"Welcome to the Just For Laughs Alternative Comedy Tour," rang out through the Burton Cummings Theatre, followed by Nick Vatterott, the host of the evening making his way on stage. Nick begins making jokes about restaurants for about approximately ten minutes that I didn’t find too funny. I’ll admit I did chuckle at a few, so maybe I did enjoy them to some extent. Nick ended his routine by sharing a plethora of texts he and a wrong number exchanged recently. A majority of these texts are what started to give me some good laughs, just as Nick brought the first main act of the night, Rhys Darby, to the stage. Rhys Darby is best known for his roles in Yes Man, Flight of the Conchords, Wrecked, voice roles such as Bibbly in Trolls, and Coron in Voltron: Legendary Defender. He will also be starring in the upcoming remake Jumanji: Welcome To The Jungle alongside Dwayne "The Rock" Johnson, Jack Black, and Karen Gillan, in theatres this December. Rhys’ routine was full of physical comedy and the use of sound effects. Rhys has the talent to do sound effects with his mouth. Rhys’ miming of a robot and his sound effects of the robot were an instant classic for me. Rhys’ miming of a robot was more robotic than an actual robot could manage. What seemed like only a matter of minutes, Rhys finished his routine. Nick Vatterott returned to the stage for an additional five minutes. I wasn’t able to make much out of what he was saying, but it was something to do with a journal. Nick finished up quickly to introduce the man of the hour to the stage, T.J. Miller! T.J. Miller is best known for his roles in Yogi Bear, Deadpool, Silicon Valley, voice roles such as Tuffnut Thorston in How to Train Your Dragon 1 and 2, Fred in Big Hero 6, and Gene in The Emoji Movie to name a very select few. His most recent release is his brand new and second stand-up special, Meticulously Ridiculous, on HBO. T.J. will be starring in the upcoming films, Ready Player One, Underwater, Deadpool 2, and How to Train Your Dragon 3. T.J. Miller’s routine was something else. It was hysterical, he entertained the crowd in many ways. Telling simple jokes, using physical comedy by constantly bringing out a trombone, which he just purchased two days prior to the Winnipeg show, on stage to use as his rimshot sound effect, as well as constantly joking around with the guy working the spotlight that night. T.J. was heckled by a few people in the crowd throughout the evening, but he handled each one well and would heckle them right back. I noticed during T.J.’s routine, he would get lost from his jokes quite easily, by just going off subject or just from all the heckling. He would noticeably try to get back to the subject he was on at some point as soon as he could. T.J. ended his routine with a little miming skit, which involved drinking and physically pouring beer all over himself. After T.J. left the stage, a voice over the PA system announced Nick Vatterott, Rhys Darby, and T.J. Miller back to the stage. They requested the crowd to take some pictures to post on social media and posed in ways they did previously in the evening during their routines. This lasted for about two minutes before Rhys walked up to the mic, to jokingly announce he is going to be doing additional twenty minutes -not that I would've minded it. Rhys then specified, "I’ll definitely be coming back and hopefully during your Summer!" After the show, a group of people, myself included, met Rhys Darby and T.J. Miller. Both guys were classy to their fans. They even posed for pictures with everyone, signed some stuff for some others. T.J. and Rhys took as much time as they could handle the not-so-seasonally cold wind. In conclusion, the whole night was a blast! All the laughs I had and even getting to meet the comedians after the show was an incredible experience. I’ll be waiting over here bundled up and staying warm until Rhys Darby, and T.J. Miller make their way back to Winterpeg.

Hidden away in a basement apartment watching the night go by is where I found myself on Halloween night. A few good people who’d had their plans collapse like a House of Cards -a phrase that now harnesses two meanings- were primed for something to do and extended an invitation to come around the corner to The Toad in the Hole Pub. Clad in my best White Guy in a Sport Coat costume, I stood up from Garfield’s Halloween and walked over. There were two bands playing that night, one upstairs, one downstairs. As I walked up to the building I heard a raucous bluesy twang flowing past the cigarette smokers and out into the streets as patrons streamed in and out the bar’s front door. I walked past the inviting aroma of sound I heard from the street and to the basement. The downstairs show came at a cover charge of $5 and earned listeners a spider-shaped stamp on the wrist that, from a certain angle, looked like a cross-eyed sun. Within minutes of walking into the music, with its brass section likely in no need of amplification, I found myself wondering about the upstairs commotion that I’d walked past on my way in. With that thought, I trudged up the stairs and, as I neared the top, the snap of Ben E. King’s ‘Stand By Me’ overtook the now faint murmur of brass that fell into the background with each step. As I came through the entrance atop the steps, which opened up to the top floor, ‘Stand By Me’ had transitioned seamlessly first into Sean Kingston’s ‘Beautiful Girls’, and then, after one or two choruses, ‘The Monster Mash’. Already the decision to migrate North of the floorboards seemed to pay off. The set finished soon after I entered the room with ‘Pretty Woman’ by Roy Orbison and, after the approximate time it takes to acquire and half consume a plate of nachos, the members of JIVETOWN returned to the stage for another set. Upon the second time I saw them onstage that night they came out with a rendition of ‘Come Together’ sung with a venomous rip to the lead singer’s voice. Psychedelic flares of well-timed wah made the momentarily mistimed bass almost undetectable as they played as well as it must have sounded in the minds of Lennon and McCartney once upon a time. They followed this phenomenal rendition with a show of Canadianity, busting out the Sheepdogs ‘Keep to Your Own’ that turned into the Ghostbusters theme song before going back to the Sheepdogs again. A timely nod to one of the great lost songwriters came with ‘You Wreck Me’ by Tom Petty, followed by what I found to be the best song of the night, ‘The Weight’ by The Band. Once ‘The Weight’ was over, I was ready to go. My drink was empty, my nachos were stowed away in a capsule of styrofoam. At this point, I was ready for sleep. Each blink had become longer than the last and my bed had filled my voicemail box calling me. “You’ve all heard this one too many times,” the frontman meandered between sips of beer. “But we’re gonna make sure you hear it way too many times.” With that, a thunder of humming and boot stomping roared the start of ‘S.O.B’ by Nathaniel Ratliff and the slice of the dancefloor in front of the stage filled with people in an endless array of costumes. It seemed as if someone had opened the door to Tim Burton’s dreams and had let all the characters out for a night of dancing, hidden among the mass of costumed humans. Monsters and ambiguous creatures all gathered to dance and sing together. A clown with one giant shoe nearly danced the red out of her nose while a man with a briefcase full of fake money rained giant $10 bills onto the crowd in which at least a couple of people must have thought it strange that he’d chosen to print bills of such a modest value. The energy of the crowd peaked with each yell of “Son of a Bitch!” before falling away in wait of the next burst of the chorus. The room was electric, and the energy of the crowd was palpable. When the song finished, the floor cleared, and I grabbed my coat. My chair was pushed in when they began playing the last song of the set; ‘Rocky Mountain Way’ by Joe Walsh. They had me again. I couldn’t leave. With music this good, I simply couldn’t leave. At the conclusion of this last song, their set had finished and I could finally let myself leave. They promised more music and I can only take their word that it was ever played. What leaving early left me with was the feeling that I will see them play again, I simply have to. Anywhere JIVETOWN is playing is a place worth being, if only for the night. They bring life to the music and flood energy through the room and the crowd. The basement performance had cost $5 but the show worth paying to see was upstairs. Be sure to keep up with JIVETOWN: Facebook

