Category Archives: CKUT programming

Free Samples: How DJ Khaled Dominated the Summer

While we can all thank Justin Bieber for teaching us how to speak Spanish this summer, DJ Khaled also had his fair share of success these past few months. The Miami producer’s tenth studio album Grateful debuted at No. 1 on the Billboard 200 chart and has remained in the top four for the past six weeks. The album has now been certified gold. His smash hit “Wild Thoughts” featuring Rihanna and Bryson Tiller peaked at No. 2 on the Billboard Hot 100 and is nominated for three MTV Video Music Awards including “Video of the Year.” If that wasn’t enough, the chart-topping “I’m the One” featuring Justin Bieber, Chance the Rapper, Quavo and Lil Wayne has now been certified three times platinum. So basically, if you wanted to sum up Summer 2k17 in a sentence or two, the words “DJ Khaled” would definitely be in there — along with “hangover” (but maybe that’s just me).

“For Free” feat. Drake (2016)
Song Sampled: “Blow the Whistle” by Too Short (2006)

The lead single off Khaled’s previous album Major Key, “For Free” samples lyrics and cadences from Too Short’s “Blow the Whistle” and interpolates Akinyele’s 1996 track “Fuck Me For Free.” In addition, one of Drake’s verses references Kendrick Lamar’s song “For Free? (Interlude)” off To Pimp a Butterfly with the line, “and like your boy from Compton said/You know this dick ain’t free.” The track is the fourth collaboration between DJ Khaled and Drake, following “No New Friends,” “I’m On One,” and “Fed Up.” Khaled claims he received Drake’s second verse while shooting the album cover for Major Key. He said, “I had a real lion on the album cover. I was sitting on the throne, and the lion was right here. Drake texts me with the second verse done. Mind you, I’m shooting my album cover, the lion is in front of me, and I’m on the throne. I swear on everything this is a true story. I even snapped and said, “The Drake vocals came in!” And the lion roars. This is all real. I’m not lying! You can go document and go find this. I thought that was so powerful and spiritual and amazing. I couldn’t sleep at night until it was done.”

“To the Max” feat. Drake (2017)
Song Sampled: “Gus Get Em Right” by Jay-O (2015), among others

DJ Khaled began teasing the song on his Instagram, asking if “the Drake vocals came in yet,” attempting to recreate the success of their previous collaboration. Most of the “To The Max” production is a sped up sample of Jay-O’s “Gus Get Em Right,” which is heard prominently in the intro, chorus and outro of the song. The track also contains a sample of T2’s “Heartbroken” and sounds very similar to DJ Jayhood’s 2007 remix of the song, which the New Jersey beat-maker claims has “the exact same chops.” He wrote on Twitter: “I don’t want to say Drake DJ Khaled stole my ‘Heartbroken’ track.. I don’t own the sample but they were inspired.” Jayhood then went on to say that he respects both Drake and Khaled and that there is no “bad blood.” In an interview with The Fader, Jayhood said, “It was definitely sampled from the version I did. The chops are not the same from the original, it’s from the one I did. My drop is even in there.” T2 later confirmed that he was asked by Khaled’s team if they could sample the song, and although he agreed, he claims he hadn’t officially signed anything to approve the sample. “That was a bit of a surprise,” he said upon hearing the track. “I was not aware it was going to come out. I need to speak to people there [his publishers Sony/ATV] to get a clearer picture.”

“Shining” feat. Beyoncé and Jay-Z (2017)
Song Sampled: “Dionne” by Osunlade (2013)

Released as a surprise single right after the 2017 Grammy Awards came to a close, this track samples “Dionne” by Osunlade, which itself uses Dionne Warwick’s 1970 tune “Walk the Way You Talk.” DJ Khaled came up with the idea for the song while at a restaurant a week after his son was born: “I was at Nobu eating and I heard this sample. I put my phone up and I Shazam’d it [saying] ‘Man, this is my single!’ [Then] we went in the studio and we flipped it. So we sampled it and we chopped it up […] and it ended up being a masterpiece.” After signing a management deal with Jay-Z’s Roc Nation early last year, Khaled presented the beat to the rapper at the entertainment company’s Christmas party:

“I just got to do ‘I Got The Keys’ with him, so I ain’t wanna ask him for another record; but I knew the record was so dope so I’m like ‘Let me play it for you.’ And the first 20,
30 seconds he was bopping his head, I seen him already rhyming in his head. And after I played him the record I was like ‘Yo, I know the answer is “No,” but if you wanna play this to your wife, man, that’d be dope.’ I remember I was at the Roc Nation Christmas party [and] Beyonce came up to me and she was like ‘Yo, I like that record.’ I damn near passed out! I was just speechless […] So, what happened was the night before the Grammys, Jay-Z hit me up and said ‘Record done.’ Meanwhile I was wondering if they were even gonna record it. So I had kept that beat and that vibe and I didn’t touch it. I was gonna hope that, you know what, my prayers are gonna come true. [It was] meant to be. I knew they liked it, but I didn’t want to keep asking them because they’re two big people. I just let the vibe take control.”

