, and with almost twenty mixtapes under his belt, his knack and popularity have been greatly growing strong. The album, which features heavy hitters like Le-ona Lewis and Canada’s own The Weeknd, is definitely deserving of some highly earned recognition.

When first downloading this free album (which is avail-able on Hil’s website) and clicking play, the listener is immediately immersed in the sounds of the first track, “Slickville.” It starts out with the elegant, yet almost eerie strumming of an acoustic guitar and screeching violin combo as Hil’s voice chimes in, “Welcome to Slickville.” There seems to be almost something sad about this song in the way that Ricky Hil’s mournful voice is mirrored by the crying of the violins. This feel-ing of sorrow is then ever heightened by the content of the song as it touches on topics of death and dying. Yet despite containing such content, the song is spun in such a beautiful way that makes it a peaceful listen, something that Ricky Hil is known for: spinning stories of pain and sadness into something artistic and beau-tiful.

Moving down the line, the next song to be played is “I Can’t Stand.” The reason I mention this song is be-cause I was instantly intrigued by the sound effects used. After the initial heavy and pleasing drum beat, the sounds of babies laughter fills the speakers, an incredibly creative and interesting effect which hooks the listener, making them crave more.

Continuing on with the album, I had a tough time sin-gling out the best songs to mention as I found them all to be very catchy and amazing in their own ways. Yet I finally decided on my instant favourites, “No-mads (feat. The Weeknd)” and “Fix Me (feat. Leo-na Lewis).” The second I heard both of these songs I knew that they were going to be great. When taking a look at “Nomads,” the listener is introduced to Hil’s classic heart-ache filled lyrics which make up the first verse before it leads into the chorus that features The Weeknd’s familiar and harmonizing vocals. Within the song, The Weeknd also shows off his familiar lonely lyrics throughout as he sings, “I made it clear to the world ain’t nobody gonna be that somebody,” a line that brings the song to its eventual end. Now when it comes to the song “Fix Me,” this was another immedi-ate love off of the album. Beginning with the chilling voice of Leona Lewis speaking the words “I think I can fix you,” the song then continues with Lewis’ soft vo-cals ringing in the ears of the listener as she calls out for help and someone to “fix” her. This heart wrench-ing and enchanting song is a definite must listen, one that will leave you channeling the song’s emotion as it causes your heart to beat that much harder.

An overall absolute breathtaking album, SYLDD is one that is full of honest lyrics containing drug-laced and heart-ache inducing content. It is an album that I would recommend a listen, and hey, it is free after all so there is no reason to not give it a try. I promise that after you listen to this album you will forever be hooked on the brilliant and catchy music of Ricky Hil!

RICKY HIL

SYLDDRELEASE DATE: FEB 5. 2013LISTEN TO: “SLICKVILLE,” “NOMADS” & “FIX ME”

BY MEAGHAN RITOLA

4.0

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HOLLERADO

White PaintRELEASE DATE: FEB. 26, 2013LISTEN TO: “DON’T THINK,” “TOO MUCH TO HAN-DLE,” “SO IT GOES” & “PICK ME UP”

BY PETER SANFILIPPO

For a band that hasn’t made a full studio album since Record in a Bag in 2009, the boys from Hollerado have taken very little down time. From releasing a 10-inch in 2010 called Margaritaville 2: The Reckoning (possi-bly the greatest album title since NOFX’s I Hear They Suck Live) and the start up of guitarist Nixon Boyd and drummer Jake Boyd’s side project Stella Ella Ola, to starting Royal Mountain Records and establishing Hol-lerado Hot Sauce Co. in 2011, they aren’t the type of band to slow down and take time to play sitars in India. These guys are the workhorses of Canadian indie rock.

After a not-so-quiet three years, the nacho-and-con-fetti-loving foursome from Manotick (the nacho capital of the world, says Margaritaville 2) has released their long awaited second studio album White Paint. With it comes a slightly more developed sound, complete with all the fun and irreverent charm of their prior releases.

The album opens with “Wonder, Velocity, Charlie, and Me,” which sets out the themes and sounds of the al-bum with orchestrated harmonies and electric guitars, blending into the album’s second track, “Don’t Think.”

