Musical Memories: The healing power of music

Music, in all different forms, has helped me cope with mental health struggles throughout my entire life. 

By Oliver Robbins

Trigger warning: this piece covers topics of mental health that may be triggering for some

When I’m in a stressful situation or I’m having a low day, an easy fix for me is to just breathe and listen to music (Image Courtesy of priyana)

Music has a unique ability to connect you with artists you have never met who are writing songs about experiences or feelings similar to your own. It can allow you to escape from your low feelings, or unhealthy situations and become closer with people in your life. For me, music in all different forms has helped me overcome my mental health struggles throughout my entire life. I don’t remember a time when music wasn’t what I turned to during my low points.

Being stuck in a very toxic home environment during the COVID-19 lockdown in 2020 and not being able to be with the people who helped me escape from this environment previously, was extremely difficult for me. Most days, I wouldn’t get out of bed, I would barely eat, and I didn’t have enough energy to do something as simple as responding to the messages from the people closest to me. 

During the summer of 2020, I discovered Phoebe Bridgers after coming across the song “Scott Street” from Bridgers’ first album Stranger in the Alps, and I was immediately hooked. I began listening to everything she had ever released and felt truly understood for the first time in my life. Bridgers has a way with her lyrics and production that makes you feel comforted and understood, and that is exactly what I needed during this time in my life; it felt as though I had found something to save me from this dark hole I was in. 

There was one time it really felt like she was saving me in some way. My family went camping with our trailer for a couple of days, being so close in proximity to them for this long was truly my worst nightmare. All I did for those couple of days was sit in the trailer alone or walk around the campground with my headphones on listening to Stranger in the Alps, specifically the songs “Demi Moore,” “Killer,” “Smoke Signals,” “Scott Street” and “Georgia.” These songs are all that got me through those couple of days, had I not discovered Bridgers’ music the week prior, I’m not sure I would have been able to cope even in the slightest. The experience and connection I have had with Bridgers’ music is unlike anything I have ever experienced, but there are still some other artists and bands who have been able to get me through hard times.

Concerts are some of the best cures for me when I’m at my lowest. I had the opportunity to see Bridgers in June of 2022 at the RBC Echo Beach venue in Toronto. That day changed my life. The anticipation that builds in the days leading up to the event, watching the countdown get smaller and smaller and feeling like you’re in a dream sitting on the GO train and standing in line outside of the venue; these are all things before the show even begins that makes you forget about your struggles. It felt like the world stopped for a second when I saw her walk onto the stage for the first time. Seeing your favourite artist in that space is an out-of-world feeling. Being able to feel the music and Bridgers’ voice through my body made my connection to her music even stronger. There is just truly no happier feeling than seeing your favourite artist right in front of you, singing the songs you have been listening to and connecting with for so long. For those couple of hours, I felt like nothing else mattered and I was the happiest I had ever been. 

I was also lucky enough to see Boygenius, a band that Bridgers is a part of along with Lucy Dacus and Julien Baker, at the Budweiser Stage in Toronto in June of 2023 with my girlfriend. They were touring for their most recent album The Record, which happened to come out the same day my girlfriend and I met for the first time. As sad as most of the songs on that album are, we really bonded through listening to it. Getting to see Boygenius live with my girlfriend was so special, and it made us both so happy to be able to experience music so personal and close to us, live. 

These shows made me feel like all my problems had gone away for a small period of time and that was exactly what I needed in those moments. Concerts are a great way to cope with mental health struggles and it’s also very helpful to have something so exciting to look forward to.

More recently, Radiohead has been a band I turn to when I’m struggling with my mental health. The distinct production of songs like “Weird Fishes/Arpeggi,” “Just,” “Jigsaw Falling Into Place,” “Exit Music (For A Film),” “Climbing Up the Walls” and “Spectre” encapsulate the low feelings I have. I’m able to connect with the music on a whole new level, focusing less on lyrics as the sound itself somehow makes me feel understood. 

As much as these depressing songs have helped me, there are times when I just need music to cheer me up and not to relate to. Tyler, the Creator is an artist whom I can always turn to when I need to switch my mood. I get excited every time I listen to any of his music because of how fun and experimental it is. His music allows me to escape from depressing feelings, and for a little while, I get to forget about all of my problems and just enjoy how good his music makes me feel.

Another musical outlet that has helped me when I am struggling with my mental health is playing guitar. Since I feel so connected to a lot of the songs I listen to, it is often very beneficial for me to learn these songs and be able to play them on the guitar. Playing music releases so many more emotions and allows me to connect even further with songs that hit me so deeply. I find distractions to be very helpful when struggling with my mental health and playing guitar is a great one. Choosing a song and putting all of my attention into learning it has been an incredible tool to help me at my lowest points; it allows me to close off from the world and feel like it is all that matters for a few moments. 

Playing guitar has also brought me much closer with my uncle which has been very important to me since I don’t have a very good relationship with most of my family members. Being able to have that relationship with him through playing guitar has made a lot of the mental struggles I face surrounding the lack of relationship with my family a little bit better, and when you’re feeling that low, a little goes a long way. The feeling of finally mastering a song that I’ve been practicing for a while can also improve my mood so much. Knowing that I’m capable of accomplishing something can mean so much to me when I’m not doing well mentally. 

Music is one of the most important aspects of my life and without it, I would not be able to cope with any of my struggles. It is always there to bring me out of darkness and it is comforting to know that it will always be there. While music is such a helpful resource when struggling with mental health, it is still incredibly important to engage in professional help and use any resources around you to help you get there. The impact that artists like Phoebe Bridgers, Radiohead and Tyler the Creator have had on my mental health is greater than words can explain and I will forever be grateful that I have music as my support through hard times.

If you're struggling with your mental health, you can find helpful resources on this City of Toronto page. You can also find Toronto Metropolitan University specific resources here. 

Earworm Extraction 101

The art of rebound relationships in music

By Melanie Nava Urribarri

Earworms, not to be mistaken for earwigs–who have a poor reputation from the old European myth where these creatures burrow into the ears of sleeping people and lay eggs in their brains–can be perhaps one of every day’s greatest nuisances. Though they aren’t literal creatures, these tunes can certainly feel like wiggling, persistent worms that won’t go away, making a home in your head and adding yet another voice to block out.

Luckily, there are ways to fix this problem. Like finding a good rebound to get over that pesky ex, here are some Canadian earworm remedies that will have you swooning for another song in no time.

The Classic

How many times have you had that song on replay? Have your family and friends already begun to give you the stink eye? Oh, what’s that? You just can’t get it out of your head? Well, have you tried the musical version of “Have you turned it on and off again” by simply playing a different song on repeat? This classic solution can be more effective than you think if you play your cards right. For example, if you’re stuck in 2012 with an infamous Canadian earworm like “Call Me Maybe” by Carly Rae Jepsen, there’s no need to change decades for the right counterattack. Stay in the year of the theorized apocalypse with Grimes’ promotional single “Oblivion”. A much more difficult Canadian song to hit the notes to, perfect for erasing numbers.

Change your environment

Just as being in a room for too long can suck away your energy and creativity, sometimes, the problem might not be you at all but your surroundings. How can you get over Avril Lavigne’s song “Girlfriend” if you’re stuck in the angry energy of your bedroom with all the memories of them? Get out and have some fun! Maybe go to your kitchen and treat yourself to something sweet with Nelly Furtado’s “Maneater”. Change your looping song from desiring to being desired and cure that earworm by switching locations and moods.

Chew

Stuck on 2010s Canadian heartthrobs like Justin Bieber or Shawn Mendes? According to the UK Counselling Directory, chewing gum or eating can create a new sensory experience, diverting your attention and possibly helping with a bad earworm. Instead of looping “As Long As You Love Me” with your young, hopeless romantic heart or “Treat You Better” –an earworm that peaked on the Billboard charts in 2016 and became a lovesick anthem–try eating the worm away like you might eat ice cream after a bad breakup.

Read a Book

Yes, reminiscing on the “best days of [your] life” with Canadian singer Bryan Adams and his recorded song “Summer of ‘69” can be all you need on a dreary day, but what happens when you simply can’t stop? Choosing a new distraction that requires new concentration can be just the way to do it.f you still want to do some nostalgic reflecting, maybe you can pick up Canadian author Lucy Maud Montgomery’s Anne of Green Gables for a heartwarming, coming-of-age other than your own.

Make a Playlist

Play games with your brain and battle the earworm with a combination move called “the playlist.” Much like simply playing a new song for your brain to catch, this strategic tip gives your mind something new to set its sights on– or many new somethings. Feel new adrenaline and satisfaction with a good playlist, such as one created by The Guardian with 30 of Toronto rapper Drake’s best songs. 

Embrace it

People are wired to look for patterns. Our brain likes consistent stimulation, and as stated by Harvard Medical School, some songs are created with specific musical intervals and tempos that are just more appealing to us subconsciously. Earworms can be harmless, and, sometimes it’s really not that serious. So if you can, embrace your earworm! Listen to that song on a loop and dance the annoyed glares away. The artists receiving a rush of streams on their songs might just thank you.

Canadian Artists to Look Out For At Coachella 2024

 Could this be the start of a Canadian Invasion?

By Rebecca Draper

Seeing Canadian artists take on big stages around the globe always warms my heart. There’s no doubt that they are leaving an international impact with their talents, and Coachella 2024 is no exception. The lineup was released recently, with plenty of prominent names, some newbies and some expected regulars.

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The annual festival is taking place from April 12-14 and 19-21 in the desert city of Indio, California. Headlining this year: Lana Del Rey, Tyler, The Creator and Doja Cat along with a special reunion from No Doubt. The festival showcases some of the music industry’s biggest artists of all genres, creating the ultimate live music experience. Canadian artists such as Kaytranada, Testpilot (Deadmau5) and Chromeo were some of the big names featured last year. Here are some artists repping Canada on the lineup this year.

Nav

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Nav is a rapper, singer, songwriter and producer born and raised in Toronto to a Punjabi Jat Sikh family. He first came onto the music scene in 2015 co-producing Drakes’ hit single “Back to Black”. In 2016, his song “Myself” went viral on Soundcloud and he was later signed to XO, a record label founded by The Weeknd. He’s no stranger to the Coachella stage, with his first-ever solo public performance being at Coachella 2017—also guest performing alongside The Weeknd and Travis Scott.

AP Dhillon

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AP Dhillon is a singer, rapper, songwriter and record producer originally from Punjab, India, he later moved to British Columbia to continue his studies while pursuing music in 2015. AP Dhillon became a significant new artist in the Punjabi-Canadian community when he was the first artist to sing a song fully in Punjabi at the 2023 Juno Awards, putting Punjabi music on the international map. He later released his first single “Fake” in 2019 under the Canadian independent record label Run-Up Records. "I moved here with two suitcases and one dream, and that was just to do something that can inspire people back home," Dhillon told CBC News at the Juno Awards. This will be his first time performing at Coachella.