Shared post with reasonablylate.com. Go give them a follow on Instagram. It was shortly after 6:30 on a warm August evening that I sat down with Susto frontman, Justin Osborne. Leading up to the interview, I sat in the empty lobby of Winnipeg’s Park Theatre, eavesdropping on a run-through of ‘Jah Werx’ being performed in soundcheck while trying to look busy, shuffling papers and writing notes. Once the song wrapped up Osborne walked through half of a set of double doors and sat down to tell me a little about his band, Susto. Undoubtedly the biggest contributor to the gain of popularity and success Susto has seen in the last year was being granted the opportunity to tour with The Lumineers across the United States and Canada early in 2017. When Susto first learned they would be openers for the mega band, they were in Niagara Falls, Canada, enjoying the scenery before their first Canadian show in Toronto. Drummer Marshall Hudson, who had stayed in Toronto to do graphic design work, was the first to receive the news as he was the only member with cell phone reception. It was on the way back to Toronto that one of the members who had gone to the Falls turned the data on their cell phone back on and found a message saying to contact management immediately. Asleep in the back of the tour van at the time, singer Justin Osborne was the last to hear the news. Upon first learning the band would be travelling with the Lumineers, Osborne was, to say the least, skeptical. “They woke me up to tell me,” he said with a grin, “and I was like ‘that’s bullshit. There’s no way.’” As they drove back toward Toronto and a stable WiFi connection, they received more details about the tour and the truth began to sink in. The shock and disbelief read clearly on his face even as he told me the story so many months later. What shocked the members of Susto particularly about the whole scenario was they had no idea they were even in contention for the opening gig. “It was a complete surprise to us. But apparently [The Lumineers] were diggin’ our new record before it came out” Osborne told me reminiscently. What had happened without any of the band member’s knowledge was the booking agent for the Lumineers had acquired Susto demo tapes as a result of working in the same office as their own booking agent. With their new album, & I’m Fine Today, being released in January of 2017 and the tour starting the following March, the timing of the tour was perfect. “We got to be on national television before that tour and everything,” Osborne told me. “Everything was a really good PR storm.” The fallout from this storm included a record deal in Canada before the tour even began, just for being a part of it. The wheels had begun to turn for the band that had made their first record -self-titled Susto, released in 2014- in a storage unit “because that’s what [they] did for fun.” For Justin Osborne, performing and songwriting have been passions of his since he was in high school and well into adulthood thus far. Many of the songs written for Susto were penned in his mid-twenties, beginning around the age of 22. For him, songwriting is a manner of expressive creativity that can be used to channel raw emotion with poetic coherence. Some songs, including pieces off their new album, ‘Havana Vieja’ and ‘Hard Drugs’, have even helped him to mend the fragmented personal relationships that inspired their creation. One song story Osborne shared with me comes to mind every time I’ve heard the tune since our conversation. From the album Susto, ‘Dream Girl’ acted as a rhythmic dreamcatcher for a recurring nightmare Osborne dealt with. “I probably had it four or five times in a month. I was waking up from one dream and then I’d think I was awake. Then I’d realize it was kind of surreal. I would be held by this giant woman who had this motherly vibe. But then she would smile at me when I looked at her and she would start eating my hands. When I wrote the song, I never had the dream again.” Osborne described how many of his other songs are expressions of him “working shit out” in his life. However, not all are based on his problems. “Songs like ‘Jah Werx’ and ‘Waves’, those are more like mantras,” he explained. “It’s like I was getting out how I really feel and getting to sing that and yell that every night… it revitalizes the idea. The idea of approaching life in search of peace and understanding.” For anyone who has heard the 24 songs Susto has released, there are many songs that touch on Osborne’s “very Christian” upbringing. This upbringing followed him into adulthood where, while in college, he was confronted by a roommate who asked him, “you don’t really believe this stuff, do you?” From there, Justin tumbled down a rabbit hole of questioning what he had been raised to believe. In a band he was in prior to Susto, Osborne says he can be heard questioning parts of what was then his religion. This period of his life lead him to meeting people and seeing places that no one who had raised him to follow Christianity had ever experienced before. Eventually, these new experiences and ideas culminated in what he referred to as being a moment of rejection. Sitting at a stop light, with no one but himself, he said aloud, “Fuck you, God.” “I would never say that now because it’s a dumb thing to say and there’s no reason to say “fuck you” to anybody who hasn’t done anything to you.” He went on to explain how, in that moment, he realized for the first time that nothing was going to happen to him. “A lot of it was fear. I was afraid of what if I was wrong? What if I burn in Hell for all eternity? Then, eventually, I just stopped being afraid. I have close friends and family who are religious and I have a lot of respect for people’s religious beliefs. A lot more than I did in that moment at the stop light.” From that moment, Osborne has been able to release the resentment he once felt towards anyone who taught him the religious life he had. He’s since come to terms with his upbringing, telling me “it’s not like they were ever trying to pull one over on me. They just really believe those things.” As of now, Osborne is on tour in Europe, alone. The budget simply isn’t there yet to allow Susto to bring along the entire band. While across the ocean, he plans to “let the songs do their thing” in these solo performances with the hope of “opening up some new ears.” Upon returning home, Osborne will return to touring with his bandmates across the United States starting in Raleigh, North Carolina on September 9th. The hope for the future is to spread the word of Susto. So long as fans are willing to come out to shows, Susto will stay out on the road. Performing thought-provoking rock and roll and sharing a message of spiritual exploration and personal discovery woven into hymns for the religiously ambiguous is what this band of friends knows how to do best. Check out more from Susto: Website | Facebook | Twitter | Instagram