This is where the fun begins. The song fits in with what we’ve come to expect from Hollerado. It’s energetic, catchy and comes packaged with a healthy dose of quirky flair, making it reminiscent of “Do the Doot Da Doot Doo” off Record in a Bag. These qualities are pret-ty consistent through the majority of the album, and a lot of the traits associated with the band’s sound are intact, from their punk aesthetic and 60s backing vo-

cals, to their ear for hooks and fun-loving vibe.

New to the ensemble for White Paint is a pop over-tone that can be heard on tracks like “Thanks For The Venom” and “So It Goes” (which has an intro that is very Tokyo Police Club-esque). Immediately noticeable is a new set of vocals. A female voice accompanies the rest of the band on several tracks, such as “Desire 126″ and the album’s first single, “Pick Me Up,” which comes as a welcomed addition. It’s a great example of a small addition that can make a world of difference to a band’s sound.

The album isn’t without its flaws. Some of the tracks in the second half of the album are a bit forgettable and don’t carry the energy of the first half, but overall it’s a solid offering. It’s an album that not so much reinvents the band’s sound, but refines it. Every track sounds like a Hollerado song, but a bit evolved, courtesy of new vocals and a clearer pop sound.

Each track bears marks from three years of develop-ment and exploration and comes back feeling natural. Hollerado’s brand of power-pop is one that has been tried and tested, and is very much alive in White Paint. It’s clear that a lot of passion and consideration went into the development of this album. It’s familiar but exciting, new but nostalgic.

4.0

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FidlarFidlar

“FUCK IT DOG, LIFE’S A RISK” is Fidlar’s mot-to, and I feel like I should start living by that after listening to their debut album. Red cups are full, garage punk is alive, and Fidlar doesn’t give a fuck about anything. If these fourteen tracks don’t have you thrashing around wild-ly in pure bliss, then you should probably take the knot out of your knickers.

BeekeeperShout At People

This EP makes me want to shout at people. Se-riously. The indie pop trio busts out a cauldron and starts brewing a mixture of angst, antiq-uity, perpendicular lines, broken hearts, and mystery. The concoction is an elixir that pro-duces weird and relatable feelings.

BoatsA Fairway Full Of Miners

Carefully weaved sounds, a sprinkle of wounds, a dash of experimentation, the slightest bit of enlightenment, and a plethora of unique song titles makes up A Fairway Full of Miners. If “Ad-vice on Bioluminescent Bears” doesn’t make a good first impression on you, I might start to worry.

Cardinals PridePriorities

Cardinals Pride is the next best thing in Cana-dian metal, and Priorities is the proof. If you don’t own this EP, you’re a fool.

IndiansSomewhere Else

This album really does start somewhere else, at the highest peak in a magical world that doesn’t seem related to the lives we lead by any means. As you descend the slope at a grad-ual and evened pace, you become more con-nected to the earth and brought back to the world we live in now, surrounded by a haunt-ing existence.

Esther MariaThe Abyss

The majority of The Abyss is executed with an acoustic guitar paired with powerful lyrics. This combined with the softness and rawness of Es-ther Maria’s voice opens up your eyes to the realities of the world. The second half of the album doesn’t carry as many of the same eye opening moments found in the first, but the overall impression is memorable and shows a genuine and powerful musician with a lot to say.

SWEET (OR SOUR)Album reviews in 100 words or less.

Short, sweet (or sour), and to the point.

BY SHONDA WHITE

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BY JULIEN DUPONT

Paralleling my last piece’s intent of exposing local tal-ent, here I offer an eclectic mix of the Capital’s flavours. Contrasting with my last piece however, I went to three different shows in three different venues on three sep-arate nights to offer a broader spectrum of the music that thrives under, and arguably in spite of, the political hand. Without further ado, let us dive right in!

Crooning: Seb CielA tall gentleman took the stage on the eve-ning of his twenty-sec-ond birthday. Having proclaimed crooning, jazz classics and Freddie Mercury as influences, I was curious to see his fingers on the keys and mouth to the mic. I was not disappointed.

