Vibes and Stuff.

T-Dot Throwback: Zaki Ibrahim - "Daylight"

2012-01-30T14:35:00.000-05:00

OK, late pass me if you want, but I only just stumbled on this. It's a video for Toronto singer Zaki Ibrahim's "Daylight," a song that is about five years old right now. No video was made when the song first came out, but apparently Ibrahim filmed a video for the song in 2010 as part of the Taxijam series in Cape Town, South Africa, where the always-on-the-move singer has been spending a lot of time recently.

A new album Every Opposite is due to surface some time this year, and I already posted the first single but this charming low-budget visual is a good reminder of why that record is anticipated.

Video: The Slakadeliqs - "Keep Breathing"

2012-01-27T23:09:00.000-05:00

2012 is still pretty young, but this track is taken from my favourite album of the year so far, The Other Side of Tomorrow by The Slakadeliqs.

Voodoo at Work: D'Angelo Returns to stage in Sweden

2012-01-26T17:32:00.001-05:00

He's back.

Video: The Get By feat. Tanika Charles - "Music is For Love"

2012-01-22T21:13:00.002-05:00

The second single from The Get By's excellent album Let Go gets the vocal assist from Tanika Charles and the around Toronto visual treatment featuring Trinity Bellwoods Park.

Stream: The Slakadeliqs - The Other Side of Tomorrow

2012-01-18T08:44:00.003-05:00

We're just over halfway through the first month of 2012 and already there are many signs that this is going to be another banner year for music coming out of Toronto. Exhibit A: 'The Other Side of Tomorrow' by The Slakadeliqs.

Slakah the Beatchild won't be a stranger to anyone who has frequented this site in the past and recently "Love Controls The Sun," the first single from the project was already featured here a few weeks ago. The Sarnia, Ontario native has long been a talented artists who has shown how versatile he can be, but this project may be his most fully realized project to date.

Exclaim! Year in Review: DJ Jazzy Jeff and Ayah - "Back for More"

2012-01-06T04:22:00.001-05:00

With limited opportunities for Canadian R&B artists at domestic record labels, talented artists have had to take deep breaths and take their fate into their own hands, often leveraging their digital savvy to make their mark. While The Weeknd may be the most prominent example of this reality, it would be criminal to overlook Jordanian-born, Toronto-based R&B singer Ayah.

After all, it was a MySpace message Ayah sent to legendary Philadelphia DJ Jazzy Jeff of Fresh Prince fame a few years ago that began the relationship coming to fruition on this impressive free downloadable album, a follow-up to her 4:15 project. Recorded at Jazzy Jeff's home studio, Back for More features the renowned DJ/producer recruiting top-notch session musicians such as James Poyser and Pete Kuzma, best known for their work for the Roots and Jill Scott respectively, to add their expertise over the polished sheen he applies to the classic samples he often uses as song foundations. Given this esteemed company, Ayah's confident and assured strut into centre stage throughout and on a narrative tour de force like "The Game (Somebodies)" can't be denied. Already a proven singer and songwriter, Ayah's themes of self-reliance and striving are especially resonant given the circumstances in which the album came to be and firmly ensconce the co-billing with her luminary collaborator.

Originally published on Exclaim.ca on the Soul and World 2011 list. DJ Jazzy Jeff and Ayah's Back for More was ranked at #15.

Exclaim! Year in Review: Big K.R.I.T. - "Return of 4eva"

2012-01-05T01:51:00.003-05:00

Meridian, Mississippi's Big K.R.I.T. may have a freshly inked Def Jam contract in hand, but this incredibly cohesive mixtape is a compelling snapshot of the multiple-threat artist at the peak of his powers and on the cusp of bigger and better things.

Big K.R.I.T's admirable work ethic and humble persona that have fuelled his rise come to the fore on "Dreamin'," that plays as a low-key minimalist and aspirational Southern version of Notorious B.I.G's "Juicy." Indeed, Big K.R.I.T's revelling in the pleasures of small wonders like finding loose change in the folds of a couch or idly driving around in his "time machine" is refreshing and could fill his own Book of Awesome. Matching the largely reflective subject matter is Big K.R.I.T.'s own soulfully pedantic production nestled in the comfortable nether region between UGK and Aquemeni-era Outkast, demonstrating impressive growth since last year's K.R.I.T. Wuz Here. With Big K.R.I.T. set to release Live From the Underground early next year, Return of 4eva's worthy shot at timelessness is set to become an important touchstone in years to come.Del F. Cowie

Originally published on Exclaim.ca as part of the Hip-Hop 2011: 16 Best Albums. "Return of 4eva" by Big K.R.I.T. was the #5 album on the list.

Exclaim! Year in Review: Little Dragon - "Ritual Union"

2012-01-04T04:39:00.000-05:00

Swedish electronic quartet Little Dragon's third album Ritual Union marked an important turning point for the group, reversing the lack of critical attention that their first two records had unjustifiably met. Ahead of Ritual Union's release the group were better known as your favourite artist's favourite artist for their collaborations with everyone from the Gorillaz to Raphael Saadiq, but Ritual Union's sonic audacity and independence strongly demonstrates they don't always need help from their friends.

With the beguiling presence of vocalist Yukimi Nagano as their emotional anchor, the group eschews exploiting their rising profile by favouring the experimental over the palatable, wilfully meshing shades of minimalist electronic pop, house, chillwave and soul into a formidable foil for Yagano's poetic and increasingly revealing lyrics. Del F. Cowie

Originally published at Exclaim.ca in the Dance and Electronic 2011: 20 Best Albums list.

Little Dragon's Ritual Union was ranked at #8 for 2011.

Exclaim! Year in Review: Jamie Woon - "Mirrorwriting"

2011-12-22T07:29:00.001-05:00

According to the UK press, Jamie Woon's Mirrorwriting's gestation was a long time in coming and listening to this auspicious debut does little to dissuade that notion. Woon is an obvious studio rat as the album is littered with layered and disembodied vocal effects, a penchant for found sound and two a.m. downtempo after-party beats anchored by omnipresent yet wobbly cavernous bass lines.

All of this underlines his prowess as a sonic arranger and the influence of occasional collaborator dubstep purveyor Burial. But there's more to Woon than his perfectionist studio tendencies. Peel away all the production tricks, Woon is an accomplished singer/songwriter in the traditional sense of the word and pens accessible songs despite the experimentation. Despite the reams of reverb, his soulful croon unashamedly conveys Woon's own internal wracking over the minutiae of love and life on standouts like "Spiral" where his shiny taut guitar work is a compelling contrast to the all-enveloping ambience that pervades the record. While it might have been unfortunate that Woon's work eventually arrived coinciding with the fanfare being accorded to the like-minded genre-dabbling of James Blake et. al, Mirrorwriting confirms Woon's work was time well spent. Del F. CowieOriginally published at Exclaim.ca - Dance & Electronic 2011: 20 Best Albums

Exclaim! 2011 Year In Review

2011-12-19T10:35:00.000-05:00

Some of the readers at Vibes and Stuff may know that I am an Assistant Editor at the Canadian print music monthly Exclaim! The year-end issue features Toronto's own The Weeknd on the cover and features 2011 'best of' lists from every genre we can fit in the magazine.

If you are in Canada, you should be able to find it somewhere on the streets anywhere in the country. If you're not in Canada, or prefer to check it out online, the issue is available here. Look out for some year-end content from the magazine here over the next few days.

T-Dot Throwback: Mathematik -"Rhyme Training (Remix)

2011-12-13T07:00:00.000-05:00

While his high-pitched voice may convey youth, Mathematik’s introspective and thought-provoking lyrics reveal an MC blessed with deep wisdom and insight with an urge to spread knowledge. (Exclaim!, October 1999)

Read the rest of my 1999 review of Mathematik's Ecology .

Audio: Zaki Ibrahim - "Something in the Water"

2011-12-12T13:52:00.000-05:00

Welcome back, Zaki.

Something In the Water by Zaki Ibrahim
The Toronto singer has been spending a lot of time in South Africa recently working on music and I've written about her on V+S and elsewhere in the past.

Previously:

Sway: Zaki Ibrahim interview

Eye Weekly (2008) - Live: Zaki Ibrahim

Interview: Nelson George

2011-12-09T13:40:00.000-05:00

As a journalist, author, filmmaker, and television producer, Nelson George has explored themes in contemporary black culture for the past 30 years. His work as a pioneering hip-hop journalist at the Village Voice and Billboard led to influential texts like The Death Of Rhythm And Blues and Hip-Hop America, as well as a handful of novels. Read the Q&A at A.V. Club Toronto

Interview: Raekwon

2011-12-07T05:02:00.001-05:00

If there's any doubt about Raekwon's intentions to set up a label in Canada, the visual cues to dispute that contention are everywhere. The door to the newly established label offices, on Yonge Street in the heart of downtown Toronto, features Raekwon's Ice H20 Canada logo prominently incorporating a maple leaf....