Blond:ish

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Vivie-ann Bakos, known by her stage name Blond:ish, is a Montreal-based producer and DJ. Alongside being a praised house/techno artist, she is also an environmental activist and founded Bye Bye Plastics, a grassroots organization aimed towards eliminating single-use plastic from music venues and events. The artist recently released a lively single called “Sorry” featuring none other than the “Queen of Pop”, Madonna. She will be returning to the festival after making her debut in 2019. 

Grimes

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This acclaimed Montreal native is familiar with performing on big global stages. Her musical style is a blend of several genres, including electronica, synth-pop, and hip-hop. Her most recent release is the upbeat single “I Wanna Be Software”, produced by Calgary native IIIangelo who is also known for his frequent collaborations with The Weeknd. She last performed at Coachella in 2016, featuring guest appearances from Janelle Monae and Aristophanes for an eclectic performance. 

This lineup offers some of the best talent Canada has to offer, and the diverse range of music exemplifies the country’s multiculturalism. Hopefully, this growing exposure in the global music scene will leave a lasting imprint on future music stars and give Canadian artists the recognition they deserve.

Connecting Music and Art: Exploring Canadian Album Artworks

 Check out the evocative artwork behind some of Canada’s greatest tunes

By Sharon Arulnesan

Learn about some of Canada’s most iconic album artwork. (Sharon Arulnesan/CanCulture)

While listening to your favourite song, have you ever glanced at its album cover and wondered what the connection between the song and the artwork could be?

Often seen as supplementary to the music itself, album artwork has a dual purpose: to captivate listeners and for the musician to tell a visual story of what their music represents.

Many album covers have stood the test of time and are still viewed as some of the most iconic album art of all time. Music listeners, even the most casual, are sure to recognize Pink Floyd’s The Dark Side of the Moon's simple, yet symbolic, glass prism featured on the album cover, or the controversial baby swimming towards a dollar bill on Nirvana’s Nevermind.

Canadian musicians are no strangers to experimenting with, at first glimpse, offbeat artwork—that actually has an individualized meaning to the musician. From rock to folk to psychedelic R&B, these Canadian album covers all have a fascinating story to share.

Clouds by Joni Mitchell

Mitchell’s 1969 Clouds album artwork (Clouds via Amazon)

The Canadian folk singer Joni Mitchell has a career spanning decades of genre-shifting music, setting the stage for Canada’s alternative music scene.

The Clouds album artwork is a self-portrait of Mitchell— her first album to be a self-portrait. Mitchell is holding a prairie lily, the national flower of Saskatchewan, emblematic of her days growing up in the province.

The rich, orange-yellow sky in the artwork offers a parallel to “Chelsea Morning,” a track that is an ode to sunny mornings. Yet, as you move further down the artwork, darker colours emerge, blending themselves with Mitchell’s clothing. This sudden tonal shift could symbolize how the songs in Clouds also change into more solemn, meditative tunes. “Both Sides Now,” one of the more serious tracks of the album, is reflective of the sombre, lower-half of the artwork. The lyrics of the song ruminate on how the most joyous parts of life can also bring about the most gloom.

Fully Completely by The Tragically Hip

The Tragically Hip’s 1992 album Fully Completely (Fully Completely via Wikipedia)

The explicit artwork featured on The Tragically Hip’s Fully Completely album cover could be a nod to the more progressive culture Canada adopted during the 1990s, with a massive explosion in popularity of the alternative rock genre.

The artwork for Fully Completely was done by Dutch artist Lieve Prins and was created on a Canon colour photocopier. It may seem like a simple process, but it was actually a bit more complex than it sounds; the collage is composed of the heads of the members of The Tragically Hip and two contorted, semi-topless women, surrounded by distorted objects such as coins, flowers and sea creatures. 

At first glance, the artwork seems like a mishmash of images, comparable to works produced during the rise of psychedelic artwork during the 1960s. However, the bizarre piece was intentional, as the songs in the album are just as puzzling, if not more. The songs are reminiscent of Canadian history, told through a stream of consciousness-style lyrics. The track “Looking for a Place to Happen,” deals with the European colonization of Canada, with a scathing reference to Jacques Cartier, a French explorer who was the first to navigate the St. Lawrence River.

Secret Path by Gord Downie

Gord Downie’s Secret Path album cover (Secret Path via Spotify)

Gord Downie, lead singer of The Tragically Hip, never shied away from conceptual album artwork. Secret Path is no exception.

Based on the real-life story of Chanie Wenjack, a young Anishinaabe boy who died while trying to escape his residential school in Kenora, Ont., Secret Path aims to bring more awareness to the darker side of Canadian history and to ensure that stories like Chanie’s won’t be forgotten.

The album cover illustrates a winter scene, lined with a deep woodland, reflective of the climate when Chanie ran away from his residential school. The raven, although a symbol with differing meanings in different cultures, may allude to Chanie’s good sense of humour—in Northwest Indigenous culture, the raven symbolizes mischief and a trickster. 

The album served as inspiration for a graphic novel of the same name, detailing the life of Chanie and his escape from his residential school, featuring music from the Secret Path album and illustrations by Jeff Lemire. A film adaptation was also created, and it's divided into ten chapters, with each chapter featuring a song from Downie’s album and illustrations by Lemire, working together to tell Chanie’s story.

Dawn FM by The Weeknd

Album cover for The Weeknd’s Dawn FM (Dawn FM via Wikipedia)

The artistically ambiguous Dawn FM by The Weeknd is a more modern album that echoes themes of existentialism and mortality. The tracklist pairs nicely with an album cover that features a haunting yet fervent, aged portrait of the musician.

The artwork acts as a sneak peek into the lyrical contents of the album; the frequent motifs of death, and what it means to grow old. In the music video for the track “Gasoline,” the young version of The Weeknd is battering the old man-version of himself— perhaps emphasizing that we cannot run away from the inevitability of getting old no matter how hard we fight.

The cover could also represent the shift in The Weeknd’s discography: the gradual switch from party anthems dealing with sensual subject matters to a more mature, reflective tone in Dawn FM, illustrated by the elderly version of The Weeknd on the album cover.

Moving Pictures by Rush

Album cover for Moving Pictures by the rock band Rush (Moving Pictures via Rush)

Spanning around five decades of Toronto-based rock, Rush is only third behind The Beatles and The Rolling Stones for the most consecutive gold or platinum albums by a rock band. The artwork for Moving Pictures is just as awe-worthy as the band’s accomplishments.

A triple entendre of sorts, the red overalls-clad movers carrying paintings at first seems like an uncomplicated pun directed towards the title of the album: Moving Pictures. But, to the right, we see a group of people crying over how emotionally “moving” the paintings are. To add to the intricacy of the piece, on the back cover of the album there is a camera crew making a “moving picture” of the entire scene.

The back cover of Moving Pictures by Rush (Moving Pictures via Amazon)

Even more mind-bending, the building in the background of the album cover is no other than the Ontario Legislative Building in Queen’s Park in Toronto, a possible nod to the band’s Canadian roots.

Next time you listen to your favourite Canadian track, pay special attention to the album artwork that accompanies it. You never know what hidden messages the musician is communicating to their listeners!

Music Therapy: A Viable Profession for Students Who Are Interested in Music and Therapy

Considering music therapy? Here is what you need to know

By Candice Zhang

(Photo by Minol Song/Pexels)

What comes to mind when you think of therapy? You may visualize being in a room, sitting across from your therapist as you twiddle your thumbs and decide on what you should reveal about your life for the week. Then, as soon as you begin to unravel about recent stressors and consequences, your therapist sits there, nods and listens. 

This type of environment is often credited to psychotherapy. Although it is one of the most common forms of therapy, there are other styles which help to alleviate stress and promote well-being. These include narrative therapy, art therapy, dance therapy and music therapy. 

What is music therapy? 

Music therapy utilizes musical elements to establish a therapeutic relationship between the therapist and client, in order to support healthy development and healing. 

Within a session, a Certified Music Therapist (CMT) works with a client to address cognitive, emotional, musical, physical and social needs. They may utilize plenty of different intervention methods including rhythmic-based activities, improvisation, composing/songwriting and listening to music. 

Music therapy is a profession which many students choose to study. 

Journey to becoming a music therapist

Those who enjoy expressing themselves through creative activities while simultaneously wanting to help the world may find an interest in the profession.

For James Brown, a music therapist at the Canadian Music Therapy Fund, he felt naturally inclined to the field and did a lot of related work before entering the profession.

“I conducted a choir with disabled and autistic adults. I worked a lot with children with autism in music settings,” said Brown. “So not that I was doing music therapy, but there was a lot of therapeutic use in music.”

No path to any career is ever linear or consistent for everyone. The same holds true for pursuing music therapy. Some may have started as classically trained musicians, whereas others may have gained an interest in playing music as a form of therapy.

Brown’s journey started on the last day of his undergraduate program.

“I’ve done music my whole life and started my music training formally at Queen’s University,” said Brown. “I did my Bachelor of music in piano and I didn’t know anything about music therapy then.”

However, on his last day of classes, a discussion with his professor changed everything.

“[My professor] said, ‘What are you going to do now?’ And I said, well I don’t know,” said Brown. “He said, ‘Well you should look into music therapy.’”

The professor’s colleague was the head of the music therapy program at Concordia University. To meet the program’s requirements, Brown enrolled in psychology courses. A few years later, he got accepted into graduate school, and enrolled in the music therapy program at Concordia University.

In comparison to Brown’s journey, other music therapists have taken different journeys to receive their designation. For example, some may first enroll in the bachelor of music therapy program, which is available at Wilfrid Laurier University, and the University of Guelph. 

Sydney Boeding is a current music therapy graduate student at Drexel University. She first completed an undergraduate degree in another field related to music before deciding to switch to music therapy. Boeding cites that teaching had way too many demands, and wanted something different.

“My undergraduate degree was in music education,” said Boeding. “I taught for a semester and figured out it wasn’t for me.”

Although the minimum bar of entry to practice music therapy is a bachelor’s degree, many also hold graduate degrees as well.

Graduate music therapy programs are often rigorous, with courses covering musical and psychological components.

“Especially if you’re going above a bachelor’s level, you need to have the musical training, you need to have the psychological training,” said Brown. “There’s a lot of factors that you need to satisfy before you’re eligible for one of those programs.”

Other than having a specified knowledge of music, students will also have to learn about the different aspects of therapy and about interacting with different populations. Music therapists often work with a diverse group of clientele. Boeding also has noticed this throughout her graduate music therapy program as well.

“As a graduate student, I was not really aware of the reading and how much work I have to put into a graduate degree until I got in,” said Boeding.

However, although the journey to becoming a music therapist may sound challenging, each is “not the same for everyone” according to Brown.

The rewards of being a music therapist

Similar to other helping professions, music therapists play a vital role in an individual’s life. They allow clients to self-reflect and reframe their situation in an unconventional method through the expression of strong emotions through music.

Brown has seen a lot of this throughout his practice with many adults branching out of their comfort zones during sessions. A recent example occurred in a group home where Brown went to visit in October 2023.

“[The group home] wanted music therapy for a client who was experiencing a lot of isolation issues,” said Brown.