Shared post with reasonablylate.com. Go give them a follow on Instagram -- Originally published in Stylus Magazine, Volume 28, Issue 3. On a sunny May morning, warm enough to enjoy but still too cold to be called summer, I received a long-awaited Skype call from Jamison Isaak, the creative mind of the alternative electronic project Teen Daze. While it was barely 8:00 AM in my living room, it was already nearing 11:00 PM for Jamison who was, at the time, enjoying a post-tour vacation with his wife in one of their favourite spots on the coast of Australia. Prior to our conversation, Jamison had wrapped up a tour that spanned seven shows across Asia, ending in Singapore. Exciting as this tour was, it was not Jamison’s first time taking his music across the world as he had been to Asia on tour twice before visiting Japan, Thailand, China, and South Korea. The touring life is nothing new to Jamison despite the humble roots of Teen Daze. It was in 2010, the final year of his undergrad, that he began pursuing this project by making homemade recordings and sharing it for free online. I had no expectations at all,” Jamison told me with a laugh. “I never would have expected that seven years later I would be referencing that time in my life.” The name Teen Daze is inspired by a final day of teenage antics enjoyed on the eve of his friend’s 20th birthday. The name was originally for a song that failed to make the cut for the first EP Jamison released. The project was, in essence, to be a sort of nostalgic time capsule. “I wanted to make a document that when I listened to would remind me of that last year of school, that group of friends, and that specific time of life.” Teen Daze began picking up traction fairly quickly. As Jamison recalls, it was around three months after he had self-released his EP that he began drawing attention from labels and venues from across the United States. What helped this along was his ability to share a few tracks with some friends of his who had been involved in more earnest projects. It was after he attracted this attention that Jamison was given the “opportunity to pursue these projects in a more serious way.” When looking for musical inspirations, Jamison cites the talents of creators such as Daft Punk, Brian Eno, Jonny Nash, and Suzzane Kraft. When creating a new song, Jamison is a fan of open experimentation with keyboards, synthesizers, and guitar pedals. He explained to me that during the creative process he enjoys playing around until he finds a sound he enjoys. Once he has found something he can expand on it’s about “going down that rabbit hole.” From there, he likes to fill in “the gaps with vocals. Let the vibe and the feel of the instrumental lend itself to lyrics that feel they fit that kind of vibe.” In February of this year, Jamison released his fifth LP Themes for Dying Earth through his own record label, FLORA. What charged the melancholy title of the album were the personal anxieties that Jamison had regarding the condition of the world. Among these anxieties for the British Columbia-born musician was the reality of climate change. “Climate change is something that’s really relevant in our day-to-day lives. It’s an issue that I’m particularly concerned about.” When making this record, Jamison wanted to channel many of these fears and anxieties and use that energy to create something positive. After explaining his motivation he assuredly added “it’s by no means a dark record.” Looking back at Themes for Dying Earth, there is a particular track called ‘Lost’ that stands out in Jamison’s mind as being among his favourite collaborations. When making the LP, he wanted there to be a “stronger female presence than other albums” he had released. After a friend introduced him to Nadia Hulett, the two began emailing back and forth, sharing bits of recordings and unreleased tracks while also discussing some of the profundities of life. Jamison was clear he wanted Nadia to write her own lyrics and use the emotion she felt from the instrumentals he sent her to fuel her vocals. Nadia’s vocals were received and added to the final mix of ‘Lost’ at the very last moment, thus finishing the track. “She totally knocked it out of the park,” Jamison said of his working partner. For the future of Teen Daze, Jamison envisions much more experimenting with new and different sounds. There is no set date for when his next album will be released but he assures listeners it will be unique and experimental. Check out more from Teen Daze: Facebook | Twitter | Bandcamp

Photos by Samuel Stevens Photography. “Please welcome to the stage... Something I thought I’d never say, Winnipeg’s own Crash Test Dummies!” yelled host Ace Burpee. For the first time in seven years, Crash Test Dummies reunited with their original lineup, alongside the Winnipeg Symphony Orchestra for one night only at The Forks Stage to close out the Manitoba Night lineup of the 50th Jeux du Canada Games 2017 Festival. I can’t describe the feeling that night at The Forks of the thousands in attendance when the band hit the stage. They opened up the set with, "God Shuffled His Feet," the first track on their sophomore album that shares the same name. There was something eerie about a crowd erupting in such loud cheer and applause for a band that has been on hiatus for several years. Hearing Brad Roberts' deep voice overtop a majority of the WSO was something beyond special to have experienced. The two blended in a way I can’t find the words to describe. It was one of those things that are best experienced by being there in the moment. Midway through the set, Crash Test Dummies performed their hit, "The Ballad of Peter Pumpkinhead." Best known from the Dumb and Dumber soundtrack released in 1994, which primarily features Ellen Reid on lead vocals. This song stood out of the whole set as when I grew up always hearing this song as soon as the VHS of Dumb and Dumber, I would hit the credits, and I would leave it on to hear the song. After hearing this song countless times while growing up, it was super special to hear live and in person. I can't recall when during the set, but Brad Roberts said, "It’s a great deal to have a reunion in front of a hometown crowd with the Winnipeg Symphony Orchestra behind them." Throughout the night the band, which consisted of Brad Roberts, Dan Roberts, Ellen Reid, Benjamin Darvill, Mitch Dorge, and Stuart Cameron, the Crash Test Dummies performed hits such as, "Superman’s Song," "Swimming In The Ocean," "Androgynous," "Keep a Lid on Things," "Mmm Mmm Mmm Mmm," and finally "Afternoons & Coffeespoons" as the sole song performed during their encore. What seemed like immediately after the Crash Test Dummies finished their set, the night was then capped off with a big fireworks display by the festival directly behind the stage, to the right of the Canadian Museum of Human Rights. It was a beautiful send-off to end such a beautiful band reunion.

