Archive for the ‘music’ Category
by Johnny K
Aaron Waisglass (aka Grandtheft) and D.R. One (aka Raph Kerwin), collectively known as Team Canada DJs, have been on one hell of a journey since combining forces back in 2004. Their quick cuts and genre-blending mash-ups have taken them to Asia, Europe and even to Paris Hilton’s birthday party, and this sounds like just be the beginning. Booked solid for the majority of the 2010 Winter Olympics on the medal stage in Whistler, Aaron recently took a little time out of his hectic schedule to talk about what the two have been up to lately.
UQ: So, first up, how did you guys come up with the name “Team Canada DJs”?
GT: Well, we came up with it 6 or 7 years ago. We’re big hockey fans and, also, we’re English Montrealers and nationalists. You know, we’re real pro-Canada dudes… it has had to do with the hockey and we kinda dreamed at the time when we were local DJs to have a whole plan to blow up in Canada and then be TEAM CANADA. When we went to the States and no DJs of our time were really doing that, it kinda worked.
UQ: How did the two of you cross paths?
GT: How did we start off? Well I started off as a musician as a kid and I started DJing when I was about 17. Raph started off as a scratch DJ when he was really young and then became a battle DJ. We both kinda met in the middle by DJing at clubs and met in Montreal through the hip-hop scene. We both had a similar style of club DJing that was energetic, quick mixing – kinda NY hip-hop style but we’d be playing all kinds of music.
UQ: Going back even further, what kind of music did you grow up listening to?
GT: Everything – both of us listened to everything but DR1’s like a hip-hop encyclopedia. I listened to hip-hop for sure but I listened to dance music and rock. I played in punk bands when I was younger as well and I was still making rap beats. I’ve always been into every kind of music and both of us appreciate every kind of music so what we do hinges on that.
UQ: I can totally relate. I think a lot of people these days are getting into a whole bunch of different genres as opposed to before where everyone’s kind of stuck on one thing.
GT: Yeah, I think that’s kinda the par for the course now but when we started doing it around 2003, 2004, it was really an unpopular thing to do. You’d go to the club and you’d hear either house music or rap or RnB or you’d go to a rock bar but there was no way of hearing everything at a club, you know? It was either like Sean Paul and Beyonce or house music or techno. There’s a huge division there and we were going into mainstream RnB hiphop clubs and playing Nirvana and house music with rap. That was really a crazy thing to do then but now it’s a very standard thing to do. It’s a mainstream thing almost in a way.
UQ: Big time. It’s great that you guys were there at the beginning for that. Why do you think diversity and genre-blending is so appealing to people these days in general?
GT: I think that while we were doing it here, DJ AM and Hollertronix were doing it in the states as well and this whole style blew up. As I said, it was really some original shit back 6 years ago but it’s a natural thing and people liked it right away. We started playing really big mainstream clubs and people were taking a real chance on us because we were known as these crazy guys who played all kinds of music, so you really didn’t know what we were going to do. But we always played songs people knew and there’s an accessibility there – the whole style hinges on doing stuff that people recognize.
UQ: Got it. Was music something you always thought you’d be doing for a living?
GT: I always wanted to do music, and both of us have university degrees and both of us came out giving this a full shot and were struggling for years to make it. I think it’s worked out really way better than either of us ever expected. So is this something we’ve always wanted? Yeah but I mean to be out here playing the Olympics and doing some of the things we’ve done and seeing the places in the world we’ve seen… Man I always say, even to my folks, if it ended tomorrow I wouldn’t have a single regret. I would not say I wouldn’t be bummed but I really wouldn’t even be bummed. We’re so blessed, man, and the places this has taken us, we’re well aware as well as appreciate a lot of it. So I hope to be doing it for a long time. We own a club now, we have a management company and a crew called the A-Team and I started a little record label as well so we got our feet in a whole bunch of stuff but it’s tough to say, man. This is a very tough industry so will we always be doing it I don’t know but we’re definitely happy to be doing it right now.
UQ: Okay, last question: any final words of wisdom for other DJs and artists who are trying to get ahead in this business?
