Rum Collins is a cocktail consisting of light rum, lime juice, sugar, and soda water. It is similar to the better known Tom Collins, but replaces the gin in that drink with rum. The spoken word introduction to the 1970 song “Iron Man” by the British heavy metal group Black Sabbath. Though the song is often assumed to be about the Marvel comics superhero Iron Man, it is not. Originally titled “Iron Bloke,” the song’s lyrics tell the story of a man who travels into the future, sees the apocalypse, and upon returning to the present is transformed into an iron man. Nonetheless, the 2008 Marvel film Iron Man used the song over its ending credits. A line from a 1962 episode of the anthology series The Twilight Zone, titled “The Little People.” Two astronauts find a planet inhabited by teeny-tiny beings, and one of the men forces the population to worship him and build idols in his image. A paraphrase of the line “Kill them all and let God sort them out,” frequently uttered by, shall we say, the more jingoistic among us, particularly when a new military campaign is undertaken. It is attributed to Catholic papal legate and inquisitor Arnaud Amalric (d. 1225). He attempted to convert a rogue group of Christians living in southern France, and when persuasion failed, he initiated a crusade against them . When one of the soldiers asked him how to distinguish “their” Christians from “our” Christians, Amalric reportedly responded, in Latin, “Kill them all. For the Lord knoweth them that are His.” The soldiers enthusiastically went on to slaughter almost 20,000 men, women, and children and burned the city of Béziers, according to Amalric’s report to the pope. MF Doom’s Live From Planet X is finally coming to vinyl after more than a decade. The live album features a Doom performance recorded live in San Francisco on August 15, 2004 and has previously only been available on CD, originally given away with Special Herbs, Vols. So yes, the 10th anniversary edition of Pink shows it remains both fresh and amusingly prophetic, while its nine unreleased tracks make it well worth the price of admission. Ten years after its release, it remains the Japanese trio’s most focused album as it displays the full Boris arsenal – from dreamy shoegaze pop to squalid riffs. There’s a sense of mystery in the album’s lyrics; images of melting chalk and underground rays of light sprinkle over the songs to give you another layer to think about as you’re bouncing around in your seat. Brave Radar are smart and sleek, if you’ll allow me to finish off the car metaphor, and will take you anywhere you want to go. Brave Radar has you covered no matter what speed you prefer to drive, though. “Earth Control” is in fact a “technofuturistic driving song” with a smooth bassline. Put your foot on the accelerator just a bit more to cruise along with the surfy vibes of “Atmosphere Room.” Have fun at a reasonable pace with “Moves in Time,” a more blatantly jangly little bit of guitar pop. For their first album in five years, Canadian electronic music agitators MSTRKRFT – composed of Death From Above 1979’s Jeese F. Keeler and producer AI-P – wanted to make a “techno record with a punk aesthetic”. Recorded live in the town hall of New York City on May 15, 1958, this historic concert was a retrospective of Cage’s work from 1934 to 1958. Box includes two 180-gram LPs and a 12-page book containing comments by John Cage himself. Emerging from the distant light is the new double-LP from John Dwyer’s Thee Oh Sees—the first studio recordings to capture the muscular rhythm section of twin drummers Ryan Moutinho and Dan Rincon with ringer bassist Tim Hellman cracking spines. Fully remastered from the original master tapes in a limited edition of 1,000 vinyl copies. The boys are back with the new album IV, their most impressive and highly anticipated project yet. IV continues their forward thinking progression, sounding something like a jam session in space between Can, John Coltrane, Herbie Hancock’s Headhunters, Weather Report, Arthur Russell & MF DOOM. Inspiration for the album actually came from a bed-ridden stupor, when Cutler was hearing feverish rave tunes in his head before sleeping. After he recovered, his audio-visions were further refined by driving around L.A. With some friends while listening to old jungle and hardcore albums, leaving Cutler with no real choice other than to take his own stab at it. The smooth soul samples and sharp drums may draw you in, but these songs are relatable on every level and that is so rare in today’s hip-hop. Ugly Heroes come together not to recognize their struggles, but to assert control over what can be done about them. And then the song erupts, Banks double time flow morphing to a war mongering scream. It is wild, ecstatic, sexual, danceable, offensive, stupid, genius, braggadocios and above all highly, highly contagious. This is Kanye perched from his ledge with a machine gun, sky high on coke, ripped and ready to blow down the first motherfucker who comes through the door. Now armed with frustrations of being marginalized in both the music and fashion industries, West comes armed to the teeth creating a villainous persona, even willing to pull apart any remnants of his previous sound.