Read more

Audio: Maylee Todd - "Hieroglyphics"

2011-11-29T10:45:00.001-05:00

Toronto's Maylee Todd looks likes she's ready to follow up 2010's Choose Your Own Adventure. This new track "Hieroglyphics" seems to be continuing down the jazz-funk path that I think suits her quirky style best.

This style is best illustrated in visual vehicles like the "Aerobics in Space" video. "Hieroglyphics" will apparently getting a remix from Kon of Kon & Amir fame on a limited vinyl version of this track. As seen at Exclaim!&amp;lt;a href="http://music.mayleetodd.com/track/hieroglyphics-free-download"&amp;gt;Hieroglyphics (Free Download) by Maylee Todd&amp;lt;/a&amp;gt;

T-Dot Throwback: Mr Roam - "System"

2011-11-28T13:46:00.001-05:00

The recent innovative videos from Toronto artists like Notes of Self and Freedom Writers reminded me of this minimalist, yet effective visual from Mr. Roam from a few years back. From Tom Strokes Presents the Classix. Produced by Mr. Attic.If you don't know about Mr. Roam, here's a 2004 interview I did with the man.

Video: The Weeknd - "The Knowing"

2011-11-25T07:56:00.000-05:00

Bombastic prententiousness or prescient Afro-futurism?

Video: Notes to Self featuring Evidence - "Nobody"

2011-11-25T06:31:00.001-05:00

Truly inventive video from Toronto's Notes to Self. Gotta love the retro shout out to MuchMusic's Rap City.

Stream: BadBadNotGood - "BBNGLIVE 1"

2011-11-24T19:02:00.001-05:00

Had the pleasure of being at this (debut?) BadBadNotGood show back in September at the crowded, intimate Red Light on Dundas West. Now here's the show in all its unadorned entirety, replete with raucous crowd cheers and intermittent bar chatter.

Jazz rebels BBNG have had quite the year after posting up videos recasting Odd Future, A Tribe Called Quest and Waka Flocka Flame tracks among many others with the odd pig mask and monster suit as sartorial flourishes. Naturally.

As many know, Tyler, The Creator re-tweeted them to a newfound level of notoriety before performing with them and now noted tastemaker Gilles Peterson is now apparently a fan, urging them to collaborate with Jay Electronica. Stranger things, like Tyler's meltdown at the end of their collaborative video, have happened.

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://badbadnotgood.bandcamp.com/album/bbnglive-1"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;BBNGLIVE 1 by BADBADNOTGOOD&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Video: Robin Hannibal - "Amends"

2011-11-23T07:15:00.001-05:00

Robin Hannibal assumes centre stage after being a sonic force in Owusu and Hannibal, Boom Clap Bachelors and Quadron. From the Bobby EP.

Video: The Slakadeliqs feat. Justin Nozuka - "Love Controls The Sun"

2011-11-22T12:54:00.001-05:00

Brighten up your day.

Interview: Roy Ayers

2011-11-19T12:49:00.000-05:00

Even if you haven’t heard of Roy Ayers, you’ve heard Roy Ayers. The 71-year-old vibraphonist’s music is widely considered to have been pivotal in spawning the mid-’90s “neo-soul” movement, and is a staple in the crates of discerning underground hip-hop producers who constantly sampled his warm grooves.

Read the full Q&A I did with the legendary vibraphonist ahead of his Nu Jazz Festival gig at AVClub Toronto

Video: Ian Kamau - "The Village"

2011-11-14T10:54:00.001-05:00

Ian Kamau's poetically evocative album One Day Soon dropped last month and the Toronto wordsmith has been dropping a series of videos to give insight into his creative process and various events surrounding the release.

If you've had the chance to attend one of Kamau's gatherings' as I did this past Friday, you will know the spirit of community that he fosters is genuine.This feeling is translated to this video for "The Village," featuring a number of Kamau's Torontonian friends and associates.As seen at City On My Back.

R.I.P. Heavy D

2011-11-09T06:06:00.000-05:00

Timeless evidence of Heavy D's pull, or swag, as people like to say these days was illustrated on the track "Don't Curse". Not only did this track have one of the strongest lineups since Marley Marl's "The Symphony," a track producer Pete Rock clearly patterned it after, but convincing nimble yet coarse lyricists like Kool G. Rap not to curse in a song is definitely no mean feat.

Audio: Maestro, Dan-e-o and Big Kish (feat. Mel Boogie) -"Vapors 2012"

2011-11-08T11:34:00.003-05:00

So here it is, the collaborative effort between veteran Toronto hip-hop MCs Maestro, Kish and Dan-e-o with DJ Mel Boogie handling the music, an updating of Biz Markie's "Vapors".
As Toronto hip-hop enters an era of increased prominence, these MCs are reminding everyone of where they came from and their continued relevance. Hard to argue with that.

Video: Behind the Scenes of Drake's "Lord Knows"

2011-11-08T00:13:00.002-05:00

You already know.

Drake's Take Care leaked overnight while he was in Toronto on Flow 93.5 doing an interview and the best track is arguably "Lord Knows," orchestrated, in every sense of the word, by Just Blaze.

Video: Freedom Writers -"For The Change"

2011-11-07T02:19:00.002-05:00

No, it's not the Brady Bunch. Still, if this new track from Toronto's all-star Freedom Writers crew doesn't spark feel-good back in the day memories, there might be something seriously wrong.

Also, respect to producer/director Big Sproxx for getting those cameos from some of the Toronto hip-hop scene's movers and shakers.

In Rotation: The Get By (feat. Rich Kidd and Richie Hennessey) - "Faster"

2011-11-04T04:34:00.000-04:00

Easily my favourite local Toronto track right now (and has been for a few weeks now), "Faster" from The Get By, (comprised of Justis, Mantis, Pangea) is a hypnotic track, dealing with the trials and tribulations of everyday life. Rich Kidd's production is ethereal and former Brassmunk member Richie Hennessey provides the soothing chorus. Sounds simple enough, but there's something undeniably uplifting about this offering.

The Get By play Droppin' Knowledge tonight at the Rivoli in Toronto (332 Queen St. W.), opening for Queens, NY chef-turned MC Action Bronson.

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;a href="http://thegetby.bandcamp.com/track/faster-feat-rich-kidd-richie-hennessey"&amp;amp;amp;amp;amp;amp;gt;Faster feat. Rich Kidd &amp;amp;amp;amp;amp;amp;amp;amp; Richie Hennessey by The Get By&amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Vapors 2012

2011-11-01T14:49:00.000-04:00

OK, so this is intriguing. Apparently a new track entitled "Vapors 2012" featuring Canadian hip-hop veterans Maestro Fresh Wes, Dan-e-o and Kish with trailblazing DJ Mel Boogie on the decks is about to hit the web for a free download. From what I've been able to gather this track will be appearing sometime in the next week.Just looking at the lineup, stirs up some memories of some classic 90's Canadian hip-hop by those involved in this new track.

Hard to find a Maestro video that hasn't already been featured here on V+S. We'll go with 'Certs Wid Out Da Retsyn' here. From Naah, Dis Kid Can't Be From Canada (1994)Shouts to DJX who used to cane this Kish track "Crates to Concrete" on The Power Move Show on CKLN 88.1FM. From A Nation of Hoods (1994)...and last but not least, here's Dan-e-o with the heartfelt dedication to hip-hop that was one of the standout tracks on the groundbreaking Rap Essentials Vol. 1 (1996).

Video: J*Davey - Whatchalookin@ / Kill 4 Fun

2011-11-01T13:53:00.000-04:00

So, it looks like J*Davey's New Designer Drug is actually going to become a reality. A tracklisting for the album has surfaced as well as combo video for the two typically esoteric tracks 'Whatchalookin@' and 'Kill 4 Fun.' It's clear the group are having a lot of fun with their visual presentation here, showing off a number of looks and the fact that Miss Jack Davey is pregnant.

Review: Mayer Hawthorne - How Do You Do

2011-10-27T21:28:00.000-04:00

For all its blue-eyed soul charm, Mayer Hawthorne’s first album, A Strange Arrangement, was very much the product of an artist wrestling with both his heavy sonic debts and an occasionally wobbly falsetto. On his sophomore effort, Hawthorne’s increased confidence as a singer, arranger and producer—possibly bolstered by his move to a major label from celebrated hip-hop indie imprint Stones Throw—is palpable from the outset.