The man was said to not engage with a lot of people. However, Brown was able to change this by utilizing multiple music therapy techniques which were focused on client engagement. Although the first few attempts did not work, Brown continued to form a therapeutic relationship with the client. One day, slowly but surely, the client came out of his shell.

“So just within the last couple of months I’ve shown up every week to play songs for him,” shared Brown.“I’ve kind of learned his musical preferences and I’ve learned when he is feeling anxious and how to kind of calm him down and keep him in a comforting musical space.”

Now, the two of them share a bond through music.

“So after almost a year of that, we’re at the stage where he will look at me, he will hold eye contact with me and smile for minutes at a time.”

On the other hand, Boeding has experienced her fair share of breakthrough moments in her internship at a long-term care facility as well. One client in her internship had experienced cognitive difficulties and had challenges with expressive speech. The client faced difficulty in terms of responding to the environment around them. However, this pattern had changed one day.

“My supervisor was using a drum to help [the client] and her eye movement, with eye tracking, just moving the drum from one side to another,” said Boeding. “And she got over to the left side. And the patient saw me and I saw a look of recognition.”

Seeing clients and patients develop into individuals outside of their comfort zone has been a highlight for Boeding and Brown over time.

For future music therapists

Music therapy is an innovative method to pair a creative interest with a therapeutic strategy. However, the training is anything but easy with Brown describing it as “intense,” because of all the therapeutic and self-reflective practices which are involved.

Brown said, “It challenges everything about the world, about other people, but really about yourself.”

However, despite the challenges and intensity, there are plenty of opportunities to make a difference within the field.

“Whether you are writing a song with somebody [or] are listening to music with them…or even playing a song for someone who’s sick in a hospital bed,” Brown trailed off. “[It’s impactful] letting them know that there’s another person there to comfort them and they’re not alone.”

According to Brown, building relationships with clients through music is special because it’s contributing to the greater good of the community.

Brown affirmed, “Music therapy is using music to help people, as silly as that sounds, as broad as that can be. I think that really is the truth of it all.”

Masthead Wrapped: CanCulture’s top Canadian songs of 2023

13 Canadian tracks encapsulating our year 

By Nalyn Tindall

With Spotify wrapped, making waves once again, and exposing the most vulnerable for their fascinating taste in music, the masthead decided to do them a favour and compile our favourite songs. Who cares if your top artist of 2023 was “Brown Noise,” tell your friends you listened to these Canadian hits instead. Here are our top picks for our favourite Canadian songs this year. 

Anna-Giselle Funes-Eng, Multimedia Editor

“I’d Have to Think About It” by Leith Ross

I love Leith Ross with all my heart! I got to see them play live in June and they are majestic. I love how romantically dramatic this song is. I listen to it whenever I feel like screaming in a soft indie-folk way.

Caelan Monkman, Managing Editor

“Gigafire” by Half Moon Run 

Half Moon Run is a band that continuously impresses me. The Montreal trio is consistently reinventing itself, with their latest album, Salt, being no exception. While the album is full of solid tracks from start to finish, “Gigafire” is a personal favourite of mine. The deep growls of the electric guitar paired with a lush arrangement of strings and piano make for a truly cathartic listening experience, not to mention frontman Devon Portielje’s stellar vocal performance on the song. 

Talia Saley, Food Editor

“Sk8er Boi” by Avril Lavigne 

I grew up listening to Avril Lavigne and she has been an iconic Canadian artist in my life. Whenever I hear her songs on the radio, or in public, I’m transported back to my childhood. It makes me feel rebellious whenever it listen to her!

Vanessa Tiberio, Social Media Manager

“Fever Pitch” by Hotel Mira

This song is by Vancouver-based Indie-rock band Hotel Mira, one of my favourite bands for the past six or so years. “Fever Pitch” catapults listeners into the sunny embrace of summer vibes with upbeat melodies and a strong, boppy chorus. I can’t help but nod my head along to the beat of this song while a smile inevitably forms across my face when I listen to it.

Mariana Schuetze, Editor In Chief

“Edge of the Earth” by The Beaches

One of my top songs from this year is “Edge of the Earth” by The Beaches. In 2023 I started working at TMU’s radio station, Met Radio, so I’ve been slowly getting introduced to a variety of new songs. The Beaches’ latest album, Blame My Ex, has been charting on Met Radio’s charts for a bit now, so I came across their songs a couple of times. Ever since I listened to “Edge of the Earth,” it hasn’t really come out of my mind. It’s a really fun song, I really like the beats and their vocals on this song, really makes me want to get up and dance.

Grace Henkel, Arts Editor

“A Case of You” by Joni Mitchell

I love it because the lyrics and guitar strumming are so raw. Joni’s vocals tell a painful and beautiful story that feels timeless. I have so much nostalgia attached to that song. 

John Vo, Managing Editor

“Say it Right” by Nelly Furtado 

In the plethora of proclaimed quintessential“pop princess” albums, Nelly Furtado’s Loose remains a classic on 2000s playlists and in any trashy club wanting to appeal to the masses. For me, “Say It Right” is the perfect representation of the album: sensual, confident and catchy as heck.

Khushy Vashisht, Features Editor

"i wanna be your right hand" by Nemahsis

This has been my favourite Canadian song of the year because of the imagery it sets and how it perfectly captures feelings of turmoil, inferiority and determination fuelled by said turmoil.

Sarah Grishpul, Film Editor

“You Ain’t Seen Nothing Yet” by Bachman-Turner Overdrive

This song brings me back to memories of my dad and my weekly driving trips. We would blast “You Ain’t Seen Nothing Yet” on the radio along with several other classic hits from the '70s, '80s, and '90s. During these trips, we'd often break out in rhythmic headbanging and off-pitch singing while tearing down the road to the public library. Since moving away from home and adopting a public transit commuter lifestyle, those small memories of carpool karaoke feel utterly nostalgic.

Tara Khoo, Social Media & Graphics Director

“Music Box” by Leith Ross 

I saw them live this year and it was the most beautiful experience ever. I love listening to this song after a long day.

Sena Law, Fashion Editor

“glo up +” by dci. and damn drone

Featured briefly in Spotify’s Rap Caviar playlist, “Glo Up +” is featured on Different Dimensions 1.5, a summer collaborative project by Toronto artist damn drone and dci. from Montreal. This energetic track features dynamic vocals over an enchanting instrumental, taking influences from genres of hip-hop, pop and plug-n-b. The two artists compliment each other in their vocal deliveries and range, giving us this summer (and frankly, year-round) bop. 

Khadijah Ghauri, Graphic Design Manager

“Virginia Beach” by Drake 

This is my favourite song because I’m a huge fan of Drake, and he’s truly my Canadian legend! 

Nalyn Tindall, Music Editor

“In Too Deep” by Sum 41 

Whenever I feel the need to dive back into childhood nostalgia, this song does the trick. The raw intro instantly transports me to the back of my parent's 2005 Ford Focus, driving to elementary school and listening to the local radio station playing rock hits from “the 80s, 90s and now.” To me, Sum 41 is the epitome of early 2000s Canadian rock. I can turn on this hit any time throughout the year to gain an instant burst of energy. From the epic guitar riffs to the catchy chorus, this song will always be a masterpiece in my books.  

What was your top Canadian song of 2023? If you’re having trouble deciding, listen to the playlist of our favourite Canadian songs here on Spotify. 

A Celebration of Choral Classics

Director Matthew Jaskiewicz leaves behind a legacy of unity and talent with the Toronto Concert Choir

By Terri Edward

On Saturday Dec. 2, the Toronto Concert Choir will perform their final concert at the Knox Presbyterian Church (Photo by Ylanite Koppens)

On a quiet Monday night in Toronto Metropolitan University’s (TMU) Kerr Hall, a classroom suited for small lectures had a group of novice and advanced singers come together. Cracking jokes and exchanging stories, they carry folders of sheet music to use for the night. These members meet every week, full of dedication and excitement to practice their craft; classical choral music. 

This weekly celebration of music is a regular routine for the Toronto Concert Choir, a TMU affiliated classical choir founded in 1984 previously under the name Oakham House Choir. Leading the group is experienced music director Matthew Jaskiewicz, who founded the choir alongside Marie Dowler in 1984. 

Jaskiewicz’ musical journey began in Poland where he conducted the Warsaw University Choir. Since immigrating to Canada in 1984 and founding the Toronto Concert Choir, Jaskiewicz has made it his mission to keep traditional music alive on campus by providing a space for musicians of all skill levels to grow and experience the gift of classic choral music.

After over 35 years of choral performance, the choir is approaching its final performance on Dec. 2, 2023.

Jaskiewicz's experience in classical music has shaped the way he directs the Toronto Concert Choir as he said that he “keeps doing what [he] used to do.” From Poland to Canada, Jaskiewicz has nurtured the foundations of music and the choir has continued this tradition, nurturing both the music and him. He has referred to the choir as his “adopted family” and Canada his “adopted home.”

“This is a very special kind of group, those are all sensitive people, people who like and know how to work together for a common goal,” Jaskiewicz expressed. “They are very loyal, wonderful people, [they] are my best friends.”

Although there was a decline in the choir’s membership after the COVID-19 pandemic, the sense of community is undeniable — something reiterated by Akua Benjamin, a longtime member of the choir.

“You have people who are trained, but you [also] have people like me [who] just love to sing.” Benjamin said, praising Jaskiewicz’ ability to bring together vocalists from different backgrounds and giving everyone the opportunity to express their love for choral music.

The communal and supportive energy present during rehearsals is apparent from the moment you step through the door. Mingling and laughter fill the small room, with many members describing the choir as a found family. A majority of the 28 members came prepared with thick binders of sheet music, showing their dedication to the space and to Jaskiewicz’ direction. Not only is Jaskiewicz a main contributor to the positive environment of the choir, but a recipient of the positivity. Members are eager to support and assist Jaskiewicz, even offering to help him find his missing page and with the pronunciation of French lyrics.

“Everyone’s very welcoming,” said choir member Eleanor Bishop, toward others in the group. “[Jaskiewicz] brings a lot of passion and patience to the choir, and we couldn’t do without him.”

Shelagh Cowie began singing with the Toronto Concert Choir in the 90s. To her, the community was especially important during the pandemic, as it was one of the few ways people could connect with each other.

“[Jaskiewicz is] absolutely vital, without him there wouldn’t be this community. He’s the reason we exist.” Cowie said when asked about Jaskiewicz impact on the choir’s community and overall energy.

Despite the passionate members, an inspired director and supportive staff, a lack of interest and financial support have left the choir with nowhere to turn.

The Toronto Concert Choir's last concert will take place this Saturday, Dec. 2, at the Knox Presbyterian Church. The concert titled The Very Best Time of Year will feature the work of Franz Hubert and incorporate traditions and songs from around the world. The concert aims to blend choral classics with contemporary Christmas carols.

“After this concert, we will be left with nothing,” said Theresa Adams, the choir’s administrative director. “We are knocking on a lot of doors.”

Yet, the knocks of the choir seem to be going unanswered as the date of their final performance goes closer.

As community members celebrated the choir, Jaskiewicz had a lingering question.

“We are very proud of our history, but what's the future?”

