Festival Review: Nimblefingers 2016

Sometimes, all the best laid plans of festival promoters go, as they say, gang agley. Sorrento's Nimblefingers Bluegrass and Old-Time Music Festival in 2016 seemed to go that way. But, through adversity, some magic can come out of failed plans.

I got to this festival a bit late, since I had to work earlier in the day. I had to be up really early to set up an info table, so I was up at 6 AM and didn't get out to the festival til about 2:30 PM.

The festival grounds were pretty interesting. It was held at the Sorrento Centre, which is kind of like a campground, though almost all of the “camping” seemed to be done in bungalows. After seeing the crowd for the festival, it kind of made sense. It was an equal mix of retired baby-boomers with a bit too much money on their hands (these were most of the “campers”) and heavily-bearded hipsters in skinny jeans. More fodder for the article on roots music and hipsters I have knocking around in the back of my skull...

The weather was rainy pretty much all day. The drive out was plagued by rain, and the rain came and went all day at the festival grounds. I arrived at a dry spot in the weather, and after a quick look around to try to find the concert organizer to set up some interviews, I went to the main stage. The stages here were pretty small and also very minimalist. The main stage looked like a big front porch, complete with a big hedge in front of it. Canadian Chris Coole was fronting his band, the Lonesome Ace Stringband, doing some pretty straight-forward bluegrass.

After his set, I went to the other stage, called the Shady Grove Stage. Thanks to the rain, this stage turned out to be a rubber tarp on the ground, with a rug on top of it, a low waterproof tent over that, and a blanket providing a backdrop. I saw BC's Sarah Jane Scouten playing there with a three piece band, crouching down almost comically under the rain tent. Despite the cramped space, they seemed pretty happy to be playing and Sarah's fiddler was top notch.

As for the interviews, I never did track down the festival organizer, but the people at the merch table told me just to come by after an artist finished a set, since they'll be signing albums. I hung out half-heartedly watching the main stage and standing under my umbrella, and watching the merch table waiting for artists to show up. Sarah Jane Scouten didn't show up, neither did Chris Coole. Seemed like the rain was definitely keeping them away and they were likely somewhere dry.

Old Man Leudecke, a banjo player and songwriter, played next, purely solo. He was interesting, nice narrative songwriting. He also ran his banjo through an effect pedal and seemed to use a rudimentary drum machine for a couple of songs. He's one of the few people I got on video, since handling a phone recorder and an umbrella at the same time was pretty tricky. He was also the only artist I got an interview with; he gave me about five minutes in between signings and a video performance. I also got to chat with two bluegrass radio Djs from CJLY in Nelson. Check outtheir show here!

During the All-Stars performance at 5 PM, featuring many of the performers of the day, there were technical issues, with two amps overheating and refusing to restart. The rain began to pour at this point, so I think that was a factor too. The announcers said they were working on some solutions, and eventually moved everything into a small, domed gazebo in the middle of the campground. Everyone crammed into the dome and sat on benches, with everyone else outside the dome looking in, huddled under umbrellas and roped up tarps.

This turned into a great turn of events. The festival became really intimate and fun at this point. As they set up the audio equipment, we were treated to an impromptu set from the Canotes, a pair of identical twin brothers from the US who played old-time novelty songs on ukelele and fiddle. They did about five songs that were really funny and very entertaining. Everyone had a great time laughing and clapping along.

Once they were done, US guitarist Molly Tuttle and her band took the stage. She was also at Salmon Arm this year, but I didn't get a chance to see her there. Here's where the festival really showed why it existed. Not only did they bring in top-notch Canadian talent like Chris Coole and mandolin player John Reischman (who played backup on this band), they had some fantastic American bluegrass players. And they bring it into the small town of Sorrento, which has only a few hundred people in it. Molly played a subtle, country-tinged style of bluegrass what was relaxing to listen to, and a nice compliment to the rain pouring down.

Bruce Molsky, another American player, took the stage with Allison de Groot on guitar. Molsky is a fiddle player, and he moved back and forth between bluegrass and traditional US folk fiddle. He had a great range and several wonderful passages of just pure fiddle playing.

The last band of the time were the Railsplitters, a truly sublime five-piece band. Not only did they play a few traditional bluegrass tunes, they played a huge variety of folk styles, often melding them together in fascinating ways. They played all their instruments in incredible harmony, while playing with incredible virtuosity. Unlike some forms of progressive rock, this was both intricate and very down to earth at the same time. There wasn't a sense they were showing off, they pretty much played and smiled at each other, enjoying what they were doing and how they were entertaining. They eventually added John Reischman on second mandolin, a fiddle player and another banjo player, putting eight people on a tiny stage, playing their hearts out. Fantastic capping concert for the festival!