The lovelorn vulnerability of his debut is still there, but now Hawthorne is keen to show he’s no pushover. He outcroons Snoop Dogg (admittedly not top-notch competition) on the string-laden “Can’t Stop” and boldly seduces potential lovers on the standout “No Strings.” Hawthorne’s obviously still listening to a lot of Curtis Mayfield and The Stylistics, but the proud Michigan native does get his Michael McDonald on for “A Long Time,” an ode to Detroit resilience that references both Henry Ford and Berry Gordy, and subtly nods to ELO’s “Mr. Blue Sky” on the lyrically ominous “Dreaming.”
While the auditory references abound, the fact that Hawthorne adds so much to the overall picture is a testament to this artist’s growth.—Del F. Cowie

Playlist picks: “No Strings,” “A Long Time”

This review originally appeared in October 27, 2011 issue of The Grid

Q&A: Sahr Ngaujah of the musical Fela!

2011-10-24T16:37:00.002-04:00

Last year I had the chance to see Fela! on Broadway on a visit to New York and now the show has made it north of the border for a two-week run in Toronto. I had the chance to sit down with Sahr Ngaujah, the charismatic lead actor playing the role of Fela Kuti for a Q&A session.

Tony Award-winning show Fela! opens in Toronto on October 25 for a two-week engagement, focusing on the life of musician, political activist and Nigerian icon Fela Kuti.

A few days ahead of the limited run of the Toronto production, I had the chance to speak with Sahr Naghujah, the actor who plays Fela Kuti in the musical, about its success and the challenges of playing the role of a complex and influential icon.

Q: This musical has gone through various iterations, it’s a musical that started off-Broadway, it’s been on Broadway, and now it’s on tour. It’s been to London, it’s been to Nigeria now you’re here. How has it changed for you during that whole journey?

Sahr Naghujah: Well, there’s a lot to be considered that’s changed. Well, for everything that it was, off-Broadway, Broadway, the UK , for everything that that was, when we took it to Lagos, then that to me was the matriculation. Like, ‘OK. Boom!’ because we definitely graduated, but of course there’s more to do. But that was…all of that work that we did in those years prior — that’s where we see what it’s worth. But the experience also was so high. Now it kinda feels like, that’s where we’ve got a bit of magic dust on top of the show. Now we go and just sprinkle dust around, that’s what we have.

Read the rest of the Q&A

In Rotation: The Weeknd - "Initiation"

2011-10-08T23:03:00.000-04:00

Kinda gritty, no?

Interview: Andreena Mill

2011-09-28T21:30:00.000-04:00

My interview with Toronto singer/songwriter Andreena Mill is in the the Fall 2011 issue of Sway.

Andreena Mill is ready for her close-up. For years, the Toronto R&B singer-songwriter has been steadily working her way into the public eye—first as a member of an ill-fated R&B trio then through a number of singles and cameo appearances, most notably as a head-turning voice on Drake’s early material.

Now, with the release of her debut album, All Eyes On Me, Mill is moving to centre stage.When I speak with Mill, she’s in Toronto. But these days, she’s often in Los Angeles or New York working on opportunities that her Universal Music Publishing deal has provided her, like writing songs for R&B stars Keyshia Cole and Trey Songz, and collaborating with acclaimed songwriters like Brian Michael Cox who has worked with Mariah Carey, Usher and Mary J. Blige. Despite aligning with heavy hitters, Mill doesn’t seem intimidated or worried about the fate of her songs. “Sometimes they keep them, sometimes they don’t,” she says. “But you never know.”

If one thing’s for sure though, it’s that Mill’s songwriting and musical prowess was cultivated at a young age by influences such as Stevie Wonder and her reggae musician father who enrolled her in piano lessons at age four and had her songwriting by 10. “He’s been the influence when it came to me singing because I was so shy as a child and he always encouraged me,” she says. “He also showed me how to use the piano and how to start putting together songs.”While studying at the Etobicoke School of the Arts, Mill joined R&B trio X-Quisite, with Melanie Fiona and Nicole Holness, who went on to become a Grammy-nominated singer and MTV Canada host, respectively. Mill was the first member to leave, but still counts Holness and Fiona as friends.

Another artist with whom Mill formed a strong bond was Drake. On his 2007 Comeback Season mixtape, she appeared twice: “I think we share the same passion when it comes to music,” Mill, who believes they will work together again, says. “The constant discipline of being in the booth, always writing and expressing emotion, I think that’s what made us so close.”However, it was the momentum of You and Tomorrow, her collaboration with Saukrates, which made Mill take the mixtape route. After the single’s buzz, she worked with DJ Lissa Monet on 2009’s free release Ready to Fly. Soon after, Mill signed her publishing deal, widening her opportunities to write for others.

The songs Mill has written for herself on All Eyes On Me, like the single Key to Your Heart, can explore oft-unspoken vulnerabilities and frailties. “Honesty,” she says when defining the essence of her songwriting process. “Being very honest with my emotions, being honest with the things that I would say. Or trying to [create] records to make people say, ‘Yeah, I really love someone that way’ or ‘I really can’t stand someone that way.’”With Mill’s narrative writing style, it’s no wonder she focuses on words, even during live shows. “I like to switch things up so people can really hear what’s being said or catch the emotion of the song rather than just the beat.”

That, however, doesn’t mean she is averse to working with skilled beat makers. The album features various Toronto producers such as Boi-1da, Tone Mason, her main collaborator Snaz and Mill herself. “I wanted the album to be based on the sound that’s from this city,” Mill says. “That’s why I chose to collab’ with a lot of the producers from here.”It’s also Mill’s way of ensuring that despite the growing demand for her talents and time across the border, home remains a focal point. “I grew up on reggae music and jazz, and a lot of people around me did as well,” she says. “They are who I work with, so you just kind of take everything and mould it together and it becomes this. It’s the sound of Toronto. It’s loud! It’s fresh!”

Interview: Adrian Eccleston, Guitar Hero

2011-09-25T20:52:00.001-04:00

Is Adrian Eccleston Toronto's hardest working musician? You be the judge.

The word is enigmatic,” guitarist Adrian Eccleston says with more than a trace of deadpan when thinking of a word to describe himself. “I like to be around all this famous stuff, but I’m mostly the guy … not really doing too much of the talking.”

For observant music fans, Eccleston’s self-description contains more than a grain of truth, as he’s often been the background figure in prominent circumstances. His distinctive style and ear-bending guitar-playing skills led him to share stages with stars such as Kylie Minogue and Nelly Furtado.

But more recently, Eccleston’s been associated with arguably two of music’s most in-demand acts, both of which happen to be Canadian. He is a band member and the musical director for hip-hop star Drake and internationally acclaimed R&B act The Weeknd.

Eccleston is effusive in his praise of The Weeknd, whose mixtape House of Balloons, on which he played, was short-listed for the prestigious Polaris Music Prize. “This definitely has to be the most exciting stuff I’ve ever been a part of, by far,” he says. The Weeknd, led by mysterious 21-year-old singer Abel Tesfaye, has not given any media interviews and Eccleston is similarly tight-lipped about his work with the group. “Abel has to do his thing and we steer him on a smart path. He’s surrounded by good people, that’s all I can say.”

The strong support system of his own family enabled Eccleston to hone his guitar-playing chops at an early age. His parents regularly embarked on road trips for him to partake in musical competitions south of the border. “That was kind of like my summer holidays, y’know, getting to travel. So nothing’s really changed, only it’s not chaperoned now,” he says laughing.

After the break up of Toronto R&B band Blaxam, of which he was a member during university, Eccleston played the city’s club circuit. He developed a good reputation not only because of his prowess, but also because of his professionalism and punctuality. “It’s just about being ready. That’s one of the things I try to say to guitar players,” says Eccleston. “You never know when it’s going to happen, so make sure you are ready.”

Today, even though Eccleston has his hands full with his duties with Drake, The Weeknd and recording sessions for other artists, he’s managed to put together a ‘guitar mixtape’ of his own instrumental compositions. He aims to release it this fall. “It’s not like a Hendrix record of blazing solos, it’s not like some mathematical jazz record, you know what I mean?” he says. “It’s got lots of bass, downbeat drums and a bit of a reggae vibe on some of it.”

But Eccleston’s overall goal goes beyond releasing his own music and backing successful artists. “If it’s not friggin’ Guitar Hero, nobody’s really holding a guitar right now,” he says. To proactively address this issue, Eccleston will be conducting guitar clinics and sharing information with younger guitarists.

“I think I’m doing what I’m supposed to do and in the last year I just figured out how I want to explain it to people,” he says. “I’m excited about that, because part of the really, really big plan is to make guitar super popular with a lot of young urban kids again because when people came from Africa — when we were here and not supposed to be here — the guitar down in the South was like the first affordable instrument and I love that. Everyone used to have a guitar in their house.”

