Cadence Weapon of Mass Destruction

By: Cheryl Stornelli
Published: Mar. 2, 2009 – SoundProof Magazine

http://www.soundproofmagazine.com/Canada/Features/Cadence_Weapon_of_Mass_Destruction.html

He's not quite hip hop, not entirely rap. Cadence Weapon pushes the boundaries to bring an entirely new sound to the mix.

Breaking through the music industry's barriers of genre can make a climb to the top a lot more challenging. But every so often you stumble upon an artist who doesn't quite fit into one, two or even several genres. An artist who shies away from the norm, the typical, and from the repetitive. Mixing together electronic dance, hip hop, rap and a variety of styles from contributing artists, Cadence Weapon brings us Separation Anxiety – an album that touches on just about every genre within reach.

And in an effort to reach a wider audience, Cadence Weapon released the record as a pay-what-you-can album. "I wanted to release the music, but considering it's so different from what people would normally expect from me, I decided to give people the option. Also, I figured more people would actually give it a listen if they didn't necessarily have to pay for it," he says.

Fuelling the pay-what-you-can concept was not just a desire to reach more people, but for a desire to break away from the expectations of a "rapper". Feeling somewhat stereotyped into the genre, Cadence Weapon holds no punches in stepping out into uncharted territory, and he does so throughout the entire album.

The rap element that is evident in Cadence Weapon's music is undoubtedly his being able to tell a story and make an emotional impact using words. However, barriers – like low expectations of his musical aptitude because he doesn't play an instrument or read music – still remain.

"I feel like people look at me a certain way, like just because I'm a garbage man doesn't mean I don't like to do other things. Maybe I compact garbage and make sculptures out of it, you know? Being portrayed as a ‘Canadian rapper' instantly closes people off from the music, which is the whole point of this project anyway, hearing the music," he says. "People have a lack of understanding of the foundations of rap and preconceptions of what rap has to be. I wanted people to listen to the music without expectations."

Separation Anxiety is an open-ended compilation of random ideas, demos, remixes and collaborations. Released in-between Cadence Weapon's more personal, artist-based albums, the content wraps around his breakup with an ex-girlfriend and disillusionment. His previous full-length release, Afterparty Babies, consisted of mutant-dance rap using solely vocals on every track.

"I wanted to make something culturally relevant. Something undeniably important that shapes the world in a certain way. The ‘Sex with My Ex' remix was really important to me, because as soon as I heard the original by D.B. Buxton, I felt like I had a lot of words to add to this idea. It's something anyone can relate to," he explains.

Like many artists from any genre, Cadence Weapon's first steps in the music industry began with his parents' love for music. With a mom who sang and played piano and a dad who made waves as an influential funk and rap music DJ in the city of Edmonton, many of his initial musical ideas were formed around the house.

"Eventually I discovered things that spoke to me even more. I started out fooling around with raps on the Internet and started getting into playing shows through my uncle's funk band, Magilla Funk Conduit. From there, I taught myself to make beats and really refined my lyrics away from battle rap and it's been evolving ever since."

Luckily, Cadence Weapon's family understood the life of artists and the music industry when he made the decision to drop out of journalism school and move back home with his mom to pursue a music career.

"I started out spending most of my time getting drunk and bemoaning my general failure. At that point, I knew I was doing something interesting [in music] but never entertained any thoughts of people outside of my immediate family actually wanting to listen to it. I'm really glad I grinded so hard to get people's attention back then, the timing was perfect," he reflects.

Now, Cadence Weapon has a strong fan base that reaches further than his family, but he remains humble. "Most people just want to be my Facebook friend it seems. I think having people curious about my process and what I'm doing is cool. I'm actually kind of shy around people who actually like my music so I'm not exactly well-versed in this," he admits.

His current release is already well received and jam-packed with contributing musicians and experimental pieces. He's planning on exploring unrequited love, dishonest DJs, weight lifting, girls from Golden, B.C., and death through his next solo record, Roquentin.