The closing of the choir leaves a gap at TMU, and Jaskiewicz fears that this space will not be filled. While his history and experience facilitate his role in the classical music sphere, his encouragement for other groups to explore more genres is profound. He expressed joy at an hypothetical of the university hosting several choirs as both Jaskiewicz and Adams agreed on a need for arts and music at TMU.

The choir has acted as a community for a wide range of people to come together and create music alongside one another. They were able to fight through a global pandemic and continue performing during a decline of interest in classical music.

“[COVID-19] killed a lot of choirs, but we didn't want to let it kill ours.” Adams said, describing the choir's sense of feeling “lost” after the pandemic.

Jaskiewicz and the Toronto Concert Choir have a profound history of perseverance and adaptability; they have created a large impact and a lasting legacy at TMU. However, instead of solely celebrating the choir, Matthew asked that we think towards the future, forging a space for “artistic life" on campus.

You can get tickets to the Toronto Concert Choir's final performance on Eventbrite.

Indie music thrives at Grounders Music Festival

From sunlit stages to twilight tones, the Grounders all-day experience was one to remember. 

By Nalyn Tindall 

Emma Beckett Takes the stage at Grounders Music Festival (Nalyn Tindall/Canculture)

Grounders Music Festival brought life to OBJX Studio, showcasing the talent of nine artists from across the Greater Toronto Area (GTA). Conceived by two Toronto Metropolitan University students, the festival seamlessly blended various genres, ranging from indie to synth-pop, creating a dynamic and inclusive atmosphere that resonated with both attendees and artists.

As the festival kicked off, the venue was bathed in sunlight streaming through the floor-to-ceiling windows, casting a warm and inviting glow upon the bustling crowd of students, community members, and artists. The festival's commitment to community building and inclusivity was evident throughout the event, reflecting the passion and dedication of its student creators.

Shoshana Glory set the tone for the festival with her ethereal voice, accompanied by strong guitar skills, creating a mesmerizing atmosphere that reverberated with indie charm. The seamless cohesion of her bedroom pop sound conveyed both finesse and power, with each note flowing effortlessly into the next. Glory’s performance not only showcased her technical proficiency but also created a tranquil ambiance, leaving attendees immersed in the soothing embrace of her music.

Sofia Aedon emerged onto the Grounders Music Festival stage with a magnetic presence, infusing the atmosphere with a bold and assertive energy that demanded attention. Her performance was characterized by deep, resonant vocals that seemed to echo through the venue, leaving an indelible impression on the audience. What set Aedon apart was not just her vocal prowess but also her remarkable versatility as a musician. In a display of skill, she effortlessly swapped instruments, showcasing a level of artistry that added an intriguing layer to her set.

Sofia Aedon shines at Grounders (Nalyn Tindall/CanCulture)

Emma Beckett's performance was nothing short of mesmerizing and stood out as my personal favourite. With her skillful use of a looping pedal, she crafted intricate layers of sound that enveloped the audience in a dreamy and soulful atmosphere. Her authentic sound, a refreshing departure from the mainstream, resonated with a genuine and heartfelt quality that elevated the entire festival experience. The dynamic highs and lows of her music created a sonic journey, guiding the audience through peaks of emotion and valleys of introspection. What truly set Beckett apart was not just her technical prowess but also her lyrical authenticity. Each word she sang felt like a personal revelation, weaving a narrative that resonated with the collective experiences of the audience.  Including the lyrics in the song “Little Ways,” which tell the story of sacrificial love with impactful lines like “I hate to lose but you can beat me if you want.” 

Curt James, featuring an eclectic three-piece setup, delivered a mellow and smooth performance, complemented by the venue bathed in a purple sunset. The combination of soothing harmonies and driving rhythms not only showcased musical richness but also seamlessly transitioned the atmosphere into a nighttime mood, adding an extra layer of beauty to an already impressive performance.

Curt James ushers in the sunset during his set (Nalyn Tindall/CanCulture)

Nia Nadurata fearlessly embraced intensity and authenticity throughout her performance. With unbridled passion, she navigated the realms of raw and authentic rock. The powerful instrumentation served as a driving force, complementing Nadurata's emotive vocals. In a particularly noteworthy rendition, their cover of Amy Winehouse’s "Valerie" not only paid homage to the original but also showcased their ability to infuse a classic with their own unique flair. Nadurata's vocal prowess, coupled with the band's adept instrumentation, created an emotionally charged rock performance. 

City Builders brought an EDM flair to the festival, featuring airy vocals and a drum pad. The duo's stage presence was palpable, creating an electric atmosphere that resonated with the crowd and, much like a couple deeply in love, their synergy elevated the performance, making it a standout moment in the vibrant lineup.

Jules Auckland commanded the stage with undeniable charisma, boasting a great stage presence that captivated the audience from the first note. Her beautiful voice resonated throughout the venue, adding a melodic and enchanting quality to her performance. The fusion of fun indie pop and rock elements in her sound created an energy that was both invigorating and infectious, making it impossible for the crowd to resist moving to the rhythm. 

The Beans took the stage with an infectious blend of funky grooves and rock rhythms, channelling the spirit of the 70s with a brashy, retro vibe. Their performance resonated with a distinct energy that reverberated through the venue, creating an atmosphere reminiscent of the golden era of rock. As a collective, The Beans showcased remarkable strength, seamlessly intertwining their individual talents into a cohesive and dynamic sound. The audience was treated to a musical journey that not only paid homage to the past but also injected a fresh and invigorating new spirit into their music. 

Heavenly Blue closed the festival on a high note, leaving attendees with a memorable musical experience. The band's indie rock charm infused the closing moments with an irresistible energy, uniting the audience in dance and high-energy music that added the perfect final touch to the vibrant atmosphere of Grounders Music Festival.

Nia Nadurata ushers in the nighttime set (Nalyn Tindall/CanCulture)

The festival not only delighted the senses with its eclectic musical lineup but also provided a shopping haven for attendees. There were multiple vendors offering an array of handcrafted goods, vintage clothing, and even a booth equipped to apply tooth gems. As festival-goers explored the diverse offerings, they were treated not only to the sounds of the live performances but also to the visual and tactile delights of unique, locally crafted items. There were also free refreshments as well as a bar offering a variety of locally crafted drinks, further enhancing the communal and celebratory atmosphere of the festival.

The meticulous recording throughout the festival ensures that the artists' performances can be enjoyed beyond the live event. This thoughtful approach aligns with the festival's goal of creating a lasting impact on the community and providing a platform for underrepresented voices in the music industry. Overall, Grounders Music Festival succeeded in bringing together a rich tapestry of impressive musical talent, creating a memorable and inclusive event for all. The nine artists showcased during the festival were able to bring their own charm and sound to what was overall a very cohesive line-up of spectacular local talent.

Kip James might just have a fighting chance

The Toronto busker is making his mark one song at a time 

By Nalyn Tindall 

Kip James playing guitar on a beach in Algarve, Portugal. (Photo assets courtesy of sot.d_ / Instagram, graphic by Nalyn Tindall/CanCulture)

If you attended a concert at Budweiser Stage this summer or ventured outside the Rogers Centre after a Blue Jays game, chances are you’ve likely encountered the vibrant musical force that is James Flannagan, better known as Kip James. “Kip,” being the name he was almost given as a child, one he feels holds more star power.

Amplifier humming with live drum backing tracks boasting and his guitar and vocals soaring above it all, he’s hard to miss, and that’s exactly what he’s aiming for. 

Kip James, a self-described entertainer, is on a mission to inject positivity into a world that often feels chaotic and divided, uniting people through the power of music. His performances go beyond mere entertainment; they generate a profound sense of unity that transcends the boundaries of spoken language in a way only music can. 

Busking, the activity of playing music in the street or another public place for voluntary donations, is a testament to the unity art can inspire, even amid chaos. As James speaks of protests and counter-protests, he contrasts the harsh, divisive scenes with the harmonious interactions he fosters through his performances. "I'm doing the exact opposite,” he says. “The unity of it is so beautiful.” 

Audiences can be found dancing together and singing along to his covers, a reminder that music has the power to bring people together in spontaneous ways. He hopes his music can remind people to come together, share their love for music and enjoy a moment of unity, no matter how different they may be.

His "make it happen" attitude is reflected in every aspect of his musical career, demonstrating his steadfast dedication to his craft. During the summer, he diligently tracked the major events unfolding throughout the city's core, recognizing the prime opportunities to connect with his audience. This led him to perform before and after every baseball game this season and for the crowds ushering out of the concerts of notable stars who played in Toronto this summer. James could always be found gracing the streets with his music and fostering a communal ambiance, riding on the good vibes generated by these events.

Among the memories etched in James' mind, one moment stands out. An older man, possibly in his late 70s or early 80s, approached with his daughter. "Can you play 'Pretty Woman' by Roy Orbison?" the man requested. James enthusiastically obliged, and the music profoundly impacted the man. Unbeknownst to James, this outing to watch a ballgame marked the older gentleman's first venture outdoors in a year, following the loss of his wife. James' performance had allowed him to hear his favourite songs and, for a brief moment, ease the pain of his loss.

Inspired by his dad’s classic rock CDs which made up the soundtrack of his childhood, James picked up the acoustic guitar at the age of 12. With determination and passion as his only guides, he taught himself the songs that formed the core of his musical upbringing. Many of these songs make up his busking repertoire today. 

Kip James' journey would not be complete without mentioning his band, Fighting Chance!, which he formed during his university years. Acting as headman and bass player of the indie band, he has joined forces with his younger brother Joe on the drums. 

The band members, including guitarists Dylan Duthie and Ryan Walsh, have diverse influences, each bringing their unique styles to the table. According to James, the band chooses not to subscribe to a particular genre; their repertoire spans classic rock to modern indie, allowing them to craft an eclectic sonic identity that resonates with a diverse audience. Their Spotify describes their sound as “90's radio rock with early 70’s powerpop,” while their Instagram bio identifies the group as “college radio rock revival.” 

Their most recent single, “Spin Me Round,” has been warmly received by the many fans James has acquired throughout his busking endeavours. The band aims to release a single every month and plans to tour next year. 

Kip James' journey isn't tethered to Toronto, however. Fleeing the cold weather, James has taken his act international. He recently made his way to New York City, busking in iconic spots such as Times Square and Madison Square Garden. He then headed overseas to play the streets of Portugal, serenading folks across the world. But true to his roots, he’s returned to Toronto, reuniting with Fighting Chance! to play a small tour throughout Ontario this month. 

The path Kip James treads is marked by sheer dedication and unwavering persistence. He is far from content with standing still, instead tirelessly working to turn his dreams into a tangible reality. His performances, whether they be on the streets of Toronto, NYC, or Lisbon, are a whirlwind of good vibes, beginning with the first strum of his electric guitar and gaining momentum with each passing note. Keep an eye, or rather an ear, out for the eclectic busker the next time you find yourself at a major event downtown Toronto, and don’t be afraid to sing and dance along. 

The freaks of Queen Street West: Toronto’s goth music history

In the heart of Toronto, the freaks and ghouls roam the streets… and the nightclubs!