This article originally appeared in the Fall 2011 issue of Sway Magazine.

Storify: Amy Winehouse's final recording

2011-09-16T21:49:00.000-04:00

The late Amy Winehouse covered the 1930s jazz standard "Body and Soul" in a duet with legendary vocalist Tony Bennett in March 2011 for his Duets II album. It would prove to be her final studio recording before her death in July.

As told via Storify

The Legacy of The Real Frequency

2011-09-02T01:23:00.000-04:00

A piece on one of Toronto's most influential hip-hop radio shows, currently on indefinite hiatus :(

Originally published in Exclaim!

Given the deluge of online mixtapes, loyalty to an old-fashioned, painstakingly curated terrestrial radio show is charmingly anachronistic. Yet some shows have retained their relevance, and attention should be paid to projects like The New North, a hip-hop compilation put together by the crew behind Toronto’s The Real Frequency show. The all-original comp features hard-hitting tracks from Shad, D-Sisive, Kardinal Offishall, Rich Kidd and recent Raekwon signee JD Era among the 20-plus MCs. Behind the boards are heavyweights such as Drake producer Boi-1da, 50 Cent collaborator Frank Dukes, Rich Kidd, MoSS and Grammy-nominated Tone Mason, who all received early support on the show.

Started in 1993 on York University’s CHRY, The Real Frequency moved to Ryerson’s recently shuttered CKLN before jumping to commercial radio with Toronto’s Flow 93.5, admirably retaining their original spirit. Helmed by DJ/founder Muziklee Inzane, host Arcee, DJ P-Plus and marketing manager and blogger Keezy, the show was taken off the air soon after Flow was taken over by new ownership a few months ago, but The New North compilation ensures the show’s legacy remains intact.

Show host Arcee is still surprised when approached by Real Frequency fans who relay show catch phrases (“Rockin’ you! Rockin’ you! Rockin’ you!”) even though the show is no longer on the air. “It’s crazy to me sometimes how much the impact you don’t think you had and the people, the public actually corrects you,” he says. “It’s like ‘Wow, I guess people were listening.’”

For now, there are no immediate plans to resurrect the show. “Right now we’re about this album,” says Keezy. “We’re still giving you some music.” Regardless of what happens, the compilation is irrefutable evidence of The Real Frequency’s impact. “I feel like we left something for people to hold on to, that’s our legacy,” says Muziklee Inzane. “We supported Canadian music, we supported good hip-hop and now here’s something for you guys to have.” - Del F. Cowie

Listen to The New North compilation.

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;a href="http://therealfrequency.bandcamp.com/album/the-new-north"&amp;amp;amp;amp;amp;gt;The New North by The Real Frequency&amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Review: Kanye West & Jay-Z - Watch the Throne

2011-08-10T00:00:00.000-04:00

Taken at face value, the title (Watch the Throne) invokes deferential awe at the sight of opulence and excess. But the phrase could also communicate guarded insecurity.
Both themes pervade this collaboration between two of the most influential figures in hip-hop, and uneasy bedfellows, never truly reconciling, but that doesn’t mean there isn’t plenty to enjoy, both above and below the surface.

Kanye West, fresh off his My Beautiful Dark Twisted Fantasy triumph, is in an extended sonic mood, picking up from that effort, inviting back unlikely collaborators (La Roux, Bon Iver) and throwing in a couple of nods to dubstep. Meshing veteran, esteemed hip-hop producers such as Q-Tip and the RZA with his grandiose vision results in a style somewhere between gritty boom-bap and the palatial environs in which most of these tracks were recorded.

The ostentatious “Otis,” an invigorating tag-team ode to conspicuous consumption randomly applied to soul man Redding’s unbridled emotive power, is a prime example, as is the over-the-top “Lift Off,” featuring a swooping Beyoncé, which curiously only features an awkward half-verse from beau Jay-Z.

However, Jay-Z is in fine greenback-waving form on “Who Gon Stop Me” and “planking on a million” on the Neptunes-scored standout “Gotta Have It.” While these revelations will hardly be comforting to a nation recovering from a scarring debt ceiling debate, Jay-Z and Kanye plumb their vulnerabilities and doggedly determined back-stories to provide a compelling counterpoint to the copious MoMA references and outlandish swag on display.

“Welcome to the Jungle” finds Jay-Z disclosing rarely shared lows with a devastating clipped flow and on “New Day,” the duo rhyme to their future sons (and legacies), with West’s sarcastic swipe at his detractors a highlight. But it’s the two-part “Murder to Excellence” that best illustrates that the latent anxiety they’d like to convey is indeed lurking beneath their success.

While the second half of the track ends celebrating “black excellence” and being in the same tax bracket as Oprah and Will Smith, in their customized tailoring of the American Dream, it begins with an extensive rumination on the death toll of young black men in urban environments. On a record that can be so triumphant and shameless in its decadence, it’s telling that the myth of material comfort still necessitates a furtive look over the shoulder.

Interview: Little Dragon

2011-08-06T10:25:00.000-04:00

Had a great chat with Erik Bodin, drummer of Little Dragon about the quartet's creative process giving some insight into their creative process and the personal growth of singer Yukimi Nagano.

Web Exclusive: Little Dragon [Exclaim.ca]

Live Review: OVO Fest, Molson Amphitheatre, July 31

2011-08-03T04:43:00.000-04:00

For OVO Fest’s second edition, Drake did everything to seem like the generous host. Last year, he brought out Jay-Z and Eminem to close the show. This year, he brought Lil Wayne, Nas and the legendary Stevie Wonder. While it could be argued that ceding the stage to more established performers consistently overshadows him, Drake clearly revels in delivering the surprise appearances as a gift to his hometown. And if that was the barometer for the night, this guest-filled concert was an unqualified success.

The day started with Drake releasing “Headlines,” reportedly the lead single from his upcoming album Take Care, and the social network proceeded to speculate who might show up at the Molson Amphitheatre show. According to the rumour mill, Kanye had been spotted at Pearson, and Eminem was within sneezing distance having performed at Osheaga in Montreal. None of them actually made it to the stage, but the crowd would still be sated by the unbilled celebrity appearances.

It was opening act the Weeknd who kicked off the proceedings with a strong set that built on the hype generated by his debut Toronto club gig a mere week ago. Taking the stage with a three-piece band, singer Abel Tesfaye, the man behind the mysterious moniker, seemed to be more relaxed and comfortable on stage than his club debut. Indeed, the crowd was instantly engaged by Tesfaye’s yearning falsetto, singing along to opener “High for This” and other songs from his Polaris Music Prize-shortlisted mixtapeHouse of Balloons.

Rick Ross was up next and the Teflon Don’s pounding, grandiose beats to tracks like “Hustlin’” and “Blowin’ Money Fast” roused the crowd to ecstatic levels at times, his lucid flow ensuring maximum participation in a concert setting. Ross lapped up the adulation, prowling the stage with palpable energy, ending his set with the butter smooth “Aston Martin Music” and egging the crowd to fill in Drake’s vocals.

After revealing an intricate lattice framework stage and the hijacked beat for “Dreams Money Can Buy,” Drake finally emerged wearing a black sleeveless OVOXO shirt. Backed by his live band, Drake affirmed his love for his hometown (“I’ve probably bumped into you in the street”) and stressed how hard he had worked on the show.

After performing “Show Me a Good Time,” Drake’s band launched into an extended reworking of SBTRKT’s “Wildfire,” to which the rapper had only contributed an unofficial verse. And soon, Drake brought out his first guest, J. Cole, to perform their duet “In the Morning.” When the second guest emerged, however, both Drake and J. Cole were so geeked that it was if they were both neophytes in a high school cipher.

With his baseball hat brim pulled low over his brow, Nas strolled on stage to a raucous reception performing “Made You Look” and “If I Ruled the World.” It seemed as if the deliberate sequencing of consequent songs would have made for more dramatic entrances from Rihanna and Nicki Minaj, but Drake performed “What’s My Name?” and “Moment 4 Life” without his female accomplices. Drake didn’t forget about the women in the audience, though, and the coda of his performance of “Fancy” indulged in a rather extensive acknowledgement of pretty women in the audience, replete with binoculars.

He used his moody performance of the woozy drunk-dialling “Marvin’s Room” to call out people who criticized everything from his eyebrows to his rhyme flow, but soon the attention moved away from Drake again. As a keyboard was being set up after performing “Over,” Drake, palpably aware of who was next, abruptly excused himself, vowing “I’ll be back.” After an awkward delay, the unmistakable figure of Stevie Wonder was brought to the stage, confirming those soundchecking rumours on Twitter to perform a classic set including “I Wish,” “My Cherie Amour” and “Superstition,” among others.