On the first day of this calendar year that felt remotely like springtime, I met with the folk singing duo, Haitia. Comprised of the beautiful and talented voices of Dana Waldie and Avery Penner, Haitia blends the harmonious charm of traditional folk music with a timeless depth of lyrics. With both singers coming from homes of music teachers, Dana and Avery each found ways to express their musical prowess from young ages. Learning instruments from the harp to the piano, these two performers have had an ear and passion for music for as long as either can recall. Before forming Haitia, the namesake of which pays homage to Dana’s Haitian background, both have experience performing on stage and in front of crowds, albeit in entirely different styles. At 17 years old, Dana found herself on stage singing for the first time in front of a crowd in a church. From there, she went on to form the original rendition of Haitia, a project that later fell through and created a vacancy that led to what the band currently is. Avery, on the other hand, has spent a majority of her performing time on the stage of musical theatre. Coming together from entirely different realms of musical experience, Haitia combines the strengths of each singer to create a soothing aura of tranquillity. As the band currently stands, all their songs have been written by Dana as the project was originally her own. In the future, the tandem plans to work cohesively to write songs and together develop a clear identity for their group. Avery has written songs in the past, however the two choose to perform the songs written by Dana. As the two perform together more, the band becomes less of Dana’s own music project and becomes a band shared by friends. When explaining the songwriting process, Dana and Avery vehemently agreed the calm nature of folk music can at times make song writing an intimidating task. Without the volume instruments lend in many other genres the two agreed the lyrics of their songs are more exposed than in other genres. “It’s a little more vulnerable,” Dana explained to me, “when it’s your songs and you and your guitar.” When asked which artists they each look up to most, the singers described themselves to be inspired by both local artists as well as some unforgettable duos on the large scale. Among local inspirations, Dana and Avery counted Begonia and Royal Canoe, referring to the latter as simply “amazing.” Among comparatively mainstream acts, the two confess the Staves, First Aid Kit, and Simon and Garfunkel to be among their greatest inspirations. “Their harmonies were so simple but still so beautiful” Dana told me, referring to Simon and Garfunkel. “They’re a group my dad played all the time as a kid.” Coming off a busy month of performing live, which followed an equally hectic few months of performing, Avery and Dana plan to take their first moment to breathe since they became band mates. “When Avery came in,” Dana said with a small laugh, “it was already go-go-go.” The two agree they have yet to fully have an opportunity to sit down together and work on a song as a duo. To this point, Haitia has been booked to play so many shows the two have yet to find the time to relax together and enjoy any other aspects of their friendship. Dana told me how the group hasn’t “had the chance to go slow” like most bands do at the start of a project. Since forming a group together, Dana and Avery have been in constant work mode a mentality each of them looks forward to taking a break from this spring. The near future is set to be slower than the last five months have been for Haitia. Their immediate goals, after their brief break from performing live, include establishing a fanbase in order to have a market to cater an EP to. There is currently no set date for the release however the two are optimistic that once they see a strong enough base of fans for their songs they’ll be more encouraged to take on such a project. While talks of recording and releasing remain in the infancy stage, Dana and Avery plan to spend the spring sitting down to write songs and hone their performances to be as sharp as possible by the time summer rolls around. The powerful duo plan to begin applying for festivals such as Winnipeg Folk Festival and Real Love as soon as the time arrives to do so. This spring will be spent preparing Haitia for their next series of concerts. Check music festival listings this summer for Haitia and allow their music to soulfully move you the way oftentimes only folk music can.

Shared post with reasonablylate.com. Go give them a follow on Instagram -- Originally published in The Uniter, Volume 71, Issue 24. Release Date: April 29, 2016 Genre: Rock Label: Cadence Music Rating: 7.0/10 In their debut album Losing Sleep, released under Cadence Music, brotherly rock trio Ferraro came onto the scene with a unique and authentic sound that reminds listeners of what makes music from the era of five-cent bottles of Coca-Cola worth loving. With the tone of this album revolving heavily around the snap and innocent charm of rock n’ roll from the early 1960s, Ferraro unearths the undeniable resonance of the first rock bands to challenge, what was then, a tame normalcy. Losing Sleep is a sustained display of the impact early rock had in the construction of the band’s sound and identity. By pouring their artistic ability into the timeless mould of 60’s pop-rock, Ferraro effortlessly embodies the value of a well-placed harmony, guitar solo, and instrumental breakdown. Treading in the waters of emulating the exceptionalism of the hip-shaking rock of yesteryear, Ferraro’s own stylistic ability still finds a way to shine through this audible montage of their inspirations. In what can best be described as a tactful hybrid of Buddy Holly and The Hollies, Ferraro brings to light the genius of pure, original rock n’ roll. The best tracks on this album for my ears were “On the Ropes”, “Old Hollywood”, and “On the Road.” What this album reminds listeners is that the snappy licks of 60’s rock are timeless. With an average track time coming in a hair over three minutes, Ferraro arms their songs with the brevity many artists from the era of their inspiration adhered to. No song overstays its welcome; every song leaves the audience wanting more. Losing Sleep should be in the collection of anyone who claims to have an affinity for real rock. Its original rock n’ roll inspirations combined with its modern (but not overwhelming) guitar licks and solos make it the sort of rock album appreciated by avid enthusiasts of all generations. This appreciation for the roots of rock n’ roll provides the audience with a trip down memory lane to a time they themselves have never seen. Ferraro offers a dose of nostalgic rock flavour that makes a listener wish they had the gall to run a shameless handful of pomade through their hair and dawn a leather jacket if only for the 30 minutes this album keeps them company. Keep up with Ferraro: Website | Facebook | Twitter | Youtube