Khaled and his team then mixed, mastered, cleared the samples and got Jay and Bey’s approval all in less than 24 hours before dropping the record. Sounds like a Christmas miracle if you ask me.

”Wild Thoughts” feat. Rihanna and Bryson Tiller (2017)
Song Sampled: “Maria Maria” by Santana feat. Wyclef Jean (1999)

A serious contender for this year’s Song of the Summer, “Wild Thoughts” heavily samples the main riff from Carlos Santana’s 1999 smash hit “Maria Maria” featuring Fugees frontman Wyclef Jean. During Grateful‘s recording, Khaled invited Tiller to his house for dinner and played him the initial demo of “Wild Thoughts,” asking him if he could do something with the song. Tiller returned home, quickly recorded his verse and sent it to the producer who used it on the final recording. As for Santana’s reaction to the track, the latin guitarist said he was “honoured” that Khaled, Rihanna and Tiller “shared this summer vibe with the world.” He went on to say that “there is a reason that the infectious groove/theme that Wyclef and I created on ‘Maria Maria’ still resonates today. It speaks to the heart. DJ Khaled, Rihanna and Bryson take that vibe and bring it to a new dimension with ‘Wild Thoughts,’ but the groove and essence of the song is still intact” — which is exactly what a good sample should do.

– Matthew Martino

Free Samples: Jay-Z’s R-Rated Gospel

Jay-Z’s long anticipated thirteenth studio album 4:44 finally arrived late last month and it has already topped the Billboard 200 chart. After a four-year hiatus, the LP is getting high praises from the hip-hop community and reminding listeners of all genres why Hov is without a doubt one of the greatest rappers of all time. Last month Jay also made history by becoming the first rapper to be inducted into the Songwriter’s Hall of Fame (which he could not attend because Beyoncé just happened to be giving birth to their twins). So, it’s safe to say that Jay-Z’s summer is probably going a lot better than yours.

“Dead Presidents” (1996)
Song Sampled: “A Garden of Peace” by Lonnie Liston Smith (1983), among others

The breakout single off Jay’s debut album Reasonable Doubt, this track was certified gold just a few short months after its release. The song samples Lonnie Liston Smith’s “A Garden of Peace” for the main melody and A Tribe Called Quest’s “Oh My God (remix)” for its percussion, while the chorus is a sample of Nas rapping “I’m out for dead presidents to represent me,” from his 1994 song “The World Is Yours (Tip Mix).” Nas was originally invited to perform the chorus for Jay-Z and appear in the track’s music video, but he declined and thus began their public feud. Nas confronted Jay in his track “Stigmatic Freestyle” stating, “You show off, I count dough off when you sample my voice.” Jay-Z then responded in the song “Takeover” with the lines: “So yeah, I sampled your voice; you was usin’ it wrong/You made it a hot line, I made it a hot song/And you ain’t get a coin nigga you was gettin’ fucked then/I know who I paid God, Serchlite Publishing.” Their feud officially ended in 2005 at Jay-Z’s I Declare War concert, when they performed “Dead Presidents II” together.

“Hard Knock Life (Ghetto Anthem)” [1998]

Song Sampled: “It’s the Hard Knock Life” from Annie (1982)

This is undoubtedly the song that skyrocketed Jay-Z to fame. It samples a high-pitched version of the musical number “It’s the Hard Knock Life” from the 1982 film Annie, which is fitting as Jay raps about his rags-to-riches story. The song peaked at number fifteen on the Billboard Hot 100 and was nominated for Best Rap Solo Performance at the 41st Grammy Awards in 1999. Of the track’s inspiration, he says: “[One of my sister’s name is Andrea], but we call her Annie. That’s how the Annie sample came about. When I seen that on TV, I was like, ‘Annie?’ And then, I watched the movie. […] Any person that goes from ashy to classy or, you know, is from the orphanage or the projects—it’s pretty similar.” Jay later wrote in his memoir Decoded that in order to clear the sample, he sent a letter to the song’s copyright holders, lying about how he had seen the musical on Broadway as a child and written a competition-winning essay on it at school.