Another thing that sets this festival apart from others was that the musicians hosted workshops the week before and after the one day music festival, which is very nice for anyone trying to learn an instrument, to get teaching from seasoned live performers who actually play instruments for a living. This was a great festival, despite the weather and technical problems, and I'll be back next year if I can.

DNTTA Playlist for August 19, 2016

Artist - Song - Album (Label)  * indicates Canadian Content 

Listen to Do Not Touch This Amp every Friday 8-9 PM Pacific at www.thex.ca 

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River Tiber - Motives* - Indigo (Independent)
Os Mutantes - El Justiciero - Everything is Possible! (Luaka Bop)
Aleatoire - Headrush* - Aleatoire EP (Outloud)
DJ Shadow - The Sideshow - The Mountain Will Fall (Mass Appeal)
Moths and Locusts - Beach Party Shakedown* - Helios Rising (Noise Agony Mayhem)
Weird Lines - Twin Summers* - Weird Lines (Sappy Futures Ltd.)
The Archaics - Sweet Cocoon* - Soft Focus (Sweetie Pie)
Mike Doughty - American Car - Haughty Melodic (ATO)
Loveland - Blue Sun* - Aloe Hotel (Independent)
Mark Mills - Photo Finish* - Go Love Yourself (Independent)
Holy F - Tom Tom* - Congrats (Last Gang)
The Tubuloids - Do the Creep Boogie* - Getting Weird (Beer City)

Festival Review: Salmon Arm Roots and Blues 2016

August means Roots and Blues time. As I usually say, it's one of the highlights of my summer. And, as usual, I only get one day to take it in. Sunday, August 21st.

This year, I was a bit more prepared for the festival. I took the time to pick up a portable chair I could easily pack around, to save wear and tear on my feet from standing all day. I also picked up a portable phone charger so I could take more photos and videos. Turned out that was a great idea, and I got video from almost every band I saw, which I'll be embedding in this blog.

Saturday at the festival was blisteringly hot, up to 36 Celsius. Sunday was cool and cloudy, windy most of the day. The sun started poking through the clouds just as it began to dip behind the mountains, so it was a very nice and cool day with very little oppressive heat. It got very cold once the sun went down though.

I got to the fairgrounds around 12 noon. I always have the best of intentions to get out of Kamloops by 10 AM, but those plans always get dashed. Eh, I'm used to it. After checking the schedule, I decided to go to the Barn Stage to catch the Latin Quarter workshop. The workshops are usually really entertaining, bringing together musicians in an impromptu jam with a theme of sorts. This one was hosted by Joe Craven, who's a mandolin player from the States, who equally adept at folk music as he is at jazz. He led the other performers, classical/world fusion band Quartetto Gelato and Salmon Arm's own gypsy jazz band the Willy Gaw Quartet, though some Django Reinhardt inspired tunes. It looked to me that, outside of Craven and Willy Gaw, the rest of the performers hadn't had much experience improvising on stage. Quarteto Gelato only half heartedly pitched in until it was their time to play, where they did a nice Eastern-European inspired tune that everyone played along to. Craven was a joy to watch on mandolin, and when that didn't fit in, he eagerly joined in on a pair of bongos. Good start to the musical day.



I went to the Blues Stage next, hauling out my newly acquired portable chair, which was a great purchase. Here we had a set from Paul Barrere and Fred Tackett, both ex-members of the legendary roots rock band Little Feat. Both were seasoned musicians, clearly well versed in their music. While their style started clearly in the blues, Tackett often played the mandolin on stage, which added a bluegrass style to the blues, which was a real treat. Their music was subtle in instrumentality, but very southern in lyrics, with a boozy rhythm riding underneath the intricate picking that they brought to the music. This was a set that had many layers to enjoy, and was quite laid back. Very nice late morning music.



I had a bit of lunch, then headed over to the Shade stage, where I spent most of the rest of the day. Another workshop, this one called From Gravestones to Touchstones. This one was more on the blues end, with Vancouver's Paul Pigat leading things. Pigat is a country guitarist, but also played in the rockabilly band Cousin Harley and in the old time folk band Boxcar Campfire. He was joined by Manitoba's Brent Parkin, a blues/rockabilly player and singer, Martin Harley, a rootsy blues player from the UK, and some of the members of Vancouver gospel group The Sojourners. The Sojourners, I saw with Jim Byrnes at Salmon Arm a few years ago. Pigat and Parkin I also saw the last two years at Salmon Arm. I was really interested to see Martin Harley, who's last album was a wonderful take on blues that the British often take on it, a few degrees separated from American blues with a UK folk feel, The workshop went better than the first I saw, with the players more comfortable picking up off of each other. Pigat and Harley were the stand outs here.