"I sing a lot on it and there's feedback and screaming and guitar and other people's songs. I'm also doing a rap album with Subtitle called Fall Fashion; it's a hardcore rap album about wearing clothes."

Whether intended or not, Cadence Weapon is breaking down fences not only with other rappers, but for future Canadian rappers – kicking over barriers of the music industry with a pay-what-you-can attitude, and shoving through a saturated market of "ideal" musicians.

And whatever he's doing, it's working.

TJ Kong EP - what you're missing out on...

Here's a follow up to the article on TJ Kong & the Atomic Bomb. Just releasing The Hinterlands EP, I'm continuously impressed with every piece of music these guys put out; it's refreshing to hear a decent band for a change. For those of you in Philadelphia don’t miss the show on Feb 6th at the Tritone.

With a nitty-gritty, boot-stomping sound running through TJ Kong’s EP, The Hinterlands, this is like nothing you’ve heard before. An underlying blues tone that goes perhaps hand-in-hand with a ‘60s folk feel is a continued appeal from this Philadelphia band.

Breaking away from the mostly upbeat EP and standing out the most is possibly track four, Chris’s Song. The tempo is agonizingly slow as Kong lets out raspy sung, honest lyrics. You’ll find yourself crooning and sympathizing with every single beat in this tune...so clearly heartfelt, it paints a picture of an old man with his guitar sitting in a rocking chair on the porch of his country home, whiskey in hand, just laying it all out for the empty fields to hear.

The songs are brilliantly crafted and somewhat encrypted - but once you uncover their secrets, they have the power to completely change your first initial song impression. These aren't just everyday rambling songs - they're clues and hints to deeper meanings and thoughts.

Take careful listen to the songs in order (as per “subtle” instructions from Kong), and you’ll likely find a few purposely hidden gems. You’ll be pleasantly surprised from start to finish with this EP.

The Clown Prince

Published: SoundProofMagazine - Jan. 22, 2009
http://www.soundproofmagazine.com/United_Kingdom/Features/Quick_Dirty_-_The_Clown_Prince.html

A pair of eccentrics making their mark in and out of the UK, The Clown Prince are no strangers to pounding out new beats that offer a refresher to the tired, typical hip hop song. Does the inspiration to try everything musically come from Russell Simmons? Their musical backgrounds? Or could it simply be an unfading ambition to always progress?
Their EP, Put Em Up, shows The Clown Prince clearly pushing forward and writing for a broader audience. Following the "less is more" point of view in terms of production, the EP is built around traditional drum, bass and guitar. Sure, producer Neel the Wiz throws in synth and effects to give each song colour and uniqueness, but the EP doesn't rely on those extras.
The gem on Put Em Up is clearly "Favourite Girl" – set for release in the spring of 2009. Though it's your usual "loved a girl and lost her" story, the vocals are smooth and soft overtop of familiar beats. It leaves you singing the chorus and feeling the story - minus the cheese and clichés we're used to hearing from this style of song.
"I wrote 'Favourite Girl' about a certain someone in my past. I just needed to give a subtle shout out to let them know it's all good," admits frontman CHiF, explaining that the EP was largely inspired by his becoming single and being out in the world. "My inspiration changes with where, what, how and why I am. I was inspired on this EP by my newfound freedom and the rekindling of old friendships. I hope it shows on this record that I learnt to write songs that impact everyone of every creed and colour."
And the end of a relationship isn't the only one of life's special moments that CHiF credits as having given him a new outlook on his music. Take, for example, the first time he met Russell Simmons, when he saw him waiting outside his hotel. Green with envy, he ran up to offer his CD and to ask for any advice the famed co-founder of Def Jam Recordings could offer someone trying to get into the game. "Brother," Simmons told him, "Get in where you fit in. Do it all, do it good, then do what you like." Still fine-tuning his sound and style, it's a piece of advice that directly impacted The Clown Prince and CHiF's music.
"That's how I look at my music. I've done a lot, but now I'm honing in on what I like to do," he says. "It comes second nature to me and I'm very lucky to have made a career out of it."
It's a career full of passion and learning. Having grown from the first time he met one of his musical idols, through his first recordings, CHiF also teaches music, passing on his knowledge to aspiring musicians. "I always start the first class by telling there are no rules in music. To show no fear in the studio. To aim beyond what they think they can accomplish as musicians," he explains. "If you want to write a verse, then write a song. If you want to make a song, let's make an EP; you want to make an EP, let's smash an album out."
Taking his own words of advice, CHiF is taking The Clown Prince's EP on the road. Keep your eye out for an upcoming tour that CHiF expects will have "Neel the Wiz spitting out sixteen bar a cappellas and lots of sweat, rock and energy."