Only when Wonder yelled “Drake!” did the headlining MC return to the stage to hug the songwriting legend and attempt a brief freestyle with his guest on the keys. With Wonder contributing to the studio sessions for Take Care, this is something the duo are probably used to doing.

The Weeknd had the unenviable task of being on stage next, performing “Trust Issues” with Drake but did well, considering. Saying he had only one more song to perform, Drake then launched into Thank Me Later’s “Miss Me,” and when a shirtless Lil Wayne emerged in tie-dyed pants to perform his verse, pandemonium ensued, triggering the loudest screams of the night. After the kick drum of “6 Foot 7 Foot” reverberated across the rabid crowd, Rick Ross came back on stage so the trio could perform their verses to DJ Khaled’s “I’m on One,” arguably the most unavoidable hip-hop song of the summer anchored by Drake’s aching hook, for a suitably bombastic finale.

Photo by Carrie Musgrave (@livebabylive)
Originally posted at Exclaim.ca

Review: Little Dragon - Ritual Union

2011-07-25T22:09:00.000-04:00

Swedish quartet Little Dragon have a case to be considered as one of the most underrated bands around. They have some very good friends in high places like but widespread recognition has eluded them so far.

Their new album Ritual Union looks like it might change that. Here's my review at exclaim.ca.

Documentary: Love, Props and the T-Dot

2011-07-01T11:28:00.009-04:00

A little while ago, I reported on the CBC Hip-Hop Summit for Eye Weekly (R.I.P.). While I mainly gave a rundown of the concert, there was one larger contextual point I was trying to get across in the review.

...the set list was filled with not only some of the best hip-hop to come out of Canada, but songs that should be considered part of the country’s musical canon.

It's appropriate then that today, on Canada Day, that Love, Props and the T-Dot, a Dwight Drummond-narrated documentary featuring footage from that concert, plus a whole bunch of other rarely seen archival material will be aired and repeated around the country over the next few days.

The documentary does an admirable job of tracing the roots of hip-hop in Canada through the careers of the major artists that emerged. Michie Mee, Maestro Fresh Wes, Dream Warriors and K-OS among many others are chronicled, interviewed and contextualized and pivotal players such as Ivan Berry and Ron Nelson are also given their due. While there is definitely much more to the story than can be presented in the 45-minute running time, if you are unfamiliar with the story you will be enlightened by the hard path these pioneering artists had to traverse and if you remember these events or songs it will be hard not to crack a reminiscing smile.

On a collective level, the documentary reifies what many familiar with the hip-hop music produced in this country already know. It is valid and it contributes not only to hip-hop culture, but songs like "Let Your Backbone Slide" and "My Definition of a Boombastic Jazz Style" are also inextricably linked to the Canadian cultural scene.

Love, Props and the T-Dot airs Friday July 1 at 5pm on CBC Toronto only. It will then be shown nationally on on CBC-TV on Saturday, July 2 at 11 p.m. and again on Sunday, July 3 at 8 p.m. on CBC News Network. It will also be available online at http://www.cbc.ca/radio2/videos on Monday, July 4.

Timeline: Dr. Dre

2011-06-08T11:09:00.001-04:00

As we continue the interminable wait for Detox, in the June 2011 issue of Exclaim! I break down the long, turbulent and undeniably influential career of Dr. Dre.

Review: Raphael Saadiq - Stone Rollin'

2011-05-05T01:55:00.000-04:00

If 2008’s The Way I See It was Raphael Saadiq’s smooth love letter to 1960s Motown, Stone Rollin’ initially seems like it could be its rough-hewn Sly Stone-inspired cousin.

Saadiq starts off in a gritty, aggressive mood with the heightened, distorted vocal urgency of “Heart Attack” and the rock and soul-infused “Over You” backing that up. But long-time observers of Saadiq, from his days as the leader of late-’80s/early-’90s outfit Tony! Toni! Toné!, know the artist is too versatile to be hemmed in stylistically.

Accordingly, the second half of Stone Rollin’ gradually shifts to the sprawling and meticulously ornate arrangements that have made the multi-instrumentalist an in-demand producer and collaborator. So, while there is a close familial link to his last record, Stone Rollin’ is actually Saadiq’s most accomplished and well-rounded effort since 2002’s Instant Vintage, inimitably channelling a dizzying array of soulful influences while remaining impervious to faddish retro retreads.

Originally published in Eye Weekly

Live Review: CBC Hip-Hop Summit

2011-04-01T03:09:00.004-04:00

Definitely a night to remember, the CBC Hip-Hop Summit concert took place at the CBC's Glenn Gould Studio earlier this week and was a roll-call of some of the most important artists and songs in Canadian hip-hop. If that sounds like an oxymoron, this is exactly the reason why it may be time to get familiar with the music and its history. Maestro Fresh Wes, Michie Mee, Dream Warriors, Saukrates, K-OS, K'naan, Saukrates ...the list goes on and on. I got the chance to run down the events of the historical night's proceedings for Eye Weekly.

Books: Recommended Reads

2011-03-31T17:03:00.000-04:00

I'm featured on the CBC Books website this week ahead of the CBC Hip-Hop Summit along with a number of others picking our favourite tome on the genre. To find out why I picked Jeff Chang's Can't Stop Won't Stop and to view a particularly unflattering picture of me, read more.

Live Review: The Robert Glasper Experiment

2011-03-22T14:17:00.004-04:00

Had the pleasure of writing about the Robert Glasper Experiment concert this past Friday for Eye Weekly at the Glenn Gould Studio in Toronto. If you ever get the chance to see this band, don't miss out.

Glasper is increasingly garnering renown as a great hope for jazz because his commitment to layered intertextuality blurs the lines between the past and present, and he applies his unimpeachable jazz pedigree to everything from hip-hop to Radiohead’s “Everything In Its Right Place” without sacrificing technical expertise.

Read the full review here

Review: J*Davey - Evil Christian Cop: The Great Mistapes

2011-03-17T14:37:00.001-04:00

L.A. duo J*Davey have returned with a new EP entitled Evil Christian Cop. Still no sign of that debut album though.

"Quicksand" will do just fine in the meantime.

Read the review here.

Book: The Big Payback by Dan Charnas

2011-02-23T14:49:00.000-05:00

Easily one of the best books I've read in a very long time.

Here's a short article on the book featuring a couple of snippets of my conversation with Dan Charnas. Review

Feature: Wes 'Maestro' Williams

2010-12-20T14:22:00.001-05:00

Here is my Sway cover story on Wes 'Maestro' Williams currently available for pick up around the GTA. We talk about his musical legacy, his positive attitude and of course his new book Stick to Your Vision.

It was more than 20 years ago that Williams first emerged out of Toronto’s then embryonic hip-hop scene as Maestro Fresh Wes to gain national prominence with the first bonafide domestic rap single hit “Let Your Backbone Slide.” The success of that trailblazing 1989 track led to the creation of the Juno Award category for Best Rap Recording. It also caused the album from which the single was taken, Symphony in Effect, to become the first album by a Canadian hip-hop artist to be certified platinum. “I’ve bumped into people who say, ‘I came from Somalia, man. I learned to speak English by reciting Let Your Backbone Slide,’” he says laughing, almost incredulous at the song’s impact.

Read the full article here.

Video: Bilal - "Robots"

2010-11-02T02:36:00.004-04:00

Bilal drops the second video from Airtight's Revenge. You'd think there was an election going on today.

Kardinal Offishall - "The Anthem"

2010-11-01T09:42:00.002-04:00

"I am multiculture!" Yet another Toronto tribute by Kardinal Offishall.

Interview: N.E.R.D. look for the perfect beat

2010-10-27T03:51:00.003-04:00

A little while ago I sat down with Pharrell Williams and Shay Haley of N.E.R.D. to talk about their new album Nothing among other things. Read the interview

Interview: Michie Mee

2010-10-04T04:24:00.004-04:00

Also, from the same issue of Sway magazine was my interview with Canadian hip-hop pioneer Michie Mee. The issue was a tribute to women of the past, present and future and Michie as a subject is applicable to all three. In our chat we profiled her pioneering and multi-faceted career. Read the interview

Q&A: Tanika Charles

2010-10-03T15:20:00.004-04:00

Had the chance to speak to Tanika Charles a Toronto R&B vocalist with a hit single "SillyHappyWild," just before she hit the stage to open for Nneka at the Bamboo earlier this summer. The interview is in the Fall issue of Sway magazine that has just hit the racks and you can read it here.

