i(heart)music

The first time I listened to Milk, one of Hawksley Workman's two 2010 albums, I was sure there'd been some sort of mistake. After all, the Hawksley I've come to know and love over the last decade specialized in cabaret-style glam-rock, while Milk starts off with the cheesy, synth-heavy Euro-pop of "Animal Behaviour", and then continues on in that vein for pretty much the rest of the album. In fact, if it weren't for "Devastating" and "Wayside" -- which are very clearly Hawksley songs, since they feature his instantly recognizable voice so prominently -- I would've been sure that the whole thing was a hoax, an album by someone with a bit of vocal similarity to Hawksley but none of his style.

Of course, I'm half-tempted to think that anyway, since Milk is kind of, you know...terrible. I want to like it, I really do, since he's always been one of my favourite artists. But, I mean, just listen to a song like "Google Jesus". It's horrendously awful, with cheap-sounding beats and annoying vocals and stupid lyrics. Worst of all, though, is the fact that it's a pretty good representation of everything else on the album. You could pretty much pick a song at random from Milk, and chances are good that you'd pick an embarrasingly bad slice of Euro-pop.

Now, I know that one of Hawksley's defining characteristics has always been his willingness to try new sounds. It's one of the reasons why he's been such a compelling artist for so many years, and it at least makes it understandable why he might have thought transforming into...well, this, was a good idea. Unfortunately, even if the idea was a solid one, its execution was anything but, and Milk is stark proof that even the best and most talented of musicians can have a horrible, horrible misstep every once in awhile.

DVAS, Society (Upper Class)

WHO
Electro-dance duo from Toronto.

DISCOGRAPHY
Macho (Pop Echo, 2007)
Society (Upper Class, 2010)

IN A NUTSHELL
Society is good, cheesy fun.

THE STORY
First things first, my usual proviso: when it comes to electronic music, I'm pretty much clueless. I mean, I know what I like, but if pressed to explain exactly why I like it, I'm at a loss for words.

So keep that in mind when say I'm a fan of Society, the newest album from DVAS. I've no doubt in my mind that it's a great album. Songs like "Fantasy" and "Questions" are ridiculously fun, and I think it'd be impossible to listen to them and not want to instantly start dancing. Elsewhere on the album, tracks like "Consenting Adults" and "Back 2 Basix" are gloriously cheesy slow jams, with the latter, in particular, sounding like it should be sung with an arched eyebrow, a lecherous leer, and possibly some finger-guns. Also, candles and white satin sheets. But I digress.

Or maybe I don't, since that pretty much proves I have no idea how to write about DVAS without making it sound like it's just disposable cheese, when I really think it's a whole lot more than that. To put Society in perspective, understand this: I'd probably describe albums like Homework, Fancy Footwork and Cross in exactly the same way, and those are all very good -- if not downright essential.

Is Society essential? I don't necessarily know if I'd say that (though some of these people would). All I know is that DVAS have made an album that I just can't stop listening to.

Want to win Society? Thanks to Upper Class, i(heart)music has a copy to give away. To enter to win, just e-mail me your name and mailing address by next Monday, and I'll randomly pick a winner!

As unenthusiastic as I was about Women's self-titled debut -- there was a reason I got someone else to review it -- I was actually looking forward to hearing their new album, Public Strain. I'd been told by someone who claimed to know such things that, this time around, the band was shedding their lo-fi sensibilities and embracing the catchy, '60s-style garage pop that lay just beneath the surface. Given that said poppiness wasn't too hard to hear, it made me optimistic for what might be in store for Women this time around.

Unfortunately, my friend either a) was totally misinformed, or b) has drastically different standards for what constitutes a change in sound. To my ears, Public Strain sounds pretty much the same as Women did. As a song like "Eyesore" shows, it's got the same clanging guitars, the same droning vocals, the same '60s-gone-bad feeling. Basically, if you were a fan of Women's first album, then this one should also be right up your alley. If you weren't, though, then you'll probably want to just stay far, far away.

Tonight is the third and final night of this year's i(heart)music festival, and it's most definitely going out with a bang...



9 pm, Mavericks: Loon Choir
With a solid album and a sterling live show, Loon Choir should ensure that this biggest of shows starts off with a bang.