Sticking by the Shade stage, I waited on Jerry Lawson, a soul singer who worked with the Persuasions in the past. Parkin stuck around to lead the band, with Lawson coming onto the stage leaning on a cane, and sitting for the entire set. Lawson was an amazing singer, deeply soulful and deeply moving. You got a sense from him that he meant every work he sang, and he punctuated his songs by repeating some of the lyrics afterwards, often with a “Oh Lord”. When he said to the crowd, “God Bless You”, you felt he really meant it. This was a God-fearing soul singer who grew up in the church. He tackled some originals, and also did a stirring rendition of “Blueberry Hill” and “Georgia On My Mind”, ringing from someone who had actually played the song with the legendary Ray Charles. This was a highlight of the festival for me, truly inspirational and moving music!




Next on the Shade stage, a band I've wanted to see for years, but always missed them playing at Salmon Arm: DiggingRoots. They're an First Nations band from Ontario that blends rock, blues, folk, reggae and First Nations music. Their sound is truly unique. Raven Kantakta sang like a 60s rock and roller, and played guitar with wild abandon. His wife Shoshona Kish had a more poppy and folky vocal approach, which made some great accompanying vocals. Their son played percussion and a Grandfather drum, a First Nations drum that could only be played by men. Just before their last song, the clouds began to drift away and the sun peeked out from behind the clouds for the first time. At the crescendo of their set, they invited several men from the audience to play the drum, while the rest of the band jammed, with Shoshona coming out into the audience to get the crowd circling in a huge round dance! This was the most inspiring thing I saw the whole day. Amazing concert!



By this time, it was time for the Main Stage and the Barn Stage to start hosting the late afternoon and night performers. On the Main Stage, Vancouver/Mexico Latin/roots band Locarno started things off. Locarno is fronted by Tom Landa, who used to play with the Latin roots band The Paperboys. Locarno drew influences from traditional Mexican music, with mariachi horns, and South American styles like the mambo and cumbia. They had a light hearted style to them. I listened while chowing down on my traditional Festival dinner, a donair. I think it's been a year since I ate a donair at the last festival!

Back to the Barn stage, where I caught the last few songs from blueswoman Samantha Martin and her band Delta Sugar. She had a unique style, focusing on vocals. He sang and played the guitar flanked by two other soul singers belting out vocal accompaniment. There was a mix of soul, blues, roots and old time R&B here, with Martin having a true blues belter voice similar to the late Etta James. They were super fun!

The New Orleans Suspects were up next, an all-star band of New Orleans players, featuring Mean Willie Green, the long time drummer for the Neville Brothers. New Orleans music is wonderful in it's simplicity and for its ability to play off of different styles. You'll hear Dixieland styles, gritty Delta blues and driving funk in their music. This was music for a street party and dance. They were great music to have around to go with the swiftly setting sun.




My last concert of the night was Jarekus Singleton, an up and coming American electric blues player. He started with Albert King's “Born Under a Bad Sign” before diving into his own catalogue. Every song he did was a bruising style of electric blues with funk undertones, with Singleton himself driving into a five minute solo pretty much every song. Watching him was exhausting. The music was very loud too, much like when I saw Buddy Guy, he was extremely loud for playing on an outdoor stage. This style of blues isn't really my thing, the soloing gets tiring after a while, but it's apparent that Singleton is an amazingly talented guitarist.



With the constant wind, the whole day was amazingly cool and I rarely found myself tired out from walking around or from being in the sun. Another perk was that they wind kept away the mosquitos and wasps that usually come out of hiding when the sun went down. Only negative to the day's festivities was a guy that ran up and screaming into my phone camera when I was filming Jarekus Singleton.

The 80s output of ZZ Top

Recently, after a trip to HMV, I decided to grab ZZ Top's Eliminator and Afterburner for a couple of bucks a piece. Eliminator was one of my favourite albums when I was in high school; I had in on vinyl, back before the days when cassettes took over the musical world. Having it back in my collection was a nice feeling of nostalgia.