“Izzo (H.O.V.A.)” (2001)

Song Sampled: “I Want You Back” by The Jackson 5 (1969)

The first collaboration between Jay-Z and Kanye West, this track prominently features a sample of “I Want You Back” by The Jackson 5. The song’s main hook, “H to the izz-O, V to the izz-A” uses the -izzle language code (which was invented by E-40 and popularized by Snoop Dogg) to spell out “H.O.V.A.” in reference to one of Jay-Z nickname “Hova,” which is play on God’s name (as in “Jehovah”, aka “Yahweh” aka “Hashem”). Jay debuted the song during the 2001 BET Awards and producer Kanye West explained that it was one of the defining moments in his life:

“I was on the phone with my girl, and she just started screaming, and my two-way [pager] started blowing up. I was just thinking, ‘Damn.’ That was like the time in the [movie] ‘Five Heartbeats’ when they heard their song on the radio and they start running through the crib. If they ever do a movie about me, that’s one of the spots they’re gonna have to put in the movie. This song is really gonna change my life […] Until an artist of [Jay-Z’s] caliber co-signs for you, the industry doesn’t believe in your skills. Now they know.”

Kanye referenced this track on his 2004 song “Through the Wire” about his near-fatal car accident: “That right there could drive a sane man berserk/Not to worry, Mr. H-to-the-Izzo’s back to wi-zerk.”

UNSPECIFIED – JANUARY 01: Photo of Billy Squier (Photo by Michael Ochs Archives/Getty Images)

“99 Problems” (2004)
Song Sampled: “The Big Beat” by Billy Squier (1980), among others

In Decoded, Jay writes that he used “99 Problems” to confuse critics by hiding a deeper meaning behind its superficial chorus. The hook “I got 99 problems, but a bitch ain’t one” was taken from the Ice-T single “99 Problems” off his album Home Invasion (1993). Jay’s track was produced by legendary beat-maker Rick Rubin, who provided Hov with a guitar riff and stripped-down beat derived from “The Big Beat” by Billy Squier, “Long Red” by Mountain, and “Get Me Back On Time” by Wilson Pickett. “The guitars were a combination of old records that were sped up or slowed down, scratched in, or in some cases, we played guitars and then made a disc and scratched them in with a digital turntable. It was all processed and made new,” Rubin said of the track’s production. He recalled that it was comedian Chris Rock who was the inspiration for the song. Rock told Rubin about Ice-T’s track and its catchy hook and was convinced that Jay could make an even better song out of it. Said Rubin, “I told that to Jay, and he wrote the song based on the title. The idea was, it’s the opposite song. In the Ice-T original song, it’s all about the girls. Our idea was, ‘OK, this will be a song with the same hook about the problems.'”

“Ni**as in Paris” with Kanye West (2011)

Audio Sampled: Dialogue from film Blades of Glory (2007)

Fun fact: Will Ferrell is featured in Rolling Stone’s list of the 100 greatest hip-hop songs of all time. Inspired by Kanye West’s travels in Paris, the iconic song’s production was originally offered to rapper Pusha T by producer Hit-Boy. Pusha turned it down, claiming “it sounds like a video game. Get that shit out of here!” Then Jay and Ye got their hands on it and the track went platinum just under two months after it debuted on the Billboard Hot 100, just shy of two months after the album’s release. The smash hit also racked in the trophies, winning Best Rap Performance and Best Rap Song at the 55th Annual Grammy Awards. During the Watch The Throne tour, the two would perform this track multiple times at each concert. The crowds loved it. When they reached Paris, it was performed 12 times in a row. Talk about balling hard.

– Matthew Martino

An Interview with Christopher Kirkley from Sahel Sounds

Christopher Kirkley is the founder of the Sahel Sounds record label based out of Portland, Oregon and the man responsible for bringing Les Filles de Illighadad to Montreal during the Suoni Per Il Popolo Festival in June 2017.

Louis Rastelli, director of ARCMTL (Archive Montreal) and resident CKUT DJ (Montreal Sound Ark on Fridays 3 – 5 pm), invited Kirkley for a conversation at Archive Montreal’s archive centre in the Mile Ex district a few days after the Filles de Illighadad concert on June 21.