GT: Well, I always say the same thing: you gotta work hard and be smart in the business but I also think that the key, key, key thing that always helped us was just being original. Don’t try to look at us or anyone else and do what they’re doing and use that as a model for success because you got to do your own thing and you got to do something different. Do something really creative when you’re making music or doing your shows because, otherwise, who cares if you’re doing the same thing as someone else?
posted by UQ Events
Live From “The End”, the band’s Kensington Market studio in Toronto – Times Neue Roman brings rock with a general tone and attitude of teenage immortality. Comprised of an award winning poet, Arowbe Arowbe Arowbe (Robert Bolton) and composer, Alexander The, TNR’s peerless sound has been turning heads and snapping necks.
Since debuting in 2008, Times Neue Roman have been rousing crowds at basement jams, rooftops, auto-garages, house parties, pubs, glitzy clubs, NXNE, Juno Fest and the back of a U-Haul truck. They flaunt a live show complete with wild theatrics, reckless moshing, tribal percussion and live visuals.
Even while breaking every rule of song writing and conventional structure, TNR’s popular potential is confirmed by recent placements of their single “Roq Roq” on the EA Sports video game, Fight Night: Round 4 and other songs on TV series like CSI: Las Vegas, A&E’s The Cleaner, MTV Presents: Summer Sessions and 11th Hour.
Times Neue Roman are no strangers to the dance floor either, as confirmed by the recent January 16th release of Zombies; a remix package including heavy-hitters like Barletta’s refix of “To Die” and DJ Jedi’s anthemic remix of “Hi, This Is My New Song”.
It is thus, with great anticipation, we announce their newest single “Best Est. 2019” on February 23rd, which is sure to place TNR among the exciting wave of Canadian artists emerging in this new decade.
CHECK OUT THEIR VIDEO BELOW: Times Neue Roman :: Best Est. 2019
2010 is slated to be a big year so keep your eyes and ears peeled for Times Neue Roman, March 11th at the Musebox showcase for Canadian Music Week and March 26th at Ronny’s in Chicago.
Entering its 15th season, the Salute to Vienna (STV) concert series has become a favourite holiday musical tradition throughout North America. The series combines the brilliant talents of The Strauss Symphony of Canada with stellar European maestros, tenors, sopranos and dancers to perform and celebrate the glorious, uplifting music of Vienna’s “Waltz King”, Johann Strauss Jr., and his contemporaries. STV is delightfully reminiscent of Vienna’s famous and beloved Neujahrskonzert, performed by the Vienna Philharmonic Orchestra for over 70 years and televised annually to 1.3 billion people around the globe. Over the past decade STV has grown into the largest live concert series of its kind in North America, under the leadership of Attila and Marion Glatz, founders and producers of this unique project.
In 1995, STV premiered in Toronto’s Roy Thomson Hall. By 2004 the show was presented in 33 major concert halls over a 5 day period across the continent, including sold-out performances in Montreal (Place des Arts), Vancouver (Orpheum Theatre), Calgary (Jack Singer Concert Hall tat the Epcor Centre), Los Angeles (the Walt Disney Concert Hall), Philadelphia (the Kimmel Center), Washington (the Kennedy Center), New York (the Lincoln Center) and Boston (Symphony Hall). The 2010 concert will mark its 14th season in Vancouver.
Salute to Vienna is the only genuine re-creation of the original Viennese production and is officially recognized by the Mayor of Vienna as an authentic Viennese New Year’s celebration. What Nutcracker means to Christmas, Salute to Vienna means to the New Year!
Salute to Vienna plays on Friday, January 1 at 2:30 pm at Vancouver’s Orpheum Theatre
For a complete list of Salute to Vienna concerts and ticket information visit:
www.salutetovienna.com or call 1-800-545-7807. Group rates available.
by Laura Melvin
It’s Evil Dead, the cult-classic Sam Raimi 80s demon-zombie movie… but with singing! Evil Dead: The Musical is a bloody hilarious theatre adaptation of the famous flick brought to us by the lovely people at Ground Zero Theatre, Hit & Myth Productions, and Keystone.