Including Knowles, the song was worked on by 9 people, 7 if you ignore the Boyz II Men sample. In a timely turn of events Tame Impala’s music became something of a symbol for themes of aging and change, promise and helplessness. It was no surprise that his music achieved a far reach and universality touching both 30-year-old parent and millennial hype beast. Yes Paak, Pomo, and even Schoolboy Q criss cross through funk slaps and always land back on the one. But what the collaboration truly gifted us was a song that used references to time, love, and fate to draw a sincere love letter to the dance floor. Like all later day rap visionaries, Scott lets his voice drive this one; the cool as dusk background beat perfectly weaves with the vocals to provide a universal yet singular atmosphere. And that’s what makes Can’t Feel My Face so brilliant; like The Weeknd’s backstory, the source of the feeling is uncertain. Is numb the feeling you get from finishing a bag of cocaine, or love at first sight at the club? Is it crossing over to the other side like what Pink does in The Wall? Or maybe it’s something that feels so good you start to neglect the brevity of the things it might make you do. Riffing off of Dem Franchize Boyz White Tee and late Atlanta pioneer Shawty Law from D4L’s “I’m the Man”, the Migos opportunistically amp each other up with machine gun rhythms and non sensical ad libs. Spitting over Nard & B’s menacing beat, the spirit of interpretation is high and Migos displayed a brand new, decidedly more simple attitude. Nobody doesn’t use autotune on the track, but it’s used as more of an instrument here and it’s never sounded better, but it’s the group’s unshakable attitude that ultimately gives T-shirt it’s power of braggadocio.
Clams Casino : 32 Levels CD (
Though it’s a negative statement, defined in opposition, Jones has said in an interview that he intends it as “inclusive.” Each track on the record can be read as an invitation to join him in his unsettled meditations. That’s the story of GØGGS, Segall’s new project with Ex-Cult’s Chris Shaw at the microphone and longtime collaborator Charles Moothart completing the trio. The versatile Segall and Moothart rotate instruments on nearly every song, trading off lightning-quick guitar licks, bass lines, and drum fills, with guests like Mikal Cronin, Cory Hanson of Wand, and Denee Petracek of VIAL dropping in on the fun as well. In 1975, Ah released his second LP, Move Ever Onward on his own label, Divine Records. A more straightforward affair, the record infused Indian, Japanese and African folk music elements into more traditional jazz structures than Ah’s debut LP. Of its eight tracks, four include vocals by the artists Dara, Aiisha, Kwesi Gilbert Northern and Ayida Tengemana. The instrumental tracks provide more colorful moments, such as the cacophonous percussion on ‘Boundless Rhythm’ and the hypnotic kora and koto notes on ‘Enthusiasm’ and ‘Celestial Strings’. The groove and bludgeon one has come to expect from the band’s live shows is captured seamlessly here—they go from zero to head-splitter, and on the rare occasions they do let up on the gas a bit, you’re treated to some locked-in hypnotizers, too. The guitar sounds more colossal and ethereal at the same time, riding roughshod over the vacuum-sealed rhythm section, spiraling skywards, and diving into the emerald depths so quick your guts tingle. Synths, strings and smoke-soaked things crawl behind the scenes to make an extra far-out party platter, served on 45 RPM plates for most excellent listening quality. Few nations on earth are as diverse as Nigeria, and the wide assortment of Nigerian music styles collected on this album reflect the country’s rich variety of cultures. Western-influenced dance music, played on European instruments such as guitar, brass, and woodwind sits alongside traditional musical styles, made with indigenous instruments such as the talking drum, marimba, or obo. And there is also religious musical styles first brought to Nigeria by European Christians and Islamic traders from North Africa. And of course, there are points where these musical styles overlap, merging into one another to create unique new sounds. A victorious sample scoring glorious vocalizations between an uncredited Frank Ocean’s falsetto and Kanye West playing a guitar solo with his voice. It all seems like a lot on paper, but if there’s one thing the dark prince of pop understands is tightness of concept and New Slaves lets Kanye say more in 4 minutes than most artists do in an entire album. It’s easy to get lost in a song this powerful with its towering wall of synth, guitars, and drums bending and weaving through one another. The pace transitions seamlessly from bustling intro to halftime rhythm breaks that feel like epiphanies. It takes hold, handily wields this jumble of instruments — the outlandish use of delay, the involved bassline, the layers of stratified vocals — and creates a beautiful, epic, sense of organized chaos and wide use of space. The control is understandable; Parker is, after all, the sole artist behind Tame Impala. Everything heard on the track, from the instrumentation and vocals, the recording and production, mixing and mastering, words and music come from his hands and voice. Mixedbyali channels a deep mix over in house TDE producer ThankGod4Cody’s frohliking rhythm. It’s typical high level sonics from the record label of the era and a far more sincere love song than anything in the Kendrick catalogue. It is amazing how deep a story Barnett can tell in just a few stanzas. With the slyest of drum breaks lifted from the Isley Brothers’ Footsteps in the Dark (a frequently used sample most famously underlining Ice Cube’s “It Was a Good Day”), Stephen Bruner -a.k.a. Thundercat- presents here a song whose melancholy lyrics are subtly woven into a modern soul classic. Eschewing the traditional verse-chorus-verse structure in favour of a more free form two verses separated by an “ooh ooh” break, the song is divided into a before and after scenario of heartbreak. Having at first been let down and later left wary and unable to trust, yet still desperate for love, “Them Changes” is lyrically full of the deepest darkest blues.
