We often say it is the season of giving; it is often hard to know what to give someone, but sometimes it is obvious.
My guest today is Sabrina, a young woman living in Fredericton far from her home in Newfoundland. She’s here in the city with ambitions to go into journalism, which has kept her from seeing her family for four years. Unfortunately, her great-grandmother has passed away, and she’s seeking help from the public to help her get back home for a while, to support her family and draw some strength from her. She joins me on the show to talk about her grandmother’s influence on her life, and the additional medical difficulties that make travelling home a significant financial burden.
“Far From Home” by Chibby off the album Warm Emotions
Club Electric:
“Moment in slow motion” by Satellite Young
“Skeletons” by Villainest off the album A Vision of Light
Chiptune District:
“Adventure Awaits (feat. Themnotyou)” by Dya off the album Fall Damage
“Delirium Overture” by Rock Candy off the album Rock Candy
Future Funk District:
“Dancefloor Sneakers” by Sparkly Night off the album Beaches
“From The Day I Saw You” by Strawberry Station off the album Strawberry Dreams
VGM District:
“Field of Hopes and Dreams” by Toby Fox off the DELTARUNE Chapter 1 OST
“The Riverlands” by FamilyJules off the album The Eightfold Road: Metal Arrangements from Octopath Traveler
The artist behind The Eightfold Road (Metal Arrangements from Octopath Traveler). He has made hundreds of covers and medleys of his favorite video game music and put them up on YouTube for millions to enjoy. Metal or Acoustic; Ska or Jazz; he takes in the music and breaths out his own sound.
Nancy McLoughlin returns to Python’s Paradise. Talks more Friday the 13th, Part 6 – Jason Lives, Date With an Angel, and Sometimes They Come Back. Also the Doubtfire Face Challenge accepted for suicide / depression awareness. The Greenhouse Productions, a new web series, and more!
Instead of looking up at the stars, we can look over the players upon the stage and know the universe..
My guests today are Robin Whittaker (Artistic Producer at Theatre St Thomas) and Becca (actor). They join me to talk about the upcoming TST performance of an adaptation of a Bertholt Brecht play, entitled “A Life of Galileo”. We talk about the unusual staging of this play, it’s look at Galileo, and how the play fits into a year-long celebration of Galileo’s life and work. The play runs November 21-24 at the Black Box Theatre at STU.
Each week, our very own Bondo (host of Homemade Jams, Her Turn and Anything Goes) brings her love of music and an album that she’s sure we should be listening to. She’s never wrong!
This week, Bondo brings us Matt Boudreau, a French rocker from Moncton. From his album Goéland, she chose 800km.
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 album starts with its lead single “Disasteroid”, which is accompanied by a video which parodies CNN, Trump quotes and fear mongering. The tune itself is a bass-heavy anthem which has the classic slow-burn of the doom/stoner genres accompanied by a sonic guitar line paired with the Maiden-esque tones from vocalist Bill Arsenault.
We then transition into the chunky groove of the track “At Last….WE REIGN”. The vocals on this track bounce between the previous anthemic tones with gravel-filled growls that trail in at the end of each phrase of lyrics. The riffs become more chopped up as the track ramps up with a vengeful thrash vibe with shredding guitars on the songs final kick.
This song features the first dose of a plethora of great solos from guitarist Colin Birnie, some of the best coming on tracks like “Edge of Time”, “Sprocket” and “Rising.”
Next is the instrumental “Amaranantha/The Next 1000 Years” which begins with a prog-based intro layered with a brief splash of piano which builds into a series of chord progressions and solos that worship the alter of Black Sabbath.
We then hear the track “Scarecrow II: The Fallen”, which is a sequel to the track “Scarecrow” off their previous album, that is chock full of apocalyptic overtones.
The albums title track comes in with a circling, crunchy stoner riff that makes you want to stomp your feet. Arsenault’s raspy growls really blend with the guitar tones to give the music some bite.