Download "Woodlands"

9:30 pm, Cafe Dekcuf: Crush Buildings
Judging by their very good new album, Crush Buildings have finally figured out exactly how they want to sound as a band. While I haven't yet seen whether this newfound identity translates over to the stage, the fact they've found themselves makes it hard to not be optimistic that their live shows -- which were always very good -- will be similarly outstanding.

Download "Blueteeth"

10 pm, Mavericks: Whale Tooth
I -- and whole lot of other people -- am still waiting for Whale Tooth to release an album that fully captures just how good they are. After all, they've got a lead singer (Elise LeGrow) with an incredible voice, and she's joined by a band that knows how to write catchy pop melodies, which should (at least in theory) mean that they've got all the ingredients to make something great. Until that happens, though, we'll just have to be content with a live show in which the band leaves you desperate for them to release something new.

Download "Hibernation Song"

10:30 pm, Cafe Dekcuf: Paramedics
Paramedics don't yet have an album, and they barely have any songs online. Despite that, they've managed to build quite a bit of buzz, both within Ottawa and beyond the city's borders. Here's an opportunity for people to find out exactly why.

11 pm, Mavericks: The Most Serene Republic
The Most Serene Republic were the band that inspired me to launch this blog five years ago, so it seems appropriate that they're going to help me celebrate its fifth anniversary. After all this time, there's really nothing more I can say about them that I haven't already said, but I can say this: they've always been an interesting band on album, and that's always gone double for them in concert. I've no doubt that their set is going to be one to remember.

Download "Fantasick Impossibliss"

11:45 pm, Cafe Dekcuf: Still Life Still
Last time I saw Still Life Still in concert, they left me in awe of how much they'd grown in the few short months since I'd first heard them. Add on another year of constant touring? I suspect they'll leave last year's performance in the dust.

Download "Aid"

12:30 am, Mavericks: The Love Machine
I think I said everything I could possibly say about The Love Machine in this week's feature: that they've always been one of the best live bands I've ever seen, and that their new album, Sweater Weather, marks the band's passage into adulthood, the moment where they've shown that they've harnessed all their talent and energy and created something stunningly incredible. Combine those two things with the fact that this is their CD release show, and you've got the ingredients for it to be one of the best sets you're ever likely to witness, with no hyperbole whatsoever.

Download "Be A Path"

Get your tickets now!

The second day of the fifth annual i(heart)music festival continues on tonight at Mavericks. Get your tickets here or at Vertigo Records!



9 pm: Oceans
Oceans haven't yet released a proper debut (or even a demo EP, for that matter), but their performance opening for The Lovely Feathers back in March was more than enough to convince me these guys (and girls) are a band to watch. If you're in Ottawa, be sure to come out early enough to see them, because they're most definitely worth seeing.

No official songs yet, so check them out on YouTube!

9:45 pm: Old Crowns
With Old Crowns, by contrast, there's no need to take me at my word that they're great -- their self-titled debut is more than proof enough. On top of that, they've shown time and time again that they're just as good on stage as they are on record...which, really, means that in concert, they're very good indeed.

Download She's A Weight"

10:30 pm: The Darcys
The Darcys sophomore album is apparently just around the corner, which -- as far as I'm concerned -- is cause for celebration. From what I've heard, it's a fantastic record, and it blows their previous full-length out of the water. That said, put them in a live setting and they go from being very good to being absolutely transcendent, with huge drums, big guitars and Thom Yorke-esque vocals. Whatever you do, don't miss them!

Download "Edmonton To Purgatory"

11:30 pm: Amos the Transparent
I've talked at length about my love for Amos the Transparent over the past few years, so I probably don't need to revisit it again here. That said, this show is still special, since it's doubling as a send-off party for the band before they head off on a tour of Australia.

Download "Up, Up and Away"

As I've mentioned once or twice, tonight is the first night of the fifth (!!!) annual i(heart)music festival. Consequently, I figured now would be a good time to go through the line-up one more time, just to highlight how great it really is -- and, not coincidentally, to highlight just how great Ottawa's music scene is at the moment. Of the fifteen bands playing the festival, more than half of them hail from the National Capital Region. There's still time to pick up tickets, so if you're in town this weekend, get yours now!




9 pm: Centretown Cripplers
This show, unfortunately, will be the Cripplers' last, as they've decided to amicably part ways and focus on their other bands. It's sad, since their last album was outstanding, but it should mean that they'll be in spectacularly sloppy form.

