So, What Do We Think About CMW? – Torontoist
Another CMW has come and gone. See what guys like me had to say about the festival before it launched in Carly Maga’s Torontoist article. http://torontoist.com/2012/03/so-what-do-we-think-about-cmw/
So, What Do We Think About CMW?
Canadian Music Week kicks off its 30th festival tonight. But is it showing its age?
BY CARLY MAGA
Janelle Monáe goes crowd-surfing at the 2011 Indie Awards, while audience members snap pictures and a creepy man wears a black mask. Ah, CMW. Photo by Roger Cullman, from the Torontoist Flickr Pool.And so it begins! Canadian Music Week, which is part of the Canadian Music Festival (CMW or CMF, respectively). Aren’t we excited? Well, aren’t we?
Yes, this could be the first CMW in recorded history that won’t have coat checks or cursed umbrellas hindering intrepid concertgoers, and there’s a pretty great film docket and comedy lineup to boot. But for those who watched as a few anticipated acts cancelled their appearances or failed to show up at all, or who are still recovering from SXSW, or who are simply saving their money for NXNE, vigour for the fest could be waning in the event’s 30th year.
So, how do we feel about Canadian Music Week? Torontoist asked some local music writers, bloggers, and lovers to share their thoughts.
Frank Yang
Chromewaves/Polaris Juror
They have real trouble attracting any kind of talent to play it, and what they do get they stack onto a single lineup such that there’s one show that everyone tries to get into and dozens that no one bothers with. This year, an astonishing number of international acts have cancelled appearances after being announced—not sure what to make of that. I feel obliged to cover it but am hardly excited. There was a time that CMW and NXNE were on about a level playing field but NXNE has gotten astronomically better and CMW…has not.
I’ve had to delete so many bands I was genuinely keen to see from my calendar that it’s hard to get remotely excited. And moving it from before SXSW to after is an inexplicable logistical pain in the ass. I touch on this in my festival preview post from last week. but the fact that they’ve not made comment on their website or Twitter about one of their ostensible headliners—Childish Gambino—cancelling his show, and that Jeff Beck is still listed in the big graphic on the artists page despite cancelling over a month ago is telling.
Jesse Ship
Assistant Editor, Tribute Magazine, Freelance Writer for AOL Spinner
It’s so easy to jump on the jaded hate-wagon but come on.… It’s still a huge opportunity for tons of bands to get exposure and love and an international business conference for the industry.
Scott Honsberger
President and Founder, Toronto Music Industry Association
In my opinion, Canadian Music Week is an integral part of the music industry of Toronto as well as Canada. Venue festivals/conferences such as CMW are chances for the music industry to come together, meet, collaborate, and enjoy an enormous amount of live music. It also offers a chance for us to show off our venues, our talent, and our city to people from all over the world. It’s a permanent part of my yearly schedule.
Ashley Carter
Editor, AUX
Mostly it’s just annoying that it butts up against SXSW, which would be fine if it seemed like they were taking advantage of booking bands touring back from that festival. But judging by the lineup, that can’t be the idea. Maybe it’s a conspiracy to burn out journalists that have to cover both?
Joe Strutt
Mechanical Forest Sound
CMW is extraordinarily draining because of the merch/corporate slant. There are so many bland bands that want to become cogs in “the industry” that it’s painful to try and sift through them to try and find something interesting to see. (For proof, look at my troll through a sampling of artists’ bios.)
It also seems like a big scam inasmuch as they’re peddling $75 wristbands for bands that you either a) can’t get into or b) could go see around town for 10 bucks or less during the other 51 weeks of the year. More rambling in my festival preview.
Anupa Mistry
Regular contributor to NOW Magazine
I think it’s worth getting excited over any festival that gives local and international artists a chance to perform. CMW/CMF might not have as many “big name” acts but I think it can function as a nice throwback to the lost art of “discovery”! I’ve got a show, or multiple, every night of CMW that I’m really looking forward to. It’s a nice mix of local and not-local acts too: The Get By, Cold Specks, Dabrye, BADBADNOTGOOD/Lunice/Zodiac, Spoek Mathambo/Cadence Weapon, Nicolas Jaar, and Georgia Anne Muldrow.
Ricky Lam
The Panic Manual
[I] have no idea why they would put it after SXSW, when most people are tired from seeing shows.
Lisa Lagace
TurntheRecordOver.com
There isn’t a huge difference between the two, so I’ve never quite understood why so many people seem to prefer NXNE. Generally, both events have great conferences with similar keynote speakers and workshops, and the quality of bands that play are of the same level. I love both festivals for the same exact reasons. I get a week of nonstop amazing live music and fun parties, and I get to see all the bands I love play during that short time. There’s also a really great music documentary film festival attached to both, that seems to be getting get stronger each year.
