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The New Wax Show airs each Tuesday @ 3pm on CHRY 105.5 FM. Listen live at chry.fm

Today, hip-hop culture today is recognized worldwide and Toronto currently serves as one of its global nexus points. New Wax Reporter Kyanna Vassell explores Toronto’s deep history with the genre from its early years all the way through to the current chart dominance of artists like Drake and producers like Boy-one-da.

Listen/Download the feature here.

The New Wax Show airs each Tuesday @ 3pm on CHRY 105.5 FM. Listen live at chry.fm

This week’s artist spotlight is on Vaz.  Born and raised in London England, Vaz moved to Toronto in 2008 after getting his degree in Economics Business and Finance.  In 2012 Vaz quit his banking job to pursue his music career full time.   While playing music since the age of ten Vaz claims that it has always been his passion and his main channel of self expression.  Our reported Zemina Meiji met up with Vaz to discuss his art and career path.

Listen/Download to the interview here.

The New Wax Show airs each Tuesday @ 3pm on CHRY 105.5 FM. Listen live at chry.fm

Fade Chromatic, a Toronto based indie rock band making waves in the local music scene out with their new release Careless//Madness. The group layers melodic pop vocal hooks with heavy drums, guitar, and bass. Influenced by many area of rock, including punk, indie, and alternative, the band has continued to develop their sound since their 2011 incarnation. Fresh off their May 9th performance at Rancho Relaxo, New Wax Show reporter Sierra Sun caught up with Fade Chromatic to discuss their current EP.

Listen/download the interview here.

 

MUS_MotionSpring_2411The New Wax Show airs each Tuesday @ 3pm on CHRY 105.5 FM. Listen live at chry.fm

The members of Spring have been playing music together in various forms for more than six years, and are now some of the busiest tour-hardened musicians in East Vancouver’s vibrant music scene. Spring’s music is based on the heavily processed electronic sounds of SSRIs, joined by acoustic instruments and vocal harmonies which create a spatial duality that bounces between the familiar and the unexplored. New Wax Reporter Debra Schlegel spoke with Spring about their recent changes and the future plans for the group.

Listen/Download to the interview here.

IMG_0300Prior to their Riot Fest appearance, Stooges guitarist James Williamson issued a sarcastic jab to the show headliners: “Good luck to the Replacements on following us,” he told Exclaim!. Given the anticipation leading up to the Mats first gig in over 20 years, it sounded like a grab for media attention. But who knew this quintet of geezers would actually give them a run for their money.

IMG_0276The band – Williamson, bassist Mike Watt, drummer Scott Asheton and sax and keyboard player Steve Mackay – took the stage launching into “Raw Power.” The Lizard King wasn’t far behind, pausing behind Mackay briefly before James Osterberg had fully transformed into his manic alter ego, Iggy Pop. This guy is now well into his 60s, his body is lean, if wrinkly and his stage presence remains completely magnetic.

Iggy’s got a shtick, that’s for sure, but my God does it work for him. He remains a menacing figure, just

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ask the photogs standing underneath him as he leered over the photo pit during “Gimme Danger.” He’s matched by the Stooges, who, despite age and line-up changes, remain one of the fie


As if to prove that he can still be the real wild child his audience wants hi to be, he even launched
himself into the audience unexpectedly during “I Wanna Be Your Dog.” If he hurt himself in the process, he showed no sign of it, emerging back on stage as manic as before. “Search & Destroy,” “No Fun,” “Funhouse,” the list of classics was impressive even if they did skip over “Out in the Street” rcest bands alive, throwing down slabs of proto-punk riffage while Iggy did his thing.

While there was no way the Stooges were going to steal headlines from the Replacements, they certainly gave the band a run for their money. Moreover, they proved why they were (and continue to be) a catalyst for pretty much every single band who graced the Riot Fest stage over the weekend.

