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Fantasize!! Final Thought’s Newest Release + Interview

13 Aug

FT-9

Final Thought is a Toronto based Pop/Rock trio consists of lead singer and guitarist Dustin Dopsa, Brandon Hawthorne on bass and Tom Watson on drums. From starting the band in highschool to playing private shows for Gene Simmons, These guys have been together for quite a while and it shows in their newly released EP Fantasize.

Rich Moore recently had the chance to talk with lead singer Dustin Dopsa about the new “Mini album” as Dustin likes to call it.

Rich Moore:  Where did you grow up and when did you start playing in a band?

Dustin Dopsa:  I grew up in Barrie, just an hour north of Toronto.  I officially started the band Final Thought in grade nine as a battle of the bands submission.

RM:  I have to say: That’s a long time playing together without changing names.

DD:  Yah that was one of the things I hated about bands in highschool.  I would say to myself, why don’t you guys just stick with it.  You have gone through all the trouble of building whatever fan base you have and then you go and tarnish it by changing your name!

RM:  What was the recording process like this time around, compared to your previous albums?

DD:  Well, this time I decided to do all of the recording myself.  Previously we would go to studios and record, but that is very expensive and sometimes the tracks don’t come out exactly how you want them.  So we recorded at my place in Toronto.  At the time i was living in an old Victorian home. It was built in 1891 and had twenty foot ceilings so it was great for recording.  I enjoyed the experience although it was difficult and very time consuming.  I had to use every resources I had,”getting friends to help record parts I couldn’t have done on my own.”  I think having the experience of making an album before making one on my own definitely made for a smoother process.

RM:  What have you been listening to lately?

DD::  I really like the new ASAP Rocky Album, and i have been listening to the latest “Bahamas” album.  Funny thing Bahamas actually went to my highschool, i just found out last December.

FT-16

These guys are seriously talented!  Lead singer Dustin Dopsa vocals rival today’s top 40 artists.  Along with some banging bass and drums Final Thought’s newest EP/mini album is a must listen!  The fourth track “Don’t know is personally my favorite.

You can have a listen to Final Thought in the links below.

https://soundcloud.com/finalthoughtband

http://www.finalthoughtband.com/

https://www.youtube.com/user/finalthoughtband

https://itunes.apple.com/ca/album/what-we-need/id477681915

Follow them on Twitter and Facebook below.

https://www.facebook.com/finalthoughtband

https://twitter.com/final_thought

Sarah + 1, A Tribute To Sarah Vaughan: A Trip Through Time By Toronto’s Delilah

10 Apr

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Contrary to most Cultures, Canada is vocally proud of its multicultural roots and global identity. Despite the fact that most of us (Canadians) are generally in agreement with this statement, even the residents of Residents of Toronto frequently refer to their city as a “cultural melting pot”. While this isn’t an inherently mean spirited statement, it is uttered with far more frequency when its context is something akin to any pair of historic European arch-enemy factions, who share a community during FIFA.

Too many people seem emphasize “melting”, when the important part’s “cultural”. Visionary artists, such as Delilah, have an innate understanding that the aforementioned melting pot metaphor works both ways.

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The promising Toronto Jazz songstress lay’s down such a performance on her 4 tack EP,  “Sarah + 1, A Tribute To Sarah Vaughan” that it is easy to miss the subtext behind her personal life and personal inspirations. Delilah began her singing career when she was 10, and continued to purse her songstress ambitions after she moved to Canada when she was 19.

Regardless of how versed one may be with Steve Tyrell or Tony Bennett, there is something captivating about Delilah’s particular style of singing, which reflects likes a mirror off of the underlying, smooth, background piano and saxophone support.  For example: “September Rain” is as refreshing as a summer morning jog, where Delilah’s siren singing chimes in as sweet as a pure spoon of sugar.

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“Just Friends” follows up with a slower, sober sounding melody. The bleak lyrics of this song may appear as if they were written in a teenager’s journal, which may mislead some tough guy listeners (such as myself, obviously) to scoff under their breath during the initial play through. After a few repeat, attentive listening, however, Delilah’s crestfallen brand of bitter-sweet chiming narration  begins to make one reach whatever poison they use to keep their emotional stitching numb and tightly done up.

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The next track, “Whatever Lola Wants” is the titular cover of the Grammy award winning jazz singer Sarah Vaughan. While this 1955 classic has much iteration, Sarah Vaughn’s version was immortalized by her trade mark sassy stylization matter-of-fact-pace that soars over the supporting back up brass and drums. What makes Delilah’s modern adaptation of Vaughn’s culturally engrained style seems to be more of a theatrical statement. Instead of recreating Vaughn’s almost minimalistic approach, this track goes for a grander approach, with livelier percussions and brass backdrops over a particularly sultry and sensuous re-definition of “Whatever Lola Wants…. Lola gets… You’re no exception to the rule… I’m irresistible you fool…”

“Smile” is may or may not be Delilah’s most immediately representative song on this record, but is inarguably the track with the lengthiest amount of relevance to western art’s history. While the timelessly positive lyrics and titular subject matter were originally authored and added by John Turner and Geoffrey Parsons in 1954, the original musical composition was written in 1936, by none other than Charlie Chaplin. This intimidating history is definitely well handled and adapted by Delilah to be in context with her style, on-stage persona and the intended message. The backing harmony of piano chimes, blasé strings and enduring percussions really personify the bitter-sweet atmosphere of the song. But when Delilah’s slow, soothing voice enters the mix, it really turns into something powerful, like an antidote for avenoir, exulansis, altschmerz and all of the other obscure sorrows.

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It really pays to consider the songstresses’ aforementioned personal origin story, as makes both the context and authority in “Smile” personal and knowledgeable. Both of those truly artistic agencies that force the listeners to even temporarily re-frame or question the self a not only a reflection to Delilah’s craft, but a testament to the “cultural” melting pot that permits such depth and vigour, even from music that was composed half a century ago.

As a youth culture that is broadly defined by the trends it pursues, few artists incentive or interest to explore the truly remarkable chapters of own history, let alone attempt to interpret their significance for others. Delilah’s “Sarah + 1, A Tribute To Sarah Vaughan” is not only a perfect representation of the musician, but of how a dedicated perspective of the seminal individuals and genres can be written to raise new interest from those outside of the modern niche.

Check out more of Delilah’s music:
https://www.facebook.com/OfficialDelilahGypsy
http://www.delilahmusic.com