There is a local connection to the Sahel Sounds label by way of the old underground record co-op Backroom Records, which ran from the mid 2000s until 2015 in a back alley just south of the train tracks in the Mile End. That’s where Warren Hill, local record collector and Backroom Records founder, began putting out cassette and LP compilations of old blues, gospel and music from around the world on the Mississippi Records imprint. Around 2009, Warren began visiting Portland regularly to coordinate Mississippi Records releases with the local record store of the same name. A chance meeting in the shop with Christopher Kirkley led to the first Sahel Sounds releases. Just a few years later, the label boasts a catalogue of around 50 albums, documenting dozens of Sahel musicians and acts whose music would not likely have ever been preserved otherwise. Among the best loved of these records are two volumes called Music from Saharan Cellphones, compilations documenting independently produced musicians and bands whose recordings were mainly shared through memory cards on cellphones.

Rastelli spoke to Kirkley about how this all began and about how he discovered Les Filles de Illighadad. By the way: don’t forget to catch them on their second swing back in Montreal this Wednesday June 28 at Sala Rossa!

L: I’m curious about the challenges you face dealing with the kinds of artists you work with. For example, all the stuff that you copy off of people’s memory cards, it must be a huge range of digital files?

C: Yeah, I try to copy as much as possible, and I use that to source a lot of material for the albums, because a lot of time they only exist as MP3 and there’s no higher quality version. When I was first doing that for the Saharan Cellphone compilations, they were basically found MP3s. I thought I’d find the artists and contact them to get the master files, but there were no master files.

L: Were you able to contact a lot of them?

C: Yeah, everything on there was fully licensed and I was in touch with everybody, which presented its own difficulties — just finding people based on an ID3 tag on an MP3. Nobody was putting their phone number out there, which they really should be… If you don’t exist on the internet but you’re using this underground network of distribution, it needs some sort of tag or some way to verify that your name is attached to the file. What would happen is you’d have local cyber cafes, and they were the most savvy ones because they knew how to use computers, they would take out the ID3 information and replace it with the name of their own cyber cafe, so for a long time I kept zeroing in on the cyber cafes.

I spent about two years travelling around West Africa writing the Sahel Sounds blog. I was over there on a one-way ticket just travelling and recording without any commercial angle. When I got back to Portland, that’s when I walked into the Mississippi Records shop with a bunch of CDs of recorded music that I was passing around, and I dropped one off at Mississippi Records, primarily because I wanted it in the store and I saw that they were selling music from that part of the world, some of the Sublime Frequencies releases for example. And I thought, “what do these guys know about West African music? Here’s a CD…” But I wasn’t really looking for any label or anything, I was just looking for people to share the music with and talk about it with. Continue reading →

CKUT TOTAL ECLIPSE OF THE CHARTS::: June 20, 2017

Hello friends,
The past week has been kind of a blur… In addition to catching a bunch of excellent Suoni shows, I was also lucky enough to share a bill with the fantastic HSY and H. de Heutz (above) at Ottawa Explosion — in a church, no less! I ended up staying for a couple days to hang with pals and came back just in time to see Les Filles de Illighadad make their North American debut here in Montreal last night. It was probably the most stunning show I’ve seen all year; in addition to putting on an amazing performance, they also have a pretty incredible story. They’re playing a few other dates on this side of the pond, and please do yourself a favour and check them out if they stop in your town.

xo
joni

:::WHAT’S UP AT CKUT:::
We’ve got a whole ton of fresh new content up on the CKUT music dept blog. Check out our take on Next Music from Tokyo and peruse these reviews of local favouritesEmmett McCleary and Best Fern; or perhaps you’re in the mood for a more detailed read, like our ongoing series tracing the use of samples in modern hip hop. There’s a lot to explore, so turn on some background music and dig right in.

:::CHARTS:::
ckut top 30 – june 20, 2017
1. she-devils – s/t – secretly canadian CC *
2. best fern – covers ep – self-released CC *
3. sick boss – s/t – drip audio CC
4. joni void – selflessness – constellation CC *
5. arto lindsay – cuidado madame – northern spy Continue reading →

Concert Review: Bernice & Charlotte Day-Wilson @ PHI Centre

The night of April 22nd saw the Phi Centre opening its doors for an unforgettable showcase of two outstanding Toronto acts, complementary in many ways but diverse enough to keep the audience hooked.

Opening the show was Bernice, a six-piece electronic pop outfit fronted by Robin Dann. The band’s presence alone was formidable; there was something immediate in the way they were stationed under the cool lights. The music conveyed a similar power, with their weird knotty songs lying coiled beneath a deceptively smooth exterior. One striking detail of this setup was the prevalence of the electronic elements: synths, samplers, and a digital drum kit laid down a gorgeous, minimal foundation for the clear and understated vocals. The overall effect was one of supreme control and comfort, songs gracefully unfolding with a fine-tuned joy. By the time they hit their stride, the room was already packed and the audience was tuned in for this bracingly original set.