I loved the energetic but comedic style of the band. And when I heard Eliminator, I had no idea about the history of the band. I didn't know about "Tush" or "La Grange" or "Just Got Paid". I thought this was a cool new band with a unique feel, and they had one of those logos that you could trace easily onto your school binder, like Van Halen and Metallica. Imagine my shock getting to college in the late 80s and discovering their Southern blues past!

A long running joke I have is, "I wonder what hardcore blues fans think of the 80s albums of ZZ Top?" The band essentially changed their style to gain a huge commercial following during the 80s, then, once the 90s rolled around, they retreated into obscurity and went back to their blues roots. Did they sell out? Does that even matter?

When I hear about bands selling out, I remember Mick Foley's biography. He said, my dream was to wrestle and make a living at it. He became a cult figure for his hardcore matches, but he was beating the hell out of himself for a couple of bucks a day. When he finally got up to WCW, he was doing less work for more pay and didn't have to beat himself up to do it. So, if that's selling out, then he sold out. I could think the same of ZZ Top.

Truth be told, the band was already on the road to their 80s sound by the late 70s. Their first album for Warner, 1980's Deguello, was already using the hybird blues/rock/new wave sound that Eliminator would use, but in an embryonic form. And that album went platinum and produced "Cheap Sunglasses". in 1981, they'd put out El Loco, then, in 1983, their huge breakthrough out of rock radio into the mainstream with Eliminator.

Eliminator produced the sound of what most of the fans of my generation are familiar with from ZZ Top. It had the blues swagger of their classic sound, the slick rock stylings of the 80s, and the electronic flash of commercial new wave. The band's iconic look also came from this time, with Billy Gibbons and Dusty Hill sporting chest-length beards, slowly moving and and forth in tandem with their guitar and bass. Then there was the videos.

The videos produced for their singles were beyond cool. They almost always had the band playing rock and roll "angels" that would swoop in with the keys to a souped up 1930s Ford Coupe emblazoned with their logo, allowing some down on his luck every-man to have a night of fun with some model-level women, and stick it to their overbearing bosses or friends. The band even had rudimentary dance moves. The story also continued from video to video, with "Gimme All Your Lovin'" set in the desert with a young car mechanic, to "Sharp Dressed Man" taking the car and girls to a posh night club with a nerdy valet gaining the car, to "Legs", bringing the car to a greasy spoon, allowing a shoe store clerk to get dolled up and show the guy who actually treated her with respect some respect back. The last single, "TV Dinners", was only tangentially related to the first three videos, but also entertaining. All of the videos showcased the bands' trademark humour and self-depreciation, along with their tendency for double entendres.

1985's Afterburner took the band further into the rock/new wave feel and a bit further away from their blues roots. It had three big hits, "Sleeping Bag", "Velcro Fly", and "Stages". The videos that came with this continued on the story from Eliminator. "Sleeping Bag" had the car saving a young couple from burglars, only to have the car destroyed and come back as an ultra-cool space shuttle. The shuttle showed up in the bizarre video for "Rough Boy", featuring robotic women giving the shuttle a car wash in an interstellar space station. "Velcro Fly" had the band dancing and playing in front of Egyptian hieroglyphics. Yes, they danced. They actually hired Paula Abdul to choreography some simple dance moves that they could easily do. "Stages" was a by the book live video with some space footage. By this time though, their sound had begun to lose its lustre.

1990's Recycler was a commercial bust, and finished off the 80s sound of the band for good. "Doubleback" (a lesser known Back to the Future tie-in song), "Give it Up" and "Concrete and Steel" were the main songs to get radio play from this album. The album toned down the synth rock 80s sound and saw ZZ Top moving to a more bluesy sound, which they've stayed til this day.

Did they sell out? Doesn't matter to me much. Eliminator is a solid album and still one of my favourite albums from the 80s.

Covers Courageous #9: The Cure - "World in My Eyes" (1998)

With Robert Smith's birthday just coming this week, and my radio show's semi-annual covers show coming up next week, I was inspired to write about this week's cover, The Cure covering Depeche Mode.

In music, some rivalries come about inexplicably, like sports rivalries. Oilers fans hate Flames fans and vice versa. Leafs and Habs fans. White Sox and Cubs fans. You get the idea. Music rivalries seem just as intense, but a bit shorter lived, due to the nature of musical groups. So, in the late 80s, you had Metallica and Megadeth. If you liked one, you couldn't like the other. Or, beefs in hip-hop like LL Cool J vs. Kool Moe Dee, who's musical rivalry lasted over their whole careers and several songs dissing each other. The biggest one in the new wave scene was The Cure vs. Depeche Mode.