Shared post with reasonablylate.com. Go give them a follow on Instagram -- Originally published in Stylus Magazine, Volume 28, Issue 1. “Caw-Caw-Gee?” imitated frontman Jacob Brodovsky as he gave me an idea of how some people pronounce the name of his band, Kakagi. The correct way, he assures me, is “Ke-Ka-Gi.” The group is made up of four lifelong friends, two of which, drummer Max Brodovsky and the aforementioned singer/guitarist, Jacob, are siblings. Jesse Popeski and Jonathan Corobow make up the other half of this four-piece folk-rock group from Winnipeg. For the sake of answering the one question most fans of the band have asked, or been asked, Pronounced Ke-Ka-Gi is the name of the group’s first EP, released in November 2016. The band admits to having gotten the idea from Lynyrd Skynyrd who, in 1973, released an album called Pronounced Lĕh-‘nérd ‘Skin-‘nérd in order to get ahead of any prospective mispronunciations. This commonality is the last point at which Kakagi draws similarity, or inspiration, from the Florida rock mob of yesteryear. The seeds of Kakagi are sewn deep within the rich culture of Canadian music. With inspiration coming from Toronto’s The Band and Winnipeg’s own Neil Young, Del Barber and The Weakerthans. When asked for less formal inspirations, each member of the group turned to their father. Jacob even went so far as to say “[Mine and Max’s] dad was a real music nut.” Being exposed to scores of varying music at a young age will unquestionably allow an individual the opportunity to aim their life’s trajectory in that very direction. However, none of the members of Kakagi I spoke to can attribute their desire to create music to any one person they knew growing up. They can all agree they began playing instruments at fairly young ages but there wasn’t a lot of music at home, save for what came through the stereo. Still, Jacob says he’s wanted to play in a band since he was two years old, “in diapers with a little toy guitar.” Despite their roots being deeply furrowed in Winnipeg, the namesake of the band comes from elsewhere. “We used to go to summer camp,” Jacob told me prior to a show at the Handsome Daughter. “We’d do canoe trips through the back lakes of North-Western Ontario. Kakagi was one of the lakes and I have a big map of that area on my wall.” When Jacob received the call offering his band their first show the group still didn’t have a name. “I was just staring at the map when I got the call so I went with Kakagi.” The choice to assemble Kakagi was born almost as quickly as the very name of the band. After spending time playing with a group in Toronto, Jacob came home to Winnipeg with a plan already in mind. “Basically the idea was to come home and make a band as soon as possible.” Having his brother Max come home from Guelph around the same time and already having been in a band called Radiation with his brother and Popeski, the pieces of the new project fell together. “It all came together pretty quick,” Jacob explained. “We started playing together last fall [2015] and our first show was in January [2016].” When asked who does the songwriting for the group all eyes turned to Jacob. When decoding his process Brodovsky told me he likes to sit down for a couple of hours at a time and just “put words on paper.” “Sometimes it’s not very good,” he went on to say, “but I find that’s the most effective exercise. I find, also, listening to music that I like helps.” With 10-12 originals written and two or three waiting to be released, the band is hopeful they’ll be able to release an EP by next fall [2017]. In the meantime, Kakagi is happy with where they’re at and where they’re headed. They agree that they’ve become better with every show and find themselves becoming more comfortable on stage as they become attuned to playing with one another. What Kakagi brings to the Winnipeg scene is an informal folk-rock flavour that’s explicitly Canadian in audible fluidity and melodic harmony. Kakagi symphonically weaves personal poetic lyricism into a wreath of familiar vibes that can be understood from multiple perspectives. This writer has no personal connections to Spadina Avenue -the star location of the song “Spadina Streetcar”, but I have my own Spadina with my own memories. Anyone can say the same about someplace that once meant nothing to them but, with the right amount of good times and good people, wound up being the place they come back to when the merciless ropes of nostalgia synch tight around one’s heart. We all have our Spadina Avenue. This song, which is my own particular favourite of Kakagi, brings on the familiarity of home and the people in it. This is an exemplary showing of the depth and profundity of Canadian music. This is Kakagi. Keep up with Kakagi: Website | Facebook | Bandcamp

Shared post with reasonablylate.com. Go give them a follow on Instagram -- Originally published in Stylus Magazine, Volume 27, Issue 6 Winnipeg’s newest electro indie-rock band, Lev Snowe, is set to hit centre stage this coming December. Lev Snowe is a mellow-toned rock group made up of best friends, Daniel, George, Lev, and Tim who share the credit where it is due. Never in your life will you meet a group of such well-mannered, polite young gentlemen. Their kindness is not to be taken for weakness as they crank up the volume and leave you wanting more. On their debut EP, Drifting Off, there’s a subtlety of rhythm that is felt in the music before it can be fully understood with the lyrics. Frontman Lev Snowe writes all the instrumental verses as well as lyrics but he’ll be the first to admit how important his bandmates are to bringing the sounds of his creation to life. “Technically,” Lev explained, “I recorded all the parts on the EP. It’s with these guys that my songs are really given energy.” This humble tone is shared by the band entirely. All any of them had to say about one another is how vitally important the next member is to the band. Whether it’s complimenting Daniel’s ear for structure, George’s genius in planning the band’s shows, the new skills they’ve achieved musically thanks to Tim’s synthesizer skills or the depth and complexity of Lev’s lyrics. This band revolves around friendship, comradery, and “rockin’ the heck out.” The comradery of musicianship doesn’t stop there for Lev Snowe. They played a show the night I spoke to them before which another local band, Champagne Years, was on stage. The crowd seemed timid to allow themselves to be fully absorbed by the music except for four young men standing front row, centre stage. It was, of course, the members of Lev Snowe, dancing and bobbing their heads to every beat. When I asked if they had any connection to Champagne Years they said they didn’t but wanted to show their support to another local band. “It’s tough to play in front of people,” Lev explained to me. “We always want to be there to support anyone.” Singer/guitarist Lev told me the beginning of what he refers to as his “music project” came on a day he spent in Gimli, Manitoba. He wrote an instrumental guitar piece and decided he was, for the first time, going to add lyrics to what was already written. “I went off to a field and wrote lyrics to the song. That was the first moment I felt this could be something more than it [was].” A few months later Lev recorded a few of his creations and made his EP. It was bassist George who finally decided they should assemble a band to play these songs live. Thus Lev Snowe was created. The aforementioned EP Drifting Off was released in January of 2016 and in the time since the band has seen a stark upswing in their ability as musicians. On top of that, this has been an opportunity for these self-described “shy boys” to shine in a way they may have not been able to otherwise. “Every show we improve. I never expected us to develop as fast as did” explained bass guitarist, George before saying with a laugh “the onstage banter is better than it’s ever been!” Mid-performance jokes about flame bedazzled PT Cruisers aside, the band unanimously agrees they’re better now than they’ve ever been. “My favourite part about being in a band is seeing how much we’ve grown” master of the synthesizer Tim stated with the full agreement of his band mates. What the future holds for Lev Snowe is more of the same; continue creating with improvement and perfection held as the ultimate goal. More than that, Lev Snowe strives to create the opportunity for their fans to have as much fun watching the show as they have performing. “The crowd isn’t always feeling the excitement so we like to welcome the crowd to the groovy environment,” Lev said with a smile. “They don’t have to dance but I’m just going to dance and make it open enough so they might feel comfortable.” Their silliness off-stage is matched by the mystery of their songs. “I believe the music itself should be serious but I’m not a serious person myself,” Lev stated. All in all Lev Snowe is an up-and-coming band with a familiar comfort to their tone. They produce music that makes you feel good that can turn up past 11 when the lights come on. To find out more about Lev Snowe, upcoming dates, or their EP Drifting Off, find them at any of the following: Facebook | Twitter | Soundcloud