Offering a stark contrast, Charlotte Day-Wilson came with a far more conventional approach, though not unremarkable in and of itself. Backed simply by keys and a drummer, Charlotte tended to the sole vocal duty while busily trading off bass, sampler, guitar and saxophone, the latter eliciting a wild cheer from the crowd. Elements of funk, soul, hip-hop, and gospel coalesced seamlessly beneath her truly powerful voice, and with the aid of her flippant stage presence the room warmed quickly until the crowd was hanging off every beat drop and vocal somersault. All in all it was a head-spinning masterclass in the last half-century of popular music, tastefully arranged and presented by a commanding and singular voice.

Scapes: the Montreal Sessions, April Edition

During the month April, Jean Cousin, aka Joni Void, will be hosting The Montréal Sessions on CKUT, every Tuesday from 3-5pm, leading up to the release of his forthcoming album Selfless on Constellation Records.

For the Montréal Sessions, Joni Void presents Scapes: a “series of conceptual musical selection experiences.” Immersive mixes that aim to transcend genres and traditional radioplay, instead sounding more like a lucid dream broadcast.

These thematic sonic journeys include: Voxscapes, a vocal-based mix of songs that are almost entirely a-capella/only use voice; Livescapes, a compilation of Montréal live recordings, with a first hour dedicated to recordings made at La Plante/The Plant, an alternative space in which Jean resides and organizes events; Dronescape, focusing on drone and ambient music, including a live performance with other members of La Plante; Cityscape, a soundscape of Montréal with local field recordings and songs that directly reference the city; and finally Filmscape, a collage of diverse film samples, and soundtracks. These episodes will also feature some of Jean’s own music, from his different monikers/projects, even including some unreleased material.

Tune in and Join the Void.

Concert Review: SunnO))) & Big|Brave

“Maximum volume yields maximum results.” This is printed on every rider and stage plot Sunn O))) sends out to venues in advance of their shows. Not many bands can claim to have a motto, but it’s the most fitting summation of this act you’d ever need.

Opening the show is Montreal’s own Big|Brave with a polished and appropriately doomy set. Thunderous drums and heavy, ponderous riffs carry the plaintive vocals, expertly setting the mood and giving the headbangers a chance to get it out of their systems while they can. This will be the one and only time such familiar musical hallmarks as rhythm, melody, and discernible lyrics make an appearance tonight – we’re heading somewhere much weirder.

There is a long stretch between the acts as the smoke machines are pushed to their limits, and a thick haze settles over the crowd. Dim red lights pulse and a guy near me takes the opportunity to sneak a cigarette. This innocuous subversion feels significant: we’re entering new territory and losing some rules and markers along the way. Those of us in the first half-dozen rows can barely see the bodies around us, let alone the stage. We’re retreating into ourselves and losing sight of everything else.

Before anyone even realizes the group has taken the stage, sound begins to fill the room. It is the voice of Atilla Csihar, guttural and droning. His range is magnificent, dipping down into a rich throat hum steeped in overtones, leaping up into chanted invocations which might be Hungarian or might be a dead language from a forgotten dimension. As the smoke clears we see there are others behind him, manning guitars and synths; they are all hooded and cloaked, moving slowly and with purpose. The sound swells and drowns the voice in a billowing roar and our earplugs are in, the unprepared quickly realizing their unfortunate mistake and clasping their hands to the sides of their heads.

Overused as the cliché may be, this is more than music. This is an experience of sound at its most primal level, a crash course in the physics of vibration. It is felt in the body as much, or perhaps even more, than it is heard in the ears. It rattles your bones, warps your gut. The skull buzzes, ears pop. The sheer volume elevates sound into physical reality, unfurling from the wall of stacked amps like a standing wave.

Beyond the novelty of noise, the stage presence is worth mentioning. It feels less like a performance for our benefit and more like a glimpse into their own intimate ritual – and not just because they’re all dressed like druids. These men are participating in something special and deeply personal. They pass around a bottle of water like a sacrament, all motions careful and deliberate. One or two or three members at a time come and go from the stage; at one point both the guitarists are gone and we are treated to a much lighter passage of synth and horn, which only deepens the impact when the guitars drop back in.