“Just Like You” is the most peculiar track on the album. The band blends chord progressions derived heavily from AC/DC with their signature tone to give the classic sound some extra muscle. The lyrical content branches into a very personal narrative about being the bigger person and are delivered with a lot more angst, most comparable to Twisted Sister. While this track is an awkward fit within the rest of the album, the experimentation should be applauded.
We resume the album’s trajectory with the track “Rising” which serenades the losers and cheaters of the world. Again, we hear a lot of low-end on this track and of course its previously mentioned solo which soars off an impressive, well-pitched note from Arsenault.
The album continues its dark attitude with the track “The World Burns” with robotic vocals that provide a canon harmony on the chorus and imagery of the complacency we display towards global issues.
“Against The Grain” follows with another heavy, condescending riff that is layered with creepy synths, complemented with defiant vocals.
The album ends with “Ascension” which clocks in at just over 10 minutes. It brings back the element of piano on the album, this time in layers, fading into another spaced out intro before tightening into its full rhythm. The track follows a downward spiral; dropping, or rather ascending, further into a dark place. This reflects in the lyrics with lines like “These chains cannot bind, but they cannot free me.” The piano from the intro bubbles to the surface again, chilling your spine once more before its conclusion.
Hi friends! Welcome to the friendship hour! On this week’s episode, we explore special concepts like making up sentences as we go along and procrastination! Why not!
Anyway, we have a bunch of really great tunes spanning the last five years that sound like 80’s metal AND new-metal all mixed together in one happy, friendly melting pot.
SO, please proceed to melt your face off as recommended on the instructions printed on the back of the one sheet. Please note: You will have to print this sheet to read the instructions.
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 the release of the bands last album “All Our Gods Have Abandoned Us.” Searle had been living with skin cancer for the previous three years.
This album is lyrically driven and doesn’t pummel the ear with as many buzz-saw guitar riffs as their previous work. They instead capture those moments in a much more efficient manner and demonstrate a keen sense of melody. There are also obvious sacrifices made in the layering of the instrumentals to give the lyrics the main stage and above all deliver a beautiful tribute to their fallen band-mate.
The album starts with “Death Is Not Defeat” which begins with orchestral strings that are a theme throughout the track list. The lyrics attempt to make sense of the band’s loss, the most gut-wrenching being “Why do we fight what we can’t define?”, likely referring to the enigma of cancer.
The track “Hereafter” wrestles with being unprepared for the worst. Every member gives their all with vocalist Sam Carter’s screams ringing out, taking every ounce of his breath and Dan Searle (Tom’s brother) hitting this physical drum fill at each climax of the song.
“Mortal After All” is a sobering reminder that life ends in a grueling way. The strings come in again at the beginning of each chorus which leads with the line “Another part of this symphony, lost between eternity,” adding dimensions to the song’s aesthetic.
The title track brings the most anger with frantic chord progressions and pockets of madness where Carter’s voice takes over, cutting deep with lines like “Don’t forget to breathe when the knife begins to twist.” The words in the pre-chorus are almost inaudible as Carter pushes the strength of his vocal chords. The song references the track “Broken Cross” off the band’s 2014 album “Lost Forever/Lost Together””, the opening line of which is “God only knows when we were born to burn” to which Carter asks on this track “Remember when we were born to burn?”
While tracks like “Damnation” and “Royal Beggars” handle more common messages like seizing the day and fighting complacency, the track “Modern Misery” shines the spotlight on first world problems. This song hits another passionate vein, touching on the bands environmental activism and discussing how world resources are being abused.
“Dying To Heal” ponders why life is fleeting and how Searle was taken at the pinnacle of his career. The track mixes racing instrumentals and soaring open chords paired with the painful imagery of false security. Carter belts out a powerful scream at the end of the final chorus which bleeds into a climbing guitar outro, chugging the song to a slow, furious halt.