Release Date: June 2, 2017 Genre: Pop Label: Astralwerks Halsey’s sophomore album, Hopeless Fountain Kingdom , released on June 2, 2017, is a bold departure from the dreamlike haze of her debut Badlands (2015). This album is a grand, cinematic exploration of love, heartbreak, and self-discovery, drawing heavy inspiration from Baz Luhrmann’s adaptation of Romeo + Juliet . With its narrative-driven concept, Hopeless Fountain Kingdom  feels more like a modern-day tragic romance than a collection of songs, offering listeners a meticulously crafted world where every track contributes to the overarching storyline. Halsey's new album’s concept centers on the doomed relationship between two characters, Luna Aureum and Solis Angelus, who are from rival houses in a dystopian world. This Shakespearean framework allows Halsey to delve deep into themes of love, betrayal, and the quest for identity. It’s an ambitious project, blending personal experiences with literary allusions, making the album feel both intimate and epic. Musically, Hopeless Fountain Kingdom  is a genre-blurring effort that showcases Halsey’s versatility as an artist. The album traverses a landscape of pop, R&B, and electronic influences, with production that feels both lush and gritty. Songs like “Now or Never” and “Bad at Love” are radio-friendly anthems, while tracks like “100 Letters” and “Walls Could Talk” are more experimental, with intricate production and introspective lyrics. The album’s sonic diversity keeps it engaging from start to finish, reflecting the tumultuous emotions at its core. “100 Letters” opens the album with a haunting melody and introspective lyrics, setting the tone for the narrative journey ahead. “Now or Never,” one of the album’s lead singles, is a sultry, slow-burning anthem that encapsulates the desperation of wanting love on one’s own terms. “Sorry” strips things back to just Halsey and a piano, allowing her raw vocals to shine as she delivers a heart-wrenching apology to a past lover. “Bad at Love” is perhaps the album’s most relatable track, where Halsey candidly recounts a series of failed relationships, painting a picture of a person who is self-aware yet still struggling to find a way out of the cycle. “Alone” is another highlight, blending vintage and contemporary sounds with its jazzy horns and modern beats, while “Strangers,” featuring Lauren Jauregui, is a groundbreaking same-sex love song that defies the norms of mainstream pop music. Halsey’s lyrics throughout Hopeless Fountain Kingdom  are sharp, poetic, and emotionally charged. Each song serves as a chapter in the larger story, with recurring motifs and symbols that tie the narrative together. The lyrics are often confessional, drawing from Halsey’s own experiences, yet they are crafted in a way that makes them universally relatable. The album’s storytelling is cohesive and compelling, with a clear beginning, middle, and end that invites listeners to get lost in the world Halsey has created. Hopeless Fountain Kingdom  is a testament to Halsey’s growth as an artist and storyteller. It’s an album that dares to take risks, both conceptually and musically, and in doing so, it cements Halsey’s place as one of the most innovative pop artists of her generation. The album’s cinematic scope and emotional depth make it more than just a collection of songs; it’s an immersive experience that resonates long after the final track fades out. For fans of conceptual albums and narrative-driven music, Hopeless Fountain Kingdom  is a masterpiece that demands to be explored in its entirety.

Released: August 8, 2016 Genre: K-Pop Label: YG Entertainment Released on August 8, 2016, Square One  marked the highly anticipated debut of BLACKPINK, the first girl group from YG Entertainment in seven years. Featuring the tracks "BOOMBAYAH" and "Whistle," the single album set the foundation for BLACKPINK's signature blend of hip-hop-infused K-pop and instantly established them as global superstars. Produced by Teddy Park and Future Bounce, "Whistle" takes a more subdued approach, relying on a hypnotic beat, soft finger snaps, and an infectious whistling hook that gives the song its name. The track blends R&B elements with an airy, almost haunting atmosphere, allowing Jennie and Lisa’s rap verses to shine alongside Rosé and Jisoo’s sultry vocals. The chorus is simple yet incredibly effective, making it an earworm that lingers long after the song ends. Lyrically, "Whistle" plays with themes of desire and attraction, emphasizing a confident and almost teasing approach to love. The minimalist production makes it stand out, proving that BLACKPINK didn’t need an over-the-top instrumental to captivate listeners. In contrast, "BOOMBAYAH" is a full-throttle club banger designed to be played at maximum volume. With a pulsating EDM beat, powerful drum patterns, and electrifying synths, the track is a statement piece that showcases BLACKPINK's ability to dominate the stage. Lisa's opening rap, packed with attitude, immediately grabs attention, while Jennie’s fiery delivery reinforces the group's bold presence. The chorus is explosive, with the now-iconic "Oppa!" chant and the repeated "BOOMBAYAH" refrain making it an instant party anthem. The track’s structure allows each member to display their strengths, from Jisoo's and Rosé's soaring vocal moments to the dynamic rap sections that give BLACKPINK an undeniable edge. The contrasting styles of the two songs showcase BLACKPINK’s versatility, blending hip-hop, EDM, and R&B into a distinct identity that would define their future releases. It's more than just a debut, Square One  is a statement of intent—BLACKPINK isn't here to follow trends; they were here to set them. With Square One , BLACKPINK have arrived with an explosive force, cementing themselves as a powerhouse in the K-pop industry from day one. "Whistle" and "BOOMBAYAH" are genre-defining tracks, setting the stage for their global dominance. If this is just the beginning, it’s not going to be long before BLACKPINK became one of the biggest k-pop girl groups.

Release Date: August 28, 2015 Genre: Pop, Alt. Pop, Dark Pop Label: Astralwerks Labelled as one of the most highly anticipated debut albums of the year, Halsey's BADLANDS is a promising introduction to the music industry for this talented young artist. With her distinctive voice and innovative approach to pop music, Halsey has already captured the attention of critics and fans alike with her debut EP, Room 93 (2014). Now, with her debut album, BADLANDS, she is poised to make an even bigger impact on the music scene. The album is a blend of genres, incorporating elements of pop, alternative, and electronic music to create a sound that is both fresh and familiar. Halsey's lyrics are introspective and thought-provoking, exploring themes of identity, love, and the complexities of human relationships. Her storytelling ability shines through in tracks like "New Americana," where she offers a unique perspective on the millennial experience. One of the album's standout tracks is "Ghost," a hauntingly beautiful song that showcases Halsey's vocal range and emotional depth. The production on the album is top-notch, with lush arrangements and intricate soundscapes that draw the listener in from the very first note. From the anthemic "Hurricane" to the ethereal "Colors," each track on "Badlands" is a testament to Halsey's artistry and vision. Overall, BADLANDS is a remarkable debut album that establishes Halsey as a force to be reckoned with in the music industry. With its captivating melodies and thought-provoking lyrics, this album is sure to resonate with listeners and solidify Halsey's place as one of the most exciting new artists of her generation.

