Official music video for Hey Ocean's "Too Soon" from their 2008 album "It's Easier To Be Somebody Else".
www.heyocean.com
Pop Machine/Fontana North
Directed By: Justin Tyler Close
The Studio Movement Inc.
www.thestudiomovement.com
www.justintylerclose.com
DJ Lil Jaz joined the faculty of The Royal Conservatory of Music in 2003, founding DJ Fundamentals: Scratch from Scratch - the first DJ class of its kind in Canada.
Currently, Jaz is touring with K-OS on the Yes! Karma Tour. Jaz first collaborated with K OS on the Joyful Rebellion release, providing scratches on the songs "Papercuts" and "Love Song". Jaz continued this relationship by joining K OS' live band as his DJ and keyboard player. The band saw much success in 2005 as they helped push the album to a near double platinum milestone in Canada.
From 2001 - 2005, Jaz collaborated with Nelly Furtado on stage and in the studio. Whether it was touring worldwide, providing scratches for songs, or producing music, he was an integral part of Nelly's first two multi platinum releases, Whoa! Nelly and Folklore.
Jaz has been a serious presence in Canada's DJ scene for over 12 years, helping cultivate the near non-existent turntablist scene in Canada over a 6 year competition career and alongside his crew members DJ Grouch and DJ Scratch. Together they were known as Turnstylez. Revered by DJs across the country, Jaz continues to open new doors in the scene as a teacher in the Urban Music & Technology department at The Royal Conservatory of Music Community School.
Competition Stats:
1st I.T.F. (International Turntable Federation) Western Hemisphere Championships, (N.Y.C.), Team Category, 1998
1st I.T.F. World Beatjuggling Champion 1999
1st I.T.F. Western Hemisphere Eliminations, (N.Y.C.) Beatjuggling Category, 1999
1st D.M.C. Canadian Finals, 1998
1st D.M.C. Toronto Finals, 1998
1st D.M.C. Toronto Finals, 1997
1st D.M.C. Toronto Finals, 1996
Based out of Toronto, Canada comes DJ TLO - Raised from the DJ culture during the golden era of DJ battles in the late 90's in Toronto, TLO now embarks on his recording journey. He is known for his musical and harmonic style of mixing. After achieving success in the battle circut, winning a national title and representing Canada at the DMC world Finals in London UK in 2007, he continues to enter DJ competitions while venturing into the creation of an instrumental / cut up album comprised of his; production skills, scratching and mixing.
STATS:
2008:
- Scribble Jam DJ Champion
- Toronto DMC Champion
2007:
- DMC Canadian Supremacy Head-to-Head Champion
- Montreal DMC Champion
- Canadian National DMC Runner-Up
- Toronto turntablist of the year
2006:
- DMC Toronto Runner-Up
- DMC Canadian Final Four (Supremacy)
- Flow 93.5 T.I.P. DJ/Mix Champion
Now on his experimental pay-by-donation Karma tour to promote his recently released album, Yes!, the first k-os studio album since the 2006 release of Atlantis: Hymns for Disco, the Toronto raised k-os has reached a significant fork at the road of his career as a passionate, outspoken, mature and evolving artist. Much in the same philosophical way that Marvin Gaye freed himself of certain restrictive boundaries in 1971 to chart a new course in his career to explore his soul, with the release of his fourth album, Yes!, k-os has shaken the constrictive forces of the media and the stereotypical sins of perception that have nailed many an artist to a musical cross.
After watching k-os perform a potent two-hour, 23 song set at The Commodore Ballroom on April 30, free to fans by way of pay-by-donation and his new touring belief in good Karma, it was clear that k-os is more at ease with his music and himself. In fact, at this stage of his career, k-os is a wiser, creatively free force of hip-hop, rap, rebellious acoustic reggae, rock and electronic synth, with slight shades of punk, all within a goldmine of soul. On stage, the 2009 k-os of Yes! is even more experimental in his artistic expression than in live years since his breakout 2002 debut, Exit, blending not only rap, hip-hop, and soul with old school samples and rhymes but also various cultural percussions, beats and strings that reflect a more diverse and mature evolution that pushes the boundaries of categorization, as you can hear in the Yes! tracks, "Astronaut" and “Mr. Telephone Man,” which, for those old schoolers who may be wondering about the title, isn’t a cover of New Edition. Interestingly, at the very end of the track is where you’ll find a sincere and candid k-os who briefly bears his acoustic soul.
