Tune into Ashes to Ashes Tuesday, March 28th at 1pm to hear a live in-studio performance and interview with Montreal’s own Exit Someone! The husband-and-wife duo of June Moon (Forever) and Thom Gillies (Vesuvio Solo) released their debut EP Dry Your Eyes at the beginning of the year on Atelier Ciseaux Records.
Ashes to Ashes is your weekly dose of music from the 1980's that has stood the test of time, featuring bits of indie rock, alt-country, electronic, hip-hop, funk, and even a dash of reggae; hosted by Alex, every Tuesday from 1-2 PM!
CJLO presents your weekly music event picks for the week of March 27th.
On Thursday March 30th, Puce Mary, Jesse Osborne-Lanthier, Hyena Hive, and Skin will perform at La Vitrola. Entry is 10$ in advance or 13$ at the door. Doors at 9pm.
Gayance, Petra Glynt and Soft Core Soft will perform at Bar Le Ritz for the Art Matters Closing Party on Friday March 31st. Admission is a 5 to 10 dollar sliding scale, doors at 10.
On Saturday April 1st, Famines, Pale Lips, Sweet Dave & The Shallow Graves, Bonnie Doon, and Nushu will all play at Turbo Haus. Cover is 10$. Doors at 8pm
La Vitrola is the only venue that is not wheelchair accessible. All venues have gender neutral washrooms.
Escape the soggy weather to a Montreal music venue while you wait for spring. This was your weekly show picks for the week of March 27th.
Hosted by Allison O'Reilly
Stories by Alyosha Nowlin, Jeremiah Ho, Michael Foldvari & Karl Knox
Produced by Allison O'Reilly
By Alyosha Nowlin
The director of a Montreal homeless shelter says police failed to respond fast enough when he called to report a client’s sexual assault.
David Chapman, head of the Open Door, says it took police two hours to arrive at the shelter and speak with the young indigenous woman.
According to CBC News, Chapman was informed by police that there would be a delay because the two cruisers on patrol were handling more dangerous situations.
Once police arrived and spoke with the woman, things proceeded smoothly.
Chapman insists that had he not been so persistent, police might not have made a report at all.
By Jeremiah Ho
Halifax taxi driver Amer Abdo is being credited for rescuing a young woman from an assault on Friday afternoon.
According to CTV News, Abdo intervened when he saw a man attacking the woman on the street, helping her to safety in his taxi.
Abdo then followed the attacker and called police, who charged the man with assault.
By Michael Foldvari
Industry insiders are calling for standardized tow truck regulations across Canada, after a recent trend in rising towing fees.
According to CTV News, tow truck bills generally range from a few hundred to $1000, depending on the circumstances, but complaints have cited bills as high as $6000.
Representatives of Ontario's provincial towing association suggest that customers educate themselves about rules and protections already in place, rather than attempting to overhaul the existing system.
By Karl Knox
The Reuters News Agency is reporting that hundreds of protestors have been detained by riot police in Russia as demonstrations against corruption and calls for Prime Minister Dmitry's arrest took place across the country.
The protests were led by opposition leader and anti-corruption campaigner Alexei Navalny, who was also detained at the Moscow demonstration.
The demonstrations were subject to black out in Russian state media.
Consumerism is defined as the “protection and promotion of the interests of the consumer,” according to the Merriam-Webster dictionary. Dan Parker is looking to show that it is maybe time to update the term.
On March 29th, the latest installment of Rap Battles for Social Justice, “Rap Battles Against Consumerism”, will take place at Le Belmont, at 8 p.m.
Over the past two years, Rap Battles for Social Justice have been a part of a growing movement that uses hip-hop as a way to raise awareness and support for various causes. Dan Parker, the co-founder, head organizer, and often performer, has been at the forefront of all of the past seven battles. However, this chapter of the event will soon be coming to a close, as Parker will be moving on in order to continue his work as a teacher in British Columbia. “It’s a little bittersweet, these last rap battles, but I’m hoping they continue [after I’m gone],” Parker said.
This time on the cutting board is the theme of consumerism. Like all of the events, both sides of the topic will have a chance to use their lyrical prowess in order to make their case. This event is geared towards those who feel the need to consume less, or are concerned with their environmental impact through their own consumerism.
“In this battle on consumerism, we’re going to have both sides going back and forth, but it’s going to be fairly natural for some to take on that caricature, or maybe just say, it’s all about making that paper,” Parker explained. “Having those two discourses battle each other rhythmically, that’s what we’re looking for.”
According to Parker, this duality is all part of the fun. It has been prominent within hip-hop community, going back to the 90s, with the rise of socially conscious rap being juxtaposed with the gangster, bling rappers of the era. This has continued even in modern day rap music, with artists like Kendrick Lamar warning of the dangers of materialism on his last album, compared to artists like 2 Chainz, who are more focused on the glories of wealth and fame.