Release Date: July 17, 2015 Genre: Pop Rock Label: Hi or Hey Records / Capitol Records Hey Violet is set to make a bold statement with their brand new EP, I Can Feel It, which was released on July 17, 2015, via Hi or Hey Records. This collection promises to showcase the band's evolution from their early punk-pop roots into a more refined, pop-rock sound. Known for their energetic performances and relatable lyrics, Hey Violet continues to capture the essence of youth with a fresh perspective. The EP opens with the title track, "I Can Feel It," an anthemic song that sets the tone for the entire record. The infectious chorus and driving rhythm perfectly encapsulate the excitement and uncertainty of young love. The band's chemistry is palpable, with lead vocalist Rena Lovelis delivering a powerful performance that is both heartfelt and commanding. Following the title track, "Sparks Fly" is a high-energy song with a catchy melody and dynamic instrumentation. The interplay between Miranda Miller's keyboards and Casey Moreta's guitar riffs adds a layer of complexity to the track, making it a standout on the EP. The lyrics explore the thrill of spontaneous moments and the magic of instant connections. "Pure" takes a more introspective turn, featuring a slower tempo and introspective lyrics. This ballad highlights the band's versatility and their ability to convey deep emotions through their music. The haunting melody, combined with Rena's emotive vocals, creates a poignant atmosphere that resonates with listeners. The fourth track, "Unholy," is a dark, edgy song that delves into the complexities of relationships. With its heavy bassline and intense lyrics, this track showcases Hey Violet's ability to tackle more mature themes while maintaining their signature sound. The raw emotion in this song is a testament to the band's growth and willingness to push boundaries. Rounding out the EP, "O.D.D." is an upbeat, rebellious anthem that captures the essence of youthful defiance. The catchy hooks and playful lyrics make it an instant favorite, and the band's energy is infectious. This track is a perfect closer, leaving listeners wanting more and eagerly anticipating what Hey Violet will do next. I Can Feel It is a cohesive and compelling EP that highlights Hey Violet's growth as artists. Each track offers something unique, from anthemic choruses to introspective ballads, showcasing the band's versatility and depth. With this release, Hey Violet proves that they are a force to be reckoned with in the pop-rock scene. Fans old and new will find something to love in this dynamic and engaging collection of songs. Hey Violet's I Can Feel It EP is a must-listen for anyone looking for authentic, energetic, and emotionally resonant music. Be sure to check out the band's new release, and get ready to experience the next chapter of Hey Violet's musical journey.

Release Date: October 27, 2014 Genre: Pop, Alt. Pop Label: Astralwerks Halsey has officially burst onto the music scene with her debut EP, Room 93, a mesmerizing collection of songs that showcase her unique voice and raw talent. With a blend of indie pop and alternative influences, Halsey delivers a set of tracks that are both haunting and infectious. The EP opens with "Is There Somewhere," a haunting ballad that immediately draws listeners in with its ethereal melodies and introspective lyrics. Halsey's voice is both haunting and powerful, conveying a sense of vulnerability that is captivating. "Ghost" follows with its pulsing beats and infectious hooks, showcasing Halsey's ability to create catchy pop melodies with a darker edge. The song's lyrics explore themes of love and loss, adding depth to the EP's emotional resonance. The EP's title track, "Room 93," is a standout with its atmospheric production and haunting vocals. Halsey's storytelling shines through as she paints a vivid picture of a fleeting romance set against the backdrop of a hotel room. Rounding out the EP is "Hurricane," a track that showcases Halsey's versatility as an artist. With its moody production and powerful vocals, the song is a testament to Halsey's ability to command attention with her music. Overall, Room 93 is a captivating debut that showcases Halsey's talent as both a singer and songwriter. With its atmospheric soundscapes and introspective lyrics, the EP is a promising start for this rising star in the music industry.

On August 7, 2012, writer and performer Terrance Zdunich brought the premiere tour of their new musical film, The Devil's Carnival, to Winnipeg's West End Cultural Centre. Acclaimed Hollywood director Darren Bousman was also scheduled to appear, but due to a scheduling conflict had to bow out from appearing in Winnipeg. Before the film screening, Zdunich welcomed a local group of misfits to the stage to perform a live freakshow full of crazy antics like sword swallowing and walking on broken glass. Zdunich returned to the stage and showed some never-before-seen footage of his other cult classic, REPO! The Genetic Opera. After the film screening, there was a period of time to ask Zdunich questions about The Devil's Carnival, REPO! The Genetic Opera, and other things. Movie Review: The Devil's Carnival, directed by Darren Lynn Bousman and written by Terrance Zdunich, is a unique and visually arresting musical horror film that takes viewers on a surreal trip into a nightmarish carnival run by the Devil himself. Known for their work on REPO! The Genetic Opera, Bousman and Zdunich reunite to create an eerie, yet oddly captivating world that merges morality tales with a rock-opera-style soundtrack. The film weaves together the stories of three sinners who find themselves in a twisted carnival after death, each facing a personal trial reflective of their earthly misdeeds. John (Sean Patrick Flanery), a grieving father, struggles with the loss of his son. Ms. Merrywood (Briana Evigan), a kleptomaniac, faces the consequences of her greed. Tamara (Jessica Lowndes), a young woman with a naive trust in men, encounters the dangers of misplaced faith. Their tales are intertwined with the Devil's (Terrance Zdunich) own machinations, who takes a perverse pleasure in watching the sinners suffer. The film's setting is reminiscent of classic horror carnivals, with garish colours, creepy clowns, and a general sense of foreboding. The art direction and set design are impeccable, creating an immersive experience that is both unsettling and fascinating. The visual style, combined with the film's musical numbers, gives it a distinctive flavour that sets it apart from conventional horror films. The soundtrack is a highlight, featuring a series of darkly whimsical songs that are both catchy and thematically rich. Each musical number is tailored to the character's story, enhancing the narrative and adding depth to their struggles. The Devil's Carnival employs a variety of musical styles, from vaudeville to rock, ensuring that each segment feels fresh and engaging. Terrance Zdunich, as Lucifer, delivers a standout performance. His charisma and eerie charm make him a compelling central figure, and his musical performances are magnetic. Paul Sorvino, Emilie Autumn, and Nivek Ogre are among the notable supporting cast, each bringing their own unique flair to their roles. At its core, The Devil's Carnival is a morality play, exploring themes of redemption, sin, and consequence. Each character's story is a modern-day fable, with lessons that are both timeless and pertinent. The film's dark humour and gothic aesthetic add layers of complexity to these tales, making them more than just simple parables. However, the film's unconventional structure and stylistic choices might not appeal to everyone. Its narrative can be disjointed at times, and the blend of musical theatre with horror elements might be jarring for viewers expecting a more traditional approach. Despite this, the film's ambition and creativity are commendable, and it succeeds in creating a memorable and distinct cinematic experience. The Devil's Carnival is a daring and imaginative film that will likely resonate with fans of musical theatre and gothic horror. Its striking visuals, memorable soundtrack, and thought-provoking themes make it a standout entry in the genre. While it may not be for everyone, those willing to embrace its quirky, macabre charm will find it a rewarding and haunting journey into the depths of sin and redemption. Rating: 8/10

May 16, 2009 The Forks Skate Park Photos by Samuel Stevens Photography.