Unger and Tymkow are hoping to reach out into the community of children as well as adults, to help educate and support local youth. Some of the musicians that join Flat Nine are local, and others travel from Vancouver, Victoria, Oregon, and elsewhere to perform. Their contact list is far reaching throughout the world to include people from Scotland, Australia, and many other places. Unger incorporates vocals, keyboard, grand piano, guitar, accordion, ukulele, mandolin, and harmonica into his musical resume. Walsh performs vocals, tenor/alto saxophone, keyboards, drums, and percussion, and Shonwise plays bass and alto/tenor saxophone. Michael Nye, Flat Nine’s newest member, brings drums and percussion to the stage. The Club, which blends music, artistic performance, fabric art displays, a boutique and a coffee shop, is a little gem situated on the corner of Cumberland and Grieve, close to the Courtenay Fire Hall. Founded in 2007 by both Unger and Tymkow, the Club has seen more than 7,000 people come through its doors to attend the more than 200 events they have hosted in the past six years. A real highlight for seafood and aquaculture suppliers, processors, growers and producers from the Pacific Northwest is the 1st Annual BC Seafood Expo and Workshop Series, June 13 and 14. The public is welcome to attend all or part of the Expo, to hear a number of keynote speakers address some of the issues and concerns that people may have. The Expo will also provide the aquaculture industry with an opportunity to network and share expertise, while doing business with buyers, industry innovators, and international trade representatives. Fast forward to 2015, and the coveted 225 tickets to what is now an upscale gala evening of fine dining featuring local and celebrity chefs sells out in a matter of hours. That is why he, and fellow members of the Chef’s Association, put their support behind the Shellfish Festival since the event’s inception in 2006. “It is imperative that people understand how the industry works and how important it is to the local economy and the ocean’s ecosystem,” says St. Pierre. At Locals, the St. Pierre’s pride in home grown seafood is reflected in the fact that about 50 per cent of their menu features food harvested from the Salish Sea. Quebec-born St. Pierre says he feels truly blessed to have such an abundance of fresh shellfish and fish to feature on his restaurant menu. He is always dreaming of new and exciting ways to prepare it for his patrons. Invoking the masters of old time, country, blues, and ragtime, Big Fancy roams the land, a true troubadour moonshiner with a sharp wit and love-lorn voice. I’m a banjo player, songwriter, teacher and dance caller who has been part of the old-time music community in the Pacific Northwest for 20 years. My topics range from personal and contemporary topics to historical, and I strive for the straight forward story-telling of the old-time songs I love. Makiisma released her debut album ‘Lady Misery’ in March 2020. Recorded at Green Recording Company in Lethbridge, the album has been received positively by the community. Due to covid plans for an album release tour had to be shelved but Makiisma has continues to write and perform, solo and with the band, as it is safe to do so. Perhaps Chadbourne’s most significant formative discovery was jazz; initially drawn to John Coltrane and Roland Kirk, he later became an acolyte of the avant excursions of Derek Bailey and Anthony Braxton. After releasing his 1976 debut, Solo Acoustic Guitar, he began collaborating on purely improvisational music with the visionary saxophonist John Zorn and the acclaimed guitarist Henry Kaiser. Wampum was used by many Indian peoples in the northeastern part of North America as a way of recording and sending messages. It consisted of purple and white beads made from the shells of quahog clams.