The run down: five college students take a vacation in an abandoned cabin in the woods where they discover a mysterious book in the cellar that just happens to unleash angry spirits that turn people into zombies. The cabin belongs to the professor who found the book in an old castle in Europe with his daughter. The professor is missing and the daughter comes to see him only to find a weird guy with a chainsaw in her father’s cabin. You know, standard horror movie stuff. What’s great about Evil Dead: The Musical are the pointed references to typical horror movie stereotypes. There’s the vulgar party guy, the big-breasted blonde, the book nerd, the strange local, and the random guy who rarely speaks. The hero, of course, is protected by the perfect love he shares with his girlfriend that prevents him from becoming a zombie. And it wouldn’t be a horror movie without that convenient character who just so happens to have the knowledge to banish the zombies for good just in the knick of time. Hurray!
The entire cast does a stand up job in this production: Tyler Rive (hero “Ash”), Jamie Tognazzini (book nerd little sister “Cheryl”), Lynley Hall (hero’s girlfriend “Linda), Kevin Corey (party guy “Scotty”), Cailin Stadnyk (big-breasted “Shelly” and professor’s daughter “Annie”), Guilly Urra (silent guy “Ed”) and Bruce Horak (strange local “Jake”) all manage to sing, dance, and act while smothered in fake blood. Evil Dead: The Musical does a great job of making fun of itself and all the horror-movie stereotypes we know and love. This play is so entertaining it may even reach the cult-status of The Rocky Horror Picture Show. But, beware! If you sit in the first few rows you WILL be covered in blood spatter!
Evil Dead: The Musical is playing at the Vogue Theatre until November 14.
Young indie types can be a dour, hard-to-impress bunch, and they were out in force to see electro-rocker John Vanderslice at the Media Club on September 16. Resplendent in their thick-rimmed glasses, alabaster, never-went-to-the-beach-all-summer complexions, and heavy cloaks of social awkwardness, it took 40 minutes of Vanderslice’s 70-minute set for those stiffs to finally warm up. But warm up they did, reenergizing the band as their pouts turned to smiles and they thrilled to that strange and unfamiliar emotion we humans call happiness.
Alright, enough making fun of the indie kids. Vanderslice opened his 70-minute set with “Too Much Time”…
…the strongest cut from his new album Romanian Names and one of the most beautiful songs he’s ever recorded. This gave way to a solid set of old and new favourites. Vanderslice’s carefully-produced recordings have a delicate quality that never seems to come through onstage, but this tour’s live arrangements did not disappoint, the familiar electronic elements effectively complimented by low-register acoustic instruments such as a stand-up bass, bass clarinet and baritone sax. Clearly delighted with the results, at one point he had his keyboardist and clarinetist replay part of a song unaccompanied by the rest of the band, simply because he thought their parts were so lovely they should be appreciated without the distractions of drums, guitar and vocals.
After an hour onstage the ever-cheerful Vanderslice wrapped the show with his signature unplugged encore, where the band came off stage with their instruments and played two acoustic songs in the middle of the club floor with the audience crowded around—a charming coda that brought the band and audience together like friends singing songs together at the beach. And since, as mentioned above, most of his audience never made it to the beach this summer, this warm and affectionate send-off only reconfirmed Vanderslice’s status as an essential indie artist.
by Nick Black
Last Thursday, I saw a band that I knew very little about—a decision that can sometimes end badly. In fact, I’m a little ashamed to say, I only discovered them the day before the show. They call themselves Band of Skulls. Now, I know what you’re thinking, but don’t let the name throw you off (it made me think of an eighties revival hair metal band). This is not what they are at all.
Describing their sound is difficult, due to their total eclecticism: Each song appears to have a different influence, and each has its own appeal. The first few songs on the album are hard hitting, raw rock (think Black Keys), but from there each song seems to take a tour in its own, completely different musical landscape.
So, I stumbled upon this band only 24 hours from the show. A friend had lent me the album, and after listening to it all day, I could not miss an opportunity to see them live. As far as their live performance goes, I’m not sure where to start.