“The Seventh Circle” is the shortest track on the album and the rawest. The band strips back to a brutal sound to convey the pure hell the band has suffered. Buzzing notes between each release help the track seethe with rage as the band hits their breaking point, rejecting the reality around them.
“Doomsday” was the first single off the album, originally released alongside a music video which brought Searle back through special effects to give him a proper goodbye. Instrumentally, the track didn’t seem strong as a single but made perfect sense in its place on the album. The band accepts that no amount of mourning will ever change things, that their doomsday will persist, and they must push their lives forward despite it.
“A Wasted Hymn” is the band laying Searle’s spirit to rest, further accepting that all is not lost and understanding the impermanence of life itself. Carter’s range provides beautiful transitions between glistening cleans to emphatic screams as the string section adds a final golden touch as the record concludes.
Best Tracks: Mortal After All, Holy Hell, The Seventh Circle
Some people just seem to be naturally composed of music.
My guests today are Richie Young and Glenn Love. Richie is a familiar face for Fredericton music fans, a living embodiment of his music. Glenn has been seen playing guitar with The Crossroad Devils, and is working on his own project. Both share their love of music with me, and Richie performs a few songs live in studio.
Alan Ford discusses his famed role as Brick Top in Snatch. Reflections on his various horror film appearances including An American Werewolf in London, Venom, The Exorcist: The Beginning, Cockneys vs Zombies, and Strippers vs Werewolves. We also discuss his book, “Thin Ice” and more!
There is nothing like a distorted walk through the city of sound and shimmer that is The Electric Metropolis! I am AD Springer, your musical tour guide into the dazzling sounds of this great city. Tonight, we will start our journey from the West Mansion and work out way Far And Away to the Palace of Destruction on this chilly November night. As some are like to say, ‘we are of one dream and one destiny: to see this empty town escape our distorted past and rise the shining heights of the stars!’ So come with me, listen close, and enjoy the tour as you can, while you can.
Tour Itinerary:
First Stop:
“West Mansion [UNMIXED]” by Mayhem off the album BEST OF LAPFOX VOL.4: It’s Murder
Club Electric:
“New Survival” by Ellevator off the album Ellevator
“Far And Away” by Dana Jean Phoenix off the album PixelDust
“Slow Motion Gunfights” by Villainest off the album A Vision of Light
Chiptune District:
“Cyberhero Disco” by Fearofdark off the album Soundchip Salad
“Forwardspace (Pain Perdu’s Coherent Remix)” by Pixeltune off the album CheapBeats x CheapBeats VOL02
“Ys – Palace of Destruction” by Heosphoros
Future Funk District:
“Violets” by R E M L A R R
“Nausicaa” by eleven eastern off the Sinto Muito – EP
“November” by LemKuuja off the album CHEESECAKE+
VGM District:
“Octopath Traveler Main Theme” by FamilyJules off the album The Eightfold Road: Metal Arrangements from Octopath Traveler
“Final Fantasy X “One Dream, One Destiny” OC ReMix” by Bluelighter off the website http://ocremix.org
“Empty Town” by Toby Fox off the DELTARUNE Chapter 1 OST
Final Stop:
“Let the Snow Fall as Our Memories Begin to Fade” by Chibby off the album Warm Emotions
“Our Distorted Past” by Chibby off the album Warm Emotions
It’s time to turn our attention to the other group of people who occupy your games: NPCs. What approaches do you take to making them? How do you bring them to life? And why are some of them so evil?
Ira Heiden Interview: A Nightmare on Elm Street 3 – Dream Warriors 30th anniversary exclusive! Heiden is the WIZARD MASTER! Reflections on Elvira: Mistress of the Dark and working with Cassandra Petersen. Also Father of the Bride, Zapped Again, Illegally Yours, and more!
Don’t worry, we’re still here! Despite any prior warnings, I’ve decided to go against my better judgement and continue entertaining you people for some reason. Enjoy this finely-cobbled together episode of music and/or mayhem as I struggle to find things to talk about after a long week of trying to get out of my lease.