As far as I'm concerned, that, by itself, should be good enough reason to witness their set. What pushes it into the realm of unmissable, though, is the fact that Gramercy Riffs are also on the bill. When the two played together here in Ottawa back in February, the night apparently ended with an epic food fight involving approximately $200 worth of McDonald's cheeseburgers (post-show, thankfully). I'm not saying they'll recreate it on-stage -- in fact, as a vegan, I'm desperately hoping they don't -- but I can't imagine that the Cripplers will go out on anything other than a very messy high note.

Download "Beating Up Some Kids"

9:45 pm: Giant Hand
While Kirk Ramsay may be taking steps towards a cleaner, more ambitious sound, I still think he's at his best when he's ragged and raw. Given that (as far as I know) he'll be playing without drummer Rolf Klausener, it's probably a good bet that he'll be at his ragged-est and rawest, especially on a bill like this. Not only that, this show also marks Giant Hand's homecoming after an impressively extensive East Coast tour.

Download "Solemn Little Row"

10:30 pm: Gramercy Riffs
As I mentioned above, when Gramercy Riffs play with Centretown Cripplers, magical things happen. Throw in the fact they're playing in support of a fantastic new album, and you've got a winning combination.

Download "Little One"

11:30 pm: Parlovr
Parlovr's self-titled debut is a few years old now, but it's gotten renewed attention thanks to its re-release on Dine Alone Records. And really, it totally deserves it.

That's not why I'm excited to see them, though. No, I'm excited because seeing Parlovr in concert means seeing them play some new stuff...and from what I've heard in past concerts, that new stuff blows their (already awesome) old stuff out of the water.

Download "Pen To The Paper"

Check back tomorrow for more songs and details!

When my wife overheard me listening to Little Sister, the debut EP from Jessica Lanza, all she had to say was this: "It sounds like you're listening to Starbucks."

And, truth be told, she has a point. If the coffee chain somehow morphed into music, it would probably sound a lot like "At Home And All Alone" or "How Could You". In other words, it would feature soft female vocals, some upright bass, jazzy piano and, above all else, an overarching vibe of safety and comfort.

All that said, I don't think there's anything inherently wrong with being the aural equivalent of Starbucks. There may not be anything challenging about about Little Sister, but it's clearly not trying to a difficult listen, either. I can't say for sure, but I suspect that Lanza was just aiming to make a nice, soothing album that helped people forget their worries and relax. And if that was her goal, then she succeeded, because Little Sister is, without a doubt, a very pleasant listen.

The Love Machine, Sweater Weather (Self-released)

WHO
Emo-tinged power-poppers from Ottawa.

DISCOGRAPHY
The Love Machine (Self-released, 2005)
If You're A Bird, I'm A Bird(Self-released, 2007)
Sweater Weather(Self-released, 2010)

IN A NUTSHELL
With Sweater Weather, The Love Machine finally have an album as great as their live show.

THE STORY
My feelings towards The Love Machine have always been a little complicated. On one hand, I truly believe (and have for a few years) that they're the best live band in Ottawa. They're fun, they're engaging, they know how to write songs that make the crowd sing along -- basically, if you're not having a good time at one of their shows, there's something seriously wrong with you. On top of that, they're possibly the nicest, friendliest group of guys you're ever likely to meet. SO far, so good.

The complicating factor in it all has always been their music. Or, to be more specific, their recorded output. Where live the band is a force of nature, on record they've never been able to fully harness their energy. They've shown flashes of inspiration, to be sure and, obviously, their live performances showed that their songs all had the potential to be phenomenal, but for their first two EPs, The Love Machine were, to be bluntly honest, nothing special. Not terrible by any stretch of the imagination, of course, but unless you were fortunate enough to have seen them live, I can't imagine that either album would've made much of an impression.

The first sign that Sweater Weather would be a break from the norm came in the form of the album's first video. When I said a few weeks ago that it's a little disturbing, I was probably understating things. It's dark, it's creepy, it has a misogynistic horror movie vibe going on -- in other words, it's a lot of things that I never would've associated with the band prior to seeing the video. To top it off, the song itself finds The Love Machine exploring much darker, heavier sonic territory. This wasn't a complete shock, since I'd seen them live a few times and knew they were branching away from their usual brand of emo-tinged power-pop, but I still can't say that I saw it coming.