By: Klea Pinari

The first chilling strum of gothic guitar is your opening to a world of darkness – a world cloaked in black, but one that still feels unequivocally bright. 

When many people hear the word ‘goth,’ they conjure the same image: skin pale as a ghost, eyelids painted jet black. All that comes to mind is a jarring set of traits, a bold and enthusiastic stand against mainstream culture.

This image is, more or less, an accurate depiction of many goths in the scene. However, the core of goth culture is not their heavy eyeliner or their billowy Victorian sleeves, even though style is an important aspect of being goth. The core of the culture itself is the music. 

The goth scene is a revolutionary subculture that started its journey back in the ‘70s before bursting into the ‘80s with flair. Goth music originated in the U.K. as a result of the post-punk movement, blooming into a large scope of closely related genres that all held the same musical heart.

Some of the most iconic musicians making up the goth scene include Bauhaus, Siouxsie and the Banshees, the Cure and Joy Division. Genres including post-punk and dark wave, along with glam rock and hard rock, are key components of goth’s musical sound and some of the driving forces behind the creation of goth rock. These genres are saturated with moody and experimental resonance. Goth music is unique in the way that it does not bend to the will of any conventional sound – it simply hands itself to the listener.

This music does it all and explores the dark crevices of musical sounds and themes that popular music is too afraid to peer into. The harsh melody of the distorted guitar and the lilted tune of the singer’s voice come together to create an experience that can only be explained in simple words: haunting and beautiful. 

Goth first emerged in Toronto in the ‘80s, but it wasn’t always known as goth. Toronto goths go by a handful of names, including “Batcavers,” as stated by the Encyclopedia Gothica. Batcavers is an ode to The Batcave, a London club that kickstarted the goth movement.

Goth music brought forth a culture of goth clubbing, followed by goth dancing and accentuated by goth fashion. The defining feature of each is goth’s incessant need to be completely authentic.

Clubbing is not only an integral part of the goth scene, it’s the home for all things goth. In the ‘80s, there was an influx of after-hours alternative clubs, as discussed by journalist and DJ Denise Benson in her article Then & Now; Voodoo, which highlighted the history of one of the early Toronto clubs named Voodoo. Many other clubs could be found along Queen Street West and other parts of downtown Toronto, playing underground goth rock, post-punk and more.   

Some of the most iconic clubs included Sanctuary: Vampire Sex Bar and Nocturne, which could be heard booming into the early hours of the morning with the beat of stripped drums. These clubs unified the lonely Toronto batcavers under the safety of the music and a shared understanding of their darker side. For the first time, a goth community was formed with like-minded people who simply wanted to enjoy the noise.

Goth dancing was all the rage in the clubs. The style was very distinct and bizarre, as is everything that has to do with goths. It was an erratic flailing of arms, movements that flow followed immediately by stuttering movements that jerk, a haunting amalgamation of feelings in the form of dance. These dances could range from anything between stomping your feet and banging your head aggressively, to languidly letting your hands move in any direction they want. Goth dancing is all about feeling the music and moving exactly in the way your heart tells you to.

Very soon, Queen Street West was crawling with Batcavers. In 1988, they officially adopted the term “goths.” But even before identifying as goths, they had a third, more intimate name for themselves: freaks. This label was not derogatory; in fact, it was a badge of honour for all those who wore it, and it remained as such through the ensuing decades. The term freak was an embrace of the authentic and off-putting nature of their existence.

Goth music sang of the strange, the sickly, and the sexy. It was a medium for liberation in a new unusual light. Being a freak was a rejection of the societal norms of the ‘80s and ‘90s and an acceptance of the values of goth music: an all-inclusive, queer, sexually liberated form of art. The label was a representation of the darkness and strangeness of the genre, which was exactly what made — and continues to make — the music so beautiful. 

Artists such as Masochistic Religion and Vampire Beach Babes were some of the goth bands that emerged in Canada during the height of the movement. They made numerous references to monsters and vampires in their art. The existence of creatures of the night is a frequent goth symbol and helps to characterize the idea of the “other.” These monsters are given the spotlight in goth music, acting as guiding lights for the freaks to express themselves for who they really are, no matter how the rest of the world reacts to them.

Though the goth scene has died down since the ‘80s and ‘90s, there are still pockets of belonging peeking through the dark crevices. Sanctuary and Nocturne have both closed down, but there are new clubs in their place, teeming with the life of the undead. See-Scape is one of the clubs that remain to preserve goth culture, but there are also goth events at venues such as The Garrison and Bovine Sex Club.

Canadian artists like Dermabrasion and ACTORS are still active and create music that captures the essence of goth rock and all the other genres that make up the goth music scene. The decline in goths wandering down Queen Street West is exactly why it’s important for there to be new artists continuing to pave these pockets of belonging. Lol Tolhurst, drummer and co-founder of The Cure, said that goth was still alive and well through new artists, despite it not looking the same as when he was at the forefront of the movement. 

“I see all these people live in small places — their way out was us (The Cure),” he said in an interview with CNN. “I’m very honored and proud of that. That’s what keeps (goth) going.”

Goth music uses its doom and gloom as a means to explore the uncanny, to welcome the freakish and the bizarre. It’s not consumed by the darkness – it’s uplifted and inspired. It’s haunted. It’s beautiful.  

Spooky Canadian songs to listen to this Halloween season

Romanticize the darkening days with some tunes to match.

By: Melanie Nava Urribarri

Instead of the groans and moans of the city, listen to some spectral, spinning music (Nalyn Tindall/CanCulture) 

You feel the temperature around you drop, a cool wind slipping through the threads of your clothes and tickling the skin underneath, sending shivers down your spine. The sun is blocked by grey clouds, and you swear you hear a taunting laughter carried by the breeze. Even the few rays of sun the clouds let escape are not enough to warm you. Looking straight ahead, city streets dark and barely lit by flickering lamp posts, all that’s left to transform this scene into an episode of blissful escapism is a song.

Luckily, we’ve composed a list of six Canadian songs to add to your playlist this spooky season.

This Hollow World by Johnny Hollow

Starting with “This Hollow World” by Johnny Hollow from Guelph, Ontario. The band, formed in 2001, holds their own brand of avant-garde pop achieved through blending organic instruments with electro-industrial sounds. Their sound is accompanied by intricate dark art by digital artist Vincent Marcone in their videos. Their niche touches steampunk and goth genres, and this song from their album Dirty Hands’ would be a unique addition to your Halloween playlist, adding a haunting cello from cellist Kitty Thompson, eerie riffs from guitarist Steve Heihn and spine-chilling vocals from singer Janine White.

Tales of the Phantom Ship by Lennie Gallant

Released in 1988, this next song is from Canadian Folk singer-songwriter Lennie Gallant’s debut album Breakwater. With the use of mandolin, harmonica, violin and mandocello, Gallant tells a ghost story in “Tales of the Phantom Ship” inspired by the legend of a ghost ship in Northumberland Strait, the southern Gulf of Saint Lawrence in Eastern Canada. The legend dates back over 250 years, and the ship in the ghost story is typically depicted as a schooner with three or four masts and pure white sails, which are said to become completely engulfed in flames as onlookers watch. Take note of the lyrics and immerse yourself in the ghostly scene set before you.

Chasse-Galerie by Claude Dubois

A song with a devilish tale, “Le Chasse Galerie,” also known as “The Bewitched Canoe,” is a popular French-Canadian legend about lumberjacks working around the Gatineau River who make a deal with the devil. The tale has origins dating all the way back to when French Settlers arrived in Canada and swapped stories with Indigenous people. It is said to be a mix of the tale of a French nobleman named Gallery who loved to hunt so much he missed Sunday mass and was punished to fly forever chased by horses and wolves, and an Indigenous legend about a flying canoe. The hair-raising song sung by Claude Dubois was released in 1978. It utilizes a beautiful, sorrowful piano melody along with string instruments to tell this soul-stirring story.

Lost Jimmy Whelan by Clary Croft

“Lost Jimmy Whelan” is another Canadian folk song inspired by traditional ghost stories originating in Canada. This tale is one of grief, a ballad written about a young man who died while working on what was likely a river drive. The ghost appears to his lover as she wanders along a river bank, and many have claimed the ghost to be Ontario lumberman James Phalen, who, in actuality, died on a tributary of the Ottawa River around 1878. The song itself has been circulating since at least 1886. Clary Croft is a folklorist, writer, and entertainer from Nova Scotia, and his version of the song was released in 2021.

The Comeback Kid by Lindi Ortega

Released in 2018, this song is an alternative/indie, country song by Canadian singer-songwriter Lindi Ortega. Born in Toronto, she spent some time in Nashville, Tennessee before moving to Western Canada. “The Comeback Kid” is a fast-paced, haunting song about the revenge of a character who was shot but didn’t die; a ghost who comes back to life for relentless vengeance. Ortega’s vocals are scary-good and will certainly send another set of chills through you, along with the beat of the drums which will keep you dancing all Hallow’s Eve night.

Ghost by Fefe Dobson

Finally, the list would not be complete without this hit Canadian pop song from 2010. While not necessarily a “spooky” song, “Ghost” by Toronto-born artist Fefe Dobson continues to be a Canadian favourite with a thrilling tune and relatable lyrics. This song tells a story of a heartbreaking betrayal that would certainly “spook” anyone who has lived it. Adding this one to your Halloween party playlist will have you seeing a flash of recognition on almost every Canadian’s face and will surely get the party going.

Finished reading? Start listening! Now you can be sure to get lost in the ghostly whispers of time and the blood-curdling tales told in these Canadian songs this season.

A Q&A with Toronto musician and producer UNITY

The self-produced electronic musician is working on creating a “unique sound that will not resemble anything else”

By: Caelan Monkman

Toronto-based musician and producer UNITY is a fierce electronic superstar in the making. Following in the footsteps of her idols like FKA twigs and SOPHIE, the self-produced musician blends futuristic and psychedelic electronic/trip-hop beats with her own ethereal vocals. Ahead of the release of her newest single and music video, “SOMEWHERE IN TIME,” CanCulture’s managing editor and former music editor, Caelan Monkman, sat down with UNITY to learn more about her creative process

Much of UNITY’s musical and visual imagery stems from sci-fi and futuristic themes (Photo: UNITYISEVERYWHERE)

This interview has been edited for length and clarity

Getting started, I wanted to talk a little bit more about you. You're a Toronto musician and producer, but who is UNITY?

I came from Moscow, and I'm currently based in Toronto. I'm an experimental electronic artist. My primary focus for now is music. I'd say that a huge inspiration for me is Pink Floyd and, in general, 60s and 70s psychedelic rock. I also love everything that FKA twigs does, and SOPHIE is a huge inspiration for me. So anything ‘beyond normal,’ you know? Any type of music that sets you in a zone of ‘beyond the genre.’

Can you tell me more about the name UNITY? You’ve chosen to not just perform under your own name, but was that a deliberate choice?

I just like the way it sounds first of all, and secondly, there was an episode of Rick and Morty where Rick travelled to another planet, and this whole planet had this universal consciousness — so every inhabitant of this planet had the same consciousness — and this consciousness was named ‘Unity.’ I was so amazed by this idea that I decided to pick up the same name.