He drove into Queen’s “Don’t Stop Me Now,” his voice as clear as water both in the low and high ends. The rest of the set was maintained with the same quality of tone reminding me of Freddie Mercury, Elton John, and a bit of Matthew Bellamy from Muse at times (I don’t say this lightly).

Crooning through jazz classics and covers spanning from Tom Waits to Queen to Lana Del Rey, Ciel unfor-tunately gave us only two of his original songs. The original sound of both songs perhaps force the hand to make new room on the Billboard, should the orig-inal material persist. The emotion was clear in the performer both visually and audibly, and his beautiful voice rose to the skies — just as his name suggests. Keep your eyes on this one folks.

Rock: The Plaster BabiesFrom crooning, we jump to head bob-bing and jumping.

Enter the Plas-ter Babies, a band composed of three brothers (of blood) on bass, lead and drums, and one brother (by soul) on vocals and rhythm

guitar. The band is triangulated from Montréal, Ottawa and Toronto but is now based in Ottawa.

Citing Nirvana, The Pixies, Frank Zappa and Butthole Surfers as influences, their driving guitar and sol-id groove, topped by vocals that remind one of Jack White’s delivery style, soon had heads bopping.

Live Review:Three genres shinein Ottawa

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The Plaster Babies demonstrated high energy on songs such as “Tears On The Lake,” a song about stepping on nails when at a cottage. On the other hand, the overall lack of dynamics and lacking of tightness contrary to that found on their recent LP, A Good 20 Minute Thing, left something to be desired.

Still, heads never stopped bopping throughout the set, and the dedication was present in their line, “Should it [music] become a hobby, it is death.” This gives the perception of a diamond in the rough which, under the pressure of increased tightness, could come to gleam brightly.

Rock: OrnamentsFollowing the Plaster Babies was Ornaments, a three-year-old trio that immediately tore into a sweet build-up with “Televanilla” starting off a great set.

The rhythm section was tight, bass and drum locking into good groove. Jay Lamothe’s work on bass was im-pressive, as he offered good bass lines, solid harmonies and great stage presence to compliment David Pierce’s vocals. The lead guitar, however, had too much feed-back and not enough melody for my taste, but it can be given the benefit of doubt and attributed to the heat of the moment.

Ornaments reminded me of Finger Eleven and the Foo Fighters, and had the jam juices flowing through the set with their powerful song “Spend Your Time.” Being their last song of the night, it literally made me rock my hat off.

Country: Kayla Howran

Snap. Genre change again.

We are now in the realm of the prairies with Kayla Howran’s yodeling country vocals, and her backing band rocking country airs.

Gowned in a pretty red dress, Howran demonstrated her range with vocals that repeatedly jumped in and out of falsetto, sometimes falling short of the notes, but hitting them nicely most of the time. The music was fast paced and upbeat, leaving no room for languishing hearts, and had some distinctly rock airs towards the middle of the set. The lead guitar work was excellent, and the best I had seen in the frame of this article.

However, the musicians all had mi-crophones to add harmonies, but did not. It is understandable as the show was about Howan, and the band was composed of backing mu-sicians, but it made a dent in the performance.

Overall, the rocking country tunes made for a nice relax after the rock genre of the night before, and fleshed out another aspect of the talent that builds the great musical culture of Canada.

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BY MEAGHAN RITOLA

The Tragically Hip played to a packed venue Thursday night at the Air Canada Centre in Toronto. Being their last show on the tour, The Hip was determined to go out with a bang!

But before The Tragically Hip graced the stage, it was the opening act, Hamilton’s own Arkells, that got the concert underway. As the large venue promptly filled with the sounds of great rock and roll, more people be-gan to file in, hurrying to their seats. The Arkells were quick to get the crowd on their feet as they pumped out hits like “The Ballad of Hugo Chavez” and “Oh, the Boss is Coming.” During the performance of this par-ticular song, the crowd was split down the middle by singer Max Kerman as he direct one half of the crowd to sing the lyrics, “punching in,” while the other half was prompted to sing “punching out.” At this, the crowd enthusiastically complied, as each side compet-ed to be the loudest, bringing to mind old memories of grade school music classes, with Kerman acting as the teacher. As the Arkells finished up with a great opening performance, people’s excitement grew as they await-ed the upcoming final act.