Interview: Bilal

2010-09-17T04:09:00.002-04:00

Ahead of his show this week as part of the Manifesto Festival, I had the chance to speak with R&B vocalist Bilal regarding his stunningly eclectic new album Airtight's Revenge, his first new album in almost a decade.

Interview: Saukrates

2010-07-19T19:01:00.003-04:00

The Caribana issue of Sway magazine has been out for a little while featuring the covering story I wrote on veteran Toronto hip-hop artist Saukrates. Definitely a good conversation. There was a lot of material I simply could not put in the piece. In any interview I've done with Saukrates, his overwhelmingly positive manner despite the setbacks he's had in his career is particularly striking. Talking about his upcoming album Season One is no different.

“I was dying to find a way to start again and keep it fresh for those who aren’t familiar, but also to show the diehard fans that it ain’t over. "

Interview: Saukrates

Interview: Director Brian "B+" Cross

2010-07-09T22:32:00.004-04:00

As part of the Beats, Breaks and Culture festival taking part this weekend at Harbourfront Centre, there will be a screening of "Timeless: A Suite for Ma Dukes" featuring the music of J. Dilla being played by a 60-piece orchestra (July 10, 3pm). I spoke with director (and well-respected photographer) Brian "B+" Cross about the film and other films in the Timeless series.
Read the interview.

Video: Reflection Eternal - "Ballad of the Black Gold"

2010-07-06T22:00:00.001-04:00

Self-explanatory.

Review: Big Boi - "Sir Lucious Left Foot"

2010-07-06T17:04:00.003-04:00

Big Boi's trademark rapid-fire lyricism still flaunts elasticity and wit, indulging his penchant for playful hedonism, eccentric alter egos and wizened life lessons in equal measure. But it's the music on Sir Lucious Left Foot that authoritatively drives the point home. Read the full review

Video: Maddslinky feat Omar - "Special"

2010-07-05T10:03:00.000-04:00

Had to post this as UK artist Omar is one of my favourite artists. DJs like BBC Radio's Benji B have been teasing people with snippets of this track for a while now, so it's great to see the song has some tasteful, yet straight-ahead visuals.

It's been a while since we've heard anything new from Omar vocally, so hopefully this track means a new album from the artist is forthcoming in the near future. But as anyone familiar with Omar knows it takes him years to put a project together, averaging about four or five years between albums.

Maddslinky, for those not in the know, is the alter ego of UK producer Zed Bias, known for his contribution to the UK garage scene. This track is from an album entitled "Make A Change" slated to drop in the UK in October. In the meantime, Zed Bias has dropped a tasty new mixtape called Biasonic which you can stream in full here to give you a sense of what tweaks his ear.

Not sure, but I think I remember hearing that there may be another contribution by Omar on the Maddslinky album as well. Given the fact the singer is beginning to tread the boards with some theatre roles, including a one-man play based on his own music, it could be a while before we hear more from him.

Video: FELA! Original Broadway Cast Recording - "Water No Get Enemy"

2010-06-30T21:34:00.003-04:00

At last night's show by The Roots at the Toronto Jazz festival in Nathan Phillips Square, the always on-point Philly crew took a number of sonic diversions. Among them was a track inspired by Fela Kuti which as far as I could tell incorporated elements of "Everything Scatter". In the wake of the success of the play on Broadway, Kuti is gaining a sizable audience well over a decade after his death and unlikely boosters of his music are popping up everywhere (Young Jeezy, anyone?).

Still, The Roots come by their admiration honestly and bandleader ?uestlove is of course a producer of the Broadway play. In the spirit of continuing to pay tribute to Fela's music, here's a video of one of the my own personal highlights of the show, the performance of "Water No Get Enemy." Brings back many good memories of catching the play this past spring. One issue though. This is way too short. The version in the play is devoid of the song's seductive long intro for obvious time-related reasons, but this cast recording of the song is seriously truncated and feels like it's about ten times shorter than the original. Still,

Rep My City: A History of Toronto Hip-Hop

2010-06-24T18:55:00.008-04:00

A little while ago I pieced together some blurbs on Toronto hip-hop history by focusing on artists that have emerged from the city for VIBE. Picking only ten artists, there was no way the piece could be definitive. That being said, if you are familiar with these artists or not, they've all made important contributions to hip-hop culture in Toronto. Check the photo gallery here.

Review: The Roots - How I Got Over

2010-06-22T17:12:00.004-04:00

Resisting the urge to be sated by their late night ubiquity, ?uestlove and company mine internal dialogues of self-doubt, perseverance and ultimately, triumph with their unquestionably assured and layered musicianship. Read the rest of the review

Q&A: Don Letts

2010-06-16T22:57:00.003-04:00

"You got me"

These were the words Don Letts greeted me with when I connected with him on a transatlantic phone call recently. Letts is obviously a busy man. He was back in London just after coming back from Tokyo before heading out on the road again. But his elusive nature also extends to his own roles over the years. In London he first got into the music scene through selling clothes in the fashionable King's Road area of Chelsea where he met figures such as Malcolm McLaren and Vivienne Westwood. Known for his association with The Clash, whose members used to frequent the shop Letts used to work at, Letts came to be known for his pioneering DJ sets mixing punk and reggae and now decades later, Letts is a well-respected Grammy-winning filmmaker. In between all of that, Letts was in Big Audio Dynamite with former Clash member Mick Jones in the 80s, even though he admittedly was limited in his musical ability. No doubt, there's plenty to talk about with the man, but I focused on the three films that he is associated with that are screening at NXNE in Toronto this week. Carnival, Superstonic Sound and Strummerville, incidentally are all very good documentaries. Interview and more details at the link below.

Interview: Don Letts

A digital road to Drake's "Thank Me Later"

2010-06-15T09:35:00.006-04:00

The following, (except for the opening quote) is a slightly modified excerpt from a paper I presented at the Pop Music Conference in Seattle earlier this year. The theme of the conference was "The Pop Machine: Music and Technology"

"I gave away free music for years so we're good over here...just allow it to be the soundtrack to your summer and ENJOY! JUNE 15th!"
- Toronto hip-hop artist Drake reacting to the Internet leak of Thank Me Later, via Twitter on June 2

Taking into consideration the lack of sustained success and major label support of the hip-hop scene in Toronto and the global mindset the city fosters, the potential interconnectivity of the Internet is a logical and accessible bedfellow for Toronto hip-hop artists. While it may seem that Toronto hip-hop artists would be in the same situation as those from other countries, there are some areas where they would hold key advantages from hip-hop artists from around the world.

Canada consistently ranks above the United States and most countries in the world in a number of key Internet measurements, such as broadband internet penetration and social networking engagement according to ComScore and are apparently the world’s leading consumers of online videos.

Additionally, because of the fact that amendments to copyright law have yet to be enacted in Canada in the post-Napster era, downloaders have never been sued like they were in the U.S. for obtaining music they had not paid for online. In short, Toronto hip-hop artists have a number of favourable factors to develop their careers online, and are largely bypassing engaging with the traditional music industry structure.

Toronto's hip-hop scene, given its history, technological savvy and proximity to American hip-hop culture, along with an intangible and long pent-up desire to be successful -- I suppose -- is in a prime position to take advantage of the transitional state the music industry currently finds itself in.

The arrest of mixtape veteran DJ Drama in 2007 for selling mixtapes led to a sharp increase of hip-hop mixtapes being uploaded online due primarily to concerns over copyright. Add in the successful use of the medium by artists such as Lil’ Wayne, who is obviously a strategic and artistic influence on Drake, to flood the Internet with his recordings, new artists invariably attempt to emulate the same level of success. Unwittingly, the stage was set for an artist like Drake who existed outside of hip-hop’s usual spheres of influence to emerge.

It is often said that hip-hop is a global phenomenon. In the old distribution model, dominated by major record labels this often meant a one-way relationship with cultural rules being directed from hip-hop’s birthplace. With the Internet now being the repository for hip-hop from around the world and the virtual dismantling of the previous distribution system, hip-hop culture will engage audiences, consumers and artists from a variety of backgrounds and cultures who will interpret what hip-hop culture means to them that may complement or contradict previously established modes of tradition.

Geographical boundaries are no longer as important, and factors such as culture, age and nationality are poised to increasingly impact the evolving discussion. Consequently, an example such as the Toronto hip-hop scene’s ethnically and culturally diverse millenials, have the potential to impact this development into the future. Thank them later?

Shad's "Rose Garden" video and the use of visual memory

2010-05-31T11:33:00.010-04:00

A lot of Shad videos have made it to V+S posts, not out of mindless championing, but merely because of their consistent creativity. The new video for "Rose Garden" is no different. The song's internal dialogue of dealing of overcoming potentially paralyzing mental inertia has visually manifested itself in an immediately identifiable yet immensely entertaining homage. Not to spoil the whole thing here, but the shout out to Spike Jonze and the Pharcyde for "Drop" from directors HotDogGarbage (who were behind the clip for "YaaIGetIt"), surely establishes Shad's visual oeuvre as among the most innovative in the Canadian hip-hop canon.