If everyone is talking about what a great place for music Toronto is right now, it’s because of what happens at festivals like CMF. It may never feel as significant as the bigger festivals south of the boarder, but within Canadian music, it will always be an important time for discovering emerging bands. Bands I can’t wait to see play CMF this year are Teenage Kicks, Attagirl, The Dirty Nil, Pat Wright, Poor Young Things, Cold Specks, Wildlife, Topanga, The Sweet Mack, Zeus, Eight and a Half, The Darcys, Bright Lights Social Hour, and Jane’s Party.
Dave Jaffer
Freelance Music Writer/Polaris Juror
It’s not a festival for music fans as much as it’s one for the industry. It’s not very well organized either, and, in the places that it is, it’s hyper-managed to the point that incredible performers will get like, 25 minutes and then get the hook. The first time I did CMW I had a lot of fun, and some of my friends—who were from Toronto and who had been in the industry longer than I had—referred to that year as an anomaly. I was like, “No, you guys are jaded, etc,” but they were right.
Jessica Lewis
Roundletters/Static Zine Editor-In-Chief
It’s still relevant in the sense that it’s a music festival and that’s always needed whether it’s for the music industry or fans. People are still greatly benefiting from it whether they enjoy it or are making money off it, and isn’t that good? I’ve seen a ton of people on Twitter saying they’re really excited about it. Sure the lineup’s not great this year to our standards, but it’s a fest and I think it’s good we can still even have two big ones let alone a ton of small ones in this city. It has decreased in relevance this year in the sense of putting it after SXSW, the lineup’s not as big, and NXNE has definitely revved it up.
Aviva Cohen
Photographer/Static Zine Managing Editor
NXNE has started to do things that make the festival feel special—big shows at Y&D Square, Booze Cruise, utilizing smaller indie venues, etc. The best thing about CMW are the in-stores at Sonic Boom.
Crackerjacks and Cereal Boxes: Free Toy Inside?
I spent the last three weeks working as an Assistant Editor at Tribute Magazine, putting my time and efforts into the March/April 2012 issue. With the way things are going in the print industry, it’s rare these days to be working on site in a magazine office so I cherished every moment of the experience.
Their office was decorated by framed movie posters, some of them testaments of the company’s started in the movie licensing industry like their original Clash Of The Titans poster printed on film sheets with die-cut windows for the little actors headshots. But the real cherry on the cake was the executive boardroom loaded with old cereal boxes with movie promotions from the 80s and 90s enclosed in lucite cases along with movie stickers, Garfield paraphernalia Star Wars toys, Star Trek (original motion picture) gummy candy, and other random “free toy inside” type toys.
The room was a fanboy’s wet dream that is not so different from my own living room, so, naturally, I had to capture it in all its boxy glory.
Laura Siegel F/W 2012 @ MasterCard Toronto Fashion Week
Originally written for Casiestewart.com
Channel your inner urban goth with Laura Siegel’s bohemian-inspired Fall/Winter 2012 line. Models were dressed with bouffant hair and draped in flowy silk capes befitting of any self-respecting warrior princess. Others donned thick and chunky wool sweater dresses, and distressed infinite scarves. Her prestigious Parsons education has allowed her to think a little outside the box and has opened up doors to practical homeware like patchwork notepad and book jackets that are sure to catch anyone’s eye at the local Starbucks or Queen W. cafés. So would her ruck sacks and frilly black clutches.
Laura has kept up this season with her MO to produce ethically handcrafted easy-to-wear, textured designer pieces while enabling third world artisans to continue their creative skills. Some of her major accomplishments have included displays at Sak’s Fifth Avenue, features in Italian Vogue and a Rising Star award at Vancouver’s Fashion Week.
Juma Installation at Toronto World MasterCard Fashion Week
Originally written for Casiestewart.com
Toronto’s Juma, unveiled their Fall/Winter 2012 scarf collection at the Edward Day Gallery without the use of models, opting for an installation style event. An elite group of Monday night fashionista faves soaked in the wonders of Juma’s silky garbs. In case you didn’t know, Juma is a brother and sister team (Jamil and Alia) who create unisex, progressive ready-to-wear and accessories using their own digital prints inspired by art and travel. The upcoming season’s work was no exception and channeling aspects of local culture, and wildlife from the siblings travels in Thailand and Northern China but adding a spacey 60s mod vibe. I wonder what their trips are like. I can imagine they are quite unlike anything most family vacations I’ve been on!
Since launching their line in the 2003, the duo have relocated to New York where they spend half their lives, bringing some inspiration to their designs. According to Jamil, the two of them looked forward to “developing an environment that will embody the personality of the collection.” I guess this was true enough. The walls of the gallery were draped with dozens of scarves, not unlike the paintings that usually house the gallery’s walls, with glossy lacquered branches hanging here and there. It was well fitting as Juma’s scarves really are works of art that bring loud psychedelic burps pops of colour to the minimalist wardrobe that Toronto just can’t seem to escape from.