The sound ends suddenly. The silence comes as a shock, a jolt. The body grows so accustomed to the volume, the ubiquitous vibration, that its sudden absence leaves a void. There is a collective release throughout the crowd as hundreds of bodies immediately relax, slacking into the vacuum. The smoke clears, the thunderous applause fades away, raised horns are lowered, faces are left glowing and awed. There is a general consensus of speechlessness, an inability to express what we all just went through. A friend manages: “That was church.”

Concert Review: Kaytranada @ L’Olympia

photo taken by Aaron Bentley

Final exams didn’t faze dedicated fans from attending a sold out show at L’Olympia from local electronic producer Kaytranada. Taking the stage at 11:20pm, the venue was packed to the brim with people eagerly anticipating the eccentric young artist to perform his latest mixes for everyone. Fellow local artists Planet Giza and Lou Phelps opened the show earlier on that night with their own sets to warm up the crowd. However, if you planned on catching just the main act then you would’ve had to bear waiting outside in line for over half an hour before stepping foot into the venue.

Once inside L’Olympia, security pushed their efforts in patting down every single person before letting anyone onto the dancefloor. The crowd was immense, nothing but a sea of bodies could be seen in every direction and by the time my friends and I made our way inside, Kaytranada had already took to the stage with performing his mixes.

We made our way up towards the front of the stage, the energy in the room was unparalleled to the show that Kaytranada performed back in May for the release of his debut LP 99.9%. By this time around people knew what to expect from the young producer, his debut album garnered widespread attention and has been making appearances on end of the year lists for the hottest albums of 2016.

He performed fan favorites from 99.9%. The tracks “Glowed Up” and “Lite Spots” had the audience going ballistic and vibing hard off of the hottest two singles on the album. During another point of the show “Cranes In The Sky” off of Solange’s latest record A Seat At The Table had people grooving hard to the funky remix that Kaytranada was able to provide on the track. The liveliness of the venue was constant, everyone in the building was able to lose themselves to Kaytranada’s crisp production that has become distinct to the artist’s production style.

After over an hour of material the show finally concluded around 12:35am, roars of excitement and cheer filled the venue of L’Olympia as Kaytranada thanked everyone for coming to the show. While it’s only been a couple of months since 99.9% dropped, the amount of playability that album holds is always refreshing when listening to his debut efforts. On a live stage all his songs translate exceptionally well to the dancefloor, which makes total sense. His music is meant to be danced to, meant to be played at parties, and most importantly is meant to showcase that Kaytranada is no one-trick pony when it comes to making music.

-review by Michael Eidelson

Blue Skies Turn Black hosts the December Montreal Sessions

This December, Blue Skies Turn Black is taking over CKUT’s Montreal Sessions to celebrate its sweet 16. Every show will be hosted by a different BSTB employee looking back on their favorite music of the year. Look out for special co-hosts, giveaways and surprise announcements throughout the month.

About Blue Skies Turn Black

Blue Skies Turn Black is a Montreal based concert promotions company founded by Meyer
Billurcu and Brian Neuman in March 2000. BSTB has booked thousands of artists spanning across every genre in its 16 year history. From DIY lofts to 2000+ capacity theatres, BSTB has worked with just about every venue in town. Its small but dedicated team of music enthusiasts work tirelessly to discover new artists as well as cultivate the relationships with the bands it has already worked with, both from the local and international scene.

Stream the show live every Tuesday in December from 3-5pm or download the full audio archives from ckut.ca.

CKUT TOTAL ECLIPSE OF THE CHARTS::: November 29, 2016

First it was Leonard Cohen, then Sharon Jones, now Pauline Oliveros. Don’t even wanna think about what’s gonna happen next week.

In light of all this downer music news, here’s a tiny bunny eating some wildflowers. Let yourself enjoy the little things.

xo
joni

:::WHAT’S UP AT CKUT:::
Our Annual General Meeting is tomorrow! If you’re in Montreal, please do stop by – it’s your chance to catch up on all the things we’ve done over the past year and get an idea of what’s coming up in 2017. All your fave CKUT folks will be there, and we’ll have food courtesy of Midnight Kitchen. Check out the details & RSVP here.

:::CHARTS:::
ckut top 30 – november 29, 2016
1. tanya tagaq – retribution – six shooter CC
2. meredith monk – on behalf of nature – ecm
3. phern – pause clope/cool coma – fixture records CC *
4. sam shalabi & alan bishop – mother of all sinners: puppet on a string – unrock CC *
5. weyes blood – front row seat to earth – mexican summer Continue reading →

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