This year’s festival has taken on some new features, including but not limited to “Ragga Jungle” presented by HIGHGRADE PRODUCTIONS, a new iPhone app to compile your own schedule developed by The Mobile Cartel, and a performance workshop conducted by Tom Jackson of “On Stage Success”.

At last year’s festival we shot a few hip hop showcases feeling that the grand majority of the festival was in fact sub-genres of rock. However, following up with the festival this year, we’ve discovered that the urban culture is on the rise

Included herein are some clips of a CBC Radio 3 showcase with K-OS and Woodhands, to be aired on the CBC website in mid-april. I’d like to note how in-line K-OS’ performance was the words of wisdom shared by Tom Jackson at his “Pimp my performance” seminar.

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One of the key actions that K-OS uses frequently is what Tom Jackson coined as a “bail-out” whereby K-OS turns his back to the audience when he is not singing in an attempt to redirect the audience’s attention to the band members, i.e. the DJ, the guitarist, the drummers, etc.

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Opening for K-OS was a duet called Woodhands… it was the first time I had ever seen a 2-piece band live and they reminded me of Death from Above 1979 crossed with Chromeo. Their sound is very high energy and like K-OS these boys are performing in-line of Tom Jackson’s secret formula; fans respond to authority and nothing else. Woodhands would repeatedly address the audience with a foul mouth, but the audience loved it.

Last but not least is our featured CMF artist Maneli Jamal; a solo guitarist. Maneli is an up and coming indie artist from Toronto who has just recently landed himself a sponsorship deal with Cole guitars and is due to perform on BBC in mid April.

The public has given him the name of “Magic Fingers” for the visual elements of his performance. This in turn has encouraged him to release his compositions as guitar tabs to humbly demonstrate that there is no magic behind his work and that anyone who is dedicated can follow suit.

For information on Canadian Music Fest or to find out how you can apply to perform at next year’s showcase, please visit http://www.canadianmusicfest.com

Progressive Finger Style

Maneli Jamal is originally from Iran and has travelled the world. He has performed in the U.S.A., Canada and England to name a few. He has just recently acquired his Canadian citizenship and in turn written a song called Morning in Adanac which spells Canada backwards.

It’s a witty name which reflects the turning point of his life when he was deported from the U.S.A. and found refuge in Canada. The transition felt backwards to him and yet he found solace. His journey across the world in escape from the political drama of his homeland in Iran is what inspired The Ziur Movement… it was a new direction for him not only musically but politically.

Maneli is an instrumental artist who has coined his style of music as progressive finger style which can be compared to the likes of Andy McKee and Don Ross. Maneli’s performance is largely visual given that there are no vocals and an array of uncommon techniques such as a “shell slap”, “finger tap”, and “pull-off”. These techniques are commonly used in moderation in such genres as Heavy Metal or Classic Rock but Maneli uses this techniques regularly in every song.

With this in mind and the thousands of compliments he has received for developing such an innovative style, Maneli has shared his compositions in the form of guitar tabs which has served as a viral marketing tool whereby his YouTube fans have purchased his guitar tabs and then re-performed them as covers/interpretations within their own YouTube channel.

Personally, I feel his body of work can be recycled by urban producers in need of a good guitar loop. His sound is so full that while listening to his album, most would believe the songs have an orchestra of guitars and yet it’s just him and one guitar.

He is viewed as a prodigy having won numerous guitar competitions and receiving a sponsorship deal from “Cole Clark” guitars. Yet as magnetic as he is, he does not jump for the first offer unlike most independent artists. Instead, he exercises patience to make an informed decision after reviewing the various offers that come his way.

I await the day that this man collaborates with some of the world’s most renowned producers and performers offering his magic fingers. I am sure that his touch will turn even the most basic of guitar tones into gold.

Maneli’s album The Ziur Movement is a masterpiece. It is loaded with tempo changes, unpreditable rhythms and full of harmonies. For djs who sample instruments to make beats, this record is a gold mine. There are at least 30 cuts in each song that you could loop back to make for an epic guitar line.

The mood of the record varies from song to song. It opens with a guitar intro that sounds like it came right out of a country side film with a bike racing down a gravel road. It includes percussive slaps on the guitar shell that give it a real head banging Hip Hop vibe with  ”4 movements” that follow.

The first of which is Norym (movement 1). It picks up the tempo in incredibly fast guitar picking and a full strum that sounds like a twelve string… I highly recommend this song for sampling, especially right at 1:15

The pace drops in Vasat (movement 2) and sets a real romantic ambiance. It picture a village in Mexico or Spain when I listen to this, it sounds like a romance on a dry summer night. This one is without a doubt the most film worthy of the album but personally I would have selected Southern Magnolia as the single and album title feeling it is more commercial. Maneli on the other hand is truer to himself and selects The Ziur Movement as the definitive song to his journey from Iran to Canada.