This event also is a late addition to the Concordia Student Union’s Anti-Consumerism Week that took place earlier this month. Rap Battles for Social Justice and the CSU are partnering up for this coming battle. These rap battles are also backed by the Concordia Urban Science department and CJLO.
The goal of these events, as described by Parker, is to have a consistent mix of professional artists perform with anyone who wants to step up and have their voice heard. The lack of formality and judgement at these battles are meant to be a way to include everyone, even participants with diverging views on the themes.
These themes being battled on stage have seemed to have struck a chord with many hip-hop activists who are worried about topics such as police brutality and climate justice. More than anything, uniting the community and providing a medium for the voices of artists is the endgame for Parker and the event.
Hosted by Patricia Petit Liang
Stories by Jeremiah Ho, Michael Foldvari & Patricia Petit Liang
Produced by Patricia Petit Liang
By Jeremiah Ho
18 year old Daphné Boudreault was killed by her ex-boyfriend on Wednesday after she went to their shared apartment to collect her some of her belongings.
According to CBC News, Boudreault had been accompanied by a police officer and her mother for protection, but was murdered in front of them as soon as she entered the home.
Anthony Pratte-Lops has been charged with first-degree murder following this tragedy.
By Michael Foldvari
Toronto's police watchdog has decided that it will bring no charges against police officers, following their investigation of an incident that caused the death of 43-year-old, Rodrigo Almonacid Gonzalez on Thursday.
According to CTV News, the civilian oversight unit saw that officers had exhausted all possible opportunities to non-violently deescalate the situation, and were therefore justified in using tasers.
Gonzalez was tasered 5 times by one officer and 3 times by another officer before he was subdued and taken to a hospital, where he died the next day.
By Patricia Petit Liang
5 people were killed in London by a British-born man on Wednesday.
According to Reuters, 52-year old Adrian Russell was shot dead following his attack and had previous convictions for grievous bodily harm, possession of offensive weapons and a variety of other public order offences.
Those who were lost on Wednesday include police officer Keith Palmer, 75 year old Leslie Rhodes, mother Aysha Frade and US tourist Kurt W. Cochran, whose wife Melissa was seriously injured in the attack.
On March 15th, KANPE held it’s 5th annual Karnaval, with the one and only Arcade Fire headlining the event. Co-founded by Regine Chassagne, principal member of Arcade Fire, KANPE is an organization that works in Haïti to help those who are facing extreme financial poverty. Meaning “Stand Up,” KANPE helps vulnerable families to reach financial autonomy.
As Arcade Fire had not performed in Montreal since 2014, I felt it was my moral obligation to see them. The last time I saw Arcade Fire play a show was at during their Reflektor Tour, when they played at Barclays Center in Brooklyn. During that show, myself and fellow volunteers were invited to dance on stage during their performance of “Here Comes the Night Time.” While I don’t think any concert can top that experience, I was still excited to attend the show and see my favorite band in their hometown.
The event started off with a DJ set and volunteers circulating through the forming crowd. The first official act was Fwonte, which got the crowd moving and ready to dance. Following Fwonte was Tito Marechai, who slowed things down a bit with songs pulled from reggae and blues roots. Following that was a couple of songs from Pierre Kwenders, who got the crowd moving again with his exotic dance moves. He also rocked one of the coolest outfits by far out of any other artist. Before Coeur de Pirate took the stage, a RaRa band (festival music from Haïti) played their way through the crowd. Coeur de Pirate played a solo performance, and even went for a cover of Drake’s “Hold on, We’re Going Home.”
Before Arcade Fire came out, Jason Sudeikis and Anne-Marie Withenshaw, the event's hosts, said a few words thanking everyone for coming and introducing the headliners. Shortly after, Arcade Fire took the stage and the first thing Win Butler said was, “Fuck Donald Trump for 1,000 years!” His words immediately led into a performance of “Windowsill,” a song they haven’t performed since 2008. Being from the States, I felt the emotional turmoil that resonated in the room as the crowd sang, “I don’t want to live in America no more.” After their heart wrenching performance of “Windowsill,” Regine Chassagne took the main mic to sing “Haïti,” alongside Haitian dancers. Her sparkling sequin fringe dress was hypnotic and mesmerizing. This launched into their performance of “Sprawl II: Mountains Beyond Mountains,” one of my all-time favorite Arcade Fire songs. Again, Regine stole the crowd with her dance moves and childlike charm.