The Rural Alberta Advantage (The RAA)

Published: SoundProof Magazine - Jan. 20, 2009
http://www.soundproofmagazine.com/Canada/Features/Quick_Dirty_-_The_Rural_Alberta_Advantage.html

Sometimes the most heartfelt, honest music originates from familiar times and rediscovered memories. On an album filled with the theme of a changing province, elements of heartbreak peek through.
After picking up and leaving Fort McMurray, Alberta, population 35,000, in search of music, and putting together a band in the multicultural city of Toronto, Nils Edenloff was left a little intimidated and homesick.
"Once I got here in 2002, it seemed like all this great stuff was happening. How could I do something that was me when there's all this other great stuff going on? I actually didn't do music until things fell through with a previous girlfriend and I was living alone," Edenloff explains.
With a juvenile start at hosting empty open mic nights to amateur recordings by friends to playing a sketch comedy show, The Rural Alberta Advantage (The RAA) began to take form. Their acoustic style began with just Paul Banwatt on drums and Edenloff bringing guitar and vocals to the mix; other members were coming and going. Then Edenloff wanted to "fill out what the band was lacking" and singer Amy Cole was added to the group.
"After Amy joined it just came together," remembers Edenloff. "It gave us a simple, stripped down sound. The first show we played was like, yes, this is the way it should be!"
The RAA's first album, Hometowns, is a beautiful combination of soft guitar and light piano. Lying perfectly overtop are Edenloff's strong vocals and Cole's sweet, pure tone. Standing out on the album is "Frank, AB", a song that hung like a stone around the band's neck for some time.
"Nothing seemed to work with the song. Right before I was going to Germany on vacation, we got the keyboard dance feel and there was excitement of something new. The other songs were previously recorded as demos, so there was less excitement and feeling of, wow this is happening right before our eyes!" Edenloff exclaims.
Among the things happening before Edenloff's eyes was his realization of how growing up in Alberta not only shaped who he is today, but contributed to lessening the feelings of intimidation and being homesick. "I started writing about things I identified with. Remembering stories of kids running away, vacation in the town of Frank, all these things made me who I am. They're special to me," he says. "Everyone has a special place that's their home. That's what I hope people can identify with."
Unfortunately, with every annual Christmas visit back to Fort McMurray, he becomes painfully aware of the city's growth that's bringing about an unsettling change. Only in his memories does the small town you could take a walk through at anytime remain. Now, his family relays stories of drugs and crime.
"Maybe it's because I remember it as my small hometown where I went to high school. But when I went back, it was this totally scary town. More and more people are just going down there to have fun, make money and blow money. It's completely different than my memories. All these oil clowns are ruining it for everybody."
Though no aspect of our lives remains the same for very long, Edenloff won't completely rule out going back home. "I'm not about to cut up my Alberta health card and piss on the border," he jokes. "I'm here [in Toronto] for a reason. There isn't a lot of diversity there and I've got a pretty open mind." Plans are in the works for a new recording that will complement Hometowns, along with possible tour dates in the US.
Though it's easy to get lost when you're in the big city of Toronto, it was here, thousands of miles from what is now an unrecognizable hometown, that Edenloff eventually found the music niche he was looking for. Sometimes it takes challenging not only yourself, but your comfort zone, to realize who you really are.