It's intriguing to note that Shad's videos either vascillate wildly from being austere to the vivacious, from intensely literal to head-scratchingly abstract, yet always broaden the meaning of his songs. This might seem like an obvious goal, but in era when videos can be filmed and distributed cheaply and even the grainiest viral videos gain popularity, an attitude that videos are necessary, yet require little conceptual execution can be formed. Shad often avoids this by triggering visual cues from classic videos of the past.

The black-and-white clip for "Brother," one of The Old Prince's standouts visually nods to Massive Attack's "Protection" in bringing to life its view of social isolation while the penchant for continuous shots and string arrangements on the song sonically aspire to the Bristol collective's "Unfinished Sympathy".

Shad gained much more notoriety for the heavy-lidded wink of "The Old Prince Lives At Home" a virtual shot-by-shot remake of the opening credits of Will Smith '80s sitcom vehicle The Fresh Prince of Bel Air, source material which clashes mightily with the hard-luck monetary situation Shad outlines for greater comic effect. Shad has said "The Old Prince Still Lives At Home" is a video he had little to do with conceptually. While that may be true, it's not the first time he's channelled throwback African-American sitcoms.

The first time I paid any attention to Shad I'm pretty sure he was rocking a blinding banana-yellow "I Want A Claire Huxtable" T-shirt, which he rocked during the time period he issued his When This Is Over album. The thought of a 20-something MC seemingly boldly proclaiming his apparent Oedipal complex issues (wasn't Claire Huxtable like, everyone's mom?) on the backdrop of one of the least subtle colours of the rainbow for a glamourous unattainable '80s icon could smack of opportunist irony-mongering.

Digging a little deeper though, these knee-jerk reactions couldn't be further from the truth. It's more likely to be linked to his unchecked respect and admiration for mothers and females which is an intrinsic thread in his songs. The voice of Shad's own mother Bernadette Kabango is the first one heard on his sophomore effort The Old Prince and on When This Over and TSOL's "Keep Shining" is about his intellectual relationship with women. In short, he's very adept at distilling the larger, complex issues in his work into attention-grabbing visuals. So when's the DVD compilation dropping?

Video: Lupe Fiasco - "I'm Beamin'"

2010-04-29T07:06:00.003-04:00

Seeing as this song leaked late in 2009, this video has had one of the longest gestation to fruition periods of any song since the blogosphere-driven reality for musical artists became a reality. That being said, it was obviously time well spent. This video is so witty and creative you almost feel like you're hearing the song for the first time -- that is if you can discount the admittedly pleasant second-hand odour of past Neptunes productions. Nicely done.

Interview: K'naan on CBC Radio 1's Q

2010-04-23T07:01:00.001-04:00

On Thursday, CBC Radio 1's Q aired a 1-hour interview with K'naan. The interview was recorded last weekend during the Junos just before K'naan picked up two awards for Artist of the Year and Songwriter of the Year. K'naan's honesty and introspection here is truly genuine, especially when he talks of balancing his career with his family life near the end. Essential listening.

Interview: K'naan on Q

Video: Little Brother - "Curtain Call"

2010-04-22T07:00:00.001-04:00

How will Little Brother be remembered?

Video: Shad - Yaa I Get It

2010-04-21T21:15:00.004-04:00

What's scary about this track is how easy Shad makes it look. TSOL drops on May 25 and I can definitely say there's a lot more where this came from on the album.

RIP Guru: Recommended Reading

2010-04-21T07:15:00.007-04:00

The death of the MC Guru known for his stellar body of work alongside DJ Premier in Gang Starr is an immeasurable blow to hip-hop culture. He may have only stood 5-foot-8 as he would often remind us, but his death leaves a long shadow when we discuss artistry and progression, not to mention the knowledge and wisdom he brought to the hip-hop canon. Listening to Guru was like checking in with your cooler and wiser older brother. It's mostly the voice.

Here's a roundup of some of the fine commentary written about the significance of Guru's contributions to hip- hop culture.

In The Puritan rhymes of Guru, Slate's Jody Rosen geeks out over the opening lines of "Check the Technique" (who doesn't?) in his detailed analysis of his artistic appeal and positions Guru as the Cagney of rap.

Over at the LA Times, Oliver Wang puts together a rigorous career retrospective, taking care to remind us of the impact Guru had inside and outside of hip-hop through talking to scholars, collaborators and those he mentored.

Jon Caramanica's New York Times obituary yields some little-known facts about Guru's early life through insight from his family and noticeably seemed to be the first piece to accurately publish Guru's age (47) at the time of his death.

And finally, a blast from the past. Here's the Dreaming America column Danyel Smith wrote on Gang Starr for Spin magazine back in 1993, which I still remember reading for the first time to this day, detailing the almost spiritual experience of seeing Gang Starr live.

Video: Tanika Charles - Think Of You (Live at the AGO)

2010-04-19T11:31:00.004-04:00

Looks like Tanika Charles is just about ready for her close-up. A forthcoming EP for the singer who is perhaps best known around Toronto for ably assisting Zaki Ibrahim on backup vocals entitled Ms. Chawlz is going to put her centre stage. Here's a performance of "Think Of You" a song she's been performing live around town for a while now. Hopefully it's on the new release.

Video: Gil Scott-Heron: "Me and the Devil"

2010-01-19T09:57:00.002-05:00

Dark days, indeed.

Click Hear: Keys N Krates

2009-11-30T13:47:00.003-05:00

Through their live shows across North America , Toronto trio Keys N Krates have quickly developed a name for themselves possessing that rare quality of making talkative punters at the bar instant fans minutes later. The formula is simple, yet staggeringly effective; turntablist DJ Jr. Flo, keyboardist Matisse and drummer Adam Tune have fused a sound that is innovative yet very familiar by reinterpreting and remixing popular songs with a creative bent. Read more here.

Trailer: Still Bill

2009-10-20T07:16:00.001-04:00

The good folks at Fusicology are showing the Canadian premiere of Still Bill, a documentary on the life of Bill Withers this Friday October 23 at the Bloor Theatre in Toronto. More info here.

Video: Joy Jones - "Over"

2009-10-19T06:29:00.001-04:00

Joy Jones' Godchild is in the running for the most heavily slept-on, fell through the cracks, and insert any other cliche for overlooked here, soul album of the year. Taking it in a few days ago, it's obvious Jones eased into the transition of a full-blown project after years of cameos on progressive soul and 'broken beat' records. Her latest video "Over" highlights her delicate voice and while not entirely representative of the album in sound it definitely captures its experimental spirit. Nice to hear the muted stains of Ronnie Foster's "Mystic Brew" in the background again. Does the "Electric Relaxation" break ever get old? Spotted at Suite 903.

Click Hear: Fashawn

2009-10-16T16:18:00.006-04:00

Boy Meets World, the new album by Fashawn is already generating a lot of acclaim for Fashawn and his fans include the likes of the legendary Large Professor. I dig into his appeal in this week's Click Hear column.

Click Hear : Fashawn

Video: Alice Russell: "Let Us Be Loving"

2009-10-14T09:24:00.002-04:00

About time. A video for the best song from Alice Russell's Pot of Gold album. That being said, the slow-building album version is clearly superior to this video edit.

Video: N'Dambi - "Can't Hardly Wait"

2009-10-07T12:09:00.003-04:00

Nice to see N'Dambi back in action. The former Erykah Badu backup singer has just dropped her new album Pink Elephant on Stax. And if you haven't heard her Little Lost Girls Blues debut from back in the late 90s, it is highly suggested you track it down.

Click Hear: Shafiq Husayn - "Nirvana"

2009-10-06T10:17:00.005-04:00

It's been out a while now, but Shafiq Husayn's "Nirvana" is a track that steadily grows on you until it becomes infectious. Taken from the album Shafiq En’ A-Freek-A which drops this week, it's featured in this week's Click Hear column at Exclaim!

Click Hear: Shafiq Husayn

Previously: Interview: Sa-Ra Creative Partners

Video: Q-Tip feat. Norah Jones - "Life Is Better"

2009-10-06T10:03:00.001-04:00

Guaranteed to bring a smile to your face.

Wax Poetics No. 37: Michael Jackson

2009-10-05T07:03:00.001-04:00

Haven't got my hands on this Michael Jackson issue yet, but there's no reason to believe that this latest issue from the Wax Poetics camp isn't going to be excellent given their impeccable track record.