How does that idea play into your music itself?

I feel like my music is very space-y and futuristic, so it kinda resembles the idea of space exploration, trippiness and wild sounds. I'd say that I like to work not in terms of genre, but by just exploring the sounds that I like, picking them, mixing them up together and combining something new. I'm working on creating my unique sound that will not resemble anything else.

What sort of steps do you take creatively to craft a sound that doesn’t resemble anything else?

Creating “SOMEWHERE IN TIME”  helped me drastically expand on building my unique sound because the song went through a lot of stages. First, it was a techno song, then I reframed it and changed some patterns, added some trap elements, then I added some hand drums, then I played with my voice. So basically, I just made different versions of the song and combined different pieces of each of them together in a way that sounds good to the year. That's kinda my process: I experiment a lot with various genres and try to pick the sound I like the most — or the drum pattern, let's say. And I try to implement this to another structure from another genre. Basically, I mix it all together until I like the final result.

“SOMEWHERE IN TIME” is, in my opinion, the ‘thickest’ track of yours thus far — musical timbre and texture-wise. What can you tell me about the production of the track?
It has around 100 tracks in it. It has various syncopated drum patterns and a lot of complex sound design effects — especially in the very beginning of the song — that I layered by myself, just creating a bunch of sounds and layering them all together. There weren't a lot of melodic parts in it, but I made sure that my voice played the role of the instrument in most of the parts. I really wanted to make it as psychedelic and abrupt and harsh as possible to translate the idea of the song. The song is a part of my concept album that's going to be out at the end of this year. And this song specifically takes the listener on a cosmic journey through a wormhole, where the consciousness becomes omnipresent, and you experience every single thing all at once. I just wanted to translate this feeling through the sound — that's why it's so intense and unpredictable — because when you’re experiencing everything all at once, you can't really focus on anything.

You've said that you're doing a concept album as your first album. That's an ambitious move. What sort of challenges has that presented to you?

It was pretty challenging in terms of forming all of the songs into holistic pieces of the narrative that I wanted to translate. I was just writing the songs, and along the way, I was switching some details in the whole story that's in the album. The other challenge for me was to make it sound like a holistic piece. Because I experiment a lot and some of my tracks are too different from one another, it was just hard for me to find the sweet spot between all of them and mix them together so it sounded like an album and not just separate singles. But I think I did a good job at it. It’s certainly something to work on, and I can potentially do the next album better in some ways, but for now — for my first album — I think I did the very maximum that I could.

Does that mean you’re already thinking about your next album and where you can go from here?

Oh yeah, absolutely. The first album is going to be very experimental, and I didn't want it to sound commercial because my goal was to define my own sound and to experiment as much as I did and find those pieces that I’m comprised of as an artist. Then, moving forward, I’d implement them into more ‘listenable music’ — something you can dance to. So I think for the second album, I'm planning to do more of a commercial album — but not in a bad way, y’know? — like something that people can dance and sing along to. Something more interactive for the listener.

Speaking of “interactivity for the listener,” you’ve mentioned online that you’ve been working on crafting your sound for the stage without the use of laptops because you want to create an “organic live experience.” How does that work as a largely electronic musician?

My band and I use the guitar, and sometimes, for the live shows, we change the synths to the guitar, so we just try to find a similar sound on the guitar and play it. For the drums, we're actually using a Roland drum pad, and we install the sounds onto the drum pad, and it allows us to play any set, change the patterns, anything. So that's kinda what we're going for to create the most organic experience because I feel like, for some listeners, it's not as entertaining to watch the performance being on a laptop.

Along with the challenges that have come with converting your music from electronic to instrumental, have there been musical discoveries?

I realized that I could actually use more guitar in my productions because with electronic guitar, again, you can apply a lot of effects and experiment with the sound of the guitar itself. And I feel like it adds a lot more organic feeling, and it suits my voice and my drums really well. I feel like that was the biggest discovery: I can actually implement real instruments, and it will still sound pretty electronic.

Shifting focus a little bit, can you tell me more about your music video for “SOMEWHERE IN TIME”?

I think we worked on it for a few months. It's gonna be a space-y, sci-fi futuristic music video. It’s very dark and very suitable to the song vibe I guess. We worked a lot on the set. We had an amazing costume designer who made this wire hat for me, she really worked on the costumes really well. We had an amazing director of photography who shot the whole thing and had amazing shots. And obviously, the director who made this whole thing work together and who basically came up with the idea. And I was in the process as well. I wasn't just somebody who the whole crew was working with — I was also suggesting things and actively adding my own ideas. It was just overall an amazing experience of working with people who are really excited about this idea. A lot of people have been telling me that they love working on creative projects like this, so I feel like I've met a lot of people, and I just generally had an amazing life experience of shooting a music video.

What sort of inspirations were behind the visuals of the music video?

My main inspiration was 2001: A Space Odyssey. It's one of my favourite movies, for sure. It was my inspiration just in terms of the monumentality of the pictures, the colours, the concept and just everything. I was just heavily inspired by this film and its general futuristic aesthetic, I'd say.

Lastly, what can listeners expect from you going forward? You've got this new single and music video; what’s next?

My biggest goal right now is to just release this upcoming album and start playing more shows live in Toronto. We're actually planning to make the first concert dedicated to the album release at the end of the year. So more on that will be on my Instagram. And yeah, that's pretty much the goal: To just play more live shows and continue my experimentations with sound, making new tracks and all that stuff.

UNITY’s newest single, “SOMEWHERE IN TIME” is now streaming on all major platforms. Click here to listen now.

Don’t miss a beat this holiday season: A gift guide for music lovers

‘There’s a song in my heart’ is what your music-loving friends and family will say this winter when opening presents from CanCulture’s gift guide

By: Julia Lawrence

Do you love a music lover? CanCulture’s got you covered for the holidays. (Sama Nemat Allah/CanCulture)

Snow-filled days warn Canadians that the countdown for the perfect gift has begun. So whether it’s a musical theatre or hip-hop listener you’re shopping for, there's something on this list for every music lover to enjoy this holiday season.

Books, books, books

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The gift: Find a photographical coffee table book of their favourite genre or artist that they can flip through or display in their room as a piece of art. Check out your local used bookstore’s music section for unique options with a lower price point.

Are they a fan of music history? Gift them a copy of “Is This Live?: Inside The Wild Early Years Of MuchMusic: The Nation’s Music Station,” filled with anecdotes and memories of how MuchMusic defined Canada’s sound.

Where to shop: In used bookstores like ABC Books, Pulpfiction Books and Encore Books and Records, or order through businesses like Indigo for mainstream and recent book releases.

Price range: $10+.

Don’t for-fret to strum the coffee

(Via SpoonArtBoutique)

The gift: No tuning is necessary for this guitar.

This guitar-shaped spoon is perfect for someone that plays the instrument and drinks a lot of coffee or tea. You could continue the theme by pairing it with a mug and a selection of their favourite hot drinks to make it a whole package.

Where to shop: SpoonArtBoutique on Etsy and your local grocery or variety store to find mug and beverage options.

Price range: $5.75 per spoon, upwards of $15 if making it a package.

Who said you can’t stand on CDs

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The gift: Holiday shopping can be “tuf,” but not with this present idea.

Confirm you know their favourite album cover design without being too suspicious, and then work with a small business owner that uses the textile manufacturing method of tufting, a type of yarn to create a dense rug and recreate the cover art as a CD rug. Either complete a workshop and create it yourself or order a custom rug, but don’t wait too long on this one, as commissions take time.

Where to shop: Look up #Tufting(Your area), i.e. #TuftingToronto to find businesses/artists near you. In Toronto, some shops offer workshops like Emo Tuft or Chillax Tufting Studio, but if you want to commission a rug, try Tuft Theory.

Price range: $100+ depending on the workshops and commission prices. If it doesn’t say directly on the site, ask for a consultation to know the price upfront before committing.

Just don’t scratch it

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The gift: Nothing can beat a good old classic like gifting records.

Even if they don’t have a record player, a record can be used as room decor and admired for viewing. If you’re up for the cost, pair the record(s) with a record player.

Where to shop: Look into Kops Records, Cosmos West Records, Funky Moose Records or search “records” on a map near you.

Price range: $6+ on records alone, $100+ with a record player.

Wearing the next act

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The gift: These jewelry items will have the person singing show tunes every time they’re worn (be prepared).

Playbill-themed gifts are great for those into musical theatre or who simply love watching actors abruptly break out into song live on stage. Get a mix or an all-time favourite that you know they’ll keep for years to come.

Where to shop: AKStudioBoutique on Etsy, or get crafty and DIY the earrings yourself.

Price range: $10+ depending on shop and materials.

Apparel, apparel, apparel

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The gift: Sometimes the perfect present is a simple T-shirt.

A gift they can wear almost anywhere while being comforted by the fact that their favourite band or artist is coming along with them. If you’re feeling funky, maybe add a pair of socks to balance the fit.

Where to shop: Hot Topic, Sunrise Records or any other store that sells music-branded clothing. There’s no guarantee that a thrift store will have the artist, but check out their T-shirt sections before heading to box stores.

Price range: $5+ in thrift stores and $25+ in box stores.

Don’t be a lyre in poker

(Via UncommonGoods.com)

The gift: Turns might be longer with this deck because people won’t stop admiring their cards.

Switch up the usual card game gift with these musical-greats-themed cards. Along with the illustrations, you also learn about the leading faces in new genres, when playing a game.

Where to shop: Uncommon Goods online.

Price range: $15.

Keep your headphones warm

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The gift: If you know a big music lover, you’ll probably also know that their most prized possession is their headphones. These covers are cute, comfortable and act as an accessory.

Where to shop: If you’re a DIY connoisseur, you can probably create these using a pattern and only pay for the materials. Alternatively, you can commission local artists like Alexandria Masse or sellers on Etsy like Handmadify.

Price range: $23+ depending on seller and materials.

Carry music with you everywhere and anywhere

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The gift: Music keychains can be great if your loved one is a keychain collector or your everyday music lover.

Subtly find out a song that has meaning to them and then order a keychain version with the artwork so they can carry that piece of music with them anywhere.

Where to shop: Look on Etsy for music keychain sellers like YourSignatureGifts.

Price range: $10.

New XO Record's Chxrry22 releases debut EP The Other Side

Embodying the old sounds of The Weeknd, Chxrry22 drops her debut 7-track EP, The Other Side

By: Bana Yirgalem

(XO Records/Republic)

Chxrry22 (pronounced ‘Cherry 22’) was born in Scarborough to Ethiopian immigrants and started releasing music online in 2017. Once she gained a listenership online, she then moved to Atlanta to further pursue her music career. 

After being signed to XO Records, founded by fellow Torontonian and singer The Weeknd, making her the first female artist signed to the label, Chxrry22 dropped her debut EP The Other Side—that alone gave her a huge jumpstart to her career. With The Weeknd providing her with leadership and guidance, Chxrry22 is on the path to great success.