The two bands were similar, both from the UK, both part of the new wave scene and both catering to a sort of disenfranchised, bored, suburban youth at the time. The Cure were more cerebral, more dense, more arty. Depeche Mode were more poppy, more dancy and prettier to look at. If you liked the Cure, then you hated DM. If you liked Depeche, you didn't listen to the Cure. Ideally that is.

I wonder sometimes how much these rivalries carry over to the bands themselves. As comical as a rumble (or a glare fight) between fans of the two bands, I just can't see Robert Smith grumbling under his breath about that damned pretty boy Dave Gahan. It seems too ridiculous to me.

I'll admit, when I first saw the compilation, For the Masses, which came out in 1998, I was a bit shocked to see The Cure covering Depeche Mode's "World in My Eyes". I guess I still had it in the back of my mind that these bands hated each other. I was on the Depeche Mode side of that argument, I never really clicked into what The Cure were doing, and I still have trouble accessing exactly why they're considered so brilliant. I like The Cure, but I never loved them as slavishly as many of their fans.

The Cure's take on "World in Your Eyes" is an intriguing one. "World in My Eyes" is from Depeche Mode's most successful album Violator (1990), an album that merges crisp synth-pop with angular guitar. The guitar stuff works great with The Cure's esthetic. Robert Smith adds a muddy and noisy guitar and synth-mess on top of the DM groove. The crisp pop of the original is almost entirely gone, save for a synth bridge between verses. Otherwise, the poppier parts of the song are smeared with obscure lyrics, fuzzed out guitars and foggy production. It's a great melding of what made both bands great.

DNTTA Playlist for August 12, 2016

Artist - Song - Album (Label)  * indicates Canadian Content 

Listen to Do Not Touch This Amp every Friday 8-9 PM Pacific at www.thex.ca 

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Away Ri'o! - Only Bad Can Come of This* - All Things Shining (Aaaaargh!)
Brave Radar - Castle Mixer* - Lion Head (Fixture)
Ghost Vines - Fall* - Ghost Vines (Independent)
Bummer Club - Sleep on Me* - Bleeding Fingers and Dying Uncles (Independent)
Casket Girls - Sixteen Forever - The Night Machines (Graveface)
The Stargazer Lillies - Personal Autumn - Door to the Sun (Graveface)
Bob Mould - Black Confetti - Patch the Sky (Merge)
Summering - Careful Creators* - Summering (Independent)
Astral Gunk - Lightnin' Bones* - Shake! Fest 3 (Shake!)
Lab Coast - Wish We Were Anywhere* - Remember the Moon (Wyatt)
Fossil Cliffs - Set You Free* - Enter the Realm (Independent)
Loving - She Refused to Say* - Loving (Independent)

Indie Band Round Up for August 2016

Focusing on some great new electronic artists this time around

An Ant and an Atom

An Ant and an Atom are an expansive, droning electronic project from Lethbridge, AB. They've been around for about three years. They're recorded music for art installations and produce their own visual art too. Their latest is a sprawling 25 minute pieces called "Entropy"


Villas

An electro-pop duo from Toronto, Villas just released a 5 song EP called Medicine this past spring. They sound a lot like Metric with a more electronic focus.

Icicle

Montreal's Icicle already have three albums under their name. Like their band's name, the music they create is cold and distant, evoking sparse electro-pop soundscapes.

Concert Review: Derina Harvey at Music in the Park

Traditional Celtic folk has a beautiful balance between soaring joy and heart-wrenching sorrow. The best Celtic folk hits you right in the pit of your stomach. Derina Harvey and her band definitely hit that spot for me during their concert last night (August 9th).

Derina Harvey is originally from out of the Maritimes, as are her band, but they currently make Edmonton, Alberta their home. As with all the Kamloops Music in the Park shows, they played outside in the Riverside Park Bandshell to a wide range of concert goers, from kids to seniors, in a family friendly environment. Derina's voice propelled the band, and as all good Celtic singers, she has the power of a blues belter combined with the sweet lilt of a Irish folk singer. Her voice was alternately bruising and hauntingly calming. The fiddle player (sorry, I missed his name and it doesn't seem to be on the website) is a very talented musician as well, playing with power and subtlety. With an electric guitar and bass in the band, they were able to slide between traditional folk tunes to upbeat rock styles easily.