Aside from launching the exotic and always eye-dazzling array of garments and scarves Juma has been quite busy on other fronts brokering deals with Holt Renfrew, (now available in shops!) designing a tutu for the National Ballet of Canada’s 60th Anniversary, and also planning a new store opening, (location still being kept a mystery) but I’m guessing either Toronto, or New York.
– JESSE
MasterCard Fashion Week: Chloé Comme Parris – FW 2012
Originally written for Casiestewart.com
Black pantsuits were de rigueur at the Chloé Comme Parris’ Fall/Winter 2012 show. If it wasn’t a pants suit, it was bauble-studded epaulettes on three quarter length black latex inspired bondage tops, beige sheer blouses (with more studs) or aggro trench coats worthy of any self-respecting trench coat mafia.
The second movement showed off their outerwear collection that accessorized with what was either mink, coyote , or some other Nordic animal’s pelt embedded as collars or as full-length, high-shouldered vests. The Celtic braided headdress style, combined with the edgy fairy-like gowns left more than a few fans wondering if the Chloé Comme Paris sisters (Chloe & Parris) might have spent a good time of the last year watching Game Of Thrones on repeat.
– JESSE
TOP 5 ELECTRONIC RELEASES: FEBRUARY – AUX.TV
Ango – Another City Now EP
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Is Ango short for Anglo? Given that he hails from my favourite bilingual city to the north, this could be true. The six track narrative fuses late 80s pop, early 90s house and the smooveness of contemporary R&B. The record is apparently “a lyrically polarized selection of girl songs expressing the giddy way up and the painful way back down.” Ouch. What is this girl landing on?Another City Now is a solid fit to the LuckyMe roster known for their signature lush synths and soulfully uplifting melodies. Ango is also noted for his collaborations with Lunice and Azealia Banks. |
Gunslingers And Greenhorns – Poker Flat Vol. 9
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Poker Flat return with this ninth compilation featuring ten of their brightest new talent and grizzled gunslingers that will take you on a whistle stop tour deep into the Wild West of modern house and techno. Check out the freshest cuts from guys like Adultnapper, Ian Pooley, Roland Appel, and Sebastian San. For added bonus, there’s a full 16 track disc mixed and compiled by label honcho Steve Bug. |
Deadmau5 – Meowington’s Hax 2K11 Toronto |
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The DVD to accompany the mother of all Can-Con performances where little Deadmau5 brought down the house, errr, Rogers Centre, and earned a plaque for Canadian artist with the most tickets sold at an event. And also the largest congregation of glow-in-the-dark mouse-eared-wearing 20-somethings on ecstasy, EVER. The disc is about two hours long and I imagine it would be an awesome addition to any Deadmau5ers weekend pre-party routine. Sadly, the epic video screens that Deadmau5 funded on his own tab are not featured as prominently as they could be, and a lot of the highlights of this vid are of chicks gone wild, sitting atop bulky dude’s shoulders, which makes it best left as background noise. Sonically, it does redeem its self as it features 26 cuts from the show. |
DJ-Kicks – The Exclusives
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The DJ-Kicks shtick is to have a popular DJ/producer/band create a mix of some of their favourite songs of the moment, and the cherry on top is that they also have to create an exclusive track made specifically for that album. The album here is actually a compilation of all those exclusives from the past five years, and is the second ‘best of’ since 2006. Some of my favourites include “Pockets” by Four Tet, the epic 12 minute long “Feel So Good” (good, good, gooood!) by the Juan Maclean, and Scuba’s deep and dark 90s helicopter bass-y and ravey sounding “M.A.R.S.” |
Trevor Jackson Presents METAL DANCE |
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I used to be into EBM and Industrial music when I was in my teens because it was hard, raw and made liberal use of electronic styles. I’m probably missing something on a grander scheme of things because I don’t really understand why everyone cares about this ubergoth trend all of a sudden. Is it because the drag/witch house is running its self out so it’s now time to capitalize while we can on its secret origins? Anwyay, at first I thought they meant Steve Jackson, of the Fighting Fantasy book and dice fantasy game books, but no. Trevor Jackson is actually an art director and audio nerdophile who has a penchant for Alien Sex Fiend, Yello, Nitzer Ebb, Jah Wobble and Severed Heads. My teenage mid-90s self would be gushing if he discovered this one in the record bin. My current self wonders do I really need this nostalgia? |
Surprises, disappointments and albums to watch for next month
Stuff we missed last month: January is usually deadsville for album releases but we missed Steve Aoki’sWonderland, featuring celebrity collaborations with Kid Cudi and Travis Barker on “Cudi The Kid,” Earthquakey People featuring Rivers Cuomo (a sure summer hit), and “The Kids Will Have Their Say” with Sick Boy and former members of the Exploited and Die Kreuzen. Also missed in January was Skrillex.