Click Hear: Rich Kidd

2009-10-01T12:18:00.002-04:00

Rich Kidd is one of the fastest-rising producers in Toronto right now and is featured in this week's Click Hear column.

Video: Amnesia 10-Year Anniversary Recap

2009-09-30T11:46:00.002-04:00

Ian Andre Espinet's Amnesia party in Toronto has been bringing in the secret R&B & hip-hop guests to his one-of-a-kind jams for 10 years now.

A couple of weekends ago, partygoers knew they were going to see Bell Biv Devoe, but they did not know they were also going to see The Jets, Das EFX, Zhane and Nice & Smooth as well. Surprise! Seen at cityonmyback.com

Heavy Rotation: Hudson Mohawke - "Rising 5"

2009-09-29T08:53:00.003-04:00

It's all about the drums. Yes, that's him in the picture and no he's not 14 years old. Taken from the Scottish producer's upcoming album Butter dropping on October 27.

Video: Georgia Anne Muldrow - "Runaway"

2009-09-28T13:18:00.006-04:00

Mere months after dropping the album Umsindo, the prolific Georgia Anne Muldrow is at it again. "Runaway" is the lead single from Early dropping on November 10. Is she trying to Madlib the game? No complaints here. Spotted at www.cantslowdown.net

Previously: Interview - Georgia Anne Muldrow

Live: Maxwell's BLACKSummersNight tour, Toronto, Sept. 25

2009-09-26T16:40:00.008-04:00

Photo by sophistiphunk

The ear-piercing screams that greeted Maxwell as he assumed centre stage at the opening night of the BLACKSummersNight tour are usually the type that might be directed at the latest teenage heart-throb sensations, but it was clear from the beginning of this show that we were clearly dealing with a veteran presence.

Opening the show with a fluid medley of “Dancewitme” and “Sumthin’ Sumthin’” from his debut album with deft backing from his 10-piece band, Maxwell’s ever-smiling visage was projected in black and white on huge screens on both sides of the stage to denote a sense of timelessness; an effect heightened by the throwback sartorial flair of the band.

Given the top-notch nature of his band which included acclaimed jazz musician Robert Glasper, it was a shame that they weren’t given more rope to flex their individual skills. But it was the opening night of the tour and given Maxwell was being constantly distracted with his ear device, it was clear they will probably execute even better shows as the tour progresses.

Within this framework, Maxwell used the space in the large Air Canada Centre well. A runway stage that stretched out to both sides of the floor seats fostered a sense of initimacy with fans, which they giddily took advantage of by excitedly grabbing at his feet and grasping his outstretched hands. Apparently this was not close enough for one lady, who decided to walk purposefully across the stage and stand next to the singer as he began to sing his cover of Kate Bush’s “This Woman’s Work” before she was ushered away by a band guitarist, eliciting widespread laughter while Maxwell delivered one of his more heartfelt readings in a surreal moment.

Indeed, Maxwell, much like support act Common, knows what his female fan base wants and he exploited every body movement for maximum effect with lithe dance moves, splits, crawling across the floor, and popping up from underneath the stage in different spots all being part of the repoitoire. He even strutted down the stage wearing a chain of fan-bestowed panties around his neck during “Cold.”

However, as he began to talk to the crowd, his hoarse voice was evident and he revealed to the crowd in the three-quarters full venue that he considered cancelling the show. To his credit, he battled on gamely and tellingly hoisted the microphone in the air as a signal to the crowd to sing the lyrics intermittently during the show perhaps when he doubted his own ability to do so on tracks like “Pretty Wings” delivered replete with white paper feathers cascading onto the crowd below.

The one moment when the crowd really joined in unison was during the encore of “Ascension (Don’t Ever Wander)” singing the entire first verse accapella before his band took over. At that point, it looked like Maxwell didn’t want to leave the stage, yet he and the band had nothing left to do except pass the microphone for each band member to introduce themselves.

While deferring well-earned credit to his band, it was the one slightly awkward moment in an otherwise professionally delivered show, where Maxwell seemed like the giddy newcomer rather than the seasoned and polished performer he proved he clearly is.

The Roots: How I Got Over [Trailer]

2009-09-25T10:38:00.006-04:00

If The Roots were trying to downplay the celebratory nature of their performance of this song on the Jimmy Fallon late night show and the complacency that could be conveyed from the album title How I Got Over, this short preview pretty much punctures those theories. Nobody's smiling. [@Rakim]

Manifesto 2009 round-up

2009-09-25T09:59:00.004-04:00

Producer 9th Wonder proclaims Toronto the 'Hip-Hop capital of the world' after attending Manifesto.

1LoveTO checked out the Manifesto art show down at 52 McCaul...

D.C.-based blog The Couch Sessions did a thorough job reviewing the event itself and the Reflection Eternal headlining set.

And finally, Rich Kidd and friends (Saukrates, Tona, King Reign and more) perform tracks from Rich Kidd's latest mixtape at the Manifesto after party. Footage courtesy of The Real Frequency.

Click Hear: Electric Wire Hustle

2009-09-24T10:12:00.005-04:00

This week, my Click Hear spotlight is on New Zealand's futuristic trio Electric Wire Hustle.

Electric Wire Hustle - Chaser

Click Hear: Ian Kamau

2009-09-21T11:13:00.003-04:00

My latest pick for Exclaim's Click Hear section is Toronto MC Ian Kamau's "Somebody (I Am)" from his latest mixtape September Nine Mixtape Vol 2.

Read: Click Hear: Ian Kamau

R.I.P. Roc Raida

2009-09-20T13:00:00.002-04:00

Although it had been circulating that DJ Roc Raida was in the hospital, news of his death yesterday was a complete shock to many. A highly influential DJ, turntablist and producer, Roc Raida inspired many to get behind the decks while never clamouring for the spotlight. As a member of the X-Ecutioners, he was the one most aspiring DJs looked towards (courtesy of his DMC Champion status) but he never seemed to want to make himself seem more important than the others in his crew.

Years ago, I did interview Total Eclipse and Mista Sinista from the X-Ecutioners crew, but I never met Roc Raida until a couple of years ago at the Harbourfront Centre in Toronto when he unexpectedly backed up Lord Finesse at a show. The people who hasd come to the show had no idea Roc Raida was going to be behind the decks and it was a bonus to see him and Lord Finesse go back and forth in an obviously well-oiled but humourous DJ battle. No prizes for who won, (but Lord Finesse's DJ skills are slept on btw).

After the show I spoke to Raida for maybe a minute, but what struck me immediately was that a guy who had accomplished so much in a very competitive and battle-oriented field was very humble, gracious and self-effacing. Respect due.

For an indepth analysis of Roc Raida productions and analysis check Unkut's A Salute to Roc Raida.

The Making of 'Let Your Backbone Slide'

2009-09-18T14:02:00.001-04:00

From the Manifesto Guidebook. Illustration by Kagan McLeod.

Manifesto 2009

2009-09-18T13:58:00.003-04:00

The event just keeps getting bigger and better.

The festival is already underway, coming to a climax on Sunday at Nathan Phillips Square. For all the info check http://www.themanifesto.ca.

Interview : Dalton Higgins

2009-09-17T10:35:00.001-04:00

Been quiet around these parts for a little while because of a recent move, but I did have the chance to speak to Toronto author Dalton Higgins about his new book "Hip Hop World" a couple of weeks ago. Higgins explores topics that aren't often explored in the cultural analysis of the genre which is now indisputably a global phenomenon and injects his provocative opinions into the proceedings.

Interview: Dalton Higgins

Click Hear: The Lytics

2009-08-07T09:52:00.003-04:00

This week's Click Hear column at exclaim.ca looks at The Lytics from Winnipeg.

Spinna's Sonic Smash

2009-08-07T09:41:00.002-04:00

A brief DJ Spinna overview and interview link are over at Cityonmyback.com.

Interview: Georgia Anne Muldrow

2009-07-30T08:20:00.002-04:00

"There are spiritual laws that will sustain your refrigerator if your message is true."

Georgia Anne Muldrow chats about new record Umsindo and family in the August issue of Exclaim!

Article: Georgia Anne Muldrow's Family Ties

Montreal Future Soul: Sarah Linhares

2009-07-29T11:58:00.004-04:00

Does anyone call this stuff broken beat anymore? Sarah Linhares just dropped her debut EP Messages From the Future, and the bio circulated by the good folks at Public Transit Recordings brands Linhares' sound as Future Soul. No matter. Evidently, the proof is in the pudding, so to get a vibe of what her music sounds like, check out the RBMA Sarah Linhares radio show linked to here last week and check out my Click Hear feature on Linhares at Exclaim.ca.

Click Hear: Sarah Linhares - "Step Up"