All the songs are so well named that I don’t even need lyrics to know the story behind the music. Listen to Morning in Adanac, can you not picture a music video of a man waking up in a foreign place with a new life with certainty of where he is going but nonetheless grateful to have solace?

Maneli does an outstanding job of expressing himself without words. In fact I’d say that adding words would only narrow his message. If you’re a film maker or music producer, i guarantee you’ll find some use for Maneli’s album. If you’re an aspiring guitarist you will truly be inspired by his compositions and benefit immensely from his guitar tabs.

Buy The Ziur Movement

1. Most Glorious Day
2. Movement I – Norym
3. Movement II – Vasat
4. Movement III – Ziur
5. Movement IV – Finale
6. Javun
7. Southern Magnolia
8. Cold Arrival
9. Behazin Memorial
10. Spirit Lingers
11. Morning In Adanac
12. 2 am
13. Lucid Drawl
14. ruiZ

Find on: Amazon | iTunes | eMusic

To learn more about Maneli Jamal or to find out where he’ll be next, please visit www.manelijamal.com

Know Your Limits

Ok class, here is today’s lesson “Know your limits” as once said by the legendary Bruce Lee. Got your attention? Good

Today through the grapevine, I heard that Vancouver has been having a hard time hosting the Olympics. Apparently some of the athletes are complaining about their accommodations, the food and privacy. You have bad weather conditions making a mess of the slopes and roads with sheer ice, and you have these little punks that take fun in making a mess of stage Barracades.

Now I know that Alexisonfire has a reputation for it’s audience. I’ve seen them try to settle down fans by asking them to STEP BACK and not CRUSH each other for a “closer look” at the band. Now for some people, their defense is to say that the Artist loves it, that’s it is merely adoration and flattery. That may be true, but I urge you to think outside the box for a minute. An act of love is an act of selflessness or even self-sacrifice and there is nothing selfless about crushing your fellow audience member to get yourself closer to the LIMIT (the barracade).

It’s there for good reason guys. I am a professional concert cinematographer and even with a press pass I’ve tripped and fallen over walking around all kinds of stages and that’s when nobody is in my path. My message is to all of you in the video who pushed forward into the crowd. Remember that first and foremost you are there because of the music, not because the crowd agreed to get into a royal rumble. I can appreciate that some of your fans are coming from crowds that do agree to a royal rumble but know your place and know your limits. You will enjoy the performance to the best of your abilities… seriously.

I have filmed hundreds of shows from balconies, side-stage, press-pits, moshes, and many other angles you wouldn’t dream of and I’m telling you… it all comes down to the music, what are you focused on? Enjoying the music? Keeping your camera lens in focus? Trying not to spill your drink? Getting to the baracade? What is your purpose again? To have a good time or ruin everyone else’s time? Seriously, do you think the band is happy they didn’t get to play? Happy that they didn’t get paid?

What you think all those ticket refunds are safe from their pockets? It may not have been their only form of payment but I guarantee you that those tickets affect the people they work for, i.e. the record label and one way or another they are all going to pay for it. This might mean nobody wants to book them fearing they’ll have to deal with a cancelled show because their fans have a reputation for @#$%ing #@!T up. There are some serious penalties because of this show being cancelled. Who knows what lawsuits are in play now… the news says 19 audience members were hurt (cuts, sprains, breaks) from the baracades falling over. I’ll bet a lot of them were girls too guys… come on, be a gentleman.

Dallas Green walked right off the stage in disgust… that guy is not someone you want to keep pissing off if you want to keep seeing Alexisonfire. If that guy runs out of patience for this sort of behaviour he’s got another project doing very well. I can pretty well guarantee that band is over if any one of them quits. So if you want to enjoy Alexisonfire again and again and again, make sure that you KNOW YOUR LIMITS and make sure everyone has a good time… ok tough guy?

Good Artists Borrow, Great Artists Steal

I just got home, it’s been a long day and I just popped in their record Welcome to Nu Funktonia as I reach back to the kitchen to grab a snack and prepare to write this review. As I’m pouring myself a glass of water my knees begin to bounce to the opening beat of Phantastik!; in comes PHATT AL with his rap over a set of synths and live drums. By the time I’ve downed my drink and start heading back to my computer to write the review, I’m taking big strides in my steps and shaking my hips. I sit down and the movement shifts from my lower body to my shoulders and head!