The Bicycles Pedal Their Way Into Your Heart

Published: SoundProof Magazine
http://www.soundproofmagazine.com/Canada/Features/The_Bicycles_Pedal_Their_Way_Into_Your_Heart.html

Oh No, It's Love may follow The Bicycles' usual 1960s bubblegum pop sound, but the themes of the album take an unexpected turn toward unbearable heartbreak and fear. The album takes you on a rollercoaster ride; each song bravely admitting to fears of vulnerability. Amidst the wide variety of song styles are lyrics that ooze with hurt and pain, sung in perfect, yet opposite combination with cheerful melodies. Meshing the two contrasting song styles together creates a somewhat eerie feeling; you're left dancing to songs that echo hard and difficult times.
"It's still our traditional pop songs when you actually listen to them, but with more meaning," says singer and drummer Dana Snell. "The two different kinds of songs together are kind of creepy, but we couldn't write a fully sad song if we tried. It always comes out with our usual pop feel."
With the album's theme and sound being on opposite ends of the spectrum, it becomes difficult to gain an accurate idea of what The Bicycles are actually like as people. In comparison to their previous album, The Good, The Bad and The Cuddly, their latest release carries a darker feel and weightier subject matters. The Bicycles may be full of inner struggle or may see everything as sunshine and lollipops – then there's always the possibility that they're erratic control freaks who run from the slightest feeling of vulnerability.
"We're actually all kind of grumpy. We're not running around hugging everyone, but we're not sourpusses either. I guess you would just have to meet us and decide for yourself. People may get the impression we're just having fun, but we know how to be serious and still have fun," explains Snell.
What it comes down to is that The Bicycles are like each and every one of us. They're vulnerable in sensitive situations; they consistently put themselves on the chopping block with every new release, every new performance and every new contributor. In fact, The Art of Loving, a motivational book that teaches readers how to overcome their fears, inspired much of Oh No, It's Love.
"It's all about how to overcome your fears of loving and being vulnerable. It's about the fear of getting out of a serious relationship and licking your wounds. It's also all about how frightening it is to fall in love and how it's often something you want to run from," explains Snell.
Unlike The Good, The Bad and The Cuddly, which took about four years to complete due to each band member producing their own songs with complete creative control, Oh No, It's Love was recorded in just over a year, live off the floor at Head Wounds studio. (And yes, the band actually hit their heads on the studio's very low ceilings.)
But even with fears of vulnerability running high, The Bicycles' newest release is littered with contributing musicians. Each member gave their song files to other musicians to overdub at their leisure, emphasizing their multi-layer sound and resulting in two long rows of contributors listed in the album's liner notes.
"Even our demo was layered. I like the contributors on there. It doesn't bother me because we still had final say, and it's actually a nice bonus. It's an exciting atmosphere when everyone is thinking of ideas and putting them down," shares Snell.
Having lost their previous bass player with no sign of a good fill-in, everyone except Snell began to learn bass for the new songs, with various members taking over depending on whose style suited what song. "We just try and make the switching as smooth as possible. There's a lot of it, but it ends up really interesting because everyone has their own style. It's exactly like that on album with the number of contributors we had. But the live show is just us."
Oh No, It's Love is made up of a whopping 19, mostly hit-and-run style tracks, all with a perfect blend of sweet vocals and catchy melodies. Even with an extensive number of contributors, The Bicycles managed to maintain their identity and old fans without straying too far from their '60s pop feel while throwing in some country, easy rock and metal pop influences.
Though it may be difficult and scary to open up and let something so cherished be played with by other musicians, it doesn't seem to bother Snell or the rest of the band. To follow the out-of-the-ordinary interactive DVD board game that accompanied The Good, The Bad and The Cuddly, the band is considering handing over their songs from the new album to be turned into dance remixes.
"With the contributors on the album we still had creative control when we got the tracks back. For the remixes, we'll just be handing them over. I don't think we'll hate it and I don't think it will damage the songs. We're fans of the people who want to remix it so it's going to be awesome."
Ironically, the band sees the opportunity to have someone skew and change their songs as fun and exciting. "We've had a couple people interested in turning our songs into dance remixes. We can just let people put their own spin onto our songs. The album is already out, the songs aren't going away. I guess the only danger would be if they become more popular than the original songs, then we've created a monster!" Snell exclaims.
As Oh No, It's Love creatively explores the rollercoaster ride of love, it effortlessly inspires listeners to stare their fears in the face. Although The Bicycles' newest release is not likely intended to change or manipulate your outlook on life or love, you may just find yourself a step closer to overcoming your fears of vulnerability and saying oh yes, to love.