I'm glad it was put out there first, though, because I can't imagine how shocked I would've been by Sweater Weather had I just gone into it cold. Right from the get-go, the thundering drums and chugging guitars of album opener "Anniversaries" are a clear sign that The Love Machine are no longer the emo-pop band they used to be.

"Anniversaries" and "Be A Path" aren't anomalies, either. On song after song, the band demonstrates the willingness -- and, more importantly, the ability -- to push their personal boundaries into unexplored territories, and on song after song, that willingness pays off. Witness "Width Eyes", in which the band shows a funky side that they'd never before demonstrated, or the slow jam of "Mr. Mr.", which is a lot more soulful than anything in The Love Machine's back catalogue. Perhaps the biggest revelations come from the band taking the step of allowing each member time at the microphone -- a lot of "Width Eyes"' funk comes courtesy of bassist Jordan David's vocals, while whoever is singing lead on "No Matter" and "Lionness" is, quite simply, mind-bogglingly great.

The band hasn't abandoned their old sound entirely, of course. There are still hints of their old emo-pop on tracks like "We Are Squirrels" and "Love Is On Your Side", which makes sense, given that the former also appeared on their debut EP, while they've been performing the latter in concert for a couple of years now. That said, even as these songs show that The Love Machine haven't become a completely different band, they also serve as a reminder of how far the band has come since their early years.

Because, when it comes down to it, there's no way The Love Machine-circa-2005 could've made an album as good as Sweater Weather. This is the product of a band that has grown and matured together, and that has arrived at a point where they're not only ready to make a statement, but also able to do so. It makes for a thrilling listen, and I've no doubt that, at long last, Sweater Weather will serve as a convincing document of The Love Machine's greatness even for those people who haven't seen them in concert.

Want to win Sweater Weather? Thanks to The Love Machine, i(heart)music has a few copies to give away. To enter to win, just e-mail me your name and mailing address by next Monday, and I'll randomly pick a winner!

After listening to PS I Love You's self-titled debut EP at least a dozen times over the last couple of hours, I've reached a conclusion: I'm really not sure that I've been listening to the same album that so many people are raving about. After all, according to seemingly every review I've read, the band traffics in heavy, angsty, Pixies-esque rock, and no matter how many times I listen, I just don't hear it.

Now, if reviewers were saying PS I Love You sounded like a lo-fi version of Born Ruffians, that I would get behind. I mean, there are some heavy-ish guitars in "Facelove", but when I hear frontman Paul Saulnier's yelpy croon over fuzzy guitars on tracks like "Scattered" and "Notes and Stuff", I instantly think of Luke Lalonde & co. In fact, the comparison -- for me -- is even stronger during "Facelove", since it packs the same oomph that you get out of albums like Say It and Red, Yellow and Blue.

That said, even if I don't hear the same album that everyone else hears, I still have to echo the recommendation. PS I Love You's debut EP makes for an outstanding introduction to a very promising band, and I can't wait to hear what they do on their upcoming full-length.

Last time we checked in with Crush Buildings, they were having a bit of an identity crisis. Their debut, Surrender Sleep, was certainly good, but you could tell that the band wasn't sure who they wanted to be. One song they were rockers, the next they were rappers, the next still they were showing off their skills at putting together intricate beats. It made for an interesting -- if occasionally schizophrenic -- listening experience.

Happily, this is a problem they've worked out on their newest album, Things Luminous. Unsurprisingly, all it took was a little musical synthesis -- some sparse beats here, a bit of the band's more rocking moments there, ditching their hip-hop leanings entirely, and voila!: downtempo psychedelic rock. It's a style that suits them well, as songs like "The Let Down" and "Blueteeth" demonstrate. The band's ability to craft compelling music has never been in doubt, but it's stronger here than it ever has been. Moreover, the vocals -- once the band's weak spot -- are now a major strength, since they fit in perfectly with the dreamy psychedelia going on. All in all, it's an outstanding sophomore release, and one that shows Crush Buildings' continued evolution is taking them in some pretty interesting directions.

Which, of course, is why they'll be taking part in next weekend's fifth annual i(heart)music festival. In fact, they'll be playing arguably the biggest show I've ever put together, when they help close out the festival on Saturday, August 28th, when they play this:



They'll be playing the Cafe Dekcuf stage, alongside Still Life Still and Paramedics. Meanwhile, downstairs at Mavericks, The Love Machine will be celebrating their CD release, and they'll be joined by The Most Serene Republic, Whale Tooth and Loon Choir. It's not a bad line-up if I do say so myself, and if you're in town, I'd strongly encourage you to get your tickets today!