I’m not exaggerating and by no means do I call myself a dancer. On the contrary, it’s rare that my body even feels remotely compelled to drop the cross-armed “screwface” (that undecided grin on your face when you can’t decide if you like what you see/hear or not). If I were to pitch their sound in a single word, I’d call it “brilliance”.

Why? Because they lay it on the line… let me explain, let me share what I’ve been watching these past few years before I had the pleasure of interviewing Melissa and PHATT AL of God Made Me Funky.

About two years ago while I was with the Toronto Freedom Festival, I discovered God Made Me Funky and their record Enter The Beat. Their band was huge with several musicians, their sound was all over the map, and their look was left, right and center. Each of them had their own unique flare and for a musician to collaborate with another outside his genre is “laying it on the line”. I for one would doubt the cohesiveness of a band made of members who have such different perspectives on music. I would think that would lead to countless conflicts of interest but somehow, they pulled it off… and today I’d call them masters of their craft.

The interview was booked a few hours before their performance. I arrived about an hour earlier than the interview was scheduled to introduce my new assistant to the facilities and equipment we’d be using. When we walked into the venue, the band was on stage doing sound-check. Seeing them perform a couple songs had me and my assistant excited for the show. What I need to stress here is that the band was doing sound check as “themselves” not as “the band”. Generally speaking, sound checks give away a lot of the surprise in the show, bands often use their opener for sound check, except for God Made Me Funky.

Never before have I seen a band hit the stage after sound check in a new wardrobe with props and coloured clothing. Phatt Al came onto the stage with dress clothes, sunglasses, a cape, and a conductor’s cue… how fitting for the lead front-man… the conductor! Previously during sound check he was wearing a regular hoodie and cargo pants like most other bands. What I think this really illustrates is showmanship. Granted you don’t need to change wardrobe to exert showmanship, but doesn’t it add a whole lot? Kill the speakers and I’m still entertained by the band member interactions such as their choreography… turn the speakers off and I’m still engaged.

Most people on earth are visual buyers. Take clothing, most people buy what looks good versus what feels good. I’d also like to add that most people can digest far more information visually than they can with any other sense. The average listener may not guess that this band has eight members by listening to their album. I mean that as a compliment. The fact that they have eight members and produce such a clean and crisp uncluttered sound with their music is masterful.

Personally I like them better live, not because they sound better live, simply because they have so much more to offer as entertainers. Wearing a cape or wearing a short skirt and not being afraid to flaunt a little sex appeal takes a lot of courage. During the interview I asked the band what quote they thought they should be remembered by, the answer was “Lay it on the line” and I couldn’t agree more. This band laid it on the line when they formed with such scattered musical tastes, eccentric wardrobes and sexual energy both on stage and on their albums.

During the interview I was aroused to ask them to comment on a quote as well. A week prior to the interview a friend of mine and I were talking about musical icons and he mentioned that Paul McCartney said “Good artists borrow, great artists steal”. I later discovered that these are not Paul McCartney’s original words but included it in my interview with God Made Me Funky on the premise that one of their earlier singles (in the span of their four records) is called If You’re Funky and You Know It (clap your hands). So i asked then, “What are your thoughts on the words of Paul McCartney which were ‘Good artists borrow, great artists steal’?” PHATT AL made the response “I thought I said that! It’s true. We have a large repertoire of interpretations we use to break the ice.”

God Made Me Funky has an arsenal of covers that they’ve reproduced that they can pull from any time the crowd gets stiff. It’s a terrific tool for gaining their interest and trust. I’ve always frownd on bands that play covers, but when done well I applaud it full-heartedly. If you’re thinking of using covers, “steal them” that means make them your own. Don’t try and sound like the original creator (band/singer). If you can’t “steal it” by making it you’re own then I’m afraid to fall into the “Good artist” category and will have to borrow it. Then again, perhaps in studying God Made Me Funky records you’ll make that transition as they did from Good Artists to Great Artists. I recommend you start with Welcome to Nu Funktonia.