For those unfamiliar with XO Records, the Canadian record label was founded by singer-songwriter The Weeknd, his managers Wassim Slaiby and Amir “Cash” Esmailian, and his creative director La Mar Taylor. They currently have four artists – The Weeknd, Nav, Belly and her – signed under the label, with Chxrry22 being their latest addition.

In a press release with Complex Canada, Chxrry22 said that “The Other Side is about coming to terms with duality – we all have two sides. We can be both the villain and the victim in some story and this is me owning that.”

That is indeed the case with the opening title track of the EP. Chxrry22 opens up in the song about the toxic relationship between her and her significant other.

“Let’s not act like I’m to blame
When you fucked up and I forgave”

She continues the song by explaining how she has prospered and exceeded for herself after leaving her lover, saying that she’s on the ‘other side’ and he is stuck where he is: “You're watchin' my dreams come to life (To life, to life)”

The Falls is more of a sultry track filled with toxic vibes and lyrics. She sings with passion in an alluring way, paired with the slowed-down guitar, drums, and melody, which makes the song so appealing. The opening lyrics insinuate that she fell into the temptation of cheating. The chorus lyrics explain that even though what she did was wrong, she’s not going to admit she’s sorry due to her pride.

As the track continues, she explains to her partner that you have to prioritize yourself because, at the end of the day, it’s only going to be you; “You bе in your feelings knowing you're a filler/I'm doing my thing, you should do the same.”

Call Me almost feels like a continuation of The Falls but the storyline is somewhat reversed like she’s calling her significant other after her infidelity to fix what’s been broken. But she simply wants to mend things more on the physical side, rather than the emotional side. The song’s haunting R&B sounds, enhanced by equally haunting lyrics and instrumentation, allow the listener to recall the similar sounds found in The Falls.

The other four tracks on the album tie in together with the above three songs. The EP’s storyline allows you to join Chxrry22 throughout her success, infidelity and toxic and remorseful lifestyles that often feel inevitable in relationships. She admitted in an Instagram caption, “I don’t write about anything I haven’t done or been through so when you hear these songs just know it’s coming from my heart.”

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Her ability to be emotionally open in her lyrics shows that she has a gift for songwriting. The incapacity of some artists to open themselves up wholly to their audiences seldom goes unnoticed by fans– this isn’t the case with Chxrry22 who shares her rights and wrongs with us.  She’s showing herself musically, and this lyrical maturity is what draws others to her music.

Although this is her first EP, the way her voice is evocative yet angelic makes Chxrry22 stand out. Her sound is different and fresh, and her EP was released just in time for the cold fall nights. 

Check out the fill album here:

Editor's Picks: 8 songs by Canadian musicians to get you in an autumn mood

No matter your musical taste, these songs are sure to enhance your next apple-picking trip or pumpkin patch outing

By: Caelan Monkman

(Graphic by Caelan Monkman)

The air is cooler, the leaves are changing colour and the melodies are flowing! To help get you into the fall music mood, here are eight must-listen songs by Canadian artists to add to your playlist this month.

So whether you’re out on a fall hike watching the leaves change colours or curled up inside with a book and a pumpkin spice latte, these songs will perfectly accompany your autumnal activities.

These songs and many others can be found on CanCulture’s Sounds of Fall Playlist, available now on Spotify and Apple Music.

Neil Young - Harvest Moon

No fall playlist would be complete without Harvest Moon by Canadian music legend Neil Young. As the title track off his 19th studio album (which turns 30 next month), the song has become one of Young’s most famous, being named the “30th-greatest Neil Young song of all time” in 2021 by Rolling Stone. Between Young’s vocals, the background vocals provided by Linda Ronstadt and the gentle picking of a steel guitar, the song creates an otherworldly atmosphere perfect for listening late on a fall evening.

The Weather Station - Loyalty

“There’s a loneliness, I don’t lose sight of it
Like a high distant satellite
One side in shadow, one in light
But I didn’t mind to be alone that night in a city I’d never seen”

With lyrics equally haunting and therapeutic, The Weather Station’s 2015 track captures the mysterious feelings of late fall evenings. Following in the footsteps of other Canadian folk singers like Joni Mitchell and Sarah Harmer, the title track of The Weather Station’s third album is melodically straightforward and lyrically complex. Produced by fellow Canadian musicians Afie Jurvanen (Bahamas) and Robbie Lackritz (who had worked with the likes of Feist and Jason Collett), the track has a distinct indie-folk feel and features some of the lead singer Tamara Lindeman’s most compelling lyrics. Loyalty is an easy and calming listen and provides lots of lyrical content to sink your teeth into.

Richard Inman - Redemption

A master of storytelling in his folk-country songs, Indigenous singer-songwriter Richard Inman perfectly encapsulates the feeling of driving down a prairie road in the middle of fall. His strong baritone voice singing against the backdrop of a twangy guitar and background vocals feels both fresh and road-weary, both brand new and nostalgia-inducing.

Mappe Of - Ladybird

Fans of indie pop icons like Bon Iver or Fleet Foxes will likely love Whitby, Ontario’s Mappe Of, the stage name of singer-songwriter and multi-instrumentalist Tom Meikle. Meikle’s music elegantly dances between minimalism and intricately layered arrangements of acoustic and electronic instrumentation. Miekle’s gorgeous falsetto vocals float over the top of it all, resulting in an ethereal arrangement that’s an absolute delight to listen to.

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Kanen - Tes veines en canot

Karen Pinette-Fontaine, who goes by the stage name Kanen, is an Innu singer-songwriter from Uashat mak Mani-Utenam on Quebec's North Shore. Her introspective indie-folk songs consist of her gorgeous vocals, ukulele, guitar, double bass and percussion, all converging and resulting in music as soft as a cool autumn breeze. Singing songs both in French and Innu-aimun, Kanen is a must-listen for anyone interested in Canada’s francophone and Indigenous music scenes.

Srul Irving Glick - Piano Concerto II: Calm, Peacefully, con rubato

For fans of instrumental and classical music, the second movement of Srul Irving Glick’s Concerto for Piano and String Orchestra wonderfully accompanies the feeling of a crisp autumn afternoon. The prolific Toronto composer created both religious and secular music, with much of his work reflecting musical elements of his Jewish heritage. According to an article by the Ottawa Citizen, this particular recording was performed by composer and pianist Ralph Gothóni and the Finlandia Sinfonietta in the Governor General’s residence in 1992.

Andy Shauf - Early to the Party

The second track off Andy Shauf’s 2016 concept album about a house party features tons of ‘60s musical influences. The Saskatchewan native received lots of praise for the album, as well as multiple Juno Award nominations and a Polaris Prize shortlisting. As the title of the song suggests, the track is about the discomfort of being the first to arrive at a party and the experience of waiting for others to show up.

Though Shauf has explained many of the album’s songs contain autobiographical elements, they also explore many universal themes and experiences. The perfect song to put on next time you’re the first to arrive at that Thanksgiving gathering or Halloween party!

So there you have it: the perfect songs to freshen up your fall playlists! Be sure to check out our full playlist the next time you’re looking for the perfect Canadian soundtrack for your autumnal adventures.

The Hockey Song Inducted into Canadian Songwriters Hall of Fame

By: Benjamin Hargreaves

At a ceremony held at Scotiabank Arena on Oct. 27, the late Stompin’ Tom’s The Hockey Song was officially cemented into Canadian history.

Connor’s son, Tom Connors Jr., watched on from the audience as his father’s catchy tune was inducted into the Canadian Song Writers Hall of Fame (CSHF) last Saturday.

“I’m so happy that the Leafs felt that we could use their facilities here,” says Connors Jr. “It’s a perfect setting for such a song as The Hockey Song.”

Released in 1973, The Hockey Song was not an instant commercial success, however.

“It took 25 years before the first pro arena started playing it,” says Connors Jr. “It never got played on the radio back when he released it in the 70s.”

It wasn’t until the 90s until it was being played in arenas like Scotiabank, according to Connors Jr., but by that time it had already become a part of Canadian hockey culture.

“All the hockey players that I’ve ever met, the pro players, they always said when they were kids their parents played the song for them,” said Connors Jr. “They always heard it at their rinks in minor league games.

Former captain of the Toronto Maple Leafs, Wendel Clark, who also attended the induction ceremony, remembers the song well.

“I’ve heard it since ‘85,” said Clark. “‘92, ‘93 they started playing it regularly in the games, so it means a home game in Toronto.”

The Leafs hosted a home game against the Winnipeg Jets following the ceremony, with a scheduled performance of The Hockey Song by Canadian musician, Tim Hicks, during the second period.

Hicks also performed a rendition of ‘the good ‘ol hockey song’ during the induction ceremony. A performance Connors Jr., jokingly said, was not quite up to par with his father.

“He’s got it down pat pretty good,” said Connors Jr. “ I don't think his stompings are very good yet, he's going to have to work on that.”

Connors, who passed away in March of 2013 at age 77, finds his song amongst the likes of Rush’s Closer to the Heart and Joni Mitchell’s Woodstock as other CSHF inductees.

Toronto's Always Never perform like seasoned vets at their debut show

By: Benjamin Hargreaves

Just after 10 p.m. on Oct. 16, 2018, Toronto’s very own Always Never took the stage for the first time ever. Mark your calendars because I sense a rapid climb in popularity for the R&B duo.

With the crowd reciting the lyrics to their opening song, “Wylin’” from the first bar onward, Always Never had Mod Club mesmerized by their trebly crooning, and that’s the way it stayed for their nearly two-hour set.

For those who don’t want to feel completely out of the loop when this duo inevitably finds themselves at the forefront of Canada’s R&B scene, Always Never is a producer-singer duo from Toronto Ontario who, according to their website, only began making music together in 2015. With only an EP, LP and a handful of singles under their belt, singer Patrick Kirschner and producer Dean Guilbault have amassed millions of streams online including 5.6 million Spotify streams on “Wylin’” alone and they have even gained the attention of Khloe Kardashian.

It would have been impossible to tell that the rookies on stage were anything but professionals in their element. If it weren’t for the few times they admitted they couldn’t believe this was their first show, the less astute audience members would have been none the wiser.

Performing almost the entirety of their self-titled debut album, Always Never kept the tempo high and the spirits higher throughout their performance.

The duo opted for a live band in addition to the audio track, giving their performance a more intimate feel. With vertical fluorescent lights as a backdrop, Always Never gave a humble and entertaining performance any beginner artist would be proud of.

If I were to give attention to any faults in this debut performance it would be a criticism of the visuals or lack thereof. Screens throughout the Mod Club displayed nothing more than a looping logo for the duration of the performance. Some more creativity in this area could go a long way, something we know they're capable of after they dropped the visuals for Wylin’ last month.

A few days after the show the duo claimed on an Instagram post that they sold out the performance, but security stated after the show that the venue was at around half capacity at its peak. I have no doubt that their next at-home performance will see the venue full to the brim.

By mixing virtuosic vocals akin to The Weeknd and Justin Bieber, with melodic, bass-filled beats, the duo makes music that is very easy to listen to. And now that they have proven they can hold their own live, it’s only up from here for Dean and Patrick.  