December 2, 2007 West End Cultural Centre Photos by Samuel Stevens Photography.

Release Date: October 8, 2013 Genre: Pop Punk Label: Pure Noise Records When State Champs announced The Finer Things , their debut full-length album, expectations were high. Since forming in 2010, the Albany-based pop-punk quintet has gained a reputation for revitalizing the genre with electric energy and anthemic, hook-driven tracks. But with The Finer Things , it feels like State Champs have crafted something truly special—an album that manages to be both nostalgic and forward-thinking, blending the golden-age angst of 2000s pop-punk with a fresh, modern punch. Opening with "Elevated," the album sets the stage with a burst of energy, leading listeners through the excitement and confusion of young adulthood. Frontman Derek DiScanio’s soaring vocals cut through Ryan Scott Graham’s punchy basslines, while Tyler Szalkowski’s guitar riffs bring intensity and clarity. The song’s chorus is infectious, calling listeners to sing along as if they’ve known the song for years. It’s this feeling of familiarity—like a homecoming anthem—that makes the album instantly memorable. Tracks like "Hard to Please" and "Prepare to Be Noticed" encapsulate the essence of State Champs’ sound. These are tightly wound, fast-paced songs that harness frustration, heartache, and resilience, with lyrics that strike a universal chord without feeling generic. The choruses are perfectly crafted earworms, a credit to DiScanio’s knack for melody and the band’s keen sense of dynamics. Standouts like "Simple Existence" and "Deadly Conversation" reveal a more vulnerable side to the band, showing them grappling with insecurities and self-reflection. These tracks slow the tempo just enough to let the lyrics breathe and allow listeners to take a closer look at the sentiments beneath the energetic veneer. It’s clear that State Champs aren’t just about catchy choruses; they’re ready to tackle complex emotions in their music. Perhaps the crown jewel of the album is "Easy Enough," the closing track that serves as both a mission statement and a heartfelt goodbye. It's reflective, taking stock of the album’s journey and leaving listeners with a sense of hope, a moment to pause and remember that growth isn’t a straight line. Produced by Sam Pura and Steve Klein of New Found Glory, The Finer Things  shines sonically. The production is crisp but not overly polished, giving the album a raw energy that brings State Champs closer to their listeners. It’s the kind of sound that feels built for live shows, designed to make venues erupt with sing-alongs and crowd-surfing from start to finish. The Finer Things  feels like an instant pop-punk classic, the kind of debut that showcases raw talent while hinting at even greater potential for the future. By keeping the genre’s best qualities alive while adding their own fresh perspective, State Champs have made a record that could easily become a staple for a new generation of fans. If this album is any indication, State Champs are on a fast track to becoming one of pop punk's defining voices. Check out more from State Champs: Website: https://statechamps.band/ Twitter: https://x.com/State_Champs Instagram: https://www.instagram.com/statechampsny/ TikTok: https://www.tiktok.com/@statechampsny Facebook: https://www.facebook.com/statechampsny/ YouTube: https://www.youtube.com/@statechampsny

Release Date: October 16, 2015 Genre: Pop Punk Label: Pure Noise Records Anticipation has been building for State Champs’ upcoming sophomore album, Around The World and Back , which dropped on October 16, 2015, via Pure Noise Records. The Albany-based pop-punk outfit, fronted by the passionate and energetic Derek DiScanio, has been riding a wave of success since even before their debut album, The Finer Things , and fans are eagerly awaiting what new heights they’ll reach with this release. Around The World and Back  is an ambitious and polished follow-up that brings an array of emotions, bigger hooks, and a refined sound that showcases the band’s evolution. The album opens with “Eyes Closed,” a high-energy track that embodies the band’s classic blend of catchy melodies, punchy guitar riffs, and relatable lyrics. It’s an invitation into a collection that seems to dive deeper into the human experience. This record explores themes of self-reflection, love, heartbreak, and personal growth in a way that feels raw yet uplifting. State Champs’ lyrical approach resonates universally, and Derek’s vocal delivery elevates each track with a sense of urgency and earnestness. Tracks like “Secrets” and “All You Are Is History” are undeniably poised to become fan favourites. These songs pack infectious choruses with anthemic beats that showcase the band’s ability to write pop-punk bangers that stick. “Secrets” stands out with its sharp riffs and memorable hook, while “All You Are Is History” leans into the band’s knack for storytelling, capturing the anger and resolution of moving past a toxic relationship. For the title track, “Around The World and Back,” the band ventures into more mellow territory with a guest appearance from Ansley Newman, adding a softer, more reflective element to the album. The duet’s contemplative tone and intimate lyrics offer a refreshing contrast and demonstrate the band’s growth and maturity since their debut. This acoustic-driven track has the potential to be a fan favourite, offering listeners a heartfelt and personal moment. Instrumentally, the band doesn’t shy away from experimentation. The guitar work of Tyler Szalkowski and Tony Diaz is tighter and more dynamic than ever, blending seamlessly with Evan Ambrosio’s vigorous drumming and Ryan Scott Graham’s steady basslines. Production-wise, each song is crisp and clear, thanks to the talented hands of producer Kyle Black, whose touch ensures that every chorus soars and every breakdown hits with impact. One of the album’s biggest strengths is its consistency. Songs like “Losing Myself” and “Perfect Score” keep the energy high, and each track contributes to a cohesive narrative that reflects the emotional highs and lows of the young adult experience. There’s a sincerity in their sound that will appeal to longtime fans and newcomers alike. With Around The World and Back , State Champs have crafted an album that will cement their place in the pop-punk scene. The combination of soaring melodies, honest lyricism, and impressive musicianship makes it clear that they are more than capable of carrying the genre forward. Whether you’re a die-hard fan or new to the band, this record is bound to have something that speaks to you. Prepare for an emotional and energetic ride; State Champs are here to take us all Around The World and Back . Check out more from State Champs: Website: https://statechamps.band/ Twitter: https://x.com/State_Champs Instagram: https://www.instagram.com/statechampsny/ TikTok: https://www.tiktok.com/@statechampsny Facebook: https://www.facebook.com/statechampsny/ YouTube: https://www.youtube.com/@statechampsny