Welcome to Nufunktonia

1. Phantastik!
2. On the Line (Lay it) (feat. Jully Black)
3. So In Effect (feat. Miku Graham)
4. Cybersects
5. Where We Play
6. Curtain Call
7. WayTo live (feat. Thrust)
8. PowerHouse (Impeccable Process)
9. Hard Attack (Mr. Blue’s)
10. Get Down
11. Stand Up
12. Dancing Through the Storm
13. FeeeLit (feat. Eternia)
14. Saga
15. My Day (feat. Moka Only)
16. NexBeat

Buy it on: Amazon | eMusic | iTunes

For more information about God Made Me Funky or to find out where they’ll be next, please visit http://www.godmademefunky.com

The Machines We Are – CD Review

Dead and Divine’s 2009 release ‘The Machines We Are‘ (Distort Records) is a truly impressive addition to the world of hardcore and their own discography. The divine team consisting of vocalist Matt Tobin, guitarist Chris Lemasters, bassist Kellan Lindsay, and drummer Kyle Anderson certainly pull no punches on this recording. From the chaotic noise at the beginning of the opening track ‘The Sugar Sickness’ all the way to the experimental dream-like sounds at the end of the album, Dead and Divine brings you on an audio journey through their various musical inspirations reflected song-to-song. If you’ve never had the pleasure of hearing this band before, make no mistake – they are not your average hardcore band. I wouldn’t try to pigeon hole this band to any specific genre, but embrace them as a conglomerate of tastes. They are undeniably heavy though.

Their groovy style of detuned choppy riffs in tracks like ‘Creature’ and ‘Mechanical Orchestra’ are similar to the likes of Turmoil, Every Time I Die, Poison the Well, A Life Once Lost, etc. Yet, the group boasts a more intimate side as well occasionally straying from harder to more melodic parts and emotional vocal lines, as heard in the songs ‘Teeth’ and ‘Lovely Bones’. Although many contemporary hard music acts have attempted the synthesis of aggressive and passive musical elements, Dead and Divine can do it and do it well. The most appealing aspect of ‘The Machines We Are’ is Tobin’s vocal dynamic. His choice of melody and rhythm suits every part featuring his voice.

Tobin’s vocal talent and strength is self-sufficient, and the fact that he can pull it off in studio and live is all the more reason you should be picking up their record and catching them live in concert. The rhythm section of Lindsay and Anderson reflects much musical proficiency and provides a solid foundation for Lemasters’ clear and crushing guitar tone. And if Dead and Divine’s musical prowess hasn’t won you over yet, legendary audio engineer Garth ‘GGGarth’ Richardson (Rage Against the Machine, Rise Against, Red Hot Chili Peppers) ensures a flawless mix on this recording, raising this band’s existent developed sound to a new level that rivals their hardcore heavyweight contenders. ‘The Machines We Are’ is one of the best releases I’ve heard this year and will not leave listeners the least bit disappointed. I highly recommend the purchase of this record.

The Machines We Are

1. The Sugar Sickness
2. Creature
3. Chemical Valley
4. Neon Jesus
5. D.R.U.G.S.
6. For Your Health
7. Teeth
8. Mechanical Orchestra
9. Lovely Bones
10. Cassandra Syndrome

Find on: Amazon | eMusic | iTunes

For more information about Dead and Divine or to find out where they’ll be next, please visit http://www.myspace.com/deadanddivine

The Roots were on fire at CEMF 09! They preformed a very tight live set which seamlessly weaved their songs together with live improvisations. The Roots are definately a Hip Hop band and not just a group. Their live show is a testament to that. Black Though is such a vibrant preformer. He was full of energy working the whole stage as the band subliminally synced with one another in such an easeful manner. The highlight of their set was the finalle where they ripped a live rendition of the classic “Jump On It” shouting out cities where they’ve recently been on the bill. Their live freestyled take of this favorite sounded so refreshing being played by a live band. Check out the video above and see for yourself how dope The Roots are live!

Rising Down CD Review

Rising Down is the Philly based Roots collective 8th studio album. The sound here is far more dark compared to their earlier albums but a natural progression on their more recent albums. Rising Down is a concept album that where the title originates from William T. Vollmann’s book on violence. The dark mood is set throughout the album with overtones of frustration on social matters spanning all the way from a local up to a global radius.

Questlove does an excellent job of playing all the versatile drums & percussion from a set of drums rather than on drum machines. His drums adapt to every song perfectly throughout the duration of the album. Black Thought’s vocals are full of energy and attitude. The rhythms are mostly synths and the bass it thick on most tracks.

Rising Down features quite a few guest appearances but none overshadow Black Thought and blend into the mix perfectly totally making this a Roots album and not a compilation featuring The Roots. The most notable guest spots are provided by: Malik B (a nice return from an original Roots member!), Mos Def, Common, Wale, Talib Kweli and Styles P of D-Block.

Black Thought paints vivid pictures in the listeners minds with his lyrics showing how powerful his emceeing is which has fortified with time rather than dissipate. The Roots have made an opus of Black protest music in rising down which embodies the spirit of socially-conscious Hip Hop. This is a great album both musically and content-wise and is highly recommended to any Roots fan.

Find on: Amazon | iTunes | eMusic