With a name like Freedom or Death, I thought I had a pretty good idea of what to expect from the band's self-titled debut. Something screamy for sure, likely whiny, probably with some hardcore tendencies thrown in for good measure.

Naturally, those expectations were blown right out of the water within moments of opening track "Lost In Dances". Downtempo beats, '80s synth flourishes, breathy vocals...in other words, practically the exact opposite of everything I expected it to be.

The rest of the EP more or less follows suit. There's the odd moment where things get a little harder (i.e. the slightly distorted keyboards near the end of "Soldier"), but for the most part it inhabits a space that's not too far off from TV On The Radio (or, at least, TVOTR as I remember from the last time I listened to them). Freedom or Death are a little softer and a little synthier, I guess, but, on the whole, it's clearly a sound they're comfortable with -- and, more importantly, it's a sound they're good at, since their self-titled debut feels over far too soon. Here's hoping a full-length comes out soon that shows just what they're capable of doing.

The above picture technically isn't of Long Long Long, but rather of York Redoubt...but since all three members of York Redoubt are in Long Long Long, and no pictures of Long Long Long seem to exist outside of this article, it's good enough for my purposes. It doesn't really have anything to do with the contents of the band's self-titled debut, of course, since Long Long Long bear very little sonic resemblance to York Redoubt, but I just thought I should clarify things.

That said, it is a fairly random way to begin a review, and if there's one thing that would seem to define Long Long Long, it's randomness. After all, they're a band that sees no reason not to kick off their album with big, chiming guitars and decent vocal harmonies for forty seconds, before ending that entirely and introducing sped-up voices with no musical backing, and then abruptly changing into a fuzzy garage rock band just moments later. It's a disconcerting way to start off a debut, but there's just something about the way the band goes about doing it -- at breakneck speed, with just enough hints of catchiness that you can tell they know what they're doing -- that makes it difficult to turn away.

The best comparison I can make would be to Unicorns, since the whole thing has that same tossed-off-genius feel, but as songs like "Drugstore (3 am)" and "Tell Me It Isn't Your Blood" show, it's not a perfect analogue. Long Long Long are a little less poppy, and a whole lot punkier. They do, however, show every indication that the "genius" moniker might not be that far off, since every song on their debut sounds pretty awesome. Couple that with the fact you can download it for free (along with a bonus EP the band released back in June, just one month after their debut's release) and there's really no reason to not check them out this instant.

We Fled Cairo, Adult Braces (Self-released)

WHO
Instrumental post-rock duo from Ottawa.

DISCOGRAPHY
Adult Braces (Self-released, 2010)

IN A NUTSHELL
On Adult Braces, We Fled Cairo show that they know how to make post-rock that explores sonic textures, but doesn't do so at the expense of being interesting.

THE STORY
Back in March, I did a show with We Fled Cairo, along with Ace Kinkaid and Zeroes. While both of the other bands delivered great sets, for me the most interesting act of the night was WFC. They only played for twenty minutes (at most), but within that short time frame they managed to be both horrifically terrible and mind-blowingly awesome, in that order. For the first half of their set, they seemed like two guys who had not only never met before going on stage, but who only had a passing knowledge -- at best -- of the instruments they were passing back and forth. It was an absolute train wreck as each half of the duo tried, desperately, to find play something in the same time or key as the other. Honestly, without any hyperbole, it was easily one of the worst five performances I'd ever seen.

And then, miraculously, they hit upon the right riff, the right groove, and they magically transformed into one of the most brilliant bands I'd ever seen. It was only eight minutes at the outside, but those few minutes were all they needed to win back a room that had completely given up on them. In the four years I've been putting on shows (and the fifteen years I've been going to them), I don't think I've ever seen a band do what We Fled Cairo did, which really speaks to their ability (and, of course, the fact they went into their performance completely unprepared, but finishing on a high note usually makes it easier to overlook those that sort of thing).

Adult Braces, the band's first album, doesn't quite fit in at either extreme...but it's closer by orders of magnitude to the latter half of that March performance. Again and again, the band shows that they know how to hit upon a catchy post-rock riff, and then explore it as deeply as they possibly can. Or, since I suck at describing instrumental post-rock, it means that they're capable of creating songs as catchy and as textured as "Derivative" and "Copy Constructor".