Things that didn’t surprise: Skrillex taking home a three Grammys – Best Dance Recording, Best Dance Album for “Scary Monsters and Nice Sprites,” and Best Remix for Benny Benassi’s surprise hit, “Cinema.”
Things that suck: Every other guy and girl trying to do the Skrillex short/long emo undercut shave hair-do. Thankfully it’s more for the ladies.
Palladium Boots: Streets In Focus
Fresh Hype from Palladium.
SALVA, COMPLEX HOUSING: DJ COOL WITH PIRATING IF IT HELPS HIM TOUR
Posted on Feb 14th 2012 3:00PM by Jesse Ship
“I wish I played piano my whole life but at the same time, I don’t think I’d be where I am, coming at it backwards from a post-modern aesthetic shows in my music — and I’m glad to be where I am, regardless,” Paul Salva, creator of the surprise hit ‘Complex Housing,’ a fusion of abstract hip-hop, funk, Detroit techno and old school house, tells Spinner.
As a Chicago-native and child of the ’80s, the former turntablist who goes under the moniker Salva owes a lot of his fan appeal to dissolution of musical boundaries over the past decade. Less stylistic limitations means a potentially wider appeal and a more open-minded audience.
“It’s the cornerstone of me being able to be an artist; it’s unlikely that I’ll get negative online reviews from fans that like [LA] beat music because I write a straight, dark house tune.”
Not that he doesn’t respect time-tested crafts and tradition. Salva pays tribute to the masters, and believes that the most important thing for any musician or artist is history.
“For anyone who wants to approach being a master and honing their craft, learning the history plays a huge role. I tend to look backwards be it classic house, ’80s electro-funk, Miami bass, or early rap. But it can go both ways. There are young artists where ignorance plays a factor into accidental genius. For example, take the 20-year-old kid who just got Fruity Loops and is all of a sudden making the hot new sound. But if you look at artists who have been around for 10 years-plus, they’re the ones who can best keep a neutral perspective on trends. So it’s a mix of both.”
Salva is also head of Frite Nite Records, a deliberate nod to the campy ’80s horror movie. His label has little to do with vampires and slashers, but the name helps convey the kind of fun and knee-jerking vibe that he’d like to portray in their releases. He’s also fairly modest about things, using the label as a platform for friends and peers’ music that he believes in.
“Frite Nite is more of a crew; I encourage everyone to get other record deals. If someone is going to invest in your music, publicize it, I encourage that. We’re really an artist-run label.”
And artist-run labels understand the power of recently demonized torrents and other file sharing services like MegaUpload. Salva’s mostly an advocate for the proliferation of ideas when it comes to Internet culture — after all, as an underground artist, getting exposure is what allows him to keep touring.
“I know that a lot of my music is pirated,” he says. “The kids that are downloading are the kids that are going to come out to my shows and allow me to go out on the road. I’ll record music for free if it helps me stay out on the road.”
He agrees that the sharing of data and information shouldn’t be restricted, but with the entertainment industry flipped on its side at the moment, something should be done.
“You think the artists are suffering but it’s really hitting the corporations, which I couldn’t really care less about. However, with technology going the way it is, I really do think that they need to find a way to curb this stuff. They have to figure out a file codec or way to store files that you can’t illegally share. “
Sound Bite: Ian Battenfield Headley – Musicworks Spring 2012
I’m thrilled to be part of this issue of Musicworks featuring John Kameel Farah, Philip Glass, and a “Make Your Own Sequencer out of a Cigar Box For Just $30!” tutorial! I love that I was able to flex my intellect when putting this together. My article is an interview with Musicworks’ first annual electronic music composing contest, awarded to audio engineering wunderkind (I dared not use this hackneyed term in my article) Ian Battenfield Headley! My only regret is that I wish I had more space to include Ian’s cultural anecdotes on his trip to Beijing’s MusicAcoustica conference. Maybe I’ll add some of the notes later on.
“Break-ups: The Series” Submissions
Truth. Passion. Love. Hate. Submission.Hysterics
BRILLIANT!
Principle Creator: Ted Tremper
Improvised by:
Ep. 1 = Katy Colloton, Ted Tremper
Ep. 2 = Seth Dodson, Kellen Alexander
Ep. 3 = Paul Jurewicz, Cecily Strong
Edited by Ted Tremper, Mary Cait Walthall
Cinematography: Ted Tremper
Camera: Bobby Richards, Ted Tremper, Zeph Michaels
Sound: Bobby Richards, Ted Tremper
All Episodes Directed by: Ted Tremper
For more episodes please visit breakups.us
For questions or comments please email ted@breakups.us