Lil Uzi Vert and Juice Wrld headline Western’s Purple Fest

Western alum, Loud Luxury, and multi-platinum producer, Murda Beatz also performed at the six-hour long day festival during FOCO last Saturday in London, Ont.

Clad in a ski-mask with four bags hanging off of his shoulders, Lil Uzi Vert performs in the on-campus parking lot turned festival venue. Photo / Benjamin Hargreaves

By: Benjamin Hargreaves

The sold-out festival at Western University went off without a hitch last Saturday, but that might not have been a good thing.

The concert, organized by Western University’s Student Council, sold out of its 12,000 tickets with the Western WSC stating that, at its peak, there were over 11,000 in attendance.

Purple Fest was a mid-day music festival organized by Western’s USC in a bid to draw unsanctioned partiers off residential streets.

The consensus of the crowd was that Grammy-nominated recording artist, Lil Uzi Vert, was the performer attendees were looking forward to most. This seemed to be the case as the crowd broke apart into scattered mosh pits upon his entry.

Before Uzi took the stage, Chicago rapper, Juice Wrld, performed his explosive hits Lucid Dreams and Lean Wit Me. He also covered the late XXXTENTACION’s Take a Step Back.

Other acts included Maestro, Drezo, WISE, Matt Royal and Toronto based rapper, Jordon Solomon.

With only one unspecified non life-threatening injury reported by the Western USC, they consider Purple Fest a success, but it might have caused problems in other ways.

The concert was meant to give students an alternative to partying on streets, but it might have magnified the problem, according to John Pare, London’s police chief at a news conference addressing FOCO on Tuesday.

In 2016, the university decided to move homecoming to late October as a way of deterring the illegal street parties. But the student body’s response to this decision wasn’t what the university expected.  

With the new date of homecoming plagued by midterms and colder weather, the students took to the streets on Oct. 1, 2016, for the first ever “fake homecoming” or FOCO.

London police estimated that about 10,000 people showed up in 2016 and that increased to 11,000 in 2017.

But this year was by far the biggest turn-out for FOCO with the LPS announcing Tuesday that they estimate the number of partiers to have been 20,000.

Details are still emerging about FOCO but the LPS reported that there were 134 charges, over 3,000 warnings and 28 people taken to hospital. The costs of policing alone are expected to be in excess of $100,000.

When the dust settles around FOCO we will have to wait to see if Purple Fest will make an appearance next year.

Album Review: The Wake by Voivod

By Kate Ng

Heavy metal has always been an isolated tribe, proudly immune to influence and complaints from the mainstream. Yet, within this tribe of musical outsiders are mad scientists; welcome to progressive metal. Led by bands like Dream Theater and Opeth, prog-metal is a subgenre that subverts many traditional rules of heavy metal and even music itself.

Quebec’s Voivod is among the most respected metal bands to hail from Canada, influencing the growth of thrash and progressive metal. Following the creation of prog rock by bands like Led Zeppelin, King Crimson and Rush during the 70s, progressive metal was formed in the early 80s when bands like Queensryche and Voivod added faster guitars and double bass drums into the prog rock formula. The influence of Voivod is continued today by bands like Dream Theater and Aryeon, known for their conceptual albums and instrumental prowess.

Avoiding the overtly violent lyrics of their peers like Annihilator and Anvil, Voivod opts for a more insidious approach, singing about the apocalypse brought on by humanity’s abuse of technology or the horrors of space.

Their latest offering, an 8 track LP called The Wake, continues this trend. By using fast instruments, psychedelic-tinged riffs and keyboards they are able to create an unusual atmosphere. Shying away from the usual doom and gloom of their peers, Voivod aims to bury the listener with confusion and trippiness with odd-time signatures, something that has become their musical trademark. Compared to earlier albums like their 1987 release of “Killing Technology,” fast tempos have been traded for more thoughtful passages, making it easier to digest for newcomers of the genre.

The album opens with “Obsolete Beings,” a song made up of aggressive riffs, tempos above 200 BPM and shouted vocals showing naysayers that they remain a relevant band in Canada’s metal scene. Songs like “Always Moving” demonstrate a changed style by slowing tempos for a change in atmosphere, a far cry from their roots in thrash metal. The finale, “Sonic Mycelium” clocks in at just under 12 and a half minutes and follows a narrative approach to the songwriting. The only repetition in the track is seen in riffs within a section of the song, with sections having different themes or totally different time signatures.

The Wake reassures that Voivod has not lost its edge. The technical prowess on display would make most guitarists blush and like Voivod’s other albums, requires multiple listens to truly appreciate. Production is clean but leaves enough grit in the guitar and vocals to keep their crunch. The drums are  particularly impressive, punctuating the song and punching the listener as a metal album should. However, fans of their earlier work are unlikely to be surprised as the album is firmly within progressive metal territory. Some fans may even consider The Wake a slow album compared to today’s metal albums. Its atmosphere is subtle and echoes the scores of movies like Alien. A far cry from most metal bands which approach atmosphere with the subtlety of a thrown sledgehammer.

While some of you may be shocked by this album appearing on CanCulture at all, I highly recommend listening to a song or two, especially to those already familiar with experimental music and rock. Who knows, maybe you’ll grow to love their oddly immersive sound. Rest assured Metalheads, you can expect an album with a unique atmosphere, inoffensive lyrics and modern production methods–not too clean, but hardly muddy. Required listening for anyone claiming to keep up with the Canadian metal scene.

Author’s picks: Obsolete Beings, Event Horizon, Always Moving.

Artist Profile: Black$tar

Rap artist Black$tar’s music career is branching out of Alberta and into British Columbia, as he becomes more nationally known.

Music followed Black$tar for most of his life, but he discovered his passion for music as a little boy in the in his Church choir. From then to now, 21-year-old Black$tar is making his name known nationally alongside his brother DeSean and his friend The CORE.

Black$tar started pursuing his dreams at the age of 15 with the Solo Music Group, a group designed to encourage and support the solo careers of its members.

Since then, he has released three mixtapes, collaborating with around 20 different artists and has performed across Calgary. Now, he is making a name for himself in BC, and continues to grind in Calgary with a upcoming performance set for July 3rd.

Check out CanCulture’s exclusive interview with the Calgary based artist Black$tar.

How did your passion for music come about?

“I’ve been writing songs since I was a little kid. I started to listen to rock music really heavily before I got into rap. I use to listen to the Foo Fighters and really old bands.”

“Growing up listening to rock pushed me to like music. And then I heard rap music. The first guy that introduced me to rap music was T.I, so T.I had all the fancy cars, he had the girls and I was just a kid and I was like, “oh snap I thought that rock was cool but this guy has everything.” He was the one that pushed me to become a rapper. Then what really got me into the music industry was just family and friends [who] had connections to studios.”

“[The music industry] is just destiny for me to be honest. It’s just been around my entire life.”

How would you describe your music style?

“I like mixing melodies and rap into one song. I’ll sing a chorus, rap my verse, and then leading up to the chorus I’d sing again. That’s just how I go about any type of song.”

In November you dropped your mixtape called The Butterfly Effect, what’s the story behind the title?

“The reason why I titled my last mixtape The Butterfly Effect was because it’s a really hype mixtape, but there are certain sad songs that are place in to tell the story. The Butterfly Effect is like the beginning of a really good relationship [when] you get butterflies, but then, as it goes down and everything crumbles, you kind of lose those feelings and you lose the effect.”

What is the main message you want people to get from your mixtape?

“I go through the same problems as normal people. I have relationships that don't work out, the same as other people. I have times where I’m not feeling 100 [per cent]. If you look at my Facebook, Instagram and on all my social medias, people are just assuming that I’m always happy, but I get the same type of drama anybody else goes through. So that’s kind of what I wanted to put inside that mixtape.”

I’ve noticed you have many features on your mixtape, is collaborating an important part of your creative process?

“The reason why I have a lot of collaboration is, because I’m trying to build the Calgary scene more, so I’ll go out of my way to look for an artist that doesn’t know where he is going musically [and] put him on a song. [I’ll] tell him to write it, even. Get him out of the little box he is in and just develop him to try out different beats or try out different flows. So I can put different types of artists all around Calgary on my mixtapes. I’m trying to build a scene just like I’m trying to build myself in Calgary.”

Photo by: Vparenas

You’ve performed at the SoundOff Summit in Calgary and you’ve announced that you’re going to be performing at Marquee Beer & Stage. How does it feel to be getting all this attention from your community?

“It feels really good actually. I’m not used to getting all these shows. I’m usually the one that has to go out of my way to get shows, but now people are coming to me, so I know that that is a good feeling.”

On Instagram you expressed that the SoundOff Summit was like “a movie”. Could you describe what that feeling was like a little bit more and why it was an important moment for you?

“The SoundOff Summit was important to me because at the event there were these delegates that came from other countries that watched you perform, so people came from Germany, Toronto [and] the States. [Record labels, music agencies and booking managers] came to watch these performances.I guess the people from Germany and Toronto really liked my music, I got their contacts and I sent them my demo.”

Wow, congratulations!  Was it nerve racking to perform?

“Performing is the best feeling ever. Something about being on a stage and performing your own music and hearing the reaction is the best feeling. Because, when you get a good reaction you just like, ‘okay you’re doing something good.’”

Sometimes I find that the music industry can be discouraging, so what inspires you to keep going?

“I wanted to stop a lot of times, I can’t lie. The reason why I can’t is because there are so many people who are riding on this, that I can’t just stop. And I’ve put so much time and money into it that I just don't want it to go to waste. I can't just stop. And I just have faith in my abilities, I have faith in God and I have faith in my friends. It gets hard but you just gotta keep going. Another reason is, because people from my high school, my old friends are always saying that they wish they’re chasing their dreams. Because they were chasing their dreams but then they all went back to school now they just have normal jobs. Now, they’re all saying, ‘I wish I was you.’ So hearing them say that --- I don’t want to be like them. So I just keep pushing.”

Speaking of your high school friends who choose post-secondary over their dreams, how do you deal with that battle of school versus dreams?

“I’ve went back to school and I finished that year, but I have to go back for another year - I’m still debating, until this day, if I should go back or not. Because it just that I don't want to go back and school is in the way and I can’t go out. Because I have like crazy shows coming up this summer but like I’m still just debating. But hopefully something happens. Just keep praying.”

Do you have any advice for anyone who is trying to pursue their dreams?

“I would say, that if you’re really passionate about what you are doing then you wouldn’t stop. If you’re really passionate, you don’t have another option. You’ve got to keep getting back up, dust the dirt off your feet and keep pushing. Even when you make it, it’s still going to be worth wild.”

Black$tar has recently featured on a mixtape called Who’s Hungry Vol 1 in collaboration with Billy Bu$hop, Mino Ceaz, Jackie Art, Jardz F Star, Nate NvN, Deeper, Phatz, Chinx phase, JTXL, Banknotes, Noah J and Choppa. You can follow his music on SoundCloud or Spotify. For more updates about Black$tar and the Solo Music Group you can follow them on Instagram @TurrellBlack and @_solomg_ .