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IMG_0584There are plenty of people who will tell you that this current – unbe-fucking-lievable – Replacements reunion isn’t really a reunion. Original guitarist Bob Stinson died in ’95, replacement guitarist Slim Dunlop is sidelined after a stroke, his medical bills the catalyst for this whole shebang, and drummer Chris Mars is nowhere to be found. Their are people who can tell you that no Replacements reunion can live up to the Minneapolis band’s legend, a band who would play shows so drunk they couldn’t finish their own songs or would only play covers. A band who would be shit two out of three shows, but be the best band in the world on that third night. They might be right. But as a 32-year old who came-of-age in a post-Mats world, this night was everything I could have asked for. IMG_0608

The fervour Mats fans have for this band is kind of indescribable. You have to live with their music for a while for it to really get under your skin, but once it does, whoa-boy, you’re hooked for life.

Rapt anticipation awaited the quartet – singer-guitarist Paul Westerberg, bassist Tommy Stinson and fill-in drummer and guitarist Josh Freese and David Minehan – as they took the stage. “We’re going to play some old shit,” said Westerberg, decked out in an oversized suit jacket and smirking the whole night, before the band ripped through “Takin’ a Ride.” “I’m in Trouble” followed, then “Favourite Thing.” The band, who’ve been in rehearsals for a couple months, walked the thin line between tight precision and sloppy mess, proving that the Mats’ signature sound was less calculated anti-rock stance and more natural playing style. Paul forgot the words part-way through “Androgynous” letting Tommy take the lead for a minute, and the two men seemed genuinely thrilled to be playing these songs together again. Freese and Minehan on the other hand appeared simply thrilled to be part of the event as they held up their end of the music with aplomb.

IMG_0745Some songs did drag a tad, while others were burned bright with the searing anti-authoritarian attitude that birthed them. The band engaged in a bit of audience fuckery, covering Chuck Berry and Sham 69 when they could have been playing someone’s “favourite song ever.” But that’s all part of the Replacements experience, part of being a fan of this band, isn’t it?

 

Their set ended with a series of winners. “Swinging Party” was apparently requested specifically by Dunlop. A horn and stringless “Can’t Hardly Wait” was spine tingling and “Bastards of Young” was the teenage anthem the mid-30s skewing audience always believed it to be.

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After a short break, the band returned to the stage, Paul sporting a Montreal Canadiens’ jersey and middle fingers before launching into… “Everything’s Coming Up Roses,” from

the Broadway musical Gypsy. Finally “I.O.U.” and its telling screed of “Want it in writing/I owe you nothing” closed the night (there was a 10pm curfew).

You could complain if you really wanted to; they didn’t play enough of their early hardcore material, they skipped classics like “Unsatisfied” and “Skyway,” the were too sloppy, they weren’t sloppy enough etc, etc.  But really, in 2013, we got all we could reasonably want from a Replacements reunion. The band have two more shows scheduled. What will become of the Mats after that? Who knows. But one thing’s for sure. Now they really do owe us nothing. – Ian Gormely 

 

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The Replacement’s Tommy Stinson @ Riot Fest

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The Replacements’ Paul Westerberg @ Riot Fest

IMG_0655The Replacements’ Tommy Stinson @ Riot Fest

 

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Dinosaur Jr have never been one for witty stage banter; J Mascis and Lou Barlow prefer to let their instruments do the talking. “So, this is our set?” Barlow asked as Mascis’ guitar squealed into action. The trio were, as ever, thunderously loud, working through song from their entire career. Notable was a move into their 90s records – the ones Barlow didn’t play on – that the reformed trio’s avoided since reforming in the mid-2000s. Tracks like “Out There” and “The Wagon” joined “Watch the Corners” and “Freak Scene,” much to the delight of the aging audience. Even the side stage was packed with onlooking musicians like Grade’s Kyle Bishop and Fucked Up’s Pink Eyes. As always Dinosaur Jr. played a searing set, anchored by Barlow’s thundering bass and a drummer who looked suspiciously unlike Murph. Seriously, I kind of can’t get enough of seeing these guys play together. – Ian Gormely

UPDATE: Dino Jr’s fill-in drummer was apparently Kyle Spence from Harvey Milk. And while I’m adding to this post I should also mention the band played “Feel the Pain” and an old Deep Wound (J and Lou’s pre Dinosaur band) track.