Ruby Coast - Coast to Coast

Published: SoundProof Magazine
http://www.soundproofmagazine.com/Canada/Features/Ruby_Coast_Coast_to_Coast.html

Hand-drawn stapled cover art, a mere 28 hours of studio time and burned copies of laptop recordings are what Ruby Coast's first two EPs consisted of. But now, the over-simplified days of get-in-and-get-out-style recording sessions are long gone. The Aurora-based five-piece have put together Projectable Collections, an EP to be proud of.

The record is jam-packed with quirky, hooking vocals laid perfectly overtop danceable indie rock. For an instant boost of energy all you need to do is hit play, turn it up and dance to wherever you need to go.

The EP all started with an offer from Dave Monks of Tokyo Police Club to re-record their previously released songs. Ruby Coast and Monks settled into Chemical Sound, a great recording studio run by Jay Sad and Dean Marino. Finally able to get a taste of what actually goes into the making of an EP, the guys were able to experiment and find the right sound, rather than just throw together a few songs for a last-minute tour.

"The other EPs were kind of sketchy, they were made quickly for short tours. We'd just quickly make some songs so if people would remember us we'd be able to give them out or have them pay what they can," explains Justice McLellan, guitarist and vocalist. "This EP is a lot more detailed."

Take the captivating, ever-changing tune "More Than Television"; McLellan doesn't hesitate to agree with keyboardist Keith Bradford that it stands out the most on Projectable Collections. A clear pop feel runs through it from start to finish, but the song purposely avoids the typical structure of a pop song.

"Nothing comes back around in the song. It's consistently changing. There's no real hook that repeats itself. That's what makes it kind of special. I like to experiment with song structures, otherwise it'd get boring" states McLellan.

With a half-and-half ratio of songs above and below the three-minute mark, Ruby Coast have adopted a hit-and-run style similar to their live shows. The catchy pop-like songs on the EP have a leave-them-wanting-more feel. But don't get your hopes up because you're certainly not going to get more just yet.

"We just released our EP and no one wants to hear over half an hour of songs," says McLellan. "It can all just mould together and sound the same. When you're starting out, I think your set is better in small doses to keep people intrigued. You don't want the audience to be drowned in the set."

Don't be mistaken – the band didn't adopt the hit-and-run style because it works for other bands or because they want to stand out in the eclectic Toronto music scene. Their goal is simple: To play what they, as musicians, are inspired by. To be different and to enjoy it. Unlike some bands, Ruby Coast don't care if they're compared to similar bands. In fact, they like it.

"I think it's nice to be compared to bands like Tokyo Police Club," says McLellan. "People used to compare them to The Strokes. I like Tokyo, so why should it bother me? We've also learned a lot from them; they're wicked guys."

Song choices for albums, live shows and EPs can be daunting, especially as a new band stepping into the music scene. On Projectable Collections Ruby Coast have developed a sound that's both magnetic and distinctive, injecting excitement into the audience during shows. Add a charismatic lead singer and Ruby Coast are free to invest their time into recording songs that keep their energy high and keep you hooked.

"It always takes some time to know if you're satisfied with your songs," says McLellan. "You could be really excited about one for a bit but it all depends on how quickly that excitement dies down. If it stays when you're playing them you know it's a keeper."

That's the stamp of approval a song must receive before the band makes a set-list or track listing. Maybe it's a newfound taste for professional recordings or the endless possibilities of where their indie rock sound could go, but the bottom line is that the music needs to make them feel good before it's going to reach your ears. "We've gone through so many songs that when I think back to them they could have been alright. But nobody wants that," explains McLellan. "You're an artist and you're trying to bring the best you can possibly bring. There's no reason for settling for something mediocre, especially when music is your passion."