As for the music, they played a mix of traditional Celtic tunes, from "What Should We Do with the Drunken Sailor", to Steve Earle's sublime "Galway Girl" and Michael Considine's sad "Spancil Hill". They also peppered their set with original material from their two albums, the highlight being the title track from their latest, "Rove and Go". They also brought out some more mainstream country and folk, covering Johnny Cash's "Folsom Prison Blues" and Charlie Daniels' "The Devil Went Down to Georgia".

If you get a chance, see this band!

DNTTA Playlist for August 5, 2016

Artist - Song - Album (Label)  * indicates Canadian Content 

Listen to Do Not Touch This Amp every Friday 8-9 PM Pacific at www.thex.ca 

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Lex Plexus and Nix Nihil - Path of the Lightning Caster* - Sleepcaster EP (Ulusulu)
Carole Pope - World of One* - Transcend (True North)
Programm - Underneath* - A Torrid Marriage of Logic and Emotion (Independent)
Girl Meets Bear - Ignore* - Flight Path EP (Independent)
FDLER - Hubert's Story* - FDLER (Linus)
Mich Cota - Something Impossible* - Sapphic (Port Vanderlay)
Methyl Ethel - Shadowboxing - Oh Inhuman Spectacle (4AD)
The Art of Noise - Opus for Four - In No Sense? Nonsense! (Chrysalis)
Animalia - Against Nature* - Dissonance (Independent)
Year of Glad - Lifetrap* - Oh Hi No. 2 (Oh Hi)
Amplified - Orange Crush* - Black Bear (Independent)

Video Playlist #7: Ride Your Pony

This month's playlists, bands and songs about horses and ponies!

https://www.youtube.com/watch?v=CSGZ60ZHVmU&list=PL0QOmyo1JgZdYGUcooeCgzrix7ASRT0vF

1) The Fleshtones - Ride Your Pony
2) The Ass Ponys - Astronaut
3) Band of Horses - Casual Party
4) HORSE the Band - Shapeshift
5) Horse Lords - Truthers
6) Horse Feathers - Violently Wild
7) Sparklehorse - Eyepennies
8) Iron Horse - Float On
9) Pale Horse - Finding Solace
10) Acid Horse - No Name, No Slogan
11) The Seahorses - Blinded by the Sun
12) Pony Up!* - The Truth About Cats and Dogs
13) Ponies in the Surf - White Caribou
14) The Oxygen Ponies - Fevered Cyclone
15) Laid Back - White Horse

DNTTA Playlist for July 29, 2016

Artist - Song - Album (Label)  * indicates Canadian Content 

Listen to Do Not Touch This Amp every Friday 8-9 PM Pacific at www.thex.ca 

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Beauts - Ether* - Waves/Wash EP (Independent)
Supermoon - Battle Ships* - Playland (Mint)
Jay Arner - Street Freaks* - Jay II (Mint)
The New Pornographers - Letter from an Occupant* - Team Mint 2 (Mint)
Tough Age - Open it Up* - Tough Age (Mint)
Nothing - Vertigo Flowers - Tired of Tomorrow (Relapse)
Frightened Rabbit - Woke Up Hurting - Painting of a Panic Attack
The World Provider - Always* - Always (Independent)
Traitrs - Gallows Hill* - Rites and Ritual (Pleasance)
Motherhood - No Please* - Baby Teeth (Independent)
Towanda - Hedonism* - Plaything (Independent)
Pinner - Pool* - Demo (Independent)
Dri Hiev - Coward Is* - Place to Live (Craft Singles)
Onfiilm - Terror* - Onfiilm (Independent)

DNTTA Playlist for July 22, 2016

Artist - Song - Album (Label)  * indicates Canadian Content 

Listen to Do Not Touch This Amp every Friday 8-9 PM Pacific at www.thex.ca 

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Counterfeit Jeans - Gemini* - Counterfeit Jeans (Sometimes)
Suicide - Beggin' for a Miracle - American Supreme (American)
Vainio/Vaisainen/Vega - No Home Kings - Endless (Blast First)
Rollins Band - Ghostrider - The Crow OST (Interscope)
Bitter Fictions - Morning in Yr Eyes* - Jettison (Shaking Box)
L.T. Lief - Shadow on the Brim* - Shadow on the Brim/Rough Beasts (Independent)
Greys - No Star* - Outer Heaven (Carpark)
Weaves - Eagle* - Weaves (Buzz)
Remora - Dregs of Time*- Our Great Mother EP (Independent)
Odonis Odonis - That's How it Goes* - Post Plague (Telephone Explosion)