During this day in age, when rock music seems to be forgotten in the squeaky vocals of the latest radio-bound band, it is refreshing to see bands like The Dead Weather and Band of Skulls; rockers that put all their passion into their music and express it in a live performance. People always say that crowd interaction is important in a live band. You know: the banter that Wayne Coyne has perfected. For me, more than the interaction with the crowd, I need to see passion from the players—a sense that they are into what they are playing. Having said that, Band of Skulls was adept at this. They oozed rock and passion. Each song they played did not sound exactly like the album; they let the music take them where it would, as if they were simply transmitting something beyond their control.
I almost wish I had something bad to say. I assume my readers, if there are any, must be getting annoyed with me constantly praising the bands I see. Truth be told, I haven’t seen a bad show in a while; they simply seem to be getting better and better. Perhaps it’s because I haven’t been to a show that I knew I wouldn’t like in a while; at least not since Ben Harper at Deer Lake Park. Perhaps I’ll write an angry retrospective sometime. Until then, get over it.
By Laura Melvin
Vancouver alt-rock mainstay, Ryan Dahle, played to a crowded Biltmore Cabaret Thursday night at the release party for his first solo album, Irrational Anthems. Most people associate Dahle, and his brother Kurt, with the bands Age of Electric and Limblifter, both of which had massive success in the 90s. After Age of Electric disbanded and his brother moved on to the New Pornographers, Dahle recruited new Limblifter members—including Meegee Bradfield who joins him on his solo disc—to keep the band alive. These days, Dahle takes his talent and creativity and channels it into producing albums for fellow Canadians and Vancouverites Hot Hot Heat and The Manvils. Looks like Ryan has talent and creativity to spare, however, with a solo album that has all the energy of Age of Electric or Limblifter—and unique, thought provoking song titles and lyrics.
To help celebrate his solo debut, Dahle had Canadian artists Debra-Jean and Prairie Cat start the party. Opener Debra-Jean enchanted the audience with a simple three-guitar arrangement and impressively powerful and emotive vocals. Prairie Cat followed with a fun, crowd-pleasing set, with a lot of songs about ex-girlfriends, which effectively warmed up the Biltmore and filled the dance floor. By the time Dahle began his set, the crowd had crammed in front of the stage: Neck-craning and standing on tip-toe became the dominant dance moves of the night.
Irrational Anthems is an intriguing and infectious album, complete with an eye-catching album cover that looks a lot like a jungle gym made of PVC tubing. With an album like this, the CD release party was bound to be a success. Dahle’s years of experience showed in his performance—excellent vocals, stage presence, and a venue perfectly suited to an intimate album launch. Though there were more guest-list patrons than cover-payers at the Biltmore Thursday night, I’m sure that the entire crowd would have happily paid the ten dollars to celebrate Ryan Dahle’s first solo release.
Check out UQ Events for tickets to concerts, theatrical events and more!
by Laura Melvin
Dancing to a good concert is like good sex: you use the best in your repertoire, you don’t dance around with a lot of useless moves, and you finish feeling satisfied and a little like your legs are made of jell-o. In keeping with this analogy, the Kings of Leon made passionate, sweaty love to—and maybe stole some virginities of—a sold out crowd at GM Place Saturday night in the first of two Vancouver shows.
KoL did a solid hour and a half set of both old and new songs, effectively dehydrating and exhausting the crowd by the time they made for the exits. With four albums under their belts—including the most recent installment in their discography, Only By The Night—the band had a long list of songs to choose from. To those of us who have been following the Kings for years, we wanted a throwback to the earlier songs that first introduced them to us. To newer fans, the older songs revealed some KoL history, introducing the newbies to the band’s first three albums and only strengthening KoL’s avid following. The boys were smart and made sure that their most recent hits like “Notion”, “Use Somebody”, and “Sex on Fire” made it into the set list, which fans, old and new, much appreciated. No matter what song was played, there was always a good portion of the crowd that knew the words. At some points, lead singer Caleb Followill felt no need to sing—the crowd did it for him.
