By Colin Fowlie for CHSR 97.9 FM “I Feel So Alive!” declares the very first lyric from the opening track off of Kill Chicago’s sophomore album, “The Fix”, which releases on November 8, 2019. And damn, do I ever. Perhaps that’s a bit dramatic, but I’m not exaggerating when I say that this release has
50. “Some Rap Songs” – Earl Sweatshirt Kicking of my albums of the year list is Earl Sweatshirt with “Some Rap Songs”, but this collection of tracks is anything but. While short in length, each track transports you into a sensual head space with pinging samples of guitar, bass, piano and so much more. Earl’s
10. “The Offering: Part 1” – Hitman Kicking off this list is Hitman out of Halifax, NS with their 4-track ripper “The Offering Part 1”. Mixing a crunchy blend of stoner and thrash metal, each track is a gut punch of huge instrumentation and catchy hooks you can raise your glass to. Vocalist Jordan Rose
20. Sun Ought To Shine – Hillsburn Kicking off this list is Hillsburn out of Halifax, NS, a band who has taken their latest record “The Wilder Beyond” as far as a you could expect in a calendar year. “Sun Ought To Shine” comes in with the passionate vocals of Rosanna Burrill which are joined
Part of east coast metal’s 10-year club, the Annapolis Valley trio Doom Machine returns with their fifth album “The War Inside”. This album shows the band in a very comfortable spot in their sound and has balanced the dosage they mix traditional, thrash and stoner metal elements with their overarching theme of doom metal. The
The eighth studio album for UK metal-core outfit Architects proves that they remain one of the most relevant groups in their genre and that the emotional knife they carve their music with is still sharp. The record is a 42-minute ode to founding member Tom Searle, who died on August 20th, 2016, three months after
Harvest Jazz and Blues is officially underway after the first tent show of the festival last night. This year’s festival technically started on Tuesday night at the playhouse with performances by Fredericton’s own Ross Neilsen and The Blind Boys of Alabama, but most dedicated patrons will tell you that it doesn’t truly feel like Harvest
Fowlie’s honest songwriting is easy to connect with and you find yourself immersed in every story he’s trying to tell. Whether it’s about toxic people living through a filter, someone who’s stuck in life, or even just looking for a good time; we all know someone who can relate to the circumstance. Or, maybe it’s even you yourself.
Mike Bern, Wolastoqiyik singer-songwriter from Tobique First Nation, releases his first single as a solo artist. Formerly of Indigenous Music Award winning bands Kickin’ Krotch and District Avenue, Bern keeps his alternative rock roots while exploring a more Canadiana sound.
Jared Durelle chats with Caribou Run about their new release, “Old Peninsula”, how the record came to be, and what’s next for the band.
Captivated songwriting and presentation, local musician Colin Fowlie writes about Vic Horvath’s performance at Living Roots Festival.
Having seen Joyful Noise perform live and having had a fantastic time doing so, I leveraged the substantial power and influence afforded me as a volunteer reviewer for CHSR to have an early listen to the band’s debut EP “Cocoloco“. Firstly, let’s get the technical details out of the way. Cocoloco is a 5-track collection
Toronto’s Adrian Underhill just released his debut album “CU Again”, and took the time to chat with Bondo about the record, his start in music, plus what he’s listening to at the moment.
Toronto’s Adrian Underhill‘s new album CU Again blends together pop and R&B sounds to create some chill, smooth, baby-making jams. Working with famed producer Kindness, who has worked with both Solange and pop Goddess Robyn, added a subtle electronic element to the record which gives some tracks a little funk undertone, even disco-esque at times.
Once referred to as stoke folk, Fernie BC’s Shred Kelly are set to release their 4th album February 16, 2018 via Germany’s Devil Duck Records. And while Shred Kelly‘s sound is definitely rooted in folk music with banjos and ukuleles at the core, their new album Archipelago is immersed with electric guitar, synth, and even
Montreal’s Milk & Bone are back with their sophomore album, released February 2, 2018 via Bonsound.
Toronto’s Born Ruffians are back with their 5th studio album, Uncle, Duke, & The Chief; their first with the original trio since 2013’s Birthmarks, which was my first introduction to the band. Creating a nostalgic rock sound soaked in reverb, the beginning track Forget Me was inspired by the passing of David Bowie, making the
Finally, Bondo picked her favourite 2017 releases!
The Hypochondriacs quickly etched their mark as a staple band in the Fredericton music scene long before their debut album was released. And we mean long. In 3/4 took what felt like a lifetime to come into fruition, but as they say all good things are worth waiting for. Their press release says “The Hypochondriacs resurrect classic country
There is so much amazing music being created in our own backyards. CHSR wants to help highlight some of the albums/EPs being submitted to their Music Department! Erin Bond, aka Bondo, current CHSR Station Manager, has been a musicoiphile her entire life. She was introduced to CHSR back in 2011 when a friend mentioned a
Toronto, Ontario band Speaker must be named after the things they destroy. Their new album “Murder and Create” provides a new incarnation of their sound where they strip themselves of any traces of the traditional structures of hardcore. The band plants their feet in the perfect head-space to do what they do best, which
Before I venture much further down the road of producing content for CHSR in the form of “Music Reviews” I feel that there is an elephant in the room that needs to be addressed. It has been brought to my attention (but not to my surprise) that my writings are skewed towards the positive in
The warm rasp of Jessie Brown’s dangerous blend of fuzzy rock is a soundwave grown from the roots of the best power singers in history. With the lungs of Janis Joplin and the range of Freddie Mercury, Brown has been captivating audiences, both big and small, filling the spaces that remain with her