To continue the interview CLICK HERE.
I was in New York the week of CMJ this year and was having Italian food with some friends and when I was leaving saw some people I knew walking into a club.
I asked who was playing and they said this great artist out of Canada who I should check out. I remembered the name because my friends Andy and Ryan had told me about this guy. It is Amazing how in New York you can just wander into one of the best live shows that I had seen in a long time.After the show I hung out and talked with him on the street and had a great discussion and afterwards decided then and there I would have to try to get him on this year's tour.I would like to welcome Shad to this year's Vans Warped Tour.
Nestled on east Hastings, neighboring Strathcona, and across from the Hastings public sauna is the Astoria hotel, an old brick heritage building with a whole lot of history.The show, which was just added on his myspace page, starts at 9:00PM.
The pub remains one of Vancouver's last live music venues, and is host to a variety of weekly events, special events, and bands.
The proletariat space allows local and out-of-town bands a space to create community. a space to meet old friends and new, to enjoy a pint alongside the existing regulars that have been coming in for years.
The drinks are cheap, the staff is awesome, and the bathrooms work.
For all you hip hop heads in the US, grab a copy of The Old Prince when it drops on June 30th.
Last night I hit up the K-OS show for free, it was part of his “Yes! Karma Tour” which meant everyone could enter for free and then make a donation after the show. K-OS is great live, his vocals are the same as if it was recorded which you don’t see much these days (ie T-Pain etc). He played classics like Heaven Only Knows, Emcee Murdah and new tracks like I Wish I Knew Natalie Portlan and 4 3 2 1. After he finished Natalie Portman he told the crowd “Youtube that right away and help a brother out” ha. For some fun at the end after introducing his bad to the crowd he said “And as you all know, I’m Will.i.am…nah just kidding but I had too”. Great show, great cause as well and they gave out a copy of the Yes! Remixes album to everyone who donated.
By Lauren Eldridge (Vancouver Correspondent)CLICK HERE for the complete interview.
My first dose of Shad was on 21 February 2009 at the Biltmore Cabaret, and I’ve been addicted ever since. He is an emcee from London, Ontario, and has been living in Vancouver for over a year now. His shows present his energetic live personality, entertaining freestyle skills, and the unique ability to play guitar and rap simultaneously. What struck me at the concert was his sincere and down-to-earth presence, elevating him immediately to the rank of one of the most genuine people I had ever encountered. You get what you see, and you can’t help but love it. Shad says that the balance between being himself and being a performer is that the music is “still you, but it’s entertaining people and it’s having fun, and to me that’s inseparable.” This is especially evident in his lyrics, which have as much profound yet understated self-reflection as his conversation.
Shad’s awareness reaches much farther than self-reflection. He describes his song “I Heard You Had A Voice Like An Angel/Psalm 137” as his reflection on “an industry that is, to a great extent, damaging culture and damaging people, and yet the face of it is smiling, singing and dancing.” Although Shad does not grapple with identity issues as an artist, this ability to reflect on social issues allows him to be more insightful and intellectually stimulating than most artists in his category. The fact that his social commentary is performed as smooth rap allows audience to experience the songs in a more holistic sense. Shad says “that if you make music that people can appreciate not even on a number of levels, but if they can at least appreciate it on any level, then that’s great. Whether it’s just hearing it and melodically it sounds nice, or if it’s really getting into the core of it, then I think that’s cool.”
‘Cause I rap like it's my hobby / not a jobby-job all sloppy and off-key (“I Don’t Like To”).