The stage setup was simple, but effective: A decent light show and four big screens that flashed between shots of the band and graphics gave movement to the performance. In terms of actual the band’s movement, they aren’t particularly lively. They’re not jumping around on stage, climbing on speakers, diving into the audience. But, they still know how to excite a crowd. KoL makes up for their minimal movement with passionate vocals and vigorous instrumentation. That sweat on their brows is from pure talent and intensity rather than a sprint across stage. These boys from Tennessee are about the music, not doing some cardio.
by Laura Melvin
Rod Stewart concert tickets seemed to be a popular gift this Mother’s Day as thousands of moms and their sons, daughters, husbands, and partners piled into GM Place Saturday night. Indeed, a good portion of the audience was awkward teens and uncomfortable hubbies trailing behind their mothers and wives as they pushed their way through the crowds to their seats. You could spot them a mile away: a woman with her shoulders squared and a teen or husband behind her, holding her hand, with eyes down. Teens and hubbies may have seemed embarrassed to be there, but once Rod hit the stage they were singing along like the rest of the stadium; everybody knows at least one Rod Stewart song.
Rod was sexy in blue satin when he stepped on stage, much to my surprise. You see, in my head, aging rock stars all resemble Keith Richards: wrinkled and drooping after decades upon decades of drugs, booze and tour bus antics. But classic rockers like Mick Jagger, Sting, and Rod Stewart give a new face to the aging rock star. They are the epitome of health, fitness, and style. They leap around stage for hour and a half sets that would have most 20-something rockers gasping for air. In addition to a few songs off of his new cover album due in around Christmas, Rod rocked through some of his greatest hits, paying respect to the songs that made him famous, and finishing the show with his 1971 fame-starter “Maggie-May”, my favourite Rod Stewart song.
Like all classic rockers, Rod goes all out for his shows: big screen complete with graphics, full back-up band including an incredible saxophonist, violinist and two drummers, three back-up singers (who were just fabulous by the way), and an all-white stage setup. Add on three costume changes and you’ve got one amazing show. But, I have to say that my favourite part of the show was the audience. If you want to see crazy female fans, you go to a Rod Stewart show. With more than three-quarters of the crowd being female and over forty, I saw things typical of ecstatic teenage girls. The woman sitting next to me was just a hoot; when Rod began his song “Have I Told You Lately That I Love You”, she literally squealed, clasped her hands together, and sang at the top of her lungs. Throughout the song, I heard her sigh and stare lovingly at Rod like a schoolgirl stares at the poster on her wall of her favourite boy band. When Rod kicked his signature soccer balls into the crowd, there was a veritable battle for them. I saw hair pulling, elbows flying, and women diving over chairs to catch one. I’ve been to some out of control shows in my day, but I’ve never seen a full out brawl just for a soccer ball!
Visit UQ Events for more exciting local events!
by Laura Melvin
It’s like they never left! Blink 182 rocked GM Place Tuesday night for thousands of Vancouver fans, resulting in temporary attendee deafness as all good rock shows do. It was a night of old school Blink, with minimal interference from their newer material off 2003’s Blink 182. Even after a six year “hiatus” (come on, we all know they broke up and only got back together because their side projects bombed), the boys played their classics with the same intense energy as they did when they first stepped on the scene. The best of Dude Ranch, Enema of the State, and Take Off Your Pants and Jacket showed up in the set list: “What’s My Age Again?”, “The Rock Show”, and an encore of “Josie” and “Dammit” off of Dude Ranch, had Vancouverites screaming until they were hoarse with excitement. Only a handful of their later songs showed up, much to my relief, and I fervently sang along until I completely lost my voice like the rest of the crowd—another good sign of an excellent rock show.
There were a lot of awesome elements to the show: Mark had his signature pink guitar, Tom threw in his wonderfully inappropriate “I wanna f*ck your mom!”, the lights were seizure-inducing, and there was a weird angry bunny thrown into the set design. But it was drummer Travis Barker who stole the show and made it absolutely killer. A simple “hi” into the microphone, a rarity for Barker, ignited the crowd into a frenzy worthy of maniacal, preteen Jonas Brothers fans. But that was just the beginning! The highlight was his over-the-top, one-of-a-kind drum solo. Barker pounded the beat (and I mean POUNDED; he hits those things hard!) while he was harnessed to a suspended drum kit that revolved in midair. If God was a drummer, I bet he’d do it like that!
For listings of upcoming concerts like Blink 182, check out UQ Events.