Soon enough The Tragically Hip took to the stage. The crowd went wild as they opened with the track “At Transformation,” from their newest album Now for Plan A. Yet it was their older hits that really sent the crowd into a frenzy. The first one up was “New Orleans is Sinking,” which got everyone, including the younger audience members, to their feet as they began to belt out the words. Moving on, The Hip then performed a couple more songs from their latest album, including “Man Machine Poem,” and “We Want to Be It,” before once again returning to their older classics. From there,

they performed “Bobcaygeon,” a fan favourite, and as the song reached its verse with the lyrics “That night in Toronto,” the lights flashed bright upon the crowd as they erupted in cheers for their hometown.

At times it felt as though the audience was watching a stage production. Singer Gordon Downie acted out all of the songs, quirkily playing with the microphone and stand, recalling the antics of old silent film actors in the way that he performed. Soon after, the concert began to come to a close with the performance of their final song, “Blow at High Dough.” After this performance, the immense crowd began to cheer and chant “Hip, hip, hip,” calling them back to the stage. Minutes later the band once again returned, playing not one, but five encore songs.

The first song to be played was “Fifty-Mission Cap,” re-counting the story of famous hockey player Bill Bari-lko, and as they played, the stage lights shone upwards towards the image of Barilko and his retired number. The illumination of this image was a beautiful gesture in the remembrance of such a talented hockey player and Canadian legend. Continuing on with their encore, they were joined on stage by singer Sarah Harmer, as they performed the title track of their new album. After this, The Tragically Hip performed one more song be-fore their final performance of “Little Bones” brought the concert to an incredible yet bittersweet end.

It was definitely a great concert, full of amazing Cana-dian talent. After all, The Tragically Hip are said to be more often than not the soundtrack of Canada, which I think they very much lived up to that night. On that note, I believe I can speak for many Canadians when I say there’s nothing like a good ol’ Canadian rock con-cert!

LIVE REVIEW:The Tragically Hip shows their music at work in Toronto

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The Substructure 25

ABOUT THE SUBSTRUCTURE

Substruct News is an online publication dedicated to bringing you the latest in music news, concert listings, album reviews, live show coverage, and exclusive interviews with your favourite bands. We take pride in our major focus on the home-grown talent that arises from between the coasts of Canada. Whether bands are playing stadium tours or their parents’ garage with an audience of three, music still has limitless potential – and we want to help share and make that potential known. And that’s what we believe: music is the substruc-ture.

The Substructure magazine is directly owned by Substruct News.

All news and featured articles have been taken from the official Substruct News website (substructnews.com) for the publishing of this issue.

All articles have been written by Substruct News contributors. The Substructure, Substruct News, and their sole authors hold ownership over the articles.

The Substructure and Substruct News have no direct affiliation with any of the artists, albums and record labels. Any unoriginal information, music, videos and images are not owned by Sub-struct News or The Substructure. The above are used for news or promotional purposes only. If there is something you would like removed, please feel free to contact us.

SPRING PICKS by ZACHARY BOURDAGES

STRONG SWIMMERS by SAID THE WHALE

WHITE WINTER HYMNAL by

FLEET FOXES

THE BAD IN EACH OTHER by FEIST

BALACLAVA by

ARCTIC MONKEYS

THE BADDEST MAN ALIVE (FEAT. RZA) by

THE BLACK KEYS

YET AGAIN byGRIZZLY BEAR

BRIDES SONG by YUKON BLONDE

DEMON TO LEAN ON by

WAVVES

ESCAPE ARTIST by THE ZOLAS

PULMONARY ARCHERY by

ALEXISONFIRE

STEP by VAMPIRE WEEKEND

DON’T THINK by HOLLERADO

CITIZENS OF TOMORROW by TOKYO POLICE CLUB

FEATURED STAFF PLAYLIST

LAST WORDS

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22 The Substructure