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Dino Jr’s Lou Barlow @ Riot Fest

IMG_0150Dino Jr’s J Mascis @ Riot Fest

IMG_0057Burlington, ON hardcore OGs Grade came out of hibernation to play a late afternoon slot at the Toronto edition of Riot Fest. Sandwiched between metalcore crew the Ghost inside and pop-punks Mayday Parade and playing to an audience full of people who were still in elementary school during IMG_0088the band’s height, Grade had an uphill battle.

They came out swinging with “the Inefficiency of Emotion,” “Stolen Bikes Ride Faster” and “Seamless” in quick succession before frontman Kyle Bishop took a break and addressed the band’s alien-like status on the bill. “We don’t really fit in…but that’s always been the story,” commented singer-guitarist Greg Taylor later in the set.

Rather than playing as if they had something to prove, Grade instead played like a band with nothing to prove; they’ve earned their punk rock stripes and at this point, it was up to people to come to them. As Taylor pointed out, it’s a stance the band are used to. They certainly stuck out when their two opuses – Separate the Magnets and Under the Radar  – catapulted them to the top of the underground in the late 90s. This was a band playing for themselves, and revelling in it.

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Their set was primarily culled from the latter record, their best, but they’ peppered in favourites like “Conceptualizing Theories in Motion” from Separate and “Little Satisfactions” from swan song Headfirst Straight 

to Hell, an album more than half of the current line-up didn’t even play on.

After apologizing for the un-punk prices for t-shirts at the merch booth (it was apparently out of their hands, a rare concession to a force outside the group) they ended with “A Year in the Past, the Future Forever,” the closest thing Grade ever had to a traditional hit, and “Triumph and Tragedy.” When these guys will pop up again is anybody’s guess, but it’s a sure bet it will be on their terms.

Check out an interview with Grade guitarist Greg Taylor here.

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The Cameron House, located on the corner of Queen West and Cameron Street here in Toronto, has played an important role in the careers of many of the city’s most famous artists. Blue Rodeo, the Barenaked Ladies and Ron Sexsmith all played residencies at the storied venue before finding fame.

Now the Toronto Music Industry Association, in conjunction with My City Lives, has created a short video exploring the venue’s past as part of its Venue Project. Check out the clip below.

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Imagine this: you’re in distress. Out of nowhere comes the Ninja Funk Orchestra. You can’t understand how this espionage knew your affliction, but their mission drew them to this moment. Their array of weapons seems few, but how they use them – vast, as if the message to be delivered has never been interpreted that way before. The prolific background of music ideals, morals and thoughts have spurred on these four young souls to become masters of their craft. Elements of Jazz, Rock, Funk, DubStep, Drum & Bass, Electronica and Experimental are all infused. One wonders how it works, but with Toronto’s NFO, fusion is just a meager term.

What makes their sound so definitive is not just from what they play, but how they deliver their way of life though the instrumentation. “Fist” brings a declaration of their presence while “(Theme from) Thunderbrawl” states their mission and that they are on the move to fulfill it. “Shadow” is about their stealth journey (like a true Ninja), “10,000 Snakes” is a mindset, speaking that they do not take their purpose lightly and “(Oh Baby, I’m So Beyond) Drifting through Space Without You” speaks truth – the more involved you become in your mastery and mission, the more lonely you become. Track by track they show their levels and how to best quantify them, not only delivering a song, but an experience.

Listening to the NinjaTek on CD is already an augmentation, but watching them perform live is like being carried to another dimension you never knew existed, coming back to Earth with this linger and enlightened sense of purpose to get back into that dimension. – Camillie Leung

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