Interview: Soulfly's Max Cavalera talks touring and his love of all genres of metal
Interview: Hawksley Workman talks rage and tears, 80s music, the idea of fame, and his upcoming tour
2019 Winnipeg Folk Festival Preview: What to expect, who to see, and a throwback to last year's fest
2018 Winnipeg Folk Festival Preview: Who to see, how to keep up, and a look back at last year
Interview: Legendary metal vocalist Max Cavalera
Interview: Andy Samberg, Jorma Taccone, and Akiva Schaffer of The Lonely Island
Justin Bieber: Never Say Never National Sneak Preview Event on Wednesday, February 9, 2011
The Lonely Island, SNL's Digital Short masterminds, have a new CD coming out
Interview: Rising Canadian singer/songwriter James Struthers
Interview: Multi-talented Toronto singer/songwriter Emm Gryner
Interview: Canadian folk duo Dala (Sheila Carabine & Amanda Walther)
Iron & Wine highlight of Winnipeg Folk Festival so far (and other Day 3 notes)
Born out of a mutual appreciation for each other's contributions to Canrock's indie canon, Tommy Hawkins is a spirited side-project that pools the eccentric talents of multi-instrumentalists Thomas D'Arcy and Hawksley Workman.
Beatsteaks are one of my all-time favourite bands, so this review may come across as a tad biased. But, come ON, they are the Beatsteaks. To me, this is the best band Germany has given to the world (sorry Scorpions). Danke to you, Germany!
With each album I think, "Is this the one that is going to suck?" Each time, the answer is no. This is no exception.
Album Review: Billy Idol - Kings and Queens of the Underworld
Posted by: Chris Hearn // November 16, 2014 @ 10:50am
Does anyone really need an introduction to Bill Idol? I don't think so. When it comes to Billy Idol, I like the hits, and he has had some good ones. But, face it, when some of these artists get older, they lose their edge and have difficulty repeating the successes of earlier releases.
Album Review: Casualties of Cool - Casualties of Cool
Posted by: Randy Hazzard // May 13, 2014 @ 10:28pm
It is hard sometimes to review something and not have it turn into an open love letter. That is the problem I have when it comes to discussing certain topics.
Album Review: Killswitch Engage - Disarm the Descent
Posted by: Randy Hazzard // April 2, 2013 @ 7:41pm
If the volume in your head phones is too loud, brace yourself. You will not be gracefully welcomed into Killswitch Engage's latest offering, Disarm the Descent. You will be welcomed to relentless screaming and pounding guitars.
When a stranger brags, "I'm in a rock band," you can imagine their sound. Self-proclaimed rockers haven't had much allure this decade. They've become the excitable inappropriate uncles of the music industry. Sudbury, Ontario's Pistol George Warren are not rockers. But they have walked a mile in their shoes.
At 56-years old, Keith Morris has dedicated the majority of his life to hardcore punk. He was the leader of Circle Jerks for three decades and fronted Black Flag for Nervous Breakdown. When his term with one band ended, he fought tooth-and-nail to keep a microphone in-hand.
Kathleen Edwards has made a career of manipulating bitterness into success. On her 2003 debut album, Failer, the dissolution of young love inspired the bulk of her creativity. Over a decade has passed since the Ottawa-native recorded her first songs at Little Bullhorn Studios.
Album Review: Willis Earl Beal - Acousmatic Sorcery
Posted by: Matt Moskal // April 25, 2012 @ 8:00pm
Willis Earl Beal is an unfolding enigma. Every single line of his biography is fascinating. Beal's website simply displays his address and phone number. He offers to trade drawings in exchange for letters and sing to anyone who calls. This was inspired by the Chicago-native's homeless phase.
Album Review: The Magnetic Fields - Love at the Bottom of the Sea
Posted by: Matt Moskal // April 4, 2012 @ 8:00pm
The Magnetic Fields' most ambitious undertakings could well be behind them. However, frontman Stephin Merritt's priorities are eccentric in their own right. Before 2010's folk-inspired album, Realism, Merritt claimed he had no desire to create big statements or epics. However, this assertion came on the heels of surrendering his synthesizers for a decade.
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