Copperhead is in it for the long haul, and their hard work has been paying off with opening gigs for Art Bergmann, Elliott Brood, Lindi Ortega, Terra Lightfoot and The Strumbellas. The man born Michael Volpe is one of a small number of producers influential enough to break out under their own name. He’s been supporting modern rap icons like A$AP Rocky, Vince Staples, and the Based God himself, Lil B, for the past decade. His murky, downbeat tracks have helped define the current era of hip-hop. Clams has released three instrumental mixtapes featuring beats used by these and other artists, with unreleased material sprinkled in; now, though, Volpe reveals what a fully conceptualized Clams album sounds like. And, a bit unsurprisingly, it sounds a bit like what we’ve heard before. This isn’t to say that 32 Levels isn’t a bold artistic statement. Rather, it’s an immaculately designed introduction to his craft. There are plenty of familiar faces, like the three aforementioned rappers plus vocal offerings from Wet’s Kelly Zutrau, Mikky Ekko, and Kelela. Moothart is a natural choice for a creative partner, having not only played guitar with Segall in Fuzz, but also throughout the gonzo garage rocker’s nine solo records, including Ty Segall Band’s Slaughterhouse. The two multi-instrumentalists approach each song for GØGGS as an individual idea, taking on whatever role best fits the track, and the album benefits from their communal approach. Every track bursts with creative energy, tonally consistent as a whole despite their different arrangements. Whether its Moothart blazing through “Shotgun Shooter” and “Smoke the Würm” or Segall shredding on the excellent single “She Got Harder”, they’re both tentacles of the same writhing, rumbling monster coming to smash your house to rubble. Love is a highway, but you’re not likely to find Terry there anymore. “Their debut single features three doses of shambly Television Personalities/Swell Maps style earworm indie rock. This long sought after debut album of Wayne Smith, has now been re-pressed on its original Black Joy label by Berlin’s Buyreggae crew. On this solid album the then 17-years old singer delivers his songs in fine Waterhouse singing style, the kind of vocal style utilized by artists from the Waterhouse district such as Yami Bolo, Michael Rose, Junior Reid and Don Carlos. All tunes are underpinned by quality riddims laid by real musicians, while the mixing skills of Prince Jammy create a great sound. Side A opens with the entertaining “Solve The Situation”, followed by the outstanding “Eden Out Deh”, which is a real killer. The lover’s lament “Losing You” also makes a good impression and the same goes for “No More Will I Roam”, a cover of the Dennis Brown song. Then the A side is rounded off by “It Soon Be Done”, which turns out to be a decent piece, although not really exciting. Applelicious 2013 MenuPart of culinary tourism, and a feature part of the signature events of Fall Flavors, is the educational component. Not only are culinary tourists seeking out great food and dining experiences, but they want to learn something about that food, where it came from, and how it can be prepared. For this event, Anna and Michael started their first demonstration of the evening with how to prepare potato crepes and pickled melba apple slaw which was very delicious. PEI Brewing Company BeerNova Scotia’s Benjamin Bridge Winery was the 2016 wine sponsor for the PEI Fall Flavours Culinary Festival. One of the great things about culinary festivals is the opportunity to discover new products. I discovered the Nova 7 wine at the PEI Fall Flavours Culinary Festival events in 2015 when Benjamin Bridge was also the wine sponsor. This wine is an aromatic light-bodied effervescent wine with a beautiful salmon or light coral color. Look for appealing aromatics with lovely floral and fruit notes in this wine. The Nova 7 is a very versatile wine, perfect for sipping or for pairing with a variety of foods, including seafood which made it a suitable accompaniment to the mussel dishes served at this event. The PEI Fall Flavours introduced three new culinary events in 2017 – Taste of Georgetown, Taste of North Rustico, and Taste of Tyne Valley. Chef Danny Smiles at the PEI Fall Flavours “Le Festin acadien avec homard” event 2017The lively musical entertainment was provided by Vishten, a trio of talented musicians . Rooted in traditional music from the two east coast islands, their indie-folk style fuses Acadian and Celtic genres and motivates foot stomping and hand clapping. The performers are multi instrumentalists and they easily transition between various musical instruments that include violin, guitar, accordian, and keyboard. The trio tours and performs internationally and has five albums and more than 1000 performances to their credit. Quickly, Chadbourne carved out a singular style, comprised of equal parts protest music, free improvisation, and avant-garde jazz, topped off with his absurd, squeaky vocals. Following the group’s breakup, Chadbourne turned to his own idiosyncratic brand of country and folk, accurately dubbed LSD C&W on a 1987 release, the same year he joined the members of Camper Van Beethoven for a one-off covers project. Stevens and Telichev began making music together immediately, and Stevens finally had the space to explore everything her voice could do, with Telichev’s classical background playing a role in strengthening Stevens’ technique.