However, the songs that blew me away the most were “Afterlife” and “Neighborhood #3: Power Out.” Win Butler ended “Afterlife” by falling to his knees as he sang out the lyrics, “It’s just an afterlife with you.” “Power Out” is also one of the those songs that you have to see live. It creates such an energy between the band and the crowd; it’s nearly impossible not to headband or jump during that song. With a huge snowstorm hitting Montreal that day, the feelings of “Power Out” felt even more real.
I’ve seen Arcade Fire three times now, and I have to say this was the most energetic and emotional performance of theirs I have ever seen. I’ve heard in the past that they enjoy playing smaller gigs as opposed to big venues like Barclays Center, and it shows. The energy in the room was electric from both the audience and the band. Although they try to recreate the same energy at their bigger shows, their smaller shows have a more intimate feel and bring the songs to life. Since they were playing in their hometown, I think the emotion was much higher. For me, Win Butler gave a performance that was passionate, something I hadn’t seen the last two times I attended an Arcade Fire show.
The evening started off slow with myself making my way to the venue, feeling really excited. Since the Stade Uniprix is a fairly new place, I had no expectations on how it was going to be; how big it was or how many people it could hold. Getting off at De Castelnau metro station, I noticed people were looking for the way to get to the venue, and I just followed the crowd. As soon as I saw the stadium, a huge line had already started since doors had opened and it was endless. I was thinking to myself, “holy cow, this is gonna be huge.”
After waiting to get inside, I quickly managed to get to where the show was happening. I did not know where to go since it was a new venue and all, but I soon managed to find the stage where Beartooth were setting up; it was a small stage, but the room had the capacity to hold lots and lots of people.
I really liked Beartooth as a opener—despite not seeing them at Heavy MTL last year, I had the chance to check them out this time. They have unique style of play, core grooves and really heavy breakdowns. I liked the chemistry the band had on stage between each and every band member; they were all interacting with one another and going crazy.
Their was quite a handful of mosh pits, but luckily I didn’t get stuck in them, or else I would have been destroyed! I myself don’t like mosh pits since I could easily get hurt. Just picture a really short dude getting into a mosh, it won’t be a pretty sight.
I also noticed very similar elements to A Day To Remember’s music, which they had in the song called “In Between,” one of my favourites from their set as well as “Body Bag.” Needless to say, I was really impressed on how much the crowd was into singing the choruses and melody, which completely blew my mind.
Sadly, this was one of the worst and boring performances I have seen. All of Underoath's songs sounded the same, and did not have any core value, or remembrance of any kind whatsoever. Even though that I really liked how all the guys were on stage, I really just didn't like their music.
Bring Me The Horizon
After waiting, we were all finally here to see the main act: Bring Me The Horizon. Opening up the show with a sleek visual of shattered glass, the booming bass filled the room, you could feel it through your body.
The band kicked into “Happy Song,” which was surprisingly a lot better live than I expected it to be, hearing a bunch of screams from the crowd everyone started to sing, “S-P-I-R-I-T SPIRIT, LET’S HEAR IT!”
The mosh and chaos ensued, and I have to say, this was one of the most intense moshes of my entire life. During the whole show, everyone was singing along with the chorus of every song; at every line, you could hear everyone over Oliver Sykes’ vocals. Though his vocals were fine in terms of levels, the magic came from the crowd that gave me chills down my spine.
Bring Me The Horizon has been around since 2004, with numerous changes in styles from the deathcore of their debut to more poppy sounding recent tracks. It really shows how much they've evolved over the years with the music in their catalogue. One of the newer releases being Sempiternal, which is their heaviest album and best album to date, prior to That's The Spirit, was showcased a lot during the concert.
There was also a nice visual in the background which went along with the music, and I thought that was a little nice touch; it added more to their set and what they had in their background. They also had a killer light show!
During “Chelsea's Smile,” there was about four to six circle pits happening around me, and a wall of death that was so huge we were pushed to the side almost near the wall! I nearly almost died in the mosh pit because of how people were squeezing and shoving each other. It was so intense, I really needed a shower after the show and it was the best shower I have ever taken.
Highlight performances include “Shadow Moses” and its insane amount of crazy energy, as both the band and the crowd blew me out of the water completely, shouting “THIS IS SEMPITERNAL!” Another hit was “Antivist,” for the overwhelming amount of things that were going on. I myself was so into it, I got into a place where I thought, “oh my god I am gonna die!” Luckily, I survived all that madness. Other favourite performances were “Avalanche,” “Drown,” “Doomed,” “Sleepwalking,” and “The House Of Wolves.”
Overall, the concert was amazing. I loved how much all the bands interacted a lot with the crowd and that had a TON of energy on stage, save for Underoath. If I were able to see the same tour again for another night, I totally would.
CJLO presents your weekly music event picks for the week of March 20th.