Aspiring and working toward futures as respected musicians definitely rules out the slight chance of getting by on mediocre quality. To McLellan and Bradford, success doesn't have to mean mansions and fancy cars, personal drivers or private jets.

"Being a successful musician is to be able to take a bus somewhere and just live. It's getting by, even scraping by, but playing shows," states Bradford.

Agreeing, McLellan adds, "It's being able to eat and not be homeless, being able to have groceries. I don't want to be 40 and living in my mom's basement."

"I'm either going to be a successful musician or not," says Bradford. "But at least I'm getting to do what I love to do, everyday."

"I was thinking about it the other day. And I was like, what do I actually love? And music was definitely a for sure. Playing shows is the best. It's my favourite thing to do," says McLellan.

With untainted certainty propelling Ruby Coast forward and a solid EP turning heads across the music scene, it doesn't seem this band will miss a step anytime soon. And with Ruby Coast picking up speed and progressing musically, it's seems likely that laptop recordings and stapled cover art are a thing of the past.

The Library Voices

Published: SoundProof Magazine - October 10, 2008
http://www.soundproofmagazine.com/Canada/SoundBytes/Quick_Dirty_-_Library_Voices.html

Much like the hidden gems of music venues within Regina's deteriorating downtown, Library Voices are a ten-piece colourfully bursting out of their overpopulated, yet inviting indie music scene. Amidst low-income housing, pawnshops, drugs and crime the home of dozens of inspiring bands are crammed into a few city blocks.

With the closing of a grocery superstore that brought people and jobs to the downtown roughly ten years ago, the city has essentially left the core in pieces and with very few resources. Each day, Michael Dawson (guitar, organ, synth) watches as people crawl into the city for their day jobs and crawl back out, never breaking the cycle that is crippling the downtown. Yet out of this spawned a spectacular music scene.

"Regina is a ten city block with like 20 bands in that area. They stretch boundaries; it's hard not to be inspired by them. It's a very supportive scene for local music, it doesn't feel competitive (and) everyone takes turns playing with each band," Dawson explains. "However, we're about ten blocks away from what's deemed the worst neighbourhood in Canada. There's a ridiculous amount of drug use and crime. Our city is split down the middle in terms of a moderate amount of young families and crime."

Adding unbearable winters to the mix, there doesn't seem to be much to do in a city like Regina. Most bands hibernate and lock themselves away to make music and record. It's a bit ironic for Library Voices that they began in the summer and plan to tour out west in February and out east in May.

Luckily, having shared a stage with high profile indie outfits like Broken Social Scene, Stars and Plants and Animals, Library Voices were fortunate enough to have their turn and get an up-close look at what these bands "twist into each song". With a loose, fun vibe and a different level of professionalism, it quickly became an enlightening experience for the band.

"We just watch in awe of how it comes together for these other bands. I like to find out that they do a lot of things similar to your own band," says Dawson.

A great song or a great band may stem from a simple melody or small verse, but what's important to remember is the majority of the time it was never pre-meditated to sound a certain way or evoke specific emotions.

"The nature of art is that you stumble upon your best ideas; no one wants to admit that. But it's when you're not paying attention and fooling around that something great comes out of it. It's when the best ideas fall out of you," Dawson claims.

"The first song of our six-song EP came from ideas when we were just sitting around. We went with what felt right. When we went back to work on new stuff the songs almost set the tone for the band."

Though falling under the large pop umbrella, Library Voices carry an upbeat, dance style with an overall ‘60s feel. However, rather than falling into "bubblegum pop," their sound is self-reflective, ironic and sincere.

Their full-length, set to be released in January 2009, carries a more mature sound combined with the parts the band loved from the EP, Hunting Ghosts & Other Collected Shorts.

In a way, Library Voices prove that some hope and inspiration can be brought to decaying cities that used to overflow with life and opportunity. As unappealing as Regina and its deteriorating downtown may sound, hidden within the run-down buildings, empty streets and crying babies lives a thriving music scene filled with artistic gems, offering a glimmer of light in hard times.