Obviously, the band was helped substantially by the fact that Adult Braces is the product of a lot of time spent in the studio -- as that March show demonstrates, we Fled Cairo have it in them to be awesome, but they need a bit of time to warm up and reach that point. Thankfully, on Adult Braces, they had all the time they needed, and the results are nothing short of spectacular.

Want to win Adult Braces? Thanks to We Fled Cairo, i(heart)music has a digital copy to give away. To enter to win, just e-mail me by next Monday, and I'll randomly pick a winner!

To download all 36 songs in one file click here

ARGENTINA: Zonaindie
Hacia Dos Veranos with Alasdair MacLean - Draft Morning
Hacia Dos Veranos is one of Zonaindie's favorite bands, a four-piece instrumental psychedelic trip. This is an amazing Byrds cover from their latest album, with The Clientele frontman Alasdair MacLean as guest vocalist. The song was recently featured on Pitchfork's Forkcast section.

AUSTRALIA: Who The Bloody Hell Are They?
DZ - Gebbie St
Brisbane's DZ have been making waves with their killer live show for a couple of years now, but so far "that song" - the one to take them to the indie masses - has eluded them. I think it's here, and it's called Gebbie St. It's pretty massive, streamlining their raw, beat-heavy guitar jams into a tight, dance-punk number like one of the highlights off the debut albums by DFA 1979 or Liars.

BRAZIL: Meio Desligado
Fusile - Combat Samba
Sort of a Brazilian reaction to Gogol Bordello, Fusile's debut EP Coconut Revolution is full of energy and great ska/punk songs such as Combat Samba. The EP (available here) has just four songs, but that's enough to make them one of the most impressive new Brazilian bands.


CANADA: I(Heart)Music
Gramercy Riffs - Oh Linda!
One listen to It's Heartbreak, the full-length debut from Gramercy Riffs, and you'll immediately notice that the band brings together a whole bunch of disparate elements: one moment they're crooning pre-rock'n'roll style, the next they sound like they've just stepped out of the '50s, the next they're sounding like an updated version of The Unicorns. Listen to it a few more times and you'll find they mix all those styles together extremely well. Then listen some more because you're unlikely to hear many better albums this year.

Read what the rest of the world is listening to after the jump!

As big a fan as I've always been of Giant Hand, I'm not going to lie: I was a little worried about how his new (soon-to-be-released) EP, Starting As People, was going to sound. After all, for the first time, Kirk Ramsay would be sharing the spotlight with someone else -- specifically, The Acorn's Rolf Klausener. And as much as I liked the last album from The Acorn, I was worried that Klausener's presence would detract from the raw, personal intimacy that had drawn me to Ramsay's music in the first place.

Happily, it turns out that my fears were completely unfounded. Starting As People is a departure from Giant Hand's previous work, but it's certainly a case of different being just that: different. Ramsay has figured out how to expand his sound and try out new things without significantly sacrificing any of that aforementioned intimacy. He does sacrifice it to some extent, to be sure; it's hard to imagine that he would've done songs like "Starting as People II" or "Books" before. The former is practically folk-rock by Ramsay's sparse standards (especially compared to the original version), while the latter features the sort of backing instrumentation and vocals that would've been virtually impossible for him to pull off as a solo artist.

That, of course, is also what makes Starting As People so compelling -- the fact that it's wholly listenable, at times even enjoyable. I mean, don't get me wrong, I loved (and still love) Coming Home, but as an extremely raw expression of Ramsay's thoughts and feelings, it wasn't exactly the easiest album to embrace. By adding the extra layers of music and vocals -- even while making no change to his lyrical voice -- he's made it so that the rawness is an optional aspect of the listening experience, rather than the defining (and possibly sole) characteristic. It shows that Ramsay is continuing to grow and become more mature as a songwriter, and it means that Starting As People more than lives up to the very high standards set by its predecessor.

And, while I'm on the subject of Giant Hand, I'll just quickly remind people that he'll be taking part in this year's i(heart)music festival:



As you can see from the poster on the right, he'll be playing the first night (Thursday, August 26th) alongside Parlovr, Gramercy Riffs and Centretown Cripplers. You can buy tickets or weekend passes right now, so do so while you can!