On Friday March 24th, Anti-Vibes, Total Bliss, Paralix, and Ouijatrash are playing at Barfly. PWYC. Doors at 9pm.
On Saturday March 25th, Notre-Dame-des-Quilles will host the 6th edition of New Wave Night. This DJ event has no cover, kicks off at 10pm.
On Monday March 27th, the Courtneys, Monomyth and Mouthbreather will play at Bar Le Ritz. Tickets are 15$ in advance or 18$ at the door. Doors at 9:30 PM.
Bar Le Ritz is wheelchair accessible and has gender neutral washrooms.
CJLO 1690AM has your weekend plans covered! This was your show picks for the week of March 20th.
Album: Another Eternity
Artist: Purity Ring
Label: Last Gang
Tested On: Grado Black – Realistic Lab 400 – Luxman R-1050 – Dynaco A-25
As soon as I heard Purity Ring’s song “Stillness in Woe” on CBC’s late night radio show The Signal, I put down my knitting and paid close attention to this captivating track. The Signal is billed as “your place for musical discovery” and in this case, for good reason. I was in the market for some new music at the time, and so I picked up a copy of Another Eternity. This is the second studio album by Edmonton’s Megan James and Corin Roddick, and is catchier and more straightforward than their first project, Shrines. Another Eternity is a punchy bit of synthetic dream pop.
The record comes packed in a heavy, bubblegum-pink gatefold and has a nice substantial feel to it. The colour of the sleeve is no accident: for the synaesthetically inclined, this is pink music, dig? A soft, holographic sparkle marks its sound. Purity Ring is more overpowering than Chvrches, and more cerebral than Grimes, but to compare the duo to either of these artists would not be too much of a stretch. If I had to find fault with this record, I would say that there’s too little thematic variation. It is cohesive to a fault, but this shortcoming is undone by numerous other redeeming factors. James’ lyrics, like those words you write down after a dream and are later unable to make sense of, have an immediate but intangible relevance. Her vocals, centralized and ethereal, merge with juicy electronic beats and sound a wee bit like candy—flavourful stuff.
Effects upon effects give an enjoyably processed art-pop colour to the album. Percussion jumps right through the speakers, and the MIDI synths are haunting and saturated. Though these sounds cannot have originated anywhere other than from a computer, they seem especially well suited to the vinyl medium. The magnetic warmth of analogue playback lends any recorded material an inviting, tactile character, and nowhere is this enhancement more difficult to ignore than with purely digital source material like this. This record is mastered to be loud and emphatic with a full-bodied low-end, and though I personally enjoy this trendy new approach, the old-school audiophile would not exactly be wrong to dismiss it as over-compressed. A touch more dynamic range would not have been unwelcome, but I’m being picky. All in all, this album sounds excellent, and I get a kick out of hearing such futuristic sounds on an LP. Check it out.
Along came excitement when I was invited to a special show at the Mayfair to see Ritual Master, an up-and-coming doom metal band from the West Island who take influence from a lot of bands such as Black Sabbath, Venom, Electric Wizard, and Bathory.
Arriving to the venue my friend, we walked in as the band was on stage setting up their gear. We had a little chat with Gabe (bass, vocals), Ethan (keys/vocals), David (drums), and Rob (guitars), and we caught up since the last time we all saw each other previously. Rob is the newest member of Ritual Master since Alex, their old guitarist, quit the band due to pursue other things in his life.
Hitting the stage, Ritual Master opened up the show and set the atmosphere with a creepy ambiance, opening with "Gluttony Personified." The amount of professionalism shown through the skills of the band proved how they were all super tight with their instruments and showmanship. Gabe's vocals and bass performance was so amazing it blew me out of the water, especially as a frontman. Everyone else showed a lot of colour and contrast while the show was going on; David striking his sound of doomy drums, Ethan's creepy keyboard, and Rob's shredding and screaming guitars (with a Chuck Schuldiner style of play and a Dimebag Darrell feel) really brought a lot to their performance.
The new song they played (which I forget the title of) was really unique and had a Egyptian vibe going on. Moving halfway through the set, they played some songs off of their new EP Obscurus released not too long ago in February, and they all sounded great and more powerful. I talked to the band before the show, and they said that they had troubles with recording the album. They had a lot of hassling to do to get it done; it was just annoying for them as they wanted to get it out for us fans that have been waiting for a long time. But in the end, it turned out to be an amazing EP, and I would highly recommend anyone to give it a listen.
What I love about Ritual Master is that they have a unique doom sound that's unlike anything I've heard before. For a local metal band, they're always great to see live and they get tighter and tighter. Ritual Master is a must-see metal band for any folks who are looking to for some good old fashioned doom; so much so that they might just be the next Black Sabbath.